Discussion Series
Join us for a Book Club-style Page to Stage with the Portland Public Library. Check out your copy of the script and join us two weeks before opening of each Mainstage Production. Scripts are available at the reference desk at the Main Branch of the Portland Public Library. This year discussions will be held in the Rines Room at 1:30pm two weeks before a show opens. Feel free to come and chat about the plays with Literary Manager, Todd Brian Backus; his Directing and Dramaturgy Apprentices, and special guests. Visit portlandlibrary.com/programs-events/ for more information.
The Artistic Perspective, hosted by Artistic Director Anita Stewart, is an opportunity for audience members to delve deeper into the themes of the show through conversation with special guests. A different scholar, visiting artist, playwright , or other expert will join the discussion each time. The Artistic Perspective discussions are held after the first Sunday matinee performance.
Curtain Call discussions offer a rare opportunity for audience m embers to talk about the production with the performers. Through this forum, the audienc e and cast explore topics that range from the process of rehearsing and producing the tex t to character development to issues raised by the work Curtain Call discussions are held after the second Sunday matinee performance.
All discussions are free and open to the public. Show attendance is not required. To subscribe to a discussion series performance, please call th e Box Office at 207.774.0465.
HannaH Cordes, Paula Vogel, anita stewart, and todd Brian BaCkus in a talkBaCk, Portland stage ComPany
Conscience
by Joe DiPietro
PlayNotes Season 51 Editorial Staff
Editor in Chief
Todd Brian Backus
Contributors
Charlie Bowen, Sadie Goldstein, Micki Demby Kleinman, Kimmarie McCrann, Larsen Nichols
Copy Editor
Adam Thibodeau
Cover Illustration
James A. Hadley
Portland Stage Company Educational Programs, like PlayNotes, are generously supported through the annual donations of hundreds of individuals and businesses, as well as special funding from:
The Simmons Foundation
Susie Konkel Harry Konkel
Harold & Betty Cottel Family Fund
Letter from the Editors
Dear PlayNotes Readers,
We're so excited to have you with us for the first play of our 51st season!
In this issue, we explore the world of Conscience, an intimate look into the gripping political strife between Wisconsin Senator Joe McCarthy and Maine Senator Margaret Chase Smith. As the two begin to form a tense friendship that becomes an unlikely alliance, Senator Smith must choose between her political success and her own conscience, culminating in the delivery of a potentially disastrous speech on the Senate floor, her Declaration of Conscience.
Want to learn about this production of Conscience? Head over to our "Interview with the Director: Lisa DiFranza” (Pg. 10), and meet our actors in "About the Characters" (Pg. 8). Curious about Senator Smith's legacy? Learn more about her impact in today's society in "Community Connections: An Interview with The Margaret Chase Smith Library & Museum" (Pg.13).
Curious about the political context of the play? Check out the article "The Red Scare and The Lavender Scare" (Pg. 18) or learn about post-wartime Portland in "Post-War America, Post-War Portland" (Pg. 20).
When compiling each issue of PlayNotes, we strive to provide articles and interviews that give you insight into what the process has been like behind the scenes (see articles in "Portland Stage's Conscience"), contain pertinent information about the play’s setting and major themes (“The World of Conscience”), and provide deeper dives into specific subjects that compelled our literary department (“Digging Deeper”). We include a list of books, plays, and other media that we hope audiences will access for more cultural content that relates to the play (“Recommended Resources”).
We are delighted to have you join us for the beginning of our 51st season, and we hope you enjoy seeing Conscience
Sincerely yours,
The Portland Stage Literary Department
Todd Brian Backus
Micki Demby Kleinman
Kimmarie McCrann
Larsen Nichols
About the Play
by Micki Demby Kleinman
Joe DiPietro’s Conscience chronicles the rise and fall of McCarthyism in American political history. However, instead of centering around Senator Joseph McCarthy, the play hones in on his fiercest political opponent, Maine Senator Margaret Chase Smith. Senator Smith famously delivered her “Declaration of Conscience” speech in 1950, which condemned the scare tactics and silencing efforts McCarthy perpetuated, and praised the virtues of American values and liberties such as freedom of speech.
What transpires is an intriguing and combative encounter between McCarthy and Smith. Additionally, each senator is flanked by their political aides, Bill Lewis for Smith and Jean Kerr for McCarthy. Beyond the historical drama, DiPietro examines what it means to be a person in politics, a woman in politics, and a human being; and how one stays true to their
values, and how they betray themselves and others for power and attention.
Conscience premiered in 2020 at George Street Playhouse in New Jersey, but its theatrical run was cut extremely short due to COVID. Portland Stage is the second company to produce Conscience. Both of this show’s productions have occurred during election years, when politics has been an integral component to American culture and to the way that American life is understood. Portland Stage’s production is occurring in a unique and unprecedented political climate. We hope this play about our political past can inform us about our political present and future. Enjoy the show!
set designer germÁn CÁrdenas Presenting researCH at tHe first read of ConsCienCe.
Pre-Show Activites
by Charlie Bowen and Sadie Goldstein
1. This is a contemporary play set in the past (1950s America). Read the PlayNotes article “Staging the Past” (Pg. 25) and think about the importance of historical drama. Is there a time in history that interests you? Brainstorm ideas about how you would adapt it into a play. Who would be the characters, where would it be set, and what would be the plot?
2. This play uses real events, real text, and real people mixed with dramatized dialogue written by Joe DiPietro. Take one of the examples from your brainstorming and write a page of dialogue between two to three characters and try to bring in at least one real quote.
3. Margaret Chase Smith gave her speech about a topic she was passionate about. Write a oneminute speech about something you are passionate about and present it to the class.
4. Read the PlayNotes article "Bystander Effect; Why Do We Just Stay Silent?" (Pg. 27). How does the article define the bystander effect? Is there a time you have been a bystander or have seen someone else be a bystander to a difficult situation? What did you do in that situation? The article mentions “fight or flight”; was that your response, or did you physically respond in another way? Find a partner and share about your experience.
Focus Questions
by Charlie Bowen and Sadie Goldstein
1. Conscience follows the conflict between two former senators: Margaret Chase Smith and Joseph McCarthy. Read the PlayNotes article on Smith and McCarthy (Pg. 16). What made each senator notable? How did they interact with each other?
2. How would you define “American-ism”? How does McCarthy define it in the play? Look up Smith’s “Declaration of Conscience” speech and notice how she defines it. How do these different definitions compare and contrast with your definition?
3. Joseph McCarthy uses paranoia and fear of the unknown to manipulate others. How have "politics of fear" been used in our current political system?
4. Read the PlayNotes article “The Red Scare and the Lavender Scare” (Pg. 18). How were these events shown through the context of the show? Did any characters of Conscience fall victim to these movements? How did these public panics go hand in hand and relate to one another?
5. Margaret Chase Smith has to deal with many harmful stereotypes including that “a woman's place is in the kitchen.” How does Smith respond to this stereotype? In what ways have you seen these stereotypes change over time, and in what ways have you seen them stay the same?
7. The term social identifiers refers to the different ways an individual can see oneself within the context of a larger social identity group. For example, one’s gender or racial identities could be one of an individual's social identifiers. How may these social identifiers play a role in positions of power? What different types of power does McCarthy have over the other characters?
About the Characters
by Micki Demby Kleinman
Name: Kate Udall (AEA)
Character: Senator Margaret Chase Smith
50s. The State of Maine’s congressperson and senator for a total of 33 years from 1940 to 1973. Smith was the first woman to serve in both the House of Representatives and the Senate, and she did so as a Republican with a commitment to national defense and education, and with an unwavering pride in her home state. In 1964, Senator Smith became the first woman to run for president in a major party. Smith delivered her “Declaration of Conscience” speech in 1950.
Name: John Maddaloni (AEA)
Character: William "Bill" Lewis
Mid 30s. Government aide to Senator Smith for the vast majority of her career. The two remained close friends after her career and lived together for many years. Before working for Smith, Lewis served in the US Military as a brigadier general.
Name: Liam Craig (AEA)
Character: Senator Joseph McCarthy
Early 40s. Senator McCarthy of Wisconsin had a brief but explosive career in the US government from 1947 to 1957. Infamously, McCarthy claimed to have information on Communist subversives working in the government, although he did not offer any proof. Eventually, there was a trial between McCarthy and the US Army, in which McCarthy and his scare tactics were discredited.
Name: Isabelle Van Vleet (AEA)
Character: Jean Kerr
Early 20s. McCarthy’s research assistant, and later his wife. Kerr attended Northwestern University prior to working for McCarthy. After his death, Kerr remarried and taught courses in painting at the Corcoran Gallery of Art in DC and Montgomery College in Maryland.
An Interview with the Director: Lisa DiFranza
Edited for length and clarity by Micki Demby Kleinman
Assistant Director and Dramaturg Micki Demby Kleinman sat down with the director of Conscience, Lisa DiFranza, to speak about her extensive artistic background and her work on the play.
Micki Demby Kleinman (MDK): Can you describe a bit about your theatrical journey?
Lisa DiFranza (LD): When I was in the fourth grade, I was in public school in Manhattan, and I had a teacher who was an opera fanatic. He took us to the Metropolitan Opera to see The Magic Flute and I sat on the front row of the balcony and all I cared about was spitting Life Savers onto the hats of the people who were sitting below. It was so boring to me. During the course of that year, we did The Magic Flute as our class play. We spent hours writing, he told us the story, we wrote the scenes, and then he took us back to The Metropolitan Opera to see The Magic Flute. It was such good teaching because then it was a completely different experience. I loved it. It was a real pivot year for me. When I got to college, I was very engaged with history and theater and big thoughts about the universe. I got sick of college and did an internship at Manhattan Theatre Club. It was great because it connected my learning to something tangible, and it was off to the races at that point. After college I moved back to New
York and worked off-off-Broadway, worked as a production stage manager at Juilliard, and got to work with amazing directors and actors. In a way, the journey was about trying to find an artistic home. Everyone was trying to get to New York and I really found that I did much better in a smaller city where there was a sense of purpose and a dialogue with the community. That community spirit, and community-based work, has always been part of what I care about a lot. I always felt like I'll do theater in a gym, in a basement, anywhere with real people. That's who I am and what I love. The trajectory has been about knowing one’s place, how a theater speaks to a community and how a community speaks back.
MDK: You worked with Portland Stage some time ago, and just moved back to the area. What were you involved in last time you were here, what did you get up to in the in between time, and what drew you back to Portland?
LD: I loved being here. I was on the staff for a time, I was a director, I ran the Little Festival of the Unexpected. Then I was offered a job revitalizing the Children's Theatre of Maine. It was a really weird job. I was hired and the next day it was me and my yellow pad in my living room, and there was nothing to do but rebuild the company. The work at Children’s Theatre of Maine led me towards doing a masters in theology and art. I thought about going back and getting an MFA and I just didn't want to. I wanted to move away from the standard theater world into what was really happening… something in the spirit realm not in the “showy” realm. That was a big pivot point for me. At that point, I incorporated teaching and academic work with community work and theater work. I taught for seven years at Columbia College of Chicago. There, I was teaching a humanities-based course that incorporated students from all different artistic disciplines. While there, I started the Living News Project. We pulled together journalists
direCtor lisa difranza and set designer germÁn CÁrdenas.
from the Tribune, students from Columbia College Chicago, and staff and residents at a homeless shelter, and we built a script and performed it as readings in several locations in the city. It was a real conversation starter. Again, it was community stuff, my heart and soul. Soon after, I got a job as Cultural Curator at the Art Ovation, an innovative arts hotel in Sarasota, Florida. As the founding Cultural Curator I created programming that combined theater, pop-up performances, and a visual arts studio in the lobby. When the pandemic hit I went back to my first language, having grown up in a family of painters. I painted a lot and went far into that visual world. So coming back to theater is interesting because I am not the same person after all that teaching, all that visual art work, community-based work. Coming back is so interesting, because I feel like I am bringing with me a whole different approach internally to storytelling, and a confidence I didn’t have when I was here last. I love being back in rehearsals. Theater is my first love in artistry. I am a different person, the company is different, Portland is different- which is good, you don’t go back, you go forward.
MDK: Can you explain a bit about your approach to telling this story?
LD: Because I am so visual, my first hit on the script was: either it will be a whole lot of words and people just sitting there, or it will speed along with velocity. That affected the way I thought about the storytelling- the idea of being able to flip quickly from one scene to the next. By and large my approach has been making the story of the play work. It's not a movie, it's not a television show, it is a piece of theater. What makes it theatrical? How do we make this into a piece of theater? Why does this story have to be told in a theater? Do you have an answer to that question, or was that just a rhetorical guiding force? As we work on it... I think we are finding that theatricality in the work that the actors are bringing to the table- their idiosyncrasies, the lights and darks of each character.
MDK: Does the current political backdrop of America affect how you want to tell this story?
LD: Yes. And I am eager to hear the audience’s interpretation of that connection.
MDK: What has been the most challenging aspect of working on this production? On the flip side, what has been something unexpectedly delightful?
LD: I think the standard, but I think of it as “compressed,” rehearsal schedule doesn’t allow for as much reflection time as I would like. I would like some time in between rehearsals to let things percolate. On the other hand, I have loved the energy, momentum and discoveries we have made in rehearsals. I love being in the room with everyone and different creative perspectives and vantage points- from our apprentices, to actors at different levels of experience, to designers, to technicians. I just love what everyone is bringing to the table. The company is full of generous collaborators that make the work fun.
lisa difranza, germÁn CÁrdenas, kate udall (aea), isaBel Van Vleet (aea), and JoHn madaloni (aea) at tHe ConsCienCe taBle read.
Community Connections: Interview with the Margaret Chase Smith Library & Museum
Edited for length
and
clarity by Kimmarie McCrann
In Conscience, Margaret Chase Smith speaks proudly in reference to the citizens of Maine. Directing and Dramaturgy Apprentice
Kimmarie McCrann drove up to the Senator’s hometown of Skowhegan, ME, and visited the Margaret Chase Library and Museum. Kim sat down with John Taylor, the Library’s Museum Assistant and Communications Manager, and Nicole Potter, Curator of Collections, to chat about Smith’s career and legacy.
Kimmarie McCrann (KM): Can you talk a bit about your thought process on planning and installing the museum's exhibitions?
John Taylor (JT): Typically when we start planning out any sort of exhibits, we are trying to find some sort of connection to Margaret. And that can be something as obvious as Margaret herself, or it can be women in politics, or the workforce. We try to do many different things connected to Maine as well, since she loved her home state. We also look at a lot of different anniversaries. We did an exhibit on Clyde Smith a few years ago, and that was because it was 75 years since his passing. And we’ve done stuff in the past with connections to the 50th and 60th anniversary of her running for the Presidency. We try to connect it to the community sometimes as well. Margaret loved Skowhegan, and the surrounding area, and we try to find ways to get the community involved. A few years ago we did an exhibit on the bicentennial and maps connected to the area, and tried to find ways Margaret was connected to those.
KM: John, as National History Day State Coordinator, in your words, what has been the scale of impact that Margaret Chase Smith has had on the history of Maine?
JT: First off, I’ve been here for nearly 12 years, and I’m still learning new things everyday about Margaret. There’s always something new that pops up, and interesting ways that she’s
connected to anything that’s going on in Maine. I also do work on the social media sometimes for our library, and try to find connections between Margaret and what’s happening in the current world. Even nearly 30 years after her death, we’re still able to find those types of connections. Her niece still lives here in town and comes here all the time. Her nephew is on the board of directors. Not only that, but there’s a lot of contention going on in politics right now. So, her Declaration of Conscience comes up quite a bit as well. We do get a lot of requests for interviews to talk about that, or to get a copy of her speech as well.
Nicole Potter (NP): Margaret’s impact can’t be diminished. July 2024 was one of our biggest months for research ever here at the Library. We generally get a small handful of research inquiries every week. For the month of July we had almost 40 research inquiries. Margaret
front entryway of tHe senator's House.
was the first female to run for President, and now 60 years later, we have another woman, and she’s on the ballot and has the full support of her party. So, there’s a lot of interest and focus on [Margaret] right now.
KM: In your opinion, what allowed someone like Joe McCarthy, with very little evidence to support his claims, to rise to such massive power and impact?
JT: I think that’s something that historians are still trying to grapple with quite a bit. One of the things would be, in 1949, it was concerning to Americans that a country like China could fall to communism. We did feel secure for a long time in the United States because we were the only ones with nuclear technology. It wasn't until 1949 when Russia detonated their own version of the bomb that we knew it could be a problem. That’s what really kicked off the Cold War. I think that’s what really played into what Joseph McCarthy was able to do, with the very little evidence that he had. Even though many times people asked for his list of names, he was very dodgy. And Margaret really figured out very quickly what he was doing. She was able to call him out just a few months later on June 1, 1950. But, it’s very sad that only six other Senators signed in on this. It wasn’t until four years later that McCarthy was finally censured. It’s a very interesting and troubling thing to hear.
KM: Why do you think only six Senators signed on to support the Declaration of Conscience?
JT: Absolutely the fear of communism and the fear of being blacklisted.
KM: What, in your opinion, made Smith so popular in the State of Maine to win her congressional elections by such a large percentage (more than 60%) each time?
JT: I really think that her record was pretty well known for being the first woman to be elected in both the House and the Senate. She was the only woman in Congress for a very long time. But I think she really got onto the national stage with the Declaration of Conscience. There were even people who believed that if a man had given that speech, they would’ve been the next President of the United States. There was definitely talk of her being the Vice President candidate in 1952, and she was on the cover of Newsweek talking about that very same thing. I think that’s a very important aspect to focus on—that out of nowhere, you’re talking about a Senator who gives this speech, who’s finally standing up to someone such as McCarthy, and the people are recognizing that that’s a very powerful thing.
NP: It’s a big question. You know, she came in with her husband Clyde’s support; he had been a lifetime politician. She worked for him in his office, she gathered information, and
marget CHase smitH's liVing room.
she learned. She was an incredibly intelligent woman. Before she entered politics she became a reporter for the local newspaper, she ran the Business Professional Women’s club, and she was a leader. She was a Republican in Maine, which can’t be diminished at the time— the Republican Party was at the top in the state. And I think the people of Maine found her trustworthy. If she was going to make campaign promises, it was highly likely that she was going to keep them. That’s not always true of any politician, no matter what day and age. So, she built this strong relationship with the state. She was proud to be from Maine; she came back to Maine, and advocated for the people of Maine while she was down in Washington, DC. She built a strong partnership with them, and they respected that. We hear stories time and time again that she cared about people on an individual level.
KM: In 1964, the Senator announced her candidacy for Presidency. She lost every primary election. What do you think made her so popular in Maine as opposed to the rest of the US during this time?
JT: Well, I think that can come down to a lot of different factors. She was nationally known, and there were a lot of people who were excited about the idea of a woman running for President in 1964. And you still had a lot of people who weren’t. One of the big hindrances to her campaign was that she did not accept
any campaign contributions. She wanted to run solely on her record, and would literally send campaign contributions back to the person who had sent them. I will say, I don’t think she ever expected to win the nomination, but I think she was trying to make a point. Not only that a woman can be a viable candidate, but she was also trying to make a point about the financial aid—that we should be running these campaigns on records only, and not through financial backing.
KM: With the 2024 US presidential elections around the corner, and another woman, Kamala Harris, leading a major ticket, what do you think voters could learn from studying the campaigns and career of Margaret Chase Smith?
NP: There’s quite a few messages in the Declaration of Conscience. One is her being an advocate for informed citizenry. To not take information at face value, to investigate and interrogate what you’re being told by politicians, what you’re being told to think. And, coming into an election cycle, being someone who’s information literate, and to go into the fall that way—that’s something that Margaret would have advocated for.
senator smitH's Bedroom.
margaret CHase smitH's kitCHen
Glossary
by Micki Demby Kleinman
Calumny (“The Four Horsemen of Calumny”): A false and slanderous statement. “The Four Horsemen of Calumny” is a riff on the biblical concept of “the Four Horsemen of the Apocalypse,” coined by Margaret Chase Smith in her “Declaration of Conscience” Speech.
Censure: A formal statement of disapproval of a senator’s actions, adopted by majority vote. Censure does not remove a senator from office nor does it deny to a senator their rights or privileges. Since 1789, only nine US senators have received a censure, with Joseph McCarthy being one of them.
Cold War: An era of political tension and competition between communist nations, such as the Soviet Union, and capitalist nations, such as the United States. The Cold War was a conflict in regard to ideology (communism vs. democracy), weaponry advancement (the race to build increasingly advanced nuclear bombs), and the Space Race (which nation could explore or “conquer” space the quickest). However, there was no direct military interface, which is why the name “Cold War” is used.
Demagogue: A leader who exploits prejudices and makes false promises in order to gain power.
Expedient: Characterized by caring about things which are opportunistic or self serving.
Fear-mongering: The action of deliberately arousing public fear about a particular issue.
Insolence: Rude, disrespectful behavior.
Lush: A drunkard, or heavy drinker.
Morals charge: A legal charge specifically relating to illegal sexual behavior. In the 1950s, sodomy (and therefore homosexuality) was deemed illegal.
Shrewd: Marked by cleverness, discernment, having one’s wits about them.
Sycophant: A person who flatters others for personal gain.
Who Were Margaret Chase Smith and Joe McCarthy Anyway?
by Larsen Nichols
In December 1897, Margaret Chase Smith was born the oldest child of six in a working-class family in Skowhegan, Maine, just an hour and a half north of Portland. She married her husband, Clyde Smith, in 1930. After a successful local political career, Clyde was elected in 1936 to the House of Representatives. Margaret was heavily involved in his work as well as local politics back in her home state. Clyde fell deathly ill in 1940, and persuaded Margaret to run for his seat during that election term. He publicly endorsed her, saying, “I know of no one else who has the full knowledge of my ideas and plans or is as well qualified as she is, to carry on these ideas or my unfinished work for the district.” She was elected to fill her husband’s seat in 1940.
When she completed his term, many feared she would not be reelected for a permanent seat, but her moderate platform appealed to many Mainers, and she won with over 65
percent of the vote. She went on to win three more terms, becoming an expert on the military and national security in the process. In 1948, she ran for US Senator for Maine and won, making her the first woman to serve in both chambers of Congress. She would go on to serve another three terms as senator, but before that, she had to face off against Joseph McCarthy.
Joseph McCarthy was born in 1908 near Appleton, Wisconsin. Before his rise in the 1950s, he was a Wisconsin attorney and served as a marine in World War II. In 1946, he won the Republican nomination for Senate. Initially, his Senate career went unnoticed, and he was in need of something to propel him to headlines. In 1950, he found that something. During a speech in Wheeling, West Virginia, he claimed that 205 Communists had infiltrated the State Department. Later, during his testimony for the Senate Committee on Foreign Relations, he proved unable to
margaret CHase smitH Being sworn into tHe us House of rePresentatiVes as Her late HusBand’s rePlaCement, June 10, 1940.
senator JosePH r mCCartHy, C. 1954.
provide the names of any of these supposed Communists. But the American people, tired of the rising wave of communism in Europe and China, got behind McCarthy’s claims, and the government began a revitalized campaign to root out communism. Though the issue was not a new one, McCarthy’s immoral method of blind and unsubstantiated accusation ruined countless lives, though he failed to create a plausible case against anyone.
Though many of his fellow senators privately condemned his accusations, they were fearful of being accused themselves and failed to speak out. Margaret Chase Smith, however, couldn't sit idly by. In June 1950, some four months after McCarthy’s speech in Wheeling, Smith delivered an address on the Senate floor, condemning his tactics and advocating for a return to national values of free speech. This address came to be known as her "Declaration of Conscience."
Unfortunately, her declaration did little to stop McCarthy. In 1954, after four years of fear-mongering, he had gone so far as to accuse President Eisenhower and a number of other Democratic and Republican leaders, and his credibility began to wane. The final straw were the televised, 34-day hearings that investigated McCarthy’s accusations of the US Army. Attorney Joseph Nye Welch’s probing of McCarthy, “Have you no sense of decency, sir, at long last? Have you left no sense of
decency?," effectively discredited McCarthy, and the public lost faith in him.
McCarthy’s career was coming to a close. In a rare move, the Senate censured him in 1954, and he died not long after in 1957, his death likely expedited if not caused by his alcoholism. Margaret Chase Smith, however, was far from done with politics. In 1964, she ran for president for the Republican party, making her the first woman to actively seek the presidential nomination of a major political party. Not only did she overcome barriers and become an inspiration and role model for women aspiring to politics, she continued to fight for the American people when it would’ve been easy to focus on sticking to party lines and securing her seat. As she eloquently stated in her "Declaration of Conscience," “it is high time that we stopped thinking politically as Republicans and Democrats about elections and started thinking patriotically as Americans.”
senator margaret CHase smitH.
The Red Scare and The Lavender Scare
by Larsen Nichols
In Joe DiPietro’s Conscience, we see how the Red Scare pervaded American politics in the 1950s, and how Joseph McCarthy used it to become one of the most recognizable names in our nation’s history. McCarthy used his Senate position to amplify American fears around the international rise of communism, starting a phenomenon that would come to be known as McCarthyism. But like we see in Conscience through the character of Bill Lewis, the Red Scare and McCarthyism didn’t just affect supposed Communists. They also deeply affected the gay and lesbian communities through a parallel issue known as the Lavender Scare. But how did we get there? To understand, we must examine the fear, paranoia, and discrimination that led to the persecution of both political dissenters and LGBTQ+ individuals during this tumultuous era in American history.
In 1917, the Bolsheviks, a far-left group led by Vladimir Lenin, staged a coup that overthrew the Romanov dynasty that had ruled Russia
for centuries. Americans feared that a similar uprising could occur in the United States. The Bolsheviks formed the Russian Communist Party, leading to sweeping suspicion in the US of any members within its borders. There were, in fact, a small number of Communist Party members present in the United States. This group often advocated for liberties and protections, but also supported Soviet Russia. Their views were subject to criticism from both liberals and conservatives alike. In addition to this small group of Communist Party members, Russian spies operated in the United States as early as the 1920s. The hysteria and paranoia resulting from the discovery of these spies only added fire to the Red Scare of the ’50s.
In 1938, the House Un-American Activities Committee (HUAC) was formed by the US House of Representatives. HUAC investigated alleged Communists in both the federal government and the film industry in Hollywood. Many artists
senator JosePH mCCartHy sPeaking witH His attorney, roy CoHn, during tHe mCCartHy-us army Hearings.
and entertainers, like Charlie Chaplin, Langston Hughes, and Lena Horne, were put under FBI investigation and on watchlists and were blacklisted from their industries. As the second World War ended in ’45 and the Cold War began in ’47, HUAC only grew in power and influence.
But what many think of today when we say “The Red Scare” became a national talking point in 1950, with Joseph McCarthy’s incendiary speech claiming that 205 Communists had infiltrated the State Department. On baseless claims, McCarthy began accusing and investigating government employees for supposed Communist views. Most of McCarthy’s peers were afraid of being accused themselves, and failed to speak up about the injustices occurring under his reign. McCarthy’s investigation of accused Communists soon expanded to include gay and lesbian federal employees, which would come to be known as the “Lavender Scare.”
As Judith Adkins stated in the National Archives’ Prologue magazine, “many assumptions about Communists [in the middle of the 20th century] mirrored common beliefs about homosexuals. Both were thought to be morally weak or psychologically disturbed, both were seen as godless, both purportedly undermined the traditional family, both were assumed to recruit, and both were shadowy figures with a secret subculture.” In 1948, Alfred Kinsey published Sexual Behavior in the Human Male, which claimed that same-sex experiences were common for men. The book quickly became a bestseller, increasing awareness— but not social acceptance—of homosexuality. Although organizations like the Mattachine Society had begun to promote social change for homosexuals, few gay people, especially federal employees, were open about their sexuality during this time. The popular belief at the time was that gays and lesbians could be blackmailed into revealing state secrets, making them a threat to national security.
Soon after his infamous initial claim of Communist infiltration in early 1950, McCarthy revealed that some of these supposed Communists were also homosexuals, reaffirming the popular belief that homosexuals were threats to the nation’s safety. But unlike accusations of Communism, which rarely proved fruitful,
there actually were homosexuals employed by the government. As these employees began to be investigated and accused, “they faced an impossible choice: resign or be publicly outed on the Congressional record.” Many chose to resign, often citing “personal reasons” as opposed to outing themselves and facing the consequences of being a known homosexual in society. Though being fired from a government position on the basis of sexual orientation was certainly not a new phenomenon, McCarthy and the Truman administration’s campaign against homosexuals greatly exacerbated the moral panic around homosexuality and caused untold damage for the individuals affected. Margaret Chase Smith herself served on a committee that investigated the employment of gay people in the federal government. It wasn’t until 1973, almost 20 years after McCarthy’s fall, that the Supreme Court ruled that sexuality alone was not sufficient cause to fire a federal employee.
McCarthy’s prosecution of homosexual federal employees is even more complex and saddening in the light of his own alleged homosexual tendencies and those of his colleagues. McCarthy was reported to have frequented Milwaukee’s gay bars, and was later accused of nonconsensually groping a man in a bathroom, similar to the fictional McCarthy’s actions in Conscience. Also, Roy Cohn, a known homosexual, was part of McCarthy’s inner circle and was McCarthy’s chief counsel on the 1954 Army-McCarthy hearings.
The Red and Lavender Scares serve as sobering reminders of the dangers of unchecked fear and persecution. As McCarthyism swept the nation, innocent lives were destroyed, and people were marginalized simply because of their political beliefs or sexual orientation. The legacy of these events echoes into the present, reminding us that the fight for civil rights and social justice is ongoing. Plays like Conscience challenge us to stand against injustice, even when it feels easier to remain silent.
Post-War America, Post-War Portland
by Kimmarie McCrann
Playwright Joe DiPietro describes the world of Conscience to be set in “the middle of our 20th century.” The play follows events from Joe McCarthy’s infamous campaign speech in 1950 all the way through his downfall and censure in 1954. In the wake of World War II, Americans witnessed an economic boom and season of prosperity, which greatly contrasted the Great Depression of the 1930s. The war had exponentially stimulated the US economy, creating 17 million new jobs for civilians, members of the armed services, and women working on the homefront while their spouses were dispatched.
The pursuit of the “American Dream” was in full-force in post-war America. The GI Bill, signed by President Franklin Roosevelt in 1944, provided educational and home loan benefits for millions of veterans returning from WWII. Homeownership rates rose from 44 percent in 1940 to almost 62 percent in 1960. To meet the increased housing demand, Levitt & Sons built three residential communities (including more than 17,000 homes), finishing as many as 30 houses a day. Many of the Levittown houses were identical four-bedroom units because returning servicemen were having children in such significant numbers; as a result, the next generation became known as the “Baby Boom.”
After intense rationing practices during wartime, Americans were eager to spend their money on big-ticket items to fill their new homes. Factories quickly pivoted from producing war materials and tanks to cars, TVs, and home appliances. New car sales quadrupled between 1945 and 1955, and by the end of the 1950s, about 75 percent of American households owned at least one car.
The image of the “perfect front lawn” became synonymous with success in suburban America. These perfect patches of green quickly were the foreground for the country’s growing middle class. Post-war civilians saw a shift in social structures for the familial unit. Promotion of a “nuclear family,” consisting of
two parents and one or more children all living in the same home, surged. Although women had occupied more than six million jobs during the war, they were now more commonly expected to stay home and maintain the upkeep of a happy and healthy family. Popular magazines like Family Circle and Ladies’ Home Journal promoted beauty tips for wives, recipes for the family, and interior design tips. For men, the socially accepted standard was a 9-to-5 “working man,” wearing a crisp suit, who came home to his loving wife and children.
However, despite the flood of images promoting a smiling American lifestyle, there was a strong sense of fear emerging. Geopolitical tension began with the start of the Cold War in 1947 and continued until the fall of the Soviet Union in 1991. The capitalist United States was pitted against the communist Soviet Union, with each of these global superpowers sensing the threat of a nuclear attack at any moment from the other. This political tension instilled a deep-rooted fear of communist ideologies overtaking the American political system, known as the “Red Scare,” and encouraged an overall distrust of one’s neighbors and colleagues.
Portland, Maine, was an important player in World War II. The seaside city became a primary hub for shipbuilding to support the
aerial View of leVittown Houses, C. 1959.
United States naval operations overseas. The South Portland Shipyard began building ships for the British in 1940, a year before the US entered the war. The shipyard built 30 "Ocean" cargo ships for the British and 236 "Liberty" cargo ships for the US. An influx of shipbuilders and workers also led to the construction of housing projects in South Portland. The Portland shipyards had employed 30,000 men and women at the war's peak.
The two primary focuses in Casco Bay during World War II were training and refueling. One of the few vestiges of Navy training is a rusted steel box that sits on the shore of Little Chebeague Island. Designed to simulate a ship’s engine room, the steel box was the classroom of the Navy Firefighting School. The school’s efforts included technical advancements in firefighting equipment, improved doctrine, and, most importantly, firefighting training for many members of ships crews. Ships returning from escorting convoys across the Atlantic went to the Boston Naval Shipyard for voyage repairs, and then did a short period of refresher training in Casco Bay before heading out on their next assignment.
When the war ended in 1945, there were a total of 2,156 servicemen and women from Maine who had lost their lives in the conflict. There is currently a World War II Memorial
located in Downtown Portland on Congress Street with seven rows of names inscribed, which can be visited at any time.
In contrast to the economic boom occurring in the rest of the States, Maine struggled after the war. Maine’s cities suffered economic and population losses as wartime shipbuilding came to an end. Portland’s population fell by more than 20 percent from 1950 to 1980. During this time, Portland embarked on a project to construct a highway and a boulevard through the middle of its city, tearing down neighborhoods along the proposed route. The destruction of Union Station in Portland in 1961 and its replacement by a strip mall marked the end of the railroad era and the symbolic decline of the city. Mainers followed people in the rest of the country in exiting cities and moving to the suburbs.
Despite Maine’s slow efforts to adapt to a rapidly shifting economy during this era, there was still a thriving social scene in Portland. Congress Street was, as it still is today, one of Portland’s most popular destinations for homegoods, shopping, and entertainment. Teens of the ’50s would spend their free afternoons roaming stores like Recordland and Woolworth’s. The Portland Public Library was a quiet place to study in the evenings. East End and West End youths alike would all convene and socialize at the Puritan, a downtown spot serving french fries with gravy and Coca-Cola. These folks would also commonly go to a movie theater called the Strand, where they could see new films like A Miracle on 34th Street for 35 cents.
Although the Strand is gone and visitors can no longer see a movie for a few cents in Portland, the city’s charms draw in about 3.6 million visitors each year. The Old Port has become a hotspot for these tourists—some who even come to learn about the shipbuilding days of DiPietro’s “middle of our century.”
us naVy firefigHter training struCture, little CHeBeague island, 1943.
Women in the White House, From Margaret Chase Smith to Kamala Harris
by Micki Demby Kleinman
As we come upon this election season, with a woman as the Democratic nominee for president, it is imperative to reflect on the legacy and future of women in our nation’s government. As mentioned in Conscience, Margaret Chase Smith was the first woman to serve in both the House and the Senate, although she was not the first in either. Let's look back at the history of women in American politics.
In 1916, the first woman was elected to serve in the legislative branch of the US government. Congresswoman Jeanette Rankin of Montana served in the House of Representatives for two years, although she did not win reelection due to her anti-war sentiments and voting record. From this early moment, Rankin had to navigate the difficult balancing act of being a woman, and a woman in power. To the Congressmen who called her “the lady from Montana,” she responded by saying, "I'm no lady. I'm a member of Congress."
The first woman to serve in the Senate was
Rebecca Latimer Felton of Georgia. Before her brief stint on Capitol Hill, Felton assisted her husband in his political career, and she fought for issues such as women’s suffrage and equality, and education, although she also was an avid white supremacist and a proponent of lynching. On November 21, 1922, Felton was sworn into the Senate for only 24 hours, for symbolic and strategic purposes. Appointed by Georgia governor Thomas Hardwick to complete the term of the deceased senator Thomas Watson, Felton was sworn in to a special session of Congress as a nod to Georgia’s newly enfranchised women voters; the next day, the newly elected Walter F. George took place as Georgia’s senator. In her 24-hour term, Felton did not enact any policy, but delivered a memorable speech, in which she said, “Let me say, Mr. President, that when the women of the country come in and sit with you, though there may be but very few in the next few years, I pledge you that you will get ability, you will get integrity of purpose, you will get exalted patriotism, and you will get unstinted usefulness”.
first woman to serVe in tHe us House of rePresentatiVes, Jeanette rankin, Protesting an inCrease in tHe nation's armed forCes.
first woman sworn into tHe us senate, reBeCCa latimer.
Margaret Chase Smith was the first woman to be elected to both the Senate and the House. In 1964, Smith ran for presidential election, and was the first female candidate to run in a major party. While being the only woman in the Senate, Smith further made herself vulnerable by standing by her values and conscience. Smith put herself in a politically vulnerable position by opposing McCarthy and his anti-communist crusade in the early days. She was the first person to take this powerful stand, and the "Declaration of Conscience" was the first speech she gave on the Senate floor, which brought her national attention.
More than half a century after Senator Smith ran for president, Hillary Rodham Clinton became the first female nominee for president from a major party. Although Hillary Clinton did not become president, she won the popular vote. In 2020, Kamala Harris made history by becoming the first female Vice President of the United States. Before becoming Vice President, Harris had a lengthy political career, serving as deputy, assistant, and then district attorney in
California. In 2008, Harris became the attorney general of California, the first woman to fill this role in California. Harris continues to forge ahead, and is the Democratic Party’s nominee in the 2024 presidential election.
As we harken back to the struggles that early women in Congress had to juggle, and take that identity into account in terms of social issues they cared about and how that relates to their identity, perhaps we can end on a hopeful note. We can take notes from Vice President Harris’ mother, Dr. Shyamala Gopalan Harris, who impressed upon her trailblazing daughter: “Kamala, you may be the first to do many things, but make sure you are not the last.”
ViCe President kamala Harris deliVers remarks at tHe kiCkoff for tHe reProduCtiVe freedoms tour, monday, January 22, 2024.
Staging the Past: Historical Drama to Grapple With Our Present
by Larsen Nichols
Historical dramas offer a unique lens through which we can examine the present, often providing fresh perspectives on our current political and social realities. Joe DiPietro’s Conscience explores the ideological battle between Margaret Chase Smith and Joseph McCarthy. When Portland Stage chose to produce the play in the election season of 2024, it seemed timely, expecting to mirror a Trump vs. Biden contest. But when Kamala Harris replaced Biden on the Democratic ticket, Conscience’s relevance deepened, resonating even more with the present political moment. The play recounts the story of a trailblazing female politician, and a man whose methods of manipulation to gain political power echo those we see today.
But why revisit events that occurred over 70 years ago? How can a historical drama about the past inform how we think and act today? The power of theater lies in its ability to help audiences foster empathy by stepping into the shoes of others. By exploring the past through historical drama, we can find clarity, growth, and even healing in our present reality. We still perform plays like Medea, Oedipus Rex, and The Trojan Women thousands of years after they were first written. These plays endure because they explore universal themes such as love, survival, and death, resonating with audiences across centuries and cultures. One of the most enduring examples is Sophocles’ Antigone, which tells the story of a young woman who defies a patriarchal government to stand up for her beliefs. The play’s themes of conscience versus law, determination, and abuse of power makes it one of the most frequently produced Greek tragedies today. These themes have persisted throughout history because they are fundamental to the human experience, shaping not only the struggles of ancient characters but also those of more modern figures. When placed side by side, Antigone and Conscience reveal parallels: just as Creon wields power and the law to suppress Antigone, McCarthy uses his fear-
mongering to silence dissent and secure his standing. Smith, like Antigone, stands firm in her disagreement with McCarthy, despite the odds against her and a lack of allies. Clearly, it’s the universality of these struggles—conscience versus law, individual courage, and power dynamics—that makes stories like Antigone and Conscience so impactful for modern audiences.
Skipping ahead in time to the 1500s, Shakespeare’s histories are some of the best examples of historical drama. Some, like King John or the Henry plays, focus on then-recent English history, while others, like Julius Caesar, are a lot further from Elizabethan England, though they’re still rooted in historical events. Shakespeare’s English histories had a particular effect on the audiences of his time. His depictions of figures like Richard III or Henry V weren’t just about their reigns, but also about exploring power and the challenges of ruling. During a time
1919 PolitiCal Cartoon.
when England’s national identity and power was rapidly shifting, these plays resonated with their audiences. So, while these plays entertained, they also critiqued the politics and society of Elizabethan England. When it comes to Julius Caesar, the play's impact isn't as immediately connected to English history. Michael Rau, director and assistant professor of the Department of Theater & Performance Studies at Stanford, says, “Julius Caesar can be read as a play about a single decision: What should we do if we think someone is going to become a tyrant?” That single decision that sits at the heart of Julius Caesar is likely why we see the play produced most frequently during election years. During moments when political climates are at their hottest, the play warns of the dangers of power and the importance of peaceful transfers of leadership.
Although the events it portrays took place more than 70 years ago, the political dynamics at the heart of Conscience—fear-mongering, manipulation, and the clash between conscience and power—are strikingly similar to what we’ve seen in recent years. The parallels between Joseph McCarthy’s tactics and Donald
Trump’s approach to politics are hard to ignore, and we have the chance to elect the first female President of the United States, 60 years after Margaret Chase Smith’s campaign. Joe DiPietro’s Conscience not only brings these American figures and events to life but also highlights their modern relevance. Margaret Chase Smith’s immense bravery challenges audiences to reflect on our own political reality and to stand up for what is right. Conscience serves as more than just a look back at history—it can be a guide to navigating the challenges we face in our country today, urging us to learn from the past and act with integrity in the present.
The AssAssinATion of Julius CAesAr By william Holmes sulliVan
Bystander Effect: Why Do We Just Stay Silent?
by Kimmarie McCrann
Conscience is a compelling story because it is inspired by true events. When students learn in their history classes about how Senator Joseph McCarthy boosted the Red Scare in 1950, many wonder how he managed to garner such fear and power through words that were backed by little to no evidence. The majority of American governing officials remained silent while McCarthy bellowed on stages and TV screens across America about the supposed “hundreds” of Communists who were working in the US State Department at the time. All of McCarthy’s peers chose not to retaliate: except for Senator Margaret Chase Smith. The Senator from Maine condemned McCarthyism and defended the right of independent thought in her “Declaration of Conscience” speech on the Senate floor on June 1, 1950. Only six Republican senators chose to sign and support the Senator’s declaration, while the others looked on silently.
So why did so few senators choose to back Senator Smith publicly even though many more agreed with her convictions privately? One reason could be a psychological phenomenon called the “bystander effect.” A bystander is defined as “a person who is present at an event or incident but does not take part.” Therefore, the subsequent effect is referred to when tragic or emergency-scale events occur, and one person—or even a whole crowd of people—witnesses the event, but does not take action to help those in imminent danger. A defining feature of humanity is our ability to experience empathy—the ability to understand and feel the emotional states of others, resulting in compassionate behavior. So, at a glance, it can seem perplexing how often the bystander effect plays out in everyday society.
The bystander effect was first seriously studied by two psychologists, John Darley and Bibb Latané, in the 1960s, following an infamous tragedy. The horrific murder of 28-year-old Kitty Genovese occurred on the night of March 13, 1964. Genovese was walking home alone to her apartment late one night in the
neighborhood of Kew Gardens in Queens, New York. She was stalked, chased, and brutally stabbed by attacker Winston Moseley. Genovese managed to briefly escape Moseley, until he returned and attacked her again. The attacks and Genovese’s suffering lasted for more than 30 minutes before she passed away in an ambulance after a neighbor called the police. The story shook the world when The New York Times reported it with the headline, “37 Who Saw Murder Didn’t Call the Police.” Although this headline was later debunked as falsely portraying the exact number and nature of the witnesses who had been close to the attack, the tragic event stimulated Darley and Latané’s research into the bystander effect.
The two researchers conducted a series of experiments in which they tested their subjects’ response to emergency situations when they were alone, in a small group, and in a large group. One example of such an experiment was their gathering of individuals in a room to take a survey, and then slowly filling the room with smoke. By the end of the experiment, the room was filled with so much smoke that it greatly obstructed visibility. When subjects waited alone, 75 percent of them quickly reported the smoke, but when they entered a room with two other seated people who studiously ignored the smoke, only 10 percent of these subjects reported the smoke, even though they “coughed, rubbed their eyes, and opened the window.”
Darley and Latané credited several factors to the bystander effect’s existence. One of these factors is the “diffusion of responsibility.” This occurs when a large group of people are witnessing an event, and the feeling of responsibility to take action is then diffused throughout the entire group. This decreases each individual’s motivation to act. Each witness feels less responsibility to help when they feel that “someone else will do it.” Research shows that, based on a number of perceived physical attributes and capabilities, many bystanders might even mentally assign
another individual in the group as the person they believe “should” take action. These studies on the diffusion of responsibility conclude that the greater the number of bystanders, the less likely it is for any single one of them to provide emergency assistance.
Another factor which has been attributed to the bystander effect is “social influence.” Social influence means that individuals monitor the behavior of those around them and determine how to act. This first occurs in infancy, when babies mirror the behavior of their parents or family members to understand how to behave properly in the world. In a large group, if no one is taking action, people may think, “Well, I guess I shouldn’t either,” so as to not stand out from the crowd. Social influence is very commonly seen in cases of school bullies, in which a whole group of children may often witness one perpetrator hurting a classmate, but the group chooses not to help the victim for fear of “standing out,” or even becoming the next victim themselves.
It is also natural for people to freeze or go into shock when they see someone having an emergency or being attacked. Sometimes, this lack of action can be mistaken for the bystander effect when an individual is
experiencing a stressful situation. When a person can't respond in a “fight or flight” manner, they might feel stuck in place. This “freeze” response is often accompanied by a sense of overwhelming fear, panic, or dread. The person might exhibit physical symptoms of pale skin, stiffness in the body, a pounding heart, and a decreasing heart rate.
An understanding of the bystander effect can help audiences and scholars tod ay understand the impact of McCarthyism. In a room full of 96 senators, only one spoke out regarding a matter of national political crisis. With the diffusion of responsibility being spread through such a large room of powerful people, each one might have been waiting for another to speak up. This makes Senator Smith’s “Declaration of Conscience” all the more impressive for defying the statistics of social influence and taking this great burden of responsibility into her own hands.
one of tHe first "laBoratories of exPerimental PsyCHology," wHiCH ConduCted researCH into PHenomenons like tHe Bystander effeCt.
Post-Show Activities
by Charlie Bowen & Sadie Goldstein
1. The name of this play is Conscience after Margaret Chase Smith’s famous speech “Declaration of Conscience” that ends Act I. If you had to give the play a different name, what would you call it?
2. Margaret Chase Smith is the first woman to serve in both the US House and Senate. Name other powerful women in politics (or elsewhere!) that she paved the way for. Read the PlayNotes article “Women in The White House” (Pg. 23) and discuss the similarities and differences between these women.
3. Margaret Chase Smith is always seen wearing a rose. What is the significance of this costuming? What does the symbol of a rose represent? Is there anything you wear everyday that has symbolic meaning to you? Discuss with a partner.
4. Playwright Joe DiPietro focuses on four characters in Conscience: Senators Margaret Chase Smith and Joseph McCarthy, and staff members Jean Kerr and Bill Lewis. Create a Venn diagram comparing and contrasting the working relationships between Smith/Lewis and McCarthy/Kerr.
5. Think about the use of color in the show. What do red and blue mean symbolically and politically? How was color used in the script and the design of the show (costumes, lights, set)? Discuss with a group.
6. Senators outside of Smith were able to recognize the danger that McCarthy posed and yet did not take action against him. Consider how events could have gone differently if another senator had spoken out. In a group of four, act out how this could have potentially played out. Assign yourselves the roles of Smith, McCarthy, and two bystander senators. For additional information on this kind of activity, research Augusto Boal’s Forum theater!
7. Margaret Chase Smith and Jean Kerr were within a group of very few women working in politics in the 1950s. In the beginning scenes of Conscience, this common ground brings the two together. What ultimately divides Smith and Kerr, and how do you see the characters changing over the course of the play? Discuss with a partner.
8. Joseph McCarthy uses a physical piece of paper as a prop in his “Enemies from Within" speech, but then refuses to let Margaret Chase Smith or anyone else read the document. What does this action tell you about McCarthy’s character? How does the general public react to this action? What does their reaction tell you about the social climate of the United States in 1950? Discuss with a partner.
9. In both Joseph McCarthy’s “Enemies from Within” speech and Margaret Chase Smith’s “Declaration of Conscience” speech, the senators use modes of persuasion to build effective arguments. The three modes of persuasion are: ethos (appeals to character and credibility), logos (appeals to logic), and pathos (appeals to emotion). Look up a transcript for each aforementioned speech and identify moments where the speaker utilizes ethos, logos, and pathos. Is there a mode of persuasion that each senator favors? Which mode do you find most persuasive?
Watch
Recommended Resources
by Editors
The Life of Senator Margaret Chase Smith by Jeff Dobbs
PBS’s McCarthy: American Experience
Where’s My Roy Cohn? by Matt Tyrnauer
High Noon by Fred Zinemann
Point of Order by Emile de Antonio
Read
“Declaration of Conscience” by Margaret Chase Smith
No Place for a Woman: A Life of Senator Margaret Chase Smith by Janaan Sherman
She Persisted by Chelsea Clinton
N/A by Mario Correa
Hillary and Clinton by Lucas Hnath
Another Country by James Baldwin
The Crucible by Arthur Miller
Dying for Joe McCarthy’s Sins: The Suicide of Wyoming Senator Lester Hunt by Rodger McDaniel
Get Involved
Margaret Chase Smith Library & Museum, mcslibrary.org League of Women Voters of Maine, lwvme.org
Portland Stage Company Education Programs
Student Matinee Series
The Portland Stage Student Matinee Program provides students with discounted tickets for student matinees. Following the performance, students participate in a conversation with the cast and crew, which helps them gain awareness of the creative process and encourages them to think critically about the themes and messages of the play.
Play Me a Story
Experience the fun and magic of theater on Saturday mornings with Play Me a Story! Ages 4 – 10 enjoy a performance of children’s stories followed by an interactive acting workshop with Portland Stage’s Education Artists for $15. Sign up for the month and save or pick individual days that work for you. Build literacy, encourage creativity and spark dramatic dreams!
Shakespeare Teen Company
In April and May of 2025, students will come together as an ensemble to create a fully-staged Shakespeare production in Portland Stage’s studio theater. Participants in grades 7-12 take on a variety of roles including acting, costume design, marketing, and more!
Vacation and Summer Camps
Dive into theater for five exciting days while on your school breaks! Our theater camps immerse participants in all aspects of theater, culminating in an open studio performance for friends and family at the end of the week! Camps are taught by professional actors, directors, and artisans. Students are invited to think imaginatively, critically, and creatively in an environment of inclusivity and safe play.
PLAY Program
An interactive dramatic reading and acting workshop tour for elementary school students in grades pre-k through 5. Professional education artists perform children’s literature and poetry and then involve students directly in classroom workshops based on the stories. Artists actively engage students in in small group workshop using their bodies, voices, and imaginations to build understanding of the text while bringing the stories and characters to life. PLAY helps develop literacy and reading fluency, character recall, understanding of themes, social emotional skills, physical storytelling, and vocal characterization. The program also comes with a comprehensive Resource Guide filled with information and activities based on the books and poems.
Directors Lab
Professional actors perform a 50-minute adaptation of a Shakespeare play, followed by a talkback. In 2025 we will be touring Hamlet to middle and high schools. After the performance, students engage directly with the text in an interactive workshop with the actors and creative team. In these workshops, students practice effective communication, creative collaboration, rhetoric, and critical analysis. The program also comes with a comprehensive Resource Guide filled with information and resources about the play we are focusing on. Directors Lab puts Shakespeare’s language into the hands and mouths of the students, empowering them to be the artists, directors, and ensemble with the power to interpret the text and produce meaning.
Portland Stage Company
Anita Stewart Artistic Director
Martin Lodish Managing Director
Artistic & Production Staff
Todd Brian Backus Literary Manager
Jacob Coombs Associate Technical Director
Ted Gallant Technical Director
Myles C. Hatch Stage Manager
Meg Lydon Stage Manager
Elliot Nye Props Master
Mary Lana Rice Production Manager & Lighting Supervisor
Seth Asa Sengel Asst. Production Manager & Sound Supervisor
Susan Thomas Costume Shop Manager
Administrative Staff
Paul Ainsworth Business Manager
Covey Crolius Development Director
Erin Elizabeth Marketing Director
Allison Fry Grants Coordinator
Aressa Goodrich Graphic Designer
Lindsey Higgins Development Associate
Jennifer London Company Manager, Apprentice Coordinator
Renee Myhaver Assistant Box Office Manager
Stacey Salotto-Cristobol Education Assistant
Donald Smith Audience Services Manager
Julianne Shea Education Administrator, Apprentice Coordinator
Michael Dix Thomas Education Director
Adam Thibodeau House Manager
Apprentice Company
Charlie Bowen Education Apprentice
Kevin Commander Stage Management Apprentice
Renata Cortés Costumes Apprentice
Sadie Goldstein Education Apprentice
Micki Demby Kleinman Directing & Dramaturgy Apprentice
Kimmarie McCrann Directing & Dramaturgy Apprentice
Larsen Nichols Directing & Dramaturgy Apprentice
Casey Pitts Company Management Apprentice
Jessica Podemski Costumes Apprentice
Sierra Riley Electrics Apprentice
Grάinne Sheehan Props Apprentice
Charlotte Teplitz Stage Management Apprentice