What the Constitution Means to Me

September 13 – October 1, 2023

WHERE THE ARTS TAKE CENTER STAGE As a VIP Platinum Sponsor, Syracuse University proudly supports Syracuse Stage, the creative arts and the theatre’s role as a cultural and educational resource for students and our community.

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syracuse.edu

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Br a v o t o Sy r a c u s e St a g e

for entertaining and enlighting our community w i t h o u t s t a n d i n g t h e a t e r, Ca t h e d r a l Ca n d l e Co m p a n y i s h o n o re d t o s u p p o r t your work.

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TA B L E O F C O N T E N T S 7 | Letter from the Artistic Director 8 | Note from the Director 11 | Title 12 | Taking Photos in the Theatre 13 | Cast & Credits 14 | 50th Anniversary Celebration 22 | Dramaturgical 30 | Cast & Artistic Team Bios 38 | Who We Are Land Acknowledgement Our Mission Our Vision Our Core Values Anti-Racism Pledge 39 | In the Community About Syracuse Stage 40 | Board of Trustees 41 | Emeritus Circle Education Advocacy Board Young Adult Council 42 | Corporate, Foundation & Government Sponsors 44 | 50th Anniversary Campaign Gifts Sponsors 45 | Individual, Corporate, Foundation, & Government Gifts 46 | In Honor of 50 | Planned Giving Matching Gift Program 52 | Staff

PROGRAM BOOK Editor: Matthew Nerber Advertising: Joanna Penalva Layout: Jonathan Hudak Cover Artwork: Brenna Merritt

What the Constitution Means to Me | Sep. 13 - Oct. 1, 2023 The Syracuse Stage program is produced six times a year.

For advertising rates and information contact Joanna Penalva at 315-443-2636. Printed by QMC Group.

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The Slutzker Family Foundation is proud to be the Presenting Sponsor for the 50th Anniversary Season, including What the Constitution Means to Me, a show that advocates for justice, equality, and compassion for all—just as Lillian did in her own life.

Born in Budapest, Hungary in 1917, Lillian Slutzker was a survivor.

After fleeing Nazi control for England, she met her husband at a USO dance and later returned to his hometown of Rome, New York.

She dedicated her life to bettering her community. The Foundation’s purpose is to carry on her incredible legacy and fulfill her passion for Judaism, education, the arts, and enriching the community.

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LET TER FROM THE ARTISTIC DIRECTOR

DEAR FRIENDS, Greetings! And welcome to the beginning of our 50th Anniversary Season! We’re so glad you’re here.

 ROBERT HUPP. PHOTO: BRENNA MERRITT.

Whether you’re joining us as a season subscriber, or you’re here for the first time seeing What the Constitution Means to Me, please know that you are an important part of our theatrical equation. Everything we produce is created especially for you, and for all those who make professional, non profit theatre a part of their lives in Central New York.

We believe that coming together in a darkened auditorium to experience great storytelling is a vital tonic to the increasing isolation of our everyday lives. When we first enter the theatre, it may be as a group of strangers.

But, when the lights come up after the final bow, we’re bonded together through the communal experience of this shared journey. It’s an experience you just can’t get anywhere else.

Thank you so much for joining us for What the Constitution Means to Me. We look forward to welcoming you back to your theatrical home throughout our 50th Anniversary celebration. Enjoy the show!

With warmest regards,

We’ve shared this journey with you and your families for five decades.

With your help and support, we’ll be telling stories for Central New Yorkers for many decades to come.

Robert Hupp Artistic Director

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FROM THE DIRECTOR Theatres and courtrooms have a lot in common. Everyone has a role, and stories compel us to witness the action. Story is how court cases are won, laws are passed, and beliefs are formed. I can’t think of a more appropriate place to talk about the Constitution than in a theatre. After all, anything can happen in a theatre! Heidi calls the Founders “magicians,” who wrote the Constitution as a “collective act of ethical visualization.” I love this description because it reminds us how old our Constitution is. We are still bound to a document written two hundred and thirty-three years ago. Ours is the oldest codified document on the planet.

The last time we made a change to it was in 1992. Social media didn’t exist before ‘92; Wi-Fi barely existed before then. Gloria Steinem once said, “Dreaming, after all, is a form of planning.”

And you, audience member, have decided to come to this theatre, on this night, and dream. What the Constitution Means to Me challenges us to check in with the present and ethically visualize the future. What kind of world are we leaving our children?

What kind of world are we going to age in? Are we satisfied with how things are, and if not, do we have a say in how things evolve?

The Founders thought we should. The preamble of the Constitution states, “We the People.” That is me. That is you. That is the person sitting in the row behind you. A courtroom or a theatre would have looked much different in 1787 than it does right

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 DIRECTOR MELISSA CRESPO.

now. But Heidi reminds us that that is why she loves Amendment 9 so much: “The enumeration in the Constitution, of certain rights, shall not be construed to deny or disparage others retained by the people.” She explains, “[Amendment 9] acknowledges that who we are now may not be who we will become. It leaves a little room…for the future self.”

Much like the United States, the theatre has changed a lot since it

first started. And that doesn’t even consider who was already here before it was formed. I can only hope that we remember to leave room for our future selves in a land of possibilities that we never imagined possible. Thank you for coming tonight. And thank you for continuing to go to the theatre. A place where everyone is welcome to dream.

– Melissa Crespo

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IN MEMORIAM

Rosemary S. Pooler June 21, 1938 – August 10, 2023 This production is lovingly dedicated to the memory of Judge Pooler, a true friend to Syracuse Stage. Our community is a better place because of her life’s work.

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PRESENTS

BY

Heidi Schreck D I R E C T E D BY

Melissa Crespo SCENIC DESIGNER

COSTUME DESIGNER

LIGHTING DESIGNER

SOUND DESIGNER

Ann Beyersdorfer

Carmen M. Martinez

Kathy A. Perkins

Jacqueline R. Herter

‡

‡

PRODUCTION S TAG E M A N AG E R

CAS T I N G

Stuart Plymesser*

Bass/Valle Casting

Robert Hupp

Jill A. Anderson

Melissa Crespo

Kyle Bass

Artistic Director

Managing Director

Associate Artistic Director

Resident Playwright

SEASON SPONSORS

MEDIA SPONSOR

PRESENTING SPONSOR

PAY-WHAT-YOU-WILL SPONSOR

COMMUNITY PARTNER

What the Constitution Means to Me is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. www.concordtheatricals.com Original Broadway production produced by Diana DiMenna, Aaron Glick, Matt Ross, Madeleine Foster Bersin, Myla Lerner, Jon Bierman, Jenna Segal, Catherine Markowitz, Jana Shea, Maley-StolbunSussman, Rebecca Gold, Jose Antonio Vargas, Level Forward Cornice Productions, Lassen Wyse, Balsam Nederlander Productions, Kate Lear. | What the Constitution Means to Me was commissioned by True Love Productions. | This production originated as part of Summerworks in June and July 2017, produced by Clubbed Thumb in partnership with True Love Productions. | West Coast premiere produced

by Berkeley Repertory Theatre, Berkeley, CA, Tony Taccone, Artistic Director, Susan Medak, Managing Director. | What the Constitution Means to Me had its off-Broadway premiere in New York City at New York Theatre Workshop, Jim Nicola, Artistic Director, Jeremy Blocker, Managing Director, 2018.

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TA K I N G P H O T O S I N T H E T H E AT R E Audience members may take photos in the theatre before and after the performance and during intermission. If you post photos on social media or elsewhere, you must credit the production's designers by including the names below.

Please note: Photos are strictly prohibited during the performance.

Photos of the stage are not permitted if an actor is present. Video and audio recording is not permitted at any time in the theatre.

SCENIC DESIGNER

COSTUME DESIGNER

Ann Beyersdorfer‡

Carmen M. Martinez

LIGHTING DESIGNER

SOUND DESIGNER

Kathy A. Perkins‡

Jacqueline R. Herter

V I D E O R E C O R D I N G I N T H E T H E AT R E

The videotaping or making of electronic or other audio and/or visual recordings of this production and distributing recordings or streams in any medium, including the internet, is strictly prohibited, a violation of the author(s)’s rights and actionable under United States copyright law. For more information, please visit: https://concordtheatricals.com/resources/protecting-artists

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CAST (in order of speaking)

Mel House*.................................................................Heidi Phillip Taratula*.................................................Legionnaire Emily Castillo-Langley†....................................The Student Malaika Wanjiku†.............................................The Student Please note, the role of The Student alternates between Emily Castillo-Langley and Malaika Wanjiku.

UNDERSTUDIES Understudies never substitute for the listed players unless a specific announcement is made at the time of performance.

For Heidi – Whitney Tenney Pak*

ADDITIONAL CREDITS Additional material by: Danny Wolohan Emotional Wellness Support Advocate: Adam Stevens Student Assistant Director: Eva Spaid† Student Assistant Scenic Designer: Luke Blumencranz† Student Assistant Costume Designer: Sofia Pizer† Student Assistant Sound Designer: Jay Korter† Production Assistant: Erin C Brett Stage Management Intern: Kevin Sene† Wardrobe & Wig Supervisor: Dylinn Andrew Electrician/Board Op: Travis Burt Sound Assistant: Garrett Frink

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. ‡Member of United Scenic Artists Local USA-829, IATSE. The Director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union. What the Constitution Means to Me is made possible by the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature. †Student, Syracuse University Department of Drama.

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volume 1

CELEBRATING

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A LOOK BACK AT SOME SYRACUSE STAGE “FIRSTS” This production of Heidi Schreck’s What the Constitution Means to Me, directed by associate artistic director Melissa Crespo, is the first show in a special season celebrating 50 years* of Syracuse Stage. It is an appropriate choice to mark this significant milestone. In March of 1974, when Syracuse Stage first opened its doors to patrons, founding artistic director Arthur Storch selected a double-bill of one-act plays to introduce the company: Clifford Odets’s leftleaning, pro-union Waiting for Lefty and Terrence McNally’s sex farce Noon. (There may be some patrons in attendance now who remember them.) As a “child of the 30s,” Storch embraced political and provocative theatre, and he wanted to signal his intentions for the new company from the start. Throughout his 18-year tenure, Storch would program a wide mix of comedies and dramas drawn from

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*There is a discrepancy between Stage’s 50th season and 50th year. Arthur Storch arrived in January of 1974, determined to mount a season as soon as possible. The first season opened in March of 1974 and presented just three productions. In essence it was a half season, but for Storch it was the first. The second season began in the fall of 1974 and concluded in the spring of 1975, establishing the calendar model for all subsequent seasons. If the first season is counted, then 2022 – 2023 (last season) was technically the 50th; that would be 50 seasons in 49 years. The current season, 2023 – 2024, would, in that calculation, be the 51st occurring in the 50th year.

Either way, 50 years or 51 seasons, let’s celebrate.

1985  RAUL ARANAS IN SHEPARD SETS: ANGEL CITY, BACK BOG BEAST BAIT, SUICIDE IN Bb. SEASON: 1984 – 1985.

DIRECTOR: GEORGE FERENCZ. PHOTO: SUSAN PIPER KUBLICK.

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I think what I am most proud of, as far as Syracuse Stage is concerned, is that we created a standard of quality that does not cater to the lowest common denominator. The bottom line has always been: This is the best play, and these are the best people. Not: This play will sell the most tickets.

- ARTHUR STORCH

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My choice of plays will be based on who I am and how I was brought up. You can’t leave the real world and step over the threshold when you go into the theatre.

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- TAZEWELL THOMPSON the classical, modern classic, and contemporary canons, and world premieres. Always though, he was willing to push the envelope artistically, politically, and socially. (Some in attendance now might remember, for instance, Damnée Mannon, Sacrée Sandra, Shepardsets, or 7 by Beckett.) The conviction that theatre could be entertainment and so much more mattered to Storch, as he expressed at the press conference announcing his retirement: “I think what I am most proud of, as far as Syracuse Stage is concerned, is that we created a standard of quality that does not cater to the lowest common denominator. The bottom line has always been: This is the best play, and these are the best people. Not: This play will sell the most tickets.”

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1993  IRMA P. HALL AS MADEAR, SUSAN

PAYNE AS VENNIE, CRYSTAL LAWS GREEN AS LOLA, BRENDA PRESSLEY AS MAYDEE, AND STEPHANIE SILVERMAN AS RAISA, IN CHERYL L. WEST’S JAR THE FLOOR. SEASON: 1992 – 1993. DIRECTOR: TAZEWELL THOMPSON. PHOTO: DOUGLAS WONDERS.

In the 50 years since Waiting for Lefty and Noon, some celebrated firsts bear noting. On November 13, 1980, the Archbold Theatre opened with Shakespeare’s The Comedy of Errors, directed by Storch and inaugurating “Syracuse Stage as we know it,” as former producing director Jim Clark put it. Like Storch before him, Tazewell Thompson signaled his artistic intent with his debut as artistic director in 1993, Cheryl L. West’s Jar the Floor. “My choice of plays will be based on who I am and how I was brought up. You can’t leave the real world and step over the threshold when you go into the theatre.”

For his debut as artistic director in 1997, Robert Moss chose Willy Russell’s Shirley Valentine, an intimate and quiet play that resonated with his

essential optimism, as he explained at the time: “It’s one of Bob’s rules.

Don’t waste your life. I think what this play says is: At any single moment in your life, you can reinvent your life. You can reinvent if you want to.

Sometimes it takes a herculean act of will, but, I mean, Shirley talks about how we’re given this life and we waste it, and so she resolves not to waste any more of it. So, I think it has an enormous amount to say and I’m very moved by it.”

Moss’s second season as artistic director coincided with Stage’s 25th anniversary. To open that season and begin the next 25 years, Moss selected A Few Good Men, written

by Department of Drama alumnus Aaron Sorkin ('83). In a program note, Sorkin wrote: “I’m proud of

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1997  LESLIE LYLES IN SHIRLEY VAL-

ENTINE BY WILLY RUSSELL. SEASON: 1996 – 1997. DIRECTOR: ROBERT MOSS. PHOTO: DOUGLAS WONDERS.

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It’s one of Bob’s rules. Don’t waste your life. I think what this play says is: At any single moment in your life, you can reinvent your life. You can reinvent if you want to. Sometimes it takes a herculean act of will, but, I mean, Shirley talks about how we’re given this life and we waste it, and so she resolves not to waste any more of it. So, I think it has an enormous amount to say and I’m very moved by it.

- ROBERT MOSS

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 WARNER MILLER AS LEVEE, DOUG ESKEW AS SLOW DRAG, EBONY JO-ANN AS MA RAINEY, AND CORTEZ NANCE AT CUTLER IN AUGUST WILSON’S MA RAINEY’S BLACK BOTTOM. SEASON: 2008 – 2009. DIRECTOR: TIMOTHY BOND. PHOTO: T. CHARLES ERICKSON.

These plays are about all our histories no matter what your cultural background. These plays speak to you as a human being.

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- TIMOTHY BOND my connection to Syracuse Stage and grateful for the experience, education, and fraternity that it’s given me. I’m reminded of that whenever I cross paths with actors and actresses who share its history. When Stephen Lang knocked me out in Death of a Salesman and Ed Genest knocked me out in Betrayal, it was beyond my wildest dreams that only a few years later they’d be knocking me out on Broadway in A Few Good Men. . . I’m honored that Bob Moss and Jim Clark have chosen my play to open the 25th anniversary season. It’s nice to be home.”

When it was Moss’s successor Timothy Bond’s turn to make his directorial debut, he chose August Wilson’s Ma Rainey’s Black Bottom. While never claiming close friendship with the esteemed

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2017  SETH ANDREW BRIDGES, CHAZ

ROSE, MATTHEW GREER, AND TRAVIS STATON-MARRERO IN SYRACUSE STAGE'S PRODUCTION OF THE THREE MUSKETEERS. PHOTO: MICHAEL DAVIS.

“

I’m drawn to epic plays: plays that have the sweep and scope of history, plays that are messy and a little dangerous, and with one wrong turn could spin out of control. And I love plays about passion and villains and true love. The Three Musketeers has all of that and more.

- ROBERT HUPP

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playwright, Bond and Wilson had been more than acquaintances and their paths frequently had crossed in Seattle and at the Oregon Shakespeare Festival, where Bond was an associate artistic director for eleven years prior to his appointment at Stage. (In July 2023, Bond was named the new artistic director of the Oregon Shakespeare Festival.) Bond arrived at Stage with a desire to produce the entirety of Wilson’s ten play Century Cycle, which traces Black life in America decade by decade through the 20th century. The Cycle ranks among the most significant achievements in American playwrighting. At the time, Stage had produced four plays in the Cycle: Fences, Jitney, The Piano Lesson, and Gem of the Ocean. In addition to Ma Rainey, Bond would direct new productions of Fences and The Piano Lesson as well as Radio Golf and Two Trains Running. “These plays are about all our histories no matter what your cultural background,” Bond said in an interview.

“These plays speak to you as a human being.”

Current artistic director Robert Hupp has directed two notable firsts, his Syracuse Stage debut, of course, and also, in October of 2021, the first live, in-person production as Stage reopened following the Covid-19 pandemic. For his directorial debut in September 2017, Hupp chose The Three Musketeers, a classic tale of swashbuckling adventure and intrigue that revealed his acumen as a consummate storyteller. “I’m drawn to epic plays: plays that have the sweep and scope of history, plays that are messy and a little dangerous, and with one wrong turn could spin out of control,” he explained at the time. “And I love plays about passion and villains and true love. The Three Musketeers has all of that and more.”

On one level, it seemed like a completely hairbrained idea to reopen Syracuse Stage with Jonathan Spector’s Eureka Day, a play that puts a dispute about vaccines front and center. But humor gave method to the seeming madness. While Spector presents thoughtfully and respectfully the concerns and arguments on both sides of the issue (in this case the vaccine is for mumps), Eureka Day is a comedy. As Hupp noted: “At its core, it is a funny and moving play about the conflict between personal choice and the greater good. This play, and this production, give us permission to laugh at the absurdity of the world around us and to wrestle with our own feelings about who gets to decide the thorny question of what’s right for our community.” In this light, then, Eureka Day was a perfect choice for reopening, and a play very much in the Syracuse Stage tradition, acknowledging what is and was going on in people’s lives outside the theatre, while in the theatre providing entertainment and perspective on those concerns.

With What the Constitution Means to Me, Hupp and Crespo kick off the next 50 years in great Syracuse Stage style.

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WHEN JUSTICE GINSBURG WAS IN THE HOUSE The late Justice Ruth Bader Ginsburg, who figures in this play, was an avid theatre fan. In an October 2020 Time Magazine interview with Andrew R. Chow, playwright and actor Heidi Schreck recalled the evening RBG saw the play in New York.

We all were speechless. Thursday Williams, one of our great debaters [who is featured in the final segment of the show], always had an RBG pencil tucked behind her ear when she performed. That night, she thought the audience was very out of control, making noises she hadn’t heard before. When we told her that Justice Ginsburg was in the audience, she collapsed to the floor. Justice Ginsburg then came backstage, which was delightful. She was sitting down and stood up to hug Thursday—I remember being incredibly moved by that.

She sent a nice letter to us afterward and asked us for a copy of the script. I told my stage manager I was nervous to send it to her, because I was sure she would find errors in it. He said, “Oh, Heidi, stop it. She doesn’t have time to read your play.

This is just a symbolic act.”

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“

When we told her that Justice Ginsburg was in the audience, she collapsed to the floor.

Justice Ginsburg then came backstage, which was delightful. She was sitting down and stood up to hug Thursday—I remember being incredibly moved by that.

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A few days later, I got a Fedex package that had a copy of one of the cases that I discussed flagged with some things to look at, and then a letter thanking me for the script and giving me two notes. One had to do with changing a piece of language from “would have” to “might have.” She wanted me to be more precise with my language.

The other one had to do with how to talk about the Equal Rights Amendment.

At the end of the play, a recording of Ginsburg plays. Why did you decide to include her voice?

Like many of us, I am so grateful to her for the work she did, both on the court and maybe especially as a lawyer. Starting in 1971, when she argued that the Equal Protection Clause ought to include equality based on sex or gender. Then the series of cases she brought in front of the

- HEIDI SCHRECK

Supreme Court that completely transformed my life and the lives of so many women in this country. Because of her, I can have a credit card, I can have property in my own name.

But also on a more personal note, I had been listening to her voice for 10 years: I’ve listened to hundreds of hours of Supreme Court cases online on Oyez. I really fell in love with her voice. Sometimes you listen to [Supreme Court recordings], it feels like the law can become really divorced from the lives of human beings. But whenever I heard her speak, both the things she was saying and the amount of feeling and emotion in her voice made me feel like she was holding space for the real human life at the center of the case at all times.

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PEACE, EQUITY, JUSTICE, AND THE POWER OF GOOD MINDS On October 4, 1988, Congress passed Concurrent Resolution 331 “to acknowledge the contribution of the Iroquois Confederacy of Nations to the development of the United States Constitution and to reaffirm the continuing government-togovernment relationship between Indian tribes and the United States established in the Constitution.”

Introduced in the House by Arizona Representative Morris K. Udall and supported in the Senate by Daniel Inouye of Hawaii, the Resolution was initiated by Oren Lyons, Faithkeeper of the Turtle Clan and a member of the Onondaga Indian Nation Council of Chiefs of the Six Nations of the Haudenosaunee and, at the time, a professor in American Studies and director of the Native American Studies program at the State University of New York at Buffalo. As Lyons told The New York Times in June of 1987, “If Americans are going to celebrate the [bi-centennial] anniversary of their Constitution, we figure we had better tell them where the idea came from.”

The Resolution also states: “. . . the confederation of the original Thirteen Colonies into one republic was influenced by the political system developed by the Iroquois Confederacy, as were many of the democratic principles which were incorporated into the Constitution itself.”

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 HIAWATHA WAMPUM BELT. ONONDAGANATION.ORG

“The system developed by the Iroquois Confederacy” referred to here is known as The Great Law of Peace, a treaty that united initially five nations—Mohawk, Oneida, Onondaga, Cayuga, and Seneca. In 1722, the Tuscarora moved from the Carolinas and were welcomed into the Confederation as the sixth nation. A provision of the treaty allowed any nation to join the Confederacy as long they agreed to abide by its laws.

As related in centuries old oral tradition, The Great Law of Peace originated when the Great Peace Maker (also known as Dekanawidah) travelled with the Onondaga Chief Hiawatha to the original five nations to

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We heartily recommend Union and a good Agreement between you our Brethren.

Never disagree, but preserve a strict Friendship for one another, and thereby you, as well as we, will become the stronger. Our wise Forefathers established Union and Amity between the Five Nations; this has made us formidable; this has given us great Weight and Authority with our neighboring Nations.

”

- CANASSATEGO

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find a means of ending warfare among them. Oren Lyons: “And the Peacemaker said, now I am going to instruct you on the process of how you will run your nations. How you will raise your chiefs. How you will raise your Clan Mothers. How you raise the Faithkeepers, and what are the duties and responsibilities of those people – and what are the principles of your government.

And the first principle was peace, the second was equity and justice, and the third one was the power of the good minds. And that’s great power, but it’s a collective power. It doesn’t work unless it’s together. Each nation maintained its own leadership, but they all agreed that common causes would be decided in the Grand Council of Chiefs. The concept was based on peace and consensus rather than fighting.”

There is no precise written record of the Confederacy’s founding. The famed Hiawatha Wampum Belt is a visual record of the creation, but the date of that event is subject to debate. The earliest, 1142, has long been accepted by the Haudenosaunee. Other suggested dates are 1200, 1390, and 1450; though imprecise, any of these would still place the Confederacy among the oldest, if not the oldest, participatory democracies in the world.

At the center of the Hiawatha Belt is the Confederacy’s symbol, the Great White Pine, also known as the Tree of Peace. The center figure also represents the Onondaga Nation where the central council fires reside – all issues involving the entire Confederacy are debated

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and decided there. The other Haudenosaunee nations are visualized as squares: on the outer edges are the Mohawks, guardians of the Eastern Door, and the Seneca, Keepers of the Western Door.

The Oneida and Cayuga are depicted in the two inner squares.

NEVER FALL OUT WITH ONE ANOTHER The Great Law of Peace did not provide an exact model for the U. S. Constitution. There are certainly similarities, broad and specific, that support an influential connection, though. In addition, there is documentation the likes of Benjamin Franklin, George Washington, Thomas Jefferson, James Madison, John Rutledge and many of the so-called Founding Fathers were well aware of the Haudenosaunee and their system of government.

In 1744, the Onondaga leader Canassatego gave a speech in Pennsylvania at the signing of the Treaty of Lancaster urging the contentious colonies to unite, as the Haudenosaunee had.

Later, Franklin published the speech, which in part stated: “We heartily recommend Union and a good Agreement between you our Brethren. Never disagree, but preserve a strict Friendship for one another, and thereby you, as well as we, will become the stronger.

Our wise Forefathers established Union and Amity between the Five Nations; this has made us formidable; this has given us great Weight and Authority with our neighboring Nations. We are a powerful Confederacy; and, by your

 COURTESY OF TERRI HANSEN, NATIVE VOICES.

observing the same Methods our wise Forefathers have taken, you will acquire fresh Strength and Power; therefore, whatever befalls you, never fall out one with another.” In a 1751 letter and as part of a Plan of Union proposed at the 1754 Albany Conference, Franklin again championed adopting aspects of the Great Law of Peace in an attempt to unify the colonies. He was unsuccessful but carried the ideas to the Continental Congress in 1776 and to the Constitutional Convention in 1787.

In essence, Canassatego proposed a kind of federalism whereby the individual nations of the Confederacy managed their own internal affairs without interference from the Grand Council, which bore responsibility for deciding issues of broader impact, such as warfare. “The Great Law codified some-

thing that was pretty fundamental to the Haudenosaunee culture, which was that people are autonomous individuals [women included] with the right to decide their own lives and that authority of the ruler over them was limited.

This is a really important part of U.S. culture today,” notes Charles C. Mann, author of 1491: New Revelations of the Americas Before Columbus.

While there are undeniable differences between the Great Law and the Constitution, both are framed—at least theoretically—by the principles of peace, equity, and justice. Moreover, specific provisions contained in each are quite similar. The journalist Terri Hansen notes this parallelism in the chart above – originally published in a blog associated with the PBS program Native Voices.

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WISDOM, REASON, EQUITY Since the Concurrent resolution passed in 1988, some historians have taken a disparaging view of the Haudenosaunee’s influence on the U.S. Constitution. The written record is thin and unconvincing. With a history reaching back to ancient Greece and Rome and Enlightenment thinkers like Locke, Rousseau, Montesquieu, and Voltaire, why would the colonists need to consult Native Americans? Why indeed.

One angle to consider comes from David Graeber and David Wengrow in their book The Dawn of Everything: A New History of Humanity in which they point out that if any model of “equality” existed in Europe at the time of the Enlightenment, it meant equality under a king, queen, or emperor, a situation the colonists were trying to rectify not emulate. They also make a compelling case that the ideas of equality so famously associated with Jean Jacques Rousseau very possibly originated with a Wendat thinker and philosopher named Kandiaronk. The Wendat Confederacy consisted of four nations, sometimes rivals of the Haudenosaunee, located mostly in what is now eastern Canada, north of New York and extending east through Nova Scotia and west to Lake Huron.

Through contact with French Jesuits and settlers, and a probable trip to the court of Louis XIV in 1691, Kandiaronk learned much about European society and became a staunch critic. His chief complaint was that European society, founded on the acquisition of private wealth and property, created inequality and impeded freedom. “I affirm that what you call money is the

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devil of devils; the tyrant of the French . . . money is the father of luxury, lasciviousness, intrigues, trickery, lies, betrayal, insincerity, –of all the world’s worst behavior . . . I have set forth the qualities that we Wendat believe ought to define humanity—wisdom, reason, equity . . . a man motivated by interest cannot be a man of reason.”

Kandiaronk’s critique circulated in Europe through a volume of published dialogues written by a French aristocrat Louis-Armand de Lom d’ Arce, Baron de la Hontan, or Lahontan as he became known. As a young man Lahontan served in the French army in Canada and eventually became deputy to the Governor General. The volume, Curious Dialogues with a Savage of Good Sense Who Has Travelled (1703), contained four dialogues between Lohontan and Kandiaronk, identified as Adario.

Graeber and Wengrow contend that Rousseau and other European intellectuals were familiar with Kandiaronk’s critique and point to Rousseau’s essay Discourse on the Origins of Social Inequality as one example of that influence: “You are lost if you forget that the fruits of the earth belong to everyone, and that the earth itself belongs to no one.” This certainly qualifies as a novel, if not radical, idea for an 18th century European thinker.

When Curious Dialogues . . . was published, Lahontan was accused of fabricating the conversations with Kandiaronk. They were the product of his own imagination and not the thoughts of some “savage.” Many scholars still support this contention, even though Lahontan denied it to the end of his

 THE GREAT SEAL OF THE UNITED STATES.

“

In his 1744 speech, Canassatego employed a metaphor using arrows. Drawing a single arrow, he snapped it in half demonstrating how easily it could be broken. He then drew five, which he could not break easily, showing the strength in unity enjoyed by the Five Nations.

life. Ownership of ideas, like the ownership of property, can have a power to divide.

In his 1744 speech, Canassatego employed a metaphor using arrows. Drawing a single arrow, he snapped it in half demonstrating how easily it could be broken. He then drew five, which he could not break easily, showing the strength in unity enjoyed by the

Five Nations. The great seal of the United States features an eagle clutching 13 arrows. We are better together. As Robin Wall Kimmerer advises in her must-read Braiding Sweetgrass: “Respect one another, support one another, bring your gift to the world and receive the gift of others, and there will be enough for all.”

–Joseph Whelan

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”

CAST Mel House (Heidi) is an actress, comedian and the writer/ creator behind Hot Angry Mom– a punk rock comedy series about a people-pleasing mom who must face her rage when a video of her epic meltdown goes viral. Hot Angry Mom won Best TV Pilot, Director, Ensemble Cast and Actress at NYC TV Fest, as well as awards in Germany, Canada, and Peru (www.hotangrymom.com). Recently Mel guest starred on FBI: Most Wanted as Leah Wilson, played Judy in The Curious Incident of the Dog in the Night-Time and toured internationally in Rome, Cagliari, Belgrade, Dublin, and NYC with The Baby Monitor– a new play about same-sex parenting. Mel has played iconic roles from Shakespeare to Ibsen, working off-Broadway, regionally, and internationally, as well as originating roles for the web, film, and TV. She is a proud member of the Actors Center Company, NYWIFT, SAG-AFTRA, AEA, and a Certified Teacher of Fitzmaurice Voicework® - www.melhouse.com.

Phillip Taratula (Legionnaire) is happy to return to the role of the Legionnaire, having understudied the part in the National Tour. Other theatre credits: Broadway: The Skin of Our Teeth (Lincoln Center). Off-B’way: Becomes a Woman (Mint Theater Co); Riddle of the Trilobites (New Victory). Also Taylor Mac’s The Lily’s Revenge (HERE); Woodshed Collective’s Empire Travel Agency, and understudying the role of Frosch in Die Fledermaus at the Metropolitan Opera. Regionally, he’s appeared at Two River Theater, Ordway, Tuacahn, Williamstown Theatre Festival, Gulfshore Playhouse, Portland Stage, Humana Festival, Huntington, and many others. TV/film credits: And Just Like That (MAX); Dr. Death (NBC/Peacock); High Maintenance (HBO); For Life (ABC); FBI (CBS); The Outs (Vimeo Originals); Almost Love. BFA, Boston University School of Theatre @ptaratula Emily Castillo-Langley (The Student) (she/her) is a junior musical theatre major at Syracuse University from Denton, Texas. She is so excited to be a part of her first show at Syracuse Stage! She has recently been seen as Ensemble/Swing in The REV Theatre Co’s production of Evita and as Vanessa/ Moms in the Syracuse University Department of Drama production of Dance Nation. Her other favorite credits include Little Women (Beth) and Bright Star (Lucy). She wants to thank her family for their support and hopes you enjoy the show! Instagram: @emilyclangley

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CAST Malaika Wanjiku (The Student) is a native Kenyan and is so thrilled to be a part of this project. Her favorite roles include Bruce/Hortensia in Matilda and Storyteller #4 in The Miraculous Journey of Edward Tulane (Syracuse Stage), Jacques in As You Like It, Penelope Pennywise in Urinetown, and Paulette in Legally Blonde. When she isn’t singing, acting, or dancing, she is probably playing golf, making eggs, or reading.

She is so excited to continue telling stories and she is so thankful for each and every person reading this. Enjoy the show! Instagram: @malaikawanjiku Whitney Tenney Pak (u/s Heidi) is an actor, director, and teaching artist based in Syracuse, NY, by way of Los Angeles, CA. She is associate artistic director of Circle Squared Collective, a theatre company creating new and devised work. Most recent projects include the virtual production This Land, an exploration of the 2020 election created bi-coastally using interviews from voters all over the country. In 2014, she trained with Tectonic Theatre Project (The Laramie Project) in their system of devising, Moment Work, and has collaborated to produce multiple shows using this method of creating new work in the years since. Recent work in CNY includes The High Cost of Heating (The 2022 Cold Read Festival at Syracuse Stage), Home for The Holidays (Syracuse Stage), and Shakespeare in Love (Central New York Playhouse). She is thrilled to be a part of this wonderful team bringing What the Constitution Means to Me to life, and honored to work with dear friends and colleagues.

ARTISTIC TEAM Ann Beyersdorfer (Scenic Designer) is a NYC-based set designer for theatre, opera and television. Ann is also a proud Syracuse University Drama almuna (‘14) and is thrilled to be back designing at Syracuse Stage after most recently designing Yoga Play for their 48th season. TV Design Credits: Saturday Night Live (art director of the Film Unit, NBC), Matt Rogers: Have You Heard of Christmas (production designer, Showtime), Vir Das: Landing (production designer, Netflix). Broadway Associate Design Credits: Company, Ink, Jitney, The Children, and Anastasia (first national tour and international productions).

Select Regional and off-Broadway set design credits include: The Muny (West Side Story, Beauty and the Beast, Camelot), The Alliance Theatre (Knead), Maltz Jupiter Theatre (Beautiful, upcoming), Geva Theatre, Irish Repertory Theatre, Lincoln Center (Carmen), The Hudson Theatre (Afterglow - LA Drama Critics Circle Award Winner, and The Dodgers), Flint Repertory Theatre, 59E59, The-

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ARTISTIC TEAM ater Row. Additional Associate Design: Samson et Dalila (The Metropolitan Opera), PHISH New Year’s Eve Concert ‘17/’18 (Madison Square Garden), and an immersive touring production of Peter Pan in China (Broadway Asia).

Ann is an adjunct professor at Fordham University in their Theatre Department, a Live Design/LDI 30 Under 30 recipient (2018), and is a proud member of USA Local 829. www.annbeyersdorfer.com @annbeyersdorfer Carmen M. Martinez (Costume Designer) is an assistant professor and the program coordinator of the theater design and technology program in the Syracuse University Department of Drama, where she teaches costume and scenic design. Among her credits in Syracuse are: Red Riding Hood (upcoming), Push, Pull, Together, Apart (Syracuse Stage Theatre for the Very Young), and the last four Syracuse Stage Bank of America Children’s Tours (The Miraculous Journey of Edward Tulane, The Girl Who Swallowed A Cactus, Danny King of The Basement, Suzette Who Set To Sea). Prior to Syracuse, Martinez lived in New York City, where she founded and ran her own studio, all of the things, making and designing everything from small costume pieces to fully realized productions. Among her clients were Katy Perry (2017 Metropolitan Museum of Art Costume Institute Gala performance), Lisa Lampanelli (Stuffed), and several theaters and performance spaces in the city (Atlantic Theater, the Cherry Lane Theater, the Park Avenue Armory). Her design credits include The Wild Party (Syracuse University Department of Drama), James and The Giant Peach (Atlantic Theater), and King Lear (Cherry Lane Theater). Before focusing on theater, Martinez worked as a graphic designer at both the Museum of Modern Art (MoMA) and the Metropolitan Museum of Art in New York City. Martinez’s focus is in storytelling, color, and the ways in which all artforms interconnect and relate to each other. YSD ‘14, RISD ‘08.

Kathy A. Perkins (Lighting Designer) has designed lighting for Broadway, off-Broadway, and regional theatres such as American Conservatory Theatre, Arena Stage, Berkeley Repertory, Seattle Repertory, St. Louis Black Repertory, Alliance, Goodman, Steppenwolf, Baltimore Center Stage, Alabama Shakespeare Festival, New Federal Theatre, Mark Taper, Yale Repertory, Actors Theatre of Louisville, Two River Theater, People’s Light, and Playmakers Repertory. As a scholar, she is the editor of seven anthologies focusing on women both nationally and internationally and was a senior editor of the Routledge Companion to African American Theatre and Performance. Kathy has traveled to nearly fifty countries as both designer and lecturer and is the recipient of numerous research and design awards, including Ford Foundation, Fulbright, the Henry Hewes Design Award and an NAACP Image Award. She received the 2021 United States Institute for Theatre Technology (USITT) Distinguished Achievement Award for both Education and Lighting Design. In 1995, Kathy co-curated ONSTAGE: A Century of African

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ARTISTIC TEAM American Stage Design at New York’s Lincoln Center. In 2016 she served as theatre consultant for the Smithsonian National Museum of African American History and Culture inaugural exhibition Taking the Stage. In 2007 she was inducted into the College of Fellows of the American Theatre. She received her BFA from Howard University and her M.F.A. from the University of Michigan. Kathy is faculty Emerita at the University of Illinois at UrbanaChampaign and the University of North Carolina at Chapel Hill.

Jacqueline R. Herter (Sound Designer) has served as resident sound designer at Syracuse Stage and Syracuse University Department of Drama since 1997. She shifted and combined theatrical design with video/film design for the 20/21 season. Herter has designed for Indiana Repertory Theatre, Studio Arena, the Wilma, Geva, Round House, Shakespeare Santa Cruz, Virginia Stage, and the Hangar Theater as well as other theatres across the nation. Some favorite designs have been: Annapurna, Beauty and the Beast, Next to Normal, Mary Poppins, Nine, Hairspray, The Overwhelming, Caroline, or Change, The Miracle Worker, The Wolves, The Day Room, The Christians, Radio Golf, Parade, The Diary of Anne Frank, The Lieutenant of Inishmore, Red Noses, The Real Thing, Hedwig and the Angry Inch, M. Butterfly, A Raisin in the Sun, A Lesson Before Dying, Copenhagen, Who’s Afraid of Virginia Woolf?, Inherit the Wind, and Big River.

Stuart Plymesser (Production Stage Manager) is in his 28th season at Syracuse Stage where he has stage managed over 100 plays, musicals, and special events, working with such talents as Jason Alexander, Olympia Dukakis, Frank Langella, Elizabeth Franz, and Phylicia Rashad. Stuart has worked at numerous regional theatres around the country and in Cape Town, South Africa, and has toured nationally. Locally, he has also stage managed events for Syracuse Fashion Week. In addition, Stuart is adjunct faculty for the Syracuse University Department of Drama and has been a guest speaker/lecturer for Ithaca College, Wells College, SUNY Oswego, SUNY Fredonia, and the Zabalaza Festival in Cape Town. Outside of theatre, Stuart holds the rank of Nidan (second degree black belt) in Aikido and the title of Fukoshidoin (assistant instructor) at Aikido of Central New York. Stuart is a proud member of Actors’ Equity Association, the union of professional actors and stage managers.

Bass/Valle Casting (Casting) formerly Harriet Bass Casting, is a leading NYC boutique casting office. To know more about their upcoming projects and casting philosophy please visit www.bassvallecasting.com. Harriet Bass has cast for ABC/TV, Fox Television Studios, The Public Theatre: NEW WORK NOW, The Minetta Lane Theatre, The Women’s Project, La MaMa E.T.C., New York Women in Film and Television, and The Jewish Repertory Theatre. She has cast the last three of the late August Wilson’s ten part play series: the original Radio Golf, Broadway Gem of the Ocean, and off-Broadway Jitney. Harriet is

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ARTISTIC TEAM also a leading educator in audition technique, side and monologue coaching, and the business of acting. She has taught at the nation’s top universities and professional training programs. Gama Valle is a director, playwright, screenwriter, children’s book author, and casting director. His casting credits include: The American Tradition, The Great Novel, Split Second, I Wanna Fuck Like Romeo and Juliet, among others. He is a proud member of New Light Theatre Ensemble and the recipient of the Van Lier Directing Fellowship at Repertorio Español. Gama received the First Prize in playwriting from Puerto Rico’s Institute of Culture for his play Queishd&Dilit. Their regional casting credits include: Mark Taper Forum, Hartford Stage, Arena Stage, Trinity Rep, San Jose Rep, Geva, Syracuse Stage, Pittsburgh Public, Merrimack Rep, Longwharf Theatre, Alliance Theatre, The Goodman Theatre, Kansas City Rep, Baltimore Center Stage, Huntington Theatre Company, Virginia Stage Company, Dallas Theatre Company, Berkeley Rep, Portland Center Stage, and Actors Theatre of Louisville. Feature films credits include: Pushing Hands directed by Ang Lee, Underheat, starring Lee Grant, First We Take Manhattan, produced by Golden Harvest Inc., and Graves End, directed by Sal Stabile.

P L AY W R I G H T Heidi Schreck is a writer and performer living in Brooklyn. Her critically acclaimed, award-winning play What the Constitution Means to Me played an extended, sold-out run on Broadway in 2019, and was nominated for two Tony Awards. It had subsequent sold-out runs at the Kennedy Center in Washington D.C., as well as at the Mark Taper Forum in Los Angeles. A filmed version of What the Constitution Means to Me, starring Schreck, premiered in 2020 on Amazon Prime Video, and was nominated for a Critics Choice Award, a PGA Award, and a DGA Award. What the Constitution Means to Me was named Best of the Year by The New York Times, The Los Angeles Times, the Chicago Tribune, Time Magazine, The Hollywood Reporter, The New Yorker and more; NPR named it one of the “50 Great Pop Culture Moments” of 2019.

Schreck’s other plays Grand Concourse, Creature and There Are No More Big Secrets have been produced all over the country and she has worked as a stage actor in NYC for almost 20 years. Her screenwriting credits include I Love Dick, Billions, Nurse Jackie and shows in development with Amazon Studios, Big Beach, Imagine Television and A24. As both an actor and writer she is the recipient of three Obie Awards, a Drama Desk Award, and a Theatre World Award, as well as the Horton Foote Playwriting Award and the Hull-Warriner Award from the Dramatists Guild. She was named one of Fast Company’s Most Creative People in Business in 2019 and was featured on Variety’s 2019 Broadway Impact List. Schreck was awarded Smithsonian magazine’s 2019 American Ingenuity Award for her work in the Performing Arts.

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DIRECTOR/ASSOCIATE ARTISTIC DIRECTOR Melissa Crespo (she/her) has made a career of developing new plays, musicals, and opera around the country and abroad. She recently directed the world premiere of Bees and Honey by Guadalís Del Carmen off-Broadway at MCC Theater. Other favorite past credits include, Espejos: Clean

by Christine Quintana (Hartford Stage & Syracuse Stage), form of a girl unknown by Charly Evon Simpson (Salt Lake Acting Company), and ¡Figaro! (90210) (The Duke on 42nd Street). As a playwright, her play Egress, co-written with Sarah Saltwick, had a world premiere at Amphibian Stage and won the Roe Green Award for Outstanding Achievement in Playwriting at Cleveland Playhouse. As a producer, she is one of the Founding Editors of 3Views on Theater, an online publication conceived by The Lillys.

Fellowships and residencies include: Time Warner Fellow (WP Theatre), Usual Suspect (NYTW), The Director’s Project (Drama League), Van Lier Directing Fellow (Second Stage Theatre), and the Allen Lee Hughes Directing Fellow (Arena Stage). Melissa received her M.F.A. in directing from The New School for Drama and she is currently the associate artistic director of Syracuse Stage. https://www.melissacrespo.com ARTISTIC DIRECTOR Robert Hupp is in his eighth season as artistic director of Syracuse Stage. He recently directed Our Town, The Play That Goes Wrong, Eureka Day, Annapurna, Talley’s Folly, Amadeus, Noises Off, Next to Normal, and The Three Musketeers for Stage. Prior to coming to Central New York, Robert spent seventeen seasons as the producing artistic director of Arkansas Repertory Theatre in Little Rock. He directed over 30 productions for Arkansas Rep ranging from Hamlet to Les Miserables to The Grapes of Wrath. In New York City, Robert directed the American premieres of Glyn Maxwell’s The Lifeblood and Wolfpit for the Phoenix Theatre Ensemble. He also served for nine seasons as the artistic director of the Obie Award-winning Jean Cocteau Repertory. At the Cocteau, Robert’s directing credits include works by Buchner, Wilder, Cocteau, Shaw, Wedekind and the premieres of the Bentley/Milhaud version of Brecht’s Mother Courage and Her Children, Seamus Heaney’s The Cure at Troy, and Eduardo de Filippo’s Napoli Millionaria. He has held faculty positions at Pennsylvania’s Dickinson College and, in Arkansas, at the University of Arkansas at Little Rock and Hendrix College. Robert served as vice president of the Board of Directors of the Theatre Communications Group and has served on funding panels for the New York State Council on the Arts, National Endowment for the Arts, the Theatre Communications Group, the New Jersey State Council of the Arts,

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ARTISTIC DIRECTOR and the New York City Department of Cultural Affairs. While in Arkansas, Robert was named both Non-Profit Executive of the Year by the Arkansas Business Publishing Group, and Individual Artist of the Year by the Arkansas Arts Council. He and his wife Clea ride herd over a blended family of five children, one dog, and two cats.

MANAGING DIRECTOR Jill A. Anderson has served as managing director of Syracuse Stage since 2016. Jill is responsible for Stage’s more than $8 million operating budget and has oversight of fundraising, marketing, and operational matters within the organization. Prior to joining Stage, Jill spent a decade as general manager at the Eugene O’Neill Theater Center in Waterford, CT. During her tenure, the O’Neill completed a $7 million capital campaign and campus expansion, doubled its operating budget, and was honored with the National Medal of Arts and a Regional Theatre Tony Award.

Under the O’Neill’s aegis, Jill also developed the Baltic Playwrights Conference, an annual international new play development retreat held in Hiiumaa, Estonia. Previously, Jill spent five years in the production office at Washington, D.C.’s Arena Stage, after working as a stage manager in Minnesota, New Mexico, and Massachusetts. In addition to her work at Stage, Jill is an instructor in the theater management program of the Syracuse University Department of Drama, building on her work with high school and college students elsewhere, including at the Kennedy Center American College Theater Festival. Jill has been recognized as part of the Central NY Business Journal’s “40 Under Forty” and serves on numerous municipal and non-profit boards. Jill is delighted to call Central New York home, but will always be a proud cheesehead, originally hailing from Marshfield, Wisconsin.

R E S I D E N T P L AY W R I G H T Kyle Bass is the author of Tender Rain, which premiered at Syracuse Stage last season, and Possessing Harriet, which premiered at Syracuse Stage, was subsequently produced at Franklin Stage Company, at the East Lynne Theater Company, will be produced by HartBeat Ensemble (CT) this October, and is published by Standing Stone Books. salt/ city/blues was produced at Syracuse Stage in the 21/22 season, and Citizen James, or The Young Man Without a Country, about a young James Baldwin, was commissioned by Syracuse Stage and has streamed nationally since 2021

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R E S I D E N T P L AY W R I G H T and has been optioned for an international feature-length film. Kyle’s play Toliver & Wakeman was commissioned by Franklin Stage Company where it premiered this August. His libretto for Libba Cotten: Here This Day, an opera based on the life of American folk music legend Libba Cotten, was commissioned by The Society for New Music. With National Medal of Arts recipient Ping Chong, Kyle is the co-author of Cry for Peace: Voices from the Congo, which premiered at Syracuse Stage and was subsequently produced at La MaMa Experimental Theatre in New York. His other full-length plays include Baldwin vs. Buckley: The Faith of Our Fathers, which has been presented at Cornell University, Colgate University, the University of Delaware, and Syracuse University, and Separated, a documentary theatre piece about student military veterans at Syracuse University, which was presented at Syracuse Stage and the Paley Center in New York, and Leeboe & Sons. He has also been commissioned by Theatre Nohgaku and is the co-author of the original screenplay for the film Day of Days (Broad Green Pictures, 2017). Kyle is a three-time recipient of the New York Foundation for the Arts Fellowship (fiction in 1998, playwriting in 2010, screenwriting in 2022), a finalist for the Princess Grace Playwriting Award, and a Pushcart Prize nominee. As dramaturg, he has collaborated with acclaimed visual artist and MacArthur “Genius” Fellow Carrie Mae Weems and was the script consultant on Thoughts of a Colored Man, which premiered at Syracuse Stage in 2019 and opened on Broadway in 2021. His plays, screenplays, and other writings have appeared in the journals Callaloo and Stone Canoe, among others, and in the anthology Alchemy of the Word: Writers Talk about Writing. Kyle is an assistant professor in the Department of Theater at Colgate University, where he was previously the 2019 Burke Endowed Chair for Regional Studies. Previously, he was faculty in the M.F.A. creative writing program at Goddard College, and has taught at Syracuse University, and at Hobart & William Smith Colleges. Kyle was the Susan P. Stroman Visiting Playwright at the University of Delaware and the Flournoy Visiting Playwright at Washington & Lee University. He holds an M.F.A. in playwriting from Goddard College, is a proud member of the Dramatists Guild of America and is represented by the Barbara Hogenson Agency. A descendant of African people enslaved in New England and the American South, Kyle resides and writes in Upstate New York where his family has lived free and owned land for nearly 225 years.

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WHO WE ARE Syracuse Stage is the non-profit, professional theatre company in residence at Syracuse University. We are nationally recognized for creating stimulating theatrical work that engages Central New York, and for our significant contribution to the artistic life of Syracuse University, where we are a vital partner in achieving the educational mission of the University’s Department of Drama.

LAND ACKNOWLEDGEMENT Syracuse Stage respectfully acknowledges the Onondaga Nation, Firekeepers of the Haudenosaunee, the Indigenous people on whose ancestral lands we now stand.

OUR MISSION Syracuse Stage tells stories that engage, entertain, and inspire us to see life beyond our own experience.

OUR VISION Reimagining what's possible for regional theatre–through active inclusion, innovative outreach, and bold productions–Syracuse Stage shapes the culture and social vitality of Central New York, enriches the Syracuse University student experience, and fosters change in ourselves, our communities, and our world.

O U R C O R E VA L U E S People - Actively including diverse individuals, communities, ideas, and perspectives.

Passion - Commitment to integrity, excellence, and enthusiasm in our work.

Curiosity - Fostering an innovative and adaptive environment that elicits wonder.

ANTI-RACISM PLEDGE Syracuse Stage stands firmly against racism and discrimination. We pledge to stand with under-represented and oppressed communities and to advance antiracism in all aspects of our work, including the outward facing, public dimension of our creative endeavors and the less visible internal practices of the organization.

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IN THE COMMUNITY Stage has collaborated with a myriad of institutions in the Syracuse area. Community partners include 100 Black Men of Syracuse, AccessCNY, ARC of Onondaga, ARISE, ArtRage, CNY Reads, Interfaith Works of Central New York, La Casita, McMahon/Ryan Child Advocacy Center, Onondaga Historical Association, Rosamond Gifford Zoo at Burnet Park, SUNY Upstate Medical University, the VA Medical Center, and Vera House. Additionally, the educational department collaborates with many CNY schools.

A B O U T S Y R A C U S E S TA G E Originally constructed as the Regent Movie House in 1914, the physical space of Syracuse Stage has seen many films, musicians, actors, and artists pass through its doors over the course of the past century. The Syracuse Stage that exists today is a non-for-profit professional theatre company founded in 1974, and a longstanding League of Resident Theatres (LORT) member. Since its inception, Stage has produced over 350 shows, both plays and musicals, within its walls. Now, Stage produces six to seven shows per season, while also offering educational programs to students, various pre- and post-show events, and fundraising events each year. Stage is Central New York’s only LORT theatre and one of the largest performing arts organizations in the area. Stage has a strong commitment to giving the community access to a range of high-quality productions; it is equally committed to bringing in actors, designers, and directors who are among the leading theatre professionals, both locally and across the nation.

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S Y R A C U S E S TA G E B O A R D O F T R U S T E E S CHAIR

Rocco Mangano Partner Mangano Law Office, PLLC PRESIDENT

Herman R. Frazier* Senior Deputy Athletics Director Syracuse University CHAIR-ELECT/VICE CHAIR

Richard Driscoll Sr. Commercial Banking Relationship Manager Commercial Banking Division NBT Bank TREASURER

Brett Padgett* Senior Vice President and Chief Financial Officer Syracuse University SECRETARY

Sharon Sullivan Community Volunteer AT-LARGE EXECUTIVE COMMITTEE MEMBER

Phil Turner Pastor Bethany Baptist Church Jill A. Anderson** Managing Director Syracuse Stage Janet Audunson Assistant General Counsel National Grid

Denise Dyce Associate Vice President of Labor and Employee Relations Syracuse University Colleen A. Gaetano Retired- Vice President Global Education & Artistry Estée Lauder Companies, NYC

Jacki Goldberg Community Volunteer

Molly Mulvihill Sr. Relationship Manager Global Commercial Banking Bank of America

Bea González Retired - Vice President for Community Engagement Syracuse University Nancy Green Managing Member Edward S. Green & Associates Larry Harris EVP and CFO Saab, Inc.

Fran Nichols Retired - Mower, Inc. Mona Paradis Stadium International Trucks Virginia Parker Retired - Educator Molly Ryan Partner, Goldberg Segalla LLP

Robert Hupp** Artistic Director Syracuse Stage

Robert Sarason Retired - Lawyer, Organizer, Fundraiser

Cydney Johnson* Vice President for Community Engagement and Government Relations Syracuse University

Melvin T. Stith Dean Emeritus, Whitman School of Management Syracuse University

Nancy Byrne Community Volunteer

Kathy Kelly Retired - Health Educator, PNP

Dr. Ruth Chen* Professor of Practice Syracuse University College of Engineering and Computer Science

Larry Leatherman Retired - Bristol-Myers Squibb, MOST

Richard Driscoll Sr. Commercial Banking Relationship Manager Commercial Banking Division NBT Bank

Suzanne McAuliffe Retired - Educator Rod McDonald Bond, Schoeneck & King

Barbara Beckos Retired - Syracuse Stage

Robin Curtis NYS Lic. RE Asso. Broker Hunt Real Estate ERA Zellar Homes Rep.

Julia Martin Partner Bousquet Holstein

Helene Gold Private Voice & Piano Instructor

Rebecca Karpoff* Professor of Practice, Musical Theater/Coordinator of Vocal Instruction, Musical Theater Syracuse University Department of Drama

George S. Bain Freelance Editor and Writer

Anthony Malavenda Retired - Duke’s Root Control

Cora Thomas Radio Host and Office Manager, WAER Michael S. Tick* Dean, College of Visual and Performing Arts Syracuse University Dr. Amy Tucker Chief Medical Officer SUNY Upstate Medical University Andrea Waldman Community Volunteer

Dan Lent Vice President Citizens Bank

Maryam Al-Hindi Wasmund Chief Financial Officer Filtertech Inc.

Rob Lentz EVP of Enterprise Operations Zeta Global

Ralph Zito** Chair Syracuse University Department of Drama

Maria Lesinski Attorney Newman and Lickstein

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*University Trustee **Ex-Officio

S Y R A C U S E S TA G E E M E R I T U S C I R C L E We are grateful to the following individuals who have served as Members of the Stage Board of Trustees and continue to support Syracuse Stage at the Circle level.

Jim Breuer Mary Beth Carmen Joan Green Elizabeth Hartnett

John Huhtala Margaret Martin Kevin McAuliffe Eric Mower

Judy Mower Michael Shende Jack Webb Michael Zoanetti

SYRACUSE STAGE EDUCATION ADVOCACY BOARD Sara Bambino

Elizabeth Defurio

Linda Ponza

CICERO-NORTH SYRACUSE

NOTTINGHAM HIGH SCHOOL

SOLVAY HIGH SCHOOL

David Fisselbrand

Jennifer Sabatino

AUBURN HIGH SCHOOL

CATO-MERIDIAN MIDDLE SCHOOL

HIGH SCHOOL

Todd Benware CHRISTIAN BROTHERS ACADEMY

Melissa Morgan

Jordan Berger

BAKER HIGH SCHOOL

JAMESVILLE-DEWITT HIGH SCHOOL

Matthew Phillips

Rhiannon Berry

JAMESVILLE-DEWITT HIGH SCHOOL

LIVERPOOL HIGH SCHOOL

Y O U N G A D U LT C O U N C I L Paige Blair

Beatrix Karn

Octavia Miller

CAZENOVIA HIGH SCHOOL

CAZENOVIA HIGH SCHOOL

FAYETTEVILLE-MANLIUS HIGH SCHOOL

Sadie Broderick

Sophia Kelly

EAST SYRACUSE MINOA CENTRAL HIGH SCHOOL

CATO MERIDIAN JUNIOR-SENIOR HIGH SCHOOL

Emma Brushell

Stephanie Kelly

Francesca Smith

OCM BOCES: INNOVATION TECH

CHRISTIAN BROTHERS ACADEMY

BISHOP GRIMES JR./SR. HIGH SCHOOL

Finnegan Coons

Margot Klein

G. RAY BODLEY HIGH SCHOOL

CHARLES W. BAKER HIGH SCHOOL

Ella Culligan

Tessa Komar

LIVERPOOL HIGH SCHOOL

FAYETTEVILLE-MANLIUS HIGH SCHOOL

Joliette Doyle TULLY JUNIOR SENIOR HIGH SCHOOL

Kate Fennessy AUBURN HIGH SCHOOL

Claire Foran EAST SYRACUSE MINOA CENTRAL HIGH SCHOOL

Kennedy Hilton FAYETTEVILLE-MANLIUS HIGH SCHOOL

Ava Schneider LIVERPOOL HIGH SCHOOL

Caleb Smith MANLIUS PEBBLE HILL SCHOOL

Abbie Sundet PAUL V. MOORE HIGH SCHOOL

Rei Korthas

Zariah Taylor

HOMESCHOOLED

JAMESVILLE-DEWITT HIGH SCHOOL

Madison Macomber

David Warne Peters

EAST SYRACUSE MINOA CENTRAL HIGH SCHOOL

CORCORAN HIGH SCHOOL

Zoie Markowski SOLVAY HIGH SCHOOL

Minerva Miller FAYETTEVILLE-MANLIUS HIGH SCHOOL

Mira Jensen CORCORAN HIGH SCHOOL

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Rebecca Wheeler HOMESCHOOLED

Sophia Zogby CATO MERIDIAN JUNIOR-SENIOR HIGH SCHOOL

SYRACUSE STAGE ANNUAL FUND GIFTS Syracuse Stage depends on the generosity of contributions from individuals, corporations, businesses, foundations, and government agencies. It is with much gratitude that we recognize the following donors to our annual campaign. For information regarding levels of contribution and benefits of each please contact the Development office at 315-443-3931 or visit syracusestage.org.

CORPORATE, FOUNDATION, AND GOVERNMENT SPONSORS

Richard Mather Fund

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CORPORATE, FOUNDATION, AND GOVERNMENT SPONSORS

Contributions listed above are current as of August 30, 2023 and reflect operating support of $5,000+ and in-kind donations of $10,000+.

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50 TH ANNIVERSARY CAMPAIGN GIFTS George Bain Helen Beale Nicholas & Louanne Colaneri Kevin & Kristin Curtis Roger & Naomi DeMuth

Carole Farfaglia Jacki & Michael Goldberg Amy Kaufmann Sweeney Jill Ladd Linda Loomis Gail Mitchell

David Rankert Slutzker Family Foundation John & Jamie Sutphen Estate of George Wallerstein & Julie Lutz

As of August 30, 2023. Donor list reflects gifts made over the past 12 months.

SPONSORS

The Dorothy and Marshall M. Reisman Foundation is proud to be a sponsor of the arts in Central New York. We recognize the deep importance live theatre plays in shaping the cultural and social vitality of our community. In these challenging times, theatre brings us together to be inspired and celebrate the richness of the human experience. We are delighted to continue to support Syracuse Stage and this very special production of What the Constitution Means to Me.

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INDIVIDUAL, CORPORATE, FOUNDATION, & GOVERNMENT GIFTS New and increased gifts this season will be matched by The Richard Mather Fund. $100,000+ Nancy & William Byrne The Dorothy & Marshall M. Reisman Foundation Syracuse University $50,000 - $99,999 Advance Media New York CNY Arts, Inc. NY State Council on the Arts (NYSCA) Onondaga County City of Syracuse Arts & Culture Recovery Fund Program The Shubert Foundation $20,000 - $49,999 George Bain iHeart Radio M&T Bank Richard Mather Fund National Endowment for the Arts $10,000 - $19,999 Bank of America Cathedral Candle Company Central New York Community Foundation Jacki & Michael Goldberg Nancy Green & Tony Marschall Elizabeth Hartnett JKW Foundation JP Morgan Chase Rocco & Roberta Mangano NBT Bancorp Inc. News Channel 9 Sharon Sullivan & Paul Phillips The John Ben Snow Foundation & Memorial Trust WRVO $5,000 - $9,999 Jim & Juli Boeheim Foundation Bousquet Holstein PLLC Richard Bunce Dr. Ruth Chen & Chancellor Kent Syverud

Cumulus Radio Dramatists Guild Foundation Peggy & Dana Dudarchik The Estate of Mary Louise Dunn Neil & Helene Gold Larry & Ann Harris Hayner Hoyt Corporation J.M. McDonald Foundation Larry & Mary Leatherman Tony Malavenda & Martine Burat Kevin & Suzanne McAuliffe Eric & Judy Mower Sally Lou & Fran Nichols National Grid Virginia Parker Joel Potash & Sandra Hurd Raymour & Flanigan Furniture Theatre Development Fund Tompkins Trust Company Vanguard Charitable WAER Wegmans $3,500 - $4,999 Ashley McGraw Architects The Benz Family Kathleen Bice Brine Wells, LLC & Marriott Downtown Syracuse Pete & Mary Beth Carmen Roger & Naomi DeMuth Ernst & Young, LLP Julia & Lee Martin Selma Radin Melvin & Patricia Stith Kathy Kelly & Len Weiner $1,800 - $3,499 Janet Audunson & David Youlen Barbara Beckos & Art McDonald Bond, Schoeneck, & King Attorneys Constance Bull

Craig & Kathy Byrum James Clark & Sharon Gordon The Estate of William Clark Jr. CNY Latino Bob & Bobbie Constable Robin Curtis Barbara Davis Edward & Susan Downing Dick & Therese Driscoll Melvin & Mildred Eggers Family Charitable Foundation Excellus BlueCross BlueShield Michael & Barbara Flintrop Herman Frazier & Caroline Beal The Rosamond Gifford Foundation Peterson Guadagnolo Consulting Engineers Deborah & Samuel Haines David & Sally Hootnick John & Kimberly Huhtala Robert & Clea Hupp Randy & Elizabeth Kalish Leslie Kohman & Jeffrey Smith LeChase Construction Daniel & Ann Lent Skip Lentz & Anne Russ Walter & Elizabeth Merriam Anne Morford Molly & Kevin Mulvihill Claire Myers-Usiatynski Brett & Jeannie Padgett Mona & John Paradis Judge Rosemary Pooler Michael & Rissa Ratner Molly Ryan & Tim Byrnes Robert Sarason & Jane Burkhead Richard & Margaret Shirtz Sharye Skinner Sam & Carolyn Spalding Deirdre Stam Raymond & Linda Straub Douglas Sutherland & Nancy Kramer

As of August 30, 2023. Donor list reflects gifts made over the past 12 months.

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Cynthia Sutton Theatre Communications Group Michael & Cathy Tick Dr. Amy Tucker Joshua & Andrea Waldman $1,200 - $1,799 James & Nancy Asher Debbie & Candido Bermudez Donald Blair & Nancy Dock Francine Boutet Jim & Cathy Breuer Ana Díaz-Diez & Javier Maymi-Perez Frank and Frances Revoir Foundation Fox 68 Bea Gonzalez & Michael Leonard Dorothy & Lawrence Gordon Dennis & Judi Hebert Heritage Masonry Restoration, Inc. Cydney Johnson & Jeff Comanici Kevin & Jessica Kopko Rod & Jana McDonald David Rankert James Shults John Steigerwald IV John & Jamie Sutphen Jack & Linda Webb Larry & Glenda Wetzel Michael & Laurie Zoanetti $600 - $1,199 Gutherie & Louise Birkhead Thomas & Susan Brett Kevin & Jackie Bryans Amy & Tom Clark Jerilyn Costich Mark Cywilko & Marianne Moosbrugger Lewis & Elaine Dubroff Carole Farfaglia Allen & Anita Frank David Heisig & Donna Mahar Joyce Day Homan Richard & Margaret Ingraham Steven & Elaine Jacobs

Richard Jaeger Charles Martin & Johanna Keller John & Maren King Douglas Kinnetz & Laura Livingston Bob & Pat Lebel James MacKillop Albert Marshall Susan Martineau John & Elizabeth McKinnell John & Joan Nicholson Sally O'Herin David & Janice Panasci Edward & Lois Schroeder Gracia Sears Joe Silberlicht & Sandra Fenske Angela Winfield & Lance Lyons John & Mitzi Wolf $300 - $599 Chris Arnold Timothy Atseff & Margaret Ogden Andrew & Margot Baxter Edward & Angela Bernat Carrie Berse & Chris Skeval William & Beatrice Blake Angel Broadnax Ted Brown Gary & Kathleen Bruno Paul & Linda Cohen Molly & Travis Corley Anita Cottrell Richard Cross & Kathryn Davis Susan Crossett George Curry William & Elizabeth Elkins Richard Ernst Linda Fabian & Dennis Goodrich Maggie & Jake Feldmeier Thomas Ferrara Kenneth & Kathleen Freer Gasparini Sales, Inc. Elijah Gebers William & Ann Griffith Baird & Sarah Hansen David & Ellen Hardy Daniel & Julia Harris Joseph & Paula Himmelsbach Donna & Joseph Hipius

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In Honor of Contributions have been made to Syracuse Stage to honor someone, celebrate a special occasion, or offer an expression of sympathy in memory of a loved one.

Warren Abrahams in memory of Ruth Smulyan.

James Aiello in memory of Pamela Johnson.

Badger State Civic Fund in memory of Hal & Ruth Smulyan.

The Bermudez & Guido Families in honor of the marriage of Candice Bermudez & Joseph Guido.

Gus and Susan Birkhead in memory of Ruth Smulyan.

Louise Birkhead in memory of Ruth Smulyan.

Ana Díaz-Diez & Javier Maymi-Perez dedicated to the memory of Pedro Díaz-Molina.

John Eng-Wong & Priscilla Angelo in memory of Ruth Smulyan.

The Farfaglia Family in memory of Edward J Farfaglia.

Leila Ann Finkelstein in memory of Ruth Smulyan beloved wife, mother, grandmother, and friend.

Margaret Gelfuso in memory of Peter Scheibe.

Briann Greenfield in memory of Ruth Smulyan.

Peter & Mary Huntington Peter & Diana Johnson Rowena Jones Marjorie T. Julian Diane King Earl & Trudy Kletsky Liz Kolodney Brian & Susan Lison George & Roseann Lorefice Scott & Marlene Macfarlane John & Candace Marsellus Mary Ellen McDonald Michael & Patricia McGrath James & Elizabeth Megna Don Milmore David & Beth Mitchell Marty & Millie Newshan Doren Norfleet Margaret O'Brien David & Susan Palen Robert & Teresa Parke Paolo Pastore Mickey & Pat Piscitelli Susan Plemons Scott Reinhart Terry & Monica Richmond Jennifer Roberts Diana Biro & Eric Rogers Nancy & Robert Russoniello Lowell Seifter & Sharon McAuliffe Jon Selzer & Thelma Trotty-Selzer Robert & Cheryl Shallish Geraldine Sheehan Beth & Tobias Sienel Joseph & Carolyn Smith George & Helene Starr H. Paul Steiner John & Anne Sveen Cora Thomas Holly Thuma James & Deborah Tifft Ann Tussing Joseph & Carole Valesky Peter Vanable & Anne Jamison Nancy Wadopian Robert & Anita Wagner Steven Wall & Wendy Burton Mark Watkins & Brenda Silverman Lynda Wheat

David & Daryll Wheeler John & Judy Winslow Deborah & Michael Zahn $150 - $299 James Aiello Robert & Jeanne Anderson Dianne Apter Al & Jane Arras Aminy Audi Frank Badagnani Holmes & Sarah M Bailey Rosemary Baker & Stuart Spiegel Nancy Barnum Jean Beers Sylvia Betcher William A Billingham Carl & Alice Borning Eric & Carol Boyer Mary Brady Dennis & Mary Anne Brady William & Mary Butler Andrea Calarco Joseph & Patricia Cambareri Ronald Capone Lexi Carlson & Sebastian Karcher Judith Carr Susan Chappuis Maureen Clark Joe & Nancy Clayton Allison Clifford Raymond Colton Elizabeth Cowan Peter Cronin Ann Cross Joyce Crossley Raymond W. Cummings, Jr. James Cusack CVS Linda Czerkies Judith Dannible Carol Decker Bill & Terry Delavan Rossybell Diaz Stephen & Emily DiMarco Linda & Alan Dolmatch Patricia Arcana & Thomas Dorr Elizabeth Drew & Joe Marusa David & Robin Drucker Mary Dunn Denise Dyce

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In Honor of (Continued

Gail S Hauss in memory of Ruth Smulyan.

Erin Horner in memory of Catherine Hennessy.

Marjorie T. Julian in honor of Ed Farfaglia.

Liz Kolodney in memory of Peggy Marshall.

Suzanne Lourie in memory of Ruth Smulyan.

Mark & Megan Morettini in honor of Francis O'Connor and Peter Ceravolo.

Claire Alison MyersUsiatynski in memory of Drs. Lawrence & Betty Jane Myers.

Anonymous In memory of Ruth Smulyan.

Judy Oplinger in memory of Tim Rice.

Anonymous in memory of Lorne Runge.

Gail Ruterman in honor of Ruth Smulyan.

Lois & Ted Schroeder in memory of Ruth Smulyan.

Marilyn Shelleman in memory of Ron Shelleman.

H. Paul Steiner in honor and memory of Fritz Parker.

Philip Syphrit in memory of Cat Hennessy.

Anonymous in memory of Genn and Ted Thuma.

Hon. Karen M. Uplinger in memory of John P. Copanas.

Karen & Eddie Eagan Elizabeth Etoll Cynthia Ferguson Marcia Finch Molly Carole Fitzpatrick Leonard Fonte Lois & Jill Fowler Kurt Frazier Elinor Freeman Allen & Nirelle Galson Claudia Gasiorowski Robert Geiger Margaret Gelfuso Ernest & Lynne Giraud Karen Goldman Bernice Gottschalk Andrea Graham Roger & Vicki Greenberg Thomas Greenwood Gregory & Elaine Hallett Judith Hand Ann Hartenstein Barbara Hayes Georgina Hegney Barbara & Ronald Hoffman Victor Jenkins Daniel & Rhea Jezer Emily Johnson & Vijay Ramachandran Philip & Judith Kaplan James & Jan Kaplan Robert & Christina Keim David & Noel Keith Amy Kemp Shelly Kempton Tim & Susan Kennedy Russell & Joan King Barry & Kathy Kogut Janice Kophen Lorraine LaDuke Robert & Lauren Lalley W & Nancy Lambright Andrea Latchem Bruce & Marilyn Laubacher Victor & Linda Lebedovych James LeGro Mark & Jeannette Levinsohn Bonnie Levy James Light John Limbeson Edward & Carol Lipson Mary Lombardo Linda Loomis John & Marian Loosmann Dan & Linda Lowengard John & Janet Mallan

Robert & Nancy Mandry Frederick & Virginia Marty Elizabeth Mascia Donyce & Kenneth McCluskey Margot McCormick Sam & Margaret McNaughton Clifford & Marjorie Mellor Diana Ingraham Milkovic Donna Miller Dr. Merrill L. Miller Daniel & Terry Miller Julian & Jennifer Modesti Janet Moore Joseph Moorman & Catherine Gerard Susan Moskal James & Kathleen Muldoon Alan & Rosalind Napier Richard & Barbara Natoli Aaron & Cosmina Nolan Jane Ondich Judy Oplinger John & Elizabeth O'Sullivan Joan & Lawrence Page Cathy Palm John & Robert Parsons Michael & Susan Petrosillo Jane Pickett Susan Pieczonka William & Merriette Pollard John & Dorothy Reiffenstein Steve Reiter & Annegret Schubert Todd Relyea Elaine Rubenstein John & Judy Sabene Richard & Jill Sargent Anita Schmidt-Kyanka George & Sharon Schmit William Schuyler Ruth Seaman Mike & Marilyn Sees Richard & Elizabeth Severance Roger & Nancy Sharp Marilyn Shelleman Dr Craig A Simmons Judith Smith Jeffrey Sneider & Gwen Kay Jonathan Solomon

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James Sonneborn Dirk & Carol Sonneborn Paul & Jean Soper Karl Crossman & John Steinburg Kathleen & Mark Sunheimer Victor & Diane Tice Charles Tremper Hon. Karen M. Uplinger William & Linda Veit Anthony & Martha Viglietta TJ & Meghan Vitale Susan Wadley Judith Waite Diane & Kathleen Waldon David & Mary Walsh Francis & Elaine Walter Donald & Martha Washburn Connie Webster David Whitman Fred & Karen Whitney George & Mrs Whitton Christopher & Renee Wiles Roger & Carolyn Williams Tina Winter Tom & Carol Wolff Mary Yurco $100 - $149 Jerrold & Harriet Abraham Kirill Abramov Kristi Andersen John Andrake Beatrice Angus Maxine & Keyhan Arjomand Rosanne Barbaglia Ronald & Susan Berger Janine Bernard Nicolina Bisson David Blair Barbara Blaszak Jeffrey & Kris Bogart Jon & Patricia Booth Bernard & Ona Cohn Bregman James & Joyce Bresnahan Bristol-Myers Squibb Foundation Robert & Helene Brophy Paul Brown & Susan Loevenguth Bob & Kathy Brown Lia & Dean Burrows Patricia Bush

John & Cynthia Cambareri Larry & Fran Campbell Thomas Carlin Delores Carney Marjorie Carter Emanuel & Cynthia Carter Christina Casella Charles Schwab Douglas & Diane Chilson Nancy Christy Nicholas & Louanne Colaneri Martha Cole Cheryl Cole John & Deloris Coleman Donna Coloton James Traver & Marguerite Conan William & Julia Consroe Mary Anne Corasaniti Tim & Margaret Creamer Tracy Cromp Stephanie Cross Christine Dascher Lynette & Ethan Davis Oran Day Peter Deblois Paula Dendis Patrick & Rebecca Devendorf Kate DiDonato Margrit Diehl Audrey Dolata Nick Doran Nathaniel & Karen Dunn Kathleen Effler Wynn Egginton Richard Ellison & Margaret Ksander Mark & Marci Erlebacher Lorraine Erlenback Daniel & Laura Feldman Jeffrey & Teresa Freedman Virginia Frey John Friedman & Polly Ann Heavenrich Judy Friedman Mary Gallagher William & Jean Gamble Mary Beth Gannon Norma Gawlowicz Claudia Gebhardt Deborah Gersony William Gray Paula & Louis Green Mark & Cynthia Dowd Greene Briann Greenfield

Seth & Lisa Greenky Charlotte Haas & Gary Quirk James Hahn Marcia Haines Nancy Hanna Ann & Richard Harris Gail Hauss David & Elizabeth Hayes Gordon Hayes Pamela & James Helmer Michael & Elizabeth Hennessy Karl & Mary Herba Kathleen Hinchman Howard & Linda Hollander Rachel Hopkins Erin Horner Michael Houseman Kathleen Howard Judy Huckle Michael Hungerford & Margaret Ryniker Marie & James Jewson Nancy FreeboroughKaczmar Michael & Audrey Kane Randy Karcher Marlene Kelly John & Gloria Kennedy Jean Kimber Steven Kulick Amanda Lee Dennis Lerner Maria Lesinski Michael & Jean Loftus Michelle Lonergan Susan & Gerald Lotierzo Jane Macan Gerald Mager Jon Maloff Mimi Mark Carol Marsella Emile Martin Karin Martinez Douglas & Randi Matousek John & Mary McCulley Wallace & Gayonne McDonald Philip & Martha McDowell Linda McKeown Timothy McLaughlin & Diane Cass Gail Meagher Andreas & Margaret Meier Eckart & Mary Meisterfeld

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Marcia Mele Marie Merrell David Michel & Peggy Liuzzi Thomas Miller & Mary MacBlane Diana Milock Jeffrey Minnerly Gail Mitchell Leslie & Barney Molldrem Robert & Barbara Moore Mark & Megan Morettini Bob Moss & Michael Brennan David & Janet Muir Janet Munro Wil Murtaugh & Bill Louer Tina Nabinger Katharine O'Connell Michael & Maggie O'Connor Bryan O'Quinn Edith Pennington & Lawrence Lardy James Perry Howard & Ann Port Kevin & Rachel Porter Duane & Karleen Preske Colleen Prossner Charles & Patricia Prutzman Steve & Kate Pynn YiWei Qi & Julie Yu Mary Rose Ranieri Jim Read Michael Riecke & Anthony McEachern Marybeth Riscica Bob Rose Nancy Machles Rothschild Linda & Bob Ryan Steven & Carla Salisbury Michael & Dawn Sam Roberta Savage Jennifer Scalione Jeffrey & Abby Scheer S Scott & Linda Tousey Kraemer Nancy Sharpe Ross & Janet Stefano Mark & Beth Steigerwald Susan Stred & Harold Husovsky Jennifer, Bridget & Audrey Stromer-Galley Calixto & Joyce Suarez Sharon Sutter Martha Sutter & David Ross

Kristin & Steve Swift Syracuse Mets Thomas & Carole Taylor James & Dolores Terzian David & Eileen Thompson John & Jean Tromans Phil & Janice Turner Earl & Karen Turner

Bob & Claudia Visalli Timothy & Nancy Volk Maryam Wasmund Ardyth Watson Paul Barron & Leah Weinberg Desiree Wight Alexander & Lola Winter Deborah Wood

Christopher Wratney Samuel & Robin Young Leslie Zaborsky Joyce Zadzilka Stephen & Patricia Zalewski Steven & Judith Zdep Loretta Zolkowski

PLANNED GIVING A planned gift is a way to make a significant and lasting gift to Syracuse Stage. By making a bequest to the theatre, you are assuring that Syracuse Stage will continue to inspire, stimulate, and entertain Central New York audiences for generations to come, as well as maintain its high artistic standards that are recognized locally, and nationally.

For more information about planned gifts contact: Ana Díaz-Diez, Director of Development 315-443-3931 or ajdiazdi@syr.edu Mary Louise Dunn Fund Dr. William J. Clark, Jr. Fund The Estate of Rosemary Curtis

In Honor and Memory of Sheldon P. Peterfreund and Josephine A Peterfreund

The J. Zimmeister-Yarwood Estate

MATCHING GIFT PROGRAM Many companies will match gifts of their employees, retirees, and spouses with a gift of their own to Syracuse Stage. Ask your personnel office for a matching gift form, send the completed form with your gift – and we’ll do the rest!

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T E WI H US!

T RA CEL

EB

Thank you to our sponsors!

PRESENTING

GOLD

JP Morgan Chase

Ernst & Young LLC Marriott Syracuse Downtown/ Brines Wells, LLC Mower Agency Ashley McGraw Architects, DPC

P L AT I N U M Jacki & Michael Goldberg Mangano Law Office PLLC Cathedral Candle Company Nancy Green & Tony Marschall Syracuse University Hayner Hoyt Corporation Dorothy and Marshall M. Reisman Foundation (Attending: David’s Refuge) National Grid Bousquet Holstein, PLLC Sharon Sullivan & Paul Phillips

S I LV E R Bond, Schoeneck, & King PLLC Peterson Guadagnolo Consulting Engineers, PC LeChase

BRONZE George S. Bain NBT Bank Bank of America

As of April 4, 2023

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S Y R A C U S E S TA G E S TA F F

Artistic Director.............................................................................................................Robert Hupp Managing Director.....................................................................................................Jill A. Anderson Associate Artistic Director............................................................................................Melissa Crespo Resident Playwright..............................................................................................................Kyle Bass

P R O D U C T I O N S TA F F

Director of Production Operations...........................................................................Don Buschmann Associate Director of Production Operations..........................................................Dianna Angell Company Manager and Production Management Associate......................................Brian Crotty Assistant Company Manager.....................................................................................Sarai Ford Production Office Intern............................................................................................Jack Lin† Technical Director..................................................................................................Randall Steffen Assistant Technical Director............................................................................Rebecca Schuetz Scene Shop Foreman...........................................................................................Michael King Technical Assistant...................................................................................................Liz Daurio Carpenters...............................................................................John Gamble, Brian McBurney Student Employee..........................................................................................Gray Westbrook† Scenic Charge Artist...................................................................................................Emily Holm Scenic Painters...........................................................................Jessica Culligan, Alexis Frizzell Props Supervisor............................................................................................................Mara Rich Assistant Prop Supervisor............................................................................Christine Goldman Craftpersons....................................................................................Alexis Frizzell, Nora Galley Costume Shop Manager..........................................................................Gretchen Darrow-Crotty Assistant Costume Shop Manager.....................................................................Amanda Moore Cutter-Draper...................................................................................................Kathryn Rauch First Hand.........................................................................................................Victoria Lillich Stitchers.......................................................................................Emily King, Katelyn Yonkers Craftsperson/Shopper.........................................................................................Sandra Knapp Wardrobe Supervisor.........................................................................................Dylinn Andrew Lighting and Projection Supervisor...............................................................................Jed Daniels Electricians/Board Operators.................................................................Travis Burt, Alex Malli Resident Sound Designer/Audio Engineer.....................................................Jacqueline R. Herter Audio Engineer...............................................................................................Kevin O’Connor Sound Engineer/A1..............................................................................................Garrett Frink Production Stage Manager....................................................................................Stuart Plymesser Stage Manager..............................................................................................Laura Jane Collins Production Assistants.........................................................................Erin C Brett, Em Piraino

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S Y R A C U S E S TA G E S TA F F

A D M I N I S T R AT I V E S TA F F

General Manager....................................................................................................Michael McCurdy Comptroller..............................................................................................Mary Kennett Morreale Associate General Manager...................................................................................Jacob G. Ellison Director of Information Management & Technology...................................Garrett Diaz-Wheeler Audience Services Manager.......................................................................................Korrie Taylor House Managers.............................Pat Condello, Ella Lafontant, Adam Secor, Donna Stuccio Bartenders.................................................................................Michelle Cannizzo, Meg Pusey Audience Services Intern.....................................................................................Yushan Deng† Director of Development.............................................................................................Ana Díaz-Diez Development Associate................................................................................Candice Bermudez Development Intern..............................................................................Jakobi Deshun Oliver† Director of Community Engagement............................................................................Joann Yarrow Community Engagement Intern.....................................................................Paige Kenneally† Director of Education.......................................................................................................Kate Laissle Community Engagement and Education Coordinator........................................Theorri London Education Interns.......................................Alethea Cicely Shirilan-Howlett†, Cricket Withall† Director of Marketing and Communications..............................................................Joanna Penalva Audience Development Manager.........................................................................Tracey White Creative Director, Marketing.............................................................................Brenna Merritt Marketing Content and Publications Manager................................................Matthew Nerber Box Office Manager.................................................................................Courtney Richardson Assistant Box Office Manager.....................................................................Ahmanee Simmons Box Office Show Supervisor...........................................................................Shynique Gainey Graphic Designer............................................................................................Jonathan Hudak Marketing Associate......................................................................................Talia Shenandoah Marketing Intern................................................................................................Mia Crisafulli† Box Office Intern....................................................................................................Ginger Bai† Executive Assistant............................................................................................................Julia Rakus Management Office Intern...............................................................................Megan Cooper† Sign Language Interpreters.....................................................................Brenda Brown, Sue Freeman Open Captioning.................................................Jacob G. Ellison, Michael McCurdy, Cynthia Reid Audio Description...................................................................................Kate Laissle, Joseph Whelan Community Services Officers.......................................................Stacey Emmons, Joseph O'Connor Custodians...........................................................................................Tony Rogers, Candace Velario Student, Syracuse University Department of Drama.

†

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Play a Role AT SYRACUSE STAGE!

Join the ensemble with an Annual Fund donation to help us make a difference through live theatre.

Your gift supports educational, artistic, accessibility, and community engagement programming which provides the Syracuse and Central New York Community a platform for connectivity and cohesiveness.

The advancement of diversity, equity, and inclusion is promoted through programs such as Sensory Friendly performances, Young Playwrights Festival, open captioning, and much more.

Photo: The 2022 Young Playwright's Festival Photographer: Candice A Bermudez

GIVE NOW AT SYRACUSESTAGE.ORG/SUPPORT

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50th

ANNIVERSARY

THE

315.443.3275 SYRACUSESTAGE.ORG

2023/2024 SEASON

WHAT THE CONSTITUTION MEANS TO ME

LADY DAY AT EMERSON’S BAR AND GRILL

A CHRISTMAS CAROL

By Heidi Schreck Directed by Melissa Crespo SEPT 13 - OCT 1, 2023 A Wholly Impactful and Timely Theatre Experience

By Lanie Robertson Musical Arrangements by Danny Holgate Directed by Jade King Carroll OCT 18 - NOV 5, 2023 Experience the Soulful Music of Billie Holiday

by Richard Hellesen and

Boundary-breaking show traces the relationship between four generations of women and the founding document that shaped their lives. Hilarious, hopeful, and honest!

“Every American should see this play!” – The Seattle Times

An intimate look at Billie Holiday’s life story told through the songs that made her famous.

“The richest jazz singing in town.” – The New York Times

By Charles Dickens | Adapted David DeBerry with music orchestration by Gregg Coffin | Directed by Melissa Rain Anderson | Featuring 2 Ring Circus | Co-Produced with the Syracuse University Department of Drama NOV 24 – DEC 31, 2023 The Greatest Ghost Story Ever Told!

Shines a light on the power of kindness and love in this uplifting tale of Mr. Scrooge and his journey to redemption. Share the season with the people you love!

“A beautiful, timeless message of generosity’s triumph over greed.” – Chicago Tribune

CLYDE’S

By Lynn Nottage | Directed by Chip Miller | Co-produced with Portland Center Stage JAN 31 - FEB 18, 2024 Feel Good Comic-Drama Takes a Shot at Redemption This masterful and delicious new ‘dramedy’ has it all – wit, heart, snappy dialogue, big surprises, and the search for the perfect sandwich – deeply felt, quirky, and urgent.

"An absolutely thrilling

experience. Laugh-out-loud funny!"

– The Hollywood Reporter

the beginning to the end.”

– BroadwayWorld

By Agatha Christie Adapted by Ken Ludwig Directed by Robert Hupp MAR 13 - 31, 2024 From the Undisputed Queen of Crime

Book by Enda Walsh | Music and Lyrics by Glen Hansard and Markéta Irglová | Based on the motion picture written and directed by John Carney Directed by Melissa Crespo MAY 1 - 19, 2024 Award-Winning Emotionally Captivating Musical

Wherever famed detective Poirot goes, murder is never far behind! An avalanche stops the famed Orient Express, and Poirot must solve the on-board murder before the killer strikes again!

The exuberant spirit of a lively pub session meets an out-of-theordinary love story in this irresistible musical based on the beloved indie film. Winner of 8 Tony Awards, including Best Musical.

“Glamourous and enthralling from

“Hearts soar and music shimmers in this deeply-felt, generous musical.” – The Guardian

AGATHA CHRISTIE’S MURDER ON THE ORIENT EXPRESS

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ONCE

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ADVERTISE HERE The Syracuse Stage program is published six times a year. For advertising rates and information contact Joanna Penalva at 315.443.2636, or jlpenalv@syr.edu

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THE ARTS

Donor-Advised Funds

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PATIENT One convenient CARE resource.

Let us assist you with your charitable giving.

RESEARCH ANIMAL RESCUE

COMMUNITY AND EDUCATION HEALTH WELL-BEING

If philanthropy is one of your priorities, establishing a donor-advised fund at the Upstate Foundation may be the next best step toward achieving your charitable goals.

A donor-advised fund can be established by an individual or company at the Foundation in order to disburse charitable gifts to qualified not-for-profit organizations. This includes, of course, Upstate Medical University as well as local and national nonprofits that are meaningful to you. Simplify your giving and enjoy the tax advantages of a donor-advised fund. www.UpstateFoundation.org/DAF | 315-464-4416 63

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