Stones in His Pockets Program

Jan 15–Feb 23, 2014 By Marie JonesDirected by Derek Goldman

SEASoN51Theater for The Heart

Animal Crackers

dance of the holy ghosts: a play on memory

A Civil War Christmas

Stones in His Pockets

Twelfth Night

Vanya and Sonia and Masha and Spike

Wild with Happy

Stones in His Pockets | a

An Introduction to the World of the Play

In a small Irish town overrun by a Hollywood film crew, two down-on-their-luck locals are joining the queue to earn their “40-quid-a-day” as extras. On the set, Charlie wants to show off his screenplay, and Jake, recently back from New York, has eyes on the lovely leading lady.

“Jake” and “Charlie” proceed to transform into more than a dozen other characters over the course of the story. There is Mickey, legendary as

the “last living extra from The Quiet Man,” and struggling teen Sean, a local lad who just wants to be part of the Hollywood film, but whose tendencies toward drink and drugs keep him off the payroll—and bitterly disappointed. Impatient and harried assistant directors Simon and Aisling are just trying to corral the locals into a scenic pastiche of the downtrodden while trying to meet the director’s demand to create a romanticized “Irish feel.” Things aren’t helped by the arrival of the film’s star, Caroline Giovanni, whose struggles with the Irish dialect frustrate her voice coach, John.

At night, as the extras gather at the pub, they are surprised by the arrival of Caroline and her entourage, who are ready to rub elbows with the locals and pick up some authenticity. While she won’t give angry young Sean the time of day, Caroline picks up Jake for a tête-à-tête back at her hotel. However, his desire to impress her is deflated when she is more interested in improving her dialect than her love life.

When tragedy strikes, the film crew is determined to keep plugging on—despite the uncooperative cast and the foreboding weather. Flashbacks begin to piece together the trail of clues that led to the disaster. Meanwhile, Clem the director, arrives to cajole the extras into a scene with false sincerity—before the clouds roll in.

As conflict builds (along with an extreme allergy to two truckloads of flowers) Jake and Charlie reexamine their future dreams, and look for a way to create a story that will reflect the truth of their lives and their town.

PLEASE TURN OFF ALL ELECTRONIC DEVICES. IN CASE OF EMERGENCY 410.986.4080

(during performances).

Season 51 Presenting Sponsor:

Media Partner:

Season 51 at Center Stage is made possible by:

By arrangement with Paul Elliott, Adam Kenwright, and Pat Moylan.

Stones in His Pockets

Center Stage is funded by an operating grant from the Maryland State Arts Council, an agency dedicated to cultivating a vibrant cultural community where the arts thrive.

By Marie JonesDirected by Derek Goldman

THe CAST (in alphabetical order, playing these and other roles)

Clinton Brandhagen* Charlie Conlon

Todd Lawson* Jake Quinn

Captain Kate Murphy * Stage Manager Laura Smith* Stage Manager

* Member of Actors’ Equity Association

THe ArTISTIC TeAM

Derek Goldman Director

Misha Kachman Scenic Designer

Ivania Stack Costume Designer

Jennifer Schriever Lighting Designer

Andre Pluess Sound Designer

Jared Mezzocchi Projection Designer

Mark Jaster Movement Consultant

Emma Crane Jaster Choreographer

Catherine María Rodríguez Production Dramaturg

Leigh Wilson Smiley Voice/Dialect Director

Stephanie Klapper Casting Director

Jesse Marciniak Assistant to the Director

There will be one 15-minute intermission.

Jan 15– Feb 23, 2014 2 The Setting

3 Meet the Playwright

4 Ireland in Film

6 Tales from the Set

8 Bios: The Cast

9 Bios: The Artistic Team

11 Bios: The Staff

12 Q&A with Kwame & Stephen

13 Audience Services

20 Supporting the Annual Fund

25 Center Stage Celebrations

26 Preview: Up Next

28 Center Stage Staff

CAStTABLe OF

CONTeNTS

Stones in His Pockets is made possible by:

Stones in His Pockets | 1

SEttiNgTIMe AND PLACe

Time : Present Day

Place: Ireland is a small island about the size of Indiana, measuring just 174 miles between its east and west coasts, and 302 miles from north to south. It is divided between the republic of Ireland and Northern Ireland, which is part of the United Kingdom. The play’s main characters hail from opposite ends of the island: Jake’s home, the unnamed town in County Kerry where the play takes place, is likely a three-hour drive from Ireland’s capital, Dublin; his counterpart, Charlie, has journeyed from Ballycastle—a city on the northern tip of Northern Ireland, a day’s drive away. Found in Ireland’s south-west corner, County Kerry is home to lush farmlands, dramatic landscapes, mossy hillsides, and small towns like the one featured in Stones in His Pockets—making it an ideal film site. Despite being cloudy most of the time, Ireland has long been popular as both a setting and location. The first Hollywood movie shot on location abroad was in Ireland, and many evocative Irish films—as well as those set elsewhere—continue to be shot there (See pages 4-5).

Dingle, County Kerry

Ballycastle •

Dublin •

COUNTY KerrY

IreLAND

2

MEEtThe playwrighT

Playwright Marie JonesMarie Jones was born in Belfast, Northern Ireland, in 1951. Working as an actress there in the 1970s, she went to the Lyric Theatre one evening to see a play by local dramatist Martin Lynch. After seeing the show, Jones and several local actresses approached Lynch to write plays for them. He encouraged them to both write and perform, and in 1983 the company Charabanc was founded with Jones as one of its driving forces. Their first major success, Lay Up Your Ends, concerned a 1907 strike in the textile mills of Belfast and was eventually performed in Dublin, London, and russia.

Jones soon became the principal writer for Charabanc, where she worked until 1990 before setting out on her own. In 1991, she co-founded the independent and occasionally controversial DubbelJoint Theatre Company (named for Dublin and Belfast). She has since written A Night in November (1994), Women on the Verge of HRT (1996), and the critically acclaimed Stones in His Pockets, which opened in West Belfast in 1996 before moving to London and New York. It won the 2001 Laurence Olivier Award for Best Comedy after its London opening, and the two principal actors in the play won Tony Awards in New York the same year. Stones began a world tour in 2002 and has been seen in 20 countries and translated into 22 languages. Jones is currently adapting her megahit into a screenplay.

The success of Stones in His Pockets has made Marie Jones a playwright of international reputation, a considerable distance from her humble beginnings as a writer for unemployed Belfast actresses.

Dingle, County Kerry

From the DirectorMuch of the thrill of working on Stones in His Pockets comes from its pure theatricality and the distinctive way that it celebrates the power of the human imagination (that of the two actors

who take on so many roles, but also of you the audience who then fill in and populate this story around them). Through this celebration of the imagination, the vivid and sometimes harsh realities of everyday citizens are revealed, their dreams too often thwarted by a host of socioeconomic realities.

It’s also a play that satirizes the brand of dreams—and limited authenticity—that Hollywood offers, while also exploring the dynamics between insiders and outsiders, between natives and those who would take from them (even unwittingly, by blindly romanticizing them). In the end, Jake and Charlie’s experiences as extras on this film open up a larger reflection on what it means to feel one’s self an “extra” in life, perhaps less than 10 feet away from stardom, but ultimately part of the anonymous herd.

—Director Derek Goldman


Stones in His Pockets pokes fun at one of the enduring legacies of Irish film: the many manufactured representations of Ireland, ranging from bucolic reveries to gritty docudrama. As scholar Sean ryder notes, “the question of how to distinguish the romantic from the real in one’s perception of Ireland has been central to debates about Irish cinema from its beginnings, just as it has been central to debates about Irish literature since the nineteenth century. How ‘real’ is the Ireland we see on screen?”

From the first-ever Hollywood movie filmed on location abroad (The Lad from Old Ireland) to recent animated flicks, the small island has provided fertile ground for those who reimagine its landscapes and its people. One of these classics (The Quiet Man) lurks behind the action of Stones, but a set of recurring themes and concerns runs through many of them.

The Quiet Man (1952) In this romantic comedy, an Irish-born American, played by John Wayne, returns to the Old Country to reclaim the family farm. When he falls in love with a local maiden, his dark past resurfaces to plague him. The fictional movie The Quiet Valley being filmed in Stones in His Pockets winks at this feel-good classic (and tales of its location shooting).

The Lad from Old Ireland (1910)

The first American movie studio production filmed on location abroad, shot in Ireland. In it, an Irish boy voyages to America to escape poverty and later returns to rescue his lover from a life of hardships.

Irel

an

dIrelandIreland

IrelandIreland

The Quiet Man

The Lad from Old Ireland

IRELAND

By Catherine María rodríguez, Production Dramaturg

in Film

4

COMMUNITY TIESThe Field (1990)

An Irish peasant battles the odds, and an American developer, to acquire land for his son.

Waking Ned Divine (1998)A town must decide whether or how to split a dead townsman’s winning lottery ticket.

WOMEN’S LIVESDancing at Lughnasa (1998)

Over the course of one month in County Donegal, 1936, five unmarried women hope for the future. But their dreams are dashed when their frail elder brother returns and a nearby factory destroys their livelihoods.

Ballroom of Romance (1982)A farmer’s aging daughter looks for love in a dance hall, slowly realizing that the men of her generation have either emigrated to America or begun families of their own.

IRISH LIFEMan of Aran (1934)

A work of ethnofiction, this renowned film used non-professional locals to chronicle the daily routines of a family living in premodern conditions.

The Irish Pub (2013)A series of interviews with pub owners across Ireland, seeking the heart of the particularities and traditions of “the Irish pub.”

Angela’s Ashes (1999)A tragicomic memoir, Angela’s Ashes recounts the lives and struggles of the McCourt family in Ireland and America.

The Barrytown Trilogy (1991, 1993, 1996)Comprised of The Commitments, The Snapper, and The Van, this Irish trilogy focuses on the rabbitte family, as son Jimmy forms an Irish soul band; pregnant daughter Sharon refuses to name her lover; and dad Jimmy, Sr. starts a business venture with friends.

THE QUESTBarry Lyndon (1975)This award-winning period drama recounts the exploits of an Irish adventurer whose love of women, nobility, and extravagance win him a dangerous enemy.

Flight of the Doves (1971)Two runaway children make their way across the Irish countryside, with their family fortune in the balance.

Between the Canals (2010)Three petty criminals from Dublin chase bigger dreams on a boozy and riotous St. Patrick’s Day.

LONGINGThe Dead (1987)

A holiday party in the winter of 1904 prompts reflection and regret for one Dublin couple, in this brooding all-Irish film adapted from the eponymous story by James Joyce.

The Lonely Passion of Judith Hearne (1987)A penniless spinster dreams of business ventures in Fifties Dublin.

Adam and Paul (2004)In this Irish indie, two lost youths wander Dublin in search of heroin and themselves.

OF FOLK TALES AND FANTASYFinian’s Rainbow (1968)

Irishman Finian (Fred Astaire) settles in the southern state of Missitucky to pursue his American dream. But trouble follows in this musical fantasy when Og the leprechaun appears to retrieve his stolen pot of gold.

The Secret of Roan Inish (1994)A young girl discovers ties between her family and the mystical Selkies.

The Secret of Kells (2009)This film set in eighth-century Ireland offers a fantastical account of the creation of the ancient Book of Kells.

Into the West (1992)Two Irish Traveller boys leave the slums to retrieve a mysterious white stallion gifted by their grandfather, only to find unexpected adventures awaiting them.

A POLITICAL PASTThe Wind That Shakes the Barley (2006)

In this historical drama—the highest-grossing Irish release ever—two brothers join the battle for Irish independence, only to find themselves divided by civil war.

The Informer (1935)An IrA rebel turns informant in this classic suspense thriller.

Michael Collins (1996)This historical biopic recounts the life of the Irish patriot and revolutionary.

Dancing at Lughnasa

Adam and Paul

Man of Aran

The Secret of Roan Inish

Barry Lyndon

The Wind that Shakes the Barley

Waking Ned Divine


ALLEN DAVIAU, Cinematographer (E.T. the Extra-Terrestrial, The Color Purple, Van Helsing) You turn around and there are literally about 300 people, all standing there waiting for you to tell them to do something or waiting for something to happen. You have a tremendous amount of responsibility because the meter is running—you are spending money! And all the forces of finance and so on are trying to get you to do it a little sooner than you want to do it. Very complex.

SAMIRA MAKHMALBAF, Writer and Director (The Apple, Blackboards, At Five in the Afternoon)every morning, we sent eight vehicles to various villages in the area to recruit [extras]. We had difficulties providing them with a hot meal. And all that right in the middle of mountains very difficult to cross. Other problems created themselves. For example, when there was a funeral, a wedding, or Friday religious services, work had to be stopped. It was me who had to adapt to them. Like for the river scene, I had to go into the icy water first myself. That’s how I began to direct them. In that way I was better able to fully understand the situation.

ALEJANDRO GONZÁLEZ IÑÁRRITU, Director (Amores Perros, Babel, Biutiful)Directing is a physically exhausting job. You have to wake up at 4 am and not get to sleep until midnight, and in between make eighteen thousand decisions every day of the week. It’s enormously physically and emotionally demanding to direct a film, to finish a film, and to promote a film. The demands are so enormous that if you haven’t prepared yourself physically, emotionally, spiritually, it can kill you. every time I’ve made a film, I felt I was going to lose a kidney, or a piece of me, the cost of it is so high.

ANDY DAVIS, Director (The Fugitive, Holes, The Guardian)When I can, I try to cast the extras. I don’t meet them. But I’ll look at three hundred pictures, and I’ll go, “OK, this guy, this guy. This guy’s the guard. This is the convict. This is the this.” I’ll sort of look at it in that way. And I’ll remember when I get to the set

that I chose those people. And sometimes I’ll even give them lines. You know, if it’s necessary. But, you know, one bad extra can ruin a scene, so you try to have as much input as you can.

DAVID MAMET, Writer and Director (House of Games, Oleanna, Heist)The most prized stories, of course, are the morbid: who threw up on camera, who forgot to remove his or her body mic and repaired to the camper to make love with an unauthorized person (while the sound man, of course, put it out over the PA). This week my favorite is the couple who leased their house for a shoot. (“We’ll leave it better than we found it.”) One gag involved the couple’s house catching fire. The technicians built a false front on the house and, on the day, set it aflame. The gag went awry and the whole house went up in flames. The owners, standing on a neighbor’s lawn, looked at the marvelously believable effect and clapped. “They clapped three times,’’ the eyewitness said.

JANE CAMPION, Director and Executive Producer (The Piano, Top of the Lake, Soft Fruit) The hardest scene was in the women’s camp. It’s the big scene where all the story strands start to come together. It’s a scene you’re really prepared to do when everybody’s more established in their character and you’re more familiar with your crew, but we had to shoot it in the second week! I kept saying, “Can’t you put it at the very end?” But when things are difficult, you pay more attention, and the work benefits. It’s a bit risky. I didn’t even notice [the actress] was bawling until I turned to my editor and said: “Oh my God, she really went there. She really knew what to do.”

SAM MENDES, Director (American Beauty, Road to Perdition, Skyfall)This notion of “Hollywood” doesn’t really exist. In reality, it’s not really a place. And just as it isn’t a place, but a fragmented community occupying a giant suburb built in the desert, so the film industry isn’t really one thing—it’s six or seven studios. With the big Hollywood movies, you’re talking about the decisions made by seven or eight quite different people.

TALES FROM THE SETBEHIND THE LENS: Hollywood & Directors

“The technicians built a false front

on the house and, on the day, set it aflame. The gag

went awry and the whole house went

up in flames.”—David Mamet

6

Of being an extra, a wise actor once said, “We would act for free; they have to pay us to wait.” That’s the job, and you get paid the same whether you are on set or in holding, so it’s all good work. In one still photograph that took five minutes to shoot, but I was on set for nine hours—and I spent two of those hours sharing a makeup trailer with Dame Judy Dench. Not a bad day at all!

–Kelli Midgley, Baltimore actor

I was shooting an exterior scene one frigid January night, and the rather famous actress (whom I’d rather not name) had to cut in front of me to grab a taxi. Between takes, I and my fellow extras shivered in place, while she had an entourage draping her in blankets, bringing her hot coffee, and fussing over her hair and makeup. My only solace was knowing that the taxi would blow up in the next scene, and her character would suffer a horrible, fiery death.

–Anonymous, Baltimore actor

Worked on a really crappy direct-to-DVD movie that starred an actress who hasn’t done much of anything since the mid-90s. The extras get gathered together before we move to the set, and a Production Assistant announces that “You will not look at Ms. Star. You will not talk to Ms. Star. You will not go anywhere near Ms. Star!”—funny enough, we were doing a large, crowded Christmas mall scene where a lot of people had to bump past her. I don’t think I’ve ever seen so many people roll their eyes at once.

–“Cruiseshipgirl” via customerssuck.com

I heard years ago that extra work can give you an inside look on what the Big Boys are really doing. I tried it out and made it on set of Body of Lies as a villager. It was awesome catching that extras’ bus early in the morning only to go right around the corner from where I actually lived. Blocked-off streets, wardrobe checks, meeting other extras, and hours of waiting…that was my first day. I earned about 75 bucks. Then I caught the bus back around the corner and never went back.

–Bryan Robinson, Baltimore actor

A Canadian commercial takes the cake: I think it was 150 extras crammed into a tiny bar filled with smoke for a mosh pit. The crew seemed to take great pleasure in yelling at us, and it was only when some people started fainting that they would give us an air break. Otherwise, I’ve been in the middle of a circus stampede, been surrounded by voluptuous nude “aliens” from another dimension, been blown up by Justin Bieber, and had gigs that I never tell without one or two drinks. Every job is an adventure.

–Alec Newman, Actor

I was an extra in the jail scene of John Waters’ Cry Baby. The scene was shot on site at Jessup prison. We checked in at 6 pm and stayed until 6 am, shooting the

“Teenage Rage” musical scene. A crazy, long, fun night. A couple years later I was sitting at the bar in the Rendezvous Lounge on 25th Street, and I heard a murmur as John Waters walked in and sat down right next to me. I uttered probably one of the best bar lines of my life: “Hi, John Waters. You probably don’t remember me, but we spent the night in prison together.”

–Jimi Kinstle, Baltimore actor

If you have any assumptions that the work of making movies is glamorous or exciting, kill them now. Upon hearing an actor give an old speech that was pretty dull to begin with for the 10th, 11th, 12th time, you start to realize that maybe not being a movie star ain’t so bad. Because extra work is considered taboo for “real” actors, the vast majority of extras are non-union, and most of the people I speak to consider it a pretty easy gig in a down economy. You go and sit around for a day, get free food, and walk away with about $80-100. Extras are just trying to get by.

–Cord Jefferson, Gizmodo Editor

TALES FROM THE SET

“Hi, John Waters. You probably don’t remember me, but we spent the night in prison together.” —Jimi Kinstle

By Catherine María rodríguez, Production Dramaturg

ExTRAS GET “REEL”: Baltimore & Beyond


Clinton Brandhagen* —Charlie. Center Stage: debut. Broadway— Manhattan Theatre Club: Master Class (w/ Tyne Daly). regional—everyman Theatre: resident Company Member,

The Glass Menagerie, The Beaux’ Stratagem, August: Osage County, You Can’t Take It With You, Fifty Words, All My Sons, Shipwrecked! An Entertainment, The Amazing Adventures of Louis de Rougemont (As Told By Himself), Two Rooms, The Mystery of Irma Vep, The Cherry Orchard, Doubt, A Parable, And a Nightingale Sang; Kennedy Center: Master Class, Mister Roberts, Shear Madness; Theater J: Photograph 51; Charter Theatre: Love and Whiskey; Folger Theatre: School for Scandal, The Comedy of Errors; Woolly Mammoth Theatre Company: Stunning; Arena Stage: Christmas Carol, 1941, Anna Christie; round House Theatre: Pride and Prejudice, The Picture of Dorian Gray, Orson’s Shadow; Ford’s Theatre: Christmas Carol: A Ghost Story of Christmas; Olney Theatre Center: Democracy, The Foreigner, Anna Karenina; Potomac Theatre Project: An Experiment with an Air Pump, Piaf; Shakespeare Theatre: Romeo and Juliet; Washington Shakespeare Company: Macbeth, Love’s Labour’s Lost; American Shakespeare Center: Dr. Faustus, Macbeth, Romeo and Juliet, Taming of the Shrew,

Merchant of Venice, Richard II, Much Ado about Nothing, The Knight of the Burning Pestle. education—Southern Methodist University; University of Nevada, Las Vegas. For my brother, Shayne.

Todd Lawson*—Jake. Center Stage: debut. Broadway—Summer and Smoke. Off Broadway—The Arm (dir. Moises Kaufman), Levittown. National Tour—A Funny Thing Happened on the

Way to the Forum (Hero). regional—Studio Theatre: Torch Song Trilogy (dir. Michael Kahn); PlayMakers rep: It’s a Wonderful Life, A Live Radio Play; Pioneer Theatre: The Philadelphia Story; Cincinnati Playhouse: A Christmas Carol, Stone My Heart, You Can’t Take It With You; St. Louis rep: Secret Order, The Shape of Things; Human race Theatre: The Vertical Hour, Prelude to a Kiss; Vermont Stage: Three Days of Rain, King Lear; Portland Stage: Mary’s Wedding; Delaware Theatre Co.: Our Town; Bay Street: Hair; The Wilma: Black Comedy, The Real Inspector Hound; A Celtic Celebration with symphony orchestras around the country. Film/TV—Top Floor (SXSW 2013), Guests of a Nation, Sides; conceived and co-wrote the book for the new rock musical Red-Blooded, All-American Man. education—BFA, Wright State University; MFA, University of Arizona. *Member of Actors’ equity Association

BioSTHe CAST

Stones actors Todd Lawson (left) and Clinton Brandhagen (right) talk with Artistic Director Kwame Kwei-Armah (center) during first rehearsal.

8

Marie Jones—Playwright. Marie Jones’s plays have toured extensively throughout the world, including the former Soviet Union, Germany, coast to coast in the United States, Canada, Britain, and Ireland. Her plays include an adaptation of Gogol’s The Government Inspector, which toured in Britain and Ireland; A Night in November (London, Glasgow, New York, and three tours of Ireland); Women on the Verge of HRT (Belfast, Dublin, Glasgow, and London’s Vaudeville Theatre); and Stones in His Pockets, which toured Ireland prior to the Dublin Theatre Festival and its West end and Broadway debut in 2001. It garnered many awards including the Laurence Olivier Award, The evening Standard Award, and three Tony nominations including Best Play. Her most recent play, Fly Me to the Moon, was presented Off-Broadway in the fall as part of the 1st Irish Festival at 59e59 Theaters.

Derek Goldman—Director—is honored to be making his Center Stage debut. He is Artistic Director of the Davis Performing Arts Center and Professor of Theater and Performance Studies at Georgetown University, where he is Founding Director of the Laboratory for Global Performance and Politics. He is an award-winning stage director, playwright, adapter, and developer of new work, whose artistic work has been seen around the country, Off-Broadway, internationally, and at numerous major regional theaters, including Steppenwolf, Arena Stage, Lincoln Center, Folger, round House, Synetic, and many more. He has directed more than 80 productions and is the author of more than 25 professionally produced plays and adaptations. recent highlights include Our Class at Theater J (Helen Hayes Nominated for Outstanding resident Play); The Brothers Size (Baltimore Magazine’s Best Production), Shipwrecked, and Blackbird at everyman; Once Wild: Isadora in Russia with Word Dance (2013 DC MetroDance Award); Theodore Bikel’s Drama

Desk Nominated Sholom Aleichem: Laughter Through Tears; Book Writer of Tales from Odessa: A So-Called Musical (Segal Centre, Montreal). He holds a Ph. D in Performance Studies from Northwestern. Upcoming: The Dresser (everyman); his original adaptation of Three Men in a Boat (Synetic).

Misha Kachman—Scenic Designer. Center Stage: debut. regional—The Kennedy Center: Jason Invisible, Barrio Grrrl!, Snow White, Rose Red, Unleashed!, The Amazing Adventures of Dr. Wonderful; Cincinnati Playhouse in the Park: Venus in Fur; The Wilma: The Convert; Woolly Mammoth Theatre Company: Fever/Dream (Helen Hayes nom., Outstanding Set Design), Gruesome Playground Injuries, A Bright New Boise, Oedipus el rey, The Elaborate Entrance of Chad Deity (Helen Hayes Award, Outstanding Set Design), Stupid Fucking Bird; Signature Theatre: Brother Russia, Really Really, Xanadu; round House Theatre: The Crown of Shadows, Young Robin Hood, The Lyons; Milwaukee Shakespeare: Cymbeline; Theatre J: The Odd Couple, Our Class, After the Revolution. Opera—Opera Lafayette: Così fan tutte, Les Femmes Vengées; Maryland Opera Studio: The Barber of Seville, Eugene Onegin, Xerxes. Professional—Associate Professor, Head of MFA in Design Program, University of Maryland; member, Woolly Mammoth Theatre Company of Artists.

Ivania Stack— Costume Designer. Center Stage: debut. regional—round House Theatre: This, Young Robin Hood, Glengarry Glen Ross; Woolly Mammoth: Detroit, The Elaborate Entrance of Chad Deity, Bright New Boise, Full Circle, Boom; Studio Theatre: Mother F**ker with the Hat, Time Stands Still, Adding Machine: A Musical, Bloody Bloody Andrew Jackson, Pop!; everyman: God of Carnage, Heroes, 50 Words; Theatre J: Andy and the Shadows, Our Class, The Whipping Man, After the Fall, The Odd Couple, Photograph 51, The Four of Us, In Darfur; GALA Hispanic Theatre: House of the Spirits, Ana en el Tropico, Lucido, The True History of Coca Cola in Mexico; Olney

Theatre: Rancho Mirage, Joseph, Farragut North; Contemporary American Theatre Festival: Lidless, Breadcrumbs; Metrostage: Ghost-Writer, Lonely Planet, Savage in Limbo, The Real Inspector Hound, Heroes; dog & pony dc: A Killing Game, Beertown, Separated at Birth, Courage, Toast (co-director/ deviser). education—University of Maryland, MFA in Design program.

Jennifer Schriever—Lighting Designer. Center Stage: debut. Broadway—John Leguizamo’s Ghetto Klown. Off Broadway—Labyrinth: Sunset Baby; Soho Playhouse: The Other Josh Cohen, Triassic Parq; New World Stages: Bullet for Adolf. regional—Folger: Romeo and Juliet, The Conference of the Birds, The Taming of the Shrew; Williamstown: American Hero; Indiana rep: The Crucible; Asolo rep: Clybourne Park; Falcon Theatre: The Gronholm Method; Signature: A Second Chance. Opera—Metropolitan Opera House: Die Fledermaus; Mariinsky russia: Faust, A Midsummer Night’s Dream; english National Opera: Pearl Fishers. Associate Designer, Broadway—A Raisin in the Sun, Betrayal, Death of a Salesman, The Mountaintop, The House of Blue Leaves, The Book of Mormon. Adjunct Professor, Purchase College. www.jenschriever.com.

Andre Pluess—Original Music and Sound Designer. Center Stage: A Skull in Connemara. Broadway—Metamorphoses; I Am My Own Wife; 33 Variations; Lincoln Center: The Clean House. Chicago—credits include Court Theatre, Lookingglass Theatre (Artistic Associate), Victory Gardens Theater (resident Designer), About Face Theatre (Artistic Associate), Steppenwolf Theatre, Goodman Theatre, Northlight Theatre, and many others. regional—recent credits include Shakespeare Theatre, DC: Cymbeline; Goodman Theatre: Stage Kiss; Steppenwolf Theatre: Sex with Strangers; Center Theatre Group: Palomino; Seattle rep: Equivocation; Oregon Shakespeare Festival: The Merchant of Venice, Ghost Light;

Costume Designer Ivania Stack Projection Designer Jared Mezzocchi Director Derek Goldman

BioSTHe ArTISTIC TeAM


BioSTHe ArTISTIC TeAM

ACT: Marcus; California Shakespeare: Macbeth, Titus Andronicus. Film—score for The Business of Being Born. Awards—multiple Joseph Jefferson Awards/Citations, an L.A. Ovation Award, Barrymore Award, Drama Critics Circle Award, and Drama Desk/Lortel nominations for composition and sound design.

Jared Mezzocchi—Projection Designer. Center Stage: debut. New York— 3-Legged Dog: The Downtown Loop; Here arts: You Are Dead, You Are Here; New Georges: Goldor $ Mythyka; rob roth/Abrons: Screen Test; The Builder’s Association: JETLAG 2012.Tour—Big Art Group: SOS, The People, The Sleep (Vienna Festival, Germany, Italy, Slovenia, Spain). regional—National Geographic: BELL; Cleveland Playhouse: Breath and Imagination; Milwaukee rep: The Mountaintop; Woolly Mammoth: The Elaborate Entrance of Chad Deity; Studio/Company One: Astroboy and the God of Comics. Dance—Word Dance: Once Wild: Isadora in Russia. Fashion/Design—Alcantara and Connect4Climate (2013 Design Week, Milan Italy), ThreeASFOUR (2010 Fashion Week). Awards—2013 Princess Grace Fellow, 2013 Bel Geddes enhanced Technology Award (Here arts and New Georges);2013 MetroDC Dance, Multimedia (Word Dance’s Once Wild). education—MFA, Brooklyn College, Performance and Interactive Media Arts. Professional—Professor of Multimedia, MFA Design, University of Maryland.

Mark Jaster—Movement Consultant. Center Stage: debut. Mark Jaster studied with etienne Decroux and Marcel Marceau, and served as Mr. Marceau’s teaching assistant. Past mime/movement consultation credits—Ford’s Theatre: Our Town; No rules Theatre Company: The Personal(s); round House Theatre: How to Write a New Book for the Bible, Our Town; Laura Zam enterprises: Married Sex; Adventure Theatre: The Red Balloon, Winnie the Pooh, Alexander; Kennedy Center: Elephant and Piggie’s We are in a Play!. Teaching—Maryland Opera Studio, American Academy of Ballet, Shakespeare Theatre Company, Maryland Youth Ballet. Performance—Maryland renaissance Festival, 27 years; Big Apple Circus Clown Care Program, 17 years; Two Helen Hayes nominations for performance. Artistic Co-Director of Happenstance Theater, www.happenstancetheater.com.

Emma Crane Jaster—Choreographer. Center Stage: debut. emma Crane Jaster has spent her life in the study and practice of physical expression. She has worked around

the world including Paris, India, and Taiwan, choreographing for students, dancers, actors, and puppets. Locally, she choreographed the Helen Hayes-nominated production of Our Class at Theater J, the world premiere of Gilgamesh with Constellation Theatre, and the Capital Fringe-hit To Know a Veil. She earned her BA in Theater and Dance from Amherst College and studied physical theater at the Lecoq School in Paris. She is thrilled to work side-by-side on this production with her inestimable father. Follow her work at www.emmajaster.com.

Captain Kate Murphy*—Stage Manager. Center Stage: resident Stage Manager; Stage Manager: A Civil War Christmas, Animal Crackers, Mud Blue Sky, The Mountaintop,

…Edgar Allan Poe, A Skull in Connemara, American Buffalo, Crime & Punishment, Let There Be Love, The Santaland Diaries; Assistant Stage Manager for The Importance of Being Earnest, Things of Dry Hours, Trouble in Mind, Three Sisters, Radio Golf, The Murder of Isaac, Once on this Island, King Lear, Assistant Production Manager 2008–09. regional—Trinity rep: Boeing-Boeing; Actors Theatre of Louisville: All Hail Hurricane Gordo*, The Clean House, Moot the Messenger*, Dracula, The Ruby Sunrise*, Tall Grass Gothic*, The Drawer Boy, Amadeus, As You Like It (*premieres at the Humana Festival of New American Plays); Contemporary American Theater Festival: The Overwhelming, Pig Farm; Totem Pole Playhouse: Over 75 productions through 13 summer stock seasons. Film/TV—Route 30, Route 30 Too!, Next Food Network Star. Proud Actors equity and ASCAP Member.

Laura Smith*—Stage Manager. Center Stage: resident Stage Manager: dance of the holy ghosts; Clybourne Park; Beneatha’s Place; Bus Stop; An Enemy of the People; The Whipping Man, Gleam; The Rivals; Snow Falling on Cedars; Cyrano; Working it Out; Fabulation or, The Re-Education of Undine; Who’s Afraid of Virginia Woolf; Joe Turner’s Come and Gone. regional—everyman: Pygmalion, Shipwrecked, The Exonerated, Rabbit Hole, Doubt, Gem of the Ocean, And a Nightingale Sang, The School for Scandal, A Number, Someone Who’ll Watch Over Me, Yellowman; Woolly Mammoth: Gruesome Playground Injuries, House of Gold, The Unmentionables, Vigils, After Ashley; Folger: Measure for Measure, The Comedy of Errors (ASM); Olney Theatre: Stuff Happens; Theater Alliance: Headsman’s Holiday, Pangea, [sic]; Catalyst: Cloud 9; Longacre Lea: Man with Bags.

Leigh Wilson Smiley—Voice/Dialect Director. Center Stage: debut. Leigh Wilson Smiley has voice/text/dialect directed at regional and international companies

including Shakespeare & Company in Massachusetts; Ford’s; Folger Shakespeare; Signature; Pig Iron Theatre; Cirque du Soleil; everyman; round House; and NBC. Leigh created The Visual Accent & Dialect Archive at www.visualaccentdialectarchive.com. She is a Designated Linklater voice teacher; a member of Screen Actors Guild; Actors equity Association; American Federation of Television, radio and Screen Artists; the Voice and Speech Trainers Association. Leigh is an Associate Professor and the Director of the School of Theatre, Dance, and Performance Studies at the University of Maryland, College Park.

Catherine María Rodríguez—Production Dramaturg—is a New Orleans native, who made her Center Stage debut with dance of the holy ghosts. Catherine is the dramaturg and archivist for Un Encuentro: Theater from the Borderlands, a new transnational collaboration between Borderlands Theater (Tucson) and el Círculo Teatral (Mexico City). Notable past credits include production dramaturgy for The NOLA Project’s Much Ado about Nothing with the New Orleans Museum of Art and Bruja at Borderlands; assisting on the National New Play Network rolling world premiere of Guapa; administrative and producing work at Steppenwolf; and performance studies research at Northwestern. Catherine holds a BFA in Dramaturgy and a BA in Hispanic Studies from Carnegie Mellon. In 2013, she received the LMDA & Kennedy Center regional Student Dramaturgy Award and debuted as a Dramaturgy Panelist at the Association for Theatre in Higher education national conference. Saludos a todos and laissez les bons temps rouler!

Stephanie Klapper—Casting Director. Center Stage—dance of the holy ghosts, Mud Blue Sky, …Edgar Allan Poe, The Whipping Man, A Skull in Connemara. Selected Broadway and Off Broadway—A Christmas Story, The Musical (2012 Tony nom); Dividing the Estate (2009 Tony nom); Emotional Creature (Eve Ensler); Harbor; Bronx Bombers; The Model Apartment; You Never Can Tell… Her work is frequently seen on Broadway, Off-Broadway, regionally, internationally, and on television, film, and the internet. Projects she has been involved with have won numerous awards including the Tony, Obies, Artios, the Pulitzer Prize, Sundance Audience Award, Cannes Prize Du Publique, and Comic Con awards. Klapper Casting is currently working on many new and ongoing projects in theater, film, and television in New York, around the country, as well as internationally. Member of Casting Society of America and League of Professional Theatre Women.

10

BioSThe Staff

Artistic DirectorKwame Kwei-Armah OBE, an award-winning British playwright, director, actor, and broadcaster, is in his third season as Artistic Director of Center Stage in Baltimore,

Maryland. At Center Stage he has directed dance of the holy ghosts (City Paper’s Top Ten Productions of 2013); The Mountaintop; An Enemy of the People; The Whipping Man (City Paper’s Top Ten Productions of 2012), for which he was named Best Director; and Naomi Wallace’s Things of Dry Hours. Among his works as playwright are Elmina’s Kitchen and Let There Be Love—which had their American debuts at Center Stage—as well as A Bitter Herb, Statement of Regret, and Seize the Day. His latest play, Beneatha’s Place, debuted at Center Stage in 2013 as part of the ground-breaking Raisin Cycle. His other directorial credits include Let There be Love and Seize the Day at the Tricycle Theatre, New York’s Public Theater’s production of Much Ado About Nothing, the World Premiere of Detroit ’67 (nominated for Best Director) at New York’s Public Theater, and the World Premiere of The Liquid Plain at Oregon Shakespeare Festival. Kwame has served on the boards of The National Theatre and The Tricycle Theatre, both in London. He served as Artistic Director for the World Arts Festival in Senegal, a month-long World Festival of Black Arts and Culture, which featured more than two thousand artists from 52 countries participating in 16 different arts disciplines. He was named the Chancellor of the University of the Arts London, and in 2012 was named an Officer of the Most excellent Order of the British empire.

Managing DirectorStephen Richard, a leader on the national arts scene for more than 30 years, is the Managing Director of Center Stage in Baltimore, Maryland.

Stephen most recently worked as Vice President, external relations, for the new National Children’s Museum. Previously, he served 18 years as executive Director of Arena Stage, where he planned and managed the theater’s $125 million capital campaign for the Mead Center for American Theater. Also a professor of Arts Management at Georgetown University, he has served on the boards and committees of some of the nation’s most prestigious arts organizations, including the National endowment for the Arts, American Arts Alliance, the League of resident Theatres, and the Theatre Communications Group, and currently serves on the Advocacy Committee of the Greater Baltimore Cultural Alliance and on the board of directors of the Maryland Citizens for the Arts.

Associate Artistic Director/Director of Dramaturgy Gavin Witt came to Center Stage in 2003 as resident Dramaturg, having served in that role previously at several Chicago theaters. As

a dramaturg, he has worked on well over 60 plays, from classics to new commissions—including play development workshops and freelance dramaturgy for TCG, The Playwrights Center, The New Harmony Project, The Old Globe, Bay Area Playwrights Festival, CATF, The Kennedy Center, and others. A graduate of Yale and the University of Chicago, he was active in Chicago theater for more than a decade as an actor, director, dramaturg, translator, and teacher, not to mention co-founder of greasy joan & co. theater, while serving as a regional Vice President of LMDA, the national association of dramaturgs. He has been on the faculty of the University of Chicago and DePaul University, and locally at Towson University.

Artistic Director Kwame Kwei-Armah (left) and Stage Manager Laura Smith during the first rehearsal for Stones in His Pockets.


As arts practitioners—who have also spent time around the film industry—what is your impression of the impact of film crews on a city?

Stephen Richard: I think it’s a great thing for a city.

Kwame Kwei-Armah: I have been part of this invading force many a time, so while I can’t speak from an official point of view, I can speak to being part of the film crew. The times that I have enjoyed the most are when you can see on the faces of the people in the city or village where you land,

“Oh my God….Who are they, who are these Hollywood aliens?”

SR: I used to sit in my office at the back of the Los Angeles Theatre Center, and look out over Los Angeles Street, which was skid row. Hill Street Blues used to film back there and you could see real homeless people contrasted with actors dressed as homeless.

KKA: When we were filming Cutthroat Island, we landed in Phuket, Thailand, and the cast and crew were probably about a thousand people. We took every hotel in the town, every restaurant was filled. It’s really weird, because you know that you are contributing greatly to wherever you land—but of course, you may bastardize it; they may never be the same again.

What happens when a production tries to portray the nature of a specific community or a city?

KKA: That’s quite hard, isn’t it! Because who actually knows what a city really is, particularly when it comes to drama? The fundamental principal of drama is conflict, and getting over conflict. So you are seldom ever going to see a city in three dimensions, it is simply there to serve, to be an unnamed character. I don’t know any city that is very pleased about its portrayal. Maybe Monte Carlo, maybe New York. But I think it’s tricky. Just know you aren’t in control and invariably you are going to come out of it not looking as great as you would like.

SR: It is tricky, Kwame’s 100% right. It is about conflict as well as simplification—The Wire is a narrow slice of Baltimore life, whether accurate or inaccurate. So, it is always tricky, reputationally. It is not tricky financially. It’s a wonderful boon to the economy, it’s a wonderful boon to the artists of the region who have the opportunity to ply their trade in film and TV.

How can arts organizations contribute to a city’s profile? Do we have a responsibility to raise a profile or contribute to it?

KKA: I certainly think that the major civic organizations in any city are tasked with elevating the perception of the city, but it is very hard. I think it is the joint responsibility of the artists and the civic heads. And to understand that at the beginning of the 21st Century, for many cities their reputations are based around two things: the way they are captured in modern media and the way their sporting team does! So, do we have a responsibility? Yes.

SR: We add to the narrative about Baltimore. Do we drive it? No. But we absolutely add to the narrative that this is a community that’s got a lot of wonderful, world-class arts organizations.

What are your thoughts about the current filming happening in Baltimore?

KKA: For me personally, it’s great! The guys who are producing and writing Veep are friends of mine, so it means I can go out to dinner with them. [Laughs] One of the producers in particular is on the board of the National [Theatre], and he’s going back and telling my friends in London, “Actually, Baltimore’s really good, Baltimore’s really cool.” I also like being able to sit down and watch House of Cards and go, “No, that’s not DC, that’s Mount Vernon, that’s the street behind my theater!”

Q & Awith Kwame &

StephenA conversation with Artistic Director Kwame Kwei-Armah and Managing Director Stephen richard.

12

DININGSascha’s express, our pre-performance dinner service, is located up the lobby stairs in our Mezzanine café. Service begins two hours before each performance. DRINKSYou are welcome to take beverages with lids to your seats! But please, no food. PHONESPlease silence all phones and electronic devices before the show and after intermission.RECORDINGPhotography and both audio and video recording are strictly forbidden.ON-STAGE SMOKINGWe use tobacco-free herbal imitations for on-stage smoking and do everything possible to minimize the impact and amount of smoke that drifts into the audience. Let our Box Office or front of house personnel know if you’re smoke sensitive.ACCESSIBILITYWheelchair-accessible seating is available for every performance.We offer free assistive listening devices, braille programs, and magnifying glasses upon request. An Open Captioned performance* is available one Sunday performance of each production. Several performances also feature Audio Description*.

PARKINGIf you are parking in the Baltimore Sun Garage (diagonally across from the theater at Monument & Calvert) you can pay via credit card at the pay station in the garage lobby or at the in-lane pay station as you exit. If you have a pre-paid voucher, proceed directly to your vehicle and enter your voucher after inserting the parking ticket you received upon entering the garage, in the machine as you leave. We are unable to validate parking tickets.

FEEDBACKWe hope you have an enjoyable, stress-free experience! Your feedback and suggestions are always welcomed: [email protected].

*Open Captioning & Audio Description performances for Stones in His Pockets: Sun, Feb 9. Audio Description at both 2 pm and 7:30 pm, Open Captioning at 7:30 pm.

AudiENCESerVICeS

for getting everyone out of their seats.Inspiring. Thought Provoking. PNC is proud

to sponsor Center Stage. Because we

appreciate all that goes into your work.

pnc.com

©2013 The PNC Financial Services Group, Inc. All rights reserved. PNC Bank, National Association. Member FDIC


for making a mark in Baltimore.

PNC is proud to be a part of CENTERSTAGE. Because we know a community that works together thrives together.

pnc.com




pnc.com




pnc.com


14

For more than four decades, Center Stage has

provided professional theater of the highest

caliber. We believe support of the corporate

community is important to Center Stage’s

continued success. Kramon & Graham has been

supporting Center Stage since 2004, and will do

so proudly in the future.

www.kramonandgraham.com

Fine

Indian Cuisine

Baltimore’s Premier

Indian Restaurant

Chicken, Lamb, Seafood,

Vegetarian & Tandoori Specialties

Soups, Appetizers, Indian Breads,

Desserts & More

Catering Services Available

All Major Credit Cards Accepted

Top 50 Restaurants

in Baltimore 2010

—Baltimore Sun

www.akbar-restaurant.com

823 N. Charles Street

410-539-0944

Happy HourEvery Monday-Friday 4pm-7pm*$2 off Wings, Wontons, Nachos, or Veggie Quesadillas$3 rail drinks/ $4 call liquor$2.50 domestic bottles/drafts$5 20oz Guinness & Magners Imperial Pint$4 (16oz) Draft Imports/ Microbrews$2 off all wines (by the glass)*Specials & Happy Hour food require purchase of beverage

and are not available for carry-out orders

SuNDayBrunch (11am-3pm) Brunch and limited lunch menu

Hospitality Night (8pm-Close) Bring your pay stub and get 20% off (excludes already discounted items)

MoNDay$9 Burger & Pint Night (6pm-12am) 1/2 lb. burger, fries & any 16 oz draft.

TuESDay$8 Shepherd’s Pie or Fish-n-Chips (6pm-12am)

WEDNESDayOyster Night (7-10pm) $1Oysters & $2 Oyster Shooters

THurSDayFiesta Night (7pm-midnight) Bucket of Corona (5) or Margarita Pitcher & Nachos or Quesadilla for $16.

FrIDayComplimentary Happy Hour Buffet (4pm-7pm)Live Music 9:30pm

SaTurDay Saturday Brunch: Brunch and limited lunch menu Live Music 9:30

328 North Charles StreetBaltimore, MD 21201

Restaurant 410-539-7504Office 410-539-1006

www.mickosheas.comE-mail: [email protected]

16

Monday: Burger Night Tuesday: Trivia Night Wednesday: Wine Night

$1 off Beer, $3.50 Rail, $5 House Wine Glass

½ Price Appetizers are back!

Friday & Saturday | 10PM James Joyce Irish Pub & Restaurant

616 S. President Street, Baltimore, MD 21202 410-727-5107 | TheJamesJoycePub.com

Center Stage’s Professional Internship Program Now Accepting ApplicationsFor more than 25 years, Center Stage has helped cultivate the next generation of theater makers through its Professional Internship Program, which helps bridge the gap between university and professional theater by providing hands-on experience and guidance. Center Stage welcomes a new class of roughly 20 different administrative, artistic, and production interns each season.

Internship positions include: Artistic and DramaturgyAudience relationsAudioCarpentry Community Programs and educationCostumesDevelopmentGraphicsLightingMarketingMultimedia ProductionPropertiesScenic ArtStage Managementand more!

For a full list of internships and descriptions visit www.centerstage.org/education/ProfessionalInternshipProgram.

Applicants must commit fulltime to one entire season at Center Stage from mid-August to early June. Applicants are advised to submit application materials by March 1, 2014.

INTERN @


When the arts succeed, we all succeed.

At M&T Bank, we know how important it is to support artists of all kinds. They

enhance the quality of life in our communities. That’s why we offer both our time and

resources and encourage others to do the same.

M&T Bank is proud to support Center Stage.

mtb.com ©2013 M&T Bank. Member FDIC.

18

Celebrating its 37th year

Hundreds of items! One week to get your bids in! Preview: February 12-14Bidding: February 15-23

Visit www.centerstage.org/auction for details.

If you have questions or donations please contact Sydney Wilner at [email protected] or 410.986.4025.

The Baltimore Sun

Online

for

Supported By: Media Partner:Season 51 Presenting Sponsor:


The following list includes gifts of $250 or more made to the Center Stage Annual Fund between June 4, 2012 and December 5, 2013. Although space limitations make it impossible for us to list everyone who helps fund our artistic, education, and community programs, we are enormously grateful to each person who contributes to Center Stage.

We couldn’t do it without you!

Support The Annual Fund at Center Stage (June 4, 2012 through December 5, 2013.)

INDIVIDUALS & FOUNDATIONSThe Center Stage Society represents donors who, with their annual contributions of $2,500 or more, provide special opportunities for our artists and audiences. Society members are actively involved through special events, theater-related travel, and behind-the-scenes conversations with theater artists.

individual SeaSon 51 SPonSorS($50,000+)

ellen and ed BernardLynn and Tony DeeringJane and Larry DroppaJudy and Scott PharesMr. and Mrs. Philip rauchJay and Sharon SmithMs. Barbara Voss and Charles e. Noell, III

PreSidenTS’ circle($50,000+)

The Annie e. Casey FoundationThe Charlesmead FoundationThe Shubert Foundation, Inc.Harold and Mimi Steinberg Charitable TrustMs. Katherine L. Vaughns+

arTiSTS’ circle($25,000-$49,999)

The Miriam and Jay Wurtz Andrus TrustWilliam G. Baker, Jr. Memorial Fund, creator of the Baker Artist AwardsPenny BankStephanie and Ashton CarterJames and Janet Clausonedgerton Foundation New American Play AwardsKathleen HyleJI FoundationKenneth C. and elizabeth M. LundeenMarilyn MeyerhoffTerry H. Morgenthaler and Patrick Kerins

ProducerS’ circle($10,000- $24,999)

The William L. and Victorine Q. Adams Foundation and The rodgers Family FundPeter and Millicent BainThe Jacob and Hilda Blaustein Foundation, Inc.James T. and Francine G. BradyThe Bunting Family FoundationThe Nathan & Suzanne Cohen FoundationThe Helen P. Denit Charitable Trust

Ms. Nancy Dorman and Mr. Stanley MazaroffFascitelli Family FoundationDaniel P. GahaganJohn Gerdy and e. Follin SmithThe Goldsmith Family FoundationThe Laverna Hahn Charitable TrustFrancie and John KeenanMr. and Mrs. e. robert Kent, Jr.The Andrew W. Mellon FoundationJoseph & Harvey Meyerhoff Family Charitable FundsMr. J. William MurrayGeorge rocheMr. and Mrs. George M. ShermanMr. Louis B. Thalheimer and Ms. Juliet A. eurichDepartment of VSA and Accessibility at the John F. Kennedy Center for the Performing Arts

PlaywrighTS’ circle($5,000- $9,999)Sylvia and eddie BrownMary Catherine BuntingAugust and Melissa ChiaseraThe Cordish FamilyThe Jane and Worth B. Daniels, Jr. Fund of the Baltimore Community FoundationMr. and Mrs. Walter B. Doggett, IIIBrian and Denise eakesDick and Maria GamperDr. and Mrs. Neil D. GoldbergFredye and Adam GrossMartha HeadMurray KappelmanKwame and Michelle Kwei-ArmahThe John J. Leidy Foundation, Inc.The Macht Philanthropic Fundrobert e. Meyerhoff and rheda BeckerStephen richard and Mame HuntThe Jim & Patty rouse Charitable FoundationCharles and Leslie SchwabeMr. Gilbert H. Stewart and Ms. Joyce L. UlrichDr. edgar and Betty Sweren, in honor of Center Stage’s 50th AnniversaryMr. and Mrs. J.W. Thompson WebbMs. Linda Woolf

direcTorS’ circle($2,500- $4,999)

Anonymous

The Lois and Irving Blum Foundation

Drs. Joanna and Harry Brandt

Marjorie rodgers Cheshire and Mark Cheshire

Gene DeJackome and Kim Gingras

The Mary & Dan Dent Fund of the Baltimore Community Foundation

Mr. and Mrs. Michael Falcone

The Harry L. Gladding Foundation/Winnie and Neal Borden

Goldseker Foundation/ Ana Goldseker

robert and Cheryl Guth

The Hecht-Levi Foundation, Inc.

David and elizabeth JH Hurwitz

Mr. and Mrs. Stephen Immelt

Jonna and Fred Lazarus

Mr. and Mrs. earl & Darielle Linehan/Linehan Family Foundation

Mrs. Diane Markman

Linda and John McCleary

Mr. and Mrs. John L. Messmore

Jim and Mary Miller

Mr. and Mrs. Hugh Mohler, Jr.

Dr. and Mrs. Lawrence C. Pakula

Lainy Lebow Sachs and Leonard Sachs

Monica and Arnold Sagner

Mr. and Mrs. Todd Schubert

Scott and Mimi Somerville

Scot T. Spencer

Mr. Michael Styer

Mr. and Mrs. Donald and Mariana Thoms

Trexler Foundation, Inc. - Jeff Abarbanel and David Goldner

Mr. and Mrs. Loren and Judy Western

Ted and Mary Jo Wiese

Cheryl Hudgins Williams and Alonza Williams

Sydney and ron Wilner

Drs. Nadia and elias Zerhouni

Robert W. Smith, Jr., PresidentEdward C. Bernard, Vice PresidentJuliet Eurich, Vice PresidentTerry H. Morgenthaler, Vice PresidentE. Follin Smith, TreasurerJ.W. Thompson Webb, Secretary

Penny BankKatharine C. Blakeslee*James T. BradyC. Sylvia Brown*Stephanie CarterAugust J. ChiaseraJanet ClausonLynn DeeringJed DietzWalter B. Doggett, IIIJane W.I. DroppaBrian eakesBeth W. FalconeDaniel GahaganC. richard Gamper, Jr.Suzan GarabedianCarole GoldbergAdam GrossCheryl O'Donnell GuthMartha Head*elizabeth J. Himelfarb HurwitzKathleen W. HyleTed e. ImesMurray M. Kappelman, MD*John J. Keenane. robert Kent, Jr.Joseph M. Langmead*Kenneth C. Lundeen*Marilyn Meyerhoff*Hugh MohlerJ. William MurrayCharles e. Noellesther Pearlstone*Judy M. PharesJill PrattPhilip J. rauchHarold rojasMonica Sagner*renee C. Samuels rosenfeldTodd SchubertCharles SchwabeGeorge M. Sherman*Scott SomervilleScot T. SpencerMichael B. StyerHarry ThomasianDonald ThomsKatherine Vaughns+Cheryl Hudgins WilliamsLinda S. Woolf

* Trustee emeriti+ Center Stage honors the legacy of

Katherine Vaughns and her many contributions as a Trustee, patron, donor, and friend of our theater.

BOARD OF TRUSTEES

20

aSSociaTeS($1,000-$2,499)AnonymousMs. Taunya BanksMr. and Mrs. Marc BlumJohn and Carolyn BoitnottDr. and Mrs. Donald D. BrownSandra and Thomas BrushartMeredith and Joseph CallananThe Campbell Foundation, Inc.Caplan Family Foundation, Inc.Sally and Jerry CaseyJohn ChesterAnn K. ClappConstantinides Family FoundationMs. Gwen DavidsonThe richard and rosalee C. Davison FoundationJames DeGraffenreidt and Mychelle FarmerAlbert F. DeLoskey and Lawrie Deeringrosetta and Matt DeVitoJed Dietz and Julia McMillanMr. and Mrs. eric DottJack and Nancy DwyerMs. Nicole eppMr. and Mrs. Matthew FreedmanFrank and Jane GaborJose and Ginger GalvezMs. Suzan GarabedianPamela and Jonathan Genn, in honor of Cindi Monahan and Beth Falconerichard and Sharon Gentile, in honor of the Center Stage Costume ShopMs. Sandra Levi GerstungMr. and Mrs. Benjamin H. Griswold, IVAnnie Groeber, in memory of Dr. John e. AdamsH.r. LaBar Family Foundation Fund of The Greater Cincinnati FoundationF. Barton Harvey, III and Janet Marie SmithBill and Scootsie HatterSandra and Thomas HessDrs. Dahlia Hirsch and Barry WohlLen and Betsy HomerThe A. C. and Penney Hubbard FoundationJoseph J. JaffaFrancine and Allan KrumholzSandy and Mark LakenAndie Laporte, in honor of Philip and Lynn rauchDr. and Mrs. George Lentz, Jr.Maryland Charity Campaignrobert and Susan MathiasJoseph and Jane MeyerJohn and Beverly MichelTom and Cindi MonahanThe Honorable Diana and Fred Motz, in memory of Nancy rocheThe Israel & Mollie Myers Foundation/ Herschel and Judith Langenthal and Jonathan and Beverly Myers

roger F. Nordquist and Joyce WardIrene e. NortonMr. and Mrs. Lee OgburnDr. Bodil OttesenLinda Hambleton PanitzDave and Chris PowellJill and Darren PrattThe James and Gail riepe Family FoundationNathan and Michelle robertsonThe rollins-Luetkemeyer FoundationKurt and Patricia SchmokeGail B. SchulhoffThe Tim and Barbara Schweizer Foundation, Inc.Barbara and Sig ShapiroThe earle & Annette Shawe Family FoundationBarbara P. SheltonMr. and Mrs. robert N. SmelkinsonJudith r. and Turner B. SmithMr. and Mrs. robert and Terri SmithMr. and Mrs. Scott SmithDr. and Mrs. John StrahanMr. and Mrs. ronald W. TaylorJohn A. UlatowskiUnited Way of Central Maryland CampaignKathryn and Mark VaselkivCarolyn and robert WallaceNanny and Jack Warren, in honor of Lynn DeeringJanna P. WehrleMr. Todd M. Wilson and Mr. edward DelaplaineAnn Wolfe and Dick MeadJohn W. Wooderic and Pam YoungDr. Laurie S. ZabinMr. Calman Zamoiski, Jr., in honor of Terry Morgenthaler

colleagueS($500-$999)

AnonymousMs. Diane Abeloff, in memory of Martin AbeloffThe Alsop Family FoundationMrs. Alexander ArmstrongMr. robert and Dorothy BairMayer and Will Baker, in honor of Terry MorgenthalerMr. and Mrs. raymond Bank Family Fund of the Baltimore Community FoundationCharles and Patti BaumJaye and Dr. Ted Bayless Fund of the Baltimore Community FoundationJudge robert BellSteve and Teri BennettHarriet and Bruce BlumJan BoyceCindy CandeloriMs. Sue Lin ChongMr. and Mrs. Carl F. ChristWilliam and Bonnie ClarkeJoan Develin Coley and M. Lee riceCombined Federal Campaign

Barbara Crain and Michael Borowitzrobert and Janice Davisrichard and Lynda DavisThe Honorable and Mrs. e. Stephen DerbyLynne Durbin and John-Francis MergenDave and Joyce edingtonMr. and Mrs. richard eliasbergBuddy and Sue emerson, in appreciation of Ken and elizabeth LundeenDonald and Margaret engvallSandra and John FerriterDavid and Merle FishmanMs. Nancy FreymanDr. Joseph Gall and Dr. Diane DwyerFrank and Tara GallagherMegan M. GillickMary and richard GormanStuart and Linda GrossmanLouise A. HagerTerry Halle and Wendy McAllisterDr. and Dr. James and Vicki HandaDonald and Sybil HebbMrs. Heidi HoffmanMr. and Mrs. James HormuthDr. and Mrs. J. Woodford Howardralph and Claire HrubanMr. James HughesMr. edward HuntMs. Harriet F. IglehartMr. and Mrs. Theodore Imesrichard Jacobs and Patricia LasherMs. Mary Claire JeskeJames M. and Julie B. JohnstoneMax JordanKirk and Debbie JoyDr. and Mrs. Juan M. JuanteguyMs. Shirley KaufmanB. KellerMr. and Mrs. Padraic Kennedyroland King and Judith Phair KingMr. George W. KingStewart and Carol KoehlerJoseph M. and Judy K. LangmeadClaus Leitherer and Irina FedorovaDr. and Mrs. ronald LesserMarilyn LeutholdKenneth and Christine LoboDr. and Mrs. Thomas J. LynchMs. Karen MalloyThe Dr. Frank C. Marino Foundation, Inc.Ms. Mary L. McGeadyMr. Jeston I. MillerStephanie F. Miller, in honor of The Lee S. Miller Jr. FamilyGeorge and Beth Murnaghanrex and Lettie MyersMs. Jo-Ann Mayer OrlinskyMichael and Phyllis PanopoulosChris and Deborah PenningtonMr. and Mrs. James and Mimi Piper Fund of the Baltimore Community Foundation

Bonnie Pittrobert e. and Anne L. Princerichard and Kay radmerMrs. Peggy L. riceMs. Jane rodbellMr. and Mrs. Harold rojasDorothy L. and Henry A. rosenberg, Jr.renee Samuels rosenfeld and Jordan rosenfeldKevin and Judy rossiterMrs. Bette rothmanMr. Al russellSheila and Steve Sachseugene and Alice Schreiber Philanthropic FundThe Sinksy-Kresser-racusin Memorial FoundationSusan Somerville-Hawes, in honor of The encounter ProgramStation North Arts and entertainment DistrictMs. Jill StemplerSanford and Karen TeplitzkyMr. and Mrs. Barbara and Paul Timm-BrockSharon and David TufaroMr. and Mrs. George and Beth Van DykeIn memory of Sally WessnerMr. Michael T. WhartonDr. and Mrs. Frank r. WitterPatricia Yevics-eisenberg and Stewart eisenbergMr. Norman YouskauskasMr. Paul Zugates

advocaTeS($250-$499)

AnonymousWalter and rita AbelMr. and Mrs. Delbert L. AdamsBradley and Lindsay AlgerMr. Alan M. Arrowsmith, IIAyd TransportMichael BakerMr. and Mrs. Martin BeerS. Woods and Cathy BennettMr. and Mrs. Alfred and Muriel Berkeleyrachel and Steven Bloom, in honor of Beth FalconeMr. and Mrs. Charles BryanDr. and Mrs. Arthur Burnett IIMs. Deborah W. CallardThe Jim and Anne Cantler Memorial Fund of the Baltimore Community FoundationMr. and Mrs. David CarterMr. Andrew J. CaryMr. and Mrs. James CaseMs. Cynthia CindricBrenda M. Cley, M.D.Stanton CollinsCombined Charity CampaignComprehensive Car Care/ robert WagnerDavid and Sara CookeB.J. and Bill Cowie

Mr. and Mrs. David and Gloria CrockettMs. Alice M. DibbenDeborah and Philip englishMr. Dennis eppsMs. rhea Feikin, in memory of Colgate SalsburyBob and Susie FetterGenine and Josh Fidler, in honor of ellen and ed BernardBill and Winnie FlatteryDr. and Mrs. robert P. FleishmanDonna FlynnJoan and David ForesterDr. Neal M. Friedlander and Dr. Virginia K. AdamsMark and Patti GillenHal and Pat GilreathMs. Terry GladdenHerbert and Harriet GoldmanMr. Bruce GoldmanMr. Howard GradetJoseph GriffinThomas and Barbara GuarnieriJane Halpern and James PettitAda HamoshMelanie and Donald HeacockAaron Heinsman and Nick SimkoWilliam and Monica HendersonBetsy and George HessSue HessMr. Donald H. Hooker, Jr.Ms. Irene HornickMs. Sarah IssacsMr. William JacobJames and Hillary Aidus JacobsA.H. Janoski, M.D., in honor of Jane Stewart JanoskiMr. and Mrs. Peter Kaplanrichard and Judith KatzDr. and Mrs. Myron KellnerStephen and Laurie Kelly, in memory of rodney StieffDeborah King-Young and Daniel YoungDonald Knox and Mary Towery, in memory of Carolyn Knox and Gene ToweryDavid and Ann KochGina Kotowskiedward KuhlDrs. Don and Pat LangenbergMr. richard M. LansburghMr. and Mrs. William LarsonLeadership—Baltimore CountySara W. LeviMarty Lidston and Jill LeukhardtDr. and Mrs. John LionCheryl LondonScott and ellen LutreyNancy Magnuson and Jay Harrell, in honor of Betty and edgar SwerenMr. elvis MarksJoan and Terry MarshallDon Martineleanor McMillanMary and Barry Menne


Bruce MentzerMs. Darlene MillerMinds eye CinemaThe Montag Family Fund of The Community Foundation for Greater Atlanta, in honor of Beth FalconeJames W. and Shirley A. MooreMs. Cassie Motz, in memory of Nancy rocheDr. and Mrs. C.H. MurphyStephen and Terry NeedelIn memory of Nelson NeumanClaire D. O’NeillMr. Thomas OwenThe P.r.F.B. Charitable Foundation, in memory of Shirley Feinstein BlumJustine and Ken ParezoGeorge edward Parrish, Jr.Fred and Grazina PearsonLinda and Gordon PeltzMr. William Phillipsrobin and Allene Pierson, in honor of Terry Morgenthalerron and Pat PillingThea PinskeyMr. Mike Plaisted and Ms. Maggie WebbertMr. rex rehfeld and Ms. ellen O’BrienDr. Michael repka and Dr. Mary Anne FaccioloNatasha and Keenan riceLiz ritter and Larry KoppelmanMr. Wilfred roeslerSteven and Lee SachsDr. Chris SchultzClair Zamoiski Segal, in honor of Judy Witt PharesLeslie ShepardMrs. Kimberly ShorterMr. and Mrs. L. SiemsDr. and Mrs. Donald J. Slowinskireverend Sharon SmithSolomon and elaine SnyderMrs. Clare H. Stewart, in honor of Bill Geenenrenee Straber, in memory of Joan Marilyn KappelmanMs. Joann StricklandMr. and Mrs. James and Gail SwanbeckMr. Joseph Terino, in memory of Joan Marilyn KappelmanCindy and Fredrick ThompsonMr. Martin Toner, in memory of Joan Marilyn KappelmanLaura and Neil Tucker, in honor of Beth FalconeMillie TyssowskiApril Duncan WallMr. and Mrs. David WarshawskyMs. Magda WesterhoustMs. Camille Wheeler and Mr. William Marshall

Mr. and Mrs. Barry and Linda WilliamsBrian and Patricia WinterHarold and Joan YoungMr. William ZerhouniSPecial granTS & gifTS:The Leading National Theatres Program, a joint initiative of the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation

governmenT granTSCenter Stage is funded by an operating grant from the Maryland State Arts Council, an agency dedicated to cultivating a vibrant cultural community where the arts thrive. Funding for the Maryland State Arts Council is also provided by the National endowment for the Arts, a federal agency.

Center Stage’s catalog of education Programs has been selected by the President’s Committee on the Arts and Humanities as a 2011 National Arts and Humanities Youth Program Award Finalist.Baltimore County executive, County Council, & Commission on Arts and SciencesCarroll County GovernmentHoward County Arts Council through a grant from Howard County Government

gifTS in-KindThe Afro AmericanAkbar restaurantAtwater’sThe Baltimore SunBerger’s CookiesBlimpieThe Brewer’s ArtCakes by Pamela GCasa di PastaThe Classic Catering PeopleThe Charles TheaterChipotleThe City Papereddie’s on Saint Pauledible Arrangementseggspectationsexpress VendingFisherman’s Friend/ Pez Candy, Inc.The Fractured PruneGertrude’s restaurantGianni’s Italian BistroGreg’s BagelsGT PizzaHoneyBaked Ham Co.The HelmandHotel MonacoIggie’sThe Jewish TimesMamottMars Super Markets

Maryland Office InteriorsMaryland Public TelevisionMichele’s GranolaMitchell Kurtz Architect, PCMount Vernon Stable and SaloonNew System BakeryOriole’s Pizza and SubPizza Boli’sPizza HutPlanit AgencyPromoWorksrepublic National Distributing CompanySabatino’sShugoll researchThe SignmanStyle MagazineSubwayUrbaniteUtz Quality FoodsVillage Square CaféA Vintner’s SelectionWawaWegman’sWhitmore Print & ImagingWYPr radiowww.thecheckshop.us

maTching gifT comPanieS The Abell Foundation, Inc.Bank of AmericaBGeThe Annie e. Casey FoundationConstellation energyThe Deering Family Foundationexxon CorporationGe FoundationIllinois Tool Works FoundationKraft FoodsMASCO CorporationMcCormick FoundationNorfolk Southern FoundationPNC BankStanley Black and DeckerSunTrust BankT. rowe Price Group

We make every effort to provide accurate acknowledgement of our contributors. We appreciate your patience and assistance in keeping our lists current. To advise us of corrections, please call 410.986.4026.

PlaywrighTS’ circle

Anonymous

American Trading & ProductionCorporation

The Baltimore Life Companies

Chapel Valley Landscape Company

Cho Benn Holback + Associates

environmental reclamation Company

ernst & Young

FTI Consulting, Inc.

Howard Bank

McGuireWoods LLP

The P&G Fund of The Greater Cincinnati Foundation

Pessin Katz Law P.A.

PNC Bank

Saul ewing LLP

Stifel Nicolaus

Sylvan/Laureate Foundation

Venable, LLP

The Wells Fargo Foundation

Whiteford, Taylor and Preston

Whiting-Turner Contracting Co.

direcTorS’ circle

Alexander Design Studio

Baxter, Baker, Sidle, Conn & Jones, P.A.

Funk & Bolton, P.A.

Schoenfeld Insurance Associates

The Zolet Lenet Group at Morgan Stanley Smith Barney

aSSociaTeS

Ayers Saint Gross, Incorporated

Chesapeake Plywood, LLC

Stevenson University

CORPORATIONS

ProducerS’ circle

SeaSon 51 PreSenTing SPonSor

arTiSTS’ circle

PreSidenTS’ circle

T. Rowe Price Foundation, Inc.

22

to MusicalsadrigalsFrom

Tom Hall, music DirecTor

renowned soprano Janice Chandler Eteme joins Tom Hall and the Chorus in a program spanning the choral repertoire from the 16th century, to works of Duruflé and lauridsen, and leading to selections from the iconic musicals of irving Berlin and leonard Bernstein.

Call 410-523-7070 or visit www.BCAsings.org

Sunday, March 9, 2014 at 3 pmTowson United Methodist Church 501 Hampton Lane, Towson

TÍR NA NÓG IRISH BAR & GRILL

We are your friendly neighborhood Irish bar in the heart of Baltimore’s downtown Inner Harbor.

We offer Irish cuisine with an American twist and 23 Draught beers.

• Live Music every weekend• Open Late• Call to book your next party or event • Trivia night every Wednesday• When you dine with us, receive FREE parking after

5pm at LAZ Garage, 100 East Pratt Street

201 E. Pratt St. • 2nd Floor Baltimore, MD 21202 • 410-483-8968

Email: [email protected]: 11:00am-2:00am Monday-Sunday

We are your friendly neighborhood Irish bar in

TÍR NA NÓG IRISH BAR & GRILL TÍR NA NÓG IRISH BAR & GRILL

www.tirnanogbaltimore.com

24

Major Donors receptionTop: Sharon and roland Campbell Bottom: Mame Hunt and Alonza Williams

Opening Night of A Civil War ChristmasTop photo, from left, back row: Victor Simonson, A.J. Shively, Matthew Greer, Jeffry Denman; middle: Tracey Conyer Lee, Sekou Laidlow, Kati Brazda, Nicole Lewis, Andrea Goss, Oberon K.A. Adjepong, Tyrone Davis, Jr.; front: Sierra Sila Weems, Mackenzie Kristine Jarrett.Bottom: Musical Director Victor Simonson and guests; Musical guest ellen Cherry; Lindsay Knotts and Kristina Szilagyi. Opening Night photography by Tyrone eaton

Night Out for A Civil War ChristmasCelebrating our LGBT community with Director rebecca Taichman, Playwright Paula Vogel, and Production Dramaturg Drew Barker

Baltimore STYLe Magazine’s

Pre-Show Holiday Party

photoSCenter Stage Celebrations


prEviEwUP NeXT

IN SeASON 51

By William ShakespeareDirected by Gavin Witt

Mar 5–Apr 6Revelry, disguises, swashbuckling, and (of course) pining lovers abound in what some call Shakespeare’s most perfect comedy. Twins Viola and Sebastian, separated in a shipwreck and presuming each other dead, wash ashore in the beautiful but mysterious land of Illyria. A tale of mistaken identity and mismatched ardor unfurls as lords and ladies, servants and masters wind a topsy-turvy path to happiness.

When plucky Viola washes up on a strange seacoast in a foreign land, she stumbles into a classic tale of love and longing, adventure and romance. Disguised as a boy, seemingly alone in the world, she seeks solace in service. Until, that is, she falls for her boss—who, with half the town, pines for the Countess, who in turn dotes on Viola’s male masquerade. A knot of surprising love triangles and unexpected complications tangles everyone’s plans. As the inhabitants of Illyria grow more frantic—and more musical—by the hour, Viola finds herself treading a perilous path between the pitfalls of passion and jealousy.

This spring, The Pearlstone Theater will transform into the elegant byways of Illyria, alive with all the mischief and delight that have made this beloved Shakespeare play a perennial favorite for 400 years.

ShAKESpEArE’S MoSt pErFECt CoMEdY“Twelfth Night is a perennial

favorite… with its multifaceted plot mixing sweetness, sadness, and silliness.”–The New York Times

26

Young Playwrights FestivalMonday, May 5, 7 pm

Do you know a budding writer? Are you looking to stimulate your students’ creativity? encourage them to submit to Center Stage’s 28th annual Young Playwrights Festival (YPF).

Students in grades K-12 throughout Maryland are eligible and may get to see their play on stage! Numerous plays are honored each year with workshops, in-school performances, and even performances at Center Stage.

Submission Deadline: February 7, 2014

My America/My BaltimoreIn response to Center Stage’s My America project—where we asked 50 leading American playwrights “What is my America?”—we decided to ask the same question to local students in grades K-12.

Submit a 2-3 minute monologue exploring what is your America. Selected monologues will be filmed and presented at this year’s Young Playwrights Festival.

Submission Deadline: February 7, 2014

For question and submission information, contact the Community Programs & education Department at 410.986.4039 or [email protected] or visit www.centerstage.org/ypf.

SPONSOrS: Transamerica

M&T BankMaryland State Arts CouncilThe P&G Fund of the Greater Cincinnati Foundation

up NExt@ CeNTer STAGe

In bucolic Bucks County, PA, Vanya and his sister Sonia have frittered their lives away living in the same farmhouse where they were raised. Their quiet existence of unease and regret, however, is rocked by the arrival of their glamorous movie star sister (and landlord) Masha, and her hunky boy toy, Spike. As their visit unfolds, a lifetime of sibling rivalry explodes into a weekend of comedic pyrotechnics. Acclaimed playwright Christopher Durang (The Marriage of Bette and Boo, Sister Mary Ignatius…, Center Stage’s My America) weaves Chekhovian themes and modern wit into an unforgettable experience critics have hailed as “a sublime state of hilarity” (New York Magazine).

By Christopher Durang

Just

Added!

Apr 16–May 25


Kwame Kwei-Armah OBE–Artistic Director | Stephen Richard–Managing Director

AdministrationAssociate Managing Director–Del W. RisbergExecutive Assistant–Kacy ArmstrongManagement Fellow–Kevin MaroneyYale Management Fellow–Molly Hennighausen

Artistic & DramaturgyAssociate Artistic Director/Director of Dramaturgy–

Gavin WittArtistic Producer–Susanna GellertArtistic and Dramaturgy Intern–

Catherine María RodríguezThe Lynn and Tony Deering Artistic Directing Fellow–

Samantha GodfreyHot Desk Resident Playwright–Miranda Rose HallPlaywrights under Commission–de'Adre Aziza, Ken

Greller, James Magruder, Daniel Reitz, KJ Sanchez

Audience RelationsBox Office Manager–Mandy BenedixAssistant Box Office Manager/Subscriptions Manager–

Jerrilyn KeeneAssistant Box Office Manager–Blane WycheSenior Patron Services Associate–Lindsey BarrPatron Services Associates–Zerica Anderson, Samrawit

Belai, Tiana Bias, Kendrel Dickerson, Maura Dwyer, Caitlin Joseph, Froilan Mate, Quincy Price, Santino Russo, Kristina Szilagyi, Paul Wissman

Bar Manager–Sean Van CleveAudience Relations Intern–Laura BakerAudio Description–Ralph Welsh &

Maryland Arts AccessFront of House|Volunteer Coordinator–Alec Lawson

AudioSupervisor–Amy WedelAudio Engineer–Chuck HarbertThe Jane and Larry Droppa Audio Intern–

Daniel Hogan

Community Programs & EducationDirector–Rosiland CauthenCommunity Programs & Education Fellow–

Dustin MorrisCommunity Programs & Education Fellow–

Kristina SzilagyiCommunity Programs and Education Intern–

Joshua ThomasTeaching Artists–Sean Elias, Miranda Rose Hall,

Kimberly Lynne, Jerry Miles, Jr., CJay Philip, Wambui Richardson, Oran Sandel, Susan Stroupe, Ann Turiano

CostumesCostumer–David BurdickCraftsperson–Wil CrowtherTailor–Edward DawsonFirst Hand–Jessica RietzlerThe Judy and Scott Phares Costumes Intern–

Eileen ChafferWardrobe Intern–Lucy Wakeland

DevelopmentDirector–Cindi MonahanAnnual Fund Manager–Katelyn WhiteGrants Manager–Debbie Joy

Events Manager–Brad NorrisDevelopment Administrator–Lee LawlorDevelopment Assistant–Christopher LewisAuction Coordinator–Sydney WilnerAuction Assistant–Norma CohenThe Edward and Ellen Bernard Development Intern–

Astoria Avilés

FinanceDirector–Susan RoseberyBusiness Manager–Kathy NolanAssociate–Carla Moose

GraphicsArt Director–Bill GeenenProduction Photographer–Richard AndersonMarketing Multimedia Fellow–Leslie DatsisGraphics Intern–Callan Silver

Information TechnologiesDirector–Joe LongSystems Administrator–Mark Slaughter

ElectricsLighting Director–Lesley BoeckmanMaster Electrician–Bevin MiyakeStaff Electrician–Anthony ReedElectrician–Aaron HaagThe Gilbert H. Stewart and

Ms. Joyce L. Ulrich Lighting Intern–Carly ShinerMultimedia Intern–Gregory Towle

Marketing & CommunicationsDirector–Tony HeaphyMarketing Manager–Madeline Long Public Relations Manager–Heather C. JacksonPublications Manager–Maggie BeetzMarketing Associate/Group Sales–Tia AbnerDigital Content Associate–Emily SalinasThe Jay and Sharon Smith Marketing and

Public Relations Intern–Sarah Bichsel

OperationsOperations Manager–Shawn WhitenackBuilding Engineer–Dan PearceCustodial Services–MultiCorp. Wylie ShawSecurity Supervisor–James Williams

Production ManagementProduction Manager–Mike SchleiferAssociate Production Manager–Caitlin PowersProduction and Stage Management Intern–

Quincy PriceCompany Manager–Sara GroveCompany Management Intern–Te’ La Williams

PropertiesProps Master–Jennifer StearnsAssistant Manager–Nathan ScheifeleArtisan–Samantha KuczynskiThe Kenneth C. and Elizabeth M. Lundeen

Properties Intern–Elizabeth Chapman

SceneryTechnical Director–Tom RuppAssistant Technical Director–Laura P. HillikerShop Supervisor–Trevor GohrCarpenters–Mike Kulha, Hunter Montgomery,

Scott RichardsonScene Shop Intern–Amber ChaneyScenic ArtScenic Artist–Stephanie NimickScenic Art Intern–Roxanne Miftahittin

Stage ManagementResident Stage Managers–Captain Kate Murphy,

Laura SmithProduction Assistant–Lindsay EberlyThe Peter and Millicent Bain

Stage Management Intern–Chandalae Nyswonger

Stage OperationsStage Carpenter–Eric BurtonWardrobe Supervisor–Linda Cavell

The following individuals and organizations contributed to this production of

Stones in His PocketsElectricians–Alison Burris, Jake EppProjections Engineer–Drew KaufmanStage Management Intern–Scott Kincaid

Center Stage operates under an agreement between LORT and Actors’ Equity Association, the union of professional actors and stage managers in the United States.

The Director and Choreographer are members of the Society of Stage Directors and Choreographers, Inc., an independent national labor union.

The scenic, costume, lighting, and sound designers in LORT theaters are represented by United Scenic Artists, Local USA-829 of the IATSE.

Musicians engaged by Center Stage perform under the terms of an agreement between Center Stage and Local 40-543, American Federation of Musicians.

Center Stage is a constituent of Theatre Communications Group (TCG), the national organization for the nonprofit professional theater, and is a member of the League of Resident Theatres (LORT), the national collective bargaining organization of professional regional theaters.

The Center Stage Program is published by:Center Stage Associates, Inc. 700 North Calvert Street Baltimore, Maryland 21202

Editor Maggie BeetzArt Direction/Design Bill GeenenAssociate Editor Heather Jackson Advertising Sales [email protected]

CONTACT INFORMATIONBox Office Phone 410.332.0033 Box Office Fax 410.727.2522 Administration 410.986.4000www.centerstage.org [email protected]

Material in the Center Stage performance program is made available free of charge for legitimate educational and research purposes only. Selective use has been made of previously published information and images whose inclusion here does not constitute license for any further re-use of any kind. All other material is the property of Center Stage, and no copies or reproductions of this material should be made for further distribution, other than for educational purposes, without express permission from the authors and Center Stage.

StAFF

28

Stones in His Pockets Program

Documents

Transcript of Stones in His Pockets Program