NOV 18 –DEC 21, 2014
IT’S A WONDERFUL LIFE: A Live Radio Play Adapted by Joe Landry
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
Welcome to Center Stage and to
IT’S A WONDERFUL LIFE: A Live Radio Play
I am delighted we chose this play for our holiday show. It is a classic American story that has warmed the hearts of multiple generations of families in this country. The radio studio setting lets the performance start in 1940s Baltimore, before we are whisked away to Bedford Falls. This clever adaptation captures the essence of the film, delivering it to the stage in a creative and wistful performance. As we gathered here at Center Stage for our first rehearsal of this production, director Nelson Eusebio reminded us that this is more than a Christmas play: it is a story that celebrates our humanity—individually and as a community—while Joe Landry’s adaptation wonderfully captures the sense of awe and delight that draws us to theater in the first place. I love that description. At the same time, this play can certainly be described as a modern American Christmas Carol. It’s a heartwarming tale of one man’s despair and redemption, set on Christmas Eve. It shows how deeply our lives are entwined, and how true wealth can be measured by the bonds of love and family. These themes are carefully cushioned in humor and brought to life by a bevy of charming characters. Come with us as we all go back to Bedford Falls. We hope you enjoy the journey. Warmly,
Kwame Kwei-Armah Artistic Director
CAST
TABLE OF CONTENTS
IT’S A WONDERFUL LIFE: A Live Radio Play
Nov 18 – Dec 21, 2014
2 The Setting
3 Meet the Creators
4 Making a Holiday Classic
6 Radio Theater
8 Bios: The Cast
10 Bios: The Artistic Team
12 Bios: The Staff
18 Supporter Spotlight
19 Supporting the Annual Fund
26 Center Stage Celebrations
27 Preview: Up Next
28 Staff
Adapted by Joe Landry
THE CAST
(in alphabetical order)
Pun Bandhu* Harry “Jazzbo" Heywood/ Clarence and others
Ken Krugman* Freddie Filmore/Mr. Potter and others Joseph McGranaghan* Jake Laurents/George Bailey Chiara Motley* Sally Applewhite/Mary Hatch Eileen Rivera* Lana Sherwood/Violet Bick and others Anthony Stultz* Foley Artist
Laura Smith * Stage Manager
Captain Kate Murphy* Assistant Stage Manager *Member of Actors’ Equity Association
THE ARTISTIC TEAM
Season 2014/15 Sponsor:
Joe Landry Adaptor
Nelson T. Eusebio III Director
Media Partner:
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.
Michael Locher Set Designer Alixandra Gage Englund Costume Designer
Burke Brown Lighting Designer
Sarah Pickett Sound Designer
Gavin Witt Production Dramaturg Stephanie Klapper Casting Director Produced by special arrangement with Playscripts, Inc. (www.playscripts.com)
Lead Student Matinee Sponsor:
There will be a 15-minute intermission.
It’s a Wonderful Life: A Live Radio Play is sponsored by:
PLEASE TURN OFF ALL ELECTRONIC DEVICES. IN CASE OF EMERGENCY 410.986.4080 (during performances).
It's a Wonderful Life: A Live Radio Play | 1
S ET T IN G
TIME AND PLACE
Time:
Christmas Eve, 1947.
Place:
Studio A at WBAL Radio, and various locations in
the Bedford Falls of our imagination.
2
M EET
THE CREATORS
PHILIP VAN DOREN STERN
Author and Historian
Philip Van Doren Stern was the author of The Greatest Gift, a barely remembered, almost-never-published short story initially inspired by a dream. This story is the basis for Frank Capra’s film It’s a Wonderful Life. Born in a small Pennsylvania town in 1900, Stern attended Rutgers and
FRANK CAPRA
Director, Producer, Author
Courtesy of Wesleyan University
Frank Capra’s work has become so well-known and respected that it is today used as a yardstick by which critics and the public measure a certain type of purely American film comedy.
lived most of his life in New York City. He became one of the country’s
Capra was born in Bisacquino, Sicily, on May 18, 1897, and immigrated
foremost scholars of the Civil War, publishing fiction and nonfiction
to the United States when he was five. He earned an engineering degree
accounts of that era. Stern also wrote and edited horror and science
at the California Institute of Technology in 1918 and then began a
fiction, including Tales of Horror and the Supernatural, The Midnight
long and successful film career. After working for Mack Sennett as gag
Reader, and an Edgar Allen Poe biography. During World War II, he
writer and director, he went to work at Columbia Pictures, and became
served as general manager of a nonprofit that distributed paperback
instrumental in lifting the studio out of the “Poverty Row” category.
books to active soldiers.
Capra’s films brought him two Oscars for Best Picture and three for Best
Originally unable to publish The Greatest Gift, Stern sent 200 copies of
Director: It Happened One Night (1934), Mr. Deeds Goes to Town (1936),
the 21-page story to his friends as Christmas gifts in 1943.
and You Can’t Take It With You (1938). He also directed such landmark movies as Mr. Smith Goes to Washington (1939), Meet John Doe (1941), and the ever-popular It’s a Wonderful Life (1946). During World War II, Capra became a colonel in the Army Signal Corps, directing the Award-winning Why We Fight series. He retired from filmmaking in 1966, after which he published his autobiography, The Name Above the Title, in 1971. Throughout the 1970s, Capra was much in demand as a lecturer and guest at film festivals and other events, and performed service for the US government. He retired from public life in the 1980s following a series of debilitating strokes. Capra was president of the Academy of Motion Picture Arts and Sciences, president of the Screen Directors Guild, and the recipient of the Distinguished Service Medal, the Order of the British Empire, the White House National Medal of the Arts, the 10th Annual American Film Institute Life Achievement Award, and many other honors.
It's a Wonderful Life: A Live Radio Play | 3
a n o p Once´ u ´ ramaturg
roduction D By Gavin Witt, P
IT TAKES A MIRACLE TO SAVE GEORGE BAILEY
and restore his sense of hope; it arguably took no less of a miracle for his story to make its way into the world. While today Frank Capra’s film version of It’s a Wonderful Life might play in a reliable annual routine on countless screens, and in countless fond memories, the journey from original idea to cherished icon was one filled with bumps and hurdles, near-misses and ultimate grace. George Bailey and Clarence working on a miracle.
Donna Reed was a 4H Club alumna from small-town Iowa and found herself at home in the story; in fact, she later won a bet with Lionel Barrymore (Mr. Potter) by demonstrating her prowess at milking a cow.
Jimmy Stewart had spent the war valiantly piloting bomber missions, rising to the rank of Colonel.
It started with a vision. Noted historian and Civil War buff Philip Van Doren Stern had been trying his hand at fiction, with little success. One February morning in 1938, he was shaving when a story came to him, fully formed and intact as no story ever had before or would after. His problem, he recalls, was learning how to write what he already knew. Clear to Stern was the tale of a small-town husband and father, George Pratt, discouraged and alone, who finds himself standing on a bridge at Christmas contemplating the dark waters below. To him appears a mysterious stranger, who grants George’s wish that he’d never been born. Masquerading as a salesman, George traverses his hometown to find himself truly absent from history and from the lives of his friends and loved ones. Stern tried several drafts, unhappy each time with the results. Finally, in 1943 (exactly 100 years after Dickens published A Christmas Carol, for whatever you want to make of that), he had his agent send it around. But not one magazine or one publisher would print the story, now titled “The Greatest Gift.” So Stern—himself of mixed faith traditions—had the story printed up at his own cost and distributed 200 copies as his annual holiday card (including enlisting his young daughter to pass it around). Through an unlikely chain of circumstances, the story came into the hands of an executive at RKO film studios. Stern had all but given up on his creation when, to his astonishment, he got a call from Western Union: RKO had bought the movie rights, hoping to use it as a vehicle for Cary Grant. Some of Hollywood’s leading writers, including Dalton Trumbo and Clifford Odets, took a stab at crafting a screenplay, with little success. Grant moved on, the project languished, and RKO finally dumped it—selling the rights to Frank Capra in 1944 and throwing in the three existing screenplay drafts for free.
4
l u f r e d Won
Capra constructed 80 buildings over nearly four city blocks to create a veritable Bedford Falls. Fully grown trees were planted; animals and livestock were turned loose; and the production department even invented a revolutionary new form of fake snow to transform a California heatwave into a Currier and Ives winter spectacle.
Capra, an Italian immigrant who had thrived as a director in pre-War Hollywood, fell in love with the story and knew just how to tell it. However, he was only just back from World War II, and anxious that his years away had set him back professionally. As further risk, he’d just launched his own new production company, Liberty Films, which had precisely zero track record and about as much clout. So in 1945, he reached out to a friend and fellow veteran. Jimmy Stewart had spent the war valiantly piloting bomber missions, rising to the rank of Colonel—but was certain that his acting career had not survived the war with him. He was sure he’d never work in film again. But he and Capra had worked together before, and had a strong affinity. Stewart was from a small town in Pennsylvania, and after a stint in the family hardware business had gone on to Princeton to study architecture before Hollywood nabbed him; he felt the call of the material and signed on. Together, he and Capra hoped to secure another favorite collaborator, Jean Arthur, for their leading lady. When she proved unavailable, the part went to Donna Reed. A 4H Club alumna from small-town Iowa, Reed found herself at home in the story; in fact, she later won a bet with Lionel Barrymore (Mr. Potter) by demonstrating her prowess at milking a cow. The central trio was set. There remained the problem of a shooting script, however, and more hard work and near failures followed before a working screenplay emerged—under the steady guidance of Capra’s vision. He confidently had an enormous location set constructed, complete with 80 buildings over nearly four city blocks to create a veritable Bedford Falls. Fully grown trees were planted; animals and livestock were turned loose; and the production department even invented a revolutionary new form of fake snow to transform a California heatwave into a Currier and Ives winter spectacle. Shooting went well, and everyone involved reported a magical, family atmosphere on set. All had high hopes for the endeavor. Both Capra and Stewart always spoke about it as the favorite among all their many films. When the finished picture was released in 1946, however, it garnered mixed reviews. It lost money at the box office, and fairly quickly sank into obscurity. It even managed to get some negative attention from the FBI, which passed on a report alleging seditious, even Communist, messages in the movie. The miracles and movie magic weren’t done, though. Through yet another set of unlikely coincidences, the movie passed out of
copyright protection in the 1970s and suddenly became a staple of television re-runs. A new generation discovered its many charms and its potent message of hope, redemption, and community. As if at a stroke, the movie became one of the most beloved, and often-viewed, of its own or any era. Capra lived long enough to see his film “redeemed” from relative obscurity and firmly ensconced in American culture as a beloved classic. Whether this is your first encounter with George Bailey and the denizens of Bedford Falls, or your 1000th, they are ready to work their magic once again.
Everyone involved reported a magical, family atmosphere on set.
It's a Wonderful Life: A Live Radio Play | 5
Th
BY GAVIN WITT, PRODUCTION DRAMATURG
a A g e n m o e a f r R adio D ld o G e
The Golden Age of Radio began with the explosion of broadcasting in the early 1920s and waned as television
broadcast films adapted into hour-long radio
front lines. When the airship Hindenburg
scripts. For more than 20 years, it was the
burst into flames, the nation listened
most successful dramatic anthology on the
took over in the 1950s. In its heyday, some
breathless to the disaster on radio. When
air, featuring popular stars in hit movies.
80% of Americans may have been regular
Kentucky caver Floyd Collins was trapped
listeners. Entire families gathered at regularly
underground, or aviator Charles Lindbergh
But the single best-known episode of radio
scheduled times, often interrupting any other
first bravly crossed the Atlantic, the country
activity, to listen to cherished programs.
followed along over radio. The likes of folksy
There were soap operas like The Guiding
humorist Will Rogers, wry wisecracker Jack
Light, and a myriad of exotic mystery serials
Benny, dulcet crooner Bing Crosby—and
like The Adventures of Ellery Queen or The
along with them, signature sponsors from
Shadow. There were situation comedies like
hair tonics to soap suds—all claimed a
Fibber McGee and Molly, Ozzie and Harriet,
treasured place in homes across America via
or Father Knows Best; and numberless variety
the radio waves.
shows of all sorts.
6
them abreast with his broadcasts from the
Wireless transmission into private homes
Through the depths of the Depression, with
only emerged around 1920. Shortly after,
millions out of work and out of hope, people
in 1922, the first dramatic radio series was
sought consolation and found renewed
broadcast over WGY in Schenectady, New
strength listening to President Roosevelt
York, producing a series of play adaptations.
and his Fireside Chats. When war clouds
In 1936, the popular Lux Radio Theatre
gathered and burst, Edward R. Murrow kept
moved from New York to Hollywood, to
drama must remain the Orson Wellesdirected adaptation of H.G. Welles’ The War of the Worlds from 1938—which many listeners believed to be actual reports of an invasion from Mars, so established was radio’s credibility.
F
Watch W I T H
rom adventure serials to soap operas, from Buck Rogers’ whizzing spacecraft to Jack Benny’s wheezing jalopy, there would have been no radio theater without two crucial components. First essential was the hungry imagination of the listener. Second essential, to fire that imagination and bring to life the worlds and the action, was the sound effects operator. Known as Foley work on film, where it is almost always created in post-production, the sound effects on radio were made by operators who had to work live, fast, and on the spot. Despite best intentions, they didn’t always get the script in advance, and nothing is ever more predictable than the unpredictable.
A combination of musician, technician, actor, contortionist, basement tinkerer, and sound wizard, the alchemists of audio had
YO U R E A RS
to use all their know-how and considerable
inventiveness to create believable effects and convincing atmosphere, unobtrusively in a small space with some of the oddest assortment of tools. Obviously, there were well-established stand-bys to draw on, like thundersheets and wind machines, or crash boxes and starter’s pistols. There were door knockers and doorbells to fall back on. But they also devised new routines, like squeezing boxes of baking soda for the sound of walking in snow. And nearly every script would stretch their capacity and their ingenuity in unexpected ways. Every sound you hear, they would make: every
life in your imagination: every distant vista, or diner counter; every cozy fireplace or faraway seaport; every snowstorm or creaky staircase. Our hero is trapped in a fusillade of bullets? Our happy couple snuggles on the settee? A mysterious figure lurks in the shadows, or creeps down rains-slick streets? That’s the sound effects operator you have to thank for that image.
Joe Landry’s adaptation of It’s a Wonderful Life suitably incorporates, and relies on, this classic element. To join the fun, check out the “Foley” station in the lobby, footage on the Media Wall, and the digital dramaturgy at centerstage.org/wonderful.
footstep, door slam, car engine, bird twitter, train whistle, gun shot fired or whiskey shot poured. Also, every place you see, every action you can imagine, they help bring to
It's a Wonderful Life: A Live Radio Play | 7
BIOS THE CAST
Left to right: Chiara Motley, Public Relations Manager Cassandra Miller, and Pun Bandhu at first rehearsal. Cast and staff prepare.
Pun Bandhu*—Harry “Jazzbo" Heywood/Clarence and others. Center Stage:
of Assassins. Off Broadway—Splendora, Chiara Motley*—Sally Passion; City Center Encores: Irma La Douce. Applewhite/Mary Hatch— Regional—Guthrie Theatre, Arena Stage, is delighted to be making her Goodspeed, Bay Street Theatre, Theatre debut. Broadway— debut at Center Stage. She Aspen, Capital Rep, Centenary Stage, Two Wit w/Cynthia Nixon. was last seen playing Irene Off Broadway—Productions Rivers Theatre. International—The Man in Adler in Sherlock Holmes: The with Soho Rep, PS 122, Target Margin, Ma-Yi, the Moon Theatre in London: Grimm Tales. Great Adventure (Arts Center of Costal Film—Let It Snow. TV—Blue Bloods, Royal NAATCO, Pan Asian Rep, Foundry Theatre, Carolina). Seattle Shakespeare Company: Pains, Law & Order(s), Hope & Faith, among many others. Regional—Favorites Othello, Richard III, A Midsummer Night’s include McCarter Theatre: The Bells (Theresa Chappelle’s Show, Late Show with David Dream; Denver Center: The Three Musketeers, Letterman. Ken thanks his family and friends The Taming of the Shrew. Regional—Hudson Rebeck World Premiere, dir. Emily Mann); for their love and support. TheatreWorks: Yellow Face (David Henry Valley Shakespeare Festival: King Lear, The Hwang Regional Premiere), Warrior Class; Three Musketeers; Seattle Public Theatre: A Joseph McGranaghan*— Yale Rep: The Birds (Len Jenkins World Wedding Story; Book-It: Persuasion; Studio Jake Laurents/George Premiere); Williamstown: Big Knife (dir. Lab: Syringa Tree. Other—Chiara’s voice can Bailey. Center Stage: debut. be heard on Her Interactive’s Nancy Drew Joanne Woodward), Far East (AR Gurney New York—The Workshop World Premiere, dir. Daniel Sullivan); Denver video games. Education—MFA, National Theatre Company: Thalassa; Center: The Catch (Ken Weitzman World Theatre Conservatory. BA, Stanford Storm Theatre: Our God’s Premiere, Henry Award, Best Supporting University. chiaramotley.com. Brother; Hudson Warehouse: The Bald Actor in a Play). TV—The Good Wife, Eileen Rivera*—Lana Soprano; Bakerloo Theatre Project and Without a Trace, Elementary, Law and Order, Sherwood/Violet Bick and Prospect Theatre: Hamlet; CITI Company: Criminal Intent, Conviction, SVU, Body of others. Center Stage: debut. The Beauty Project. Regional—Bucks County Proof, White Collar, Nurse Jackie, among Off Broadway—Rattlestick: A Playhouse: New Voices Festival; Clarence others. Film—Michael Clayton, Burn After Fable; NYTW: Beast; Culture Brown Theatre: Noises Off; Asolo Rep: The Reading, Late Phases, Stephen King’s A Good Project: Sides: The Fear is Real; Game’s Afoot, You Can’t Take It With You; Marriage, The Judge. Education—MFA Yale Quantum Theatre: The Task; Pittsburgh Irish Public/NYSF: Dogeaters. Other New York— School of Drama. punbandhu.net. Leviathan Lab: Twelfth Night; Queens and Classical Theatre: Julius Caesar and The Ken Krugman*—Freddie Theater: Rosa Loses Her Face; Diverse City: Shaughraun. Tours—Chamber Theatre of Filmore/Mr. Potter and The Encounter; Jaradoa: Shafrika, The White Boston: The Legend of Sleepy Hollow; Asolo others. Ken is thrilled to be Girl, The Small of Her Back, Serenade. Rep New Stages: Macbeth. Film—The Lucky making his Center Stage Regional—Virginia Stage Co.: The Comfort 6, Graduation. Training—FSU/ Asolo debut. Broadway & National Conservatory. For my wife: a lassoed moon. Team; Perseverance: The Long Season. Tours—Les Miserables, TV—Law & Order: Criminal Intent. Eileen has Candide, Jersey Boys, Dirty Rotten Scoundrels, co-produced and acted in a handful of short Titanic, and the Tony Award-winning revival films: Mildred, Daughter of Venus, The 8
BIOS
THE ARTISTIC TEAM Joe Landry—Adaptor. Center Stage:
your Worl e t i d Wr
debut. Plays include Vintage Hitchcock, Reefer Madness, Numb, Getting Tall, Lifeboat Dahling! (with Bert Bernardi). Musicals include Meet Me in St. Louis: A Live Radio Play, Mothers and Sons (book with Kevin Connors). Upcoming—A Christmas Carol: A Live Radio Play (MTC MainStage), The War of the Worlds (NYC in 2015). Founder— Second Guess Stage/Screen. Member—The Dramatists Guild. joelandry.com.
Barrelman Caper, INS & Outs (Grand Prize Winner, 2013 AAFL 72-Hour Shootout). The short film Two Weeks, which she also wrote, has screened around the country and on television. Learn more at eileenrivera.com. Heartfelt thanks to Nelson Eusebio.
Anthony Stultz*— Foley Artist. Center Stage:
debut. Off Broadway— Gertrude Stein SAINTS, Abrons Arts Center (sound design). Regional—Seven Guitars (musician), Carnegie Mellon University. Other—For the Birds (composer/ sound designer), National Aviary. Education—BA Recording Studies, Classical Guitar Performance from Butler University. Thank you for all the love, support, and happiness: Mom, Annie, Doug, Lori, and Almeda.
* Member of Actors’ Equity Association
Nelson T. Eusebio III—Director. Center
Stage: debut. Off-Broadway—Ensemble Studio Theatre: Solar Plexus, Asking for Trouble; NYSF/Delacorte: All’s Well That Ends Well; Pan Asian Rep: Finding Ways… Other New York—2014 ABC Actor Showcase; Leviathan Lab: Twelfth Night; Creative Destruction: Obama Drama; Theatre Row: God, Sex & Blue Water; DiverseCity Theater: The Encounter. International— Rhodopi International Theatre Collective: The Bacchae. Regional—Playmaker’s Rep: It’s a Wonderful Life: A Live Radio Play; Oregon Shakespeare Festival: Yellow Face (FAIRplay); Old Globe: Twelfth Night (educational tour). Film—INS & Outs; The Barrelman Caper; Mildred, Daughter of Venus; Yield. Education—MFA, Directing, Yale School of Drama. Professional— Member, Lincoln Center Theatre Director’s Lab; Phil Killian Directing Fellow, Oregon Shakespeare Festival; Director, NEA/TCG Career Development Program; former Artistic Director, Leviathan Lab. Nelson is a participant in the SPARK Leadership program, funded by American Express, The Joyce Foundation, and The Andrew W. Mellon Foundation and administered by Theatre Communications Group. nelsoneusebio.com.
Michael Locher—Set Designer. Center
Stage: debut. Off-Broadway—Sin, Dramatis Personae, Crane Story. Regional—Oregon Shakespeare Festival: Troilus & Cressida, Secret Love in Peach Blossom Land; Guthrie: Happy Days, Freud’s Last Session; Yale Repertory: Trouble in Mind; Playmakers Repertory: Happy Days; Marin Theater
>>
submit your original play to the 2015 festival.
Selected playwrights will participate in workshops with professional theater artists and have their plays produced and performed at Center Stage on Monday, May 18, 2015, 7 pm. For submission guidelines, visit centerstage.org/ypf. Questions? Call Community Programs & Education: 410.986.4050..
Open to all Maryland students in grades K–12. Deadline: Friday, Feb 6, 2015 YPF Lead Sponsor:
Additional support from:
Jacob and Hilda Blaustein Foundation
Illustration by Rachel Suggs
Kwame Kwei-Armah and Joseph McGranaghan.
It's a Wonderful Life: A Live Radio Play | 9
BIOS
THE ARTISTIC TEAM
Director Nelson T. Eusebio III discusses the play with the cast of It's a Wonderful Life: A Live Radio Play.
Company: The Whale, I & You; Great Lakes Theater: The Taming of the Shrew; Cal Shakes: Spunk, The Winter’s Tale; Idaho Shakespeare Festival: The Taming of the Shrew; The Magic Theater; Theatreworks (CA); Center Rep (CA). Education—Yale School of Drama; Professional—Adjunct Professor, San Jose State University; Freelance graphic designer and illustrator; Associate Artist, The Cutting Ball Theater; Founding Member, Tilted Field Productions.
Alixandra Gage Englund—Costume Designer. Center Stage: debut. Based in
her native New York, Alixandra designs costumes for theater, dance, opera, and film. Recent credits include 4000 Miles (Asolo Rep), Stoop Stories (Weston Playhouse), Sumedida’s Song (HERE), The Electric Baby (Two River Theatre), and Take What is Yours (59E59). She’s designed for a number of New York companies including NAATCO, Epic Theatre, Fordham University, Columbia Stages, and The Women’s Project, and is a frequent collaborator with Beth Morrison Productions on new operatic works. Regionally, Alixandra has designed for the Yale Rep, Chautauqua Theatre Company, Shakespeare Theatre of NJ, Skylight Opera, and Bard Summerscape. She is a founding member of Wingspace Theatrical Design, and attended Brown University and the Yale School of Drama.
Burke Brown—Lighting Designer. Center
Stage: debut. Recent New York—Rattlestick Playwrights Theater: The Long Shrift, Stay, Basilica; Clubbed Thumb: Phoebe in Winter. 10
Other NYC— 52nd Street Project, Ars Nova, NYSF-Public Theater, La Mama ETC. Recent Regional Designs—Cal Shakes: A Midsummer Night’s Dream; Magic Theatre: Se Llama Cristina; Cleveland Playhouse: Yentl; PlayMaker’s Rep: It’s a Wonderful Life, A Number. Other Regional—Asolo Rep, Northern Stage, Two River Theater. International—Abbey Theatre (Dublin), Golden Mask Festival (Moscow), Seoul Performing Arts Festival (South Korea), Festival of Two Worlds (Spoleto, Italy). Recent dance designs—Aszure Barton & Artists: Awáa; Alvin Ailey America Dance Theater: Lift; Hubbard Street Dance Chicago: Fluence, Cloudless; Bayerisches Staatsballett: Konzert für Violine un Orchester; Houston Ballet: Angular Momentum. Education—MFA: Yale School of Drama. Member of Wingspace Theatrical Design. wingspace.com/burke.
Sarah Pickett—Sound Designer. Center
Stage: debut. New York—Theatre for a New Audience: Othello, Macbeth, Measure for Measure; Women’s Theatre Project: Aliens with Extraordinary Skills. Regional—Oregon Shakespeare Festival: Much Ado about Nothing, A Midsummer Night’s Dream, Richard III; American Players Theatre: Antony & Cleopatra, Twelfth Night, All’s Well That Ends Well, Shakespeare’s Will, Les Liaisons Dangereuses, The Cure at Troy, Of Mice and Men; Portland Center Stage: Red, Santaland Diaries; Yale Repertory Theatre: Hamlet, A Delicate Balance, Death of Salesman; Asolo Rep Theatre: The Winter’s Tale, Venus in Fur;
PlayMakers Repertory Company: Nicholas Nickleby, All My Sons; Dallas Theater Center: To Kill a Mockingbird; Long Wharf Theatre: Italian American Reconciliation; Drury Lane at Oakbrook: Gypsy; Victory Gardens Theater: We Are Proud to Present…. Other—Faculty member at Carnegie Mellon University School of Drama teaching sound design and music composition. Education— MFA, Yale School of Drama; MA, Cornell University; BFA, Syracuse University.
Gavin Witt—Production Dramaturg.
(see page 12)
Laura Smith*—Stage Manager. Center
Stage: Resident Stage Manager: 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.
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
Please silence all phones and electronic devices before the show and after intermission. Costume drawings on rehearsal room wall. Alixandra Gage Englund and Gavin Witt.
Captain Kate Murphy*—Assistant Stage Manager. Center Stage: Resident Stage
HIM; Horton Foote’s Harrison, Texas; The Morini Strad (Primary Stages); Twelfth Night (New York Classical Theatre); Karen O’s Stop the Virgens! (St. Anne’s Warehouse); Cactus Flower (Westside Theatre); The Temperamentals (New World Stages). Regional—A Christmas Story, The Musical (National Tour); Emotional Creature (NY Casting/Berkeley Rep); White Snake (New York Casting/Oregon Shakespeare Company); Nobody Loves You (Old Globe, San Diego); Three Musketeers (Cincinnati Playhouse); Venice (KC Rep/Kirk Douglas Theatre); God of Carnage (Capital Rep); Assassins (Milwaukee Rep); The Cherry Sisters (NY Casting/Actor’s Theatre of Louisville). Film/TV—Alice Jacobs is Dead, Roberta, Feast of the Goat; Lazytown. Member—Casting Society of America and The League of Professional Theatre Women.
Manager; Stage Manager: Next to Normal, A Civil War Christmas, Animal Crackers, Mud Blue Sky, The Mountaintop, …Edgar Allan Poe, A Skull in Connemara, American Buffalo, Crime & Punishment, Let There Be Love, The Santaland Diaries; Assistant Stage Manager for The Importance of Being Earnest, Things of Dry Hours, Trouble in Mind, Three Sisters, Radio Golf, The Murder of Isaac, Once on this Island, King Lear; Assistant Production Manager 2008-09. Regional—Trinity Rep: Veronica Meadows, Boeing-Boeing; Actors Theatre of Louisville: All Hail Hurricane Gordo˚, The Clean House, Moot the Messenger˚, Dracula, The Ruby Sunrise˚, Tall Grass Gothic˚, The Drawer Boy, Amadeus, As You Like It (˚premieres at the Humana Festival of New American Plays); Contemporary American Theater Festival: The Overwhelming, Pig Farm; Totem Pole Playhouse: Over 80 productions through 14 * Member of Actors’ Equity Association summer stock seasons. Film/TV—Route 30, Route 30 Too!, Next Food Network Star. Proud Actors Equity and ASCAP Member.
Stephanie Klapper—Casting Director.
Center Stage: 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—A Christmas Story, The Musical; Dividing the Estate; Bells Are Ringing; It Ain’t Nothin’ But the Blues. Off Broadway—Emotional Creature (Linney Theatre at the Signature); Daisy Foote’s
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 It's a Wonderful Life: A Live Radio Play: Sun, Dec 14. Audio Description at both 2 pm and 7:30 pm. Open Captioning at 7:30 pm. †
It's a Wonderful Life: A Live Radio Play | 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 served as professor of Arts Management at Georgetown University. 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.
mtb.com Š2014 M&T Bank. Member FDIC. It's a Wonderful Life: A Live Radio Play | 13
14
Center Stage—It’s a Wonderful Life
Proud to be Local. We love it here. After all, Thomas Rowe Price, Jr., founded his investment firm in Baltimore in 1937. And here we’ve remained, even as we’ve grown to become a global enterprise. Wherever we work and live, we serve our communities through civic contributions and the energetic volunteer efforts of our associates. We’re proud to be a long-time supporter of this remarkable cultural institution, which enriches our city’s quality of life.
troweprice.com
IS NOW ACCEPTING DONATIONS!
By donating an item to the Baltimore Sun Online Auction for Center Stage, you help ensure the future of Center Stage programs and initiatives. For more information contact Sydney Wilner at swilner@centerstage.org or 410.986.4025, or visit centerstage.org/auction. We hope to work with you during this year’s auction! 16
BRING A GROUP AND SAVE! Groups of 10 or more receive:
Great Savings Priority Seating Personalized Service Flexible Payment Options Special Bonus Tickets (Groups 25+)
For details, or to book, contact Tia Abner at 410.986.4008 or groups@centerstage.org.
It's a Wonderful Life: A Live Radio Play | 17
SUPPORTER SPOTLIGHT The Classic Catering People
Be a Part of the Magic Did you know that everything you see on stage is created right here at Center Stage? The smallest details, down to the perfect vintage microphones, are thoughtfully curated by Center Stage’s talented artists. This holiday season, please consider making a tax-deductible donation to Center Stage in support of our artisans and the magic they create on stage.
Here’s how: Online: Visit centerstage.org/donate Phone: Call Katelyn White at 410.986.4026 Mail: Center Stage Attn: Development Office 700 North Calvert Street Baltimore, MD 21202
Thank you!
18
Opening Night Receptions, Backstage @ Center Stage, the Annual Benefit Gala, the annual Auction—these are just a
few of the events that happen every year at Center Stage, and are made possible thanks to the generous in-kind support of The Classic Catering People. A member of the community for over 40 years, it’s hard to imagine a company more entwined with Baltimore than Classic. Classic’s roots are in Baltimore, and the company is deeply connected to its residents. From Center Stage to numerous cultural and educational institutions, from the Baltimore Ravens at the Under Armour Performance Center to holiday parties for children at local hospitals, the Classic team has helped transform events into memories for all those they serve. For Classic, giving back to the community is a reflection of commitment to the people that make what they do possible. As not only a caterer, but a community builder, Classic—a family business—shares our commitment to strengthening our shared community. Under the leadership of the late Eddie Dopkin, as well as his sister Harriet Dopkin, and Larry Frank, Classic has always been about more than just food. Classic believes that the only thing better than bringing people together for a good meal is to bring them together for a good cause. Team members volunteer at many local nonprofits, chefs provide cooking classes to kids, and during every season at Center Stage Classic helps make possible one of our most popular community programs: Kickin’ it with the ‘Rents. Conceived as a way to encourage parents and children to attend theater together, these special performances bring families and Center Stage artists together before a production, allowing them to ask questions and engage with art in a deeper, more meaningful way. Every season, Classic provides meals for these intimate occasions, helping us inspire the next generation of theater-goers and theater-makers. As one parent noted, “I am truly grateful that programs like this exist. The added experience of dinner and meeting the cast really was enjoyable. What a great way to introduce kids to theater.” As a longtime supporter of Center Stage, it is clear The Classic Catering People understand how the arts can nourish a community. Thank you Classic for making our events so special and ensuring our guests leave with the best possible memories.
BOARD OF TRUSTEES 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 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 * Trustee Emeriti + Deceased
SU PPO RT
The Annual Fund at Center Stage
The following list includes gifts of $250 or more made to the Center Stage Annual Fund between April 16, 2013 and October 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
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. 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 Ms. Barbara Voss and Charles E. Noell, III
PRESIDENTS’ CIRCLE ($50,000+)
The Annie E. Casey Foundation
The Goldsmith Family Foundation The Laverna Hahn Charitable Trust Francie and John Keenan Townsend and Bob Kent Kenneth C. and Elizabeth M. Lundeen The Andrew W. Mellon Foundation Joseph & Harvey Meyerhoff Family Charitable Funds
Mr. J. William Murray George Roche Mr. and Mrs. George M. Sherman
The Charlesmead Foundation
Mr. Louis B. Thalheimer and
Edgerton Foundation New American Play Awards
Department of VSA and Accessibility
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 Kathleen Hyle JI Foundation
Ms. Juliet A. Eurich
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
Mr. and Mrs. Walter B. Doggett, III
Marilyn Meyerhoff
Brian and Denise Eakes
Terry H. Morgenthaler and Patrick Kerins
Dick and Maria Gamper Carole and Neil Goldberg
ARTISTS’ CIRCLE
Fredye and Adam Gross
($10,000-$24,999)
Martha Head
The William L. and Victorine Q. Adams Foundation and The Rodgers Family Fund
Murray Kappelman
Peter and Millicent Bain 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
Kwame and Michelle Kwei-Armah The John J. Leidy Foundation, Inc. The Macht Philanthropic Fund Robert E. Meyerhoff and Rheda Becker Stephen Richard and Mame Hunt The Jim & Patty Rouse
Charitable Foundation
Charles and Leslie Schwabe
Daniel P. Gahagan
Mr. and Mrs. J.W. Thompson Webb
John Gerdy and E. Follin Smith
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. and Mrs. Michael Falcone
The Harry L. Gladding Foundation/ Winnie and Neal Borden
Goldseker Foundation/ Ana Goldseker Robert and Cheryl Guth
The Hecht-Levi Foundation, Inc.
David and Elizabeth JH Hurwitz
Steve and Susan Immelt
Jonna and Fred Lazarus
Mr. and Mrs. Earl & Darielle Linehan/ Linehan Family Foundation 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
Monica and Arnold Sagner
Mr. and Mrs. Todd Schubert
Scott and Mimi Somerville Scot T. Spencer
Mr. Gilbert H. Stewart and Ms. Joyce L. Ulrich Mr. Michael Styer
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 It's a Wonderful Life: A Live Radio Play | 19
SU PPO RT DESIGNERS
($1,000-$2,499)
Mr. and Mrs. John and Beverly Michel
Anonymous
Tom and Cindi Monahan
Denise and Philip Andrews
Jeannie Murphy
Mayer and Will Baker, in honor of Terry Morgenthaler
Mr. and Mrs. Lee Ogburn
Ms. Taunya Banks Mr. and Mrs. Marc Blum John and Carolyn Boitnott Dr. and Mrs. Donald D. Brown
Linda Hambleton Panitz Dave and Chris Powell Jill and Darren Pratt
Sandra and Thomas Brushart
The James and Gail Riepe Family Foundation
Meredith and Joseph Callanan
Nathan and Michelle Robertson
The Campbell Foundation, Inc.
The Rollins-Luetkemeyer Foundation
Caplan Family Foundation, Inc. Rose Carpenter John Chester Ann K. Clapp Combined Federal Campaign Constantinides Family Foundation Mr. Thomas Crusse and Mr. David Imre, in honor of Stephanie and Ash Carter The Richard and Rosalee C. Davison Foundation
Gail B. Schulhoff 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 Mr. and Mrs. Scott Smith
Gene DeJackome and Kim Gingras
Judith R. and Turner B. Smith
Albert F. DeLoskey and Lawrie Deering
Ms. Kimberly Stokes
Mr. Jed Dietz and Dr. Julia McMillan
Susan and Brian Sullam
The Epp Family Dennis Flynn 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 Sybill Hebb Sandra and Thomas Hess Drs. Dahlia Hirsch and Barry Wohl Len and Betsy Homer The A. C. and Penney Hubbard Foundation Ms. Harriet F. Iglehart Joseph J. Jaffa Max Jordan Mr. and Mrs. Mark Joseph, in honor of Lynn Deering Ms. Shirley Kaufman Francine and Allan Krumholz
Dr. and Mrs. John Strahan Dr. Edgar and Mrs. Betty Sweren, in honor of Cindi Monahan
Mr. and Mrs. Richard Radmer Mrs. Peggy L. Rice
B.J. and Bill Cowie
Jane and Stanley Rodbell and James R. Shapiro
Gwen Davidson
The Honorable and Mrs. E. Stephen Derby Lynne Durbin and John-Francis Mergen Patricia Yevics-Eisenberg and Stewart Eisenberg The Eliasberg Family Foundation
Merle and David Fishman Ms. Nancy Freyman Dr. Joseph Gall and Dr. Diane Dwyer Megan M. Gillick Terry L. Gladden Mary and Richard Gorman Stuart and Linda Grossman Terry Halle and Wendy McAllister Vicki and Jim Handa Rebecca Henry and Harry Gruner Mrs. Heidi Hoffman James and Rosemary Hormuth Dr. and Mrs. J. Woodford Howard
Nanny and Jack Warren, in honor of Lynn Deering
Mr. and Mrs. Theodore Imes
Sydney and Ron Wilner
Ralph and Claire Hruban Mr. and Mrs. James and Julia Johnstone
Ms. Vicky Favor
Kevin and Judy Rossiter Mrs. Bette Rothman Kurt and Patricia Schmoke Eugene and Alice Schreiber Philanthropic Fund The Sinksy-Kresser-Racusin Memorial Foundation Susan Somerville-Hawes, in honor of The Encounter Program Ms. Jill Stempler Mr. and Mrs. Barbara and Paul Timm-Brock David and Sharon Tufaro United Way of Central Maryland Campaign Mr. and Mrs. George and Beth Van Dyke Mr. John Wessner Ms. Camille Wheeler and Mr. William Marshall Mr. John Wessner
Dr. Richard H. Worsham
ADVOCATES
COMPANY
Roland King and Judith Phair King
Anonymous Ms. Diane Abeloff, in memory of Martin Abeloff Mr. and Mrs. Delbert L. Adams Mrs. Alexander Armstrong
Stewart and Carol Koehler Joseph M. and Judy K. Langmead Dr. and Mrs. Ronald Lesser
Bob and Susie Fetter Genine and Josh Fidler, in honor of Ellen and Ed Bernard Dr. and Mrs. Robert P. Fleishman 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 Barbara and Howard Gradet Thomas and Barbara Guarnieri Mr. and Mrs. James Hackman Christine B. Hall Ada Hamosh
Sue Hess
Mr. and Mrs. Peter Kaplan
Donald Knox and Mary Towery, in memory of Carolyn Knox and Gene Towery
Faith and Edgar Feingold, in memory of Sally W. Feingold
Dr. and Mrs. Frank R. Witter
Mr. Calman Zamoiski, Jr., in honor of Terry Morgenthaler ($500-$999)
Ms. Rhea Feikin, in memory of Colgate Salsbury
Aaron Heinsman and Nick Simko
Kirk and Debbie Joy Mr. and Mrs. Padraic Kennedy
Deborah and Philip English
Mr. and Mrs. Barry and Linda Williams
Mr. Norman Youskauskas
Dr. Laurie S. Zabin
Ed and Ina Dreiband
Renee Samuels Rosenfeld and Jordan Rosenfeld
Sheila and Steve Sachs
Andrea and Samuel Fine
Jay and Bette Demarest Stacie C. Dunlap
Mr. Donald M. and Mrs. Margaret W. Engvall Faith and Edgar Feingold, in memory of Sally W. Feingold
David and Sara Cooke
Dorothy L. and Henry A. Rosenberg, Jr.
Mr. Al Russell
Robert and Patricia Tarola
Ann Wolfe and Dick Mead
Mr. and Mrs. Harold Rojas
Buddy and Sue Emerson, in appreciation of Ken and Elizabeth Lundeen
($250-$499)
Anonymous Rita and Walter Abel Ms. Lisa Abrams Bradley and Lindsay Alger The Alsop Family Foundation Mr. Alan M. Arrowsmith, II.
Betsy and George Hess Mr. Donald H. Hooker, Jr. Susan Horn Ms. Sarah Issacs James and Hillary Aidus Jacobs Ms. Monica James A.H. Janoski, M.D., in honor of Jane Stewart Janoski Ann H. Kahan Richard and Judith Katz Dr. and Mrs. Myron Kellner
Mr. and Mrs. Robert and Dorothy Bair
Marilyn Leuthold
Mr. Wayne Arvin
Stephen and Laurie Kelly, in memory of Rodney Stieff
Mr. and Mrs. Raymond Bank Family Fund of the Baltimore Community Foundation
Kenneth and Christine Lobo
Mrs. Darlene E. Austin
Ms. Kim-Khoi Khue
The Ethel M. Looram Foundation, Inc.
Ayd Transport
David and Ann Koch
Mike Baker
Thomas and Lara Kopf
Charles and Patti Baum Jaye and Dr. Ted Bayless Fund of the Baltimore Community Foundation Steve and Teri Bennett
Dr. and Mrs. Thomas J. Lynch The Dr. Frank C. Marino Foundation, Inc. Maryland Charity Campaign Mary L. McGeady
H.R. LaBar Family Foundation Fund of The Greater Cincinnati Foundation
Harriet and Bruce Blum
Jeston I. Miller
Jan Boyce
The Honorable Diana and Fred Motz, in memory of Nancy Roche
The Herschel and Judith Langenthal Philanthropic Fund
Cindy Candelori
Andie Laporte, in honor of Philip and Lynn Rauch
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Dr. Bodil Ottesen
Richard and Lynda Davis James DeGraffenreidt and Mychelle Farmer
Jason and Mind Brandt Ms. Sue Lin Chong Mr. and Mrs. Carl F. Christ
Dr. and Mrs. George Lentz, Jr.
William and Bonnie Clarke
Robert and Susan Mathias
Ms. Clare Cochran
Mr. and Mrs. Steven and Karen McCurdy
Ms. Barbara Crain and Mr. Michael Borowitz
Joseph and Jane Meyer
Robert and Janice Davis
Melissa A. Behm
Larry Koppelman and Liz Ritter
S. Woods and Cathy Bennett
Gina Kotowski
Mr. Jason Bennett
Mr. Barry Kropf
Bob and Maureen Black
Edward Kuhl
Rachel and Steven Bloom, in honor of Beth Falcone
Ms. Dorothy Kuhlman
Ms. Deborah W. Callard
Truby LaGarde and Paul Lambertson
Ms. Darlene Campbell
Mr. and Mrs. William Larson Mr. Raymond Lenhard, Jr.
Roger F. Nordquist and Joyce Ward
The Jim and Anne Cantler Memorial Fund of the Baltimore Community Foundation
Ms. Jo-Ann Mayer Orlinsky
Mr. and Mrs. Louis J. Carr
Pitt O’Neill Family
Mr. and Mrs. David Carter
Michael and Phyllis Panopoulos
Alice P. Clark
Leslie and Gary Plotnick
Brenda M. Cley, M.D.
Nancy Magnuson and Jay Harrell, in honor of Betty and Edgar Sweren
Robert E. and Anne L. Prince
Mr. and Mrs. Stanton Collins
Frank and Joyce Margolis
George and Beth Murnaghan Ms. Jennifer Nelson
Marty Lidston and Jill Leukhardt Dr. and Mrs. John Lion Scott and Ellen Lutrey
Mr. Elvis Marks
Susan Treff
Jeanne E. Marsh
Laura and Neil Tucker, in honor of Beth Falcone
The Fractured Prune
Sarah Valente
Gertrude’s Restaurant
Mr. and Mrs. David Warshawsky
Gianni’s Italian Bistro
Mary and Barry Menne Mr. and Mrs. Timothy E. Meredith Tracy Miller and Paul Arnest, in honor of Stephanie Miller Faith and Ted Millspaugh James W. and Shirley A. Moore Dr. and Mrs. C.L. Moravec Stephen and Terry Needel Mildred and Timothy Nohe Irene E. Norton 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 Fred and Grazina Pearson 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 Dr. and Mrs. Jeffrey Posner Cyndy Renoff and George Taler Dr. Michael Repka and Dr. Mary Anne Facciolo John and Dotty Reynolds Bob and Phoebe Reynolds Natasha and Keenan Rice Alison and Arnold Richman Ida and Jack Roadhouse Mr. Paul Roeger, in memory of Gloria Roeger
Boe and Patti Wells Ms. Anita Wilmore Deborah King-Young and Daniel Young
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
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.
Mr. and Mrs. Louis Rusk
The Afro American
Steven and Lee Sachs
Akbar Restaurant
Dr. and Mrs. Edward M.M. Sills
Atwater’s
Ms. Pamela Skelding Dr. Donald Slowinski Reverend Sharon Smith Solomon and Elaine Snyder
Au Bon Pain The Baltimore Sun Berger’s Cookies Blimpie The Brewer’s Art Cakes by Pamela G Casa di Pasta
Mrs. Clare H. Stewart, in honor of Bill Geenen
The Classic Catering People
Brenda and Dan Stone
The Charles Theater
Renee Straber, in memory of Joan Marilyn Kappelman
Chipotle
Mr. Joseph Terino, in memory of Joan Marilyn Kappelman Fred and Cindy Thompson Mr. Martin Toner, in memory of Joan Marilyn Kappelman
PRESIDENTS’ CIRCLE
American Trading & Production Corporation
Hotel Monaco Iggie’s The Jewish Times Mamott
T. Rowe Price Foundation, Inc. ARTISTS’ CIRCLE
Mars Super Markets Maryland Office Interiors
Ernst & Young
New System Bakery
FTI Consulting, Inc.
Oriole’s Pizza and Sub Pizza Boli’s
Howard Bank
Pizza Hut
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
Cassidy Turley
Environmental Reclamation Company
Mount Vernon Stable and Saloon
Sabatino’s
The Baltimore Life Companies
Cho Benn Holback + Associates
Mitchell Kurtz Architect, PC.
Republic National Distributing Company
Ayers Saint Gross, Incorporated
Chapel Valley Landscape Company
Maryland Public Television
PromoWorks
PLAYWRIGHTS’ CIRCLE Anonymous
HoneyBaked Ham Co.
Planit Agency
Carroll County Government
THE 2014/15 SEASON IS MADE POSSIBLE BY
The Helmand
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
CORPORATIONS
GT Pizza
Michele’s Granola
GIFTS IN-KIND
Mr. and Mrs. L. Siems
Greg’s Bagels
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.
Mr. Wilfred Roesler
Ellen and Dino Sangiamo
Fisherman’s Friend/ Pez Candy, Inc.
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.
Becton Dickinson & Company
Funk & Bolton, P.A.
The Annie E. Casey Foundation
Schoenfeld Insurance Associates
Constellation Energy The Deering Family Foundation
DESIGNERS
E-Bay Foundation
Chesapeake Plywood, LLC
The City Paper
Illinois Tool Works Foundation
Stevenson University
Dooby's
Kraft Foods
Eddie’s on Saint Paul
MASCO Corporation
Edible Arrangements
McCormick Foundation
Eggspectations Express Vending
It's a Wonderful Life: A Live Radio Play | 21
22
Working in our community helps our community work
better.
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together
Smart energy. It’s the belief that when we work in our community, our community works better. Through charitable contributions, outreach and volunteer projects focused on
together
education, arts and culture, the environment and community development—BGE and its
MAKING ENERGY SMARTER
more than 3,400 employees work together with our customers to help make central Maryland a better place to live and work. Now that’s smart energy. To learn more, visit BGE.COM/COMMUNITY.
THE POWER TO DO MORE
together It's a Wonderful Life: A Live Radio Play | 23
“Attention is paid to every last detail...” — The Baltimore Sun
Show us your Center Stage ticket to get 10% off each meal! Just around the corner at Charles and Read.
Miles & Stockbridge applauds Center Stage
Authorized by John b. Frisch, chAirmAn And President
and its enchanting production of
24
It’s a Wonderful Life: A Live Radio Play. We wish you and yours a magical holiday season.
milesstockbridge.com
It’s a Wonderful Life, but sometimes it can get tough—
especially for the one in five people living with a mental illness
or substance use disorder.
When you need help or information, contact the Mental Health Association of Maryland to: • learn more about mental health and mental illness • take a mental health screening • find community resources • access help navigating health insurance problems • sign up for a Mental Health First Aid course
Healthy Minds Healthy Communities Mental Health Association of Maryland 443.901.1550
www.mhamd.org
CELEBRATING 100 YEARS OF ADVOCACY IN 2015 It's a Wonderful Life: A Live Radio Play | 25
PH OTOS
Center Stage Celebrations
Guests celebrate at Opening Night of Next to Normal (clockwise from top left): Shannon Graham and Tiana Bias; Matthew Rodin and Kally Duling; Justin Scott Brown and Cassandra Miller; Paul Wissman, Katie Scarlett, and Andrew Woods; (back): Michael Winther, Kally Duling, Darren Cohen, Ariela Morgenstern, Matt Lutz, Justin Scott Brown, Matthew Rodin, and Jessica Hartman (front): David Schweizer, Kwame Kwei-Armah, and Ryan Haase; Jennifer Stearns, David Gleeson, and David Schweizer; Teresa Eyring and Kwame Kwei-Armah. Photos by Tyrone Eaton.
Major Donors Reception: Kwame Kwei-Armah and Jacqueline Caldwell; Julia Keller, Jacqueline and Robert Smelkinson; Terry Morgenthaler and Brenda Jews.
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PREV IEW
UP NEXT 2014/15 SEASON
“Crackles with both the charisma and humanity of these iconic figures.”
A SEASON OF
“Engrossing.”
–Los Angeles Times
–The Hollywood Reporter
Choral
CLASSICS Christmas with Choral Arts
Tuesday, December 2, 2014 at 7:30 pm
2 013
The Baltimore Basilica
Sa m Coo k e. Jim B row n . M a lco lm X . M u h a m m a d A l i.
Los Angeles Drama Critics Circle AWARD
ONE NIGHT in MIAMI… By Kemp Powers
Jan 14–Feb 8
On February 25, 1964 Cassius Clay wins the world heavyweight boxing title, and instead of hitting the town, Clay chooses to celebrate in a Miami hotel room with his three close friends—activist Malcolm X, singer Sam Cooke, and football star Jim Brown. This fictional account of a real night imagines what might have happened in that tiny hotel room.
This annual festive holiday program features Tom Hall conducting the Chorus and Orchestra.
Sing-Along Messiah
Friday, December 19, 2014 at 7:30 pm Kraushaar Auditorium
Join in singing the choruses of Handel’s Messiah, or just enjoy the surround-sound!
Christmas for Kids
Saturday, December 20, 2014 at 11 am Kraushaar Auditorium
Holiday fun for the entire family, featuring Pepito the Clown and a visit from Santa!
Quest for Peace Sunday, April 26, 2015 at 3 pm Kraushaar Auditorium
Tom Hall leads the full chorus and orchestra in poignant settings of Dona nobis pacem by Ralph Vaughn Williams and Pateris Vasks, and Arvo Pärt’s beautiful meditation, Da pacem Domine.
Tom Hall, Music Director
410-523-7070 | BCAsings.org Baltimore Choral Arts is also grateful for the support of The William G. Baker, Jr. Memorial Fund, creator of the Baker Artist Awards, www.bakerartistawards.org.
It's a Wonderful Life: A Live Radio Play | 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 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 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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The Kathleen Hyle Wardrobe Intern–Mika Eubanks
Development
Director–Julia Keller Annual Fund Manager–Katelyn White Grants Manager–Debbie Joy Development Associate–Christopher Lewis 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
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
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
CONTACT INFORMATION
Box Office Phone 410.332.0033 Box Office Fax 410.727.2522 Administration 410.986.4000 www.centerstage.org info@centerstage.org
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–Captain Kate Murphy, Laura Smith Production Assistant–Lindsay Eberly Stage Management Interns–Marian Jackson, Kayla Whisman
Stage Operations
Stage Carpenter–Eric L. Burton Wardrobe Supervisor–Linda Cavell The following individuals and organizations contributed to this production of
It’s a Wonderful Life: A Live Radio Play
Assistant Lighting Designer– Benjamin Fichthorn Casting Assistants–Anna Ciamporcero, Carleen McCarthy Casting Associate–Lauren O'Connell Carpenters– Michael Cager, R. Castrence, Connie Frost Chong, Mark Hawkinson Electricians– Lesley Boeckman, Alison Burris, Jake Epp, Aaron Haag, Erin Teachman Wigs– Linda Cavell
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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