BY LORRAINE HANSBERRY
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4 ....................... ....................... The Production
5 ........................ ........................ The Company 13 .................... Directorâ€™s Letter
14 .......................... Dramaturgy
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19 .......................... Core Values
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A partnership production with UNC School of the Arts.
February 14- March 4
Preston Lane Founding Artistic Director
Richard Whi ngton Founding Managing Director
Written by Lorraine Hansberry Directed by Tiffany Nichole Greene Scenic Design by Nevena Prodanovic
Costume Design by Olivia Trees
Lighting Design by Miriam Nilofa Crowe§
Sound Design by Derek Graham
Choreographer Robin Gee◊
Resident Vocal Coach Chris ne Morris◊
Resident Fight Coach Jim Wren◊
Dramaturg Kamilah Bush◊
Casting by Cindi Rush Cas ng
Stage Manager Tara Kelly*
Production Sponsors Well*Spring and Zuraw Financial Advisors
“Raisin in the Sun, A” is presented by special arrangement with SAMUEL FRENCH, INC.
CAST (in order of appearance) Ruth Younger ....................................................................... Angela K Thomas* Travis Younger .............................................................................. Negus Selassie Walter Lee Younger ............................................................... Edward O’Blenis* Beneatha Younger .......................................................................... Anita Welch* Lena Younger .................................................................................. Karen Vicks* Joseph Asagai .............................................................................. Baraka Ongeri◊ George Murchison ............................................................... Josh C. Anderson◊ Bobo ......................................................................................... marcus d. harvey* Karl Lindner ................................................................................ Phillip Wright◊ Moving Man .................................................................................... Evan Mouton Moving Man ....................................................................... De’Ron Robertson◊
SETTING The Younger family’s apartment on Chicago’s South Side.
TIME Early 1950’s
The play is performed with a 15-minute intermission.
THE VIDEOTAPING OR MAKING OF ELECTRONIC OR OTHER AUDIO AND/OR VISUAL RECORDINGS OF THIS PRODUCTION OR DISTRIBUTING RECORDINGS ON ANY MEDIUM, INCLUDING THE INTERNET, IS STRICTLY PROHIBITED, A VIOLATION OF THE AUTHOR’S RIGHTS AND ACTIONABLE UNDER UNITED STATES COPYRIGHT LAW. FOR MORE INFORMATION, PLEASE VISIT: WWW.SAMUELFRENCH.COM/WHITEPAPER
Josh C. Anderson◊ (George Murchison) is delighted to return for his second production at Triad Stage. His roles include “Charlie Bucket” in Charlie and the Chocolate Factory (UNCG), “Quadell McCullom” in Actions and Objectives (Triad Stage), “Hero” in Father Comes Home From the Wars: Part One (UNCG), and “Jean Valjean” in Les Misérables (Temple Theatre). Josh is currently acquiring his BFA in Acting, and can often be found practicing gymnastics, playing the piano, and writing songs/poetry. marcus d. harvey* (Bobo) Triad Stage debut. Select credits: An American Dream (The Old Vic, London); In Darfur (WAM Theatre); Dreamgirls (The Theatre Company Hoboken); Fires in the Mirror (Silver Spring Stage); A Bright Room Called Day (Whitman Stage); baba: a black boys cry (TADA! Theatre); Eurydice (New Studio Theatre); Julius Caesar (New Studio Theatre). Film credits: Two Newspaper Men: An Untruthful Story, Collision. Writing credits: Are We Not Men?, baba: a black boy’s cry. Education: BA, UNC Chapel Hill; MA, NYU. Training: MFA in Acting, Brooklyn College. Learn more at themarcusdharvey.com | twitter @marcusdharvey Evan Mouton (Moving Man) is a junior Theater Major at North Carolina A&T with a concentration in Acting. He is honored to make his professional debut in Triad Stage’s A Raisin in The Sun. He has appeared in A&T’s productions of Amazing Grace and In the Red and Brown Water, and the RBH Players production of The Colored Museum as “Miss Raj.” He is a recent graduate of the British Academy of Dramatic Arts summer program. Edward O’Blenis* (Walter Lee Younger) Off-Broadway: Coriolanus, Uncle Vanya, Spring Awakenings, Hamlet, Home Affairs, Big Trouble in Little Hazard, Say you Love Satan, Planet Heart. Regional: Count, Intimate Apparel, Othello, A Midsummer Night’s Dream, The Old Settler, A Member of the Wedding, The Piano Lesson, The Birds, Richard the Second, The Two Gentleman of Verona, The Tempest, Twelfth Night, Fabulation’s, Informed Consent, Tamer of Horses, Lobby Hero, Hamlet, Clybourne Park. Television: Law & Order: SVU, Bill Nye the Science Guy. Film: Eden, Proud, On the Outs. Awards: A Fox Fellow Recipient. Memberships: Actors Center Workshop. Education: BFA, Cornish College of Arts; MFA, Yale School of Drama. Baraka Ongeri◊ (Joseph Asagai) Triad Stage debut. Educational: “Orlando” in As You Like It, “Haemon” in Antigone, and “Herald Loomis” in Joe Turner’s Come and Gone (UNCG). He also played “The Earthworm” in a touring production of James and The Giant Peach with the North Carolina Theatre for Young People. This past summer he traveled abroad to perform with The Prague Shakespeare Company as “Richard III”. Education: BFA Acting, UNCG; Prague Shakespeare Intensive, PSC.
De’Ron Robertson◊ (Moving Man) is a sophomore BFA Acting major at UNCG. This is his Triad Stage debut and he could not be more excited! His previous roles include “First Duke to Duke Senior” in As You Like It (UNCG) and “Keith Martin”, “Stanley K. Sheinbaum”, “Jay Woong Yang”, and “Katie Miller” in Twilight: Los Angeles 1992 (UNC Asheville). Negus Selassie (Travis Younger) is an active 12-year-old who loves trying new things, playing football and video games, and the outdoors. He is in the seventh grade at Kiser Middle School. His favorite subjects are reading and science. He is a member of the Meteorology Club. Negus has played football for the Greensboro Parks and Recreation Windsor Rams for three years. Negus is also a member of the Salvation Army Boys and Girls Club where he plays on the Hoops Council basketball team. Negus is excited and honored to make his theatrical debut in this award-winning play. Angela K Thomas* (Ruth Younger) Triad Stage debut. Off-Broadway: Sistas: The Musical (original cast). Regional: “Woman 1/Pattie Mae” in Home (ICT Theatre); “Michelle” in The Launch Prize (Bridge Repertory Theatre); “Janice” in The Fall of the House, “Ada” in Nobody (Alabama Shakespeare Festival); “Lincoln/Tribe” in Hair (Hangar Theatre); “Beneatha” in A Raisin in the Sun (Trinity Repertory Company); “Simone/Angel” in Before It Hits Home (Karamu Theatre); “Joanna Brown” in ‘Twas the Night (Theatresquared). TV: Scorpion, Criminal Minds, The Young and the Restless. Film: 96 Souls; NSFW. Education: Dillard University; Kent State University, B.A.; Brown University, M.F.A. Training: Larry Moss Studios. angelaKthomas.com | @aktor31 Karen Vicks* (Lena Younger) has performed in most every theatre in Philadelphia and has also performed on the west coast, in Atlanta, Boston, New York and the Baltimore/DC area. She was twice nominated for the Barrymore awards in Philadelphia as Best Actress, Best Supporting Actress and the first runner-up for Philly Critic’s Choice Award as Best Leading Actress. Karen has appeared on television in Comedy Central’s Broad City, the HBO series Veep and a recurring role in HBO’s The Wire. Her film credits include Cover, In Her Shoes, Ladder 49, Beloved, and Loving. Karen is the Executive Director of Ascension Galleries where she provides private coaching to professional actors. She also serves as an Adjunct Professor at Arcadia University, teaching Acting in TV and Film. Anita Welch* (Beneatha Younger) is most recognized for her media campaign with Clinique cosmetics. Film/TV: Stuck, CBS’s In The Spotlight, Fox’s Black Nativity, Funny or Die’s Nobirthatal. Select credits include For The Last Time (Hilda), for which she was nominated for a 2015 AULDUCO award; The Color Purple (Shug Avery) regional 7
premier at Arts Center of Coastal Carolina; national/international tour of Avenue Q (Gary Coleman). New York Theatre: Bubble Boy (original cast recording); Stuck (Eve). Regional: Tarzan (Kala); Dreamgirls (Effie White); Passing Strange (Edwina, Marianna, Sudabey); Ain’t Misbehavin’ (Charlayne). Graduate of The American Musical and Dramatic Academy. Client of Cyd Levin and Associates. www.anitawelch.com Phillip Wright◊ (Karl Lindner) Triad Stage: Masquerade, For Whom the Southern Belle Tolls. Local: A Bright New Boise (Paper Lantern Theatre). Educational: Spamalot, Hedda Gabler, Romeo and Juliet (UNCG).
ACTORS’ EQUITY ASSOCIATION Actors’ Equity Association (AEA) was founded in 1913 as the first of the American actor unions. Equity’s mission is to advance, promote and foster the art of live theatre as an essential component of our society. Today, Equity represents more than 40,000 actors, singers, dancers and stage managers working in hundreds of theatres across the United States. Equity members are dedicated to working in the theatre as a profession, upholding the highest artistic standards. Equity negotiates wages and working conditions and provides a wide range of benefits including health and pension plans for its members. Through its agreement with Equity, this theatre has committed to the fair treatment of the actors and stage managers employed in this production. AEA is a member of the AFL-CIO and is affiliated with FIA, an international organization of performing arts unions. For more information, visit www.actorsequity.org.
Tiffany Nichole Greene (Director) is a Dallas (and sometimes NYC)-based director and actor. She holds an MFA in Acting from Brown University/Trinity Rep and now works at the 2017 Tony Award-winning Dallas Theater Center as Regional Casting Director. Tiffany is an alum of both the Lincoln Center Directors Lab and Soho Rep Directors Lab. While Tiffany works on a great variety of plays at regional theatres and universities across the nation, she is dedicated to the development of new works and the play development process. Tiffany recently directed a highly successful production of a new play, Cannibal Galaxy: A Love Story at Xavier University. Upcoming director productions include Les Liaisons Dangereuses at Theater Three, Peter and the Starcatcher at Redhouse Arts Center, and Revolt. She Said. Revolt Again. at Second Thought Theatre. Nevena Prodanovic (Scenic Designer) Nevena is an artist from Serbia, with an MFA in Scenic Design from the UT Knoxville and an MA in Theatre and Film Scenography from Belgrade Academy of Applied Arts. Regional Scenic/Projection Design Credits: Peter and the Starcatcher (PD – Clarence Brown Theatre); Around the World in 80 Days (S&P Design – Clarence Brown Theatre); The Busy Body (SD – Carousel Theatre); The Open Hand (World Premiere/S&P Design – CBT Lab Theatre); 39 Steps (SD – Clarence Brown Theatre); A Shayna Maidel (SD – CBT Lab Theatre). Nevena has also worked with multiple international theatres and on several feature and student films. She was awarded first prize in the Graduate Scenic Design Competition and Ready to Work Award at SETC 2017. nevenaprodanovic.com 8
Olivia Trees (Costume Designer) Triad Stage: The Price. Regional: The Crucible (Clarence Brown Theatre); A Lesson Before Dying (Carousel Theatre); A Shayna Maidel (CBT Lab Theatre). Technical Work: The Juilliard School, Euroco Costumes (New York); Weston Playhouse; The Lost Colony. Awards: SETC Ready to Work Award from Triad Stage; First Place 2015 and 2016 SETC Graduate Costume Design. Education: MFA Costume Design, University of Tennessee-Knoxville; BA Theatre, Florida State University. oliviajtrees.com Miriam Nilofa Crowe§ (Lighting Designer) designs regularly for Grammy-winner Rosanne Cash (The River and The Thread), Ko-Ryo Dance and Lila Downs. Recent New York projects include 2Hymnvb (Anneke Hansen), Medea (Bryan Davidson Blue), SeagullMachine and home/sick (The Assembly), The Ragged Claws (Cherry Lane), Honky (Urban Stages), The Penalty (Apothetae), What It Means to Disappear Here (Ugly Rhino), Gorilla (SATC), RescYou (Eckert+Sorenson-Jolink) and Symphony for the Dance Floor (BAM). She is a founding member of Wingspace Theatrical Design. www.wingspace.com/miriam Derek Graham (Sound Designer) is a native of Jamaica, Queens, NY and is making his debut with Triad Stage this season. Over the years, Derek has worked on multiple productions as a sound designer, audio engineer, and composer, holding an M.F.A. in Sound Design from Ohio University’s School of Dance, Film, and Theater. Since obtaining his degree in 2015, he has designed sound for Dobama Theatre, North Street Playhouse, and Karamu House on An Octoroon, Edgar: I Nothing Am, and Believe in Cleveland, respectively. Derek’s previous sound design credits include Dauphin Island (World Premiere), Living the Dream: A Combat Concert, Gruesome Playground Injuries, and Crooked. He has also served as a sound design assistant on the world premieres of Family Album (Stew and Heidi Rodewald) and The Great Society (Robert Schenkkan) at the Oregon Shakespeare Festival (2014), and supervised sound for The Lost Colony (2015). Robin Gee◊ (Choreographer) Triad Stage: Fences. Associate Professor of Dance at UNCG. She has performed with Les Ballet Bagata, Maimouna Keita Dance Company, and the Cinque Folkloric Dance Company, where she served as Choreographer and Artistic Director for 15 years. Choreography: A Walk to Beautiful (Skirball Center for the Performing Arts); For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf; Death and the King’s Horseman; Evil Dead: The Musical; Alice (UNCG). She owns Sugarfoote Productions, a service organization that helps local audiences experience the richness of African and Diasporan cultural traditions. Education: MFA, Dance Choreography and Performance, Sarah Lawrence College. Christine Morris◊ (Resident Vocal Coach) At Triad Stage since 2006, where coaching has included dialects for The Glass Menagerie, Shipwrecked, Snow Queen, Dirty Blonde, Abundance and many others, and voice/text for All’s Well That Ends Well. Other coaching: A Thousand Clowns (starring Tom Selleck); Kudzu (with The Red Clay
Ramblers); and Sheridan’s The Critic at American Players Theatre in Wisconsin. Also an actor, she was most recently seen at Triad Stage as Dr. Mildred Grant in Actions and Objectives. Other roles at Triad include Silda Grauman in Other Desert Cities, Taw Avery in New Music: Better Days, Cordie Grindstaff in Providence Gap; Marthy Owen in Anna Christie and Mme. Pernelle in Tartuffe. This past summer she performed in the inaugural season of NC Summer Rep, doubling as Old Lady/Blair Daniels in Sunday in the Park with George. Christine is an Associate Professor of Theatre at UNCG and holds memberships in the Actors’ Equity Association, Screen Actors Guild, and Voice and Speech Trainers Association (VASTA). Jim Wren◊ (Resident Fight Choreographer) has staged the violence for over 30 Triad Stage productions, including the battles in Bloody Blackbeard, the fantastical fights in Brother Wolf (2006 and 2014), and the general behavior of the Lesters in Tobacco Road. Education: MFA, University of Florida. Jim is Performance Program Coordinator for the UNCG Department of Theatre, and is a two-time recipient of the Kennedy Center Gold Medallion for Excellence. Kamilah Bush◊ (Dramaturg & Artistic Apprentice) is a graduate of The University of North Carolina where she earned a BFA in Theatre Education. This is her second season with Triad Stage. She is also the new co-artistic director of Paper Lantern Theatre for Our Tomorrow. She grew up in Gastonia, NC and there she fostered her love for theatre. A Kennedy Center College Theatre Festival award-winning playwright, her play What. was produced by the Bennett Players at Bennett College and she was a finalist in the Quicksilver Playwrights of Color Summit 2017. Cindi Rush (Casting Director) New York: Silence! The Musical, My Mother’s Jewish Lesbian Wiccan Wedding (NYMF Winner 2010), Jay Alan Zimmerman’s Incredibly Deaf Musical, Bonnie and Clyde, Rooms, Jacques Brel, Six Dance Lessons, The Thing About Men, Urinetown, The Hurricane Katrina Comedy Festival. Regional: Penguin Rep, Triad Stage, Act II Playhouse, Arena Stage, Goodman, Humanafest. Film: Ghoul, The Woman (Top 9 Sundance 2011), In the Family, Offspring, Jack Ketchum’s The Girl Next Door, Headspace. Tours: “Barney”, “Curious George”, “Kidz Bop.” Tara Kelly* (Stage Manager) thinks it’s a dream to be in Greensboro and at Triad Stage working on A Raisin in the Sun. Selected credits: Mamma Mia!, A Night with Janis Joplin (Capital Rep); 42nd Street (Engeman Theater); Smokey Joe’s Café, Crowns, Always… Patsy Cline, A Chorus Line (Arkansas Rep); The Fantasticks, Damn Yankees, South Pacific (Allenberry Playhouse); Secret Garden (Stages St. Louis); Beauty and the Beast (Mountain Playhouse); Atlantic Theater Company; Maine State Music Theatre. “We’re all stories in the end… just make it a good one, eh?” – The Doctor. * Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States ◊ Faculty member, student or alumnus of the University of North Carolina at Greensboro §Member of USA (United Scenic Artists)
TRIAD STAGE’S CO-FOUNDERS Preston Lane (Triad Stage Founding Artistic Director) Preston grew up in the Blue Ridge mountains of North Carolina with Appalachian ancestry stretching all the way back to Tidence Lane, the first Baptist preacher in what would become Tennessee. His childhood dream was to live in a NC Piedmont city where he could hear trains and interact daily with such big city trappings as revolving doors and escalators. He frequently checked out recorded plays on albums from the old Watauga County Public Library and spent many afternoons listening to Marat/Sade, Who’s Afraid of Virginia Wolf, and A Streetcar Named Desire. His central conflict as a child was that on Saturday evenings his parents wanted to watch The Lawrence Welk Show and he wanted to watch Hee Haw. This conflict still dominates much of his work. Besides a brief fascination with being a dump truck driver, Preston never considered any other career than as a theater maker. He became aware of himself as an artist at UNCSA, developed a passion for visual storytelling at Yale School of Drama, and is deeply indebted to a long line of collaborative partners. He is also thankful for amazing teachers from Miriam Darnell, Sandra Daye, John Foster West, Yury Belov, Earle Gister, Barney Hammond, Lesley Hunt, Ming Cho Lee, Nick Martin and many many others. Preston is honored to pass on the tradition they entrusted to him to the next generation. Gerald Freedman took him under his wing and Richard Hamburger gave him his first real job and mentored him. He founded Triad Stage with Rich Whittington to explore how theater can engage with a community. He’s directed nearly 100 shows, written almost a dozen, and is an honorary citizen of Hawboro, NC. He believes that theater can make our community stronger by exploring stories that unite and challenge us. Preston is grateful to be a theater maker in North Carolina. Richard Whittington (Triad Stage Founding Managing Director) has served as Managing Director of Triad Stage since its inception. Rich earned an MFA in Theatre Management from the Yale School of Drama and has a BFA in Acting and Directing from Marymount Manhattan College. Rich served for nine years on the board of the NC Arts Council, where he participated as a member of the Executive Committee. He has previously served on the boards of ArtsNC and Downtown Greensboro, Inc. and has served on numerous grant panels. Rich has taught Theatre Management at Greensboro College and NC A&T University and has guest lectured at UNC Chapel Hill, UNC School of the Arts, Wake Forest University and UNCG. A native of Dallas, Texas, Rich served as Artistic Administrator for the Dallas Theater Center and Associate Producer of Dallas’ The Big D Festival of the Unexpected. His experience also includes work at the Roundabout Theatre in New York and StageWest in Springfield, Massachusetts. In 2010, Preston and Rich were honored with Downtown Greensboro, Inc.’s J. Edward Kitchen Leadership Award. In 2013, they received the Adelaide F. Holderness/H. Michael Weaver Award from UNCG for distinguished public service. Rich was a 2016 Artist in Residence at UNCG. 11
House Rules and Other Helpful Information •
Food and beverages purchased at the lobby bar are allowed inside the theater, but we ask that you are respectful of your fellow audience members and enjoy them quietly.
Smoking is strictly prohibited throughout the building.
Latecomers are seated at the discretion of the House Manager.
Personal electronic devices, including cellular phones, must be turned off prior to the performance.
Listening assistance devices are available at the Box Office.
Photographing or sound recording of the performance is expressly prohibited by law. So, no cameras or recorders, please. Your cooperation is appreciated.
For the enjoyment of all audience members, every attendee must have a ticket and sit in his or her own seat (no “babes in arms” or children in laps).
Thank you for respecting all Triad Stage facilities. If you have any questions, please ask the bartender, House Manager or a Box Office Associate for clarification.
Triad Stage is very proud of the name of our theater building — The Pyrle Theater — made possible by a generous donation by Tobee and Leonard Kaplan in honor of Tobee’s mother, Pyrle Gibson.
Pyrle Gibson (1909-2000) was a woman with a great sense of humor, who found goodness in all people and beauty in the world around her. Her family always came first in her life and with them she shared her love of theater, music and the thrill of sports. The theater is named for her in loving memory by the children, grandchildren and great-grandchildren of the Kaplan family with whom she shared her love, wisdom and joy of life. 12
t is an honor to be amongst the long line of directors to bring the journey of the Younger family to life. A Raisin in the Sun is a work that has been and will continue to be explored over and over again. I believe Lorraine Hansberry’s words draw such a universal audience time and again because she is specific. She does not take on the political and racial climate by bringing us into the institutions and structures that oppress and deny. She focuses her attention on the home. A place we all know and understand and love. She takes a fine needle and thread through the hearts, minds, souls, and desires of three generations, five dreamers and invites us into their most vulnerable and unheard spaces. The attention and detail she brings to a single family, a single dream, a single moment of bravery resounds through the souls of so many. I believe in using my artistry to expose. To allow us to see ourselves and each other. Perhaps there will be common ground. Perhaps we will be surprised by what we see. No play is past tense. Every play must be alive for the time that we engage in this shared experience. I pay homage to this particular story, this journey of these people not by leaning into nostalgia, mood, or memory, but by ripping it open and exposing the blood, sweat, tears, vibrations, dreams, struggles, fears, and joys that continue to run through the veins of a race of people living in a capitalist society whose roots are drowning in racism, prejudice, and inequality. A country systematically set up to make it harder for this race of people to achieve. This play takes place in the 1950’s, but this story is not past tense. This story is now. This is a play about family. That’s one of many reasons we can fall in love with the words over and over again. This work exists and thrives as an American family drama, perhaps first and foremost in the eyes of some. However, as a black woman, I am aware of the presence of restriction on every page. I live the dreams of my ancestors, but I am not blind to all of the inequalities that still exist. There are no victims in this play. I am not interested in a family of people who are weary and tired and struggling. This is not that family. They are bright, ambitious, hard-working, proud, and hungry to be seen. But they are bound. And the challenges they face are present and specific to a family of African-American people living in a white world. I only seek to expose the friction and the impossibilities we present one another with when we choose not to see each other. The way we would see ourselves.
Tiffany Nichole Greene
LORR AINE H ANSBERRY
Raisin in the Sun is a reminder of what can happen when we truly allow the theatre to be what it set out to be – a place where people can gather in reverence of the human experience and celebrate what it means to live a life. The ability to capture this great thing of which we are all in pursuit – to replicate what it feels like to fail and triumph and try – and to make it as specific to a certain group as possible without limiting other groups’ ability to be inspired and moved by it, is one that not all playwrights have. The incredibly gifted Lorraine Hansberry did. She was a revolutionary who understood what it meant to see the world around her and not only believe that it should be better, but demand that it be better and, more importantly, required herself and those around her to do something to make it better.
Langston Hughes, Jesse Owens and Paul Robeson. When Carl Sr. moved his family into an all White neighborhood in May 1938, they were met with resistance, violence and ultimately eviction. “...to put it mildly,” Lorraine later wrote, “it was a very hostile neighborhood”. This was highlighted by an incident wherein a mob of White folk threw a brick through the family’s window, narrowly missing 8-year-old Lorraine’s head. Carl Sr. was determined to protect the family’s right to remain in their home and fought the injunction filed by the Kenwood Improvement Association all the way to the United States Supreme Court. The landmark Hansberry v. Lee decision ruled restrictive covenants that would keep Black people out of White neighborhoods illegal. After leaving college in 1950, she moved to New York and joined Paul Robeson’s publication Freedom. There she became even more energized to help the cause of her race and contributed at least 22 articles ranging in topics from African politics to entertainment reviews. At Freedom she was also given extraordinary responsibilities for a woman in her early twenties. She became the youngest editor and even fulfilled international speaking engagements for Robeson after his passport was revoked by McCarthy Era Congress’
Her life was, from birth, devoted to making American society more equitable and just. Born 19 May, 1930 to Nanny Perry and Carl Augustus Hansberry Sr., a fairly wealthy businessman, Lorraine Vivian Hansberry was the youngest of four children. The Hansberrys’ South Side Chicago home was always host to important Black intellectuals and activists including Lorraine’s uncle, William Leo, who was an African American studies professor at Howard University, as well as W.E.B DuBois, 14
companies sprang up across the country between 1964 and 1974. In 1970, No Place to Be Somebody written by Charles Gordone became the first African American play to win a Pulitzer Prize. This would not have been possible without the contributions made to the American Theatre by a little Black girl from Chicago’s South Side.
House Un-American Activities Committee. Hansberry would go on to give speeches, and organize rallies and events, all geared to freedom and equality for all. She was not only concerned with resisting, she was interested in radicalizing, and she demanded all those around her to do the same. It was on the picket line that she met Robert Nemiroff, a young Jewish songwriter with a passion for social justice that equaled hers. Despite the fact that she was a lesbian, the couple’s shared interests brought them together and the two married on 20 June 1953 and settled in Greenwich Village. When in 1956, Nemiroff ’s song “Cindy, Oh Cindy”, recorded by Vince Martin and the Terriers reached the Top 40, Hansberry was able to quit her day jobs and focus solely on writing. She began writing a play called “The Crystal Stair”, which would eventually become A Raisin in the Sun.
Very near the end of her life, Lorraine Hansberry wrote: “Do I remain a revolutionary? Intellectually - without a doubt. But am I prepared to give my body to the struggle or even my comforts...” As this frightfully young woman, who was just 34, faced her own mortality she was determined to push her body to its limits to match her intellectual fervor for the cause of Civil Rights. Several months later, she would die of pancreatic cancer, leaving behind a legacy of the requirement of resistance for those of us who followed her. Though short, she had lived a life worth revering because through her work and her words she left a legacy that gives those of us who follow the courage to remain revolutionaries and to be reminded that more important than doubt in oneself is the duty one has as a citizen of this country to ensure that as many people as possible can exist in unquestionable freedom.
The success of A Raisin in the Sun, which opened in 1959, not only changed the fabric of American theatre, it shifted society as a whole. Hansberry became the youngest American and first Black woman to have a play produced on Broadway and the first Black person to win a Drama Critic’s Circle Award. Lorainne’s waypaving achievements bolstered Black American theatre in ways that no other writer’s work had ever done before. Over 600 Black theatre
Kamilah Bush, Artistic Apprentice 15
Below is an excerpt from Lorraine Hansberry’s Scars from the Ghetto speech printed in the February 1965 issue of Monthly Review: An Independent Socialist Magazine
o be imprisoned in the ghetto is at best to be forgotten, or at most to be deliberately cheated out of one’s birthright. Equipment, books, actual building space are all cut back on when it comes to the ghetto child. I cannot, also for instance, swim. The reason for this is that there was no pool in our grade school, and a very poorly equipped gymnasium. But here is the truly heart-breaking part. I am speaking of what was not then an old building. On the contrary, it was a relatively new and modern building. It had been built that way purposely without a pool and with inadequate facilities; its substandard quality had been planned from the drawing board. From its inception it had been earmarked as a ghetto school, a school for Negro children, and therefore one in which as many things as possible might be safely thought of as expendable. After all, that’s why the building was built, that’s why the ghetto itself was and is maintained, not to give education
but to withhold as much as possible, just as the ghetto exists not to give people homes but to keep them out of as much decent housing as possible. If one is really to speak of the hatefulness of the oppressive system under which Negroes live, then no matter how much one despairs when one confronts such facts, one must do so, for at this moment the paramount crime in the United States is the refusal of its ruling classes to admit or acknowledge in any way the real scope and scale and character of their oppression of Negroes. That oppression is not a random, helter-skelter, hit-or-miss matter of discrimination here and there against people who just happen to be a different color. It’s not that at all. It is, as that ruling class perfectly well knows, a highly concentrated, universal, and deliberate blanket of oppression pulled tightly and securely over 20 million citizens of this country.
This matter of admitting the true nature of a problem before setting about rectifying it, or even pretending to, is of utmost importance. It cannot only save a great deal of suffering on the part of Negroes, but it can also save considerable embarrassment on the part of the rulers of this nation, for that is what their present course is destined for—the gravest embarrassment.
condition for the better; and according to the rules of the game, they are designated by their co-players as civil rights champions and, depending on what is happening on a given day, they debate with one another on the best methods of stalling Negro demands for equality while appearing to be laboring on behalf of Negro equality. Naturally whenever Negroes assert that their situation is intolerable, these game-players point to the game which is going on and say that if those Negroes do not shut up they will stop playing altogether and reveal their true sentiments with regard to Negro freedom—which of course would be one of the healthiest things that could happen to this not-so-healthy country.
As we all know, there is something which we might call the “civil rights game” going on in this country, and it is being played right now in Washington. It is a game in which individuals, and indeed whole classes of individuals, who are in every way imaginable committed to the perpetuation of the oppression of Negroes, pretend for a whole variety of fashionable reasons that they are not. A portion of those who play this game go so far as to pretend that not only are they against the present condition of Negroes but they would like to alter that
Triad Stage began as a dream... Co-founders Preston Lane and Richard Whittington forged their artistic partnership as graduate students at the Yale School of Drama. After managing a theater in Connecticut for two years, they undertook the three-year task of opening their own theater in the heart of historic Greensboro. In September 1999, Triad Stage purchased the former Montgomery Ward building, which had been built in 1936 and sat vacant for almost 40 years. Renovations transformed the five-story building into a world-class theater center now called The Pyrle Theater, complete with a 300-seat theater and thrust stage, rehearsal hall, offices, two spacious lobbies and other audience amenities. Photo courtesy of Greensboro Historical Museum
The Grand Opening took place in January 2002 with Tennessee Williams’ modern classic Suddenly Last Summer.
In 2008, Triad Stage finished a second round of renovations to The Pyrle. A scene shop annex was added in the basement. The top floor underwent major construction to create the 90-seat UpStage Cabaret performance space, the Sloan Rehearsal Hall, and the studio and office facilities of WUNC Public Radio’s new Greensboro Bureau. In 2011, Triad Stage purchased a 30,000 square foot building near the Greensboro Coliseum Complex to serve as the theater’s new production facility, relocating its scene, costume and properties shops as well as its warehouse. In 2013, with significant support from The Arts Council of Winston-Salem and Forsyth County, Triad Stage announced a major expansion of programming to be produced at the Hanesbrands Theatre in downtown Winston-Salem.
The Pyrle Theater, Greensboro
Hanesbrands Theatre, Winston-Salem
Now in its 17th season, Triad Stage has over 3,000 Season Passholders and more than 700 annual donors. The company has received accolades on national, state and local levels, including being named “One of the 10 Most Promising Emerging Theatre Companies” by the American Theatre Wing and “One of the Best Regional Theaters in America” by the Drama League of New York. Triad Stage has been voted the Triad’s “Best Live Theater” by the readers of the News & Record’s GoTriad thirteen years in a row and named “Professional Theatre of the Year” by the North Carolina Theatre Conference in 2003 and 2011. Its production of Tobacco Road was listed among the “Best of 2007” by The Wall Street Journal, its production of The Glass Menagerie was named “Best North Carolina Production of 2010” by Triangle Arts & Entertainment, and 2012’s production of Reynolds Price’s New Music trilogy was named among the “Best Productions” of the year in Triangle Theatre by Independent Weekly. 18
CORE VALUES Triad Stage is guided by core values that inspire all aspects of our operations. These core values are a daily reminder to our entire company of why and how we produce theater for our community.
EXCELLENCE We strive for bold, daring excellence in all of our endeavors as we seek to create professional theater with regional and national impact.
ARTISTIC RISK Striving to constantly challenge ourselves, we reserve the right to take artistic risks and make mistakes.
IMAGINATION Triad Stage delights in the imaginative process. We uphold freedom of expression as indispensable to the power of imagination.
COMMUNITY As individuals are united in their shared experience of the theatrical event, strangers become friends, common ground is discovered, and dialogue begins. In imagining the lives of others, our capacity for empathy is strengthened.
LEARNING Theater is a valuable part of a lifetime of learning. Our work and the dialogue it creates should spark curiosity and inspire creative ways of thinking for our artists, staff and audience.
INCLUSION Our community’s varied diversity must not only reflect itself in Triad Stage’s casting and staffing, but also in the selection of the stories we choose to tell.
COLLABORATION We celebrate and encourage an artistic process rooted in collaboration. We seek to mirror this process in all aspects of our operations and actively seek partnerships with other organizations to benefit the well-being of our communities.
REJUVENATION We are committed to revitalizing our historic downtowns by greatly enhancing the cultural life of the Piedmont Triad through entertainment and by providing an economic impact benefiting other area businesses.
A SOUTHERN VOICE By placing the best of Southern writing in juxtaposition with classic and contemporary world drama, we foster a unique Southern voice, allowing our audience the pride of saying, “This theater is ours.”
NORTH CAROLINA We seek to play a leading role in the North Carolina arts community. We actively work to create an artistic home for artists with North Carolina connections and to provide a bridge to the profession for emerging artists.
A partnership production with
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Since 2001, Triad Stage has produced over 110 original productions; employed more than 2,000 artists; and sold more than 550,000 tickets in Greensboro and WinstonSalem.
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Institutional Supporters Triad Stage wishes to thank the following corporations and organizations that have generously contributed.
STARS ($10,000-19,999) The Cemala Foundation
James G. Hanes Memorial Fund
John W. and Anna H. Hanes Foundation
Lincoln Financial Foundation Kilpatrick Townsend & Stockton, LLP Piedmont Natural Gas • Zuraw Financial Advisors •
DIRECTORS ($5,000-9,999) Arbor Acres United Methodist Retirement Community • Banyan Consulting Group Bernard Robinson & Company, LLP • Cone Health • O.Henry Hotel River Landing at Sandy Ridge • Triad Tech Services • Well•Spring BENEFACTORS ($2,500-4,999) Craft Insurance Center • First Bank
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ANGELS ($1,000-2,499) Action Greensboro • American Premium Beverage • BB&T • Chris Wagner | Morgan Stanley The Community Foundation of Greater Greensboro • Enterprise Rent-A-Car Foundation TINY TIM FUND (<$1,000) First Tennessee Bank • Hanes Lineberry Funeral Homes • Liberty Oak Restaurant & Bar Neese Material Supply • Woodruff Family Law Group
MEDIA PARTNERS Graffiti Ads • News & Record/GoTriad 88.5 WFDD • 91.5 WUNC
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Justin Nichols | Development Manager firstname.lastname@example.org | 336.274.0067 ext. 201 Triad Stage is a 501(c)(3) not-for-profit organization, with donations tax-deductible to the extent provided by law.
Annual Campaign Contributors Please consider joining the following individuals, corporations, and foundations who have contributed generously to Triad Stageâ€™s 2017 Annual Campaign. Annual Campaign Donors as of January 10, 2018 *Donors have renewed commitments to 2018
PRODUCERS CIRCLE ($10,000+) The Arts Council of WinstonSalem and Forsyth County ArtsGreensboro Lindsey & Frank Auman Suzanne & Bud Baker Bluezoom Vanessa & Roy Carroll The Carroll Companies The Cemala Foundation Clem & Hayes Clement The Honorable Aldona Wos & Mr. Louis DeJoy Cynthia & William Graham The City of Greensboro Greensboro Area Convention & Visitors Bureau James G. Hanes Memorial Fund John W. & Anna H. Hanes Foundation Hanesbrands, Inc. Sally Pagliai & Kyle Jackson Kathy Manning & Randall Kaplan Kilpatrick Townsend & Stockton LLP Lincoln Financial Foundation Mercedes-Benz of Winston-Salem The Michel Family Foundation North Carolina Arts Council Piedmont Natural Gas Sylvia & Norman Samet The Shubert Foundation Linda & Tom Sloan Pam & David Sprinkle Ken Steele Elizabeth & Robert Strickland VF Corporation
Susan & Eric Wiseman Zuraw Financial Advisors CENTER STAGE ($5,000-$9,999) Anonymous Arbor Acres United Methodist Retirement Center Banyan Consulting Group Brandon Bensley* Bernard Robinson & Company Jeb Brooks Joseph M. Bryan, Jr. Janis & Marc Bush* The Community Foundation of Greater Greensboro Cone Health Rob DaVanzo Ginger & Haynes Griffin Maureen & Bob Ihrie J.A. King Barbara Kretzer* Kathryn & Bobby Long River Landing at Sandy Ridge The Roberts Family Foundation Triad Tech Services Martha & Harrison Turner Lydia & Keith Vaughan Well*Spring FRONT ROW ($2,500$4,999) Terry Ball Kate R. Barrett Mary Katherine & Durant Bell Louise & Jim Brady Lisa & William Bullock Linda & Jim Carlisle Joann & Bill Cassell Craft Insurance Center 39
Rebecca & Rick Craig Anna Reilly & Matt Cullinan Candace & Roger Cummings Jean & Ralph Davison First Bank Deborah Hayes Laura & Alan Irvin Shelby & Ernest Lane Carol & Seymour Levin Sue & Neil Lutins Cathleen & Ray McKinney Mindy & Chad Oakley Julie Olin Margaret & Brad Penn Pennybyrn at Maryfield Debby L. Reynolds Ron Johnson & Bill Roane Dabney & Walker Sanders Willie Taylor Ruthie & Alan Tutterow* Jane & Jonathan Ward STAGE HAND ($1,000-$2,499) Anonymous (3) Action Greensboro American Premium Beverage Alice & Russ Anderson BB&T Ben Baker Betty & Dennis Barry Jackie & Steve Bell Marianne & Jim Bennett Robert D. Benson Sylvia & Michael Berkelhammer Dixie & Joe Brantley Wendy & Mike Brenner Lynn & Scott Brogan Paula Stober & Bill Bucklen Carol & Jeff Burgess
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Eberhard Mueller-Heubach Nancy & Brian Napier Jane & Ron Norwood Lynne & Glenn Ogden in honor of Karen Krone Shera Osborne Jane & Lloyd Peterson Dee & Jason Roghelia Lynn Wooten & Paul Russ Marlene Sanford Heather & Mark Setzler Nancy & Fredrick Sharpless Tracy Shaw Lynda Simmons Kim & Bassam Smir Kathleen Smith Linda & Jim Starmer Maggie & Tom Styers Michiko Stavert Shaun Edward Stewart Fund Joan & Doug Stone Charlotte A. Straney In honor of May Toms Katherine & Mike Weaver Carmen & Bob Wood PATRON ($250-$499) Anonymous (2) Richard Allen Alexa Aycock Mary & Frank Biggerstaff Louise & Jerry Boothby Bill & Gay Bowman Bruce & Dora Brodie Barbara Levin & David Brown Jerry Cunningham & Terry Brown Nancy & Jim Bryan Sandra & Steve Colyer Betty & Ben Cone Jr. Janet & David Craft John & Sharon Crump Deb Bell & Keith Cushman Janet Ward Black & Gerard Davidson Phyllis Dunning
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Mary & Terry Woodrow Lynette Wrenn Kay & Charlie Zimmerman Beatrice Schall Susan & Jerry Schwartz Barb & Bill Sharpe Mary Ellen Shiflett Joyce & Bob Shuman Geraldine Norris Simmons John Small Janice & John Sullivan Joan Sullivan in loving memory of John L. Sullivan Florence Sutler Frieda M. Taylor Mrs. Lee Templeton Jonathan Tudge Barbara Van Cleve Dave & Carol VanSchoick Ashley & Jon Wall John & Laura Warren Sara White Chris Williams Cindy & Ken Williams Linda & Ron Wilson Susan & Dave Wilson Mary & Terry Woodrow Lynette Wrenn Kay & Charlie Zimmerman MATCHING GIFTS Amazon Smile American Express Bank of America The Arthur J. Gallagher Foundation ITG Brands Johnson & Johnson Family of Companies Lincoln Financial Group (4) Reynolds American Foundation (2) VF Corporation Weaver Foundation
LEGACY CIRCLE Tobee & Leonard Kaplan Bill Roane & Ron Johnson Claire King Sylvia & Norman Samet Linda & Tom Sloan Martha & Harrison Turner Ruthie & Alan Tutterow Legacy Circle Donors have made bequests on behalf of Triad Stage
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Reconsidered Goods is Greensboro’s Non-Profit, Creative Re-Use Center. We accept donations of unique items and materials and resell them at very low cost to artists, makers, educators, and kids for their next creative project.
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BOARD OF TRUSTEES
TRIAD STAGE STAFF
Officers Dabney Sanders, Chair Chris Hobson, Chair Elect Leigh Ann Klee, Treasurer Kate Barrett, Secretary Mindy Oakley, Immediate Past Chair Linda Sloan, Founding Chair Frankie Jones, Jr., At-Large Erica Parker, At-Large Preston Lane, Founding Artistic Director Richard Whittington, Founding Managing Director
Artistic Preston Lane, Founding Artistic Director Sarah Hankins, Associate Artistic Director Lauren Smith, Learning Director Kamilah Bush, Artistic Apprentice Administration Richard Whittington, Founding Managing Director Jason Bogden, General Manager Ramon Perez, Company Manager Bobby Pittman, Facilities/Rentals Coordinator Justin Nichols, Development Manager Tiffany Albright, Marketing Manager Stacy Calfo, Graphic Designer Kathryn Knoerl, Administrative Apprentice
Members at Large Vanessa Carroll, Karen Dyer, Deborah Hayes, Tomasita Jacubowitz, George Johnson, Leslie Marus, Cathleen McKinney, John Poole, Margaret Penn, Justin Outling, Cissy Parham, Nancy Peterson, Todd Rangel, Paul Russ, Adrian Smith, Kathleen Smith, Tom Styers, Steve Sumerford, Lydia Vaughan
Audience Services Sherry Barr, Director of Audience Services Olivia Langford, Box Office Manager Martha Latta, Mary Reading, Box Office Managers on Duty Josh Kellum, Box Office & Lobby Bar Associate Hailee Mason, Clarice Weiseman, Box Office Associates
Winston-Salem Advisory Council Lydia Vaughan, Chair Mary Walker Fry, Drew Hancock, Joia Johnson, Susan Little, Cathleen McKinney, Angie Murphrey, Tog Newman, Randi Palmer, Gordon Peterson, Nancy Peterson, Milton Rhodes, Keith Vaughan, Sue Wall
Production Lara Maerz, Production Manager Tannis Boyajian, Technical Director Donald Quilinquin, Master Carpenter Eric Hart, Props Master Jennifer Speciale Stanley, Costume Shop Manager Erin Barnett, Assistant Costume Shop Manager Troy Morelli, Master Electrician Derek Graham, Sound Supervisor Jessica Holcombe, Scenic Charge Hannah Mans, Production Management Apprentice Alex Boyt, Stage Management Apprentice Eva Trunzo, Carpentry Apprentice Shay Hopkins-Paine, Props Apprentice Jennifer Stadelman, Lighting Apprentice Sara Beth Watkins, Costume Apprentice/Wardrobe Supervisor Megan Banfield, Sound Apprentice
Greensboro Advisory Council Judy Wicker, Chair Hayes Clement, Ralph Davison, Sandra Hughes, Lesley Hunt, Ron Johnson, Ancella Livers, Dennis Quaintance, Sylvia Samet, Joy Shavitz, Tom Sloan, Harrison Turner, Alan Tutterow
FOR A RAISIN IN THE SUN Kristin Wright, Assistant Director Ingrid Pierson, Rehearsal Stage Manager Alex Boyt, Assistant Stage Manager Jennifer Stadleman, Light Board Operator Nick Chimienti, Sound Board Operator Sarah Jean â€œSparkieâ€? Sparks, Wardrobe Supervisor Sara Beth Watkins, Wardrobe Crew Matthew Lopez, Randall Simmons, Child Supervisors Angelina Rodriguez, Mary Crockett, Scenic Artists 46
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Murder and passion come to Hawboro in a scandalous new thriller
APRIL 29-MAY 20 Tickets start at $10! GREENSBORO
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Written by Lorraine Hansberry. Directed by Tiffany Nichole Greene. January 28 - February 18, 2018 | The Pyrle Theater, Greensboro, NC.
Published on Jan 17, 2018
Written by Lorraine Hansberry. Directed by Tiffany Nichole Greene. January 28 - February 18, 2018 | The Pyrle Theater, Greensboro, NC.