DoHGprogram

a play on memory Oct 9–Nov 17, 2013

By Marcus Gardley

Directed by Kwame Kwei-Armah

Animal Crackers dance of the holy ghosts: a play on memory A Civil War Christmas Stones in His Pockets Twelfth Night The Liquid Plain Wild with Happy

SEASoN51 Theater for the H eart

dance of the holy ghosts | a

An Introduction to the World of the Play “dance of the holy ghosts is a beautiful, haunting melody.”

—Director Kwame Kwei-Armah

In a season focused on the spirit and the heart, dance of the holy ghosts embodies both—through its story of love, family, and forgiveness, and the poetry of its language.

The award-winning playwright, Marcus Gardley, manages to pair the poetic and the everyday in his lyrical family drama. When crafting this semi-autobiographical play, Gardley delved into his childhood memories, as well as his mother’s stories of her own youth. Paired with these recollections are the poetry and passion of Gardley’s real-life grandfather’s daily love letters to his estranged wife. (Find a gallery of these letters online at www.centerstage.org/dance/digital-dramaturgy.)

Moving through the life of Blues musician Oscar Clifton, dance of the holy ghosts is at once a play on memory and on music. As Oscar drifts between the present and his memory of the past, he relives the moments of love and loss that shaped his choices and shook his family. Haunting each of those moments are his wife and daughter, and the echoes of their presence that reverberate still.

When his grandson, Marcus, comes looking for him, Oscar must confront the truth of his past and its consequence in his present.

Gardley’s work tackles history, spirit, memory, and manhood, and he has frequently been hailed by critics as an inheritor of the legacy of August Wilson. “We use August as a marker of excellence, as a marker of someone who was able to not trade truth for access,” says Artistic Director Kwame Kwei-Armah. “Marcus sits in that family—he can be true to the community that he’s writing out of and be poetic.”

Bringing all of these stories together is the spirit of the Blues— a “chronicle of personal catastrophe expressed lyrically… they at once express both the agony of life and the possibility of conquering it through sheer toughness of spirit” (Ralph Ellison).

As this story moves backwards and forwards through time, the play itself becomes a riff on the Blues, and a commentary on who— and how—we love.

Cast

Table of contents

dance of the holy ghosts

Oct 9–Nov 17, 2013 2

The Setting

3

Meet the Playwright

a play on memory

4 Sweet Release 6

Wrestling with the Blues Spirit

8

Bios: The Cast

10

Bios: The Artistic Team

12

Bios: The Staff

13

Q&A with Kwame & Stephen

15

Audience Services

16 Supporting the Annual Fund 19

Preview: Up Next & Off Stage

20

Center Stage Staff

By Marcus Gardley Directed by Kwame Kwei-Armah

The Cast

(in alphabetical order)

Sheldon Best* Marcus

Denise Burse* Viola Jasmine Carmichael* Tanisha

Doug Eskew* Willie/Father Michael/Bluesy Tux

Michael Genet* Oscar

chandra thomas* Darlene Laura Smith* Stage Manager

Season 51 Presenting Sponsor:

The Artistic Team

Marcus Gardley Playwright Kwame Kwei-Armah Director

Media Partner:

Neil Patel Scenic Design

David Burdick Costume Designer

Season 51 at Center Stage is made possible by:

* Member of Actors’ Equity Association

Michelle Habeck Lighting Designer Rob Milburn and Michael Bodeen Sound Design & Music Arrangements Catherine María Rodríguez Production Dramaturg

Stephanie Klapper Casting Director

Dan Pruksarnukul Additional Casting Songs by Marcus Gardley and Scott Davenport Richards

There will be one 15-minute intermission.

CENTERSTAGE 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.

PLEASE TURN OFF ALL ELECTRONIC DEVICES. IN CASE OF EMERGENCY 410.986.4080 (during performances). dance of the holy ghosts | 1

S et t in g

Place and time

Pl ace

Oakland, California & Monroe, Louisiana

The majority of dance of the holy ghosts is set in Oakland, California. Just west of San Francisco, Oakland is one of the country’s most ethnically diverse cities and a center of Northern California’s African American community. With successive waves of African Americans migrating to the area beginning in the 1940s, Oakland grew to be a center of Blues and Jazz on the West Coast.

Seventh Street became the Blues scene in Oakland, home to such popular juke joints as Slim Jenkins’ Place and Esther’s Orbit Room. Thanks to its reputation as a cultural hub, Oakland came to be known as “Baby Harlem.”

The majority of the Southern migrants who settled in Oakland during the Second Great Migration (see p. 6) were from Louisiana. They were more likely to come from rural places like Monroe, a small city in northern Louisiana, than big cities like New Orleans. Drawn to the lure of the urban music scene, as their agricultural counterparts were to industrial jobs, countless aspiring Bluesmen left small towns like Monroe to follow their dreams west.

Clockwise, from upper-left: Monroe street corner, 1947; Slim Jenkins’ Place, Oakland, 1950; Open-air chess match, Oakland, 2010; Bluesman “Little Walter,” circa 1960s

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M eet

The Playwright

Time Act I

The Present

Oakland, CA: A Wolf without a Pack

1987

San Quentin, CA: Jail-bird Blues

1948

Monroe, LA: The Black Queen

The Present

Oakland, CA: Heart Failure

1959

Oakland, CA: Sing Me a Dream

1989

Oakland, CA: Going through a Storm

1948 and 1989

Oakland, CA: Itching Fingers; Or, I Can Fix Us

The Present

akland, CA: The Leaves Are Changing

1976

Oakland, CA: Will You Walk with Me?

The Present

Oakland, CA: A Blown-out Moon

Act II

The Present

Oakland, CA: No Music without the Muse

1959

San Francisco, CA: Howl the Blues

The Present

Oakland, CA: Walking around Wounded

1959

Oakland, CA: The Gig Is Up

1989

Oakland, CA: She’s My Mind

The Present

Oakland, CA: The Missing Piece

Playwright

Marcus Gardley Marcus Gardley grew up in the 1980s in Oakland, surrounded by a tight-knit community and raised by parents and grandparents from the South. He recalls, “Growing up in Oakland was really magical.

I have family that all lived in the same vicinity; it was a huge community. I grew up in a political environment, but also a spiritual and diverse one. It had a huge effect on me.”

Gardley spent his Sundays listening to his father preach, and the Black Church has informed and inspired some of his finest work. Though he started out as a poet, Gardley became captivated by playwriting during his college years at San Francisco State. He went on to Yale School of Drama, where he studied under celebrated playwright Lynn Nottage.

Since then, Gardley has had productions at major theaters across the United States, and his work has garnered accolades for its soulful sincerity and lyricism. He currently splits his time between New York City and Providence, Rhode Island, where he teaches playwriting at Brown University. He makes a mean dish of Brussels sprouts and thoroughly enjoys mint juleps.

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sweet

rele ase

Interview by Catherine María Rodríguez, Production Dramaturg

Playwright Marcus Gardley shares some of his inspiration for dance of the holy ghosts Catherine María Rodríguez: How did you start writing dance of the holy ghosts?

Marcus Gardley: I decided I was going to write a play for fun. I started writing about my childhood. The very first scene, oddly enough, was with my grandfather. My only memory of him was me breaking his gumball machine and him hitting me; he died soon after that. I felt that I needed to know more about this man so that I could have other memories that were positive.

[But] when I started asking people things about him, there were no positive memories.

[Laughs] Then my brother shared this great memory he had with my grandfather, who used to make him mayonnaise and sugar sandwiches. The way my brother described it, I thought, “There was more to this guy. I think a lot of people missed it.” The play became an homage to him.

Was writing it also an exercise in exorcising something that was haunting you?

Yeah. I think why I wrote about my grandfather was that I didn’t have enough

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male figures in my life that influenced me, and I wanted that. Now my dad has been a great influence, but it’s really been just him. I’ve always looked for other father figures in my life. Through that, I really tried to talk about Oscar honestly, to make him multidimensional so I can see the love that I think he had. Through letters that I found that he wrote my grandmother, you knew that he was a romantic; he had to possess love for his children and his wife.

What were the letters?

When my grandmother died, we were going through all of her belongings, and we found these letters hidden in a prized box. We all thought she hated him, but the fact that she kept them all proved that, indeed, she must have had some love for him. She died very soon after him, of a broken heart. [In the letters,] he begged her constantly to come back, but she wouldn’t. Their love was so deep and so powerful, and we don’t know the extent of it.

What other memories does the play draw on?

There’s a fusion of family members’ memories, my brother’s memories, stories that I heard, and then my own memories— because I was taught when you tell a story

you add your own thread to it, so that you own part of it. It’s your stake in the story. My grandmother says that stories change over time; there’s no one way to tell anything because people forget, people lie, and people lie on accident. So, if you’re going to tell a story, your job is to add your own piece to it.

Can you speak to storytelling and the spirit in preaching, poetry, playwriting— and the Blues?

My father’s a pastor. But this is my ministry, theater. All the men in our family—on both sides—are preachers in some way. That’s what we grew up with. And when the family gathers, the matriarchs tell stories.

We all tell stories. My brother’s a poet, and my sister writes novels. So we’re all writers, all storytellers. [And] spirit is central to storytelling. What we call “catharsis” in theater, in the Blues is called “sweet release.”

Lorca called it duende. It’s all the same thing.

What it means is the storytelling or the theatrical event that you’re experiencing overwhelms you to the point where you have an emotional response that cannot be explained with everyday language, only through emotion, which makes it both, which makes it spiritual. I don’t write anything that doesn’t have or evoke the

[

[

A play to me is a spell, and if it’s done right you will enchant and heal.

spirit. It’s just releasing something in you— you can relate or empathize on some level with the people in the play that makes you love the story, that makes you want to be a better person, or that makes you want to change the world.

What’s your own relationship to words and to music and to soul?

I started out as a poet, but found plays the medium in which I could be more represented. But I think the Blues and poetry are present in my work because I believe in a heightened form of reality, and they’re the only way to get there. It’s too real if it’s just realism, that’s my theory. But magical realism, which I use by heightening poetry, allows us to get at a very particular truth and feels more real than realism.

Magic is real. And the only way to really explain magic is through poetry. Because a play to me is a spell, and if it’s done right you will enchant and heal.

In Blues lore, Robert Johnson made a deal with the devil at the crossroads—but here’s a Bluesman, Oscar, who’s made a deal with God. Can you speak to that just a little bit?

I’m so glad you brought that up because that was my entry into Blues. I wanted to pay homage to that story, but I wanted to

do it very loosely. I flipped it because it’s easy for him to sell his soul to the devil to get this gift. But here if it’s God, then we have to look at it a different way, and it’s not so easy. Oscar has a gift, and God actually wants him to use his gift. But it’s subversive because God wants him to play the Blues, not sing the Gospel. I love that this character won’t do God’s work, which is the Blues, because he wants God to give his dead wife back.

For you has this play been a “sweet release”?

This has been the hardest play of my career to write, because it’s hard to see yourself, first of all, and then it’s hard to write about things that are personal. But I needed it. It’s been eight years since the [first] production of this play, and it almost went to Broadway twice. It’s had quite a journey. I’m so glad it’s at Center Stage because I feel like it’s in the hands of a creative team, a theater, and an artistic director that both get me and get the importance of the work—but are also really interested in the deeper bone marrow of what I’m trying to do. Because I’ve now had those eight years, it feels like a sweet release. It took that long for me to do this rewrite. Plays are living things; sometimes they take a long time.

Finally, if you could only listen to one bit of Blues for the rest of your life, what or who would it be?

It would actually be… Bessie Smith. There’s a song that she sings where she describes her genitalia as being “so good it makes a man sick for it.” Lovesick for it. It’s so genius because she does it in a way that at first you go, “Oh my God”—and then you realize how beautiful it is. Then it goes even deeper than that because it’s so poetic: she’s actually talking about her own confidence. I like it because Bessie Smith lived at a time when women were low on the totem pole, and she empowered herself. She’s a champion to me. I know when people think of the Blues they think of these men. Oscar’s a man, but for me this play is—the women are gods.

The women are gods.

The women are gods. And I feel that way about the Blues, too.

For the full interview please visit www.centerstage.com/2013-14Season/ danceoftheholyghosts.

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I got the key to the highway, and I’m billed out and bound to go I’m gonna leave here runnin’, ‘cause walkin’ is most too slow I’m goin’ down on the border, now where I’m better known ‘Cause woman you don’t do nothin’, but drive a good man ‘way from home Now when the moon creeps over the mountain, I’ll be on my way Now I’m gonna walk this old highway, until the break of day.

–Big Bill Broonzy “Key to the Highway” (1941)

WrestlingwiththeBluesSpirit,fromDeepSouthtoWestCoast

By Catherine María Rodríguez, Production Dramaturg

“You get a heck of a sound from the church. Can’t you hear it in my voice?”

–Muddy Waters

“I’m gonna preach these blues.”—Son House The Blues is the song, spirit, and memory of exile from native soil, from church, and from love. With lyrics that paint scenes of endless wandering, haunting vocals that invoke sweet and sorrowful memories, and legends that tell of soul-selling pacts, the Blues transcends mere genre and is, for many, a way of life and a means of navigating through this trying world.

Initially described as “the weirdest music ever heard” upon its discovery in 1903, the Blues proved its soul and sincerity during a historic moment of unrest some decades later. Displaced by newfangled machines in agricultural fields and motivated by new work opportunities in war-time industries during World War II, African American populations moved out of the rural South and on to faraway cities.

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The Second Great Migration outnumbered its better-known predecessor in both scope and duration, with a whopping five million people moving cross-country from 1940 through 1970. As Blacks resettled, they brought with them sounds and sights of the home they’d left behind.

From storefront churches and juke joints to southern cooking and the Blues, the cultural landscape of America—not just its demographics—changed dramatically during these years.

From the Mississippi Delta region, Bluesmen too scattered far and wide: to Chicago, New York City, Detroit. Some of the most restless journeyed as far as Oakland.

Along the way, they remembered a range of experiences through their music, singing of great troubles and joys, of newfound passion and lost love and moving on.

Themes of self-empowerment, self-reliance,

and lustful longing distinguished the Blues from the more “godly” Gospel tunes.

Bluesmen, though, served their audiences as preachers did their parishioners: while each region developed its own distinctive style, the Blues united whole communities and kept the spirit of hope alive through soulfully responding to experiences common to this new diaspora. As singer Furry Lewis put it, “the Blues come from a woman wanting to see her man, and a man wanting to see his woman.” The Blues remembers the good with the bad and rejoices in the ability to pick up and go— always honoring, reveling in, and yearning for things lost or otherwise left behind.

Quite simply, Bluesmen lived what their souls sang, and their messages reverberated powerfully with other migratory folk.

If I had possession over Judgment Day If I had possession over Judgment Day Lord, the little woman I’m lovin’ wouldn’t have no right to pray And I went to the mountain lookin’ far as my eyes could see And I went to the mountain lookin’ far as my eye could see Some other man got my woman and the alonesome blues got me.

–Robert Johnson

“If I Had Possession Over Judgment Day” (1937)

Still, Bluesmen experienced pushback everywhere, from preachers who labeled them devilish to a music industry obsessed with guarding its racial privilege. Midway through the Second Great Migration, when many first-generation Blues artists were still living and performing, their reception varied greatly—often within a single lifetime or career. Whereas the legendary Son House, for example, was rediscovered before his passing, other profoundly talented contributors like J.B. Lenoir and Juke Boy Bonner were unable to support themselves by their music and died young while working minimum-wage jobs. For every rediscovered Bluesman who makes headlines, there are dozens more whose music has fallen on deaf ears, forgotten by the record-buying public.

And yet, despite all odds, Bluesmen and their music have persisted, demanding respect even in the face of waning attention.

Cultural anthropologist Peter R. Aschoff asserts that the Blues “celebrates freedom, even freedom in the imperfect, through the symbolism of travel and the ability to resolve problems by distancing oneself from them.” As Aschoff explains, “The Bluesman put the truth out there regardless of the mainstream’s reaction to it and was granted harsh respect for his insistence on living life on his own terms. Living in a society structured by design to deny personhood to members of the Blues culture, the Bluesman’s uncompromising claim to it is nothing less than revolutionary.”

“Blues is a natural fact, is something that a fellow lives. If you don’t live it you don’t have it. Young people have forgotten to cry the Blues. Now they talk and get lawyers and things.”

–Big Bill Broonzy

The pang of the Blues is the pang of resilience and hope, the song of the spirit.

From the Deep South to the West Coast, the Bluesman marches on, beating out the music of exile and endurance.

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Bios

The Cast

Sheldon Best*—Marcus.

Center Stage: debut. Off Broadway/New York— Classical Theatre of Harlem: A Midsummer Night’s Dream (Puck); 59E59 & Penguin Rep: Freed (John Newton Templeton); LAByrinth: Paradox of the Urban Cliché; Ma-Yi & Vampire Cowboys: Soul Samurai; Vampire Cowboys: Geek!, Alice in Slasherland; 59E59 & Scripts Up: Years of Sky. Regional— Studio Theatre of DC: Sucker Punch (Leon); Denver Center: Superior Donuts (Franco); Geva Theatre: A Midsummer Night’s Dream (Lysander); NC Shakespeare Festival: Romeo and Juliet (Romeo); Cleveland Play House: The Life of Galileo (Andrea Sarti); Underground Railway: Harriet Jacobs (Tom); Actors’ Shakespeare Project: Much Ado About Nothing (Claudio); SpeakEasy Stage: The History Boys; Berkshire Theatre: One Flew Over the Cuckoo’s Nest. TV—CBS: Person of Interest.

Education—BA, Brandeis University.

Denise Burse*—Viola.

Center Stage: Fences (Rose, dir.

Donald Douglas), Radio Golf (Mame, dir. Kenny Leon).

Broadway/Lincoln Center— Wendy Wasserstein’s An American Daughter (dir. Daniel Sullivan). Off Broadway—Ohio Theatre: Eisa Davis’ Angela’s Mixtape; Classical Stage Company: Don Juan of Seville; American Place Theatre: Ground People (Theatre World Award, Audelco Nom.); Cherry Lane Theatre: Harriet’s Return; Negro Ensemble Company: Hannah Davis; New Federal Theatre: Bill Harris’ Robert Johnson: Trick the Devil (Audelco/Best Actress Award). Tours—Radio Golf (Pre-Broadway, Center Stage, Mark Taper Forum, Seattle Rep).

Regional—The Kennedy Center: Pearl Cleage’s Flyin’ West w/ Ruby Dee; Cincinnati Playhouse, Geva: Charles Randolph Wright’s Blue; Illusion Theater: Miss Evers’ Boys; Cleveland Playhouse: African Company Presents Richard III; Seattle Rep: The Piano Lesson (dir. Lloyd Richards); True Colors Theatre Company/NBAF: James Baldwin’s The Amen Corner; True Colors Theatre Company: Fences (dir. Kenny Leon).

Alliance Theatre: The Piano Lesson, Seven Guitars (dir. Kenny Leon). Workshop—New York Stage and Film/Powerhouse: Marcus Gardley’s The House That Will Not Stand (dir. Marion McClinton). Film/TV—Claretha Jenkins on Tyler Perry’s House of Payne (2011 NAACP Award recipient for Outstanding Comedy Series); Peace, Love, and Misunderstanding (dir.

Bruce Beresford); Preaching to the Choir; 8

Funny Valentines (BET/STARZ); All the Law and Orders; Third Watch; 100 Centre Street. This show is dedicated to my late Aunt Viola.

Jasmine Carmichael*—

Tanisha Taylor. Center Stage:

debut. Film/TV—Romeo and Juliet in Harlem, The Following, Law and Order: SVU, Unforgettable, NYC 22.

Education—Mason Gross School of the Arts, Rutgers University. For Mommy, thank you for your love and unwavering support. I dedicate this and every performance to you.

Doug Eskew*— Father Michael, Bluesy Tux, Police Officer, Willie.

Center Stage: Ain’t Misbehavin’.

Broadway—The Color Purple (Rev. Avery), Five Guys Named Moe (Big Moe), Truly Blessed.

Off Broadway—Thunder Knocking on the Door, Josephine Song. National Tours—The Color Purple, Five Guys Named Moe (NAACP nomination and LA Ovation Award), CATS, Dreamgirls, Ain’t Misbehavin’. Regional Theater—Caroline, or Change (Salt Award nom); Chasin Dem’ Blues; Crowns (Barrymore Award nom); Dreamgirls; Thunder Knocking on the Door (Helen Hayes nom); Ain’t Misbehavin’ (Helen Hayes nom); Ma Rainey’s Black Bottom; Polk County and Golden Boy. TV—One Life To Live, The Oprah Winfrey Show, Late Night with David Letterman, The Tonight Show, Good Morning America,The Tony Awards Show (1992 & 2005).

Michael Genet*—Oscar.

Broadway—A Few Good Men, Hamlet, Northeast Local, Lestat; Off Broadway—A Soldier’s Play, The Colored Museum, Resurrection, Earth and Sky, Seven Guitars, The Oedipus Plays, Joe Turner’s Come and Gone.

Film/TV—One Fine Day, Wall Street: Money Never Sleeps, She Hate Me, Booty Call, 25th Hour, Simple Justice, Hallelujah, Deadline, Ugly Betty, Law & Order, Tyler Perry’s House of Payne, All My Children, As the World Turns, Law & Order: CSI, New York Undercover, One Life To Live.

Writing Credits—Hallelujah, She Hate Me, Talk to Me, The Cape, Island Affair, They Must Not Know Who I Think I Am: Lessons In Defiant Resilience™. Awards—Sundance Screenwriter Selectee, Eugene O’Neill Playwright’s

Conference Selectee for New American Plays, Pork Pie) in a Motion Picture (Talk to Me).

chandra thomas*— Darlene/Nurse. Center

Stage: debut. Off Broadway/ New York— New York Theatre Workshop: Coney Island Avenue; Classical Theatre of Harlem: The Cherry Orchard (AUDELCO nom); Public Theater: 365 Days/365 Plays; Women’s Project Theatre: Boy Meets Girl; Cherry Lane Theatre: Wordsworth; P.S. 122: Picking Up Baby; Access Theatre: Obama Drama; Barrow Group Theatre: a rhyme for the UNDERground. Regional— Guthrie: Crowns; Pittsburgh Public Theater: Clybourne Park; Delaware Theatre Company: No Child...

(Barrymore Award nom); Philadelphia Theatre Company: Ruined; Alliance Theatre: False Creeds. Film/TV—Labor Day, The Good Wife, Too Big to Fail, Law & Order: CI, Sweet Lorraine.

Writer/producer—Standing At... (Heideman Award Finalist), a rhyme for the UNDERground, Complete Sentences?, Forgive to Forget; Co-Founder, viBe Theater Experience (awardwinning non-profit organization empowering NYC teenage girls through the performing arts). Education—MFA, Columbia University. www.chandrathomas.com / @truechandra.

dance of the holy ghosts | 9

Bios

The Artistic Team

Marcus Gardley—Playwright—is a

poet-playwright who is the recent 2012 James Baldwin Fellow. He is also the 2011 PEN Laura Pels award winner for Mid-Career Playwright and a Mellon Foundation Playwright in Residence Grantee with Victory Gardens in Chicago. The New Yorker describes Gardley as “the heir to Garciá Lorca, Pirandello and Tennessee Williams.” His most recent production, Every Tongue Confess premiered at Arena Stage starring Phylicia Rashad and directed by Kenny Leon. It was nominated for the Steinberg New Play Award, the Charles MacArthur Award for Best Play and was the recipient of the Edgerton New Play Award. His musical On The Levee premiered last summer at Lincoln Center and was nominated for 11 Audelco Awards including outstanding playwright. Last spring, his critically acclaimed epic And Jesus moonwalks the Mississippi was produced at the Cutting Ball Theater and received the SF Bay Area Theater Critics Circle Award had two sold-out extensions. His Bay Area plays: This World in a Woman’s Hands (October 2009) and Love is a Dream House in Lorin (March 2007) have been hailed as the best in Bay Area theater.

The latter was nominated for the National Critics Steinberg New Play Award. He has had six plays produced including: dance of the holy ghosts at Yale Repertory Theatre, (L)imitations of Life at the Empty Space in Seattle, and like sun fallin’ in the mouth at the National Black Theatre Festival. He is the recipient of the 2011 Aetna New Voice Fellowship at Hartford Stage, the Hellen Merrill Award, a Kellsering Honor, the Gerbode Emerging Playwright Award, the National Alliance for Musical Theatre Award, a Mid-Atlantic Arts Foundation Grant, a NEA/ TCG Playwriting Participant Residency, the Eugene O’Neill Memorial Scholarship and the ASCAP Cole Porter Prize. He holds an MFA in Playwriting from the Yale Drama School and is a member of The Dramatists Guild and the Lark Play Development Center. Gardley is a 10

David Burdick, Costume Designer, shares his vision at First Rehearsal.

Scenic Design model by Neil Patel.

professor of Theater and Performance Studies at Brown University.

Kwame Kwei-Armah OBE—Director.

(see page 12)

Neil Patel—Scenic Designer. Center Stage: Animal Crackers, Mud Blue Sky, The Mountaintop, The Whipping Man, American Buffalo, Working it Out, Joe Turner’s Come and Gone, Once on This Island, Elmina’s Kitchen, Ain’t Misbehavin’, The Hostage, As You Like It, many others. Broadway— Soul Doctor; Oleanna; Wonderland; [title of show]; Ring of Fire; ’night, Mother; Sideman (also West End & Kennedy Center). Off Broadway—Signature Theatre: stop.reset, My Children! My Africa!; Second Stage: By the way, Meet Vera Stark, Gruesome Playground Injuries, Peter & Jerry, Living Out; Roundabout: McReele, Hurrah at Last; Vineyard: Now.Here.This., The Long Christmas Ride Home; MTC: Between Us, Glimmer Glimmer and Shine; MCC: The Mercy Seat; NYTW: The Beard of Avon, Lydie Breeze, Resident Alien, A Question of Mercy, Bob, Quills, Slavs!; Playwrights Horizons: Lobster Alice, On the Mountain; Public/NYSF: Dirty Tricks, Othello.

Regional—includes Guthrie, Steppenwolf, La Jolla, McCarter, Alley, Long Wharf, Mark Taper.

Opera—Chicago Lyric Opera: Anna Bolena; Houston Grand Opera: Mary Stuart; Spoleto: Le Villi and Mese Mariano; NYCO: Alcina; Santa Fe: Carmen, Salome, Madame Mao; Minnesota: Madame Butterfly; St. Louis: Cavalleria Rusticana, Suor Angelica, Gloriana; Nikikai: Cosi Fan Tutte, Le Nozze di Figaro, Don Giovanni; FGO: Anna Karenina. Film—Some Velvet Morning (TriBeCa) Television—In Treatment (HBO). Awards—Obie Award (2), Helen Hayes Award, Eddy Award, Hewes nom (5), Drama Desk nom (3).

David Burdick—Costume Designer.

Center Stage: Animal Crackers, …Edgar Allan Poe; The Mountaintop; An Enemy of the People;The Whipping Man; A Skull in Connemara; The Rivals; Snow Falling on Cedars; Working it Out; Cyrano; Caroline, or Change; Hearts; Things of Dry Hours; Crumbs from the Table of Joy; Elmina’s Kitchen; Picnic; a.m.

Sunday; The Rainmaker; Blithe Spirit; many others. Regional—Everyman Theatre: The Beaux’ Stratagem, August: Osage County, You Can’t Take It with You, Private Lives, All My Sons, The Mystery of Irma Vep; Walnut Street/Totem Pole: The Last Night of Ballyhoo, Moon Over Buffalo. Opera—Cincinnati: Don Giovanni; Boston Lyric: I Puritani; Tulsa: Tosca, The Barber of Seville, Carmen, Fidelio. Dance— BAM: FLY: Five First Ladies of Dance; Dayton Contemporary: Lyric Fire (world premiere, dir./choreographer Dianne McIntyre).

Miscellaneous—Baltimore Symphony Orchestra: Holiday Spectacular.

Michelle Habeck—Lighting Designer.

Center Stage: An Enemy of the People, The Whipping Man, A Skull in Connemara, Let There Be Love, Things of Dry Hours, Elmina’s Kitchen.

Broadway—Slide Artist: Thoroughly Modern Millie (also London and tour); Associate Lighting Designer: The Boy from Oz, King Hedley II; Assistant Lighting Designer: Movin’ Out, Thoroughly Modern Millie, King Hedley II. Opera—Associate Lighting Designer: Julie Taymor’s Grendel. Off Broadway—Fifty Words.

Regional—American Music Theatre Project: WAS (dir. Tina Landau), Dangerous Beauty (dir. Sheryl Kaller); Guthrie: A Raisin in the Sun, Gem of the Ocean. Steppenwolf: Love Song, The Chosen, Ten Percent of Molly Snyder.

Michelle has also designed for The Goodman, Alliance, Kansas City Repertory, Penumbra, Arizona Theatre Company, Writer’s Theatre, Lookingglass, and others. Awards—NEATCG Career Development Grant for Design, The University of Texas Faculty Fine Arts Award.

Rob Milburn & Michael Bodeen— Original Music and Sound Design. Center

Stage: Gleam, Who’s Afraid of Virginia Woolf?, These Shining Lives, A Raisin in the Sun, Dinah Was, Jitney. Broadway—Music & Sound: Breakfast at Tiffany›s, The Miracle Worker, One Flew Over the Cuckoo’s Nest, The Speed of Darkness; Music: My Thing of Love; Sound: Steppenwolf’s Who’s Afraid of Virginia Woolf, Superior Donuts, reasons to be pretty, A Year with Frog and Toad, Ma Rainey’s Black Bottom, Hollywood Arms, King Hedley II, Buried Child, The Rise and Fall of Little Voice, The Song of Jacob Zulu, The Grapes of Wrath.

International— London: Comedy Theatre, Barbican, National Theatre of Great Britain; Tel Aviv: Cameri Theater; Japan: Subaru Acting Co.; Toronto; Dublin; Galway; Perth; Sydney. Off Broadway—Vineyard, MTC, MCC, Second Stage, Public, NYSF, Playwrights Horizon’s. Regional— Steppenwolf, Alley, Chicago Shakespeare, Berkeley Rep, Huntington, Guthrie, Mark Taper, McCarter, Alliance, Shakespeare (DC), Arena, Kennedy Center.

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

Catherine María Rodríguez— Production Dramaturg—is a New

Orleans native making her Center Stage debut with dance of the holy ghosts. Catherine is the dramaturg and archivist for Un Encuentro: Theater from the Borderlands, a new transnational collaboration between Borderlands Theater (Tucson) and El Círculo Teatral (Mexico City). Notable past credits include production dramaturgy for The NOLA Project’s Much Ado about Nothing with the New Orleans Museum of Art and Bruja at Borderlands; assisting on the National New Play Network rolling world premiere of Guapa; administrative and producing work at Steppenwolf; and performance studies research at Northwestern. Catherine holds

a BFA in Dramaturgy and a BA in Hispanic Studies from Carnegie Mellon. In 2013, she received the LMDA & Kennedy Center Regional Student Dramaturgy Award and debuted as a Dramaturgy Panelist at the Association for Theatre in Higher Education national conference. Saludos a todos and laissez les bons temps rouler!

Stephanie Klapper—Casting Director.

Center Stage—Mud Blue Sky, …Edgar Allan Poe, The Whipping Man, A Skull in Connemara.

Her work has been seen on Broadway, Off Broadway, regionally, internationally, on television, internet and film. Selected Recent Broadway and Off Broadway—A Christmas Story, The Musical (2012 Tony nominations); Dividing the Estate (2009 Tony nomination); Emotional Creature (Eve Ensler);Harbor; Bronx Bombers; The Model Apartment; You Never Can Tell; Stop the Virgins!; Cactus Flower; The Temperamentals; Bells are Ringing; Dinner with Friends; an oak tree NY/LA(Artios award winner); Indoor Outdoor. National Tour—A Christmas Story, The Musical. Resident casting director for Primary Stages, New York Classical Theatre, and the Pearl Theatre Company. Regional credits include Adirondack Theatre Festival, The Alley Theatre, Actors Theatre of Louisville, Arena Stage, Asolo Repertory Theatre, Center Stage, Berkeley Repertory Theatre, Capital Repertory Theatre, Commonwealth Theatre Company, Delaware Theatre Company, Hartford Stage, Indiana Repertory Theatre, Kansas City Repertory Theatre, Milwaukee Repertory Theater, The New Theatre, The Old Globe, Round House Theatre and Westport Country Playhouse.

Her select film and television credits include Alice Jacobs is Dead, Feast of the Goat, Roberta, Sidewalk Stories and for TV, Lazytown. Ms. Klapper is a member of the Casting Society of America and the League of Professional Theatre Women.

PBS Documentary A Raisin In The Sun Revisited: The Raisin Cycle at Center Stage Fri, Oct 25, 9 pm ET

On October 25, PBS presents a new, one-hour documentary—filmed right here at Center Stage.

A Raisin in the Sun Revisited: The Raisin Cycle at Center Stage explores the history and legacy of Lorraine Hansberry’s groundbreaking 1959 drama through the staging of two contemporary plays it inspired: Bruce Norris’s Clybourne Park and Beneatha’s Place by Kwame Kwei-Armah, Center Stage Artistic Director.

Center Stage mounted both plays in repertory as last spring. Filmmakers captured the drama and cultural significance of simultaneously running these two issue-driven plays. With two opening nights looming, rehearsals, meetings, and costume fittings are paired with footage of Center Stage’s performances, the 1961 film, and insights from theater historians.

The program premieres Friday, October 25, 9 pm ET on PBS. Raisin Revisited is made possible by The Eddie C. Brown Family Foundation and Brown Capital with additional support from The Charlesmead Foundation, Ellen and Ed Bernard, and the Estate of Katherine Vaughns.

dance of the holy ghosts | 11

BIOS

The Staff

Artistic Director Kwame Kwei-Armah OBE, an award-winning

British playwright, director, actor, and broadcaster, is in his third season as Artistic Director of Center Stage in Baltimore, Maryland. At Center Stage he has directed The Mountaintop; An Enemy of the People; The Whipping Man (one of City Paper’s Top Ten Productions of 2012), for which he was named Best Director; and Naomi Wallace’s Things of Dry Hours.

Among his works as playwright are Elmina’s Kitchen and Let There Be Love—which had their American debuts at Center Stage—as well as A Bitter Herb, Statement of Regret, and Seize the Day. His latest play, Beneatha’s Place, debuted at Center Stage in 2013 as part of the ground-breaking Raisin Cycle. His other directorial credits include Let There be Love and Seize the Day at the Tricycle Theatre, the World Premiere of Detroit ’67 at The Public Theatre, and the World Premiere of The Liquid Plain at Oregon Shakespeare Festival. Kwame has served on the boards of The National Theatre and The Tricycle Theatre, both in London. He served as Artistic Director for the World Arts Festival in Senegal, a month-long World Festival of Black Arts and Culture, which featured more than two thousand artists from 52 countries participating in 16 different arts disciplines.

He was named the Chancellor of the University of the Arts London, and in 2012 was named an Officer of the Most Excellent Order of the British Empire.

12

Managing Director Stephen Richard,

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

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

Associate Artistic Director/Director of Dramaturgy Gavin Witt came to Center

Stage in 2003 as Resident Dramaturg, having served in that role previously at several Chicago theaters. As a dramaturg, he has worked on well over 60 plays, from classics to new commissions—including play development workshops and freelance dramaturgy for TCG, The Playwrights Center, The New Harmony Project, The Old Globe, Bay Area Playwrights Festival, CATF, The Kennedy Center, and others. A graduate of Yale and the University of Chicago, he was active in Chicago theater for more than a decade as an actor, director, dramaturg, translator, and teacher, not to mention co-founder of greasy joan & co. theater, while serving as a regional Vice President of LMDA, the national association of dramaturgs. He has been on the faculty of the University of Chicago and DePaul University, and locally at Towson University.

Above: Cast members Sheldon Best, Doug Eskew, Michael Genet, chandra thomas, and Jasmine Carmichael join Dramaturgs Catherine María Rodríguez and Gavin Witt in a discussion on the play with Center Stage Board of Trustee members.

Q & A

with Kwame & Stephen

There is a lot of music in this show. What is your favorite style of music or what musicians inspire you?

Kwame Kwei-Armah: I like music of the soul, however one wishes to define that. For me it’s Blues, Gospel, music that combines the spirit and the mind, artists such as Stevie Wonder. It is music of the African diaspora in all of its manifestations. And of course, I love the Blues—they are one of the major investigators and articulators at the heart of the African American experience.

Stephen Richard: I grew up as a teenager in a working class neighborhood in Houston, and one of the places I hung out was in the alley behind a honky-tonk/roadhouse where Lightnin’ Hopkins played. And so I would sit there hearing him—somewhat muffled because between me and the stage was the kitchen. But that’s where I started listening to Blues, from that club, from Lightnin’ Hopkins.

A conversation with Artistic Director Kwame Kwei-Armah and Managing Director Stephen Richard.

Can you share a memory linked to music?

What was your first experience with Marcus Gardley’s work?

KKA: I saw Stevie Wonder in concert when I was 16 or 15. I remember very clearly being moved to the point of distraction, and understanding that some people can be so extraordinarily blessed that they can connect us to things that hitherto you could not be connected to. Marion McClinton says that the artist is God’s Christmas present to herself. And I like that very much. I remember seeing Stevie Wonder and going, “Oh, I can feel something extraordinary,” something outside of the earth, something outside of the here and the now in the vibrations that came off the stage.

KKA: I came to America in 2005 and was doing a residency at New Dramatists. An actress friend of mine who was doing an early reading of dance of the holy ghosts at Yale Rep caught me and said, “You must read this.” I read it and was like, “Oh, this is serious.” A few years later, Marcus was at The Playwrights’ Center, and he was asked what director or establishment he would like to “dance” with. He asked for me and I flew out for another reading. I just fell in love with it.

SR: Sticking with stories about growing up in Houston…One summer I worked road construction in very hot Harris County, Texas. This would have been in 1972. The crew was completely racially segregated.

There was a Hispanic crew that did the steel, tying steel rods to form the base of the road. There was an African American crew who were mud slingers—the concrete would pour out of the truck and these guys moved it around. And the supervisors and surveyors were white; I drove the stakes for one of the surveyors. The only thing these people had in common—including language—was music. And Stevie Wonder was on the radio.

KKA: Stephen, that is a beautiful, beautiful story.

SR: I actually encountered Marcus a number of years ago at Arena Stage. We commissioned a play from him—we were very excited about working with him early in his career. That play turned out to be every tongue confess [which premiered at Arena Stage in 2012].

What moves you about his writing?

KKA: I find that, in his quest to explore the soul of the communities that he writes about, he does so with great verve, spirit, and poetry. As a writer myself, I love playwrights who write from a different side of the brain than I do. To use an old-fashioned boxing analogy, working with poetic playwrights like Naomi Wallace, Dominique Morisseau, and Marcus, I feel like they are Muhammad Ali to my George Foreman. We fight out of different places. I’m always in awe of the playwright who can combine poetry and dramatic action.

dance of the holy ghosts | 13

for making for making a mark in in a mark Baltimore.

Baltimore.

PNC is proud to bePNC a part of CENTERSTAGE. Because isisproud totobe CENTERSTAGE. PNC proud beaapart partofof CENTERSTAGE.Because Because we know a community thataaworks together thrives we community that works weknow know community that workstogether togetherthrives thrives together. together. together. pnc.com

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©2013 The PNC Financial Services ©2013 Group, Inc. All rights reserved.

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14

Au dience

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.

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. *For dance of the holy ghosts: Sunday Nov 3.

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

dance of the holy ghosts | 15

su ppo rt

The Annual Fund at Center Stage (March 9, 2012 through September 10, 2013.)

Board of Trustees

The following list includes gifts of $250 or more made to the Center Stage Annual Fund

Robert W. Smith, Jr., President Edward C. Bernard, Vice President Juliet Eurich, Vice President Terry H. Morgenthaler, Vice President E. Follin Smith, Treasurer J.W. Thompson Webb, Secretary

Penny Bank Katharine C. Blakeslee* James T. Brady C. Sylvia Brown* Stephanie Carter August J. Chiasera Janet Clauson Lynn Deering Jed Dietz Walter B. Doggett, III Jane W.I. Droppa Brian Eakes Beth W. Falcone Daniel Gahagan C. Richard Gamper, Jr. Suzan Garabedian Carole Goldberg Adam Gross Cheryl O'Donnell Guth Martha Head* Elizabeth J. Himelfarb Hurwitz Kathleen W. Hyle Ted E. Imes Murray M. Kappelman, MD* John J. Keenan E. Robert Kent, Jr. Joseph M. Langmead* Kenneth C. Lundeen* 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 Todd Schubert Charles Schwabe George M. Sherman* Scott Somerville Scot T. Spencer Michael B. Styer Harry Thomasian Donald Thoms Katherine Vaughns+ Cheryl Hudgins Williams Linda S. Woolf * Trustee Emeriti + Center Stage honors the legacy of Katherine Vaughns and her many contributions as a Trustee, patron, donor, and friend of our theater.

between March 9, 2012 and September 10, 2013. Although space limitations make it impossible for us to list everyone who helps fund our artistic, education, and community programs, we are enormously grateful to each person who contributes to Center Stage.

We couldn’t do it without you!

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

Ellen and Ed Bernard

Stephanie and Ashton Carter 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

($40,000+)

William G. Baker, Jr. Memorial Fund, creator of the Baker Artist Awards

The Annie E. Casey Foundation The Charlesmead Foundation The Shubert Foundation, Inc. Ms. Katherine L. Vaughns+

Harold and Mimi Steinberg Charitable Trust

Daniel P. Gahagan

The Laverna Hahn Charitable Trust

August and Melissa Chiasera

Mr. and Mrs. E. Robert Kent, Jr.

The Mary & Dan Dent Fund of the Baltimore Community Foundation

The Goldsmith Family Foundation Francie and John Keenan

The Andrew W. Mellon Foundation

Edgerton Foundation New American Play Awards Kathleen Hyle

JI Foundation

Kenneth C. and Elizabeth M. Lundeen

Marilyn Meyerhoff

Terry H. Morgenthaler and Patrick Kerins Producers’ Circle

($10,000- $24,999)

George Roche

Mr. and Mrs. George M. Sherman

The Harry L. Gladding Foundation/ Winnie and Neal Borden

Mr. Louis B. Thalheimer and Ms. Juliet A. Eurich

Goldseker Foundation/Ana Goldseker

Playwrights’ Circle

The Hecht-Levi Foundation, Inc.

Mr. J. William Murray

($5,000- $9,999)

Ms. Katharine C. Blakeslee Henry and Ruth Blaustein Rosenberg Foundation

Mary Catherine Bunting

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

Dick and Maria Gamper

Dr. and Mrs. Neil D. Goldberg Fredye and Adam Gross

Martha Head

Mr. and Mrs. Martin Hill Murray Kappelman

Kwame and Michelle Kwei-Armah

The John J. Leidy Foundation, Inc. The Macht Philanthropic Fund

Robert E. Meyerhoff and Rheda Becker

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

John and Susan Nehra

The Jacob and Hilda Blaustein Foundation, Inc.

The Jim & Patty Rouse Charitable Foundation

Peter and Millicent Bain

James T. and Francine G. Brady

The Bunting Family Foundation Mr. and Mrs. George L. Bunting

The Nathan & Suzanne Cohen Foundation

Gene DeJackome and Kim Gingras

Mr. and Mrs. Walter B. Doggett, III

The Cordish Family

James and Janet Clauson

Drs. Joanna and Harry Brandt

Joseph & Harvey Meyerhoff Family Charitable Funds

The Miriam and Jay Wurtz Andrus Trust Penny Bank

Anonymous

The Lois and Irving Blum Foundation

Sylvia and Eddie Brown

($25,000-$39,999)

Directors’ Circle

($2,500- $4,999)

John Gerdy and E. Follin Smith

Artists’ Circle

The Helen P. Denit Charitable Trust

16

Ms. Nancy Dorman and Mr. Stanley Mazaroff

Stephen Richard and Mame Hunt Mr. Gilbert H. Stewart and Ms. Joyce L. Ulrich

Dr. Edgar and Betty Sweren, in honor of Center Stage’s 50th Anniversary

Mr. and Mrs. J.W. Thompson Webb Ms. Linda Woolf

Mr. and Mrs. Michael Falcone Ms. Suzan Garabedian

Robert and Cheryl Guth

David and Elizabeth JH Hurwitz

Mr. and Mrs. Stephen Immelt

Jonna and Fred Lazarus

Mr. and Mrs. Earl & Darielle Linehan/Linehan Family Foundation Mrs. Diane Markman

Linda and John McCleary

Mr. and Mrs. John L. Messmore

Jim and Mary Miller Jeannie Murphy

The Israel & Mollie Myers Foundation

Dr. and Mrs. Lawrence C. Pakula

Marjorie Rodgers Cheshire and Mark Cheshire

Lainy Lebow Sachs and Leonard Sachs Monica and Arnold Sagner

Scott and Mimi Somerville Scot T. Spencer

Mr. Michael Styer

Mr. and Mrs. Donald and Mariana Thoms Trexler Foundation, Inc. - Jeff Abarbanel and David Goldner Mr. and Mrs. Loren and Judy Western

Ted and Mary Jo Wiese

Cheryl Hudgins Williams and Alonza Williams Sydney and Ron Wilner

Drs. Nadia and Elias Zerhouni

Associates

($1,000-$2,499) Anonymous Ms. Taunya Banks Mr. and Mrs. Marc Blum John and Carolyn Boitnott Jan Boyce Dr. and Mrs. Donald D. Brown Sandra and Thomas Brushart Meredith and Joseph Callanan

The Campbell Foundation, Inc. Caplan Family Foundation, Inc. Sally and Jerry Casey John Chester Ann K. Clapp Constantinides Family Foundation Ms. Gwen Davidson The Richard & Rosalee C. Davison Foundation James DeGraffenreidt and Mychelle Farmer Albert F. DeLoskey and Lawrie Deering Rosetta and Matt DeVito Mr. Jed Dietz and Dr. Julia McMillan Mr. and Mrs. Eric Dott Jack and Nancy Dwyer Ms. Nicole Epp Mr. and Mrs. Matthew Freedman Frank and Jane Gabor Jose and Ginger Galvez Pamela and Jonathan Genn, in honor of Cindi Monahan and Beth Falcone Richard and Sharon Gentile, in honor of the Center Stage Costume Shop Ms. Sandra Levi Gerstung

Mr. and Mrs. Stanley Panitz Fund of the Baltimore Community Foundation, in honor of Peter Culman

Jill and Darren Pratt

Ms. Kathleen C. Ridder, in honor of Peter Culman

The James and Gail Riepe Family Foundation

Nathan and Michelle Robertson Dr. David A. Robinson

The Rollins-Luetkemeyer Foundation

Kurt and Patricia Schmoke

Mr. and Mrs. Todd Schubert

Gail B. Schulhoff

Charles and Leslie Schwabe

The Tim and Barbara Schweizer Foundation, Inc. Barbara and Sig Shapiro

The Ida & Joseph Shapiro Foundation

The Earle & Annette Shawe Family Foundation Dr. Barbara Shelton

Dana and Matthew Slater

The Honorable and Mrs. E. Stephen Derby Lynne Durbin and John-Francis Mergen

Dave and Joyce Edington

Patricia Egan and Peter Hegeman, in honor of Peter Culman Patricia Yevics-Eisenberg and Stewart Eisenberg

The Eliasberg Family Foundation Buddy and Sue Emerson, in appreciation of Ken and Elizabeth Lundeen

Donald and Margaret Engvall

Faith and Edgar Feingold, in memory of Sally W. Feingold

Sandra and John Ferriter Ms. Nancy Freyman

Kathryn and Mark Vaselkiv

Carolyn and Robert Wallace

Nanny and Jack Warren, in honor of Lynn Deering

Janna P. Wehrle

Mr. Todd M. Wilson and Mr. Edward DeLaplaine

Stuart and Linda Grossman Louise A. Hager

Terry Halle and Wendy McAllister Donald and Sybil Hebb

Bill and Scootsie Hatter

Anonymous

Sheila and Steve Sachs Ms. Renee C. Samuels Eugene and Alice Schreiber Philanthropic Fund

Georgia and George Stamas Station North Arts and Entertainment District

Ralph and Claire Hruban

Mr. James Hughes Mr. Edward Hunt

Ms. Harriet F. Iglehart

Mr. and Mrs. Theodore Imes

Richard Jacobs and Patricia Lasher

Ms. Mary Claire Jeske BJ and Candy Jones

Dr. and Mrs. Juan M. Juanteguy

Ms. Shirley Kaufman B. Keller

Judith Phair King and Roland King Mr. George W. King

In memory of Sally Wessner Mr. Michael T. Wharton Dr. and Mrs. Frank R. Witter Eric and Pam Young Mr. Norman Youskauskas Mr. Paul Zugates

Advocates ($250-$499)

Anonymous Walter and Rita Abel Mr. and Mrs. Delbert L. Adams Bradley and Lindsay Alger Ms. Donna Arbogast Mr. Alan M. Arrowsmith, II

Joseph J. Jaffa

Mayer and Will Baker, in honor of Terry Morgenthaler

Dr. and Mrs. Ronald Lesser

Rachel and Steven Bloom, in honor of Beth Falcone

Kenneth and Christine Lobo

Mr. Chad Bolton, in honor of Peter Culman

Max Jordan Mr. and Mrs. Mark Joseph Francine and Allan Krumholz Sandy and Mark Laken Andie Laporte, in honor of Philip and Lynn Rauch Dr. and Mrs. George Lentz, Jr. Joseph and Jane Meyer John and Beverly Michel

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

Amy and Bruce Barnett

Charles and Patti Baum

Jaye and Dr. Ted Bayless Fund of the Baltimore Community Foundation Judge Robert Bell

Tom and Cindi Monahan

S. Woods and Cathy L. Bennett

Ms. Stacey Morrison and Mr. Brian Morales

Harriet and Bruce Blum

The Honorable Diana and Fred Motz, in memory of Nancy Roche Roger F. Nordquist and Joyce Ward Irene E. Norton Mr. and Mrs. Lee Ogburn Ms. Jo-Ann Mayer Orlinsky Dr. Bodil Ottesen

Steve and Teri Bennett Cindy Candelori

Mr. and Mrs. Carl F. Christ

Joan Develin Coley and M. Lee Rice Barbara Crain and Michael Borowitz

Richard and Lynda Davis Robert and Janice Davis

Herbert and Harriet Goldman

Mr. Bruce Goldman Mr. Howard Gradet

Joseph Griffin

Jane Halpern and James Pettit

Aaron Heinsman

Joseph M. and Judy K. Langmead

Mr. Robert and Dorothy Bair

Hal and Pat Gilreath

Ada Hamosh

Mrs. Alexander Armstrong

The Alsop Family Foundation

Mark and Patti Gillen

Thomas and Barbara Guarnieri

The A. C. and Penney Hubbard Foundation

Len and Betsy Homer

Dr. Neal M. Friedlander and Dr. Virginia K. Adams

Mr. and Mrs. Barbara and Paul Timm-Brock

Stewart and Carol Koehler

Drs. Dahlia Hirsch and Barry Wohl

Donna Flynn

Joan and David Forester

Sanford and Karen Teplitzky

Ms. Diane Abeloff, in memory of Martin Abeloff

Sandra and Thomas Hess

Dr. and Mrs. Robert P. Fleishman

Mr. and Mrs. George Flickinger

Mr. and Mrs. George and Beth Van Dyke

Dr. and Mrs. J. Woodford Howard

Kirk and Debbie Joy

($500-$999)

Mr. Al Russell

Bob and Susie Fetter

Genine and Josh Fidler, in honor of Ellen and Ed Bernard

Mr. and Mrs. James Hormuth

Dr. Laurie S. Zabin

Colleagues

Kevin and Judy Rossiter Mrs. Bette Rothman

Ms. Jeannette E. Festa

Melanie and Donald Heacock

Annie Groeber, in memory of Dr. John E. Adams

F. Barton Harvey, III and Janet Marie Smith

Dorothy L. and Henry A. Rosenberg, Jr.

Deborah and Philip English

Ms. Rhea Feikin, in memory of Colgate Salsbury

United Way of Central Maryland Campaign

James M. and Julie B. Johnstone

Mr. Calman Zamoiski, Jr., in honor of Terry Morgenthaler

Mr. and Mrs. Harold Rojas

Ms. Alice M. Dibben

Sally Digges and James Arnold

Sharon and David Tufaro

Ann Wolfe and Dick Mead

H.R. LaBar Family Foundation Fund of The Greater Cincinnati Foundation

Ms. Jane Rodbell

Mr. and Mrs. David and Gloria Crockett

Betsy and George Hess

Mr. and Mrs. Benjamin H. Griswold, IV

John W. Wood

Mrs. Peggy L. Rice

Susan Somerville-Hawes, in honor of The Encounter Program

Mrs. Heidi Hoffman

John A. Ulatowski

Ronald and Carol Reckling

Mary and Richard Gorman

Mr. and Mrs. Scott Smith

Dr. and Mrs. John Strahan

Richard and Kay Radmer

The Sinksy-Kresser-Racusin Memorial Foundation

Frank and Tara Gallagher

Mr. and Mrs. Robert N. Smelkinson

Mr. and Mrs. Ronald W. Taylor

Robert E. and Anne L. Prince

Dr. Joseph Gall and Dr. Diane Dwyer

Lee M. Hendler, in honor of Peter Culman

Judith R. and Turner B. Smith

Dave and Chris Powell

Mr. John Lanasa, in honor of Peter Culman

Claus Leitherer and Irina Fedorova

Marilyn Leuthold

Dr. and Mrs. Thomas J. Lynch

The Dr. Frank C. Marino Foundation, Inc.

Maryland Charity Campaign

Michael Baker Mr. and Mrs. Martin Beer Mr. and Mrs. Alfred and Muriel Berkeley

Mr. and Mrs. Charles Bryan Dr. and Mrs. Arthur Burnett II Ms. Deborah W. Callard

Ms. Mary L. McGeady

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

Mr. Jeston I. Miller

Mr. and Mrs. David Carter

Dr. Carole Miller

Stephanie F. Miller, in honor of The Lee S. Miller Jr. Family George and Beth Murnaghan Rex and Lettie Myers

Michael and Phyllis Panopoulos Chris and Deborah Pennington

Mr. and Mrs. James and Mimi Piper Fund of the Baltimore Community Foundation Bonnie Pitt

Mr. Andrew J. Cary Mr. and Mrs. James Case Ms. Cynthia Cindric Stanton Collins

Dr. and Dr. James and Vicki Handa

In Memory of Eric R. Head

William and Monica Henderson Sue Hess

Mrs. James J. Hill, Jr., in memory of James J. Hill, Jr. Mr. Donald H. Hooker, Jr. Ms. Irene Hornick Ms. Sarah Issacs

Mr. William Jacob

James and Hillary Aidus Jacobs

A.H. Janoski, M.D., in honor of Jane Stewart Janoski Mr. and Mrs. Peter Kaplan Richard and Judith Katz

Dr. and Mrs. Myron Kellner

Steve and Laurie Kelly, in memory of Rodney Stieff

Donald Knox and Mary Towery, in memory of Carolyn Knox and Gene Towery

David and Ann Koch

Gina Kotowski Edward Kuhl

Drs. Don and Pat Langenberg

Mr. Richard M. Lansburgh

Mr. and Mrs. William Larson Drs. Ronald and Mary Leach

Leadership—Baltimore County

Sara W. Levi

Marty Lidston and Jill Leukhardt Dr. and Mrs. John Lion Cheryl London

Scott and Ellen Lutrey

Nancy Magnuson and Jay Harrell, in honor of Betty and Edgar Sweren

Combined Federal Campaign

Ms. Karen Malloy

Comprehensive Car Care/ Robert Wagner

Joan and Terry Marshall

David and Sara Cooke B.J. and Bill Cowie Mr. and Mrs. Richard D. Crafton

Mr. Elvis Marks Don Martin

Eleanor McMillan

Mary and Barry Menne

dance of the holy ghosts | 17

su ppo rt CORPORATIONS

Bruce Mentzer

April Duncan Wall

Minds Eye Cinema

Mr. and Mrs. Barry and Linda Williams

Ms. Darlene Miller

The Montag Family Fund of The Community Foundation for Greater Atlanta, in honor of Beth Falcone James W. and Shirley A. Moore Dr. and Mrs. Clayton Moravec

Ms. Cassie Motz, in memory of Nancy Roche Dr. and Mrs. C.H. Murphy

Stephen and Terry Needel In memory of Nelson Neuman Claire D. O’Neill

Mr. Thomas Owen

The P.R.F.B. Charitable Foundation, in memory of Shirley Feinstein Blum Justine and Ken Parezo

George Edward Parrish, Jr. Fred and Grazina Pearson Linda and Gordon Peltz

Mr. William Phillips Ron and Pat Pilling

Thea Pinskey

Mr. Mike Plaisted and Ms. Maggie Webbert Mr. Rex Rehfeld and Ms. Ellen O’Brien

Cyndy Renoff and George Taler

Dr. Michael Repka and Dr. Mary Anne Facciolo

Natasha and Keenan Rice Liz Ritter and Larry Koppelman

Brian and Patricia Winter

Deborah King-Young and Daniel Young Harold and Joan Young

Mr. William Zerhouni

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

Ida and Jack Roadhouse

Howard County Arts Council through a grant from Howard County Government

Louis and Luanne Rusk

Gifts In-Kind

Mr. Wilfred Roesler

Steven and Lee Sachs Dr. Chris Schultz

Mr. Steve Schwartzman

The Afro American Akbar Restaurant Atwater’s

Clair Zamoiski Segal, in honor of Judy Witt Phares

The Baltimore Sun

Mrs. Kimberly Shorter

The Brewer’s Art

Leslie Shepard

Mr. and Mrs. L. Siems

Dr. and Mrs. Donald J. Slowinski Rosie and Jim Smith

Ms. Jill Stempler

Mrs. Clare H. Stewart, in honor of Bill Geenen

Renee Straber, in memory of Joan Marilyn Kappelman

Ms. Joann Strickland

Mr. and Mrs. James R.and Gail Swanbeck

Mr. Joseph Terino, in memory of Joan Marilyn Kappelman Cindy and Fredrick Thompson

Mr. Martin Toner, in memory of Joan Marilyn Kappelman Laura and Neil Tucker, in honor of Beth Falcone

Millie Tyssowski

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Ms. Magda Westerhoust

Berger Cookies Blimpie

Cakes by Pamela G Casa di Pasta

Iggie’s

SEason 51 Presenting Sponsor

The Jewish Times Mamott

Mars Super Markets

Maryland Office Interiors

Presidents’ Circle

Maryland Public Television

Playwrights’ Circle

Mitchell Kurtz Architect, PC

Anonymous

Michele’s Granola

Mount Vernon Stable and Saloon

American Trading &

Oriole’s Pizza and Sub

The Baltimore Life Companies

Pizza Hut

Brown Advisory

Production Corporation

New System Bakery

Pizza Boli’s

Planit Agency PromoWorks

Republic National Distributing Company

Sabatino’s

Shugoll Research

T. Rowe Price Foundation, Inc. Artists’ Circle

Chapel Valley Landscape Company Environmental Reclamation Company Ernst & Young FTI Consulting, Inc.

The Signman

Howard Bank

Style Magazine Subway

Lord Baltimore Capital Corporation

Urbanite

Utz Quality Foods

McGuireWoods LLP

A Vintner’s Selection

The P&G Fund of The Greater

Village Square Café

Cincinnati Foundation

Wawa

Wegman’s

Pessin Katz Law P.A.

Whitmore Print & Imaging WYPR Radio

www.thecheckshop.us

Matching Gift Companies

Producers’ Circle

PNC Bank Saul Ewing LLP Stifel Nicolaus

The Abell Foundation, Inc.

Venable, LLP

BGE

Wells Fargo

Bank of America

The Annie E. Casey Foundation

Constellation Energy

The Deering Family Foundation Exxon Corporation

GE Foundation

Illinois Tool Works Foundation Kraft Foods

MASCO Corporation

McCormick Foundation

Whiteford, Taylor and Preston Whiting-Turner Contracting Co.

Directors’ Circle Alexander Design Studio Baxter, Baker, Sidle, Conn & Jones, P.A. Bay Imagery

The Classic Catering People

Norfolk Southern Foundation

Chipotle

Stanley Black and Decker

Schoenfeld Insurance Associates

Eddie’s on Saint Paul

T. Rowe Price Group

Stevenson University

Eggspectations

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

The Charles Theater The City Paper

Edible Arrangements Express Vending

Fisherman’s Friend/ Pez Candy, Inc.

The Fractured Prune

Gertrude’s Restaurant Gianni’s Italian Bistro Greg’s Bagels GT Pizza

HoneyBaked Ham Co.

The Helmand

Hotel Monaco

PNC Bank

SunTrust Bank

Funk & Bolton, P.A.

The Zolet Lenet Group at Morgan Stanley Smith Barney

Associates Ayers Saint Gross, Incorporated Chesapeake Plywood, LLC

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HANNAH: Jessa, Jessa—there are bells here! We haven’t heard bells in some time.

up next in Season 51

The Walters Presents Artist Jacob Lawrence The Walters Art Museum presents Jacob Lawrence’s Genesis Series (1990), eight works describing eight passages from the book of Genesis.

A NEW HOLIDAY CLASSIC

Lawrence, an African American artist, is also known for his Migration Series (1940–41), which depicts The Second Great Migration, the movement of African Americans from the rural South to the urban North.

“Jacob Lawrence is one the nation’s most celebrated 20th century artists and a key interpreter of the African American experience,” said Jacqueline Copeland, Deputy Director for Audience Engagement at The Walters.

The Genesis Series reflects Lawrence’s youthful memories of passionate sermons about The Creation given by ministers at the Abyssinian Baptist Church in Harlem where he was baptized in 1932. This series, on loan from Eddie and Sylvia Brown’s Baltimore collection, features the same unity, colorful imagery, and visual eloquence of his earlier series.

The Genesis Series has been generously loaned from Eddie and Sylvia Brown’s private collection in Baltimore.

Nov 19–Dec 22

By Paula Vogel Directed by Rebecca Taichman

Pulitzer Prize-winning playwright Paula Vogel spins a musical tale of hope and forgiveness. It’s a bitterly cold Christmas Eve in 1864 and all along the Potomac, from the White House to the battlefields, friends and foes alike find their lives strangely and poetically intertwined. Weaving together carols and folk songs, this “beautifully stitched tapestry of American lives” (The New York Times) is sure to become a new holiday classic for the entire family.

HANNAH:

Jessa, Jessa—there are bells here!

We haven’t heard bells in some time.

About 50 miles and 150 years from here and now, we wander into a holiday tale that is more complex and more stirring than many others.

Traditional carols and period folksongs accent the stark events of our nation’s past to warm the hearts of soldiers, slaves, presidents, and children. This expansive account of one transformative Christmas Eve deftly handles the burdens of power, the fog of war, the diversity of experience, and the beauty of shared humanity during a turning point in history.

Bringing together an all-star creative team including Pulitzer-Prize winning playwright Paula Vogel, critically acclaimed director Rebecca Taichman, and MacArthur Genius Award-winning choreographer Liz Lehrman, A Civil War Christmas is a vivid portrait of a nation at a war and uplifting story of common destiny.

Jacob Lawrence, Genesis Series (1990), The Creation was done and all was well.

© 2013 The Jacob and Gwendolyn Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York

“When the actors’ voices rise together in song… there arises from the dark history being told an ineffable sense of wonder at the survival of faith and humanity even in hearts ravaged by loss.”

—The New York Times dance of the holy ghosts | 19

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

Associate Managing Director–Del W. Risberg Executive Assistant–Kacy Armstrong Management Fellow–Kevin Maroney Yale Management Fellow–Molly Hennighausen

Artistic & Dramaturgy

Associate Artistic Director/Director of Dramaturgy– Gavin Witt Artistic Producer–Susanna Gellert Artistic and Dramaturgy Intern–Catherine Rodríguez The Lynn and Tony Deering Artistic Intern– Samantha Godfrey Summer Intern- Alexis Kocerhan Hot Desk Resident Playwright–Miranda Rose Hall Playwrights under Commission–de'Adre Aziza, Ken Greller, James Magruder, Daniel Reitz, KJ Sanchez

Audience Relations

Box Office Manager–Mandy Benedix Assistant Box Office Manager/Subscriptions Manager– Jerrilyn Keene Assistant Box Office Manager–Blane Wyche Senior Patron Services Associate–Lindsey Barr Patron Services Associates–Zerica Anderson, Samrawit Belai, Tiana Bias, Shaquille Carbon, Maura Dwyer, Caitlin Joseph, Froilan Mate, Quincy Price, Kristina Szilagyi, Paul Wissman, Orealle Whye Bar Manager–Sean Van Cleve Audience Relations Intern–Laura Baker Audio Description–Ralph Welsh & Maryland Arts Access Front of House|Volunteer Coordinator–Alec Lawson

Audio

Supervisor–Amy Wedel Interim Sound Supervisor–Patrick Calhoun The Jane and Larry Droppa Audio Intern– Daniel Hogan

Community Programs & Education

Director–Rosiland Cauthen Community Programs & Education Fellow– Dustin Morris Community Programs & Education Fellow– Kristina Szilagyi Community Programs and Education Intern– Joshua Thomas Teaching Artists–The 5th L; Oran Sandel; Jerry Miles, Jr.; CJay Philip; Wambui Richardson

Costumes

Costumer–David Burdick Craftsperson–Wil Crowther Tailor–Edward Dawson First Hand–Jessica Rietzler The Judy and Scott Phares Costumes Intern– Eileen Chaffer Wardrobe Intern–Lucy Wakeland

Development

Director–Cindi Monahan Annual Fund Manager–Katelyn White Grants Manager–Debbie Joy

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 Associate Editor Heather Jackson Advertising Sales ads@centerstage.org

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Events Manager–Brad Norris Development Associate–Julia Ostroff Development Assistant–Christopher Lewis Auction Coordinator–Sydney Wilner Auction Assistant–Norma Cohen The Edward and Ellen Bernard Development Intern– Astoria Avilés

Finance

Director–Susan Rosebery Business Manager–Kathy Nolan Associate–Carla Moose

Graphics

Art Director–Bill Geenen Production Photographer–Richard Anderson Marketing Multimedia Fellow–Leslie Datsis Graphics Intern–Callan Silver

Information Technologies

Director–Joe Long Systems Administrator–Mark Slaughter

Electrics

Lighting Director–Lesley Boeckman Master Electrician–Bevin Miyake Staff Electrician–Anthony Reed The Gilbert H. Stewart and Ms. Joyce L. Ulrich Lighting Intern–Carly Shiner Multimedia Intern–Gregory Towle

Marketing & Communications

Director–Tony Heaphy Marketing Manager–Madeline Long Public Relations Manager–Heather C. Jackson Publications Manager–Maggie Beetz Marketing Associate/Group Sales–Tia Abner Digital Content Associate–Emily Salinas The Jay and Sharon Smith Marketing and Public Relations Intern–Sarah Bichsel

Operations

Operations Manager–Shawn Whitenack Building Engineer–Dan Pearce Custodial Services–MultiCorp. Grady Hughes Security Supervisor–James Williams

Production Management

Production Manager–Mike Schleifer Company Manager–Sara Grove Associate Production Manager–Caitlin Powers Production and Stage Management Intern– Quincy Price Company Management Intern–Te’ La Williams

Properties

Manager–Jennifer Stearns Assistant Manager– Nathan Scheifele Artisan–Samantha Kuczynski The Kenneth C. and Elizabeth M. Lundeen Properties Intern–Elizabeth Chapman

CONTACT INFORMATION

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

Scenery

Technical Director–Tom Rupp Assistant Technical Director–Laura P. Hilliker Shop Supervisor–Trevor Gohr Carpenters–Mike Kulha, Hunter Montgomery, Scott Richardson Scene Shop Intern–Amber Chaney

Scenic Art

Scenic Artist–Stephanie Nimick Intern–Roxanne Miftahittin

Stage Management

Resident Stage Managers–Captain Kate Murphy, Laura Smith Production Assistant–Lindsay Eberly The Peter and Millicent Bain Stage Management Intern–Chandalae Nyswonger

Stage Operations

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

dance of the holy ghosts—

Assistant Director–Samantha Godfrey Assistant Lighting Director–Rachel Atkinson Carpenters–Jessica Cowan, Jake Epp, Chris Insley, Nathan Scheifele, Michael Steiner Draper–Sue MacCorkle Electricians–Jake Epp, Aaron Haag, Joey Walls Hair/Wigs–Linda Cavell Children’s vocals sung by students at the Baltimore School for the Arts Thanks to Jess Cowan, Jeanne Marie Hanan, Lisi Stoessel for Props work on Animal Crackers 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.

Life is Simply Better Here!

Roland Park Place is a unique continuing care retirement community in the heart of northern Baltimore City.

410-243-5700 TDD: 1-800-735-2258

830 West 40th Street Baltimore, MD 21211

www.rolandparkplace.org