How I Learned What I Learned

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APR 27–MAY 15, 2022 Joan H. Gillings Center for Dramatic Art




supporting the arts is all part of the plan.

A Life Plan Community

TABLE OF CONTENTS 4 5 6 11 12 17 28 30 32 42

Letter from Vivienne Support PlayMakers Who We Are Title Page Program Notes Bios General Information PlayMakers Staff Friends of PlayMakers Corporate and Foundation Partners


Photo of Samuel Ray Gates by HuthPhoto



Dear PlayMaker, I feel so lucky to be part of a University community that is charged with welcoming complicated discourse, interrogating our society and encouraging dynamic inclusion. I particularly love it when good theatre can play a role in that discourse. That is why it feels incredibly powerful to conclude our 21-22 season connecting with the legacy of August Wilson, one of the greatest poets and theater makers in American history. Wilson’s history of tracking the African American experience through his Century Cycle has challenged the American Theatre to do better, and has transcended a siloed landscape of culturally specific artistic spaces to include the broader historically white institutions, and even the Great White Way. With "How I Learned What I Learned" we get a more intimate look at the charming, selfrespecting, complicated man who shifted the landscape. It is beautifully realized by director Tia James with a creative team of phenomenal storytellers, and embodied by actor Samuel Ray Gates who, since joining the company in 2017, has already crafted a number of memorable characters. Thank you for being here and for supporting PlayMakers’ vision. I hope you’re also planning to join us for the incredible 2022-23 line-up that was just announced! It’s one I believe brings all the scope, depth, craft and high entertainment to which we are committed. Warmly,

Vivienne P.S. Don’t forget to join us this summer for another fantastic Summer Youth Conservatory production featuring area young people in "The 25th Annual Putnam County Spelling Bee"!


SUPPORT US It is my pleasure to serve another year as the chair of the PlayMakers Advisory Council and welcome you back to the Paul Green Theatre stage for our 2021-22 season. Our five-show season was born out of the need to celebrate the healing power of human connection after a year that challenged us all. We believe that the theatre will have an important role to play in making sense of the complex world in which we find ourselves in. When I walk out of PlayMakers after a show, I always say how lucky we are to have a theater with such world-class performances right here in Chapel Hill. This season, I am grateful for the opportunity to experience PlayMakers’ signature variety of shows, live and in person once again! In addition to an impressive lineup of powerful performances, PlayMakers continues its work serving the Triangle community and beyond. We are privileged to provide unique learning opportunities for K–12 classrooms and UNC students, creating new ways to engage with our local artists and advocates, and make the power and joy of theatre accessible to underserved communities. Theatre is and always will be a place for community. And it is up to us—the community—to ensure that PlayMakers continues to thrive. Gifts from patrons like you will be critical to our success as we navigate reopening after more than a year away from producing live theatre with in-person audiences. If you enjoy and believe in the power of the theatre as I do, I invite you to become a Friend of PlayMakers. Please make a tax-deductible contribution to the annual fund, pledge a monthly donation as a Sustainer, or offer a campaign gift to strengthen and sustain PlayMakers’ vision for the future. I truly believe that there has never been a more important time to support the arts. Join me in championing our local theatre—an organization that makes a difference in our community. As Joan Gillings often said, “You will sit a little taller in your theatre seat, knowing you made a difference, too.” Thank you! Warmly, Amy Guskiewicz

ADVISORY COUNCIL Amy Guskiewicz Chair

Betsy Blackwell Vice Chair

Duncan Lascelles Vice Chair

Joanne Garrett Deborah Gerhardt Bobbi Hapgood Janelle Hoskins C. Hawkins Betty Kenan, emeritus

Stuart Lascelles Robert Long, emeritus Graig Meyer Julie Morris Paula Noell Florence Peacock

Diane Robertson Wyndham Robertson Carol Smithwick Jackie Tanner 5 Jennifer Werner Mike Wiley

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. 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 work of becoming an anti-racist organization whose work is accessible to all. 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 is also broadening 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 five seasons have already given life to ten 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 virtual line-up, we look for opportunities for direct, dynamic engagement between audiences, artists and thinkers. The Vision Series, post-show discussions and a host of unique engagement opportunities – including the continuation of last season’s online PlayMakers Keeping You Company – enrich our audience's experience of the live arts.

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 each year 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. We look forward to getting back on the road as soon as we can do so safely.


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 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 when we host live events, PlayMakers offers All Access performances for our patrons living with disabilities, we offer accessible $20 tickets for all performances, and tickets reduced to just $10 for UNC students and $12 for all other students. Our Spotlight on Service program also offers complimentary tickets to local service organizations. This season, we are proud to offer complimentary tickets to front-line workers in honor of their ongoing service to the community. For more information, please contact



As the premiere professional theatre company of North Carolina, PlayMakers Repertory Company strives to produce entertaining, relevant, and courageous work that tells stories from and for a multiplicity of perspectives and creates transformational impact in our immediate and extended communities.


OUR VISION Represent



Artistic excellence and artistry Education and training Community engagement Access and equity

Financial health Discovery and innovation Collaboration and communication Culture of support


At the heart of PlayMakers Repertory Company’s mission is the belief that theater has the power to transform individuals and entire communities. There is no more aspirational or urgent a use of that power than working to dismantle the systems of oppression, white supremacy, and racism that pervade American life and consume the American Theatre. 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. We are grateful to Black, Indigenous and People of Color artists and administrators within our local community as well as the larger theatrical community across the country for the resources they’ve expended, both in time and emotional labor. Their work lays an important foundation for us by articulating some of the harmful practices that must change immediately as well as identifying pathways for the long-term evolution that must follow. In that light, this document is the beginning of a response to the demands for change made by the anti-racist organization #WeSeeYouWhiteAmericanTheater. 8

As a professional theatre company embedded in, and inextricably linked to the Department of Dramatic Art (DDA) at the University of North Carolina–Chapel Hill, the path forward will be complex and singular. We will therefore be updating our action items and commitments continuously as our work evolves. We at PlayMakers understand our responsibility not only to the artists, staff, and audiences with which we engage, but significantly, to the many students training here for a career in the theatre. These are not our first steps, and by no means our last. They are not perfect. And they are not enough. But they are steps forward. We invite you to come back to our website and our theater often and monitor our progress. We take our responsibility to this effort seriously and we welcome your involvement and assessment.

Land Acknowledgement 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, please join us in acknowledging and learning about the atrocities committed against these Nations and work with us towards inclusion, representation, and a better relationship with citizens of sovereign American Indian and Alaska Native nations. Why is Land Acknowledgement important? This statement is part of the continual interrogation of our own participation and complacency in colonial structures and a call for greater awareness, accountability, and intentionality in the work we do. As storytellers we are committed to learning and telling stories in ways that will have transformational impact in our immediate and extended communities. We are excited by future partnerships with Native Americans and look forward to sharing this journey of knowledge and growth with you. Learn more: UNC American Indian Center


Italian Culinary Experience in the Heart of Chapel Hill. THOUGHTFULLY PREPARED. SIMPLY SERVED. DEEPLY CONNECTED.

August Wilson's

How I Learned What I Learned Co-Conceived by Todd Kreidler Directed by

Tia James Scenic Designer

Costume Designer

Lighting Designer

Lawrence E. Moten III

Ramaj Jamar

Abigail Hoke-Brady

Sound Designer

Projection Designer


G. Clausen

Alex Maness

Saleemah Sharpe

Vocal Coach

Assistant Director


Tia James

Jamar Jones

Stage Manager

Charles K. Bayang

Jamar Jones Saleemah Sharpe

Assistant Stage Manager

Elizabeth Ray

“How I Learned What I Learned” is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. New York Premiere originally produced by Signature Theatre, New York City James Houghton, Founding Artistic Director; Erika Mallin, Executive Director The world premiere of "How I Learned What I Learned" was presented by Seattle Repertory Theatre in 2003, performed by August Wilson

APR 27 – MAY 15, 2022 The Professional Theatre of the Department of Dramatic Art Adam Versényi, Chair Vivienne Benesch, Producing Artistic Director Nichole Gantshar, Managing Director Produced in association with The College of Arts & Sciences The University of North Carolina at Chapel Hill


PROGRAM NOTES By Saleemah Sharpe, Dramaturg “We are what we are Are made by old things, Come back. Clearly, Brilliant as the sun.” – August Wilson

Tony Award and two-time Pulitzer Prize winner August Wilson is considered by many to be the Shakespeare of our time. His plays take Black America and put it onstage to, as Wilson describes, “affirm the values of Blacks and demonstrate their humanity.” Wilson is best known for a series of ten plays collectively titled “The Pittsburgh Cycle” or “The Century Cycle”, which chronicles the experience and traditions of the black community. Race relations, duty, man/fatherhood, family, honor, and the pursuit of one's ideals are all consistent themes in the Century Cycle; "Gem Of The Ocean" (1900s), "Joe Turner’s Come & Gone" (1910’s), "Ma Rainey’s Black Bottom" (1920s), "The Piano Lesson" (1930s), "Seven Guitars" (1940s), "Fences" (1950s), "Two Trains Running" (1960s), "Jitney" (1970s), "King Hedley II" (1980s) and "Radio Golf " (1990s). Wilson’s numerous other awards include the Laurence Olivier American Airlines Award, seven New York Drama Critics’ Circle Awards for Best Play, Whiting Writers' Award, American Theatre Critics Association Award, Black Filmmakers Hall of Fame Award, Literary Lion Award from the New York Public Library, Outer Critics Circle Award, Olivier Award for Best New Play, National Humanities Medal, MakeShift Award at the U.S. Confederation of Play Writers and 23 honorary degrees.


After experiencing the relentless bigotry of his classmates at Central Catholic High School, Wilson transferred to Connelly Vocational High School and then later to Gladstone High School. Wilson dropped out of Gladstone High School in the 10th grade after he was accused by his teacher of plagiarizing a term paper, but he did not drop out of life. Instead, he turned to the Carnegie Library of Pittsburgh (which awarded its first-ever High School diploma to Wilson in 1989) for academic fulfillment and the main drag of the Hill District for a “beyond the classroom” curriculum, where experience (both first and third person) is the teacher. On that main drag, Wilson learned many lessons in life with each one begotten from those who “sanctioned my life and provided it with its meaning” (Wilson)

"How I Learned What I Learned" takes place in the “crucible in which many a work of art has been fired.” A crucible by definition is a ceramic or metal container in which metals or other stuff may be melted or subjected to very high temperatures. In this instance, the crucible represents how what he has learned, has led him to places he wanted to go. That he has sometimes gone unwillingly. Meaning, that for him to arrive at a place he wanted to be in life, Wilson had to take (or be spontaneously pushed to Centre Avenue, Hill District Business, July 27th, 1942. Photo by Dane Pieri take) many a road less traveled in all its unknown but rewarding glory. "How I Learned What I Learned" is the black coming of age story that opens the door to the joys, struggles, triumphs, fails, and perseverance of the African lost in America. “When you're African in America there’s adjustments and things that you have to make. Cause your natural impulse is different than the way things are done.” (Wilson) The Hill District - once considered a mecca of arts and culture - served as an ancestral connection to his roots, a way to discover who he was and what he was meant to do. Wilson believed that there was a disconnection in the black community and that “Black America” was lost; “If that connection to your grandparents is broken, then you are lost in the world. You don't know who you are, you don't know what your duty is. Without that tradition, without something in place that says ‘this is how you conduct yourself in the world,’ then we’re just wandering all over the place without any purpose, without any future, without any direction.” Wilson wanted to share the knowledge, wisdom, and the black way of life he learned on the main drag with current and future generations of the black community; “From the beginning, I decided not to write about historical events or the pathologies of the black community. Instead, I wanted to present the unique particulars of black American culture as the transformation of impulse and sensibility into codes of conduct and response, into cultural rituals that defined and celebrated ourselves as men and women of high purpose.” When Wilson began writing his plays, he relied on the “4 B’s” for inspiration: the Blues was the primary influence, followed by Jorge Luis Borges, the playwright Amiri Baraka and the painter Romare Bearden. Wilson was captivated by how Bearden presented black life in all its richness and wanted to create that same atmosphere and tone in his work. Most of the ideas for Wilson’s plays were inspired by either images, snippets of conversation, or lyrics from Blues songs. Almost all of Wilson’s characters use Blues as a form of self-expression at key moments during his plays. “The blues is the best literature black Americans have. It’s our cultural response to the world, an emotional reference point. Five million years from now if people have those records, they’ll be able to piece Romare Bearden, Empress of the Blues. together a lot about us.” (Wilson)


AUGUST WILSON (April 27, 1945 – October 2, 2005) authored "Gem of the Ocean", "Joe Turner’s Come and Gone", "Ma Rainey’s Black Bottom", "The Piano Lesson", "Seven Guitars", "Fences", "Two Trains Running", "Jitney", "King Hedley II", and "Radio Golf ". These works explore the heritage and experience of African-Americans, decade-by-decade, over the course of the twentieth century. His plays have been produced at regional theaters across the country and all over the world, as well as on Broadway. In 2003, Mr. Wilson made his professional stage debut in his one-man show, How I Learned What I Learned. Mr. Wilson’s works garnered many awards including Pulitzer Prizes for "Fences "(1987); and for "The Piano Lesson" (1990); a Tony Award for "Fences"; Great Britain’s Olivier Award for "Jitney"; as well as eight New York Drama Critics Circle Awards for "Ma Rainey’s Black Bottom", "Fences", "Joe Turner’s Come and Gone", "The Piano Lesson", "Two Trains Running", "Seven Guitars", "Jitney", and "Radio Golf ". Additionally, the cast recording of "Ma Rainey’s Black Bottom" received a 1985 Grammy Award, and Mr. Wilson received a 1995 Emmy Award nomination for his screenplay adaptation of "The Piano Lesson". Mr. Wilson’s early works included the one-act plays "The Janitor", "Recycle", "The Coldest Day of the Year", "Malcolm X", "The Homecoming" and the musical satire "Black Bart and the Sacred Hills". Mr. Wilson received many fellowships and awards, including Rockefeller and Guggenheim Fellowships in Playwrighting, the Whiting Writers Award, 2003 Heinz Award, was awarded a 1999 National Humanities Medal by the President of the United States, and received numerous honorary degrees from colleges and universities, as well as the only high school diploma ever issued by the Carnegie Library of Pittsburgh. He was an alumnus of New Dramatists, a member of the American Academy of Arts and Sciences, a 1995 inductee into the American Academy of Arts and Letters, and on October 16, 2005, Broadway renamed the theater located at 245 West 52nd Street - The August Wilson Theatre. Additionally, Mr. Wilson was posthumously inducted into the Theater Hall of Fame in 2007. Mr. Wilson was born and raised in the Hill District of Pittsburgh, Pennsylvania and lived in Seattle, Washington at the time of his death. He is immediately survived by his two daughters, Sakina Ansari and Azula Carmen Wilson, and his wife, costume designer Constanza Romero.




August Wilson. . . . . . . . . . . . . . . . . . . . . . . . . . . . . Samuel Ray Gates*

Silhouette Actors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Anthony August* Heinley Gaspard Kathryn Hunter-Williams* Khalil LeSaldo* AhDream Smith* Omolade Wey*


Charles K. Bayang*

Elizabeth Ray*

*Indicates members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

There will be no intermission


CAST BIOS Samuel Ray Gates August Wilson

PlayMakers: Company member in his fourth season. “Julius Caesar,” “Life of Galileo,” “Skeleton Crew,” “Leaving Eden,” “Dot.” Regional: “Fairview” (Woolly Mammoth Theater Company); “All the Way” (Theatre Squared); “Between Riverside and Crazy” (American Conservatory Theater); “Alabama Story” (Pioneer Theatre Company); “Satchel Paige and the Kansas City Swing” (Martha’s Vineyard Playhouse); “The Muscles in our Toes” (Labyrinth Theater Company); “Clybourne Park” (Cincinnati Playhouse); “Trinity River Plays” (Dallas Theater Center, Goodman Theatre); “In the Red and Brown Water” (McCarter Theatre Center); “Electra” (Classical Theatre of Harlem). Film/Television: Upcoming: “The Staircase.” “DopeSick, “Our Kind of People,” “The Good Fight,” “NCIS: New Orleans,” “November Criminals,” “Wolves,” “Person of Interest,” “Veep,” “Mozart in the Jungle,” “Two Night Stand,” “The Blacklist,” “House of Cards,” “Queen City,” “Boardwalk Empire,” “Unforgettable,” “The Men Who Stare at Goats,” “Kings,” “Law & Order,” “Law & Order: Criminal Intent, Rescue Me.” Education: MFA, American Conservatory Theatre.

Anthony August, Silhouette Actor

PlayMakers: Company member in the third year of UNC’s Professional Actor Training Program. "A Wrinkle in Time," “Stick Fly,” “As You Like It,” “The Skin of Our Teeth,” “The Storyteller,” “Everybody,” “Ragtime,” “The Brothers Size” (PlayMakers Ground Floor); “Wilder & Wilder” (PlayMakers Mobile). Regional: “The Hunchback of Seville” (Mildred’s Umbrella); “Ma Rainey’s Black Bottom” (The Ensemble Theater); “Fade To Black Festival,” “This is Modern Art” (The Landing Theatre Company); “Macbeth” (Encore Theatre). University: “When the Ancestors Call,” “Dutchman,” “A Raisin in the Sun,” “Last Days of Judas Iscariot,” “The Mountaintop” (Texas Southern University). Education: Texas Southern University, B.A. in Theatre. @kingslick

Heinley Gaspard , Silhouette Actor / August Wilson understudy

PlayMakers: "The Skin of Our Teeth". Company member in first year of UNC’s Professional Actor Training Program. New York: Split Second (Theater 54 & IAITI), Macbeth (The Arthouse NY & Hudson Theatre works); Weekend 1967 (The Tank); More (TADA); Glass ( JACK); The Belagio Fountain Has Been Known to Make Me Cry (HERE Arts); Edward II (Teatro LATEA); Fences (Hackensack Theatre). TV/Film: Wutang: An American Saga (Hulu, 2021) The Sinner (USA, 2020), Entanglement (2019), On the Floor (2019), Good Morning (2019), Omniboat (2018, Sundance Film Festival), Heaven’s Hell (2017), Steps (2017), Coney Island Queen (2015, Cannes Film Festival), Saturday Night Live (“Drake’s Beef,” 2016), Usher’s Chain’s (2016), Funny or Die (2015). @DaGreatGaspy @HeinleyGaspard

Kathryn Hunter-Williams, Silhouette Actor

PlayMakers: Company member for 21 seasons. Recent highlights include directing “No Fear & Blues Long Gone,” “Count,” plus acting in "A Wrinkle in Time", "The Skin of Our Teeth,” “Edges of Time,” “Julius Caesar,” “Everybody,” “Life of Galileo,” “Skeleton Crew,” “Leaving Eden,”


“Tartuffe,” “Dot,” “Intimate Apparel,” “The Crucible,” “Trouble in Mind,” “A Midsummer Night’s Dream,” “The Tempest,” “Love Alone,” “A Raisin in the Sun,” “Imaginary Invalid,” “Henry IV & V,” “The Parchman Hour,” “Angels in America,” “Fences,” “Doubt,” “Yellowman,” among others. New York/Regional: Living Stage, The Negro Ensemble Company, Manhattan Class Company, New Dramatists, Archipelago Theater. Education/Other: BFA, UNC School of the Arts; MFA, UNC-Chapel Hill. Kathryn is on the faculty of the Department of Dramatic Art at UNC-Chapel Hill, Company Artistic Associate for PlayMakers and Associate Director of HiddenVoices, a nonprofit organization dedicated to bringing life changing stories into a public forum.

Khalil LeSaldo, Silhouette Actor

PlayMakers: Company member in their third year of UNC’s Professional Actor Training Program. "A Wrinkle in Time," "Stick Fly," "The Skin of Our Teeth," “As You Like It,” “Julius Caesar,” “Dairyland,” “Gloria,” “Mud,” “References to Salvador Dalí Make Me Hot” (PlayMakers Ground Floor). Off-Broadway: “Sing,” “Care Full,” “Game Night” (Theater Breaking Through Barriers). Regional: “We Can Eat Love,” “As You Like It,” “Julius Caesar” (Portland Stage); “Romeo and Juliet,” “Julius Caesar” (Tenessee Shakespeare Company); “A Manor of Speaking,” “Deep as Hell,” “Hell and Other Adventures,” “Deep as Hell 2: Wide as Hell” (2Sheets Theater Company); “Bug” (60 Grit Theatre); “The Last Days of Judas Iscariot” (Mad Horse Theater Company); “Princess Kaguya” (Theater at Monmouth); “To Kill a Mockingbird” (The Theater Project); “Hellcab,” “After” (Profiles Theatre); “Wait Until Dark” ( Jedlicka Performing Arts); “Switch Tryptych” (Big Picture Group). Film/TV: “Defending Jacob” with Chris Evans, “Chicago PD.” Education/Awards/ Other: Bachelor’s Degree in Psychology, Bowdoin College; Numerous Fringe festival awards: PortFringe Theater Festival; Alice Merrill Mitchel Prize (2011); The Telling Room Story Slam Champion,Devising and PhysicalTheater (Celebration Barn). @Khalil.LeSaldo

AhDream Smith, Silhouette Actor

PlayMakers: Company member in their third year of UNC’s Professional Actor Training Program. "A Wrinkle in Time," "Stick Fly," "The Skin of Our Teeth," “As You Like It,” “Julius Caesar,” “Wilder & Wilder” (PlayMakers Mobile); “References to Salvador Dalí Make Me Hot” (PlayMakers Ground Floor). New York: “The Talking Cure” (Hudson Guild Theatre); “Sistas on Fire” (The Duke On 42nd Street); “The Trojan Women,” “The Caucasian Chalk Circle,” “The Exception and the Rule” (Shapiro Theatre). Television: “Silent Killer,” “The Honeymoon Killers,” “Death and The Maiden” (Investigation Discovery). Education/Awards/Other: Wesleyan University (B.A), William Esper, Stella Adler, Upright Citizens Brigade, Broadway Dance Center. @chasingahdream

Omolade Wey, Silhouette Actor

PlayMakers: Company member in their third year of UNC’s Professional Actor Training Program. "A Wrinkle in Time," "Stick Fly," "The Skin of Our Teeth," “As You Like It,” “The Storyteller,” “Julius Caesar,” “Everybody,” “Wilder & Wilder” (PlayMakers Mobile); “No Child,” “Stop Kiss,” “References to Salvador Dalí Make Me Hot” (PlayMakers Ground Floor). University: “God & Country,” “By the Way, Meet Vera Stark,” “Insurrection: Holding History.” Education/Awards: Winner of the Director’s Company Next Wave Initiative Hattie McDaniel Acting Scholarship. BSFS in Culture & Politics from Georgetown University’s Walsh School of Foreign Service.


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“PlayMakers has been punching far above its weight class since the moment of its founding. This beautiful, detailed, and comprehensive examination of its remarkable past and current strength, charts the organization’s importance as one of the leading lights in the American Theatre.”

Company: A PlayMakers Repertory fifty years of the History celebrates nearly company founded e theatr sional profes North Carolina at at the University of Building upon a Chapel Hill in 1975. g activity at UNC datin legacy of theatrical appointment the when 1918, to back t rtmen Depa the in of Professor Koch formation of of English led to the akers, Tom Haas the Carolina Playm envisioned a man Hous r Arthu and integrated with professional company at a major an academic department That combination of research university. achievement coupled professional artistic y theatrical training with the highest qualit akers Repertory has characterized PlayM outset. Company from the of the resident Then as now, the core are both teachers company—faculty who ng in tandem with and practitioners worki in the Department the graduate students MFA programs— of Dramatic Arts’ three d by the best mente supple antly is const and performers directors, designers, rgraduates learn from working today. Unde and forth between faculty who move back stage, shops, and the classroom and the ledge gained in know the with workrooms, creativity in another. one realm sparking acting , costume Graduate students in ical production production, and techn training during the receive professional become their day from teachers who s at night, both offartistic collaborator and on-stage. than eighty With six essays, more dices that list images, and four appen MFA recipients, and productions, faculty, ship, this book richly administrative leader ed d and widely admir documents a belove tion. dramatic arts institu

—Joseph Haj, MFA 1988; Artistic Director of The Guthrie Theater 2015-present; and Artistic Director of PlayMakers Repertory Company 2006-2015

Get your copy today at PlayMakers Repertory Company: A History celebrates nearly fifty years of the professional theatre company founded at the University of North Carolina at Chapel Hill in 1975, building upon a legacy of theatrical activity at UNC dating back to 1918 with the formation of the Carolina Playmakers. Then as now, the core of the resident company—faculty who are both teachers and practitioners working in tandem with the graduate students in the Department of Dramatic Arts' three MFA programs—is constantly supplemented by the best directors, designers, and performers working today. With six essays, more than eighty images, and four appendices that list productions, faculty, MFA recipients, and administrative leadership, this book richly documents a beloved and widely admired dramatic arts institution.

CREATIVE TEAM BIOS Tia James Director / Vocal Coach

PlayMakers: Company member for two seasons. Actor: "A Wrinkle in Time," “Julius Caesar,” “Native Son.” Vocal coaching includes “Ragtime,” “How I Learned to Drive,” “Life of Galileo,” “Bewilderness,” “She Loves Me,” “Skeleton Crew,” “Sherwood,” “Jump,” “Your Healing is Killing Me.” Director: “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: “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: UNC-Chapel Hill, NYU Graduate Acting, NYU Dance, Atlantic Acting School, Montclair University. Education/ Awards: MFA NYU Tisch Graduate Acting Program, BFA Virginia Commonwealth University; Teacher Training under Scott Miller and John Patrick. 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.

Lawrence E. Moten III Scenic Design

PlayMakers: “Native Son.” Broadway: “Chicken & Biscuits” (Circle In The Square); “What The Constitution Means to Me” (Broadway & Tour Associate). Regional: “it’s not a trip, it’s a journey” (Round House); “We Declare You A Terrorist…” (Round House); “Gem of The Ocean” (Portland Center Stage); “Trouble In Mind” (The Old Globe); “The West End” (Cincinnati Playhouse); “The Sound Inside” (TheaterWorks Hartford); “Hype Man” (ART & Company One); “Gloria” (ACT); “STEW” (Page 73); “Hi, Are You Single?” (Woolly Mammoth); “Feeding Beatrice” (Rep St. Louis); “The White Chip” (59E59); “House of Joy” (CalShakes); “A Human Being, Of A Sort” (Williamstown); “The Royale” (Capital Rep); “Behind The Sheet” (Ensemble Studio Theatre). Lecturer: Princeton University. Education/Other: USA 829 & Wingspace Theatrical Design. BFA Ithaca College.

Ramaj Jamar Costume Design

PlayMakers: Debut. Off-Broadway/New York: “Bayano” (National Black Theatre). Regional: “Paul Robesome” (Crossroads Theatre Co.); “Between Two Worlds”, “Say Her Name” (Urban Souls); “Pecong” (Bayou Theatre Co.). University: “Ma Rainey’s Black Bottom”, “Zooman and the Sign”, “21 Timbres” (NYU/ Tisch); “A Funnyhouse of a Negro” (Barnard College); “Antigone” (Tulane University); “The Death of the Last Black Man…”, “The Escape; Or A Leap for Freedom” (Columbia University); “Marcus; Or The Secret of Sweet” (Texas Southern University). Film: “The Ring of Fire” (The Movement Theatre Co.); “When They See Us” with Caroline Duncan; “We Don’t think The Same” with Akilah Nehanda”. Education/Awards: MFA: NYU/ @Ramaj__Jamar Tisch, 2018 Princess Grace Awardee, Drama League Nominee. 21

Abigail Hoke-Brady Lighting Design

PlayMakers: Debut. New York: “BUST” (Soho Repertory Theater); “Bound” (Fresh Squeezed Opera); “The Little Death vol 1” (Prototype Festival); “MukhAgni” (Under the Radar/The Public Theater); “Silent Voices: Lovestate” (New Victory Theater / Brooklyn Youth Chorus); “To Be Sung” (Centre for Contemporary Opera). Regional: “Cosi fan Tutte” (San Diego Opera); “The Last American Hammer”, “FLORIDA” (UrbanArias); “Glory Denied”, “Three Decembers” (Tri Cities Opera); “Mad Forest” (Bard College/Theatre for a New Audience).Education/Other: @hammockandhoney Drew University, BA. NYU, MFA. Member of USA 829.

G. Clausen Sound Design

PlayMakers: “Native Son,” “Skeleton Crew.” Regional: “Queen of the Night” (Victory Gardens Theatre); “PYG or The Misedumacation of Dorian Belle” (Studio Theatre); “And Then There Were None”, “A Christmas Carol”, “The Mystery of Irma Vep”, “Don Juan”, “Fences”, “Dirty Blonde”, “Member of the Wedding”, “The 39 Steps”, “Two Wolves and a Lamb” (Triad Stage); “The Snowy Day and Other Stories by Ezra Jack Keats” (Children’s Theatre of Charlotte); “Baskerville: A Sherlock Holmes Mystery”, “The Hound of the Baskervilles” (Cape Fear Regional Theatre); “How I Learned What I Learned”, “Too Heavy For Your Pocket”, “Intimate Apparel”, “Hooded or Being Black for Dummies”, “A Raisin in the Sun” (Pyramid Theatre Company); “Sonnets for an Old Century”, “How I Learned What I Learned” (Riverside Theatre). Education: Visiting Faculty at UNC School of the Arts, MFA in Sound Design from UNC School of the Arts. BS in History/ Minor in African American Studies from Iowa State University. Music Production: “O Henry” by Demeanor. @g_period

Alex Maness Projection Designer

PlayMakers: “Ragtime,” “Native Son.” Regional: “The Laramie Project,” “Dancing at Lughnasa” (Duke Theater Studies); “Donald,” “Jade City Chronicles,” “Tarantino’s Yellow Speedo,” “And the Ass Saw the Angel,” “The Emotions of Normal People,” “Hunchback” (Little Green Pig Theatrical Concern); “Wakey Wakey” (Manbites Dog Theater); “In An Interrogative Mood” (UNC – The Performance Collective). Dance: “Echo,” “No.19 / Modulations,” “Show” and “Culture Mill” (collaborations with choreographer Justin Tornow), “They Are All” (American Dance Festival). Visual Art: “Cinnabar,” “And Then the Sun Swallowed Me” (collaborations with artist Heather Gordon).

Saleemah Sharpe Dramaturg 22

PlayMakers: “The Skin of Our Teeth.” Company member in their first year of UNC’s Professional Actor Training Program. New York: “King Lear” (NY Classical). University: “As You Like It” (Stella Adler Studio of Acting); “King Lear,” “Soon Again Not Yet,” “Sopita” (Royal Social Distance

Company); “Sins of the Father” (Eden Theater Company); “Significant Other” (The Theatre Project); “The Block” (Lakai Dance Theatre); “Ubu Roi,” “Straight Outta Kansas,” “Antigone” (Montclair State University). Film: “The Girl With the Eyes” (Independent film), “Remission Accomplished” (Student film). Television: “iCarly” (Nickelodeon), “The Electric Company” (PBS Kids). Education/Awards/Other: Montclair State University, B.A. Theatre Studies & a doubleminor in Myth Studies & Business. @Saleemah____

Jamar Jones Assisant Director

PlayMakers: Company member in their first year of UNC’s Professional Actor Training Program. “The Skin of Our Teeth,” “Stick Fly,” “A Wrinkle in Time,” “The Brothers Size” (PlayMakers Ground Floor). Regional: “Fires in the Mirror,” “Passing Strange” (Firehouse Theatre); “Fences,” “Akeelah and the Bee” (Virginia Repertory Theatre); “Red Velvet” (Quill Theatre); “An Octoroon,” “Topdog/Underdog” (The Conciliation Lab); “Free Man of Color” (The Heritage Ensemble Theatre Company); “Choir Boy” (Richmond Triangle Players/THETC) and “Equus” (Cadence Theatre Company). University: “Pure Confidence,” “Blues for Mister Charlie,” “The Story” (University of Richmond). Education/Awards: The College of William and Mary, B.A. Sociology and Theatre. 2019 Richmond Theatre Critics Circle Award, Best Actor in a Leading Role – Play for “An Octoroon,” 2020 RTCC Award, Ernie McClintock Best Ensemble Acting for “Passing Strange.”

Charles K. Bayang Stage Manager

Charles is in his fourteenth season with PlayMakers. Work at other regional theatres includes productions at Studio Arena Theatre, Merrimack Repertory Theatre, Huntington Theatre Company, Alabama Shakespeare Festival, Dallas Theater Center and Dallas Children’s Theatre. Charles holds an MFA from the University of Alabama/Alabama Shakespeare Festival and is a member of Actors’ Equity Association.

Elizabeth Ray Assistant Stage Manager

PlayMakers: Company member in her fifth full season. "A Wrinkle in Time," "Stick Fly", "Love, Loss, and What I Wore", "The Storyteller", "Everybody", "Dairyland", "No Fear & Blues Long Gone: Nina Simone", "How I Learned to Drive", "Jump", "Skeleton Crew", "Temples of Lung and Air", "'A' Train", "Tartuffe", "Dot", "The Cake", "Into the Woods", "A Midsummer Night’s Dream", and "Private Lives". New York: "Shows for Days" (Lincoln Center Theater), "In the Secret Sea" (Theatre Row), "Wallenberg", "Requiem for Mr. B", "Presto Change-O" (Frankel Green Production Company), and "Welcome to Shoofly" (Playwrights Horizons). Work at other regional theatres includes productions at North Carolina Theatre, Theatre Raleigh, Palm Beach Dramaworks, and Cape Fear Regional Theatre. Elizabeth is a member of Actors’ Equity Association. 23

PLAYMAKERS LEADERSHIP Vivienne Benesch Producing Artistic Director

Vivienne is in her sixth full season as a company member and Producing Artistic Director at PlayMakers, where she has helmed productions of “The Storyteller,” “Dairyland,” “Life of Galileo,” “Leaving Eden,” “The May Queen,” “Three Sisters,” “Love Alone,” “RED” and “In The Next Room.” In her six seasons with the theatre, she is particularly proud to have produced ten worldpremieres and launched PlayMakers Mobile, a touring production aimed at reaching underserved 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 best summer theatres and most competitive summer training programs in the country. Vivienne 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. In 2018, she directed the world premiere of Noah Haidle’s “Birthday Candles” for Detroit Public Theatre and and just finished directing its Broadway production, starring Debra Messing. As an actress, Vivienne has worked on and offBroadway, 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.

Nichole Gantshar Managing Director

Nichole Gantshar is a former dramaturg turned arts administrator. Having spent the past two years in interim leadership with Louisville Ballet and Theatre Bay Area, she looks forward to becoming part of the Triangle community. She spent five years as Executive Director of Rochester City Ballet, where she tripled grant revenue, grew audiences by 30 percent, added free (philanthropy supported) sensory-friendly performances, and earned support from the National Endowment for the Arts and The Shubert Foundation. Apart from her career in the arts, Nichole worked as a Legislative Aide in Congress and as a journalist. Regional: Hangar Theatre, Milwaukee Ballet, Pittsburgh Ballet Theatre, Playwrights Horizons, Richmond Ballet, Syracuse Stage, and Tulsa Ballet. Volunteer: Rotary, treasurer, Literary Managers and Dramaturgs of the Americas (LMDA), Chair of the National Student Education Fund, treasurer, Syracuse Chapter of Girls Inc. Awards: Nominee, Outstanding Young Woman of America, LMDA Residency Grant. Faculty: Syracuse University, University at Stony Brook, University of Pittsburgh and the Wooster Center for the Arts. Education: MFA, University at Stony Brook. 24

Michael Rolleri Production Manager

Michael is in his 35th 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 member of United States Institute For Theatre Technology (USITT), he is a three-time winner at USITT's Tech Expo. He is a full Professor/Head of the Technical Production Program at UNCChapel Hill and was an instructor at High Point University and Tufts University. Education: MFA in Design and Technical Production, UNC-Greensboro.


THEATRE QUEST CLASSES Calling all Middle & High School students! (Rising 6th Graders - 2022 High School Graduates)

Have fun, make friends and explore theatre with professional acting teachers at PlayMakers Repertory Company.

JUNE 13 - 24 (No camp July 20) Principles of Acting / Make ‘Em Laugh

JUNE 27 - JULY 8 Brush Up Your Shakespeare

JUNE 13 - 24 (No camp July 20) Musical Theatre

JUNE 27 - JULY 8 Musical Theatre: Auditions

JULY 12 - 22 Let’s Make a Play!

JULY 18 - 22 Improv! Improv! Improv! *

Learn how to play an action in a scene, identify objectives, overcome obstacles, and focus energy. In the second week, focus on developing comedic skills!

Learn about solos and duets and explore tips and tricks to enhance musical theatre performance skills. Learn the ins and outs of group numbers and how to stop the show!

Use games, movement, playwriting exercises and writing prompts to create unique and original short plays. Teams revise and rehearse plays and get them performance ready!

JULY 12 - 22 Disney on Broadway

Hone singing, acting, and dancing skills while learning exciting Disney production numbers from the Broadway stage. This is a chance for actors to become triple threat performers.


Get the skills to tackle the unique demand of classical material. Dive into Shakespeare’s texts through script analysis, exploration of language, vocal work, monologues, and scene study.

Study the foundations of acting the song and explore different styles in Musical Theater. Prepare and execute great auditions, both live and self-tapes. Build skills while having fun.

Get ready to think quick on your feet and recognize patterns to reach new comedic heights! Learn how to create characters, relationships, and an entire environment out of nothing but your minds and hands.

Tuition: $650 for two weeks

*Improv! Improv! Improv! is $350 for one week





All classes meet Monday thru Friday from 10am-5pm in the Joan H. Gillings Center for Dramatic Art at UNC-Chapel Hill. Early 9am drop-off available.

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. PlayMakers is a proud partner of The Drama League, which advances the American theatre by providing a life-long artistic home for directors and a platform to dialogue with and between audiences.



Joan H. Gillings Center for Dramatic Art CB# 3235, UNC-Chapel Hill Chapel Hill, NC 27599-3235 Box Office: 919.962.7529 Website:



The 21/22 season will feature five live, in-person performances featuring works that explore the resilience of family bonds in all their complicated forms, friendships that transcend language, time, and space, and one man’s connection to his community that helps him stand taller than he could alone.


PlayMakers Repertory Company is committed to the safety and well-being of our patrons, artists and staff. We will be following state, industry and University safety guidelines in the 21/22 season.

All patrons are encouraged to wear masks while inside the Joan H. Gillings Center for Dramatic Art. We have increased sanitation measures throughout the building and put some new protocols in place to improve safety including: • Touch free electronic ticketing • Hand sanitizers throughout the Center for Dramatic Art • More frequent cleaning of high-touch surfaces • HEPA filtration units • With the exception of onstage performances, artists, crew and staff will be required to wear masks


Mon, Weds, Fri 12:00 noon-5:00p.m. and 90 minutes prior to each performance.


For the safety of all our artists, patrons, and staff, if you feel unwell, please stay home. You may call our Box Office and ask to be reseated for another performance, or request a refund up to 48 hour before your ticketed performance.

If you know you will miss a performance date, we can exchange your ticket for you, based on availability. Please call our Box Office at least 48 hours before your scheduled performance, and please be aware that all exchanges are based on availability and a fee or additional cost may apply. Subscribers may exchange their tickets with no additional fee, but additional cost may apply with a change in performance or section.


Texting and using cell phones, laptops, smart watches, and other devices light- or sound-emitting devices are strictly prohibited during the performance. Please turn all electronic devices to silent, theatre mode, or off during the show.


Taking photographs or videotaping inside the theatre is strictly prohibited during performances. However, before the show, during intermission, and after the show, you are invited to take and share your photos of the stage and scenery.


There are several paid and free parking options available near PlayMakers. We recommend arriving 30 minutes before the show so that you have time to park and pay (Monday-Thursday evenings only) and find your seat. For more information and an interactive map of nearby parking options, please visit


As a courtesy to our patrons, it is the policy of PlayMakers not to admit children under the age of 5. All of our shows have content ratings for each production (for example: Rated PG-13). If you are considering bringing your child, please refer to website or contact our Box Office for further information. All patrons, regardless of age, must have a ticket.


Our theatres are equipped with sound systems that amplify the sound from the stage. Patrons who wish to use the system may obtain headsets on a first-come, first-served basis from the coat check. Headsets must be returned immediately after the performance.


To minimize disruptions to the actors and other patrons, late seating will be provided at the discretion of the house manager at an appropriate break in the action on stage. Patrons who need to be seated late must be escorted by house staff to seats at the rear entrance of the auditorium, which entails climbing a flight of stairs. Patrons can take their regular seat at intermission.

PLAYMAKERS Administration

Vivienne Benesch, Producing Artistic Director Nichole Gantshar, Managing Director



Tracy Bersley, Movement Coach/Choreographer Kathryn Hunter-Williams, Company Artistic Associate Chelsea James, Producing Assistant Tia James, Vocal Coach Gregory Kable, Dramaturg Jacqueline E. Lawton, Dramaturg Jeffrey Meanza, Associate Artistic Director Mark Perry, Dramaturg Gwendolyn Schwinke, Vocal Coach Jeri Lynn Schulke, Engagement Associate Adam Versényi, Dramaturg

Hannah Hendren, Communications & Advancement Asst Alex James, Audience Services Associate Diana Pineda, Director of Sales & Marketing Thomas Porter, Box Office Manager Rosalie Preston, Associate Director of Marketing Jessie Gleason, Undergraduate Marketing Assistant

ADMINISTRATION Kate Jones, Business Operations Coordinator Lisa Geeslin, Accountant Maura Murphy, General Manager

WORK STUDY STUDENTS Artistic: Josh Wahab Box Office/ Front of House: Aisha Bynum, Charity Cohen, Eli Dietrich, Olivia Mahon, Yaeelin Merino-Velasquez, Olivia Morse, Kaitlyn Rivera, Krystal Rivera, Alla Sirelkhatim, Naomi Smith, Lily Vance Development: Mahika Kawale Marketing: Belawal Ahmed

Department of Dramatic Art Adam Versényi, Professor and Chair



Vivienne Benesch, Professor of the Practice Tracy Bersley, Assistant Professor Pamela Bond, Visiting Teaching Assistant Professor Jan Chambers, Professor McKay Coble, Professor Jeffrey Blair Cornell, Associate Chair, Teaching Prof. Ray Dooley, Professor Emeritus Samuel Ray Gates, Assistant Professor Julia Gibson, Associate Professor Jennifer Bayang, Teaching Assistant Professor Kathryn Hunter-Williams, Teaching Associate Professor Tia James, Assistant Professor Gregory Kable, Teaching Professor Jacqueline E. Lawton, Associate Professor Adam Maxfield, Teaching Associate Professor

Triffin Morris, Professor of the Practice David Navalinsky, Associate Professor Bobbi Owen, Distinguished Professor Emerita Mark Perry, Teaching Associate Professor Rachel E. Pollock, Teaching Assistant Professor Michael Rolleri, Professor Gwendolyn Schwinke, Assistant Professor Aubrey Snowden, Teaching Assistant Professor

STAFF Betty Futrell, Student Services Specialist Lisa Geeslin, Accounting Technician Jordan Clodfelter, KTC Technical Director Karen Rolleri, Business Coordinator Jamie Strickland, Business Officer

OUR 21/22 SEASON Production

Michael Rolleri, Production Manager

COSTUMES Jennifer Bayang, Assistant Costume Director Amy Evans, Wardrobe Supervisor Marissa Lupkas, Costume Collection Coordinator Triffin Morris, Costume Director Rachel Pollock, Costume Craftsperson Costume Production Graduate Students: Matty Blatt, Jocelyn Chatman, Alex Hagman, Emma Hoylst, Lou Pires, Athene Wright, Sherry Wu

LIGHTING Benjamin Bosch, Head Electrician

SCENIC Anthony Cacchione, Master Carpenter Adam Maxfield, Technical Director Laura Pates, Assistant Technical Director Jessica Secrest, Scenic Artist Technical Production Graduate Students: Brock Burton, Gregory Condon, Paul Edghill, Patrick Hardison, Kevin Pendergast, Luke Robinson, Garrett Weeda Spencer Ellis, Undergraduate Assistant-Scene Shop Haley Connell, Undergraduate Assistant-Paint

WORK STUDY STUDENTS Carpentry: Tygia Drewhowell, Jeffrey Jones, Danielle Mou, Lillyann Nekervis Lighting: Jessica Atkins, Anthony Burch, Jahel Gomes, Sananda Jagannathan, Annabelle Jiang, Alex Mitropoulos Props: Charlotte Allsbrook, Hannah Fatool, Lydia McRoy, Marissa Romano Scenic Painting: Madison Austin, Madeleine Collins, Corinne Laverge, Faith Wang

PROPS Emma Anderson, Props Artisan Andrea Bullock, Properties Master

STAGE MANAGEMENT Charles K. Bayang, Stage Manager Aspen Jackson, Production Assistant Elizabeth Ray, Stage Manager

SOUND Marisa Clemente, Sound Associate Mac Cohen, Undergraduate Assistant

PlayMakers’ Resident Acting Company

Jeffrey Blair Cornell Kathryn Hunter-Williams

Samuel Ray Gates Tia James

Julia Gibson Gwendolyn Schwinke

Professional Actor Training Program: Sergio Mauritz Ang, Anthony August, Hayley Cartee, Heinley Gaspard, Tori Jewell, Jamar Jones, Khalil LeSaldo, Saleemah Sharpe, AhDream Smith, Sanjana Taskar, Adam Valentine, Omolade Wey

For this Production Garrett Weeda, Production Technical Director Laura Pates, Assistant Technical Director

Morgann Russell, Sound Engineer




Phone or Email 919.962.2481


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


During this period of re-emergence, we are producing a smaller, “capsule” season of only five powerful shows. While this allows us to remain focused on the safety and well-being of our patrons, artists, and staff, it has substantial financial implications. As a nonprofit professional theatre, ticket sales traditionally cover only half of our annual operating costs. This year, we cannot count on ticket revenue as we have in the past. We must rely on the generosity of our community to help close the gap and keep our stages alive. 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 Remain flexible, safe, and better prepared for the future

Every gift, big or small, makes a huge difference!

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 the PlayMakers Development Office at 919.962.2481 or visit us at

Director’s Circle ($10,000+)

Anonymous Betsy Blackwell and John Watson Jr. Thomas and Holly Carr G. Munroe Cobey Fidelity Charitable Gift Fund Joan H. Gillings ~ The Charles Goren and Hazen Family Foundation, Trustees Tom and Lisa Hazen Brian Hargrove and David Hyde Pierce Mrs. Frank H. Kenan Coleman and Carol Ross Schwab Charitable Shubert Foundation Vanguard Charitable Endowment Program Alan H. Weinhouse

Cindy and Thomas Cook Cindy K. Cook Joanne and Peter Garrett Dr. Lyle V. Jones Susan J. Kelly Robert and Kathryn Kyle Mark & Bette Morris Family Foundation Sandy and Ned McClurg ^ Mark and Julie Morris Raymond James Charitable Endowment Fund Jean and Joseph Ritok Dr. and Mrs. Edward Smithwick Triangle Community Foundation David and Heather Yeowell

Angel ($5,000–9,999)

Page to Stage ($1,500–2,499)

Anonymous American Endowment Foundation Andrew and Katherine Asaro ^ + T. Chandler and Monie Hardwick Munroe and Becky Cobey Robert and Mary Ann Eubanks Drucie French and Steve Cumbie Joanne and Peter Garrett Chan and Monie Hardwick Kim Kwok Mr. and Mrs. William O. McCoy Paul and Linda Naylor Bobbi Owen Amy and Nick Penwarden The Prentice Foundation Paul McNeill Sconyers The Educational Foundation of America Theatre Projects Jim and Bonnie Yankaskas

Investor ($2,500–4,999)

Anonymous Richard and Deirdre Arnold ^ Andrew and Katherine Asaro ^ + Vivienne Benesch Stephen S. Birdsall Ed and Eleanor Burke

David and Judy Adamson Ayco Charitable Foundation Steve Benezra ^ Edmund S. Burke Capital Group Company Charitable Foundation Matching Gifts Jeffrey Blair Cornell and Maria Savage Julie R. Daniels Imre and Aniko Gaal Dustin and Susan Gillings Gross Susan G. Gross Kevin and Amy Guskiewicz David Howell IBM Corporation Matching Gifts Jacobs Preyer Family Foundation Hannelore and Konrad Jarausch Joanna Karwowska and Hugon Karwowski ^ Howard and Sandra Kaufman Kathryn and Robert Kyle Lauren Rivers Morgan Stanley Global Impact Funding Trust, Inc. Panter Foundation Rich and Marilyn Jacobs Preyer Perry Branin Silver Dr. and Mrs. William Stewart The Rev. Wendy R. and Mr. W. Riley Waugh Roger and Marlene Werner YourCause, LLC Trustee for IBM Matching Gifts


Partner ($1,000–1,499)

Anonymous (4) Anonymous (4) Penny and Howard Aldrich Laurence Arthur Cobb Dede Corvinus Jo Anne and Shelley Earp Constance and Robert Eby Dr. and Mrs. John P. Evans John and Diane Formy-Duval W. Patrick Gale Joseph and Deirdre Haj Clay and Jane Harrell Carol Hazard and Winston Liao Vikram Rao and Susan Henning Ann E. Holloman Lynn Knauff Jack Knight and Margaret Brown ^ Gary and Carolyn Koch Dr. Catherine Kuhn and Glenn Tortorici Shirley and Tom Kunkel Douglas and Nelda Lay Anand and Sandhya Lagoo Scott Levitan and Patrick Francisco Mort and Cheryl Malkin David and Harriet Martin Connie and Vernon Matzen Holly and Ross McKinney James and Susan Moeser Paul and Sherrie Norton Lee and Barbara Pedersen Isaac and Sabrina Presnell-Rockoff Alec Rhodes Rif Riddick Rufus M. Riddick Carole Lynne Shelby David Sontag * Sarah West and Thomas Dominick Jesse L. White, Jr. Paul and Sally Wright

Backer ($500–999)

Anonymous (3) Anonymous friends of Ben Kahn, In memory of Charles Kahn Akin Akinli Virginia M. Aldige Howard and Penny Aldrich Pete and Hannah Andrews Evelyn Barrow John W. Becton and Nancy B. Tannenbaum Shula and Steve Bernard


Dr. Stanley Warren Black, III Stanley W. Black Julia A. Borbely-Brown Jackson Davis Breaks II and Carolyn Snyder Breaks Drs. Maurice and Mary Hughes Brookhart Jennifer and Robert Buckmire Keith Burridge and Patricia Saling Ann and John Campbell Philip and Linda Carl Clara Cazzulino Laurence A. Cobb Adrienne and John Cox* Brooks de Wetter-Smith and Mary Lou Leiser Smith David A. Doll Alexander M. Donaldson and Georgia Cobb Donaldson Dr. Carrie Donley W. Patrick Gale and Dr. Carrie Lynn Donley Bob and Connie Eby Eli Lilly & Company Foundation Matching Gifts Program Thorsten Fjellstedt Mr. Stephen Mark Cumbie and Dr. Druscilla French Shayne C. Gad Bill Cobb and Gail Perry W. Patrick Gale ^ Nichole Gantshar Mike and Bonnie Gilliom Ugo Goetzl James P. Gogan Priscilla Alden Guild Carolyn and Jim Harris C. Hawkins ^ Drs. M. Vikram Rao and Susan June Henning Ann Holloman Betty Block James Julie and Robert Keely* Brenda W. Kirby Michael Maness and Lois Knauff Laura Koshel and Rafael de Jesus Leonard & Ruth Kreisman Randy and Cathy Lambe Douglas M. Lay and Nelda Kilcrease Lay Douglas Maclean and Susan Wolf Elaine Mangrum Janet McCarthy* Ed and Connie McCraw Cecilia D. Moore^ Mary Nunn Morrow Jill Muti Nelda K. Lay Revocable Trust Stephen Nelson Linda Williams Norris George D. Norton Paul and Cheryl Norton

Liz and Dave Nuechterlein Lois Oliver Jo Ann and Gordon Pitz Mark and Eugenea Pollock Robert and Joyce Anne Porter Jodi and Glenn Preminger David and Lisa Price Elizabeth Raft Rao Family Foundation Dr. Terry Rhodes Victor and Linda Roggli Jan F. and Anne P. Sassaman Stephanie Ann Schmitt and Kevin Zachary Kinlaw Martha Scotford* Kyle and Jenn Smith Jackie Tanner* The Marconi Hoban Tell Fund of Triangle Community Foundation Glen H. and Sandy T. Elder Ernest T. Wilkes Alan Young

Supporter ($250–499)

Anonymous Virginia M. Aldige Drs. Richard N.L. Andrews and Hannah Wheeler Andrews David Ball and Susan Pochapsky Bank of America Charitable Gift Fund Tony and Susan Barrella Deborah Barrett Evelyn Barrow Reginald M. Barton, Jr. Adam Beck^ John William Becton and Nancy Baach Tannenbaum Drs. Stephen A. Bernard and Shulamit Landau Bernard Dr. Katherine L. Bick Sarah and Francis Binkowski Stanley W. Black Julie Blatt and Arthur Greenberg William and Patricia Blau Dr. Caryl Jane Schwartzbach and Mr. Alan David Bolzan Andrew Borba* Julia Borbely-Brown^ Ken and Margie Broun Linda and David Brown Robert and Jen Buckmire David Burr and Rusty Unger Douglas Call and Susan Warwick Ann Long Campbell and John Joseph Campbell Clara Cazzulino Lata Chatterjee and Tiruvarur Lakshmanan Dennis Clements and Martha Ann Keels Gary and Dianne Clinton

Anne F. Coenen Britta Couris* Dr. Adrienne D. Cox and John Cox Dr. Brooks de Wetter-Smith and Mary Lou Smith David DeMarini Nancy and Mark Dewhirst David A. Doll Alec and Georgia Donaldson W. Patrick Gale and Dr. Carrie Lynn Donley E.M. Eddy and D.A. O'Brien Jane E. Emeis Mr. and Mrs. Philip W. Ewing Barbara and Chris Exton Mr. and Mrs. Richard E. Falvo Nicole Bruce Fine Pat Fischer Thorsten Fjellstedt Jaroslav and Linda Folda Stephen Mark Cumbie and Dr. Druscilla French Beth Furr Ann and John Gabor Beth Ragan Gad and Dr. Shayne Cox Gad Gail Perry Associates Elizabeth Galvin* Gary Clyde Gambrell and Mary Robin Wells Gambrell James P. Gogan ^ Linda Grimm Gail and Steve Grossman Albert and Mary Guckes Priscilla Guild Mark W. Hartman Drs. M. Vikram Rao and Susan June Henning Marianna Matthews Henry Mary Cook Howes David G. Hubby Gerda (Kani) Hurow Lynne and Walter Jacobs^ Betty Block James Kathleen Johnson Eve and Rudolph Juliano Claudia Kadis Julia Booe Keely and Robert Laurence Keely Barbara Keyworth Jeanette Kimmel Dr. William W. Smith and Brenda Womble Kirby Michael Coleman Maness and Dr. Lois Ann Knauff Dr. Richard H. Kohn and Lynne H. Kohn Laura Koshel and Rafael de Jesus Dr. Leonard and Ruth Kreisman^ Marie E. Kulchinski Anand and Sandhya Lagoo Dr. Randolph Leland Lambe and Catherine Underhill Lambe Carol J. Land and Barry H. Slobin



Douglas M. Lay and Nelda Kilcrease Lay Lee and Barbara Pedersen Dayna Lucas Drs. Douglas E. Maclean and Dr. Susan Rose Wolf Elaine Fisher Marcus and Dr. Lee M. Marcus Alice and John May Michael Mayer Janet L. McCarthy Sharon and Alan McConnell Larry McManus and Pamela Nielsen James and Susan Moeser Richard J. Muise Jill Muti National Philanthropic Trust Nelda K. Lay Revocable Trust Linda Williams Norris Pat and Mary Norris Oglesby Lois P. Oliver Glenn O'Neal Heather and Russ Owen Bobbie Owens* Lee and Barbara Pedersen Robert Peet Robert and Marilyn Pinschmidt Gordon and Jo Ann Pitz Stephen and Lyn Pizer Robert Davis Porter and Joyce Anne Porter Gary and Susie Pratt The Honorable David Eugene Price and Lisa Kanwit Price Rao Family Foundation Andrea Reibel* Sandra and Stephen Rich Linda and Alan Rimer Alan Linda Rimer Victor L. Roggli and Linda Surratt Roggli Bruce Marshall Romans Beth Rosenberg Michael Kerry Salemi Stephanie Schmitt Dr. Caryl Jane Schwartzbach and Alan Bolzan Dr. Robert Sealock and Cecile Skrzynia Barbara and Jonathan Sheline Wayne Sherrill Sarah Elizabeth Shively Dr. Robert Sealock and Ms. Cecile Skrzynia Dr. and Mrs. Sidney C. Smith Kyle Hardee Smith and Jenn Kroohs Smith Richard L. Smith and Amy Marie Grady Meredith and Paul Snow Connie Spooner Carol Stamm, In memory of Dr. John Stamm

Elizabeth L. Stanley* Jeannie Pfister Stroupe ^ Dr. Robert Joseph Sullivan Jr. and Ms. Kim Stephenson Sullivan Steven and Madeline Sunshine T. Rowe Price Program for Charitable Giving Tim and Judy Taft Monica Taylor* Margaret G. Teasley Hugh and Judy Tilson^ Bruce Tomason Barrie Trinkle Dr. Glen Holl Elder Jr. and Mrs. Sandy Aldridge Turbeville United Way of the Greater Lehigh Valley Inc John and Donna van Arnold Adam Versenyi Carol and Jim Vorhaus Tovah M. Wax and Lucjan Mordzak Mary Robin Wells and Gary Gambrell Ernest T. Wilkes R. Sanders and Jennifer Williams Sarah Winkler Jane Pettis Wiseman Jerry Worsley Wyrick Robbins Yates & Ponton LLP, In Memory of Joan H. Gillings Alan J. Young

Patron ($100–249)

Anonymous (10) Trudi Abel* Dwight and Robin Allen Mary Altpeter Elizabeth Amend* American Online Giving Foundation, Inc. Sherry and Mitchell Anscher Mr. and Mrs. Thomas E. Archie* Matthew and Linda Arnold* Dean W. Avary Krista and Michael Babbitt Pam and Don Bailey Dan and Susan Barco Cathy Barrett Phil Barrineau Beatrice C. Treat Trust Anne Beaven and Margaret Louey Neal and Jeanette Bench Donna and Daniel Benjamin Kitty Bergel Robert A. and Christine S. Berndt Susan Berry Patricia Beyle* Jim and Martha Bick

Justin and Dorothy Biddle Mr. and Mrs. David Birnbaum Peter Bleckner Blue Ridge Psychological Services Natalie and Gary Boorman Tony Boothby* Melissa Bostrom and Krisztian Horvath Thomas W. and Vicki V. Boyer Lauren Kennedy Brady and Charlie Brady Carol Brainard and Nancy Hardin Philip Breitfeld and Susan Kreissman Rev. William Sims Brettmann Eunice Brock and Sam Magill Linda and David Brown Charles and Renee Brown Bates Buckner Edward and Sheila Burgard Drs. Charles Burnett and Catherine Forneris Frances D. Burton Thomas Butler Dr. Leigh Fleming Callahan Robert Cameron* Glenn and Patricia Camp Janet F. Campbell Natalie Campbell Donna Carroll and Gale Lackey Virginia Carson* Jean Carter Michael Case and Lewis Dancy Lorna Chafe Dr. Margaret Champion Beverly Long Chapin Mimi Chapman* Nancy N. Chemtob* Corey and Christine Cicci Gabriella Cila Elizabeth Cisar* Linda G. Clarkson* Ellen Clevenger-Firley Steve Cline* Bill Cobb and Gail Perry Cathy Cole Robert F. Coleman III in memory of Susan Hurst Rappaport Donald and Eunice Collins Jeffrey Collins and Rose Mills Jenn Collins and Paul Runkle Joseph and Elizabeth Cook Rayna Cooney Sharon Scholl Coop Lee Cope

Janilyn and Vance Cope-Kasten Mary Jo and Douglas Coppola John and Belinda Corpening Sarah Clare Corporandy* Georgia Court* Rick and Patty Courtright Elizabeth Anne Cullington Fred and Jane Dalldorf Amy Elizabeth Dallen Zachary Davis Mrs. Robert Bigelow DeMaine Todd Dickinson and Helen Kalevas Teresa Dollar Sheila and Joe Dorey* Scott and Mia Doron Joy and Chet Douglass* Ginny and David Dropkin John F. Duncan, Jr. Anne Dusek* Kathleen DuVal and Martin Smith* Connie Eble The Eckert Family Bobette Eckland and Richard Kamens Mark Ransom Eis Barbara Elish Jan Elliott Jerry and Adelia Evans Joshua London Evans Dagmar and J.C. Fahr* Dr. Richard Fair and M. Clare Fair Robert Farmer Shauna and Tom Farmer Pamela Ferguson* Laurice Ferris^ Nicole and Bruce Fine* Karen Fink Jon and Sue Fish Gina Cordasco Flynn Sara Franks* Douglas and Judy Frey Bennett Galef Betty and Franklin Garland Ed and Carol Gaunt Nikki and Anthony Giachetti William Glasgow Gunter Glass Debra and Eric Goldberg* Alix Goldschmidt* Eve Benesch Goldschmidt Raymond and Susan Goodmon Lucy and John Grant


Proud Sponsors of the PlayMakers Repertory Company

Extended Stay Suites Chapel Hill

101 Erwin Road, Chapel Hill, NC 919.933.4848


Stephen Grant Grant Thornton LLP, In Memory of Joan H. Gillings Virginia Gray John Graybeal and Laura Heise Bill Green and Brett Bohnn Drs. Lawrence H. Greenblatt and Cathleen Melton Elizabeth Grey* Lucy Grey and Wilson McIver Jean Susan Gross Joseph Groves Kay Gruninger Satyaki Guha Erin and Evan Gwyn Tim Hackett and James Konold Carol and Nortin Hadler Janet Hadler Todd Haimes* Garrett Hall and Zachary Howell Bruce Hamilton and Jennifer Weiss* Jean Handy* Doranne Hans Carol Ann Brainard and Nancy W. Hardin Cheryl and Toby Harrell Joanne Harrell Edwin Harris Lynden Harris* Patti Seitz Hartel Jim and Mary Hayes Rachel Heller Richard Hendel* Eric Herget and Sherry Wilner Klaus Hermanns Ellen Herron William Hicks and William Sadler Ann Hillenbrand Margaret R. Hinkle* Jennifer Hodgson and Matthew Conley Peter Hollis Houston and Joyce Horn Mary Howes, In Memory of Jonathan B. Howes John and Joyce Hren Mr. David Hubby and Ms. Sarah F. Hubby Mary Hulett* Malcolm and Wanda Hunter Leslie Hurtig* Beth H. Isenhour* Abby Jablin Elizabeth W. Jackson Emma Jakoi Champa and David Jarmul Perry Jenkins Mr. John Jennings and Lisa Jennings Jewish Community Foundation of Durham & Chapel Hill Suzanne Fields Jones Susan Joyner Eve and Rudy Juliano

Dan and Linda Kaferle Cindy Kahler H. Richard and Sally A. Kahler Dr. Richard Miles Kamens and Ms. Bobette S. Eckland Amy Kane* Lynne Kane Howard and Joan Kastel Laura Kayser* Paul and Edith Keene Marie-Beatrice and Robert Keller Arlon Kemple and Karen Long Barbara Keyworth Brian and Moyra Kileff Dr. Harriet King Robert and Mary King, In memory of Charles H. Kahn Andrew Stewart and Peggy Kinney ^ Ann and Bill Kirkland Rabecca Klemp Joyce Kline Ted and Marilyn Koenig Stephen and Bunny Koff Elizabeth Koonce Helen Kotsher Lloyd Kramer and Gwynne Pomeroy Dave and Doris Krepp Ted and Debbie LaMay Benjamin Landman and Jen Feldman, in honor of Ms. Betty-Ann Landman Gerry and Ray Larson Robert Lauterborn, in memory of Sylvia Lauterborn Carol and Alexander Lawrence Mary and Jon Leadbetter Priscilla and Russell Leavitt Judith and Norbert Lechner Philip and Nancy Leinbach David and Carolyn Leith John and Ruth Leopold Arnold and Annette Levine Joy Lewis and Frederick Annand Betty and John Leydon Judith C.P. Lilley Jacqueline Little Ginger and Derek Long Carol Lucas John Ludlow and Kathy Davies Virginia Ludwig Mrs. Earl C. Lynch Sara Mack Corey Madden Dr. and Mrs. Donald Madison Dr. Samuel Hays Magill and Eunice M. Brock John Manley Raleigh and Betsy Mann^ Lee and Elaine Marcus Chris and Caroline Martens



Jeff Mason Shelley J. Masters Leigh Matthews Michael Mayer Dr. and Mrs. Robert N. McCall Meredith McClurg Ann and Webb McCracken Ed and Connie McCraw J.S. McKnight Patrick Joseph Mclane^ Lee McLean John and Bonnie Medinger Ewa Meehan Larry and Jerri Meisner Cathleen Melton and Larry Greenblatt Joan and Ron Mendelsohn Brian Meredith Julia Merricks and Susan Hauser* Tracie Merrill-Wilson Molly S. Metzler* The Honorable Graig Meyer Ryan Millager Herbert Miller Erik and Natalia Milz Mark and Alice Mine Sophie Jessica Mitchell Dana Mochel Jill Moore * Aela Morgan* Eric Muller and Leslie Branden-Muller Margaret Mullinix Kate Murphy Seth Murray and Jamie Newman Margaret Murray Judy Murray Lee and Ava Nackman Michael Naglich* Diane Nelson, Ph.D.* Michele and Klaus Nettesheim Barbara Nettesheim Betty Nies Linda W. Norris James and Nancy Nutt Drs. Susan and Raphael Orenstein Marilyn and Peter Ornstein Barry and Lois Ostrow Heather Kelly Owen and Russ Owen Norman Owen, in memory of Roberta Yule Owen^ Michael Patrick Josie Patton Michael Paul Ron and Julie Paxton

Robert and Kay Pearlstein Robert Peet Nancy Pekar Arnold Pender Joanna V. Percher Imara Perera* Carol and Al Perlman Mr. Stephen Perrin and Ms. Cecelia M. Sandford Rebecca Perritt Thomas Phillips Meredith Piatt Pickett M. Gutherie Revocable Trust Jim P. Polga* Susie Post-Rust and Adam MacKenzie Rust Ted and Peggy Pratt Jane Preyer* Todd and Nicky Purves* Jeffrey Qualls Margaret Quinlan Stephen Allan Rich & Sandra Danneman Rich Geraldine and Gary Richards Margaret Louise Robe Louise A. Robinson James and Janet Robles Philip and Jo Rodgers * Patricia Roos Joel Rosch and Carol Vatz Philip Rosoff and Dona Shikaraishi Judith L. Ruderman Jennifer Rudinger Laura and Reid Russell Patti and Dan Ryan Sylvia and Norman G. Samet, In memory of Charles H. Kahn Celia Sandford and Stephen Perrin Dale and Robert Sandler Elizabeth Saunders* Carol Elizabeth Sawyer Allie and Ian Scales^ Carol Schachner^ Karen Ann Sindelar and Douglas Brian Schiff Ernest and Mary Schoenfeld Tanya L. Schreiber Janice and Richard Schulke Dr. Caryl Jane Schwartzbach and Alan Bolzan Gwendolyn Schwinke Maren Searle and John Skelley Rick and Georgie Searles Patricia Shane Barbara Sharf William N. Sharpe Jr. Alison Sheehy* Barbara and Jonathan Sheline

Stephanie Shipman and Walter Travers* Connie Shuping, in memory of Ed and Dot Kennedy Nikki Silver* Bland Simpson* David Singley Jr. Ron and Mary Sinzdak Sim Sitkin and Vivian Olkin Barry Slobin and Carol Land Mike and Kim Slomianyj Linda Smith Drs. Richard L. Smith and Amy Grady Rosalyn Smith Dr. and Mrs. Stuart Solomon ^ Ilene Speizer* Marcia Spray, In honor of Laura Carson Spray Kimberly and David Spurr Sally and Jeremy Stander Mary Elizabeth Hall and Robert A. Stanger Jr. Allen Steckler Susanne Steinmetz* Anne Stephens* Marian Stephenson Cathy and Sefton Stevens Andy Stewart and Peggy Kinney^ Dorcas Stolper Leslie and Paul Strohm Mr. Edward Strong* Jeannie Pfister Stroupe^ Ed and Lynne Sullivan Terrence and Marguerite Sullivan Steven and Madeline Sunshine Jeff Surles Nanette and David Talaski Beverly Taylor David C. Taylor Stephen Tell and Rosemary Hoban The Boyer Living Trust Charles Thomas and Suzanne Maupin Janet Thomas Robert and Shirley Thompson David and Kelley Tobin* Beatrice Treat Nancy Trovillion* Nancy Tunnessen Nancy Tusa and Andy Brawn David Burr and Rustine Unger Lindsay Usher Mary Van Bourgondien* Ted Van Griethuysen Barney and Vivian Varner Dr. Barbara Carol Vatz and Joel Burt Rosch Jill Vexler*

Dr. Victor and Linda Roggli Robin Visser Deborah and Jonathan Wahl Ina Wallace Mary Louise Waller Angela Walter* Helen Warner David and Marsha Warren Tovah Wax and Lucjan Mordzak George Weinhouse The Honorable Jennifer Weiss and Bruce Alan Hamilton Dr. Lynn Wesson Shirley H. White, in honor of Steven H. White Loretta Wile Mike Wiley Jane Williams Dr. Nancy E Williamson Richard D. Wilson Joy Wood Nancy Worley Jerry M. Worsley Janice and Richard Woychik David and Dee Yoder Marla Yost YourCause, LLC Trustee for Red Hat Matching Gifts Justin Yung^ Rosilene Ziegler and John Steege

^ Sustainers Club Member + Women’s Point of View (WPOV) Supporter * PlayMakers Special Event Supporter ~ Deceased

This list is current as of January 18, 2022. If your name is listed incorrectly or not at all, please contact PlayMakers Development Office at 919.962.2481. We will ensure you are recognized for your thoughtful support.


OUR PARTNERS PlayMakers’ 2021/22 Season is Made Possible in Part by Grants from

Foundation Support National Endowment for the Arts, North Carolina Arts Council, Orange County Arts Commission, The Shubert Foundation, Fidelity Foundation, Truist Foundation, The Educational Foundation of America Additional Funding for Guest Artists is Provided by

Robert Boyer and Margaret Boyer Fund, Louise Lamont Fund, Emeriti Professors Charles and Shirley Weiss Fund

Producing Council

Mebane Lumber, Residence Inn Chapel Hill, Spoonflower, Larry's Coffee, The Siena Hotel/Il Palio Restaurant

Corporate Council

De Maison Selections, Aloft


Cambria Suites


Announcing PlayMakers'

22/23 Season

The season features six productions on the Paul Green Theatre stage, which will be transformed into the heart of the Harlem Renaissance, a usurper King’s court in Denmark, a neighborhood backyard battleground, a queen’s playground in Florida, a meddlesome English matchmaker’s drawing room, and, finally, familiar ground in the South for a young man’s journey of creative self-discovery. SEP 7 – 25, 2022

JAN 25 – FEB 12, 2023

OCT 12 – 30, 2022

NOV 16 – DEC 4, 2022

MAR 1 – 19, 2023

MAR 29 – APR 16, 2023

Subscriptions on sale now!