As You Like It Program

15/16 SEASON Jane Austen’s

PRIDE AND PREJUDICE THE SECRET GARDEN X’S AND O’S AS YOU LIKE IT DETROIT ’67

AS YOU LIKE IT

By William Shakespeare Directed by Wendy C. Goldberg

Jan 15–Feb 14

An Introduction to the World of the Play As You Like It is a love story, and a folk story, and a celebration of country life. At its heart, it’s the story of Rosalind and her cousin Celia and the love they find in the Forest of Arden.

Act I Celia’s father Duke Frederick has banished his brother, Rosalind’s father Duke Senior. A young man named Orlando is also forced to leave the court after a match with the Duke’s wrestler Charles and a quarrel with his own brother, Oliver; but not before Orlando and Rosalind meet and fall in love at first sight.

Rosalind was initially allowed to stay at court because of her deep friendship with her cousin Celia; but when she is banished as well, Celia accompanies her into the woods. They bring along their trusty Fool Touchstone and some disguises: Celia becomes a poor woman named “Aliena,” and Rosalind a man named “Ganymede.” Once in the forest, “Ganymede” and “Aliena” meet shepherds Corin and Silvius and ask for aid.

Meanwhile, the exiled Duke Senior is living elsewhere in the forest with a motley band of followers, including the melancholy Jaques and singer Amiens. Orlando and his servant Adam find the Duke and join his camp.

Act II Orlando, pining for Rosalind, scribbles love poems and posts them on trees throughout the forest, where Rosalind promptly discovers them. Immediately after, still disguised as Ganymede, she runs into Orlando and offers to cure him of his lovesickness.

She prescribes that Orlando try wooing him/her as Rosalind.

Convinced he is speaking with a young man and up for the challenge, Orlando agrees.

Further complicating events, Oliver arrives in the forest in search of Orlando. Touchstone, meanwhile, is smitten with a local named Audrey, while Silvius pines for the sheperdess Phebe. Phebe harshly scorns Silvius’ advances only to fall in love with “Ganymede.” The many tangled loves, both requited and unrequited, are left for Rosalind to resolve. Luckily, she’s just the man for the job.

The 2015/16 Season is dedicated to the memory of Peter Culman, Center Stage’s managing director from 1966 to 2000, a poet, a man of faith, a Chinese linguist, a devoted husband and father, an omnivorous reader, a world traveler, a professor of homiletics, a mentor, a friend, and a true leader.

Cast

TABLE OF CONTENTS

AS YOU LIKE IT

By William Shakespeare Adapted by Gavin Witt

Jan 15–Feb 14, 2016

2 Setting

3 Fresh at 400: Focus on Design

6

Do you not know I am a Woman?

8

Bios: Cast

9

Audience Services

11 Bios: The Artistic Team

13 Bios: Staff

18 Supporter Spotlight

25 Preview: Up Next

26 Photos

28 Staff

CAST

(in alphabetical order)

Charlotte Booker*

Touchstone

Julia Brandeberry

Le Beau/Audrey

Julia Coffey*

Liz Daingerfield

Charles/Silvius

Margaret Daly*

Adam/Duke Senior

Celeste Den*

Duke Frederick/Corin

Tracey Farrar

Amiens/Sir Oliver Martext

Sofia Jean Gomez*

Mattie Hawkinson*

Angela Reed*

Jaques

Jenna Rossman

Phebe

Tia Shearer*

Oliver

Rosalind

Orlando Celia

ENSEMBLE

Rose Hahn, Sydney Faith Pope, Allie Press, Yakima Rich, Kathleen Whitby, Mani Yangilmau As You Like It is sponsored by:

Laura Smith*

Kayla Whisman

Production Assistant

Victoria Solorio

Stage Management Intern

Stage Manager

*Member of Actors’ Equity Association

THE ARTISTIC TEAM Season 2015/16 Sponsor:

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

Lead Student Matinee Sponsor:

Media Sponsor:

Wendy C. Goldberg

Gavin Witt

Arnulfo Maldonado

Anne Kennedy

Josh Epstein

Lighting Designer

Matt Hubbs

Sound Designer

Karma Camp

Choreographer

Cliff Williams III

Heather Christian

Music Director

Elissa Goetschius

Assistant Director

Pat McCorkle

Director Adapter/Production Dramaturg Scenic Designer Costume Designer

Fight Choreographer

Casting Director

There will be a 15-minute intermission.

PLEASE TURN OFF ALL ELECTRONIC DEVICES. As You Like It | 1

setting

TIME & PLACE

TIME:

Beginning with winter and rough weather.

Ending in the springtime, the only pretty ring time.

PLACE:

Starting at the court of Duke Frederick, where most friendship is feigning; moving under the greenwood tree, deep in the Forest of Arden.

2

Meet

THE DESIGNERS

FRESH AT 400: FOCUS ON DESIGN

Preparing for this production of As You Like It, production dramaturg Gavin Witt sat down with costume designer Anne Kennedy and scenic designer Arnulfo Maldonado to talk about the world of the play and their approach to it. Here, after all, is a 400-yearold script with thousands of productions in its history, taking place in the court and countryside of an imaginary land, which they now have to help bring to life on stage.

How did they even begin envisioning that world? (Continued on next page)

As You Like It | 3

“I am ambitious for a motley coat”

Anne:

For me, Wendy [Goldberg, the director] set the tone, in a way that allowed me to spring off her initial impulses and run with them. She sent me some images from Prada runway fashion shows as inspiration for the Court scenes, and from those I gleaned a few initial parameters: it’s a modern world; it’s a monied world; and it begins in a very angular world (in contrast to softer lines and curves for the forest later).

Research is my favorite part, always; I could go for days, hunting and gathering and living in the creative process. But to narrow it down, I started with some landmarks, looking at designer clothes from Tom Ford, Armani, a bit of Vivienne Westwood, some Versace, Prada of course.... Then I moved into thinking about individual characters.

For the girls, Celia and Rosalind—I knew, from the text and from the idea of the spectrum and fluidity of gender performance we’re exploring in this production, that I wanted Celia ultrafeminine, pretty and playful. That said to me, “look to the Fifties and Sixties.” So we started with an iconic Balenciaga dress

4

from the Sixties, and we’re playing with that; I love that it does one thing in front and something else in back, and then it’s filled with feathers. Glamorous, not at all practical, so fun and frivolous.

And for Rosalind, I started with another iconic piece, a Cheong Sam dress I think maybe I saw an Olsen twin wearing.

What it said to me was: still elegant, still “feminine” in a different way, but a bit more sober, more modest, more restrained.

It even has a bit of an Edwardian touch, with a hint of bustle. I wanted to help distinguish the differences between these two women, who they are and where they start out.

That’s all for the Court, of course. Once we go to Arden, to the forest, it changes. Less angular, less austere, less artificial and more natural. And because we’re making up this whole world, one way I can play with that is to draw on different time periods. So we’ve got echoes of different counter-cultures from the whole 20th Century to today. I looked at tons and tons of photos.

Working with the costume shop here, we assembled a “boutique” of options, where we could take each actor and “shop” for their characters. I met the actresses, and together we started sketching in three dimensions, pulling pieces and putting them together on bodies and dress forms.

But I always want to try to keep them in a realm of reality—making them clothes, not costumes.

In keeping with the particular approach of this production, having a company of women playing all the roles, the images we started with were also quite androgynous.

Or rather, some were androgynous—not distinctly male or female—while others were a fusion of each. This gave me a great starting point, and actually that’s pretty much where I ended up going—that idea of androgyny as the range or fusion of possible appearances, how gender and clothing can be fluid. We kept asking, what does it mean to dress “masculine,” or “feminine,” or androgynous? And sometimes that leans one or another way, sometimes it’s a hybrid, and sometimes it’s a crazy mashup.

Arnulfo:

For anything as well-known as this play, I purposely avoid looking at other productions. Because what we were really interested in was creating our own version, our own take. But that’s how I usually work: picking out the reference points, anything specific to the text, but also following a more visceral, emotional reaction.

When I design, I’m interested in what I call temperature. I never sketch; I work mainly in architecture, exploring textures and surfaces and volume and seeing what will work, what feels right for the world. I was looking more to establish an emotional sense of each place, not necessarily a specific location.

For Arden, I understood that better to begin with; it wanted a sense of dirt and grass and Nature. Reacting to what the opposite of that would be, for the Court, guided me. I looked at a lot of reflective surfaces—shiny wallpaper, Plexiglass, mirrors—something where you couldn’t, say, lean against the wall because then you’d have to polish it.

But also self-conscious, reflecting back at

“Now am I in Arden” themselves, and unwelcoming. You can’t go near it because it’s precious, and pushes you away. Not an inviting world.

Creating a Court that felt very oppressive, cold, and sterile juxtaposed with the forest of Arden—the antithesis of that in every way—meant looking at architecture and surfaces that felt like those things. Images of a Louis Kahn chapel from Spain really helped—a modern but monumental space.

And the repetition of that stripe is kind of revolting, even oppressive. Kind of playful, but kind of repellent. The Kahn felt heavy, like it carried an importance. After all, these exiles in Arden are retreating away from the Court, so it was important to me to make that feel as unwelcoming as possible. It should feel almost like sitting in a mausoleum, like you’re afraid to sit on the furniture. I wanted us to experience what the characters experience: a sense of relief and release, of escape, when they get away to Arden.

In contrast, Arden becomes a stripping away of all that artifice, and we’re basically dealing with Nature. We never wanted to

put a forest on stage, but wanted to get a sense of expansive openness. Our Arden may have a fair number of trees, but I still see it as a fairly minimal approach, in that there’s room for it to breathe—especially with the amount of layering that we’ve done. As we go with them into the forest, it’s very much about exhaling, about having that space to breathe— in finding that, I hope we’ll find the playfulness in Arden, and in the play.

And I love the choice to show that transition, the theatricality of that transformation. Literally seeing the actors, the characters, getting rid of one world and choosing another. We get a glimpse of green early, but that transformation should really provide a sense of surprise, of wondering “how big can this get?” We’re not looking to mask any of that, we’re embracing it. We’re not trying to pass off these women pretending to be men; there’s a fluidity to that, and the space should help do the same thing.

As You Like It | 5

Do you not know I am a woman? T

he Elizabethan era brought England unprecedented decades of peace and prosperity. And yet, for nearly all of those decades, England had a woman problem.

By Gavin Witt

You would think they’d have gotten over it.

When Shakespeare’s As You Like It premiered sometime around 1600, a woman had ruled the English for nearly 50 years. First to follow mighty Henry VIII (after the death of his sickly son Edward) was Lady Jane Grey: hastily crowned, hastily deposed and beheaded, and as hastily forgotten.

Then came the sanguinary reign of Mary Tudor. Finally, her half-sister, Elizabeth, took the throne.

During her long, epochal reign, Elizabeth was celebrated as the Virgin Queen and hailed as Gloriana, inspiring fawning epic poetry like Edmund Spenser’s The Faerie Queen and Sir Philip Sydney’s Arcadia.

But she still had to tolerate Parliament, her courtiers, and parades of foreign ambassadors pressing her to find a male consort. She herself fueled the duality: when she addressed her armies massed at Tilbury to repel a potential Spanish invasion, the queen declaimed, “I know I have the body of a weak, feeble woman; but I have the heart and stomach of a king.”

“Dost thou think, though I am caparisoned like a man, I have a doublet and hose in my disposition?”

Rosalind, As You Like It 6

Before the crown was even warm on the young queen’s brow, the tumult had begun; the very year of her accession, the English popular press exploded with argument and counter-argument about women’s rule, behavior, attire, cosmetics, speech, and perceived depravity. Beginning in 1558 with the metaphorical blast of The Trumpet Against the Monstrous Regiment of Women

by Puritan exile John Knox, Albion’s men thundered forth from press and from pulpit their dismay at what they viewed as unnatural behavior.

Knox and his ilk lambasted the “abominable empire of wicked women,” especially those who took on roles reserved for men. But they aimed their invective not

solely at “mannish women,” whom they deplored; oceans of ink were similarly spilled condemning “womanish men.” And while topsy-turvy behavior was bad enough, most egregious was cross-dressing or any confusion in attire. In 1574, in response to the brewing controversy, the government issued new Statutes of Apparel legislating clothing and appearance. Increasingly, satires against women’s clothing took on a new ferocity, accusing them of dressing like and so imitating men. It was a controversy that alternately simmered then boiled over for the next 60 years—sometimes in print, sometimes in law, and sometimes too on stage.

With the shift from Queen Elizabeth to King James in 1603, the gender war heated up.

By 1620, King James decreed that his clergy preach, or rather “inveigh vehemently and bitterly” in sermons, “against the insolencie of our women, and theyre wearing of brode brimd hats, pointed dublets, theyre haire cut short or shorne, and some of them stilettoes or poinards, and such other trinckets of like moment.” The world, the king and his counselors feared, “is very far out of order.”

Echoes of that anxiety resonate in the pages of two popular pamphlets published in the same year. First came Hic Mulier, subtitled the Man-Woman and purporting “to cure the Coltish Disease...in the Masculine Feminines of our Times.” Its title is a Latin pun on the controversy: the male article (hic) applied to the word for woman (mulier). Its author insists, “Since the days of Adam women were never so Masculine: Masculine in their genders and whole generations.... Masculine in [clothes] from head to the foot; Masculine in Mood,

from bold speech to impudent action; for without redress they were, are, and will be still most Masculine, most mankind, and most Monstrous.”

Responding within mere weeks, the answering pamphlet reversed the accusation; Haec Vir, or the Womanish Man tweaked both the Latin pun and the indictment itself. Its author defends women’s freedom, while accusing men of similarly confusing behavior, speech, and clothing—teasing the eponymous fop as a “most tender piece of Masculine; most courageous counterfeit.” But it rests on the same binary assumption: that without clear outward show, men and women were themselves “in nothing but in name.”

it made such moments, elicited a mixture of horror and fury among contemporary critics. They saw in it a tacit license for such behavior in society at-large, and feared in it the danger they perceived in theater more generally: that the illusion of fictive truth created a very real alternate reality. For men and women to exchange dress and behavior in the pretense of theater risked that same fluidity in real life.

“What can be more barbarous,” asks one outraged pamphleteer, “than with the gloss of mumming Art to disguise the beauty of their creations?” This “deformity,” the author laments, “hath no agreement with goodness; it is all base, all barbarous.” Such women aspire not just to be “manlike” from Not limited to the presses or the pulpits, the head to foot; they are “man in body by attire, debate found its way to the playhouses as man in behavior by rude complement, man well. The cross-dressing, counter-cultural in nature,...in action...and, in brief, so much Mary Frith, aka “Moll Cutpurse,” captured man in all things that they are neither the popular imagination at the century’s men nor women. And “the devil’s bait” of turn. She herself appeared on stage at the this corrupting illusion, this “Disguise,” he Fortune Theater in a virtual stand-up act, dressed as a man (complete with dagger locates in the Playhouses. and pipe). Then playwrights Thomas Dekker All of which floated in the creative ether as and Thomas Middleton immortalized her in Shakespeare composed his tale of exiled their wildly successful The Roaring Girl. And Rosalind and Celia fleeing into Arden’s consider how many times Shakespeare had groves—the former deftly deceiving her recourse to the figure of a young woman beloved, her own father, and the other passing as a male outside of just As You Like It: Julia in Two Gentlemen of Verona, Nerissa foresters with her outward appearance and and Portia in Merchant of Venice, Viola in general deportment as the male Ganymede.

Twelfth Night, Imogen in Cymbeline, the Page Gender identity, the Elizabethans and in Taming of the Shrew, to name but a few.

Jacobeans seemed intent on recognizing with anxiety or with delight, could be no Of course, complicating all this theatrical more than a performance—a flexible, fluid, transvestism was the fact that, in each case, malleable, uncertain, highly theatrical it was actually men playing these women playing at manhood. The playhouse practice representation. And after all, as Jaques of cross-dressing, as deliciously ironic as reminds us, “All the world’s a stage.”

As You Like It | 7

bios

THE CAST

Left to Right: Cast members Margaret Daly, Julia Brandeberry; Tracey Farrar, Celeste Den at first rehearsal.

Charlotte Booker*— Touchstone.

Center Stage: debut.

Broadway—Born Yesterday (both revivals). OffBroadway—Leave Me Green; Take Me Back; Five Genocides; Bitch! (which she also wrote); Deathbed (dir. Wendy Goldberg); Psycho Beach Party. National Tour—Born Yesterday (Billie Dawn stb).

Regional—Lots of leading roles, all over, for 30-ish years. Film—Inside Llewyn Davis; Brazzaville Teenager; Love and Support.

TV—Power (recurring); Gaffigan; Boardwalk Empire; Law & Order, CI (twice); Murphy Brown; Chicago Hope; Hi, Honey, I’m Home, and many others.

Theatre Vertigo: Lion in The Streets (Christine/Sherry); Impulsive Theatre: Much Ado About Nothing (Ursula). International— International Theatre Vienna: Children of a Lesser God (Sarah). Film/TV—Leverage (TNT); Unsolved Mysteries (Fox TV); Anoosh of the Airways (Front Pocket Films).

Julia Coffey*—Rosalind.

Center Stage: debut. OffBroadway—Primary Stages: Perfect Arrangement; The Mint: London Wall (Drama Desk Nom.), The Widowing of Mrs. Holroyd (Drama League Nomination).

Regional—American Conservatory Theatre: Arcadia, Maple & Vine, Once in a Lifetime; Guthrie: Tales from Hollywood; Shakespeare Theatre DC: The Merchant of Venice, The Julia Brandeberry— Beaux Stratagem, Pericles; Chicago Le Beau/Audrey.

Shakespeare Theater: Romeo & Juliet; Center Stage: Pride and Barrington Stage; Playmakers Rep; Santa Prejudice (Mrs. Gardiner).

Regional—Everyman Theatre: Cruz Shakespeare; Cincinnati Playhouse; Blithe Spirit (Edith), The Beaux St. Louis Rep; Signature Theatre. Upcoming: Hedda Gabler at Studio Theatre.

Stratagem (The Country Girl/The Fat Lady), juliacoffey.com.

Our Town (Mrs. Soames); Shakespeare Theatre DC: Henry IV Part 1 and 2 (Lady Liz Daingerfield— Northumberland/Ensemble); Taffety Punk: Charles/Silvius.

Pericles (Dionyza), Romeo and Juliet (Paris); Center Stage: debut. New Profile Theatre: A Lesson From Aloes (Gladys); York—A Midsummer Night’s Source Theatre: Extremes (Celeste); Here Dream (Helena-NY Innovative Theatre: Stars of the Sweet Decline (Starla); Theatre Award), Twelfth Stark Raving Theatre: Pizza Man (Julie); Night (Viola), Hamlet (Ophelia), Comedy of 8

Errors (Courtezan), The Seagull (Masha), Bedtime Stories (Molly). Regional— Shakespeare Theatre of New Jersey: Shakespeare LIVE! Julius Caesar (Portia), A Midsummer Night’s Dream (Helena).

ACA—Hamlet (Hamlet), Women Beware Women (Isabella). Education—MFA: Shakespeare Theatre Company’s Academy for Classical Acting. Thrilled to be making her Center Stage debut with such an incredible company of women! lizdaingerfield.com.

Margaret Daly*— Adam/Duke Senior.

Center Stage: debut. Off Broadway/New York—The Mint: The Fatal Weakness, Katie Roche, Is Life Worth Living?; Keen Company: Alphabetical Order, Theophilus North; SoHo Playhouse: Bill W and Dr. Bob. National Tour—The Importance of Being Earnest (directed by Sir Peter Hall).

Regional—Actors Theatre of Louisville: Jen Silverman’s The Roommate (world premiere – Humana 2015); Guthrie: The Music Man, Jane Eyre, A Delicate Balance; St Louis Rep: Guess Who’s Coming to Dinner; Studio Theatre: Alan Bennett’s The Habit of Art (American premiere-Helen Hayes nomination); American Conservatory Theater; Oregon Shakespeare Festival; Berkeley Rep; Shakespeare Santa Cruz;

audience TheatreWorks; Magic Theatre; The American Shakespeare Collective; Cleveland Play House; others. Film/Television—John Wick II, Any Day Now, Manhattan Romance, House of Cards (recurring), The Blacklist, Elementary, The Following, Taxi Brooklyn, Law & Order, Criminal Intent, Boardwalk Empire.

Celeste Den*—Duke Frederick/Corin.

Center Stage: debut.

Regional—Oregon Shakespeare Festival: Water by the Spoonful (Orangutan), Two Gentlemen of Verona (Thurio); South Coast Rep: Chinglish (Qian/Li), Trudy and Max in Love (Rochelle/Christine), Death of a Salesman (Miss Forsythe), OZ2.5 (Aunt Em/ Wicked Witch); American Repertory Theatre: Wild Swans (Ting); Berkeley Rep: Chinglish (Qian/Li); Actors Theatre of Louisville: Between Two Friends (A), Island (Cleopatra); East West Players: The Joy Luck Club (Waverly); Playwrights’ Arena: Laws of Sympathy (Betty), @thespeedofJake (Sam); Boston Court: Othello (Roderigo); LA Women’s Shakespeare: Merchant of Venice (Gobbo); Center for New Performance: 11 Septembre 2001, Peach Blossom Fan, King Lear. International—Young Vic: Wild Swans (Ting); Hong Kong Arts Festival: Chinglish (Qian/Li). Film/TV—Shameless (Showtime), Castle (ABC), Criminal Minds (CBS), Larry Crowne (NBC/Universal), The Doctor (WB), Dumb American Family (Adult Swim).

Education—MFA from California Institute of the Arts and BFA from University of Florida.

Tracey Farrar—Amiens/ Sir Oliver Martext.

Center Stage: Marley (Ensemble). Regional— Adventure Theatre MTC: Stuart Little (Helen Hayes nom. Outstanding Production, Theatre for Young Audiences); Source Theatre Festival: Dontrell, Who Kissed the Sea (Sophia Jones); Single Carrot Theatre: Utopia Parkway (The Widow); Joe’s Movement Emporium: Ask Me No Questions; Run of the Mill Theatre: Lysistrata (Lampito); Arena Players: The Tie that Binds; The Smithsonian: How Old is a Hero; Baltimore Theatre Project: Mad Girl Sings the Blues. Film—Wits End (Old Academy Pictures); Re-Break (Wallingford Films). Education—BA, Theatre Arts, Morgan State University. Trust in the Lord with all your heart... He will direct your path!

SERVICES

Sofia Jean Gomez*— Orlando.

Center Stage: debut. OffBroadway—Signature Theatre Company: Angels in America: Part 1&2 (Lucille Lortel Best Ensemble); Page 73: Creature; New World Stages: Would You Still (dir.

Kathleen Turner); TerraNova Collective; Manhattan Theatre Club; New Georges; Lake Lucille. Regional—Berkeley Rep: Tartuffe, Arabian Nights (Outer Critic Circle Bay Area Best Female Lead Nominee), Argonautika; Shakespeare Theatre DC: Tartuffe, The Tempest (Best Performance of 2014 DC Metro), Argonautika (Helen Hayes nom. Best Supporting Actress). Goodman Theatre: Mirror of the Invisible World; Denver Theatre Company: Dracula (Denver Post nom.), Three Musketeers; Oregon Shakespeare Festival: King Lear, Tenth Muse, The Sign in Sidney Brustein’s Window, Two Gentleman of Verona (Valentine); McCarter Theatre Center; Kansas City Repertory Theatre; Black Swan Lab; Arizona Theatre Company; Portland Stage Company; Yale Repertory Theatre; Shakespeare Theatre of New Jersey. TV— CBS: Unforgettable. Education—Yale School of Drama: MA; Sam Houston State University: BFA.

Rose Hahn—Ensemble.

Center Stage: debut.

Regional—Maryland Ensemble Theatre: Materialize. Educational— Towson University: Stupid F*cking Bird (Nina); Vajungle (Woman 1).

Carver Center Theatre: The Ramayana (Soorpanaka); As Bees in Honey Drown (Evan Wyler); The Children’s Hour (Rosalie); The Wit (Suzie); The Birds (Flamingo). Thank you to everyone who made this opportunity possible. It is such an honor to work with such a brilliant and talented group of people.

Mattie Hawkinson*— Celia. Center Stage: A Little

Night Music. Regional— Theatre at Monmouth: A Midsummer Night’s Dream, A Winter’s Tale, The Real Inspector Hound; Cincinnati Playhouse: Circle Mirror Transformation; Quintessence: Mourning Becomes Electra, The Misanthrope, Arms and The Man; Ensemble Theatre: Bell Book and Candle; Need Theatre: A Guided Consideration; PCCY: School Play; Milwaukee Rep: Othello; Denver Center: Third; Cleveland

DINING

The on-site café, Pure@Arts Café, will run a limited menu of ready-made gourmet sandwiches, salads, and soups starting two hours prior to curtain and through intermission for each performance.

Refreshments including wine and beer will be available. During Wednesday Matinees, the café will also be serving the Towson student community, so alcohol will not be available for those performances.

DRINKS

Drink and food are NOT permitted in the theater.

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.

Two performances also feature Audio Description†.

PARKING

FREE parking is available in the Union Parking Garage for all Towson shows, with the exception of Wednesday Matinees when students will occupy the Union Garage. Patrons attending Wednesday Matinees can park in Lot 14, and, in those instances, shuttle service will be provided.

Center Stage staff and signage will be on hand during all shows to guide you to and from the Mainstage Theatre.

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 of As You Like It are on Sun, Feb 14.

Audio Description at both 2 pm and 7:30 pm. Open Captioning at 7:30 pm. †

As You Like It | 9

Play House: The Games Afoot; Indiana Rep: Inherit the Wind; Manhattan Theatre Club: Equivocation (u/s); Victory Gardens: The Snow Queen, Half and Half, Hanging Fire, Blackbird; The Goodman: Rock ‘N’ Roll; Steppenwolf: I Never Sang for My Father; Chicago Shakespeare: A Winter’s Tale, A Little Night Music, A Flea in Her Ear; Lookingglass: Hillbilly Antigone; Apple Tree: Vincent in Brixton; First Folio: The Importance of Being Earnest; Exigent: The Maids; Roadworks: A Boston Marriage. TV/Film—As the World Turns, Law & Order SVU, The Gambler, Rise of the Planet of the Apes, Blackmail, Everybody’s Fine, First Person. mattiehawkinson@weebly. com. Special thanks to Josh and Wendy.

Sydney Faith Pope— Ensemble.

Center Stage: debut.

Regional—Purple Light: Hairspray (Dynamite Judine); Charm City Players: The Sound of Music (Ensemble). Education— Towson University, Sarah Lawrence College.

Thank you God. Thank you Mom, and Dad for giving me my first lessons in humility and love. Thank you to all of my incredible educators who taught me how to be fearless. IG: @sydendipity

Allie Press—Ensemble.

Center Stage: debut. Towson University—A Midsummer Night’s Dream (Hermia); Life Under Water (Amy-Beth); Lysistrata (Myrrhine); The Babel Project (Worker 6); Curse of the Starving Class (Emma); White Flag Performance Group: The Bear Loves Honey (Anna). Education—Towson University, BFA. Huge thank you as always to my family and my tribe who keep me going. All my love!

Alliepress.net, Twitter & IG: @Daughterpick.

Angela Reed*—Jaques.

Center Stage: Thornton Wilder Short Plays.

Broadway—The Country Girl, Rock-n-Roll, The Rainmaker.

Off-Broadway—Keen Company: Alphabetical Order. Mint Theater: The Power of Darkness, The Daughter-in-Law, The Madras House. National Tours—War Horse, Spring Awakening. Regional— Westport Country Playhouse: Broken Glass; Old Globe: Othello, August: Osage County; Denver Center: The Whale, Map of Heaven, After Ashley; Two River: On Borrowed Time; 10

City Theatre: Time Stands Still; Round House: Camille; Cleveland Play House: Rabbit Hole; ART: Olly’s Prison; Actor’s Theatre of Louisville: How I Learned to Drive, Angels in America, Othello, In Her Sight, Dracula, The Triumph of Love; Syracuse Stage: The Real Thing, Crimes of the Heart; Pasadena Playhouse; Arizona Theatre; Merrimack Rep; St. Louis Rep; Shakespeare Theatre of New Jersey and others. TV—Daredevil, Girls, Shades of Blue, The Good Wife, Blacklist, Blue Bloods, Third Watch, and the Law & Order trifecta.

Yakima Rich—Ensemble.

Center Stage: debut. Film/ TV—House of Cards.

Education—Towson University (BFA in Acting); Community College of Baltimore County (AFA in Theatre). Yakima thanks the Center Stage family for this opportunity, her talented fellow cast and crew, and all those who continue to inspire and support her. Feel free to connect with her at yakimarich.weebly.com.

Jenna Rossman—Phebe.

Center Stage: debut.

Regional—Shakespeare Theatre DC: As You Like It (u/s); Rep Stage: The Whale; Baltimore Shakespeare Factory: Much Ado About Nothing, The Tempest, A Midsummer Night’s Dream; Maryland Ensemble Theatre: One Man, Two Guvnors; Maryland Historical Society: The Mesmeric Revelations! of Edgar Allan Poe; Single Carrot Theatre: Worst Case Scenario; Acme Corporation: The World is Round, Office Ladies; Iron Crow Theatre: The Homo Poe Show. TV—House of Cards, Investigation Discovery. Education—Towson University; iO Improv Theater and The Second City (Chicago). Awards—Irene Ryan Scholarship Audition Winner Region Two and National Finalist.

Tia Shearer*—Oliver.

Center Stage: debut. New York—East River Theatre Company; Theater Faction; Impact Theatre; Harold Clurman Poets Theatre; Gallery Players; Provincetown Players. Nat’l Tour—Knuffle Bunny: A Cautionary Musical (Trixie). Regional—Kennedy Center TYA; Imagination Stage; Taffety Punk’s Riot Grrrls; The Hub Theatre (Company Member);

Arts on the Horizon (Company Member); Spooky Action Theater; Constellation Theatre; Longacre Lea; Nashville Children’s Theatre; Nashville Shakespeare Festival; Tennessee Repertory; People’s Branch Theatre; Arkansas Shakespeare Theatre.

Film/TV—Contact; Make-Out With Violence; Bookends; To A Tee; Snapped (Oxygen); HGTV. Awards—Helen Hayes winner, Outstanding Production, TYA: Anime Momotaro; Helen Hayes noms., Outstanding Ensemble and Outstanding Production: Failure: A Love Story. Faculty member at the National Conservatory of Dramatic Arts; deviser of theater for babies and toddlers; big fan of Matt and Charlie Bassett.

Kathleen Whitby— Ensemble.

Center Stage: debut.

Education—Towson University: A Midsummer Night’s Dream (Hippolyta); No Exit (Estelle); Lysistrata (Greek Chorus).

Thank you to my family and friends!

Mani Yangilmau— Ensemble.

Center Stage: debut.

Education—Towson University: No Child (Coca); Sweeney Todd (Ensemble); Language of Instinct (Tiger); Spurt of Blood (Whore/Priest); 13 Clowns (Ensemble); Lysistrata (Ensemble); The Babel Project (Worker 5). To my family, to those who have supported me, I am indebted to you.

bios

THE ARTISTIC TEAM

Glass Menagerie; Alliance: False Creeds; NYSF: Geometry of Fire; Arena Stage: The Goat or, Who is Sylvia?; Guthrie: Tribes; Berkshire Theatre Festival: Nijinsky’s Last Dance; Philadelphia Theatre Co.: Light in the Piazza; Williamstown Theatre Festival: The Last Goodbye; Woolly Mammoth: The Clean House; Sondheim Celebration/Kennedy Center: Passion, Sunday in the Park with George. Awards—Helen Hayes Nominations: Urinetown, Side Show, The Fix.

Josh Epstein—Lighting Designer.

As You Like It Director Wendy C. Goldberg and Managing Director Stephen Richard at first rehearsal.

Wendy C. Goldberg—Director.

Center Stage: debut. Broadway/Off Broadway—Creative Advisor Broadway’s Rock of Ages, Director: productions and workshops, Ars Nova, Daryl Roth 2, Mc-Ginn Cazale, Playwrights Horizons, Roundabout, The Public. Regional—Director: Actors Theater of Louisville (3 productions), Alliance, Arena Stage (5 productions, Artistic Associate 00-05), Cincinnati Playhouse in the Park (4 productions), Denver Center (5 productions), Goodman, Guthrie (2 productions), Paper Mill, Philadelphia Theater Co, Playmakers Rep. Other—2010 Tony Award for Excellence in Regional Theater as Artistic Director of National Playwrights Conference, Eugene O’Neill Theater Center for 11 seasons also leads the National Directors Fellowship, work as Artistic Director featured in book The O’Neill: Transformation of the Modern American Theater, Published by Yale University Press, 11th year on SDC Executive Board Teaching: Iowa Writers Workshop, Yale School of Drama, National Theater Institute, Commercial Theater Institute, Broadway League. Education—University of Michigan, BA, UCLA School of Theater, Film and Television, MFA.

Gavin Witt—Adapter/Production Dramaturg. (see page 13)

Arnulfo Maldonado—Scenic Designer.

Center Stage: debut. Off Broadway— Playwrights Horizons: Iowa; Classic Stage Company: Anne Washburn’s transadapted Iphigenia In Aulis; Soho Rep: generations, Jomama Jones: Radiate; Page 73: Judy, Grounded; Baryshnikov Art Center: Illusions; Brooklyn Academy of Music: Not What Happened. Regional—Barrington Stage Company, Central City Opera, Cleveland Play House, Opera Theatre of St. Louis, Peak Performances, Perseverance Theatre, San Francisco Ballet, Studio Arena, Two River Theater, Westport Country Playhouse. Awards—Princess Grace Theatre Fellowship, Faberge Theater Award.

Education—NYU Tisch. Professional— O’Neill National Playwrights Conference, Resident Scenic Designer, 2015; Clubbed Thumb Affiliated Artist.

Anne Kennedy—Costume Designer.

Center Stage: debut. Off-Broadway— Playwrights Horizons: Floyd and Clea Under the Western Sky; NYMTF: The Mistress Cycle; Lucille Lortel: Walk Two Moons; Primary Stages: Opus, Boy; Rattlesitck: Blind. Regional—Chautauqua: Intimate Apparel; Cincinnati Playhouse: The History of Invulnerability; Denver Center: Two Things You Don’t Talk About at Dinner; Dallas Theatre Center: Sarah Plain and Tall; Playmaker’s Rep: Assassins; Old Globe: The

Center Stage: Twelfth Night, …Edgar Allan Poe. Regional—Mark Taper Forum, The Guthrie, The Goodman, Trinity Rep., The Pasadena Playhouse, The Kirk Douglas Theater, The Geffen Theater, Long Wharf Theatre, Philadelphia Theater Company, Paper Mill Playhouse, Alliance Theater, Actor’s Theater of Louisville, Playmaker’s Rep., Lyric Theater, Cincinnati Playhouse in the Park. Opera—Minnesota Opera, Opera Saratoga, Ft. Worth Opera, Opera Santa Barbara, Wolf Trap Opera Company, Berkshire Opera, Manhattan School of Music. Education—Received MFA from NYU’s Tisch School of the Arts.

Awards—Recipient of the NEA/TCG Career Development Program for Designers, Member of the O’Neill National Playwrights Conference Artistic Council. Professional— Adjunct faculty at UCLA School of Theater, Film and Television. joshepsteindesign.com.

Matt Hubbs—Sound Designer.

Center Stage: debut. Regional—Natasha, Pierre and the Great Comet of 1812 (ART, Kazino, Ars Nova), Indecent (La Jolla Playhouse, Yale Rep), Preludes (LCT3), The Royale and Time and the Conways (Old Globe Theatre), Stage Kiss (Playwrights Horizons), Marie Antoinette (SoHo Rep, ART, Yale Rep), Three Pianos (NYTW, ART), The Human Scale (Public Theater), Telephone (Foundry Theatre). As a company member of the TEAM, he has designed The Holler Sessions, RoosevElvis, Mission Drift, Architecting, Particularly in the Heartland and A Thousand Natural Shocks. Education— BA in Philosophy as a University Scholar at Xavier University.

Karma Camp—Choreographer.

Center Stage: Who’s Afraid of Virginia Woolf? Broadway—The Graduate, Broadway Showstoppers at Lincoln Center w/ New York Philharmonic. Off Broadway—Never the Sinner. Nat’l Tour—Ring of Fire, As You Like It | 11

Set Designer Arnulfo Maldonado at first rehearsal.

Phantom Tollbooth, Big. Regional—Over 100 shows which include: The McCarter, Signature Theatre (48 shows, Artistic Assoc) Shakespeare Theatre DC (36 shows), Arena Stage, Kennedy Center, Delaware Theatre Co., Wilma Theatre, Actors Theatre of Louisville, The Meyerhoff, Goodspeed, Ford’s Theatre, George Street Playhouse, others. Other—15 world premiere plays/ musicals, including Sarah Ruhl’s Dead Man’s Cellphone. Creative Consultant for Disney Creative Entertainment and Busch Gardens – Seasonal shows, Staff-Washington Nat’l Opera Young Artist Program. Awards— Multiple recipient and 10 time Helen Hayes Award nominee. TV/Film—How Do You Know w/Reese Witherspoon and Owen Wilson, 25 commercials, several episodes of daytime TV, 4 PBS specials. 4th production with Wendy Goldberg.

Cliff Williams III—Fight Director—

is happy to join Center Stage for the first time. Cliff is a native Virginian and has been choreographing and directing for the last 12 years, mostly in the DC area. Some of his other favorite credits include Dracula, The Scene, and Six Years at Actors Theatre of Louisville; Shoplifters, Gem of the Ocean, and Long Day’s Journey into Night at Arena Stage; Chimerica at Studio Theatre; Dead Man’s Cell Phone at Woolly Mammoth, Angels in

America at Forum Theatre and The Argument and Yentl at Theatre J. His full resume can be seen at CliffWilliamsIII.net.

Heather Christian—Music Director.

—is an Obie Award-winning composer/ performer last seen composing/performing in Mission Drift (National Theater, London).

Recent Sundance Fellow and Ars Nova Uncharted Member with Annie Salem.

Recent compositions—Animal Wisdom (Transform ’17), North (LaMama NYC), Ripe Time’s The World is Round (BAM NYC), Of Mice and Men (West Yorkshire Playhouse) Emily Climbs (the Brick NYC), Daily Life Everlasting (LaMama NYC) as well as numerous compositions for dance. Film— Eat, Pauline Alone, Woman in Deep, and Gregory Go Boom (Sundance Grand Jury Prize). Long-time musical and performative collaborator in devised theater with the TEAM, Jane Comfort Company, Mac Wellman, Big Dance Theater, Taylor Mac, and Witness Relocation Company. Recently named one of TimeOut NY’s Downtown Innovators to Watch. Released 4 records and can be seen all over the world as Heather Christian & the Arbornauts in concert halls and dive bars avant-torching. heatherchristian.bandcamp.com.

Pat McCorkle—Casting Director.

Center Stage: Pride and Prejudice, Marley,

One Night in Miami…, Amadeus, Wild with Happy, Twelfth Night, A Civil War Christmas.

Broadway—54 Productions including: Amazing Grace, 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—Over 60 Productions including: Clever Little Lies, Shear Madness, Stalking the Bogeyman, Freud’s Last Session, Tribes, Our Town, Almost Maine, Driving Miss Daisy. Film—over 60 projects including: A Morning Son, Year by the Sea, Junction, Premium Rush, Ghost Town, Secret Window, Basic, Tony and Tina’s Wedding, The Thomas Crown Affair, The 13th Warrior, Madeline, Die Hard III, School Ties. TV/New Media—45 shows including: My America I and II (For BCS), Saint George, Twisted, humans for Sesame Street, Californication (Emmy nom.), Max Bickford (CBS), Hack (CBS), Strangers with Candy, Barbershop, Chapelle’s Show. mccorklecasting.com

Laura Smith*—Stage Manager.

Center Stage: Resident Stage Manager: 4000 Miles; After the Revolution; 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 ReEducation of Undine; Who’s Afraid of Virginia Woolf?; Joe Turner’s Come and Gone.

Regional—Shakespeare Theater Company: Salome; CATF: World Builders; 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.

We mourn the loss of Tim Vasen—Center Stage Resident Director 1998–2003 “Come, everybody. This is the earth’s sound.”

—Thorton Wilder, “Pullman Car Hiawatha”

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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 Marley, One Night in Miami... (Top Production 2015, City Paper, The Baltimore Sun), Amadeus, dance of the holy ghosts, The Mountaintop, An Enemy of the People, The Whipping Man, (named Best Director), and Naomi Wallace’s Things of Dry Hours. In 2014, Kwame was named Best Director in City Paper’s Best of Baltimore, and he was a finalist for SDC’s Zelda Fichandler Award for Best Regional Artistic Director. Among his works as playwright are Elmina’s Kitchen, Let There Be Love, A Bitter Herb, Statement of Regret, and Seize the Day. Beneatha’s Place debuted at Center Stage in 2013 as part of The Raisin Cycle. Other directorial credits include Wallace’s The Liquid Plain at New York’s Signature Theatre, Dominique Morisseau’s Skeleton Crew at the Lark Play Development Center, New York’s Public Theater’s productions of Comedy of Errors (NYT’s Critic’s Choice), Much Ado About Nothing, the World Premiere of Detroit ’67 (Best Director nom.), and the World Premiere of The Liquid Plain at Oregon Shakespeare Festival. He has served on the boards of TCG, Steinberg Playwright Awards, The National Theatre, and The Tricycle Theatre (London), and as Artistic Director for the World Arts Festival in Senegal. He was named the Chancellor of the University of the Arts London, and in 2012 was named an Officer of the Most Excellent Order of the British Empire.

Managing Director Stephen Richard has

worked in ballet, museums, and theater, with his longest tenure at Arena Stage in Washington, DC. As Arena’s Executive Director, he planned and managed the theater’s capital campaign for the Mead Center for American Theater. He has taught arts management at Georgetown University and George Mason University, among others. He has also served on the boards and committees of some of the nation’s most prestigious arts organizations, including the National Endowment for the Arts, American Arts Alliance, the League of Resident Theatres, and Theatre Communications Group. He currently serves on the board of directors of Maryland Citizens for the Arts.

Associate Artistic Director Hana S. Sharif is a director,

playwright, and producer.

She served as Associate Artistic Director, Director of New Play Development, and Artistic Producer at Hartford Stage; recently as Program Manager of the ArtsEmerson Ambassador Program; and as Developmental Producer/Tour Manager of Progress Theatre’s musical The Burnin’. Hana also served as co-founder and Artistic Director of Nasir Productions, which brings theater to underserved communities.

Directing credits include The Whipping Man, Gem of the Ocean (six CCC nominations), Gee’s Bend (CCC Award Best Ensemble, two nominations), Next Stop Africa, Cassie, The Drum, and IFdentity. Hana has directed

numerous developmental workshops, including Elyzabeth Gregory Wilder’s The Chat and Chew Supper Club. Her plays include All the Women I Used to Be, The Rise and Fall of Day, and The Sprott Cycle Trilogy.

Hana is the recipient of the 2009–10 Aetna New Voices Fellowship and Theatre Communications Group (TCG) New Generations Fellowship.

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. Among his translations and adaptations are a half-dozen Shakespeare plays, including a Jeff-nominated version of Pericles. 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 and Peabody Conservatory; 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.

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

The Center Stage Advisory Board is

Associate Director/Director of Dramaturgy Gavin Witt came to Center

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

experienced professionals who are on Center Stage leaders, board, and staff.

Neil Pepe, Artistic Director at Atlantic Theater Company

Bill Rauch, Artistic Director at Oregon Shakespeare Festival

Michael Ritchie, Artistic Director at Center Theatre Group

Tim Sanford, Artistic Director at Playwrights Horizons

As You Like It | 13

Get ready to bid on hundreds of items!

Preview: February 18–19 Bidding: February 20–29 Celebrating its 39th 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 2015/16 Sponsor:

TOWSON UNIVERSITY

COLLEGE OF FINE ARTS & COMMUNICATION AND

THE DEPARTMENT OF THEATRE ARTS

Welcomes Center Stage to The Center for the Arts

We are honored to host the Center Stage family and patrons. Be sure to visit the Center for the Arts galleries and the PURE@Arts Café two hours before performances and during intermission.

• Center for the Arts Gallery · February 4 – April 3 • • Center for the Arts, Holtzman MFA Gallery · January 5 – 22 • • Asian Arts & Culture Gallery · February 4 – April 3 •

As You Like It | 15

ADVERTISE WITH US! Our rates are affordable and negotiable.

This program will reach approx. 15,000 people!

Ask about our Discounts: Pay-in-advance discount Nonprofit/community partner discount Loyalty discount We’re happy to help you design your ad. centerstage.org/advertise ads@centerstage.org 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, email groups@centerstage.org.

Thank You Baltimore for banking with us over the last 20 years!

1st Mariner Bank is committed to our community. Stop by your local branch today and find out how we can help you.

For more information, call

410-558-3343 or 1-866-362-4500.

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As You Like It | 17

supporter spotlght

JULIET EURICH AND LOUIS THALHEIMER

“I wanted to support the effort to bring high-quality artists to the Baltimore community.”

Honoring a Tradition of Thought-Provoking Art

Thoughtful and challenging content and entrance—as well as the new Head Theater, superb staging are what have kept Juliet which will fulfill the original vision of Eurich and her husband Louis Thalheimer the space as truly flexible. Juliet believes captivated by Center Stage productions that these renovations will contribute for many seasons. Juliet, a member of the meaningfully to the work onstage as well Board of Trustees for 15 seasons, dates her as the audiences experience. Take a peek attendance at the theater to the early 80s, at renderings of the renovated spaces at several years after moving to Baltimore.

CampaignForCS.org.

Together, the couple applauds the theater’s Serious theater is not all that comprises ability to provide plays that both entertain Juliet and Louis’ memories of Center Stage. and keep them thinking after they have They have had a lot of fun at the Annual left the building. This drove Louis’ decision Gala over the years, winning backstage to designate Lord Baltimore Capital experiences at silent auctions. Their Corporation’s gift to The Campaign for Center favorites include Cocktails in the Costume Stage to create the Visiting Artists Fund.

Shop, a fascinating evening with Costumer “I wanted to support the effort to bring high- David Burdick and his team; Louis’ walkquality artists to the Baltimore community,” on role in Amadeus; and a backstage tour he said, affirming Center Stage’s vision of during Marley, where a cast member shared national collaboration and conversation. his guitar with their grandson.

Center Stage is grateful to be able to bring the best and brightest to Baltimore thanks to the Lord Baltimore Capital Corporation and other visionary donors. The upcoming Detroit’67 (beginning April 15) boasts the first recipient of the Visiting Artists Fund: Director Kamilah Forbes.

Juliet and Louis were early donors to The Campaign for Center Stage and are excited to see the reimagined Deering Lobby and 18

Center Stage is most fortunate to have shared so many wonderful memories over the years with Juliet and Louis and all of our family of friends and donors. As we move to our temporary space at Towson University, we thank you for moving with us. We look forward to many more years together when we return to 700 North Calvert Street.

For more information about The Campaign or to find out about our auctions and Annual Gala, please contact Julia Keller, Director of Development: jkeller@centerstage.org.

support center stage The following list includes gifts of $250 or more made to the Center Stage Annual Fund between December 4, 2014 and December

4, 2015. Although space limitations make it impossible for us to list everyone who helps fund our artistic, education, and community programs, we are enormously grateful to each person who contributes to Center Stage. We couldn’t do it without you!

INDIVIDUALS & FOUNDATIONS:

The Center Stage Society represents donors who, through their annual contributions of $1,500 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.

SEASON SPONSORS (50,000+)

The Annie E. Casey Foundation Ellen and Ed Bernard

The Charlesmead Foundation Lynn and Tony Deering

The Edgerton Foundation New American Play Awards Charles E. Noell III

Judy and Scott Phares Lynn and Philip Rauch

The Shubert Foundation, Inc. Sharon and Jay Smith

The Harold and Mimi Steinberg Charitable Trust Ms. Katherine L. Vaughns + PRODUCERS’ CIRCLE ($25,000-$49,999)

The Miriam Jay Wurts Andrus Trust The William G. Baker, Jr. Memorial Fund, creator of the Baker Artist Awards www.BakerArtistAwards.org

Genine and Josh Fidler Daniel P. Gahagan

The Jim and Patty Rouse Charitable Foundation

Mr. Gilbert H. Stewart and Ms. Joyce L. Urich

Baroness G.D. Godenne M.D.+

Barbara and Sig Shapiro

Mr. and Mrs. Harry Thomasian

The Laverna Hahn Charitable Trust

Ellen J. Remsen Webb and J.W. Thompson Webb

John Gerdy and E. Follin Smith

Charles and Leslie Schwabe

The Goldsmith Family Foundation

Donald and Mariana Thoms

Ms. Wendy Jachman

Francie and John Keenan Townsend and Bob Kent Keith Lee

Ken and Elizabeth Lundeen

The Andrew W. Mellon Foundation The Joseph and Harvey Meyerhoff Family Charitable Funds 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

Marilyn Meyerhoff

Terry H. Morgenthaler and Patrick Kerins Mr. J. William Murray

DESIGNERS’

Sylvia and Eddie Brown

Ms. Taunya Banks

Drs. Joanna and Harry Brandt The Mary and Dan Dent Fund of the Baltimore Community Foundation

Mr. Jed Dietz and Dr. Julia McMillan The Harry L. Gladding Foundation/ Winnie and Neal Borden

($1,500- $2,499)

Anonymous

John and Carolyn Boitnott

Meredith and Joseph Callanan

The Campbell Foundation, Inc.

Mr. and Mrs. Roland Campbell, Jr.

The Caplan Family Foundation, Inc.

Pamela and Jonathan Genn, in honor of Beth Falcone

Mr. G. Brian Comes and Mr. Raymond Mitchener, in honor of Terry Morgenthaler

The Jane and Worth B. Daniels, Jr. Fund of the Baltimore Community Foundation

Ms. Nancy Dorman and Mr. Stanley Mazaroff

Walter B. Doggett III and Joanne Doggett

Brian and Denise Eakes

Beth and Michael Falcone Dick and Maria Gamper

Peter and Millicent Bain

Fredye and Adam Gross

Stephanie and Ashton Carter

Murray Kappelman

Ms. Amy Elias and Mr. Richard Pearlstone

Robert E. Meyerhoff and Rheda Becker

The Bunting Family Foundation

Steve and Susan Immelt

The Helen P. Denit Charitable Trust

The John J. Leidy Foundation, Inc.

The Fascitelli Family Foundation

The Lois and Irving Blum Foundation

David and Elizabeth JH Hurwitz

The Nathan & Suzanne Cohen Foundation

ARTISTS’ CIRCLE

The William L. and Victorine Q. Adams Foundation and The Rodgers Family Fund

Drs. Nadia and Elias Zerhouni

Gene DeJackome and Kim Gingras

The Delaplaine Foundation, Inc.

Anonymous

Mr. Todd M. Wilson and Mr. Edward Delaplaine

F. Barton Harvey III and Janet Marie Smith

The MAP Fund, a program of Creative Capital ($10,000- $24,999)

Anonymous

Ted and Mary Jo Wiese

Mary Catherine Bunting

August and Melissa Chiasera

Kathleen Hyle

($2,500- $4,999)

Mr. and Mrs. Christopher West

Mr. and Mrs. Jon Carnell

Jane and Larry Droppa The JI Foundation

DIRECTORS’ CIRCLE

Kathryn and Mark Vaselkiv

Carole + and Neil Goldberg

James T. and Francine G. Brady

EMC Arts

Ms. Linda Woolf

United Way of Central Maryland Campaign

($5,000- $9,999)

Penny Bank

James and Janet Clauson

Loren and Judy Western

Mr. Michael Styer

Jeannie Murphy

Stephen Richard and Mame Hunt

Robert and Cheryl Guth

The Hecht-Levi Foundation, Inc. Mr. and Mrs. Joseph M. Jennings Mr. and Mrs. Mark Joseph, in honor of Lynn Deering

Mr. and Mrs. Earl Linehan/ The Linehan Family Foundation The Macht Philanthropic Fund of The Associated Mrs. Diane Markman

The McCrickard Family Fund for Charitable Giving 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

Nathan and Michelle Robertson Mr. and Mrs. Todd Schubert Mr. and Mrs. Scott Smith

Scott and Mimi Somerville Scot T. Spencer

Ann K. Clapp

Dr. and Dr. Matthew Freedman Ms. Suzan Garabedian

Sandra Levi Gerstung

Len and Betsy Homer

Ralph and Claire Hruban

The A. C. and Penney Hubbard Foundation Cheryl Hudgins Williams and Alonza Williams Francine and Allan Krumholz Maryland Charity Campaign Bayinnah Shabazz, M.D. Barbara P. Shelton

George and Holly Stone

Dr. and Mrs. John Strahan Susan and Brian Sullam

Dr. Edgar and Betty Sweren Nanny and Jack Warren, in honor of Lynn Deering Sydney and Ron Wilner + Deceased

As You Like It | 19

COMPANY

(750-$1,499)

Anonymous Ms. Diane Abeloff, in memory of Martin Abeloff Mr. Calvin Baker Charles + and Patti Baum Steve and Teri Bennett Mr. and Mrs. Marc Blum Mr. and Mrs. Adam W. Borden Jan Boyce Ms. Susan Bridges Dr. and Mrs. Donald D. Brown Sandra and Thomas Brushart Ms. Cheryl Casciani Jane Cooper and Philip Angell Bill and Liz Dausch, in honor of Sharon and Jay Smith The Richard and Rosalee C. Davison Foundation The Deering Family Foundation/ Albert DeLoskey and Lawrie Deering The Honorable and Mrs. E. Stephen Derby The Eliasberg Family Foundation Sue and Buddy Emerson, in appreciation of Ken and Elizabeth Lundeen Mr. and Mrs. Donald M. Engvall Amy and Scott Frew Frank and Jane Gabor José and Ginger Galvez Ms. Hannah B. Gould Stuart and Linda Grossman Bill and Scootsie Hatter Rebecca Henry and Harry Gruner, in honor of Terry Morgenthaler Sandra and Thomas Hess Mrs. Harriet S. Iglehart Mr. and Mrs. Ted Imes Joseph J. Jaffa Mr. Larry Jennings Ms. Shirley Kaufman Mr. Barry Kropf The H.R. LaBar Family Foundation Fund of the Greater Cincinnati Foundation The Herschel and Judith Langenthal Philanthropic Fund Jonna and Fred Lazarus Dr. and Mrs. George Lentz, Jr. Robert and Susan Mathias James and Kathy Mathias Joseph and Jane Meyer Mr. and Mrs. John Michel Tom and Cindi Monahan Roger F. Nordquist, in memory of Joyce C. Ward Mr. and Mrs. Lee Ogburn Dr. Bodil Ottesen Linda Hambleton Panitz Bonnie L. Pitt Mr. and Mrs. Robert Porter Dave and Chris Powell The James and Gail Riepe Family Foundation, in honor of Lynn Deering Mr. and Mrs. Harold Rojas Mrs. Bette Rothman + Gail B. Schulhoff The Earle and Annette Shawe Family Foundation The Sinksy-Kresser-Racusin Memorial Foundation Dana and Matthew Slater, in honor of Terry Morgenthaler Bonnie and Stuart Stainman

20

Mr. and Mrs. John Strahan Mr. and Mrs. Dan Verbic Dr. and Mrs. Frank R. Witter Patricia Yevics-Eisenberg and Stewart Eisenberg Dr. Laurie S. Zabin Mr. Calman Zamoiski, Jr., in honor of Terry Morgenthaler

ADVOCATES ($250-$749)

Anonymous Rita and Walter Abel Bradley and Lindsay Alger The Alsop Family Foundation Denise and Philip Andrews Mrs. Alexander Armstrong Deborah and Stephen Awalt Mrs. Pamela Ayd Mr. and Mrs. Robert Bair Mike Baker The Mr. and Mrs. Raymond Bank Family Fund of the Baltimore Community Foundation Amy and Bruce Barnett The Jaye and Dr. Ted Bayless Fund of the Baltimore Community Foundation Melissa A. Behm Ms. Lorinda Belzberg, in honor of Lynn and Tony Deering Scott and Katherine Bissett Bob and Maureen Black Ms. Katharine C. Blakeslee Rachel and Steve Bloom, in honor of Beth Falcone Harriet and Bruce Blum Moira Bogrov Chi Chi and Peter Bosworth Mr. Paul Burclaff Mr. Winfield Cain Ms. Deborah W. Callard Cindy Candelori The Jim and Anne Cantler Memorial Fund of the Baltimore Community Foundation Ms. June Carr Mr. and Mrs. David Carter Mr. and Mrs. James Case Ms. Sue Lin Chong Mr. and Mrs. Carl F. Christ Brenda M. Cley, M.D. Ms. Clare Cochran Mr. William Coffey Joan Develin Coley and Lee Rice Ida and Emmett Collins The Elsa and Stanton Collins Charitable Fund Combined Charity Campaign Combined Federal Campaign Scott and Patricia Corbett B.J and Bill Cowie Ms. Barbara Crain and Mr. Michael Borowitz Janet M. Curnoles, in honor of Sarah Curnoles Gwen Davidson Robert and Janice Davis Richard and Lynda Davis James DeGraffenreidt and Mychelle Farmer David and Emily Demsky Rosetta and Matt DeVito Susan and Joachim Diedrich Ina and Ed Dreiband

The Suzy and Eddie Dunn Fund of the Baltimore Community Foundation, in honor of Terry Morgenthaler Lynne Durbin and John-Francis Mergen Linda Eberhart Mr. James Engler Deborah and Philip English Ms. Rhea Feikin, in memory of Colgate Salsbury Faith and Edgar Feingold, in memory of Sally W. Feingold Sandra and John Ferriter Bob and Susie Fetter Andrea and Samuel Fine Ann and Richard Fishkin Bill and Winnie Flattery Sandra and Ross Flax Dr. and Mrs. Robert P. Fleishman Dennis Flynn Donna Flynn Joan and David Forester Elborg and Robert Forster Mary Louise Foster Ms. Nancy Freyman Dr. Neal M. Friedlander and Dr. Virginia K. Adams Mark and Patti Gillen Megan M. Gillick Hal and Pat Gilreath Terry L. Gladden Mr. Bruce Goldman Mary and Richard Gorman Mr. and Mrs. Randy Guttman Louise Hager Ada Hamosh Betsy and George Hess Sue Hess Mrs. James J. Hill, Jr., in memory of James J. Hill, Jr. Barbara and Sam Himmelrich, in honor of Monica Sagner Dr. Dahlia Hirsch and Dr. Barry Wohl James and Rosemary Hormuth Ms. Irene Hornick Sarah and John Issacs James and Hillary Aidus Jacobs A.H. Janoski, M.D., in honor of Jane Stewart Janoski Max Jordan Ann H. Kahan Mr. John Kane Richard and Judith Katz Dr. and Mrs. Myron Kellner Stephen and Laurie Kelly, in memory of Rodney Stieff Ms. Deborah Kielty Alane and George Kimes Roland King and Judith Phair King Deborah King-Young and Daniel Young Mr. and Mrs. Robert Knodell Donald Knox and Mary Towery, in memory of Carolyn Knox and Gene Towery Gina Kotowski Joseph M. and Judy K. Langmead Kevin Larrawe and Lucy Robins Dr. and Mrs. Yuan C. Lee Melissa Leffler Mr. Raymond Lenhard, Jr. Dr. and Mrs. Ronald Lesser Marilyn Leuthold Marty Lidston and Jill Leukhardt Dr. and Mrs. John Lion Kenneth and Christine Lobo

The Ethel M. Looram Foundation, Inc. Nancy Magnuson and Jay Harrell, in honor of Betty and Edgar Sweren Matthew and Eileen Margolies The Dr. Frank C. Marino Foundation, Inc. Jeanne E. Marsh Mr. and Mrs. Steve McCurdy Mary L. McGeady Jean and Chris Mellott Mary and Barry Menne Mr. and Mrs. Timothy E. Meredith Jeston I. Miller Stephanie F. Miller, in honor of The Lee S. Miller, Jr. Family 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 Ms. Jill Morgenthaler, in honor of Terry Morgenthaler The Honorable Diana and the Honorable Fred Motz, in memory of Nancy Roche Wilbert Moultrie George Murnaghan Stephen and Terry Needel Claire D. O’Neill Ms. Jo-Ann Mayer Orlinsky Fronda Cohen Ottenheimer and Richard Ottenheimer The P.R.F.B. Charitable Foundation, in memory of Shirley Feinstein Blum Michael and Phyllis Panopoulos Justine and Ken Parezo Fred and Grazina Pearson Dr. and Mrs. James M. Pepple Mr. William Phillips Ronald and Patricia Pilling Leslie and Gary Plotnick Janet Plum, in memory of Jeffrey J. Plum Dr. and Mrs. Jeffrey Posner Ms. Dorothy Powe, in memory of Ethel J. Holliday Bryan and Karen Powell Robert E. Prince Mr. and Mrs. Richard Radmer Carolyn Raff Cyndy Renoff and George Taler Phoebe Reynolds Natasha and Keenan Rice Mrs. Peggy L. Rice Alison and Arnold Richman Ida and Jack Roadhouse Bill and Syrena Robinson Jane and Stanley Rodbell and James R. Shapiro Susan Rosebery and Barbara Blom Mr. and Mrs. Henry A. Rosenberg, Jr. Michael Ross, in memory of Katherine Vaughns and Joan Kappelman Kevin and Judy Rossiter Rovner Products, Inc. Mr. and Mrs. Louis Rusk Mr. Al Russell Steven and Lee Sachs Monica and Arnold Sagner Ms. Gloria Savadow, in honor of the Encounter Program The Eugene and Alice Schreiber Philanthropic Fund Mr. Richard Schwartz Clair Zamoiski Segal, in honor of Judy Witt Phares

Dr. Carl Shanholtz and Dr. Ruth Horowitz Dr. and Mrs. Edward M.M. Sills Susan Somerville-Hawes, in honor of the Encounter Program Sharon and John Stanton Ms. Jill Stempler Clare H. Stewart, in honor of Bill Geenen Brenda Stone and Dan Watson Mr. William J. Sweet Ms. Cathy Tipper Susan Treff Sharon and David Tufaro Mr. and Mrs. Ralph Tyler Dr. and Mrs. Henry Tyrangiel Mr. and Mrs. James Ulmer III Mr. Eli Velder Mr. and Mrs. David Warshawsky Robin Weiss and Timothy Doram Mr. John Wessner Ms. Camille Wheeler and Mr. William Marshall Richard E. and Julia B. Wolf Dr. Richard H. Worsham Velda Yelity-Paul Eric and Pam Young + Deceased

SPECIAL GRANTS & GIFTS:

The Leading National Theatres Program, a joint initiative of the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation

GOVERNMENT GRANTS

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

Center Stage’s catalog of Education Programs has been selected by the President’s Committee on the Arts and Humanities as a 2011 National Arts and Humanities Youth Program Award Finalist.

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

Howard County Arts Council through a grant from Howard County Government

Center Stage has been funded by the Mayor Stephanie RawlingsBlake and the Baltimore Office of Promotion and the Arts.

GIFTS IN-KIND

Atwater’s Baltimore STYLE The Baltimore Sun The Brewer’s Art Casa di Pasta The Classic Catering People The Charles Theater The City Paper Cunningham’s Gertrude’s Restaurant Gianni’s Italian Bistro HBP HoneyBaked Ham Co. The Helmand Hotel Monaco Iggie’s

Jericho Staging The Jewish Times La Cakerie Mamott Maryland Office Interiors Maryland Public Television Mitchell Kurtz Architect, PC Mount Vernon Stable and Saloon Oriole’s Pizza and Sub PromoWorks Ravenbeer Republic National Distributing Company Shugoll Research The Signman Union Craft Brewing Village Square Café A Vintner’s Selection Ware House 518 WYPR Radio www.thecheckshop.us The following employers match the charitable donations of their employees. Many employers match donations 2:1. Simply contact your human resources department, and in one easy step you can double your level of support to Center Stage.

CORPORATIONS

THE 2015/16 SEASON IS MADE POSSIBLE BY

PRESIDENTS’ CIRCLE

Anonymous The Baltimore Life Companies Cho Benn Holback + Associates Environmental Reclamation Company Ernst & Young

T. Rowe Price Foundation, Inc.

Funk & Bolton, P.A. Goodell, DeVries, Leech & Dann Howard Bank

PRODUCERS’ CIRCLE

McGuireWoods, LLP PricewaterhouseCoopers Saul Ewing, LLP Venable, LLP Whiting-Turner Contracting Co.

MATCHING GIFT COMPANIES

DIRECTORS’ CIRCLE

The Abell Foundation, Inc. Bank of America BGE Becton Dickinson & Company The Black & Decker Corporation Brown Capital Management, Inc. The Annie E. Casey Foundation Constellation Energy E-Bay Foundation Exxon Corporation GE Foundation Illinois Tool Works Foundation JMI Equity Kraft Foods MASCO Corporation McCormick Foundation Norfolk Southern Foundation PNC Bank SunTrust Bank T. Rowe Price Foundation UBS Wealth Management

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

PLAYWRIGHTS’ CIRCLE

American Trading and Production Corporation Baxter, Baker, Sidle, Conn & Jones, P.A. Charcoalblue Keast & Hood Marriott Maryland Transit Administration Pessin Katz Law P.A. Schoenfeld Insurance Associates Wright, Constable, & Skeen, LLP

DESIGNERS Chapel Valley Landscape Company Chesapeake Plywood, LLC Froehling & Robertson

ARTISTS’ CIRCLE

BOARD OF TRUSTEES

Terry H. Morgenthaler, President Edward C. Bernard, Vice President August J. Chiasera, Vice President Beth W. Falcone, Vice President Brian Eakes, Treasurer J.W. Thompson Webb, Secretary Penny Bank Katharine C. Blakeslee* Meredith Borden James T. Brady C. Sylvia Brown* Stephanie Carter Lynn Deering Jed Dietz Walter B. Doggett III Jane W.I. Droppa Amy Elias Juliet A. Eurich 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 Wendy Jachman Joe Jennings Murray M. Kappelman, MD* John J. Keenan E. Robert Kent, Jr. Joseph M. Langmead* Bjoern Leyser Kenneth C. Lundeen* John McCardell Marilyn Meyerhoff* Hugh W. Mohler, Jr. J. William Murray Charles E. Noell III Judy M. Phares Esther Pearlstone* Philip J. Rauch Harold Rojas Monica Sagner* Renee C. Samuels Rosenfeld Todd Schubert Charles Schwabe George M. Sherman* Robert W. Smith, Jr. Scott Somerville Scot T. Spencer Michael B. Styer Harry Thomasian Kenneth Thompson Donald Thoms Krissie Verbic Linda S. Woolf * Trustee Emeriti

As You Like It | 21

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 Š2015 M&T Bank. Member FDIC. 22

Working in our community helps our community work

better.

ENERGY WORKS SMARTER

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 education, arts and culture, the environment and community development—BGE and its more than 3,400

together

MAKING ENERGY SMARTER 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/Giving.

THE POWER TO DO MORE

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HOW ENERGY WORKS

together

As You Like It | 23

The Baltimore Community Foundation has been helping people who love Baltimore for generations.

FRIENDS... FAMILY... BALTIMORE

You’d be surprised at the variety of creative ideas people have come up with, and the range of charitable plans we’ve helped them design and bring to life.

What will your gift to Baltimore be? Explore the possibilities at www.bcf.org/sharethelove

2 East Read Street, 9th Floor, Baltimore, MD 21202 | 410.332.4171 | WWW.BCF.ORG

24

preview

Detroit ’67

UP NEXT

By Dominique Morisseau

Apr 8–May 8

After the death of their parents, siblings Chelle and Lank (named for poet Langston Hughes) make ends meet by hosting late-night parties in the basement of their childhood home. In 1967 Detroit the latest sounds of Motown echo from the record player, but the risk of their unofficial nightclub is high, given the intensifying police presence in the all black neighborhood. The danger intensifies when Lank rescues a battered white woman, and relationships between black and white, brother and sister, friend and stranger begin to shift. The music and politics of the Motown era sizzle in the background of this sharp-eyed drama that explores our shared humanity, across family and across race.

DETROIT ’67

Visit our Towson Dining Partners!

Great performance deserves applause.

CENTER STAGE

WE SUPPORT THE ARTS IN OUR COMMUNITY.

It takes creativity, discipline, and talent to produce a great performance. That’s why we’re proud to support Center Stage and its work to engage, educate, and inspire.

Learn more about the work we’re doing in the community. troweprice.com/responsibility

CTIEBHDN0

As You Like It | 25

photos CENTER STAGE CELEBRATIONS

Capital Campaign Announcement and The Secret Garden Opening Night Top: Hank Stewart, Joyce Ulrich, Terry Morgenthaler; Ben Griswold, Wendy Griswold, Jonna Lazarus, Fred Lazarus. Left: The Chiasera Family. Third Row: Peter Bain, Millicent Bain, Dick Gamper; Kwame Kwei-Armah, Robert Smelkinson, Kevin Kamenetz, Jill Kamenetz; Marilyn Meyerhoff, Sam Feldman. Fourth Row: Stephanie Rolland, Sarah Rauschelbach, Elissa Goetschius; Scot Spencer, Julie Madden, Martin Madden; The Development Department. Bottom: Antoine Heath and Mika Eubanks at The Secret Garden Post-show party; The cast of The Secret Garden.

26

X’s and O’s Opening Night Top: Bernard Bender and guest; The cast of X’s and O’s: Director Tony Taccone, Dwight Hicks, Marilee Talkington, Eddie Ray Jackson, playwright KJ Sanchez and co-creator Jenny Mercein, Bill Geisslinger, and Anthony Holiday. Left: Guests enjoy the post-show party; Kayla Whisman, Poe (the Ravens Mascot), Sarah Satterwhite.

Anna Deavere Smith’s Notes From the Field Audience members, including former Baltimore Mayor Kurt Schmoke and guests, participate in discussions as part of Act 2 of Anna Deavere Smith’s Notes from the Field: Doing Time in Education, The Baltimore Chapter.

As You Like It | 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 Director’s Intern–AJ Roy Administration Intern–Antonio Eubanks

Artistic & Dramaturgy

Associate Artistic Director–Hana S. Sharif Associate Director/Director of Dramaturgy–Gavin Witt Artistic Administrator–Stephanie Rolland Company Manager–Sara Grove The Lynn and Tony Deering Producing Fellow– Brandon Rashad Butts Digital Media Fellow–Nick Morrison The Judy and Scott Phares Dramaturgy Intern– Lauren Imwold The Philip and Lynn Rauch Company Management Intern–Celia Rector Playwrights Collective–Jennifer Barclay, Alvin Eng, Rachael Knoblauch, Liz Maestri, Craig S. Richie Hot Desk Resident Playwright–Rachael Knoblauch

Audience Relations

Audience Relations & Box Office Manager– Mandy Benedix Assistant Box Office Manager/Subscriptions Manager– Jerrilyn Keene Assistant Patron Services Managers–Laura Baker, Nick Horan Patron Services Associates–Ishai Barnoy, Kelli Blackwell, Blueberry Emily Keller, Shannon Ziegler Audience Relations Associate–Alec Lawson House Managers–Lindsey Barr, Lindsay Jacks, Faith Savill Audience Relations Intern–Lena Mier Audio Description–Ralph Welsh & Maryland Arts Access

Audio

Supervisor–Amy Wedel Audio Engineer–Daniel Hogan The Jane and Larry Droppa Audio Intern–Eric Glauber

Community Programs & Education

Director–Rosiland Cauthen Education Coordinator–Kristina Szilagyi Community Programs & Education Fellow– Joshua Thomas The Greg and Beth McCrickard Community Programs & Education Fellow–Andrew Stromyer Teaching Artists– Lianna Brizzi, Maria Broom, Lauren Imwold, Zipporah Brown, Chris Dews, Vaunita Goodman, Sarah Heiderman, Deirdre McAllister, Jerry Miles, Jr., CJay Philip, Courtney Proctor, Virginia Remsberg, D. Wambui Richardson, Oran Sandel, Susan Stroupe, Ann Turiano, Jacob Zabawa, and The Jokesters: Steve Bauer and Marianne Wittelsberger

Costumes

Costumer–David Burdick Draper–Susan MacCorkle Craftsperson–Wiliam E. Crowther First Hand–Elisabeth Roskos The Terry Morgenthaler and Patrick Kerins Costumes Fellow–Ben Kress

Development

Director–Julia Keller Deputy Director of Individual Giving–Brian Lyles Deputy Director of Institutional Giving– Sabrina S. Thornton

The Center Stage Program is published by: Center Stage Associates, Inc. 700 North Calvert Street Baltimore, Maryland 21202 Editor Maggie Beetz Art Direction/Design Bill Geenen Advertising Sales ads@centerstage.org

28

Campaign Manager–Paul Wissman Institutional Giving Associate–Amanda Mizeur Development Assistant–Alyson Jacques Auction Coordinator–Sydney Wilner Auction Assistant–Norma Cohen The Edward and Ellen Bernard Development Fellow– David Kanter Development Fellow–Arrenvy Bilinski

Electrics

Lighting Director–Tamar Geist Master Electrician–Christal Boyd Staff Electrician–Aaron Haag The Mr. Gilbert H. Stewart and Ms. Joyce L. Ulrich Electrics Intern–Tyler Chinn

Finance

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

Graphics

Art Director–Bill Geenen Production Photographer–Richard Anderson The PricewaterhouseCoopers Graphics Fellow– Katherine Marmion

Information Technologies

Director–Joe Long Systems Administrator–Mark Slaughter

The Kenneth and Elizabeth Lundeen Scenic Art Intern– Christa Ladny

Stage Management

Resident Stage Manager–Laura Smith Production Assistant–Kayla Whisman The Peter and Millicent Bain Stage Management Intern– Victoria Solorio

Stage Operations

Stage Carpenter–Eric L. Burton Wardrobe Supervisor–Linda Cavell The following individuals and organizations contributed to this production of As You Like It Associate Dramaturgs (Towson University)– Tiana Bias,Timothy Huth, Shaakira Lindsey, Parichat Songmuang, Melanie Slusar Audio–Kirby Daly Costumes–Mika Eubanks Lighting–Alison Burris, Paul Callahan, Parker Damm, Jake Epp, Lillie Kahkonen, Eric McMorris, Harley Winkler Special thanks: Jesse Herche, Robyn Quick, and Steven Satta, Towson University Department of Theatre Arts; and Dean Susan E. Picinich, College of Fine Arts and Communication

Marketing & Communications

Director–Beth Hauptle Publications Manager–Maggie Beetz Marketing Manager–Sarah Bichsel Public Relations Manager–Cassandra Miller Digital Content Associate–Emily Salinas Digital Marketing Strategist–Amanda Schwarz The Jay and Sharon Smith Marketing and Communications Intern–Olivia Hairfield

Multi-Media

Multimedia Intern–Daniel Berkowitz

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.

Operations

Facilities Manager–Shawn Whitenack Building Engineer–Harry Piasecki Security Supervisor–James Williams Custodial Services Supervisor–Wylie Shaw Housekeeper–Veronica Walker

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

Production Management

Director of Production–Rick Noble Associate Production Manager–Jennifer Hard Production/Stage Management Interns– Taylor Schwabe, Matt Sykes

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.

Properties

Props Master–Meghan O’Brien Assistant Manager–Nathan Scheifele Artisan–Samantha Kuczynski

Scenery

Interim Technical Director–Bradley Shaw Scene Shop Supervisor–Scott Richardson Carpenters–Derek Lundmark, Brian Jamal Marshall, Hunter Montgomery, Nicholas Sines, WM Yarbrough, III The Patricia and Mark Joseph Carpentry Intern– Courtney Joelle Costello

Scenic Art

Scenic Artist–Stephanie Nimick

CONTACT INFORMATION

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

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.

You don’t need a Ph.D. to understand why Roland Park Place is the right choice.

How to keep your imagination racing.

Healthy minds make for healthy bodies. And nowhere does it apply more than at Roland Park Place.

It’s true, we do have delectable dining, exceptional amenities and well-designed apartment homes and cottages.

But it’s the intellectual stimulation that attracts so many residents.

Perhaps this is why engaging individuals from all walks of life have chosen to live here. Residents enjoy world-class musicians and lecturers discussing a variety of topics. They also participate in a range of special interest clubs, creative arts, wellness classes, singing groups and more.

There are regular outings to local cultural attractions such as Everyman Theater, Centerstage, the Meyerhoff, the Lyric Opera House and Shriver Hall, as well as Kennedy Center ballets. We take excursions as far afield as New York, Philadelphia, Washington, D.C. and Ocean City.

In fact, at Roland Park Place the possibilities are as endless as your own imagination.

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830 W. 40th Street | Baltimore, MD 21211 | (410) 243-5700 rolandparkplace.org RPPJ6372 PhD Ad_7.4375x10_CS.indd 1

The educated choice.

12/16/14 3:57 PM

As You Like It | 29

Spring Session Begins February 22, 2016

Noncredit lectures, courses, workshops Highlights of our upcoming spring offerings include: – Shakespeare—400 Years Mondays, March 28 – May 2, 2016 Six guest lecturers, including Gavin Witt, Center Stage Dramaturg, and actor Bruce Nelson of Salieri fame in Center Stage’s 2014 “Amadeus”

– 2016: A Film Odyssey Saturday, April 30, 2016

– Two Spring Writing Retreats at the Donaldson Brown House – Gary Vikan: From the Holy Land to Graceland – The Art and Magic of the Tarot – Identifying Trees – Songs that Make You Smile – Saturday Luncheon Lectures at the Johns Hopkins Club – And Much More

For more information or to register call (410) 516-8516 www.Odyssey.jhu.edu

14915-Odyssey CenterStage Ad_Layout 1.indd 1

12/23/15 10:36 AM