The
HERZOG FESTIVAL
AFTER the REVOLUTION By Amy Herzog MAR 18–MAY 17, 2015
4000 MILES By Amy Herzog APR 1–MAY 24, 2015
2014/15 SEASON AMADEUS NEXT TO NORMAL IT’S A WONDERFUL LIFE: A Live Radio Play ONE NIGHT IN MIAMI… THE AMY HERZOG FESTIVAL:
AFTER THE REVOLUTION & 4000 MILES MARLEY
An Introduction to the World of the Play As Director Lila Neugebauer has observed, the platform of a festival is rarely enjoyed by contemporary playwrights, but Amy Herzog’s work, with its “probing insight, rigorous intelligence, and terrific humor” readily invites this level of exploration and celebration.
Director Lila Neugebauer in first rehearsal Right: Playwright Amy Herzog
Despite being by the same playwright and about the same family, After the Revolution and 4000 Miles are two very different plays. They embrace different theatrical styles, offer distinct stories, and even demonstrate different sensibilities. While After the Revolution paints a more sweeping canvas of high-stakes drama of family betrayal, 4000 Miles delves narrowly to explore more intimate, seemingly inconsequential passing encounters. But Neugebauer is quick to point out similarities as well. Across both plays, Amy has written her characters with astonishing compassion: “Amy has a profound grasp of the complexities and contradictions that define our nature. Her plays feature fundamentally well-meaning people who are capable of cruelty. These characters enable and elicit each others’ strength and fragility through gestures of extraordinary empathy, and they undermine and dismantle one another in moments of careless harshness,” she describes. “In a culture in which we’re in dire need of empathy, of an intelligent kind, these investigations into the human capacity seem undeniably worthwhile.” Both plays also pose universal questions of identity and legacy. As Neugebauer frames them: “To what extent are we fundamentally, irrevocably defined by our family and our family’s history? To what extent is that a choice? And what might be the cost of attempting to separate? What constitutes progress for an individual, a family, or a culture?” “For me,” the director shares, “the plays together invite an investigation into how we actually change—both the quaking terror and electrifying thrill of change—whether it’s at age 21 or 91.” Considering each play individually, and the two together, Neugebauer reflects that,“they capture moments in which the rug is violently pulled out from under you, and how, in surviving that trauma, you might forge a space for something new.”
CAST
The
TABLE OF CONTENTS
AFTER THE REVOLUTION
Mar 18–May 17, 2015
By Amy Herzog Directed by Lila Neugebauer
Apr 1–May 24, 2015
THE CAST
2 The Setting
4 Q&A with Amy Herzog
6 Family Saga
8 Historical Background
10 Bios: The Cast
12 Bios: The Artistic Team
13 Audience Services
14 Bios: The Staff
20 Supporter Spotlight
21 Supporting the Annual Fund
(in alphabetical order)
Arye Gross* Ashton Heyl* Lois Markle* Kelly McCrann* Alejandro Rodriguez* Susan Rome* Peter Van Wagner* Mark Zeisler*
Ben Joseph Emma Joseph Vera Joseph Jess Joseph Miguel Roja Mel Morty Leo Joseph
There will be a 15-minute intermission.
27 Preview: Up Next Center Stage Celebrations
HERZOG FESTIVAL
4000 MILES
28 Staff
By Amy Herzog Directed by Lila Neugebauer
THE CAST
The Herzog Festival is sponsored by:
Media Sponsor:
Center Stage is also made possible by:
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.
Lead Student Matinee Sponsor:
Lauren LaRocca* Lois Markle* Jennifer Tsay Josh Tobin*
Bec Vera Joseph Amanda Leo Joseph-Connell
Laura Smith* Stage Manager *Member of Actors’ Equity Association
Season 2014/15 Sponsor:
Associate Season Sponsor:
(in alphabetical order)
THE ARTISTIC TEAM
Amy Herzog Lila Neugebauer Daniel Zimmerman Ásta Hostetter Eric Southern Brandon Wolcott Catherine María Rodríguez and Gavin Witt Stephanie Klapper Brandon Rashad Butts
Playwright Director Set Designer Costume Designer Lighting Designer Original Music and Sound Design Production Dramaturgs Casting Director Assistant Director
PLEASE TURN OFF ALL ELECTRONIC DEVICES. IN CASE OF EMERGENCY 410.986.4080 (during performances).
The Herzog Festival | 1
S ET T IN G
TIME AND PLACE
From Mugshot to Movement:
AFTER THE REVOLUTION
A Brief Chronology of the Mumia Abu-Jamal Case
TIME:
May–June, 1999
Place:
Vera Joseph’s apartment and various other locations around Greenwich Village, NY.
1981: Philadelphia police officer Daniel Faulkner shot to death. Award-winning local reporter, activist, former Black Panther Mumia Abu-Jamal arrested at the scene. 1982: Abu-Jamal convicted of killing officer Faulkner and sentenced to death, beginning decades of appeals, hearings, and legal tussles. 1995: Following a post-conviction hearing to consider evidence of racial bias and lack of due process during the initial trial, Abu-Jamal loses bid for a new trial. His book, Live From Death Row, helps attract supporters around the world. Pennsylvania governor signs Abu-Jamal’s death warrant. April 1999: Global movement begins planning for worldwide Mumia Day in the fall: a day of action in 100 cities. April 22, 1999: Abu-Jamal’s legal team, led by Leonard Weinglass, file for writ of certiorari. May 12, 1999: Weinglass and team announce that they have filed for certiorari. May 19, 1999: Mumia’s brother gives a sworn declaration stating he and a friend, not Mumia, were hired to kill Faulkner. June 9, 1999: Mumia delivers taped commencement speech for Evergreen College. September 19-25, 1999: International Mumia Awareness Week.
2
S ET T IN G
TIME AND PLACE
4000 MILES
TIME:
Late summer, early fall Late 2000s
Place:
Vera Joseph’s apartment in Greenwich Village, NY.
A neighborhood on the west side of Lower Manhattan, Greenwich Village is a landmark of American bohemian culture. During the 19th Century, small presses, art galleries, and experimental theater thrived there. By the turn of the 20th Century, the Village was ethnically diverse and known for its tolerance of radicalism and nonconformity. In the 1950s, it became the center of the Beat movement and in the 1960s a center for Hippie counterculture. Due in part to the progressive attitudes of many residents, the Village has been a focal point of new movements and ideas. Attracted to the neighborhood’s liberal leanings, gay people began gathering in the area, and riots at the Stonewall bar helped spark the beginning of the LGBT rights movement in 1969. Greenwich Village has remained a progressive center, a rallying place for anti-war protestors in the 1970s and a center of mobilization efforts for the AIDS epidemic in the 1980s, even as gentrification has driven up the cost of living and ushered in a whole new demographic.
The Herzog Festival | 3
M EET
THE PLAYWRIGHT
Amy Herzog
hardly meant to write a family saga, let alone a pair of dramas that might
play as bookends. After the Revolution and 4000 Miles were conceived and written independently, though both draw to a
greater or lesser extent on events, attitudes, and characters that Herzog based on her own family. Vera, the character they share in common, closely mirrors Herzog’s own grandmother, Leepee. Leepee’s husband, Julius Joseph, was indeed called to testify in 1953; his history parallels that of the fictional Grandpa Joe, whose choices loom over both stories. Amy has recounted these links in innumerable interviews about each of these plays, for their many individual productions around the country. This time Center Stage asked the playwright to look back and reflect on the plays and their pairing, rather than on their common source material.
Q
: Over the past several years, you’ve spoken and written at great length about both of these plays and their origins, individually. Since then, they’ve become somewhat established staples of the regional repertory. With a little distance from them, can you reflect on what they mean to you now, looking back?
A
: Since I wrote these plays based on
my extended family and especially
my grandmother, I’ve had two major life changes. My grandmother died in 2013
at age 96, and I had two children. My
grandmother’s death changed my feeling
about the plays very much; now they
seem to have the quality of a eulogy or
remembrance, which they didn’t when I
wrote them. I haven’t seen a fully staged production of After the Revolution since
she died, and I wonder what it will be like
sitting with her disappointment and quiet anger in the final scene. I’ve always said I
wanted to give her the last word in the play,
it can be. There’s so much that happens
accidentally, as a result of constantly
shifting circumstances and without much
forethought. I wonder, if I were writing
these plays now, if they would in some way reflect that.
Q
:Given how personally you mined your family history for these pieces, it would be great to hear if there have been any lingering effects—how has your family continued to respond? Would you say the plays have prompted any more discussion or revelations, or any new relationship to the past?
Q
: This is the first time these two plays—conceived and written independently despite being interconnected in content—are getting produced together. What do you make of this union?
A
: I am completely delighted that the
plays will be seen together for the
first time. There are resonances between
them that are usually lost—for example,
the offstage character of Jane is mentioned in both and becomes more important in
4000 Miles. And if you go into 4000 Miles
having seen ATR, Vera’s continuing grief for
the loss of Joe will have more shape and
substance. Formally they’re very different,
A
Will it be tricky to settle into the gentle
the characters Ben and Mel are based on,
more operatic ATR? Also, will people be
: I am careful not to overestimate the
impact of these plays on my family.
so I’m curious how that sits with audiences.
My uncle Andrei and his partner Pam, who
rhythms of 4000 Miles after the relatively
have traveled around the country to see
confused about the name Leo? The young
regional productions of ATR and offered
protagonist Leo of 4000 Miles is named
their services to do talkbacks after the
after his Uncle Leo of ATR. But that’s not
Both plays are concerned with the
the most, and I’ve seen a deepening in
more details like that I haven’t thought of.
I wrote primarily from the perspective
theater as a result. I don’t think the plays
but that means something different now.
relationships between parents and children. of the grown child, having observed my
own and other parents closely. Now that
I am a mother, I’m more aware not just
4
of how difficult being a parent is (that
I’d sort of guessed), but how haphazard
show*. So they’ve surely been affected
explained in the plays, and I’m sure there are
their engagement in and understanding of have prompted further revelations...they’ve doubtless prompted all kinds of mixed
feelings, only some of which I am aware of.
* Andrei Joseph is the special guest at Center Stage’s pre-show Night Out event, Tue, Mar 24.
M EET
THE FAMILY
THE FICTIONAL JOSEPHS
The family in After the Revolution and 4000 Miles, the Josephs, are based in part on Amy Herzog’s own family. Vera is modeled after her grandmother, Leepee Joseph; her grandfather, like Joe Joseph, was blacklisted; Ben and Mel are based on her politically active uncle and his wife; and young Leo was inspired by a similarly off-the-grid cousin.
Vera Joseph
X
Arthur Herzog
Mel
Jane Joseph
Ben Joseph
Jess Joseph
Peter Connell
Lily Joseph-Connell
Leo Joseph-Connell
Key Connections marked with an X denote marriages that ended in divorce
X
Joe Joseph
Jake Joseph
X
Tessie Joseph
Maxine
Emma Joseph
Leo Joseph
Beth
Katie Joseph
Sammy Joseph
AFTER THE REVOLUTION 4000 MILES
Adopted
The Herzog Festival | 5
The perennial garden of the Great American Family Drama By Catherine María Rodríguez, Production Dramaturg
Amy Herzog never intended to write a multiplay saga exploring her personal history. But once she’d begun to unearth her roots, she found it hard to abandon the fertile soils that surround her family tree. After the Revolution and 4000 Miles are prime examples of a theatrical phenomenon that is distinctly—albeit not exclusively—American. Like classic dramas from Death of a Salesman to Buried Child or Glass Menagerie to A Raisin in the Sun, they introduce us to individuals confronting their families and legacies in moments that shake their very foundations—and in so doing mirror the myths we tell about ourselves and the story of family. Indeed, these narratives have proven so pervasive that they arguably form their own genre, what you might call the Great American Family Drama. In this perennial garden, a particular strain has cropped up: multiplay series with family trees that branch out to multiple generations and roots that stretch across the eras. And it’s to this strain of the Great American Family Drama that Herzog’s two semi-autobiographies belong. On its own, each of these two Herzog plays centers on individuals who, in exhuming buried truths, must then face shifting relationships to kin and self; taken together, the duet tells a larger story—of a family, and of that family across history. Although Herzog first conceived of After the Revolution (which takes places about a decade before its sequel, 4000 Miles) as a standalone play, in revisiting and expanding the family tree, Herzog has added her Joseph family plays to the growing list of American dramatists and dramas that stage the family to unpack the stories that we repeat—or sacrifice—for our own mythmaking.
6
A Saga Sampler
This page, a triptych of The Raisin Cycle: (from top) A Raisin in the Sun, Clybourne Park, and Beneatha’s Place. Opposite: (from left) The Piano Lesson and Jitney from August Wilson’s Century Cycle, and Lillian Hellman’s Another Part of the Forest and The Little Foxes (Martin Beck Theatre). Photo credits: This page: (from top) Tracie Thoms; Beth Hylton, Jessica Frances Dukes, Charlie Hudson, III; Dukes, Hudson. Opposite: (from left) Charles Weldon, Terry Alexander; Stephen McKinley Henderson, Keith Randolph Smith; Kevin O’Rourke, Nicolette Goulet; Elizabeth Taylor, Novella Nelson, Ann Talman.
These multigenerational stories include mammoth epics (August Wilson’s Century Cycle primarily spotlights 100 years of life in Pittsburgh’s Hill District), searing retrospectives (Lillian Hellman’s Another Part of the Forest provides context for the evil enacted by the Hubbards of The Little Foxes), and sprawling fantasias (Mac Wellman’s Crowtet quartet spans multiple generations and theatrical genres). Others repopulate old family homes (Bruce Norris’s Clybourne Park and Kwame Kwei-Armah’s Beneatha’s Place revisit Lorraine Hansberry’s A Raisin in the Sun) or substitute the portrait of a community for the family portrait (Dominique Morisseau’s Detroit Projects trilogy centers on her Motown hometown).
Tropes common among this subgenre— Possessors Self-Dispossessed” was, in the many shared by Herzog’s entries—include playwright’s words, to follow “a far from curses, ghost stories, and the struggle to model American family” over the course overcome or right past wrongs (August of 175 years and showcase the playwright’s Wilson’s Century Cycle, Robert Schenkkan’s theory that “the United States, instead Kentucky Cycle, and Tarell Alvin McCraney’s of being the most successful country in Brother/Sister Plays); wars waged over the world, is its greatest failure [b]ecause dis/inheritance (Hellman’s Hubbard family it has always been in a state of rapid plays); the empty promise of the American movement [and] has never acquired real Dream (Horton Foote’s Orphans’ Home roots.” Conceived but never penned, O’Neill’s Cycle); families in distress in times of infamously failed cycle is itself the stuff national crisis, from Civil War to September 11 of mythology. (Richard Nelson’s Apple Family Plays and Seeded within these serial sagas are Lanford Wilson’s Talley Trilogy); and ethnic constant iterations of the act of storytelling or racial identity located in the American itself; as characters retell or withhold Dream (Evelina Fernandez’s A Mexican certain stories, they weave a tapestry of Trilogy, Edward Sakamoto’s Hawai’i No Ka Oi: tales that, when repeated, become truths The Kamiya Family Trilogy, and Neil Simon’s for the tellers—until a curious descendent Eugene trilogy). In tracing various branches or the wheel of fortune fatefully uncovers of the same family tree, these multiplays the old skeleton buried deep in the family show us how individual members interact closet. Certainly, from Sophocles and with and contribute to a shared legacy. And, Shakespeare onward, dramatists have through these sweeping histories, we trace penned tales of lineage and legacy. But the long-term ripples of individual actions Great American Family Dramas particularly Why have these and other playwrights, in across time and space. marry the struggle of personal and familial tackling the Great American Family Drama, Take, for example, Schenkkan’s Kentucky storytelling with our ongoing compulsion pushed beyond a singular play’s perimeter Cycle. As The New York Times wrote, its to national mythmaking. In recounting or protagonists in favor of far-reaching, 200-year span “erect[s] an epic of the failure and mounting their myths, these mutliplay entangled branches? of the American dream” by following a sagas call into question the so-called Be they diptychs or sizable series, in their family and a plot of land. Here, the singular self-evident truths that we tell to, and extended framing and storytelling these sins of individuals rack up to spell ultimate about, ourselves as kin and countrymen. multiplay sagas can track larger social disaster for the town at large: “The beautiful, Ultimately, in exploring to what extent we trends and contextualize our place within unsullied piece of land where an indentured are defined or haunted by family, these them. By widening their historical and Irishman, Michael Rowen, settles in the play’s Great American Family Dramas interrogate, theatrical landscapes, these dramas likewise opening scene is steadily soiled by blood but leave unanswered, a central question: expand their investigations: questions of feuds and racial conflict, then pillaged by At what cost—to ourselves, our ancestors personal triumphs and sacrifices evolve into capitalist greed until finally it is nothing more or descendants, our communities, our investigations of what constitutes progress than a polluted wasteland, a ghost town.” country—do we repeat, omit, or distance (or regress) for a family, a society, a culture. Other cycles take on the properties of their ourselves from our legacies and our They call out the myths of American identity Herculean ambitions. Eugene O’Neill’s supposed truths? through the fables of individual bloodlines, ill-fated 11-play cycle titled “A Tale of and plot the history of a family against the narrative of the nation.
But is there something distinctive to the multiplay subgenre and what it can accomplish?
The Herzog Festival | 7
“A SPECTRE IS HAUNTING EUROPE— THE SPECTRE OF
COMMUNISM.”
By Gavin Witt, Production Dramaturg
So began the now-iconic Manifesto of Karl Marx and Friedrich Engels, published in 1848. A century later, that same shade—given weight, form, and volume by the 1917 Bolshevik Revolution and the subsequent founding of the Soviet Union—continued to haunt Europe, and had added America to its habitat. It was a fear that rose to the level of mass hysteria by the mid-’50s; a fear pitting the government against its people, and neighbor against neighbor; a fear perhaps best expressed in the breathless warning of one avowed former Communist that “the masters of the Kremlin were about to unleash a creeping blitzkrieg across Europe and Asia, directed at the United States.” It was a fear of external threats to be sure, but even more of insidious internal subversion—of a secret fifth column of infiltrators, best rooted out by any means necessary.
1919-1920
1938-1944
1940
fear of worldwide Bolshevism, labor agitation, and an anarchist bombing campaign prompt a government crackdown led by the Palmer Raids, which feature illegal searches and seizures, warrantless arrests, and the eventual deportation of hundreds suspected of radical sympathies.
a precursor to the standing House Committee on Un-American Activities (aka HUAC), investigates potential disloyalty or subversion by Fascists, Communists, and others deemed a menace.
outlaws any activities, organizations, memberships, publications, associations, affiliations, or assemblies that could be deemed subversive– effectively overturning several core elements of the Bill of Rights in the process.
First Red Scare:
Dies Committee,
The Smith Act
1941
Operation Barbarossa: breaking a nonaggression pact, Germany invades the Soviet Union, opening a second front and leading to the USSR joining the Allies.
FIFTH AMENDMENT:
1943-1945
Julius J. Joseph joins the US Army and is assigned to the Office of Strategic Services
1945
World War Two ends, and with it the wartime alliance between the US and USSR.
1947
President Truman issues Executive Order 9835, requiring loyalty oaths from federal employees; it is followed by similar requirements at the state level and in private industry, accompanied by secret tribunals.
One of the initial 10 Amendments to the US Constitution, collectively known as the Bill of Rights, it famously protects against self-incrimination or forced testimony. It was one of several Amendments invoked by those called to testify during the Second Red Scare, though it did not always provide a shield against either rulings of contempt of Congress or the appearance of guilt. Those invoking its protection were often dubbed “Fifth Amendment Communists” and summarily judged in the court of public opinion.
8
In 1943, careless tradecraft by Soviet agents
allowed US counter-intelligence to crack their code, and thereafter to read secret diplomatic and intelligence cables. Keeping this coup under wraps for decades, they continued until 1980 to read and record traffic from the mundane (recruiting, code names, requests for petty cash) to the sensational (trade in national security information)—unable to use it directly as evidence in any hearings or trials, however, without giving away the access. This became known as the Venona Project, and only fully came to light in the mid to late 1990s, finally revealing documents like the secret cable at left which mentions Julius Rosenberg by his code name, “Liberal.”
1947
HUAC investigates the film industry, ultimately citing and jailing the “Hollywood Ten” for contempt and giving rise to a blacklist that would number in the hundreds.
1948
Whitaker Chambers, a former small-fry in the Communist Party, testifies against fellow Party members, describing a conspiracy of infiltrators and spies; among them Chambers names his fellow-Baltimorean Alger Hiss. Hiss denies the charges and sues for libel.
1949
USSR explodes its first atomic bomb. Chinese Communists defeat Nationalists.
1950
Alger Hiss is found guilty of perjury (in effect damning him as a “Red” as well) and sent to jail.
1950
The Korean War pits Communist North Korea—backed by China and Russia— against a United Nations alliance, and further fuels fears of a global Red Menace.
“To remain silent when your neighbor is unjustly persecuted is cowardice; to speak out boldly against injustice, when you are one against many, is the highest patriotism.”
1951
Julius and Ethel Rosenberg are tried for espionage, convicted of passing atomic secrets to the Soviet Union, and sentenced to death.
1953
Real-life Julius J. Joseph, like his fictional counterpart Grandpa Joe, testifies before a congressional subcommittee, where he repeatedly invokes the Fifth Amendment to decline answering questions.
The Rosenbergs die in the electric chair.
–Abraham Lincoln The Herzog Festival | 9
BIOS THE CAST
Left to right: First rehearsal with company members Arye Gross, Peter Van Wagner, Lauren LaRocca, Jennifer Tsay, Ashton Heyl, and Associate Director Hana Sharif.
Arye Gross*—Ben Joseph
(After the Revolution). Center Stage: debut. Broadway— MTC/SCR: Brooklyn Boy. Regional—Pasadena Playhouse: Above the Fold; The Wallis: Parfumerie (Inaugural Production); Geffen Playhouse: Coney Island Christmas; South Coast Rep: Circle Mirror Transformation, Our Mother’s Brief Affair, Brooklyn Boy. Los Angeles area— productions at CTG, East/West Players, LA Theatre Center, Grove Shakespeare, El Teatro Campesino, The Antaeus Company (where he is a member of the Ensemble), Stages Theatre Center (where he served as Managing Artistic Director 2000–03), and Theatre@Boston Court in The Winchester House and most recently in Stupid Fucking Bird. Film/TV—Soul Man, Tequila Sunrise, The Couch Trip, For the Boys, A Midnight Clear, Minority Report, Big Eden, Harvest, Grey Gardens, The Practice, Ellen, Friends, The L&O’S, The CSI’s, Six-Feet-Under, The Riches, Criminal Minds, the soon-to-be-released independent feature Commencement and the recurring role of Sidney Perlmutter, M.E., on ABC’s Castle.
Ashton Heyl*—Emma Joseph (After the Revolution).
Center Stage: debut. OffBroadway—Theatre Row: Belles (Aneece). Regional— Virginia Stage: The Book Club Play (Ana); Berkshire Theatre Group: A Little Night Music (Mrs. Anderssen), The Cat & The 10
Canary (Annabelle); Williamstown: After the Revolution (Fellowship Workshop, Mel), Golden Gate (Diane/Mom); Texas Shakespeare: 1776 (Abigail), Twelfth Night (Maria); Yale School of Drama: Hedda Gabler (Hedda), Lottie in the Late Afternoon (Clara), Sunday in the Park with George (Yvonne/ Naomi), Fen (Boy/Angela/Deb); Yale Cabaret: Tartuffe (Dorine), Chamber Music (Woman with Gavel). Carnegie Mellon: As You Like It (Rosalind). Education—Yale School of Drama, Jerome L. Greene Scholarship Recipient. CMU undergrad. Many thanks to Lila, Amy, and Stephanie Klapper. Love always to my super friends and dear family.
Lauren LaRocca*—Bec
(4000 Miles). Center Stage: debut. Off Broadway—Soho Playhouse: Chemistry, LABA Theater: The Cherry Orchard (Anya). Regional—Actors Theatre of Louisville: Remix38, (Humana Festival), Our Town, A Christmas Carol, Dracula. Workshop, Williamstown Theatre Festival: October/November, The Tale of Pyramus and Thisbe. Education—BFA in Drama from New York University. Founding member of The Associates Theatre Ensemble. For my parents, with gratitude.
Roundabout: Hedda Gabler, True West. Off-Broadway—The American Dream/The Sandbox (written and directed by Edward Albee); Lincoln Center: Measure for Measure; Circle in the Square: Camino Real; Soho Rep: Two Orphans. Tours—Three Tall Women, After the Fall, Present Laughter, One Flew Over the Cuckoo’s Nest, Summer (world premiere, Kennedy Center). Regional—The Old Globe: August: Osage County (Violet, Best Actress Award); Albee’s Women; Trinity Square Rep: Who’s Afraid of Virginia Woolf (Martha); Arizona Theatre Company: A Delicate Balance (Claire); Capital Rep: Driving Miss Daisy (Daisy). Film/TV—The Sopranos, Sex and the City, Law and Order, Law and Order: Criminal Intent.
Kelly McCrann*—Jess Joseph (After the Revolution).
Center Stage: debut. Off Broadway—Classic Stage Company: Twelfth Night (dir. Tony Speciale); Much Ado About Nothing (Open Rehearsal w/ Mandy Patinkin, Laila Robins, Brian Kulick); New York Classical Theater: The Rover. Regional— P.S. 122: The Blind Date Project (dir. Scott Rodgers); Dixon Place: Look Back In (dir. Kathryn Hamilton); East 13th Street Rep: Henry VI Part III (dir. Adam Marple); HomeStretch; Woodstock Arts Festival Lois Markle*—Vera Joseph (Actor/Co-Creator); Columbia Stages: (After the Revolution; 4000 Phoenician Women (dir. Karin Coonrod). Miles). Center Stage: Old Times Film/TV—Louie (opposite Louis C.K.); St. (The Visitor), Toys in the Attic James Place (Steven Spielberg); The Deal (Older Sister). Partial Lists: (James Berry). Education—Columbia, Broadway—Steppenwolf Shubert Scholarship; UNC Chapel Hill; Andy Theatre Company: The Grapes of Wrath;
Argument, After the Revolution (HH nominee), The Moscows of Nantucket, The Ride Down Mt. Morgan, The Last Seder, Spring Forward/Fall Back, The Tale of the Allergist’s Wife (upcoming). Baltimore Shakespeare Festival: Richard III, Macbeth, All’s Well That Ends Well. Regional—Mark Taper Forum: The Substance of Fire; Seattle Center Stage: The Legacy. TV—credits include NYPD Blue and four seasons as DA Ilene Nathan on The Wire. Films—include John Waters’ A Dirty Shame; My One and Only. Griffith Scholarship. Special thanks and love to my Home Team!
Alejandro Rodriguez*— Miguel Roja (After the
Josh Tobin*—Leo JosephConnell (4000 Miles). Center
Stage: debut. Off Broadway— Theatre Row: Scapin (Scapin); Primary Stages: Rare Birds (reading). Regional—CTC: Fifty Ways, As You Like It, Love’s Labour’s Lost, Top Secret…; PlayMakers Rep: The Imaginary Invalid, Cabaret, Clybourne Park, Henry IV & V, Big River, Shipwrecked!; Gulfshore Playhouse: Something Intangible. Film/TV—Ricki and the Flash, How He Fell In Love. Education— MFA, UNC-Chapel Hill.
Peter Van Wagner*— Morty (After the Revolution).
Center Stage: Ah, Wilderness (2007). New York— Roundabout: A Thousand Clowns; Lortel: So Help Me God!; The Public: The Chimes; 2nd Stage: The Notebook; Signature: Letters From Cuba. Regional—Yale Rep: The Cherry Orchard; Goodman: Huckleberry Finn; Huntington: Two Men Of Florence; Alliance: Mrs. Warren’s Profession; Rep. of St Louis: Twelve Angry Men; Long Wharf: Hearts. International—La Scala-Milan: West Side Story; Germany: Phantom (tour). Films— Annie, Tower Heist, Arthur, Hollywood Ending, Purple Violets. TV—He has guest starred on episodes of all the Law & Orders, The Good Wife, Unforgettable, Rescue Me, Third Watch and All My Children. Peter received a SAG Award for Outstanding Ensemble for HBO’s Boardwalk Empire.
Revolution). Center Stage: debut. Off Broadway— Rattlestick: Juárez: A Documentary Mythology; 59E59: Ghetto Babylon; Theater for the New City: Bird in the Hand; Center for Innovation Mark Zeisler*—Leo Joseph in the Arts: Base Track; EPBB: King Lear (After the Revolution). Center (Edgar) w/ Billy Porter. Tours—The Acting Stage: Romeo and Juliet. Company: Romeo and Juliet (title role), Broadway—Roundabout: A Jennifer Tsay—Amanda Comedy of Errors. Regional—Guthrie: R&J, View from the Bridge, The Big (4000 Miles). Center Stage: Comedy of Errors; Denver Center: Grace, or Knife; MTC: Brooklyn Boy. Off debut. New York—The Flea: the Art of Climbing; LATC: Juárez: A Broadway—Signature Theatre: Piece of my The Mysteries (Martha, Andy, Documentary Mythology; Shakespeare Heart; Second Stage: Eurydice, The Sex Lives Myriam, Hannah), Job Center of LA: R&J; Kitchen Theater: First Day. of our Parents; The New Group: The (Rachel), Restoration Comedy; Film/TV—Nurse Jackie, Dates from Hell, Accomplices; Playwrights Horizons: Circle The Pearl Theatre: Pick Your Poison, Learned Emoticon. Music/Opera—Bowdoin Int’l Mirror Transformation. Regional—American Music Festival: L’Histoire du Soldat (title role). Ladies (Henriette); Sam French OOB Festival: Repertory Theatre, Alabama Shakespeare Burying Barbie (Rachel); Gideon Productions: Writer/Director—LaGuardia Performing Festival, Actors Theatre of Louisville, Yale First Contact (Danielle); Random Access: Arts Center: Rare & Dangerous & Necessary. Rep, Berkeley Rep, Merrimack Rep, The Much Ado About Nothing (Hero); The Education—Juilliard: Michel and Suria St. Goodman, The McCarter, Elm Shakespeare, Workshop: Psycho Beach Party (Chicklet). Denis Prize. Professional—Associate Maltz Jupiter, Asolo Rep, Wilma Theatre, Director of Programs, Artists Striving to End Film/TV—Deborah Kampmeier’s Split, We Folger Shakespeare Theatre, and The BAM Poverty (astep.org); co-founder, Shook Ones. Are the Hartmans, Bored to Death, One Life Next Wave Festival. TV—The Blacklist, House to Live. Readings and workshops—with For mom and dad. of Cards, Elementary, The Good Wife, Rescue Playwrights Horizons/The Lark, New Me, Blue Bloods, Unforgettable, Pan Am, The Susan Rome*—Mel (After Georges, Clubbed Thumb, New Dramatists, Americans, all three Law and Orders. the Revolution). Center Stage: Ma-Yi, The Flea, The Pearl, Rising Circle Film—Random Hearts, Shaft, The Thomas Vanya and Sonya and Masha Collective, among others. Education—The Crown Affair, Two Week Notice, Head of State, and Spike, An Enemy of the Studio New York. Producer—–Divided After School. Mark is a native New Yorker People, Mud Blue Sky (world Families (independent documentary film). and a graduate of SUNY Purchase. premiere); Rep Stage: The Professional—Member, The Bats @ The Flea. Whale, Las Meninas, A Shayna Maidel. Theater jennifertsay.com. For Kyle and Jen M. * Member of Actors’ Equity Association J: The Intelligent Homosexual’s Guide..., The The Herzog Festival | 11
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THE ARTISTIC TEAM
Left to right: First rehearsal with Director Lila Neugebauer, actors Josh Tobin and Lois Markle, and Costume Designer Ásta Bennie Hostetter.
Lila Neugebauer—Director. Center Stage: debut. Recent directing work includes AR
Gurney’s The Wayside Motor Inn (Signature Theatre), Zoe Kazan’s Trudy and Max in Love (South Coast Rep), Lucas Hnath’s Red Speedo (Studio Theatre, DC), Dan LeFranc’s Troublemaker (Berkeley Rep), Mallery Avidon’s O guru guru guru and Dorothy Fortenberry’s Partners (2013, 2014 Humana Festivals), Annie Baker’s The Aliens (SF Playhouse; Studio Theatre),The Valley of Fear and Mad Forest (Williamstown), Angels in America and Circle Mirror Transformation (Juilliard), Eliza Clark’s Edgewise (Cherry Lane Studio), and associate directing Karen O’s Stop The Virgens (St. Ann’s Warehouse, Sydney Opera House). As co-Artistic Director of The Mad Ones, Neugebauer conceives/ directs ensemble-devised work, including Samuel & Alasdair: A Personal History of the Robot War (Ars Nova, New Ohio Theatre) and The Essential Straight and Narrow (New Ohio Theatre). Drama League alumna; Ensemble Studio Theatre member; New Georges Affiliated Artist; Princess Grace Award recipient. Upcoming: Mike Bartlett’s An Intervention (Williamstown), Abe Koogler’s Kill Floor (Lincoln Center Theatre), Eliza Clark’s Future Thinking (South Coast Rep), Maria Irene Fornes’ Drowning, Edward Albee’s The Sandbox, and Adrienne Kennedy’s Funnyhouse of a Negro (billed together, Signature Theatre).
Daniel Zimmerman—Set Designer.
Center Stage: debut. Off-Broadway— Roundabout Theater Company: Suicide, Incorporated; The Play Company: Call My Brothers; The Pearl Theatre Company: Henry IV, Part 1; Ars Nova: Be a Good 12
Little Widow; Page 73 Productions: You Got Older; The Mint: Fashions For Men. Other New York—Projects with The Woodshed Collective, Colt Coeur, Lesser America, and Slant Theatre Project. Regional— Actors Theatre of Louisville, Humana Festival of New American Plays, Dallas Theatre Center, Trinity Repertory Company, Milwaukee Repertory Theater, Theatreworks Palo Alto, Portland Stage Company, Pioneer Theater Company. Daniel is an affiliated artist with Clubbed Thumb. Education— MFA: NYU Tisch.
Ásta Bennie Hostetter—Costume Designer. Center Stage: debut. New York—
Les Freres Corbusier: Here’s Hoover!; P73: You Got Older; Soho Rep: Generations; Abrons Arts Center: The (*) Inn; The Essential Straight & Narrow, Nomads, Grimly Handsome, The Food Was Terrible, This Great Country. Regional—Two River Theater: Pinkolandia; Humana Festival: O guru guru guru, or why I don’t want to go to yoga class with you (dir. Lila Neugebauer). Opera—Curtis Institute: L’Elisir D’Amore. Education—CalArts MFA.
Opera Festival: The Secret Agent; Pittsburgh Symphony Orchestra: The Messiah (fully staged). Others—The Guthrie Theater, Westport Country Playhouse, Atlantic Theater Company, Asolo Rep, Virginia Opera, Portland Center Stage, Commonwealth Shakespeare, Arden Theater, Magic Theater, Kansas City Rep, Oregon Shakespeare, Kennedy Center, Asolo Rep, Westport Country Playhouse, UCLA Live Arts, Juilliard School, University of Rochester, Bard College, Colaboration Town, Lesser America, Studio 42, Ohio Theater. Education—BFA, MFA: NYU. Awards—2014 OBIE Award for The Correspondent.
Brandon Wolcott—Original Music and Sound Design. Recent/Notable:
The Nether (MCC); Kansas City Choir Boy (Prototype/HERE); The Seagull (Lake Lucille); The Record by 600 Highwaymen (original score); The Good Person of Szechwan and Titus Andronicus at The Public Theater; Kiss the Air (Park Avenue Armory); The Mystery of Irma Vep and The Maids with Red Bull Theater; The Tenant and Confidence Man with Woodshed Eric Southern—Lighting Designer. Center Collective; So Much Mad in Me (Faye Driscoll). Stage: debut. Recent Projects—Playwright’s New York—MTC, The Joyce, LaMama, Horizon: Pocatello; Rattlestick Theater: DTW, PS122, 3LD, New Ohio, Clubbed Thumb, The Few, Buyer and Cellar; Barrow Street and many more. Regional—Two River, Great Theater: Buyer and Cellar; Carnegie Hall: Lakes, Idaho Shakespeare Festival, Jacob’s collected stories: memoir (with David Lang); Pillow, The Magic. BAM Next Wave Festival: Play/Pause (with Gavin Witt—Production Dramaturg. Susan Marshall and David Lang); Prototype (See page 14) Festival: Paul’s Case; 600 Highwaymen: Employee of the Year, The Record, Empire Catherine María Rodríguez—Production City, This Great Country, Everyone is Dramaturg—returns for a second year at Chanting Your Name. Recent Opera— Center Stage where she previously served Avignon Opera House, Armel International as production dramaturg for Next to
AU DIEN CE SERVICES
Dining Sascha’s Express, our pre-performance dinner service, is located up the lobby stairs in our Mezzanine café. Service begins two hours before each performance.
Drinks
You are welcome to take beverages with lids to your seats! But please, no food.
Phones
Normal, One Night in Miami…, dance of the holy ghosts, Stones in His Pockets, and Wild with Happy. She facilitates Center Stage’s Wright-Right-Now and is the coordinator/ host of the Dramaturgy Open Office Hours Project in Baltimore/DC, which won her LMDA’s 2014 Dramaturg Driven Grant. She has been named a 2014 Leadership Institute Fellow by the National Association of Latino Arts and Cultures. Currently, Catherine is a visiting instructor of dramaturgy in the Department of Drama at Catholic University. Past credits include work with Steppenwolf, The NOLA Project/New Orleans Museum of Art, National New Play Network, and Northwestern. She was the dramaturg and archivist for Un Encuentro: Theater from the Borderlands, a transnational collaboration between Borderlands Theater (Tucson) and El Círculo Teatral (Mexico City). 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. Carnegie Mellon: BFA, Dramaturgy; BA, Hispanic Studies. Saludos a mamá y papá and laissez les bons temps rouler!
Laura Smith*—Stage Manager. Center
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.
Stephanie Klapper—Casting Director. Center Stage: It’s a Wonderful Life: A Life
Radio Play, Next to Normal, Vanya and
Sonia…, Stones in His Pockets, dance of the holy ghosts, …Poe, The Whipping Man, A
Skull in Connemara. Selected credits include: Broadway—Bronx Bombers; A Christmas
Story, The Musical; Dividing the Estate; Bells Are Ringing; It Ain’t Nothin’ But the Blues. Off Broadway—Rocket to the Moon; The
Winter’s Tale; Gigi; Billy Porter’s While I Yet Live; Poor Behavior; The Tribute Artist; The
Model Apartment; Emotional Creature; Karen O’s Stop the Virgens!. Regional—Bernstein’s
Mass (Street Singers) for the Philadelphia
Orchestra. Many theaters including: Asolo,
Cincinnati Playhouse, Capital Rep, Ford’s Stage: Resident Stage Manager: It’s a Theatre, Kansas City Rep, Milwaukee Rep, Wonderful Life: A Live Radio Play; Amadeus; Wild with Happy; Twelfth Night; Stones in His Berkeley Rep, Chicago Shakes, Oregon Shakespeare Company, Old Globe, San Pockets; dance of the holy ghosts; Clybourne Park; Beneatha’s Place; The Mountaintop; Bus Diego, Actor’s Theatre of Louisville, Westport Country Playhouse. Film/TV—Poor Behavior, Stop; An Enemy of the People; The Whipping Stag, Alice Jacobs is Dead, Roberta, Feast of Man; Gleam; The Rivals; Snow Falling on the Goat, Sidewalk Stories. TV—Lazytown. Cedars; Cyrano; Working it Out; Fabulation or, The Re-Education of Undine; Who’s Afraid Member—Casting Society of America and of Virginia Woolf?; Joe Turner’s Come and The League of Professional Theatre Women.
Please silence all phones and electronic devices before the show and after intermission.
Recording
Photography and both audio and video recording are strictly forbidden.
On-Stage Smoking
We 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.
Accessibility
Wheelchair-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†. Parking If 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.
Feedback
We hope you have an enjoyable, stress-free experience! Your feedback and suggestions are always welcomed: info@centerstage.org. Open Captioning & Audio Description performances for After the Revoluion is Sun, Apr 26. For 4000 Miles it is May 10. For both shows: Audio Description at both 2 pm and 7:30 pm. Open Captioning at 7:30 pm. †
The Herzog Festival | 13
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The Staff
Artistic Director Kwame Kwei-Armah OBE is an
award-winning British playwright, director, actor, and broadcaster. At Center Stage he has directed One Night in Miami...; Amadeus; dance of the holy ghosts (City Paper Top Ten Productions, 2013); The Mountaintop; An Enemy of the People; The Whipping Man, (named Best Director); and Naomi Wallace’s Things of Dry Hours. In 2014, Kwame was named Best Director in City Paper’s Best of Baltimore, and he was nominated for SDC's Zelda Fichandler Award for Best Theater Director. Among his works as playwright are Elmina’s Kitchen, Let There Be Love, A Bitter Herb, Statement of Regret, and Seize the Day. Beneatha’s Place debuted at Center Stage in 2013 as part of The Raisin Cycle. Other directorial credits include Wallace’s The Liquid Plain at Signature Theatre, Dominique Morisseau’s Skeleton Crew at the Lark Play Development Center, New York’s Public Theater’s production of Much Ado About Nothing, the World Premiere of Detroit ’67 (Best Director nom.) at New York’s Public Theater, and the World Premiere of The Liquid Plain at Oregon Shakespeare Festival. He has served on the boards of The National Theatre and The Tricycle Theatre, both in London, and as Artistic Director for the World Arts Festival in Senegal. 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 Director Stephen Richard has
worked in ballet, museums, and theater, with his longest tenure at Arena Stage in Washington, DC. As Arena’s Executive Director, he planned and managed the theater’s capital campaign for the Mead Center for American Theater. He has taught arts management at Georgetown University and George Mason University, among others. He has also 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. He 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 Director Gavin Witt came to Center
Stage in 2003, after nearly 15 years in Chicago as an actor, director, dramaturg, translator, and teacher—and co-founder of the classically based greasy joan & co theater. In addition to working as a dramaturg on scores of productions, readings, and workshops at Center Stage, he has helped develop new work around the country. Before making his Center Stage mainstage directorial debut with Twelfth Night, Gavin directed more than a dozen Young Playwrights Festival entries, as many new play readings, and the 50th Anniversary
Decade Plays for Center Stage. A graduate of Yale and the University of Chicago, he has taught at the University of Chicago, DePaul, and locally at Towson; served on the advisory boards of several theaters; and spent more than a decade as a regional vice president of the national association of dramaturgs, LMDA.
playwright, and producer. She served as Associate Artistic Director, Director of New Play Development, and Artistic Producer at Hartford Stage; recently as Program Manager of the ArtsEmerson Ambassador Program; and as Developmental Producer/Tour Manager of Progress Theatre’s musical The Burnin’. Hana also served as co-founder and Artistic Director of Nasir Productions, which brings theater to underserved communities. Directing credits include The Whipping Man, Gem of the Ocean (six CCC nominations), Gee’s Bend (CCC Award Best Ensemble, two nominations), Next Stop Africa, Cassie, The Drum, and IFdentity. Hana has directed numerous developmental workshops, including Elyzabeth Gregory Wilder’s The Chat and Chew Supper Club. Her plays include All the Women I Used to Be, The Rise and Fall of Day, and The Sprott Cycle Trilogy. Hana is the recipient of the 2009–10 Aetna New Voices Fellowship and the Theatre Communications Group (TCG) New Generations Fellowship.
CENTER STAGE ADVISORY BOARD
James Bundy, Artistic Director at Yale Repertory Theatre
a group of Artistic Directors from theaters
James Nicola, Artistic Director at New York Theatre Workshop
experienced professionals who are on
Neil Pepe, Artistic Director at Atlantic Theater Company
The Center Stage Advisory Board is
Susan Booth, Artistic Director at Alliance Theatre
Marc Masterson, Artistic Director at South Coast Repertory
across the country. We thank these
Diane Paulus, Artistic Director at the American Repertory Theater
hand to provide guidance and advice to
Carey Perloff, Artistic Director at the American Conservatory Theater
Center Stage leaders, board, and staff.
Bill Rauch, Artistic Director at Oregon Shakespeare Festival
Michael Ritchie, Artistic Director at Center Theatre Group
Tim Sanford, Artistic Director at Playwrights Horizons 14
Associate Director Hana S. Sharif is a director,
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 Š2014 M&T Bank. Member FDIC. The Herzog Festival | 15
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For more than fifty years, Center Stage has provided the greater Baltimore area with professional theater of the highest caliber. The law firm of Kramon & Graham, P.A., recognizes that the support of the corporate community is crucial to Center Stage's continued success. We have, for many years, proudly supported Center Stage, and we look forward to continuing that support.
is regarded as one of Maryland’s leading law firms. For more information, please visit www.kramonandgraham.com
The Herzog Festival | 17
18
ite r W
your Worl
d
May 18 at 7 pm
The Pearlstone Theater Join us for an awards ceremony and professionally staged readings of plays by Maryland students in grades k–12. This event is FREE with a $5 suggested donation. Seating is limited, and tickets are required. Reserve your ticket in advance by calling the Box Office at 410.332.0033.
YPF Lead Sponsor:
Additional support from:
The Jacob and Hilda Blaustein Foundation
Illustration by Rachel Suggs
For more information about this and other Center Stage education programs, call 410.986.4050 or email education@centerstage.org.
The Herzog Festival | 19
SUPPORTER SPOTLIGHT Suzanne Cohen
“At the time, it was the only venue in Baltimore for serious theater.” — Suzanne Cohen
Former Center Stage Trustee Suzanne Cohen dates her affiliation with Center Stage back to the mid-1970s. After studying playwright Eugene O’Neill (The Iceman Cometh, Long Day’s Journey into Night) in-depth in college, she became hooked on drama and naturally gravitated to Center Stage. “At the time, it was the only venue in Baltimore for serious theater,” Sue recalls. She continues to be delighted by Center Stage’s commitment to diversity and respect for its multicultural audience. In 1996, Sue established the Nathan & Suzanne Cohen New Play Development Fund. “My daughter was a budding artist when I made my gift for new play development, and I was thinking a lot about venues for new artists,” she reminisces. “I transferred that concern to new work at Center Stage. I am committed to the arts as one of the best ways to develop humanity. We all need exposure to the arts to broaden our thinking and search for the answers. I want to provide ways for newer voices to be heard.” Sue’s dedication to expanding these newer audiences is also evident in her support for free admission and contemporary exhibition development at the Baltimore Museum of Art, where she serves as a Trustee and Past Chair. The Herzog Festival is just one example of plays written by living artists that are brought to the stage through the generosity of visionary thinkers like Sue. This season alone, After the Revolution and 4000 Miles will be accompanied by a new entry in the Joseph family saga commissioned by Center Stage and written for us by Amy Herzog. The immensely 20
Instant and personalized plays, written to order. Wright-Right-Now puts a playwright in the lobby before select performances to craft a short play based on patron prompts.
popular One Night in Miami… by Kemp Powers recently closed the first production since its LA premiere. This May brings us Marley, the world premiere of Kwame Kwei-Armah’s original musical biography of international icon Bob Marley. In addition, new plays will be introduced through workshops and readings in our Play Lab series; two playwrights will take a seat in our Hot Desk Residency; and scores of new, custom scripts will be created thanks to Wright-Right-Now (a new initiative in which a brave playwright writes on-thespot, personal and customized short plays). Over the years, thanks to Sue’s support, we have been able to take the risk on countless new plays, helping to foster and support new theatrical voices from the mainstage and beyond. Endowments like Sue’s are integral in establishing the next generation of theater. Many, many thanks to her for her enthusiasm and vision in placing the importance of arts, emerging artists, and their impact on the community at the forefront of her philanthropy. Center Stage is profoundly grateful! If you are interested in learning how you can play a part in ensuring that Center Stage continues to provide lively and enriching art in the years to come, please contact Julia Keller, Director of Development, at 410.986.4020 or jkeller@centerstage.org.
Our Play Lab series puts you right in the process, sharing new plays and new voices hot off the presses. Here, the cast of Lauren Yee’s King of the Yees takes the script for a spin.
Emma Joan Roberts and Jonathan C. Kaplan in Melanie Marnich’s elegaic These Shining Lives. This world premiere production began with a First Look workshop and reading before launching on the mainstage.
Without support from Sue Cohen and those like her, vivid new plays like Katori Hall’s The Mountaintop (featuring Myxolydia Tyler and Shawn Hamilton) might never make it to our stages.
BOARD OF TRUSTEES
SU PPORT CENTER STAGE
Robert W. Smith, Jr., President Edward C. Bernard, Vice President Juliet Eurich, Vice President Terry H. Morgenthaler, Vice President Brian Eakes, Treasurer J.W. Thompson Webb, Secretary
The following list includes gifts of $250 or more made to the Center Stage Annual Fund between
Penny Bank Katharine C. Blakeslee* James T. Brady C. Sylvia Brown* Stephanie Carter August J. Chiasera Lynn Deering Jed Dietz Walter B. Doggett, III Jane W.I. Droppa Beth W. Falcone Jennifer Foster Daniel Gahagan C. Richard Gamper, Jr. Suzan Garabedian Adam Gross Cheryl O'Donnell Guth Martha Head* Elizabeth J. Himelfarb Hurwitz Kathleen W. Hyle Ted E. Imes Joe Jennings Murray M. Kappelman, MD* John J. Keenan E. Robert Kent, Jr. Joseph M. Langmead* Kenneth C. Lundeen* John McCardell Marilyn Meyerhoff* Hugh Mohler J. William Murray Charles E. Noell Esther Pearlstone* Judy M. Phares Jill Pratt Philip J. Rauch Harold Rojas Monica Sagner* Renee C. Samuels Rosenfeld Todd Schubert Charles Schwabe George M. Sherman* Scott Somerville Scot T. Spencer Michael B. Styer Harry Thomasian Donald Thoms Katherine Vaughns+ Krissie Verbic Linda S. Woolf
The 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.
* Trustee Emeriti + Deceased
September 1, 2013 and February 17, 2015. 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!
INDIVIDUALS & FOUNDATIONS INDIVIDUAL SEASON SPONSORS
($50,000+)
Ellen and Ed Bernard Lynn and Tony Deering Jane and Larry Droppa Judy and Scott Phares Jay and Sharon Smith PRESIDENTS’ CIRCLE
($50,000+)
The Annie E. Casey Foundation The Charlesmead Foundation Edgerton Foundation New American Play Awards The Shubert Foundation, Inc. Harold and Mimi Steinberg Charitable Trust Ms. Katherine L. Vaughns + PRODUCERS’ CIRCLE
($25,000-$49,999)
The Miriam and Jay Wurtz Andrus Trust William G. Baker, Jr. Memorial fund, creator of the Baker Artist Awards Penny Bank Stephanie and Ashton Carter James and Janet Clauson EMC Arts JI Foundation Kathleen Hyle Marilyn Meyerhoff Terry H. Morgenthaler and Patrick Kerins ARTISTS’ CIRCLE
($10,000- $24,999)
The William L. and Victorine Q. Adams Foundation and The Rodgers Family Fund The Jacob and Hilda Blaustein Foundation, Inc. The Bunting Family Foundation The Helen P. Denit Charitable Trust Ms. Nancy Dorman and Mr. Stanley Mazaroff Fascitelli Family Foundation Daniel P. Gahagan John Gerdy and E. Follin Smith Baroness G.D. Godenne M.D. + The Goldsmith Family Foundation The Laverna Hahn Charitable Trust Francie and John Keenan Townsend and Bob Kent Keith Lee
Kenneth C. and Elizabeth M. Lundeen The Andrew W. Mellon Foundation Joseph & Harvey Meyerhoff Family Charitable Funds Mr. J. William Murray Charles E. Noell, III Mr. and Mrs. Philip Rauch Mr. and Mrs. George M. Sherman Mr. Louis B. Thalheimer and Ms. Juliet A. Eurich Department of VSA and Accessibility at the John F. Kennedy Center for the Performing Arts PLAYWRIGHTS’ CIRCLE
($5,000- $9,999)
James T. and Francine G. Brady Mary Catherine Bunting August and Melissa Chiasera The Nathan & Suzanne Cohen Foundation The Jane and Worth B. Daniels, Jr. Fund of the Baltimore Community Foundation Delaplaine Foundation, Inc. Mr. and Mrs. Walter B. Doggett, III Brian and Denise Eakes Dick and Maria Gamper Fredye and Adam Gross Martha Head Steve and Susan Immelt Ms. Wendy Jachman Murray Kappelman Kwame and Michelle Kwei-Armah The John J. Leidy Foundation, Inc. Robert E. Meyerhoff and Rheda Becker Stephen Richard and Mame Hunt The Jim & Patty Rouse Charitable Foundation Charles and Leslie Schwabe Mr. and Mrs. J.W. Thompson Webb Ms. Linda Woolf DIRECTORS’ CIRCLE
($2,500- $4,999)
Anonymous The Lois and Irving Blum Foundation Drs. Joanna and Harry Brandt Sylvia and Eddie Brown Mr. John Davison The Mary & Dan Dent Fund of the Baltimore Community Foundation
Mr. and Mrs. Mathias J. DeVito Mr. Jed Dietz and Dr. Julia McMillan Beth and Michael Falcone The Harry L. Gladding Foundation/ Winnie and Neal Borden Carole and Neil Goldberg Goldseker Foundation/ Ana Goldseker Robert and Cheryl Guth F. Barton Harvey, III and Janet Marie Smith The Hecht-Levi Foundation, Inc. David and Elizabeth JH Hurwitz Mr. and Mrs. Joseph M. Jennings Jonna and Fred Lazarus Mr. and Mrs. Earl & Darielle Linehan/Linehan Family Foundation The Macht Philanthropic Fund Mrs. Diane Markman Maryland Charity Campaign Linda and John McCleary John and Mary Messmore Jim and Mary Miller Mr. and Mrs. Hugh Mohler, Jr. John and Susan Nehra Dr. and Mrs. Lawrence C. Pakula The Pearlstone Family Fund Lainy Lebow Sachs and Leonard Sachs Mr. and Mrs. Todd Schubert Scott and Mimi Somerville Scot T. Spencer Mr. Gilbert H. Stewart and Ms. Joyce L. Ulrich Mr. Michael Styer Theatre Communications Group Mr. and Mrs. Harry Thomasian Mr. and Mrs. Donald and Mariana Thoms Trexler Foundation, Inc. - Jeff Abarbanel and David Goldner United Way of Central Maryland Campaign Kathryn and Mark Vaselkiv Loren and Judy Western Ted and Mary Jo Wiese Cheryl Hudgins Williams and Alonza Williams Mr. Todd M. Wilson and Mr. Edward Delaplaine Drs. Nadia and Elias Zerhouni The Herzog Festival | 21
SU PPO RT DESIGNERS’
($1,000- $2,499) Anonymous Teri and Tedd Alexander, in honor of Terry Morgenthaler Denise and Philip Andrews Mayer and Will Baker, in honor of Terry Morgenthaler Ms. Taunya Banks Steve and Teri Bennett Mr. and Mrs. Marc Blum John and Carolyn Boitnott Dr. and Mrs. Donald D. Brown Sandra and Thomas Brushart
Ms. Sue Lin Chong
Ms. Jo-Ann Mayer Orlinsky
Ms. Amina Chaudhry
Mr. and Mrs. John and Beverly Michel
Mr. and Mrs. Carl F. Christ
Michael and Phyllis Panopoulos
Alice P. Clark
William and Bonnie Clarke
Dr. and Mrs. James M. Pepple
Ms. Clare Cochran
Leslie and Gary Plotnick
Tom and Cindi Monahan Jeannie Murphy Mr. and Mrs. Lee Ogburn Dr. Bodil Ottesen Linda Hambleton Panitz Dave and Chris Powell Jill and Darren Pratt Phoebe Reynolds The James and Gail Riepe Family Foundation, in honor of Lynn Deering
The Campbell Foundation, Inc.
Nathan and Michelle Robertson
Caplan Family Foundation, Inc.
The Rollins-Luetkemeyer Foundation
John Chester Ann K. Clapp Combined Federal Campaign Constantinides Family Foundation Jane Cooper and Philip Angell Mr. Thomas Crusse and Mr. David Imre, in honor of Stephanie and Ash Carter The Richard and Rosalee C. Davison Foundation
Mrs. Bette Rothman+ Bayinnah Shabazz, M.D. Barbara and Sig Shapiro The Earle & Annette Shawe Family Foundation Barbara P. Shelton Mr. and Mrs. Robert N. Smelkinson Mr. and Mrs. Robert and Terri Smith
Gene DeJackome and Kim Gingras
Mr. and Mrs. Scott Smith
Albert F. DeLoskey and Lawrie Deering
Judith R. and Turner B. Smith
The Eliasberg Family Foundation The Epp Family Mr. Newton B. Fowler, III Dr. and Dr. Matthew Freedman Amy and Scott Frew Frank and Jane Gabor Jose and Ginger Galvez Ms. Suzan Garabedian Pamela and Jonathan Genn, in honor of Cindi Monahan and Beth Falcone Sandra Levi Gerstung Bill and Scootsie Hatter Donald and Sybil Hebb Sandra and Thomas Hess Drs. Dahlia Hirsch and Barry Wohl Len and Betsy Homer Ralph and Claire Hruban The A. C. and Penney Hubbard Foundation Mrs. Francis Iglehart
George and Holly Stone Ms. Kimberly Stokes Dr. and Mrs. John Strahan Susan and Brian Sullam Dr. Edgar and Mrs. Betty Sweren, in honor of Cindi Monahan
Sydney and Ron Wilner Ann Wolfe and Dick Mead Patricia Yevics-Eisenberg and Stewart Eisenberg Mr. Calman Zamoiski, Jr., in honor of Terry Morgenthaler
COMPANY
($500-$999)
Anonymous Ms. Diane Abeloff, in memory of Martin Abeloff Mr. and Mrs. Delbert L. Adams Mrs. Alexander Armstrong
Mr. and Mrs. Mark Joseph, in honor of Lynn Deering
Mr. and Mrs. Raymond Bank Family Fund of the Baltimore Community Foundation
Andie Laporte, in honor of Philip and Lynn Rauch Dr. and Mrs. George Lentz, Jr. Robert and Susan Mathias James and Kathy Mathias
James DeGraffenreidt and Mychelle Farmer David and Emily Gaines Demsky The Honorable and Mrs. E. Stephen Derby Lynn Durbin and John-Francis Mergen Buddy and Sue Emerson, in appreciation of Ken and Elizabeth Lundeen Mr. and Mrs. Donald M. and Margaret W. Engvall Sandra and John Ferriter Bob and Susie Fetter Genine and Josh Fidler, in honor of Ellen and Ed Bernard Andrea and Samuel Fine Merle and David Fishman Mr. and Mrs. Ross P. Flax Dennis Flynn Joan and David Forester Ms. Nancy Freyman
Amy and Bruce Barnett Charles and Patti Baum
Robert E. and Anne L. Prince Mr. and Mrs. Richard Radmer Dr. Michael Repka and Dr. Mary Anne Facciolo Mrs. Peggy L. Rice Bill and Syrena Robinson Jane and Stanley Rodbell and James R. Shapiro Mr. and Mrs. Harold Rojas Dorothy L. and Henry A. Rosenberg, Jr. Renee Samuels Rosenfeld and Jordan Rosenfeld Mr. Al Russell Sheila and Steve Sachs Monica and Arnold Sagner Kurt and Patricia Schmoke Eugene and Alice Schreiber Philanthropic Fund
Ms. Jill Stempler Sharon and David Tufaro
Mary and Richard Gorman
Ms. Camille Wheeler and Mr. William Marshall
Rebecca Henry and Harry Gruner Mrs. Heidi Hoffman James and Rosemary Hormuth Mr. and Mrs. Theodore Imes Kirk and Debbie Joy Mr. and Mrs. Peter Kaplan Mr. and Mrs. Padraic Kennedy Donald Knox and Mary Towery, in memory of Carolyn Knox and Gene Towery Stewart and Carol Koehler Joseph M. and Judy K. Langmead Marilyn Leuthold Kenneth and Christine Lobo
Mr. and Mrs. Barry and Linda Williams Dr. and Mrs. Frank R. Witter Dr. Richard H. Worsham Eric and Pam Young Mr. Norman Youskauskas Dr. Laurie S. Zabin
ADVOCATES ($250-$499)
Anonymous Rita and Walter Abel Ms. Lisa Abrams Mrs. Madeline R. Abramson Bradley and Lindsay Alger Mr. Wayne Arvin Mrs. Darlene E. Austin Deborah and Stephen Awalt Mike Baker
The Ethel M. Looram Foundation, Inc.
S. Woods and Cathy Bennett Mr. Jason Bennett
Dr. and Mrs. Thomas J. Lynch
Scott and Katherine Bissett
The Dr. Frank C. Marino Foundation, Inc.
Bob and Maureen Black
Mr. and Mrs. Steven and Karen McCurdy
Mr. and Mrs. Charles Bryan
Jaye and Dr. Ted Bayless Fund of the Baltimore Community Foundation
Jean and Chris Mellott
Ms. Katherine C. Blakeslee
Jeston I. Miller
Rachel and Steven Bloom, in honor of Beth Falcone
The Honorable Diana and Fred Motz, in memory of Nancy Roche
Harriet and Bruce Blum
George and Beth Murnaghan
Jan Boyce
Ms. Jennifer Nelson
Jason and Mindy Brandt
Roger F. Nordquist and Joyce Ward
Cindy Candelori
Pitt O’Neill Family
Mary L. McGeady
Gwen Davidson Jay and Bette Demarest Ed and Ina Dreiband Stacie C. Dunlap Linda Eberhart Deborah and Philip English Ms. Vicky Favor Ms. Rhea Feikin, in memory of Colgate Salsbury Faith and Edgar Feingold, in memory of Sally W. Feingold Field Day Productions Dr. and Mrs. Robert P. Fleishman Donna Flynn
Dr. Neal M. Friedlander and Dr. Virginia K. Adams
Mr. John Wessner
Terry Halle and Wendy McAllister
Combined Charity Campaign David and Sara Cooke
Susan Somerville-Hawes, in honor of The Encounter Program
Megan M. Gillick
Stuart and Linda Grossman
Mr. G. Brian Comes and Mr. Raymond Mitchener, in honor of Terry Morganthaler
John G. Ford
Terry L. Gladden Barbara and Howard Gradet
Brenda M. Cley, M.D. Mr. and Mrs. Stanton Collins
The Sinksy-Kresser-Racusin Memorial Foundation
Mr. and Mrs. George and Beth Van Dyke
Vicki and Jim Handa
Mr. Calvin Baker
The Herschel and Judith Langenthal Philanthropic Fund
Richard and Lynda Davis
Nanny and Jack Warren, in honor of Lynn Deering
Max Jordan
H.R. LaBar Family Foundation Fund of The Greater Cincinnati Foundation
Robert and Janice Davis
Mr. and Mrs. Dan and Krissie Verbic
Robert and Dorothy Bair
Francine and Allan Krumholz
Ms. Barbara Crain and Mr. Michael Borowitz
Thomas and Barbara Guarnieri
Joseph J. Jaffa
Ms. Shirley Kaufman
22
Joseph and Jane Meyer
ChiChi and Peter Bosworth Mr. Paul Burclaff Dr. and Mrs. Arthur Burnett, II Ms. Deborah W. Callard Ms. Darlene Campbell The Jim and Anne Cantler Memorial Fund of the Baltimore Community Foundation Mr. and Mrs. Louis J. Carr Mr. and Mrs. David Carter Mr. and Mrs. James Case
Elborg and Robert Forster
Mark and Patti Gillen Hal and Pat Gilreath Mr. Bruce Goldman Dr. Larry Goldstein and Dr. Diane Pappas Ms. Hannah B. Gould Mr. and Mrs. James Hackman Christine B. Hall Betsy and George Hess Sue Hess Mrs. James J. Hill, Jr., in memory of James J. Hill Jr. Mr. Donald H. Hooker, Jr. Susan Horn Sarah and John Issacs James and Hillary Aidus Jacobs Ms. Monica James A.H. Janoski, M.D., in honor of Jane Stewart Janoski Mr. and Mrs. James and Julie Johnstone Ann H. Kahan Richard and Judith Katz Dr. and Mrs. Myron Kellner Stephen and Laurie Kelly, in memory of Rodney Stieff Ms. Kim-Khoi Khue Alane and George Kimes Roland King and Judith Phair King Deborah King-Young and Daniel Young David and Ann Koch Thomas and Lara Kopf Larry Koppelman and Liz Ritter Gina Kotowski Mr. Barry Kropf Ms. Dorothy Kuhlman Mr. and Mrs. L. Lambert Mr. and Mrs. William Larson Dr. and Mrs. Yuan C. Lee Mr. Raymond Lenhard, Jr.
Marty Lidston and Jill Leukhardt Dr. and Mrs. John Lion Scott and Ellen Lutrey Nancy Magnuson and Jay Harrell, in honor of Betty and Edgar Sweren Mr. Elvis Marks Jeanne E. Marsh Don Martin Mary and Barry Menne Mr. and Mrs. Timothy E. Meredith Tracy Miller and Paul Arnest, in honor of Stephanie Miller Stephanie F. Miller, in honor of The Lee S. Miller, Jr. Family Faith and Ted Millspaugh The Montag Family Fund of The Community Foundation for Greater Atlanta, in honor of Beth Falcone James W. and Shirley A. Moore Dr. and Mrs. C.L. Moravec Stephen and Terry Needel Mildred and Timothy Nohe Claire D. O’Neill Mr. Thomas Owen The P.R.F.B. Charitable Foundation, in memory of Shirley Feinstein Blum Justine and Ken Parezo Bruce and Sindy Parrott Fred and Grazina Pearson Linda and Gordon Peltz Chris and Deborah Pennington Dr. and Mrs. James M. Pepple Mr. Martin Perschler Mr. William Phillips Mr. and Mrs. Samuel Phillips Ronald and Patricia Pilling Janet Plum, in memory of Jeffrey J. Plum Dr. and Mrs. Jeffrey Posner Cyndy Renoff and George Taler John and Dotty Reynolds Natasha and Keenan Rice Alison and Arnold Richman Ida and Jack Roadhouse Mr. Paul Roeger, in memory of Gloria Roeger Mr. Wilfred Roesler Wendy Rosen and Richard Weisman Michael Ross, in memory of Katherine Vaughns and Joan Kappelman Mr. and Mrs. Louis Rusk Robert and Lelia Russell Steven and Lee Sachs Ellen and Dino Sangiamo Gail B. Schulhoff Dr. and Mrs. Edward M.M. Sills Ms. Pamela Skelding Dr. Donald Slowinski
Reverend Sharon Smith Solomon and Elaine Snyder Clare H. Stewart, in honor of Bill Geenen Brenda and Dan Stone Cindy and Fred Thompson Mr. and Mrs. Philip F. Toohey, in honor of Beth Falcone Susan Treff Laura and Neil Tucker, in honor of Beth Falcone Mr. and Mrs. James Ulmer, III Sarah Valente Mr. Eli Velder Mr. and Mrs. David Warshawsky Boe and Patti Wells Ms. Anita Wilmore Mrs. Edith Wolpoff-Davis, in memory of Alvin S. Wolpoff
SPECIAL GRANTS & GIFTS:
The Leading National Theatres Program, a joint initiative of the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation
GOVERNMENT GRANTS 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. 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 Sciences Carroll County Government Howard County Arts Council through a grant from Howard County Government Center Stage has been funded by the Mayor Stephanie Rawlings-Blake and the Baltimore Office of Promotion and the Arts.
GIFTS IN-KIND
The Afro American Akbar Restaurant Atwater’s The Baltimore Sun Berger’s Cookies Blimpie The Brewer’s Art Cakes by Pamela G Casa di Pasta The Classic Catering People The Charles Theater Chipotle The City Paper Eddie’s on Saint Paul Edible Arrangements
Eggspectations Express Vending Fisherman’s Friend/ Pez Candy, Inc. The Fractured Prune Gertrude’s Restaurant Gianni’s Italian Bistro Greg’s Bagels GT Pizza HoneyBaked Ham Co. The Helmand Hotel Monaco Iggie’s The Jewish Times Mamott Mars Super Markets Maryland Office Interiors Maryland Public Television Michele’s Granola Mitchell Kurtz Architect, PC Mount Vernon Stable and Saloon New System Bakery Oriole’s Pizza and Sub Pizza Boli’s Pizza Hut Planit Agency PromoWorks Republic National Distributing Company Sabatino’s Shugoll Research The Signman Style Magazine Subway Urbanite Utz Quality Foods Village Square Café A Vintner’s Selection Wawa Wegman’s Whitmore Print & Imaging WYPR Radio www.thecheckshop.us
MATCHING GIFT COMPANIES
The Abell Foundation, Inc. Bank of America BGE Becton Dickinson & Company The Black & Decker Corporation Brown Capital Management, Inc. The Annie E. Casey Foundation Constellation Energy The Deering Family Foundation E-Bay Foundation Exxon Corporation GE Foundation Illinois Tool Works Foundation Kraft Foods MASCO Corporation McCormick Foundation Norfolk Southern Foundation PNC Bank SunTrust Bank T. Rowe Price Foundation UBS Wealth Management
CORPORATIONS
THE 2014/15 SEASON IS MADE POSSIBLE BY
PRESIDENTS’ CIRCLE
PLAYWRIGHTS’ CIRCLE Anonymous American Trading & Production Corporation
T. Rowe Price Foundation, Inc. PRODUCERS’ CIRCLE
Ayers Saint Gross, Incorporated The Baltimore Life Companies Cassidy Turley Chapel Valley Landscape Company Cho Benn Holback + Associates Environmental Reclamation Company Ernst & Young Howard Bank Jenkins Baer Associates
ARTISTS’ CIRCLE
Legg Mason McGuireWoods LLP Pessin Katz Law P.A. PNC Bank PricewaterhouseCoopers Saul Ewing LLP Stifel Nicolaus Venable, LLP The Wells Fargo Foundation Whitefod, Taylor and Preston Whiting-Turner Contracting Co. DIRECTORS’ CIRCLE Baxter, Baker, Sidle, Conn & Jones, P.A. Funk & Bolton, P.A. Schoenfeld Insurance Associates
DESIGNERS Chesapeake Plywood, LLC
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.
The Herzog Festival | 23
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24
together
THE VALUE OF
RECOGNIZING ACHIEVEMENTS. Congratulations to Center Stage for reaching new heights and new narratives.
Š 2013 Northrop Grumman Corporation
THE VALUE OF PERFORMANCE.
w w w. n o r t h r o p g r u m m a n . c o m
The Herzog Festival | 25
To all of our onlineAUCTIONFOR generous donors: The Baltimore Sun
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THANK
YOU! Special Thanks to our Sponsors! Sponsored By:
26
Media Partner:
Season 2014/15 Sponsor:
Special Thanks to Hillary Jacobs
PREV IEW
A World Premiere Musical
UP NEXT
“A voice singing of revolution, revelation, and romance.”
–TIME
Marley
Music and Lyrics by Bob Marley Book by Kwame Kwei-Armah
PHOTO © FIFTY-SIX HOPE ROAD MUSIC, LTD.
May 6–Jun 14
MARLEY May 6–Jun 14, 2015
From Center Stage Artistic Director Kwame Kwei-Armah, comes a World Premiere musical based on the life and music of Bob Marley. After a failed attempt on his life, Marley left Jamaica in 1976 for London, where he spent nearly two years in selfimposed exile. Chronicling the events surrounding this earth-shaking moment, Marley tells the story of a man transformed into one of the 20th Century’s greatest musical icons. Set in the soundscape of an era, this new musical weaves together the life and music of a man who, to heal himself, first healed his homeland.
Left: Guests celebrate at the Opening Night of One Night in Miami…. Right: Donald Thoms and Kwame Kwei-Armah join the Miami cast. Second row from left to right: Pre-show reception honoring Baltimore City partners: Calvin Butler and Kalliope Parthemos; Lynn and Phil Rauch and Bill Murray; Ted Imes, Kwei-Armah and Thoms; Kurt Schmoke and Roland Campbell; Renee Samuels Rosenfeld and Liz Koontz; Marsha Jews and Darryl Stokes. Photography by Tyrone Eaton
The Herzog Festival | 27
STAFF Kwame Kwei-Armah OBE–Artistic Director | Stephen Richard–Managing Director Administration
Associate Managing Director–Del W. Risberg Special Assistant to the Managing Directors– Kevin Maroney Executive Assistant–Sarah Curnoles Managing Directors’ Fellow–Neil Parikh Managing Directors’ Intern–Arrenvy Bilinski
Artistic & Dramaturgy
Associate Director–Gavin Witt Associate Director–Hana Sharif Artistic and Dramaturgy Fellow– Catherine María Rodríguez The Lynn and Tony Deering Artistic Director’s Intern– Brandon Rashad Butts The Stephanie and Ashton Carter Digital Media Intern– Nick Morrison Hot Desk Resident Playwright–Jenny Connell Davis International Hot Desk Playwright–Mar Gómez Glez Playwrights under Commission–de’Andre Aziza, James Magruder, Daniel Reitz, KJ Sanchez
Audience Relations
Box Office Manager–Mandy Benedix Assistant Box Office Manager/Subscriptions Manager– Jerrilyn Keene Assistant Patron Services Manager–Laura Baker, Nick Horan Patron Services Associates–Zerica Anderson, Tiana Bias, Arrenvy Bilinski, Kendrel Dickerson, David Kanter, Samrawit Kefale-Mareye, Neil Parikh, Sonny Russo, Jess Strasser, Donna Storey, Sarah Tomberlin, Shannon Ziegler Front of House Manager & Volunteer Coordinator– Alec Lawson House Managers–Laura Baker, Mandy Benedix, Sarah Hurst, Lindsay Jacks, Faith Savill, Paul Wissman Bar Manager–Sterling Harvison Audience Relations Intern–Sarah Hurst Audio Description–Ralph Welsh & Maryland Arts Access
Audio
Supervisor–Amy Wedel Audio Engineer–Mercer Aplin The Jane and Larry Droppa Audio Intern–Robin Clenard
Community Programs & Education
Director–Rosiland Cauthen Education Coordinator–Kristina Szilagyi Community Programs & Education Fellow– Joshua Thomas Community Programs & Education Intern– Andrew Stromyer Teaching Artists–Maria Broom, Sean Elias, Jerry Miles, Jr., Dustin Morris, CJay Philip, D. Wambui Richardson, Craig Richie, Oran Sandel, Susan Stroupe, Ann Turiano, Jacob Zabawa
Costumes
Costumer–David Burdick Draper–Susan MacCorkle Tailor–Edward Dawson Craftsperson–Wiliam E. Crowther First Hand–Elisabeth Roskos The Judy and Scott Phares Costumes Intern– Sarah Barbour The Kathleen Hyle Wardrobe Intern–Mika Eubanks
The Center Stage Program is published by: Center Stage Associates, Inc. 700 North Calvert Street Baltimore, Maryland 21202 Editor Maggie Beetz Art Direction/Design Bill Geenen Advertising Sales ads@centerstage.org
28
Development
Director–Julia Keller Deputy Director of Individual Giving–Katelyn White Deputy Director of Institutional Giving– Sabrina S. Thornton Events Manager–Brad Norris Campaign Manager–Paul Wissman Institutional Giving Associate–Amanda Mizeur Development Assistant–Alyson Jacques Auction Coordinator–Sydney Wilner Auction Assistant–Norma Cohen The Edward and Ellen Bernard Development Fellow– Astoria Avilés Development Intern–David Kanter
Electrics
Lighting Director–Tamar Geist Master Electrician–Bevin Miyake Staff Electrician– Anthony Reed The Gilbert H. Stewart and Ms. Joyce L. Ulrich Lighting Intern–Jake Roberts
Finance
Director–Susan Rosebery Business Manager–Kathy Nolan Business Assistant–Kacy Armstrong
Graphics
Assistant Manager–Nathan Scheifele Master Craftsman–John Reuter Artisan–Samantha Kuczynski The Kenneth C. and Elizabeth M. Lundeen Properties Intern–Rachel Bennick
Scenery
Technical Director–Tom Rupp Assistant Technical Director–Laura P. Hilliker Scene Shop Supervisor–Trevor Gohr Master Carpenter–Scott Richardson Carpenters– Derek Lundmark, Hunter Montgomery, WM Yarbrough, III Carpentry Intern–Caitlin Magness
Scenic Art
Scenic Artist–Stephanie Nimick Scenic Art Intern–Maggie Foley
Stage Management
Resident Stage Managers–Laura Smith Production Assistant–Lindsay Eberly Stage Management Interns–Marian Jackson, Kayla Whisman
Stage Operations
Stage Carpenter–Eric L. Burton Wardrobe Supervisor–Linda Cavell
Art Director–Bill Geenen Production Photographer–Richard Anderson Graphics Intern–Katherine Marmion
The following individuals and organizations contributed to this production of
Information Technologies
Assistant Lighting Designer–Jake Roberts Audio Overhire–Daniel Hogan Carpenters–Bernard Bender, Michael Cager, R. Castrence, Sarah Chapman, Seth Foster, Travis Hudson Electricians–Cara Antico, Alison Burris, Jake Epp, Aaron Haag, Stevie McFly, Erin Teachman Wigs/Hair–Denise O’Brien
Director–Joe Long Systems Administrator–Mark Slaughter
Marketing & Communications
Director–Tony Heaphy Publications Manager–Maggie Beetz Marketing Manager–Sarah Bichsel Public Relations Manager–Cassandra Miller Marketing Associate/Group Sales–Tia Abner Digital Content Associate–Emily Salinas The Jay and Sharon Smith Marketing and Communications Intern–Jessica Strasser
Multi-Media
Coordinator–Geoff Moore Multimedia Intern–Emery Becker
Operations
Facilities Manager–Shawn Whitenack Building Engineer–Harry Piasecki Security Supervisor–James Williams Custodial Services Supervisor–Wylie Shaw Housekeepers–Lanair Holland
Production Management
Director of Production–Rick Noble Associate Production Manager–Caitlin Powers Company Manager–Sara Grove Production/Stage Management Intern– Hannah Rennicke The Philip and Lynn Rauch Company Management Intern–Elizabeth Floyd
Properties
Props Master–Jennifer Stearns
CONTACT INFORMATION
Box Office Phone 410.332.0033 Box Office Fax 410.727.2522 Administration 410.986.4000 www.centerstage.org info@centerstage.org
The Herzog Festival
Special thanks to Randi Fritsch and Harold Newman for their hard work and dedication. 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.
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.
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The educated choice. 2/16/15 3:29 PM
S E A S O N
JUL 10 – AUG 2 2015
JOHNNA ADAMS SHEILA CALLAGHAN STEVEN DIETZ BARBARA HAMMOND MICHAEL WELLER