One Night in Miami... Program

JAN 14–FEB 8, 2015

ONE NIGHT in MIAMI…

By Kemp Powers

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 Part of my job is to bring the best new plays that I can to our theater. And I’m often surprised at how

new works arrive on our stages.

This play was recommended to me by a member of our fantastic board, who was right when he

thought I’d like it; the day after I read the script I was on a plane to see the first production in LA.

Now I’m delighted to bring the East Coast premiere of One Night in Miami… to Baltimore.

We have been so blessed to have playwright Kemp Powers with us here. It is especially

meaningful when a playwright can join us for the rehearsal process, and Kemp’s insights are

a treasure.

One Night in Miami… is not only an amazing new play, it is an important play about an iconic moment in sporting history as well as Black history. Cassius Clay wins the heavyweight championship, celebrates the victory with three (quite noteworthy) friends, and then

becomes Muhammad Ali within 24 hours. It’s a huge moment for African American history,

and for America.

This fact-based play uses fictional dialogue to capture the choices facing these four men at

a crossroads in their lives, against the background of a larger sweep of history. And as Kemp Powers observes (p. 5), it’s a play about history that encompasses, or perhaps echoes, issues we still face today.

One of the features I admire most about the play is its ability to ground these iconic figures,

and this great moment, in history. We are given the chance to glimpse behind the hotel room door and imagine these icons as they were—as men and friends—and this historic event as just one February night in Miami....

Warmly,

Kwame Kwei-Armah Artistic Director

CAST

TABLE OF CONTENTS

ONE NIGHT IN MIAMI…

Jan 14–Feb 8, 2015

2 The Setting

3 Meet the Playwright

4 The Change That Came

6 The 4 Icons

8 Bios: The Cast

10 Bios: The Artistic Team

12 Bios: The Staff

17 Marley Q & A

18 Supporter Spotlight

By Kemp Powers

THE CAST

(in alphabetical order)

Tory Andrus* Malcolm X

Royce Johnson* Kareem

Sullivan Jones* Cassius Clay

Grasan Kingsberry* Sam Cooke

19 Supporting the Annual Fund

Genesis Oliver* Jamaal

25 Center Stage Celebrations

Esau Pritchett* Jim Brown

26 Preview: Up Next

28 Staff

Captain Kate Murphy* Stage Manager Laura Smith* Assistant Stage Manager *Member of Actors’ Equity Association

THE ARTISTIC TEAM

Season 2014/15 Sponsor:

Media Partner:

Center Stage is also made possible by:

Lead Student Matinee Sponsor:

Kwame Kwei-Armah Director Brenda Davis Set Designer Clint Ramos Costume Designer

Colin D. Young Lighting Designer

Shane Rettig Sound Designer

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.

Kemp Powers Playwright

Alex Koch Projection Designer Catherine María Rodríguez Production Dramaturg Pat McCorkle Casting Director Brandon Rashad Butts Assistant Director There will be no intermission.

One Night in Miami… is sponsored by: The William L. and Victorine Q. Adams Foundation & The Rodgers Family Fund

One Night in Miami… Media Partners:

The World Premiere production of One Night in Miami… was produced at Rogue Machine Theatre, Los Angeles on June 8, 2013, John Perrin Flynn, Artistic Director, and directed by Carl Cofield.

PLEASE TURN OFF ALL ELECTRONIC DEVICES. IN CASE OF EMERGENCY 410.986.4080 (during performances).

One Night in Miami… | 1

S ET T IN G

TIME AND PLACE

MUSIC CREDITS “(I Love You) For Sentimental Reasons”

Written by William Best and Deek Watson Performed by Sam Cooke All rights owned or administered by SONGS OF UNIVERSAL, INC. © / (BMI) Used by permission Courtesy of ABKCO Music & Records, Inc. and Sony Music Entertainment

“Blowin’ In The Wind”

Written and Performed by Bob Dylan Published by Special Rider Music

Courtesy of Sony Music Entertainment

“Put Me Down Easy” Written by Sam Cooke

Published by ABKCO Music, Inc. www.samcooke.com

“Having A Party” Written by Sam Cooke

Published by ABKCO Music, Inc. www.samcooke.com

“Cupid”

Written by Sam Cooke

Published by ABKCO Music, Inc. www.samcooke.com

“You Send Me”

Written and Performed by Sam Cooke Published by ABKCO Music, Inc.

Courtesy of ABKCO Music & Records, Inc. www.samcooke.com

“Somebody Have Mercy”

Written and performed by Sam Cooke Published by ABKCO Music, Inc.

Courtesy of ABKCO Music & Records, Inc. and Sony Music Entertainment www.samcooke.com

TIME:

February 25, 1964

Place:

The Hampton House Hotel in Miami, Florida On this particular night in Miami, newly crowned heavyweight champ Cassius Clay chose to forgo lavish celebrations at the luxurious Fontainebleau Hotel—opting instead to spend it with his close friends Malcolm X, Sam Cooke, and Jim Brown in the Hampton House in Overtown, the Black neighborhood where he’d trained.

Located on the north side of Miami, literally across the railroad tracks, Overtown was known as “Colored Town” in 1896 when incorporated into the city. The neighborhood developed into a vibrant community that hosted many mainstream Black entertainers—including Ella Fitzgerald, Billie Holiday, and Nat King Cole—at its height in the 1940s and 1950s.

In the the last days of segregation, the Hampton House thrived. Established in 1954, the hotel was one of the only establishments in the area open to African Americans, and it became a hot spot for many notable Black celebrities and activists—so much so that it was promoted as the “Social Center of the South.” Muhammad Ali had a permanent room, Dr. Martin Luther King Jr. was a regular guest, and the Congress of Racial Equality held weekly meetings here.

“Chain Gang”

Written by Sam Cooke

Published by ABKCO Music, Inc. www.samcooke.com

“A Change Is Gonna Come” Written by Sam Cooke

Published by ABKCO Music, Inc. www.samcooke.com

“Good Times”

Written by Sam Cooke

Published by ABKCO Music, Inc. www.samcooke.com

2

Singer/actress Josephine Baker with boxer Joe Louis and friends inside Knightbeat Club at the Sir John Hotel. Photo Courtesy: The Black Archives History & Research Foundation of South Florida, Inc. 1957

M EET

THE PLAYWRIGHT

Kemp Powers is a writer, editor, playwright, author, and gumbo enthusiast.

A journalist for almost 20 years, he has told countless stories in the pages of magazines and newspapers ranging from Esquire to Forbes. His play One Night in Miami… enjoyed an acclaimed world premiere at Rogue Machine, winning four NAACP awards and the Ted Schmitt Award for outstanding new play. A recipient of a Knight Journalism Fellowship at the University of Michigan, his current projects include the development of his new play, The Two Reds. He is also the author of The Shooting: A Memoir. Kemp’s work was selected for publication in The Moth’s first-ever book of collected works, released in September 2013, by Hyperion Books.

He is a resident playwright at Los Angeles’ award-winning Rogue Machine Theatre company.

One Night in Miami… | 3

A Change Is Gonna Come

by Sam Cooke I was born by the river in a little tent, since.

Oh, and just like the river I’ve been running ever It’s been a long, a long time coming, But I know a change gonna come. Oh, yes it will It’s been too hard living, but I’m afraid to die.

‘Cause I don’t know what’s up there beyond the sky.

It’s been a long, a long time coming But I know a change gonna come. Oh, yes it will.

I go to the movie and I go down town.

Somebody keep telling me don’t hang around.

Its been a long, a long time coming, But I know a change gonna come. Oh, yes it will Then I go to my brother And I say, “Brother, help me, please,” But he winds up knockin’ me Back down on my knees. for long, Oh, There been times when I thought I couldn’t last But now I think I’m able to carry on.

It’s been a long, a long time coming But I know a change gonna come, oh yes it will.

Written by Sam Cooke © ABKCO Music, Inc. Reprinted by permission. All rights reserved.

4

The Change That CAME:

That Night in Miami,

1964

by Catherine María Rodríguez, Production Dramaturg

“It’s been a long, a long time coming,” crooned Mr. Soul, Sam Cooke. “But I know a change gon’ come.” And come it did— but slowly, and not without provocation.

In 1964, the Great Society was greatly troubled. The president had just been assassinated. Jim Crow ruled widely, and even integrated locker rooms, recording studios, and playgrounds reeked of racial division. As citizens spilled into the streets demanding Civil Rights, blood spilled abroad too, in intensified intervention in Vietnam. The generation gap widened into a chasm, while nations faced off in global Cold War. Media scrutiny and government surveillance amplified. The era of space exploration was also an era of intense soul searching.

But for all the talk of times a-changin’, “the Civil Rights Movement was at an impasse,” notes Mark Anthony Neal, Professor of Black Popular Culture at Duke University.

“There were folks who felt that the Movement had made great gains on going forward, but that it was now stalling. And there were folks who felt they could push it a little further....”

Through this struggle, perhaps even because of it, friendships emerged. Soulful singer Sam Cooke, Muslim minister Malcolm X, living legend Jim Brown, and undaunted underdog Cassius Clay found each other amid the maelstrom, and forged strong bonds. Where the quartet’s

friendship began remains unknown, but that they sought each other out is evident. That they spent the night of February 25, 1964, all together is historical fact. And that they looked to each other for laughs, leadership, support, and accountability seems only logical.

“They were friends. They were independent thinkers. They refused to bow down,” observes playwright Kemp Powers, author of One Night in Miami…. “And they were righteous.”

They were indeed righteous and resolute, though with dramatic differences in philosophy and approach. Malcolm’s vocal dynamism resonated with young Cassius,

himself easily as outspoken and fiercely proud. But their separatist world-views and religious fervor contrasted with Cooke and Brown’s more secular, business-savvy inclination to work for change from within oppressive systems.

names, at the time the opposite was true: “Cooke and Brown were stars. In some material ways, they had the most to lose: real access to fame and celebrity, economic influence, inroads they’d worked to establish.”

Yet, despite their differences, these four giants shared much in common, from histories and challenges to goals and ideals.

“They were all in the same circles,” observes Professor Neal. “It made sense for Cooke, Ali, and Brown to be together since they were around the same age. And Malcolm was very savvy. He recognized who Ali was in terms of his tongue-in-cheek playfulness; he knew early on that he wasn’t just a clown, and so reached out. [Also,] he’s been suspended by the Nation of Islam for his comments on Kennedy’s murder; in some ways, Malcolm is hanging on to the Nation through Ali.”

For Powers, what began as a desire to stage a slice of life involving his four favorite pop icons quickly evolved into an exploration of the difficult decisions they faced.

By 1964, each faced enormous obstacles; each was poised to beat the odds; and each would be forever changed (alive or dead) within a year. Neal adds, “They understood intuitively that it was a friendship that couldn’t be too public, particularly because of the perception of the Nation of Islam at the time.” This big night together was likely their last as a foursome, notes Powers:

“They were all on the precipice of some pretty dramatic change. The next day, Clay became Muhammad Ali; within months, Malcolm broke with the Nation of Islam, followed quickly by his break from Ali; a year later, Jim Brown retired from the NFL and began his film career; and a year from this night, both Sam Cooke and Malcolm X were dead.”

But the source of their renown goes deeper than their cultural and professional impacts, or even their untimely deaths. For Powers, their greatness is rooted in their profound convictions: “As bold as these guys were, they were even bolder for their time. They were radical in their fearlessness.

Being these prominent figures made them each targets for J. Edgar Hoover’s FBI and any number of racist organizations that hated the fact of their existence.” Neal adds that, though today Malcolm X and Muhammad Ali are the more recognizable

“What makes them so inspiring is that they were all aware of the risks, and they flew in the face of them.” The four men not only called for change, they provoked it.

While Powers sees his play as an entertaining, fictionalized riff on a historical happening, he also recognizes parallels between its world and ours. “Although it’s a historical play, it’s almost eerie how contemporary its issues are,” he observes. “Sadly, a lot of the issues these guys are dealing with in the play are issues we’re still dealing with as a country. The first production was timely because we were in the midst of the Trayvon Martin verdict. Now, here we are a year and a half later, in the midst of Ferguson and more.”

Yet, Powers also finds solace in remembering these men as everyday heroes and active agents: “To me, it’s empowering to see these icons as real human beings, people that you can aspire to be like, as opposed to near-deities.

These men’s stories should be inspiring, not intimidating. To say, these guys were able to do what they did with a particular set of challenges, so why can’t I work within my unique set of challenges?”

Though textbooks tell tale of the four as giants among men, One Night in Miami… shows them as mortals who collectively, independently, and restlessly strove for a better world.

And so the soulful cry, the hopeful refrain, and the promise sounds on. “It’s been a long, a long time coming. But I know a change gonna come. Oh, yes it will.”

One Night in Miami… | 5

FOUR

ICONIC MEN, One Historic Night

by Catherine María Rodríguez, Production Dramaturg

Ali. Brown. Cooke. X. When these four men gathered in a room at the iconic Hampton House hotel to celebrate Clay’s assumption of the Heavyweight Championship, they came together as friends, as workers in a common struggle, and as men on the brink of transformation—looking not backwards, but far ahead. But what paths brought them here?

THE GREATEST

The theft of his bike coaxed him into the ring; the pursuit of excellence kept him there; and his public conversion to Islam transformed him from a sports figure into an icon: Muhammad Ali. Born Cassius Marcellus Clay in Louisville, spunky “Cash” had “It” from the start, and everybody (himself included) knew it. He began training at 12; by 18, he had earned national titles and Olympic gold. In 1960, he turned pro and continued to rack up awards. His lyrical trash talk and fancy footwork, paired with his success inside the ropes, gained him the attention of the boxing world and the media. In 1963, he became a contender for the Heavyweight Championship title, then held by the imposing Charles “Sonny” Liston. The match was a joke to most, with Clay relegated to upstart status against 7-1 odds. But the young boxer was undaunted; wild-eyed, he proclaimed himself “The Greatest,” and promised an upset. Against all expectations save his own, Clay took the title in six rounds, and his battle cry of “Float like a butterfly, sting like a bee” snagged headlines. The day after his victory, Clay set the media abuzz once more by officially announcing that he was joining the Nation of Islam and taking the name Muhammad Ali. With his antics outside the ring and his achievements in it, Ali quickly became a global phenomenon.

6

BIG

JIM

At 6’2” and 230 pounds, Jim Brown was a powerful, All-Star running back. In 1965, he was at the height of his NFL career, one that he’d worked hard to establish but would shortly leave—all on his own terms. From a young age, James Nathaniel Brown’s athleticism was apparent. Coaches still clinging to separatism in sports were repeatedly reluctant to start him. At Syracuse, he sat benched until a series of injuries required that he play. And then play he did. His fearsome agility earned him overnight celebrity on campus; and when his prowess became impossible to deny, a starting position followed. In 1957, he joined the Cleveland Browns as the sixth overall pick in the NFL. He quickly outpaced his competition, becoming the Browns’ all-time leading rusher (a record he still holds) and leading the team to victory in the 1964 NFL Championship­—shutting out the Baltimore Colts, 27-0. In the locker room, Brown promoted a sense of pride among his Black teammates, while also encouraging interactions between players of both races. “Big Jim” proved a game changer and leader off the field, too. Ever the strategist, he looked to play the long game in search of progress for himself and for others. To support Black-owned businesses, he established the Negro Industrial and Economic Union (NIEU); he steadily mobilized Black sportsmen around social issues; and, ultimately, he retired from football to pursue film after recognizing the opportunity for greater economic and cultural influence—and the potential for self-determination— in the transition from athlete to action hero.

MR. SOUL

From gospel to soul and pop, from race records to commercial hits, and from backup singer to superstar-producer, Sam Cooke was the epitome of a crossover artist. But the King of Soul came from humble roots, born Samuel Cook (the “e” was added by a producer who thought it would be “classier”) in Clarksdale, Mississippi.

When his father, a Baptist preacher, organized the kids into a church choir, Sam’s smooth voice and charm stood out. Soon professional opportunities beckoned, and with the Soul Stirrers, Sam experienced his first commercial success. He toured with the group for six years, establishing himself nationally as a top gospel artist. But hungry for more, Cooke dove into the pop genre. Though the gospel world reacted harshly, questioning his decision to play “devil’s music,” Minister Cooke encouraged his son, and Sam signed with RCA in 1960. He refined his bluesy, gospel-inflected tunes and perfected his iconic yodel.

By 1964, Cooke had transformed himself into a solo artist and chart topper, with hits from “Chain Gang” to “Another Saturday Night.”

His independent spirit led him to co-found record labels SAR and Derby, along with two music publishing companies. Through these agencies, Cooke produced, wrote for, and licensed his and others’ music. Still, despite his support of minority artists, Cooke continued to receive criticism from those who argued that he’d abandoned his roots. Perhaps in response to this, and upon hearing Dylan’s instant classic “Blowing in the Wind,” he wrote “A Change is Gonna Come”—a return to gospel stylings, a powerful musical foray into direct political engagement, and an eerie harbinger of his death.

Mere weeks before the song’s release, in December 1964, Cooke was shot and killed.

BROTHER MINISTER

Malcolm Little, Detroit Red, Satan, Malcolm X, and finally, El-Hajj Malik El-Shabazz: he was a man of continued self-invention.

Malcolm Little was born in 1925 to parents who were devout Baptists as well as devoted followers of liberationist Marcus Garvey.

When the family moved from Nebraska to Michigan, they became the target of white supremacists. Their house was burned down shortly after their arrival, and two years later father Earl was found dead in the street. Without their breadwinner, the family sank into desperate poverty. Malcolm began shoplifting to support his siblings, but was caught and sent to live with an older, white couple. After making a name for himself as petty criminal “Detroit Red,” a stint in prison earned Malcolm the nickname “Satan.” While incarcerated, an older inmate introduced him to the prison library, and his brother brought him news of the Nation of Islam (NOI).

Prison became a university: he joined a debate club, wrote constantly, and read voraciously. Drawn to the NOI’s philosophy of self-determination, pride, and independence, Malcolm petitioned to join. He soon began making headlines as a Black Muslim, taking the surname “X” as a placeholder for his “true African name.” He became a leading temple minister, a top recruiter, and a close confidante to the NOI’s leader, the Honorable Elijah Muhammad.

A dynamic speaker and expert debater, Malcolm earned renown and responsibility within the NOI—as well as steady surveillance from the FBI. Eventually, rivalries and rifts grew between him and members of the NOI, all the way to top leadership. In the early 1960s, frustrated by an order of silence and ever more at odds with the Nation, he began to distance himself. By March 1964, he announced the launch of his own Muslim movement. A month later, he made a pilgrimage to Mecca. And less than a year after the play’s events, the brother minister was killed.

One Night in Miami… | 7

BIOS THE CAST

Left to right: First rehearsal with Genesis Oliver, Tory Andrus, Sullivan Jones, and Kemp Powers.

Tory Andrus*—Malcolm X.

Day…Forever, Catch Me If You Can, Finian’s Rainbow, Color Purple, Dirty Rotten Center Stage: debut. New Scoundrels, Aida. Tour—Color Purple (1st York—Classical Theatre of Nat’l), Dreamgirls (u/s Curtis). Regional— Harlem: Caligula; NYU: ’Tis Smokey Joe’s Café (MTW), Joseph...Technicolor Pity She’s a Whore (Florio), A Dreamcoat (Judah; Casa Mañana); Cabaret: Raisin in the Sun (George), One-night-only solo concert, solo:sharecase Gem of the Ocean (Citizen Barlow), Once on (The Triad/Stage 72). Film/TV—I Am Legend this Island (Daniel). National Tour—MLK (Alpha Guard), Smash, All My Children, Good (Martin Luther King, Jr.). Regional—Anthony Morning America, Late Night with David Bean Community Theater: El Haj Malik Sullivan Jones*—Cassius Clay.

Letterman, and The Oprah Winfrey Show. A (Malcolm X); Le Petit Theatre du Vieux Center Stage: debut.

Juilliard graduate, Grasan has worked with Carre: Rent (Benny); Dillard University: The Regional— Rogue Machine choreographers such as Paul Taylor, Jirí Wiz (Lion). Education—MFA, Tisch School of Theater: One Night in Kylián, Robert Battle, and Ohad Naharin. the Arts, New York University; BFA, Dillard Miami (Cassius Clay); Theater Gratitude to my loving and supportive University.

Works: Clementine in the family, friends, mentor, and my Yogi: JGB. Lower 9; AlterTheater Ensemble: References Royce Johnson*— “Así será,” which translates to “So it shall be.”

Kareem. Center Stage: debut. to Salvador Dalí Make Me Hot (Benito), grasan-kingsberry.com.

Intimate Apparel (George), Two Sisters and a Off-Broadway—2nd Stage: A Piano (Victor Manuel); African American Genesis Oliver*—Jamaal.

Soldier’s Play; New Federal Shakespeare Company: Twelfth Night Center Stage: debut. New Theater: The Taking of Miss (Orsino), Cinderella (Prince Charming). Film/ York—New Georges: Primal Janie; Urban Stages: My TV— Parks and Recreation, Stanistan (pilot); Play; Colt Coeur: Everything Is Occasion of Sin (world premiere); Public Ours; 52nd Street Project.

Theatre: Brother/Sister Plays; Lincoln Center: Awards/Honors—2012 Princess Grace Award. Education— Brown University, Regional—Alliance Theatre: Fly; New York Theatre Workshop: Light Raise By the Way Meet Vera Stark; Denver Center: the Roof; Manhattan Theatre Club: Defiance, UCLA School of Theater.

Map of Heaven; Actors Theatre of Louisville: Burning Ash; Classical Theatre of Harlem, Grasan Kingsberry*—Sam Dracula, Game On, Two Or A Carload, The Macbeth. Regional— Hartford TheaterWorks: Cooke. Center Stage: debut.

Greekest of Tragedies; Tennessee The Motherf**er with the Hat, God of Carnage Recently appeared in the 1st Shakespeare Company: The Tempest; Seattle (regional premiere), Broke-Ology; CATF: national tour of Motown: The Shakespeare Company: Othello.

Modern Terrorism; Bristol Riverside Theatre: Musical as Norman Whitfield Commercials for AT&T, Bank of America, Fences; Stamford Theatre Works: A Lesson and Smokey Robinson u/s.

Honda, & others. Education— National Before Dying (CT Critics Circle Award for Broadway—Motown The Musical, Nice Work Theatre Conservatory (MFA). Professional— Outstanding Debut). Film/TV—American If You Can Get It, Leap of Faith, On a Clear company member, Colt Coeur (Brooklyn, NY).

Gangster; Demolition (2015); Learning to 8

Drive (2015); Run; Madam Secretary; Forever; Hostages; The Blacklist; Law and Order: SVU; Law and Order; Law and Order: Criminal Intent; Gossip Girl; Person of Interest; The Following; Do No Harm; Rubicon; Kidnapped; Life on Mars; Guiding Light; Third Watch; Cupid; Daredevil (Marvel/Netflix, 2015); Late Night with Conan O’Brien. Education— BFA, SUNY Purchase.

Managing Director Stephen Richard and Grasan Kingsberry.

For Toya, George, Granny, Grandaddy, Granny Red, KP, Mr. Duby, Myron, Lee, The Lojewski’s.

Esau Pritchett*—Jim Brown.

Center Stage: debut.

Broadway— Lincoln Center: A Free Man of Color (Orphee, Toussaint u/s). New York— Jambalaya Productions: Othello (Othello). Regional—McCarter Theatre: Antony and Cleopatra (Antony), Fences; Cincinnati Playhouse: The Fall of Heaven (world premiere), Othello (Othello); Orlando Shakespeare Festival: Othello (Othello); Meadow Brook Theatre: I Am a Man (Detroit News Best Supporting Actor).

Film/TV—Law and Order; Law and Order: SVU; One Live to Live; How to Seduce Difficult Women. Awards— Kennedy Center ACTF Irene Ryan Acting Award. Education— Oakland University, BA. * Member of Actors’ Equity Association

One Night in Miami… | 9

BIOS

THE ARTISTIC TEAM

Director Kwame Kwei-Armah, Genesis Oliver, and Costume Designer Clint Ramos.

Kwame Kwei-Armah—Director.

(see page 12)

Brenda Davis—Set Designer. Center

Stage: Debut. Set design—Oregon Shakespeare Festival, Yale Repertory Theatre, Media Theater (Media, PA), Foundry Theatre (NY), Yale Cabaret, About Face at Steppenwolf Studio and Goodman, Teatro Luna, Piccolo Theater Company, Organic Theatre Company, Live Bait, The Playwright’s Center. Associate design work—Teatro alla Scala (Italy), Mark Taper Forum, Kansas City Rep., Hartford Stage, Repertory Theatre of St. Louis, Cincinnati Playhouse in the Park, Long Wharf Theatre, Melbourne Theatre Company (Australia). Assistant design work—The Metropolitain Opera, Circle in the Square, Walter Kerr, Donmar Warehouse, Barbican, Lookingglass, Playwright’s Horizons, 2nd Stage, Delacorte, BAM, Chicago Shakespeare, Perseverance Theatre Co., Seattle Rep., McCarter, Berkeley Rep., among others. Professional—Adjunct Professor, Doane College (Crete, NE).

Education—MFA, Yale School of Drama (Donald Oenslager Scholarship in Stage Design); BA, Loyola University Chicago (Kennedy Center ACTF: Best set design, The House of Blue Leaves.)

Clint Ramos—Costume Designer. Center

Stage: Bus Stop, Ah! Wilderness, And God Created Whales. Other recent/current credits include sets and/or costumes for Broadway productions of The Elephant Man and Violet, Here Lies Love (Public Theater, NY & National Theatre, London); Punk Rock (MCC), Appropriate (Signature Theatre Company); Bootycandy (Playwrights 10

Horizons), Five Guys Named Moe (Arena Stage & Cleveland Playhouse). He has over 100 regional and international design credits. Honors include the 2013 Obie Award for Sustained Excellence, three Lucille Lortel Awards, TDF Irene Sharaff Young Master Award, two American Theater Wing Henry Hewes Awards and a Helen Hayes Award.

Upcoming: Kid Victory (Signature Theatre), The Colored Museum (Huntington Theater Company), Buzzer (Public Theater) and Blood Quilt (Arena Stage).

Colin D. Young—Lighting Designer.

Center Stage: Debut. Off Broadway— Public Theatre/NBT: Detroit ’67; Signature: Fragments by Edward Albee, Talking Pictures; Primary Stages/Perry Street: In the Continuum; Classical Theatre of Harlem: Native Son, Ma Rainey’s Black Bottom, The Blacks: A Clown Show, Crazy Locomotive, Henry V, Seed; 59E59 Theatres: The Jazz Age, Havana Bourgeois, Rearviewmirror, Widows; Reverie Productions: Fatboy, Mephisto, Beowulf; New Victory/World Science Festival: Spooky Action; Regional—Yale Rep, Woolly Mammoth, Kirk Douglas Theatre, Goodman, Philadelphia Theatre Co. and Cincinnati Playhouse. Awards—4 Audelco noms., 2003 Audelco Award for Crazy Locomotive.

Education—Yale School of Drama.

Professional/Other—Senior Design Partner for LDNY; Co-founder & Artistic Director: Reverie Productions; Founding Festival Tech Director: New York International Fringe Festival; Playwright/Translator: Beowulf.

Shane Rettig—Sound Designer. Center

Stage: The Whipping Man, Things of Dry Hours, Elmina’s Kitchen, a.m. Sunday.

New York—The Public, The New Group, The Signature, Roundabout, Vampire Cowboys, Ensemble Studio Theatre, Ma-yi, Clubbed Thumb, New Georges, The Flea, New Victory, La MaMa, Soho Rep, Rattlestick and HERE. Music/Co-Lyrics for War is F**cking Awesome with Qui Nguyen, 2013 Sundance Lab. Music for The Unknown, 2005 NYMF. Drama Desk and Lortel Nominations. Regional—Actor’s Theatre of Louisville, Arena Stage, Berkshire Theatre Festival, Children’s Theatre Company, Dallas Theatre Center, La Jolla, Williamstown, Yale Rep, Prague Quadrennial.

Alex Koch—Projection Designer. Center

Stage: The Mountaintop, ReEntry (also Round House, Actors Theater of Louisville). Broadway—Walter Kerr: Irena’s Vow. Off Broadway & other New York— Waterwell: Goodbar (Under the Radar 2012); TerraNOVA Collective: Feeder; Repertorio Espanol: En el Tiempo de las Mariposas, La Casa de los Espiritus; Urban Stages: ReEntry, The Oxford Roof Climber’s Rebellion; Ensemble Studio Theatre: Lenin’s Embalmers. International—Mori Theater, Chile: La Casa de los Espiritus. Regional— Court Theatre in Chicago: The Invisible Man (also Studio Theater in Washington, DC); Director’s Company, Theater MITU, Electric Pear, Shalimar, SummerStage, Little Opera Theater, The New Ensemble. Professional— Technical design for New Georges at 3LD and Big Art Group’s Dead Set II & III. alexkochprojects.com.

Catherine María Rodríguez—Production Dramaturg—returns for a second year at Center Stage where she previously served as production dramaturg for Next to

AU DIEN CE SERVICES Normal, dance of the holy ghosts, Stones in His Pockets, and Wild with Happy. She is the coordinator and host of the Dramaturgy Open Office Hours Project in Baltimore/ DC and facilitates Wright-Right-Now at Center Stage. She has been named a 2014 Leadership Institute Fellow by the National Association of Latino Arts and Cultures (NALAC). Notable past credits include work with National New Play Network, Steppenwolf, 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. Catherine holds a BFA in Dramaturgy and a BA in Hispanic Studies from Carnegie Mellon. Saludos a todos and laissez les bons temps rouler!

Pat McCorkle—Casting Director.

Center Stage: Amadeus, Wild with Happy, Twelfth Night, A Civil War Christmas, Animal Crackers, The Mountaintop, Bus Stop, Gleam. Broadway—54 Productions including; On The Town, End of the Rainbow, The Lieutenant of Inishmore, The Glass Menagerie, Cat on a Hot Tin Roof, One Flew Over the Cuckoo’s Nest, Amadeus, She Loves Me, Blood Brothers, A Few Good Men,... Off Broadway—59 Productions including; Clever Little Lies, Dr. Ruth, Stalking the Bogeyman, Freud’s Last Session, Tribes, Our Town, Almost Maine, Driving Miss Daisy... Film—over 60 projects including; Junction, Premium Rush, Ghost Town, Secret Window, Basic, Tony and Tina’s Wedding, The Thomas Crown Affair, The 13thWarrior, Madeline, Die Hard III, School Ties... TV—45 shows including; Saint George, Twisted, humans for Sesame Street, Californication (Emmy nom.), Max Bickford (CBS), Hack (CBS), Strangers with Candy, Barbershop, Chapelle’s Show... mccorklecasting.com.

Captain Kate Murphy*—Stage Manager.

Center Stage: Resident Stage Manager; Stage Manager: Next to Normal, Stones in His Pockets, 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 Twelfth Night, 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: Veronica Meadows, BoeingBoeing; 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*—Assistant Stage Manager.

Center Stage: Resident Stage Manager: It’s a Wonderful Life: A Live Radio Play, Amadeus, Wild with Happy; Twelfth Night; Stones in His Pockets; dance of the holy ghosts; Clybourne Park; Beneatha’s Place; The Mountaintop; 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.

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

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 One Night in Miami…

Sun, Feb.8.

Audio Description at both 2 pm and 7:30 pm.

Open Captioning at 7:30 pm. †

One Night in Miami… | 11

BIOS

The Staff

Artistic Director Kwame Kwei-Armah OBE is an

award-winning British playwright, director, actor, and broadcaster. At Center Stage he has directed Amadeus, dance of the holy ghosts (City Paper Top Ten Productions, 2013); The Mountaintop; An Enemy of the People; The Whipping Man, for which he was 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 and Let There Be Love 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 groundbreaking Raisin Cycle. His other directorial credits include Dominique Morisseau’s Skeleton Crew at the Lark Play Development Center in New York, 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. 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. 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; and 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 12

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.

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Groups of 10 or more receive: Great Savings Priority Seating Personalized Service Flexible Payment Options Special Bonus Tickets (Groups 25+)

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(See page 26 for more info.) (top to bottom): The Washington AFRO-American 09/16/14 front page, the Baltimore AFRO-American 08/23/14 front page, afro.com website, the AFRO facebook page 16

After the revolution

By Amy Herzog

For details, or to book, contact Tia Abner at 410.986.4008 or groups@centerstage.org.

PHOTO © FIFTY-SIX HOPE ROAD MUSIC, LTD.

LOOK ING FORWARD

Revolution is coming to Baltimore

Kwame on Marley

the World Premiere Musical

Marley,

the original musical about Bob Marley written by Center Stage Artistic Director Kwame Kwei-Armah, explores a pivotal period in the singer’s life. In 1976, Bob Marley is the target of an assassination attempt. Shaken by this act of violence in the country he loves, Marley leaves for London, where he spends nearly two years in self-imposed exile. Chronicling the events surrounding this life-changing moment, Marley tells the story of a man transformed into one of the 20th Century’s musical icons. The musical includes songs from such classic, mid-‘70s Marley albums as Exodus, Kaya, and Rastaman Vibration.

Kwame talks about his inspiration for writing the play, his favorite Bob Marley songs, and almost being in Marley’s “Is This Love” music video.

Marley will have its world premiere at Center Stage, running May 6 to June 14, 2015.

What made you want to focus on the years between 1976 and 1978?

I wanted to find a time that spoke to the essence of Bob, and the attempted assassination in Jamaica and his selfimposed exile in London I found to be an interesting time to explore what was happening with him emotionally, spiritually, and intellectually.

Is Marley going to be a traditional musical with large-scale musical numbers and dancing?

It’s going to be more like a concert. In that there’s text, but when Bob sings it’s going to be like he’s singing at a concert or in a record studio. So, not your traditional musical, but the music should fill the hall.

How did this project get started?

The rights owners gave me permission to write a story using Bob’s music, but also Bob’s life story. They approached me and asked me if I would be interested in doing that. It had an existence in a previous life when I was only commissioned to use Bob’s music and I had written a play based on child soldiers, but that didn’t get produced.

And then they came back to me years later with this idea.

What is one of the most interesting things you learned while doing research on Bob? That he was handed down a ring from the family of Haile Selassie, who the Rastafarians saw as a reincarnation as Jesus Christ, and he had dreamt about getting such a ring many years before. And I just found that fascinating. That story was in an earlier version of the script, but it’s not in the latest draft.

You met Bob Marley when you were a kid, can you talk about how that happened?

I don’t remember a lot about it. They were doing the video for “Is This Love,” and they asked for a group of kids to come and interact with Bob, and my mother invited lots of my cousins, and I brought school friends, and everybody else made it into the video except for me. But, a year ago, my eldest son found a photograph of me at that shoot with Bob, and it was soothing to me because I was beginning to think I had made it up.

What is your favorite Bob Marley song?

“Running Away” and “Revolution.”

One Night in Miami… | 17

SUPPORTER SPOTLIGHT M&T Bank

For over 150 years,

M&T Bank has delivered on its promise of “understanding what’s important” by not only helping customers with the keys to financial stability, but also engaging with them in deep and meaningful ways. As an organization committed to the community, M&T understands that it is only as good as the community it serves.

M&T contributes millions of dollars in funding every year to a wide range of community-organizations—over $165 million in charitable contributions over the past ten years. This commitment to philanthropy is a reflection of how the Bank views itself, as a member of each individual neighborhood and a community bank at heart. Not content to rely on dollars alone, the bank also provides significant amounts of human capital as employees spend thousands of hours per year volunteering in various community programs and serving on boards of not-for-profit organizations.

In Baltimore, this means supporting the numerous cultural and educational institutions that improve the quality of life here. Enter Center Stage.

Over the past 16 years, M&T Bank has helped support some of the theater’s most ambitious and important work, both on stage and off. From serving as Lead Season Sponsor since 2012, including the landmark 50th Anniversary Season, to making the ever popular family-based Kickin’ it with the ‘Rents series possible, M&T has shown a dedication to a belief in art and its ability to improve the quality of life in the community. The bank believes that the arts have the power to bring people together—that when the arts succeed, we all succeed.

To that end, every year, in large part thanks to M&T’s support, we are able to offer over 25 education and community programs that reach over 13,000 students. Programs such as our Student Matinee Series, pre-and-post show conversations, and in-class visits help reach people where they are, and bring theater to them in new, and often unexpected, ways. As one parent reflected back on her child’s time at Center Stage, “My sons enjoyed each and every production and it’s our belief that this exposure to your program planted seeds of creativity which have blossomed into exceptional opportunities for them.”

It is clear that the Bank understands how important art is to a healthy community. Thank you M&T for making the work we do possible and for sharing our passion for making Baltimore a culturally vibrant place to live and work.

18

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

July 1, 2013 and December 15, 2014. 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 Mr. and Mrs. Philip Rauch Jay and Sharon Smith Charles E. Noell, III PRESIDENTS’ CIRCLE

($50,000+)

The Annie E. Casey Foundation Edgerton Foundation New American Play Awards The Charlesmead Foundation 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 Wiliam 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)

Jody Klein, Abkco Music & Records 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 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 Carole and Neil Goldberg 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 Goldseker Foundation/ Ana Goldseker Robert and Cheryl Guth The Hecht-Levi Foundation, Inc. David and Elizabeth JH Hurwitz Jonna and Fred Lazarus Mr. and Mrs. Earl & Darielle Linehan/Linehan Family Foundation The Macht Philanthropic Fund Mrs. Diane Markman 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 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 One Night in Miami… | 19

SU PPO RT ($1,000- $2,499)

DESIGNERS’

Mr. and Mrs. John and Beverly Michel

Anonymous

Tom and Cindi Monahan

Ms. Barbara Crain and Mr. Michael Borowitz

Teri and Tedd Alexander, in honor of Terry Morgenthaler

Jeannie Murphy

Robert and Janice Davis

Mrs. Peggy L. Rice

Mr. and Mrs. Lee Ogburn

Richard and Lynda Davis

Dr. Bodil Ottesen

James DeGraffenreidt and Mychelle Farmer

Jane and Stanley Rodbell and James R. Shapiro

Denise and Philip Andrews Mayer and Will Baker, in honor of Terry Morgenthaler Ms. Taunya Banks Mr. and Mrs. Marc Blum John and Carolyn Boitnott Dr. and Mrs. Donald D. Brown The Campbell Foundation, Inc.

Dave and Chris Powell Jill and Darren Pratt The James and Gail Riepe Family Foundation Nathan and Michelle Robertson

Caplan Family Foundation, Inc.

The Rollins-Luetkemeyer Foundation

John Chester

Gail B. Schulhoff

Ann K. Clapp

Bayinnah Shabazz, M.D.

Combined Federal Campaign

Barbara and Sig Shapiro

Constantinides Family Foundation

The Earle & Annette Shawe Family Foundation

Mr. Thomas Crusse and Mr. David Imre, in honor of Stephanie and Ash Carter The Richard and Rosalee C. Davison Foundation Albert F. DeLoskey and Lawrie Deering The Eliasberg Family Foundation The Epp Family Mr. Newton B. Fowler, III Dr. and Dr. Matthew Freedman 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 F. Barton Harvey, III and Janet Marie Smith Bill and Scootsie Hatter Donald and Sybil Hebb Sandra and Thomas Hess Drs. Dahlia Hirsch and Barry Wohl Len and Betsy Homer

Barbara P. Shelton Dana and Matthew Slater Mr. and Mrs. Robert N. Smelkinson Mr. and Mrs. Robert and Terri Smith Mr. and Mrs. Scott Smith Judith R. and Turner B. Smith George and Holly Stone Ms. Kimberly Stokes Dr. and Mrs. John Strahan

Ann Wolfe and Dick Mead Mr. Calman Zamoiski, Jr., in honor of Terry Morgenthaler

COMPANY

Mr. Al Russell Sheila and Steve Sachs

Mr. and Mrs. Donald M. and Margaret W. Engvall

Monica and Arnold Sagner

Bob and Susie Fetter

Kurt and Patricia Schmoke

Dr. and Mrs. Robert P. Fleishman

Eugene and Alice Schreiber Philanthropic Fund

John G. Ford

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 Ms. Nancy Freyman

Mr. John Wessner Ms. Camille Wheeler and Mr. William Marshall

Barbara and Howard Gradet Stuart and Linda Grossman Thomas and Barbara Guarnieri Vicki and Jim Handa 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 Roland King and Judith Phair King Donald Knox and Mary Towery, in memory of Carolyn Knox and Gene Towery

Ms. Diane Abeloff, in memory of Martin Abeloff

Marilyn Leuthold

Joseph J. Jaffa

Mr. and Mrs. Delbert L. Adams

Max Jordan

Mrs. Alexander Armstrong

Mr. and Mrs. Mark Joseph, in honor of Lynn Deering

Mr. Robert and Dorothy Bair

Dr. and Mrs. Thomas J. Lynch

Mr. Calvin Baker

The Dr. Frank C. Marino Foundation, Inc.

H.R. LaBar Family Foundation Fund of The Greater Cincinnati Foundation The Herschel and Judith Langenthal Philanthropic Fund Andie Laporte, in honor of Philip and Lynn Rauch Dr. and Mrs. George Lentz, Jr. Maryland Charity Campaign Robert and Susan Mathias Mr. and Mrs. Steven and Karen McCurdy Joseph and Jane Meyer

Charles and Patti Baum Jaye and Dr. Ted Bayless Fund of the Baltimore Community Foundation Steve and Teri Bennett Harriet and Bruce Blum Jan Boyce Jason and Mindy Brandt Cindy Candelori Ms. Sue Lin Chong Mr. and Mrs. Carl F. Christ William and Bonnie Clarke

David and Sharon Tufaro

Mary and Richard Gorman

Mrs. Francis Iglehart

Mr. and Mrs. Raymond Bank Family Fund of the Baltimore Community Foundation

Ms. Jill Stempler

Terry L. Gladden

Joseph M. and Judy K. Langmead

Francine and Allan Krumholz

Susan Somerville-Hawes, in honor of The Encounter Program

Mr. and Mrs. George and Beth Van Dyke

Anonymous

Ms. Shirley Kaufman

The Sinksy-Kresser-Racusin Memorial Foundation

Megan M. Gillick

Stewart and Carol Koehler

The A. C. and Penney Hubbard Foundation

Deborah and Philip English

Buddy and Sue Emerson, in appreciation of Ken and Elizabeth Lundeen

Rebecca Henry and Harry Gruner

Sydney and Ron Wilner

Ed and Ina Dreiband Stacie C. Dunlap

Renee Samuels Rosenfeld and Jordan Rosenfeld

Dr. Edgar and Mrs. Betty Sweren, in honor of Cindi Monahan

Nanny and Jack Warren, in honor of Lynn Deering

Mr. and Mrs. Harold Rojas

Gwen Davidson Jay and Bette Demarest

Patricia Yevics-Eisenberg and Stewart Eisenberg

Terry Halle and Wendy McAllister

Mr. and Mrs. Dan and Krissie Verbic

Phoebe Reynolds

Combined Charity Campaign David and Sara Cooke

Dorothy L. and Henry A. Rosenberg, Jr.

Susan and Brian Sullam

United Way of Central Maryland Campaign

Dr. Michael Repka and Dr. Mary Anne Facciolo

The Honorable and Mrs. E. Stephen Derby

($500-$999)

Ralph and Claire Hruban

20

Linda Hambleton Panitz

Ms. Clare Cochran

Kenneth and Christine Lobo The Ethel M. Looram Foundation, Inc.

Mary L. McGeady Jeston I. Miller The Honorable Diana and Fred Motz, in memory of Nancy Roche George and Beth Murnaghan Ms. Jennifer Nelson Roger F. Nordquist and Joyce Ward Pitt O’Neill Family Ms. Jo-Ann Mayer Orlinsky Michael and Phyllis Panopoulos Leslie and Gary Plotnick Robert E. and Anne L. Prince Mr. and Mrs. Richard Radmer

Mr. and Mrs. Barry and Linda Williams Dr. and Mrs. Frank R. Witter Dr. Richard H. Worsham 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. Alan M. Arrowsmith, II. Mr. Wayne Arvin Mrs. Darlene E. Austin Deborah and Stephen Awalt Mike Baker Melissa A. Behm S. Woods and Cathy Bennett Mr. Jason Bennett Bob and Maureen Black Rachel and Steven Bloom, in honor of Beth Falcone Mr. and Mrs. Charles Bryan Dr. and Mrs. Arthur Burnett, II Ms. Deborah W. Callard

Ms. Vicky Favor Ms. Rhea Feikin, in memory of Colgate Salsbury Faith and Edgar Feingold, in memory of Sally W. Feingold Field Day Productions Bill and Winnie Flattery Donna Flynn Elborg and Robert Forster Dr. Neal M. Friedlander and Dr. Virginia K. Adams 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 Ada Hamosh Aaron Heinsman and Nick Simko 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 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. Darlene Campbell

Ms. Dorothy Kuhlman

The Jim and Anne Cantler Memorial Fund of the Baltimore Community Foundation

Mr. and Mrs. William Larson

Mr. and Mrs. Louis J. Carr Mr. and Mrs. David Carter Ms. Amina Chaudhry Alice P. Clark Brenda M. Cley, M.D. Mr. and Mrs. Stanton Collins Mr. G. Brian Comes and Mr. Raymond Mitchener, in honor of Terry Morganthaler

Mr. and Mrs. L. Lambert 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

Mr. Eli Velder

Don Martin

Mr. and Mrs. David Warshawsky

Mary and Barry Menne

Boe and Patti Wells

Mr. and Mrs. Timothy E. Meredith

Ms. Anita Wilmore

Tracy Miller and Paul Arnest, in honor of Stephanie Miller

Mrs. Edith Wolpoff-Davis, in memory of Alvin S. Wolpoff

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 Dr. and Mrs. Alex Ober Claire D. O’Neill 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 Robin and Allene Pierson, in honor of Terry Morgenthaler Ronald and Patricia Pilling Thea Pinskey 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 Mr. and Mrs. Louis Rusk Robert and Lelia Russell Steven and Lee Sachs Ellen and Dino Sangiamo 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 Sarah Valente

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.

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

Baltimore County Executive, County Council, & Commission on Arts and Sciences

The Abell Foundation, Inc.

Carroll County Government

Becton Dickinson & Company

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

Bank of America BGE

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

CORPORATIONS

THE 2014/15 SEASON IS MADE POSSIBLE BY

PRESIDENTS’ CIRCLE

PLAYWRIGHTS’ CIRCLE Anonymous American Trading & Production Corporation

T. Rowe Price Foundation, Inc. ARTISTS’ CIRCLE

Ayers Saint Gross, Incorporated The Baltimore Life Companies Cassidy Turley Chapel Valley Landscape Company Cho Benn Holback + Associates Environmental Reclamation Company Ernst & Young FTI Consulting, Inc. Howard Bank Jenkins Baer Associates

PRODUCERS’ CIRCLE

Legg Mason McGuireWoods LLP Pessin Katz Law P.A. PNC Bank PricewaterhouseCoopers Saul Ewing LLP Stifel Nicolaus Sylvan/Laureate Foundation Venable, LLP Whiteford, Taylor and Preston Whiting-Turner Contracting Co. DIRECTORS’ CIRCLE Baxter, Baker, Sidle, Conn & Jones, P.A. Funk & Bolton, P.A. Schoenfeld Insurance Associates

T. Rowe Price Foundation UBS Wealth Management

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.

Stevenson University

One Night in Miami… | 21

Get ready to bid on hundreds of items!

Preview: February 18–20 Bidding: February 21–March 1 Celebrating its 38th year, the Baltimore Sun Online Auction for Center Stage supports the work you see in the theater, in the classroom, and in the community.

Visit centerstage.org/auction for details.

If you have questions or items to donate, please contact Sydney Wilner at swilner@centerstage.org or 410.986.4025 Sponsored by:

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Auction Media Partner:

Season 2014/15 Sponsor:

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together One Night in Miami… | 23

PH OTOS

Center Stage Celebrations

Guests celebrate at Opening Night of It’s a Wonderful Life: A Live Radio Play (clockwise from top left): Joseph McGranaghan, Ken Krugman, Chiara Motley, Eileen Rivera, Nelson T. Eusebio III, and Pun Bandhu; Patrons enjoy the festive decor in the Deering Lobby; (back row) Neil Parikh, David Kanter, Sarah Hurst, Jessica Strasser, Josh Thomas, Brandon Rashad Butts (front row) Astoria Aviles, Mika Eubanks, Kayla Whisman, and Andrew Stromyer. Photos by Tyrone Eaton.

Families and actors mingle during Kickin’ It with the Rents (clockwise from bottom left) Isabella Hills and Ileana Martinez-Castillo; Deborah James-Washington and Chiara Motley; Joseph McGranaghan; Cindy and Elizabeth Biondo.

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Center Stage hosted a series of Family Matinees over the run of It’s a Wonderful Life: A Live Radio Play. Pre-show activities included kids crafts, an interactive Sound Effects table, and backstage tours. Special guests included The Charm City Bronze Handbell Ensemble, Gingy the Gingerbread Man, and Storyteller Maria Broom.

One Night in Miami‌ | 25

PREV IEW

UP NEXT

Center Stage introduces Baltimore to playwright Amy Herzog, one of the most exciting voices in American theater, through two of her hit plays— staged in repertory for the first time ever. Featuring three generations of one New York family, After the Revolution and 4000 Miles are gripping and surprising examinations of the unending power of family to shape our identities and our lives.

The

HERZOG FESTIVAL

After the Revolution

By Amy Herzog

Mar 18–May 17 Emma Joseph is young, ambitious, talented, and about to put the ideals of her politically leftist, New York family into action. But a long-buried secret about her much-loved blacklisted grandfather threatens her work and throws her principles—and loyalties—into question.

As the family, including grandmother Vera, wrestle with their legacy, Emma must chart her own course forward.

MEL: If you’re with him I’m sure he has great politics.

EMMA: Good politics in my generation is different from good politics in your generation, Mel. MEL: We understand that, we’re not dinosaurs, we’re not Stalin apologists.

VERA: What? What about Stalin?

EMMA: You’ll get to meet him eventually.

LEO: Maybe he wants to come to the family reunion in August.

EMMA: Don’t count on it.

VERA: I can’t hear a word any of you is saying. Or maybe that was the point.

AFTER the REVOLUTION BEGINNING MAR 18

26

“Ms. Herzog’s gift is to capture the precise texture of life in all its ambiguity and lack of tidy resolution, while still holding our attention fast by tapping into the compassion and curiosity about human nature.”

–The New York Times

“I’ve always wanted to see the plays staged together, and Center Stage will be the first brave theater to do it. I’m honored to have my work produced by a theater that is sparking national conversation about diversity and civic engagement—two subjects dear to the politically passionate characters in my plays. I can’t wait to come to Baltimore to get acquainted with its thriving theater community and to see the work.”

–Playwright Amy Herzog

4000 Miles

By Amy Herzog

Apr 1–May 24

Set 10 years later, 91-year-old Vera Joseph takes center stage when, after a tragic loss on a cross-country bike trip, her 21-year-old grandson Leo shows up at her apartment.

As a one-night stopover turns into an extended stay, these unlikely roommates frustrate, bewilder, and—eventually— connect with each other. In ways funny, raw, and heart-wrenching, grandmother and grandson find the common identity each needs.

LEO: Grandma Vera. It was awesome to see you.

VERA: What?– You’re– LEO: It’s cool, I don’t think either of us has to feel bad about the fact that the timing isn’t right for me to be here.

VERA: You’re going to– where will you go?

4000

LEO: I have a tent and a camping stove and a love for the outdoors, I’ll be all right.

VERA: You’re in Manhattan!

MILES BEGINNING APR 1 One Night in Miami… | 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, Samrawit Belai, Tiana Bias, Arrenvy Bilinski, Kendrel Dickerson, Neil Parikh, Sonny Russo, Jess Strasser, Sarah Tomberlin, Paul Wissman Front of House Manager & Volunteer Coordinator– Alec Lawson House Managers–Laura Baker, Mandy Benedix, Sarah Hurst, Lindsay Jacks, Faith Savill, Paul Wissman Bar Manager–Beth Ann Wilson Van Cleve 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

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Development

Director–Julia Keller Annual Fund Manager–Katelyn White Grants Manager–Debbie Joy Events Manager–Brad Norris Development Assistant–Alyson Jacques Auction Coordinator–Sydney Wilner Auction Assistant–Norma Cohen The Edward and Ellen Bernard Development Fellow– Astoria Avilés

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

Electrics

Scenic Artist–Stephanie Nimick Scenic Art Intern–Maggie Foley

Finance

Resident Stage Managers–Captain Kate Murphy, Laura Smith Production Assistant–Lindsay Eberly Stage Management Interns–Marian Jackson, Kayla Whisman

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 Director–Susan Rosebery Business Manager–Kathy Nolan Business Assistant–Kacy Armstrong

Graphics

Art Director–Bill Geenen Production Photographer–Richard Anderson Graphics Intern–Katherine Marmion

Information Technologies

Director–Joe Long Systems Administrator–Mark Slaughter

Marketing & Communications

Director–Tony Heaphy Public Relations Manager–Cassandra Miller Publications Manager–Maggie Beetz Marketing Associate/Group Sales–Tia Abner Marketing Associate–Sarah Bichsel 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, Lori Duckworth

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 Assistant Manager–Nathan Scheifele Artisan–Samantha Kuczynski The Kenneth C. and Elizabeth M. Lundeen Properties Intern–Rachel Bennick

CONTACT INFORMATION

Box Office Phone 410.332.0033 Box Office Fax 410.727.2522 Administration 410.986.4000 www.centerstage.org info@centerstage.org

Stage Management

Stage Operations

Stage Carpenter–Eric L. Burton Wardrobe Supervisor–Linda Cavell The following individuals and organizations contributed to this production of

One Night in Miami…

Assistant Lighting Designer–Marika Kent Carpenters–Bernard Bender, Michael Cager, R. Castrence, Seth Foster, J.R. Fritsch, Brian Jamal Marshall Electricians–Alison Burris, Paul Callahan, Parker Damm, Jake Epp, Tyler Gahs, Aaron Haag Violence Coordinator–Lewis Shaw

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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