"Into the Woods" Program

O T N I TH E

h DS WOO MUSIC AND LYRICS

BY STEPHEN SONDHEIM BOOK BY JAMES LAPINE

Directed by Mark Lamos A co-production with Westport Country Playhouse The Pearlstone Theater

March 7–April 15 | 2011–12 season

State Theater of Maryland

Into the Woods

Music and Lyrics by Stephen Sondheim Book by James Lapine Directed by Mark Lamos

CONTENTS

Produced in association with Westport Country Playhouse, Mark Lamos, Artistic Director, Michael Ross, Managing Director

The Pearlstone Theater

Mar 7–Apr 15

THE ARTISTIC TEAM

THE CAST (in order of vocal appearance)

Seán Curran Choreographer/

Jenny Latimer* Cinderella

Mark Lamos Director

Jeffry Denman* Narrator

Musical Staging

Erik Liberman* Baker

Candice Donnelly Costume Designer

Once Upon Many Times

5

Letter from the Director

7

Biographies: The Cast

8

Biographies: Artistic Team

14

CENTERSTAGE Calendar

14

Biographies: Staff

21

FYI: Audience Services

21

Board of Trustees

26

CENTERSTAGE Staff

28

Nikka Graff Lanzarone* Florinda

Zachary Williamson Sound Designer

Eleni Delopoulos* Lucinda

Gavin Witt Production Dramaturg

Dana Steingold* Little Red Ridinghood

Michael Rossmy Fight Director

Lauren Kennedy* Witch

Tara Rubin Casting Casting

Alma Cuervo* Stepmother/Granny/Giant

Chris Hofer Music Contractor

Nik Walker* Wolf/Cinderella’s Prince

Editor Heather C. Jackson

Robert Lenzi* Rapunzel’s Prince/

Art Direction/Design Bill Geenen

Cinderella’s Father

Jeremy Lawrence* Mysterious Man/Steward There will be one 15-minute intermission.

The CENTERSTAGE Program is published by: Center Stage Associates, Inc. 700 North Calvert Street Baltimore, Maryland 21202

Britney Coleman* Rapunzel/

Cinderella’s Mother

Matthew Melchiorre* Stage Manager Amanda Spooner* Assistant Stage Manager *Member of Actors’ Equity Association

Original Broadway production by Heidi Landesman, Rocco Landesman, Rick Steiner, M. Anthony Fisher, Frederic H. Mayerson, Jujamcyn Theaters.

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

IN CASE OF EMERGENCY

Into the Woods is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. 421 West 54th Street, New York, NY 10019. Phone: 212-541-4684 Fax: 212-397-4684. www.MTIShows.com

MEDIA PARTNER

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.

Contributors Kim Furano, Susanna Gellert, Gavin Witt

(during performances only) 410.986.4080

Originally produced by the Old Globe Theater, San Diego, CA.

SUPPORTED BY

Design Jason Gembicki

CONTACT INFORMATION

Into the Woods was originally directed on Broadway by James Lapine; orchestrations by Jonathan Tunick.

WITH ADDITIONAL FUNDING BY

3

Danielle Ferland* Baker’s Wife

Robert Wierzel Lighting Designer

PLEASE TURN OFF OR SILENCE ALL ELECTRONIC DEVICES.

The Great Collectors

Supporting: The Annual Fund 24

Cheryl Stern* Jack’s Mother

Allen Moyer Scenic Designer

1

Preview: The Whipping Man 22

Justin Scott Brown* Jack

Wayne Barker Music Director

Musical Numbers

Material in the CENTERSTAGE 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 CENTERSTAGE, 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 CENTERSTAGE.

Orchestra Conductor/Piano: Wayne Barker Woodwinds: Keith Daudelin Percussion: Greg Herron Bass: Chris Hofer Cello: Natalie Naquin French Horn: Ted Peters Cello: Kirsten Walsh

Musical Numbers Act I

Prologue: Into the Woods

Narrator, Company

Cinderella at the Grave

Cinderella, Cinderella’s Mother

Hello, Little Girl

Wolf, Little Red Ridinghood

I Guess This Is Goodbye

Jack

Maybe They’re Magic

Baker, Baker’s Wife

I Know Things Now

Little Red Ridinghood

A Very Nice Prince

Cinderella, Baker’s Wife

First Midnight

Company

Giants in the Sky

Jack

Agony

Cinderella’s Prince, Rapunzel’s Prince

A Very Nice Prince (reprise) Cinderella, Baker’s Wife

It Takes Two

Baker, Baker’s Wife

Second Midnight Company

Stay With Me

Rapunzel, Witch

On the Steps of the Palace

Cinderella

Finale: Ever After

Company

Act II

Opening: So Happy

Narrator, Company

Into the Woods (reprise)

Cinderella, Baker, Baker’s Wife

Agony (reprise)

Cinderella’s Prince, Rapunzel’s Prince

Witch’s Lament Witch

Any Moment

Cinderella’s Prince, Baker’s Wife

Moments in the Woods

Baker’s Wife

Your Fault

Jack, Baker, Cinderella, Little Red Ridinghood, Witch

Last Midnight

Witch

No More

Baker, Mysterious Man

No One Is Alone

Cinderella, Little Red Ridinghood, Baker, Jack

Finale: Children Will Listen

Company

Into the Woods | 1

2 | CENTERSTAGE

The Great Collectors: A Brief History of the Brothers Grimm & Their Timeless Tales

By Kim Furano, Westport Country Playhouse Artistic and Management Coordinator

O

nce upon a time in a faraway kingdom, there lived two brothers who would one day grow up to collect and preserve what have come to be some of our most treasured stories. Jacob Ludwig Carl Grimm, born in 1785, and Wilhelm Carl Grimm, born in 1786— remembered collectively as the Brothers Grimm—began their lives in a way not dissimilar to the heroes of the beloved tales for which they are known.

The brothers were born to an established middle class family that fell on hard times in the city of Kassel in the Kingdom of Hesse, in what is now Germany. Despite the financial hardships that contributed to the death of their father, Wilhelm and Jacob received the finest education thanks to the patronage of an aunt—first at the hands of private tutors, then at the Lyceum Fridericianum, and finally at the university at Marburg. It was here, inspired by their studies with their friend and professor Friedrich Karl von Savigny, that the intellectual curiosity the brothers had possessed since boyhood was cultivated into a respected scholarly insight, and where a passion for German language and culture would spark the journey down the fairy tale road that would secure their place in history.

Encouraged by the publication of popular folksongs by friends and fellow scholars Ludwig Achim von Arnim and Clemens Brentano, and driven by the distress imposed upon their land by the Napoleonic wars, the Grimm brothers began collecting folk tales in 1806 as a scholarly and nationalistic endeavor. As they watched French conquerers strip their homeland of its most treasured art and culture, Jacob and Wilhelm sought a way to preserve the tales that had been told to them as children, which they felt deserved “more attention than they have been given up to now, not only because of their poetry, which has its own special charm…, but also because they belong to our national poetic heritage.”

The brothers felt that these oral traditions revealed just as much about German language, history, and culture as historical texts or modern literature; and that “it was probably just the right time to collect these tales, since those who have been preserving them are becoming ever harder to find…. The custom of telling tales is ever on the wane,” as they shared in the preface to their collection. continued >> >> >> Into the Woods | 3

T >> >> >> The Grimm brothers spent six years gathering the tales of their childhood and of so many childhoods before, which they compiled into the two-volume Children’s and Household Tales. Though the origin of many of the tales can be traced to Perrault’s Mother Goose tales in France, back through the Middle Ages, and to the Arabian Nights stories and ancient Hindu myths, Wilhelm and Jacob did not travel far from Kassel to collect many of the most well-known of their stories, calling upon family, friends, neighbors, and people from across German society. Often compiling multiple versions of a tale to get at its essence, the Grimms were committed to preserving the accuracy of the tales from oral to written form, claiming in the preface to their first volume that “we have taken pains to record these fairy tales as untouched as was possible…No situation has been added or prettified or altered, for we hesitated to expand tales that were already so rich….”

4 | CENTERSTAGE

Published in 1812 and 1814 respectively, the two volumes contained 156 tales in total, as well as extensive prefaces and footnotes. Though the collection contains tales that are still a major part of today’s culture, both in the United States and throughout the world—Cinderella, Snow White & the Seven Dwarves, and Little Red Ridinghood to name a few—the brutality and violence of these stories in their original forms as published by the Brothers Grimm is often shocking to the modern reader. For example, in the Grimms’ collection, Snow White’s wicked queen eats the liver and lungs brought back to her by the huntsman, and is then forced to dance in red-hot iron shoes until she drops dead at Snow White’s wedding as punishment for her misdeeds.

Stephen Sondheim and James Lapine’s Into the Woods draws heavily upon these familiar stories in their Grimm forms, as with the shocking selfmutilation and eye-pecking punishment of Cinderella’s stepsisters, and with Little Red Ridinghood’s gruesome rescue from the bowels of the wolf and her grisly claiming of his pelt as her new cloak.

With each subsequent edition and, eventually, translation, tales were added, subtracted, and even altered. The second, or classic, edition of the Household Tales included illustrations by Jacob and Wilhelm’s younger brother, Albert Ludwig Grimm. Already accused by fellow scholars of relying more heavily upon the less sexual or brutal versions of the tales in accordance with their conservative values, the Brothers Grimm bent to the pressures of publishers to make the tales more child-friendly in later editions—though Jacob continued to insist that his book “was not written for

children, though it fills a need for them and I am glad it should be so.”

Both while gathering and after completing Children’s and Household Fairy Tales, the Grimm brothers continued to grow as

scholars, publishing books on everything

from German legends to German language and grammar, always working closely

with one another and rarely separating for extended periods of time. Wilhelm

Grimm died in 1859 while the brothers were working on the first German

dictionary, and Jacob died just four years later, before the work was finished.

Though the Brothers Grimm were not the first to collect fairy and folk tales,

nor would they be the last, it is theirs that we will remember and continue to mine for their riches in all forms of literature,

culture, and entertainment. “There is no other collection in this manner,” as the

Brothers said in the preface to that first

volume of tales, “for people have almost always used the tales…in order to make larger stories out of them….” A

Once Upon Many Times

By Gavin Witt, Production Dramaturg/CENTERSTAGE Associate Artistic Director

W

hen the Grimm brothers published their collection of traditional tales two centuries ago, in 1812, they can have had little notion of the enduring, global legacy the stories would achieve. Nor, in all likelihood, did they aim for any such result. After all, their project was in nearly every respect a local—even a parochial—one.

French arts and culture had dominated the Baroque era. French scientists and thinkers had shaped the Enlightenment. Then Napoleon Bonaparte’s armies had held Europe in their thrall, waves of chaos and conquering unleashed from post-Revolutionary France. No German nation-state yet existed to counteract these forces, though the writers, musicians, and philosophers of a nascent German Romanticism had begun to coalesce, led by Goethe.

To this bid for a cohesive folk culture, Jacob and Wilhelm contributed the folk tales they had painstakingly gathered over many years.

Imagine the shock, then, when Jacob Grimm later provided an introduction to a collection of 16th-century Italian stories in a new translation, only to discover that it held parallel or alternative versions of many of the very same tales. Known as the Pentamerone, recounted

by Giambattista Basile and based on traditional Neopolitan tales, the collection—coarse, violent, bawdy, very much a work of folk transmission—predated Perrault’s famous French literary versions by well over a century. continued >> >> >>

Into the Woods | 5

>> >> >> Two elements stand out about the Grimm’s collection, one witting and one probably not. First, it provided a fairly self-conscious response, an alternative even, to Perrault—German for French, folk for courtly. Second, they formed part of an extraordinary repetition of these same tale types in version after version, variant after variant— across time and national boundaries and barriers of language, class, or culture.

W

Transmission of Cinderella-type tales dates back further than we can measure, appearing in some forms as early as the 1st Century BC in Egypt (in which an eagle snatches up a maiden’s lost sandal and fires a nobleman’s love).

But many of these fables also link to ancient myths that go back even further in Western culture. More globally, there’s a 9th-century Chinese cognate tale for Cinderella, and one nearly as old for Little Red Ridinghood (in this case, with a devouring, shape-shifting tiger in place of the wolf). There’s a 16th-century Japanese version of the same type. Cinderella in particular overlaps with European Cap o’ Rushes, Catskin, Allerlairauh, and Donkeyskin; and versions in Zunni, Javanese, Hansa (Nigerian), Bengali, Swedish, Slavonic, Gaelic, Yiddish, Norwegian, Brazilian, and too many more to list. One compilation counted nearly 350 distinct variants of Cinderella stories.

Does this attest to an evolutionary process, the spread of a story genome over time? Is there an Ur-source that morphs; or do these tale types arise independently in far-flung locales, part of spontaneous and local responses to specific circumstances?

Are they part of what Carl Jung considered a collective unconscious that we share as humans, or are they symbolic residue of ancient ritual practices? Who can say for sure, though many argue vociferously in favor of their favorite answer. Some retellings are distinctive (Perrault originates mention of a red cloak or slippers of glass, for instance). Other elements are more widespread: the stepmother, the degraded girl, the suffering beauty become scullery maid or servant, the dead mother present as nurturing tree or spirit, the clothing trial (slipper, ring, dress).

Nor does the spread end with the Grimms. The Jack tales accompanied English colonists and proved highly adaptable and appealing, spreading through Appalachia. Little Red tracks the Francophone diaspora. Cartoons, movies, teen novels, merchandising, advertising, pop-up books, pop songs, pornography, greeting cards, and of course musical theater: all have played their part in the endless retelling and reshaping of these accounts. But wherever they come from, and whether told for children or among adults, these stories have become all of ours. A

Check out centerstage.org/woods for a survey of some of these many versions, including some surprising iterations or adaptations indeed.

6 | CENTERSTAGE

W

hile the familiar folk tales and their endless permutations provided the narrative spine for Sondheim and Lapine, another possible influence lurks in the shadows, through the figure of the Narrator.

That dimly perceived force at work could look an awful lot like the short-lived but enormously influential German Romanticist

E.T.A. Hoffman.

If at first Hoffmann’s name seems mysterious, his work or at least his legacy might be less so. Most famously, his story of a Nutcracker and a Mouse King helped inspire the beloved Christmas ballet known to millions—though his original offers a darker account than we’re used to. The mysterious toymaker and the dolls that come to life, the intersection of reality and the supernatural or fantastical: these form a common thread through much of Hoffmann’s work and its theatrical offshoots. The ballet Coppélia, the opera Tales from Hoffmann, all feature signature elements like mechanic dolls, life-like toys, transfigurations and curses and frustrated desire. Perhaps it is no coincidence that Hoffmann published his fiction at the same moment not only as the Grimm Brothers their fables, but also as Mary Shelley’s Frankenstein.

Born in Prussia in 1776 and dead in Berlin by 1822—after a career that included law, music composition, painting, criticism, and theater as well as writing fiction— Hoffmann made a lasting mark with his collections of short stories. Many have been adapted to stage and screen, but they also informed such authors as Washington Irving, Nathaniel Hawthorne, Edgar Allan Poe, Hans Christian Andersen, and countless others in the genres of fantasy, supernatural, and gothic horror—as well as the theories of Carl Jung.

For at least a portion of the journey of Into the Woods, the Narrator guides our way through the forest and the story, setting up the fables and conjuring them to life.

And it’s this conjuring—accompanied by a sense of foreboding; the recognition of painful consequences on the other side of some choices; and an appreciation for loss, longing, and bitter disappointment, that measure Hoffmann’s lasting influence. A

Letter from the Director

Years ago, when the National Endowment for the Arts was an organization that could truly endow our work in the theater, I was given a grant that allowed me to explore—with the theater I then headed, the Hartford Stage Company, and a team of gifted designers— a theatricalization of the works of E.T.A. Hoffmann.

He is probably best known today as the protagonist of Offenbach’s opera, The Tales of Hoffmann.

A 19th-century German fabulist, he gave the world, among other delights, the story that inspired The Nutcracker. His tales are filled with terror and wonder, mystery and the macabre. And music.

As we began to discuss the conception of this production of Into the Woods, the designers and I found ourselves exploring a direction that reminded me of those tales.

Hoffmann was the elegant inventor, while the Brothers Grimm were the more rough-hewn collectors of peasant folklore in the same period of German Romanticism— the period that produced Beethoven, the poet Novalis, and the painter Caspar David Friedrich. It was a period in which automatons were created—beautiful, sometimes life-like dolls that were made to move and react like real human beings. In the flickering candlelit universe of German Romanticism, the terror and sense of wonder many artists and craftsmen explored was the division between the real and the unreal.

These ideas inform this production of a musical in which the characters of old German folk tales (there are actually no fairies in so-called fairy tales, only real people dealing with horror, magic, and hope) seem to find themselves, unaccountably, in each other’s stories.

—Mark Lamos, Director Westport Country Playhouse Artistic Director

Photo by Kathleen O’Rourke.

Into the Woods | 7

BIOGR APHIES The Cast

Justin Scott Brown*— Jack. CENTERSTAGE: debut.

is proud to support CENTERSTAGE, which has been a cornerstone of the Baltimore Arts community for nearly a half century. Goodell DeVries and its employees are proud to participate in local corporate and charity programs that contribute to the success and strength of our community.

Goodell, DeVries, Leech & Dann, LLP Baltimore • Philadelphia www.gdldlaw.com

National Tour—25th Annual Production of Les Miserables (Marius), Spring Awakening.

Regional—Meet Me in St. Louis, Camelot, Les Miserables, Annie, My Fair Lady, Miss Saigon (MUNY); Fiddler on the Roof (KC Starlight); The Kid in the Dark (Cincinnati Fringe Festival); The Magical Music of Disney (Cincinnati Pops); Joseph and the Amazing Technicolor Dreamcoat; Fiddler on the Roof; Hello, Dolly! (Diablo Theatre Company). Other credits— How to Succeed…, Two Gentlemen of Verona, Passion, The Cradle Will Rock, Cabaret, Floyd Collins (University of Cincinnati College, Conservatory of Music). Love and thanks to Mom, Dad, J & J!

Britney Coleman*— Rapunzel/Cinderella’s Mother. CENTERSTAGE:

debut. Regional—Stop the Virgens (St. Anne’s Warehouse); Tarzan: The Broadway Musical (regional premiere), Hairspray, State Fair, Big River, All Shook Up (Wagon Wheel Theatre); Little Shop of Horrors (Heritage Theatre Festival). Other credits— Joseph and the Amazing Technicolor Dreamcoat (8th Wonder Productions); Ragtime, Into the Woods, See Rock City and Other Destinations, The Caucasian Chalk Circle, Ella Minnow Pea (University of Michigan); A Very Potter Musical, A Very Potter Sequel (UM Basement Arts Productions).

Alma Cuervo*— Stepmother/Granny/ Giant. CENTERSTAGE: debut.

Broadway—credits include Beauty and the Beast; Cabaret; Titanic (original Ida Straus); The Heidi Chronicles; Ghetto; Quilters; Is There Life after High School?; Censored Scenes From King Kong; Bedroom Farce. Off Broadway—recent credits include Sondheim and Weidman’s Road Show (NY Shakespeare Festival); The Shoemaker 8 | CENTERSTAGE

(Cause Celebre). She received an OBIE for her performance in Uncommon Women and Others (Phoenix Theatre and PBS). National Tours—credits include Wicked (Madame Morrible); My Fair Lady; Cabaret (directed by Sam Mendes and Rob Marshall); M. Butterfly.

Regional—credits include The Clean House (Syracuse Stage); And the Curtain Rises (Signature Theatre); The Three Sisters (Cincinnati Playhouse); The Miracle At Naples (Huntington Theatre); The Year of Magical Thinking (Northern Stage); Wit (Phoebe Award, Theatre Virginia); The Beauty Queen of Leenane (Barrymore Award, Philadelphia Theatre Company); Damn Yankees (Walnut Street and Music Theatre of Wichita); Polly Pen’s Night Governess (McCarter); Floating Island Plays (Mark Taper Forum). TV—Law and Order: Criminal Intent; Norman Lear’s aka Pablo (series regular).

Narrator of many recorded books.

Education—Tulane University (B.A.) and Yale Drama School (M.F.A.).

friends (www.wayfinderexperience.com) and runs a not-for-profit teaching company (www.theadventuregame.org). www.elenidel.com

Jeffry Denman*— Narrator. CENTERSTAGE:

debut. Broadway—Original Broadway Cast of White Christmas (Astaire nom., Marquis Theatre); Face the Music, Of Thee I Sing (City Center Encores!); Original Broadway Cast of The Producers (St. James Theatre); Final Cast of Cats (Winter Garden Theatre); Original Revival Cast of How to Succeed… (Richard Rodgers Theatre).

Off Broadway—Yank (Drama Desk nom., York Theatre/NYMF); Children of a Lesser God (Keen Company); If Love Were All (Lortel). Tour—Original Cast of White Christmas (Curran/Pantages/Ordway/IRNE Award Winner, Wang). Regional—Monty Python’s Spamalot (Ogunquit Playhouse); I Loved Lucy (Laguna Playhouse); A Chorus Eleni Delopoulos*— Line (Pioneer Theatre Company); Into the Lucinda. CENTERSTAGE: Woods, Cats (Sacramento Music Circus); An debut. Off Broadway/New American in Paris (Alley Theatre); On Your York—A Stoop on Orchard Toes (Ovation Nom., Reprise!); Crazy for You Street (original cast recording, (IRNE Award Winner, North Shore/ Mazer Theater); Iphigenia at Ogunquit); Singin’ in the Rain (MUNY); Aulis (Symphony Space); In the Swing Dinner with Friends (Portland Stage (Theater for the New City); reading of Company). Film/TV—Law & Order, Late Women of Athens (N.Y.T.W./Manhattan Night with David Letterman. Concerts— Theater Club). Tours— Hair (2008 Italian Lyrics & Lyricists (92nd Street Y); Tribute Tour, dialog in Italian); Mame (National to Irving Berlin (Kennedy Center); My Tour). Regional—Two Gentlemen of Verona Favorite Broadway: The Love Songs (City (Shakespeare & Company); Annie (Fulton Center); Shall We Dance: Fred & Ginger Theatre); Man of La Mancha, Proof (Skyline Tribute (Various National Symphonies).

Theatre Co); A Little Night Music (White Author of A Year with The Producers (2002, Plains Perf. Arts Center); Urinetown Routledge). www.jeffrydenman.com (Carousel Dinner Theater); Annie, Baby, Danielle Ferland*— Thoroughly Modern Millie (Mt. Washington Baker’s Wife. CENTERSTAGE: Valley Theatre Company); Phantom Short Plays by Thornton (Shawnee Playhouse/Musical Theatre West); Wilder.

Broadway—All My Meshuggah-Nuns! (Cohoes Music Hall); Sons; A Year with Frog and Parallel Lives, Almost Maine, Crossing Toad, A Little Hotel on the Delancey (Theater Barn); Tales from Ovid Side, The Crucible (National Actors Theater); (Eugene O’Neill Theater Center); Little A Little Night Music (New York City Opera); Women (R.T.G. Productions). Co-writer of a Original Broadway productions of Into the new musical of Lysistrata. She owns a Woods (Little Red Ridinghood) and Sunday summer camp for teens with her childhood in the Park with George. Off Broadway— Into the Woods | 9

BIOGR APHIES The Cast continued

She Stoops to Conquer, The Streets of New York (Irish Repertory Theater); Engaged (Theatre for a New Audience); Tartuffe (Public Theater/NYSF); How I Learned to Drive (Century Theatre); Uncommon Women and Others (Lortel Theatre); Paradise and Sunday in the Park with George (Playwrights Horizons). Regional—A Year with Frog and Toad (Children’s Theatre of Minneapolis); School for Husbands, The Streets of New York (Westport Country Playhouse); Night Governess (McCarter Theatre); Actors Theatre of Louisville; Old Globe Theatre.

Film/TV—Slippery Slope, Sam the Man, Rescue Me, Earthly Possessions, Mighty Aphrodite, Radio Days. Awards—Theatre World Award: Outstanding New Talent, Drama Desk Nomination: Best Featured Actress in a Musical (both for Into the Woods). BFA from NYU. Love to Michael, Noah, and Evan.

Lauren Kennedy*— Witch. CENTERSTAGE: debut.

2012-13

RENEWAL Members—

Check your mailboxes in late March for your chance to renew your membership and join us for our 50th Anniversary Season. www.centerstage.org

State Theater of Maryland 10 | CENTERSTAGE

Broadway—credits include Monty Python’s Spamalot (Lady of the Lake); Sunset Boulevard with Glenn Close; Side Show (Daisy Hilton); Les Miserables (Fantine); Cinderella (New York City Opera).

Off Broadway—Disaster!, written and directed by Seth Rudetsky (Triad Theatre); Vanities, Good Ol’ Girls. Tour/International— Trevor Nunn’s revival of South Pacific (Nelli Forbush, Royal National Theatre); opposite Val Kilmer in The Ten Commandments (Kodak Theatre); Sunset Boulevard (Betty Schaeffer, National Tour). Regional— pre-Broadway production of Lone Star Love with Randy Quaid. New Works/Premieres— Frank Wildhorn’s Waiting for the Moon (Selda Fitzgerald, Lenape, Barrymore Award nom. for Best Actress); The Rhythm Club (Signature Theatre, Helen Hayes nom. for Best Actress); White Christmas, Breakfast at Tiffany’s (MUNY); Hot Shoe Shuffle (TUTS); The Trumpet of the Swan (Kennedy Center); The Last Five Years (Northlight). Both her new album, Here and Now, and her debut album, Lauren Kennedy: Songs of Jason

Robert Brown, have received rave reviews and are available on PS Classics. Lauren is the Artistic Director at Theatre Raleigh/ Hot Summer Nights. Lauren is most proud of her collaboration with husband Alan Campbell: their daughter Riley. www.laurenkennedy.com

Jeremy Lawrence*— Mysterious Man.

CENTERSTAGE: debut. Off Broadway— What the Public Wants, Is Life Worth Living?

(The Mint); So Help Me God! (Lortel); Five by Tenn (Manhattan Theatre Club); Everyone Expects Me to Write Another Nikka Graff Streetcar (Abingdon Theatre); Lavender Lanzarone*—Florinda.

Songs: Queer Weimar Berlin Cabaret in Mr. CENTERSTAGE: debut.

Lawrence’s translations (Bistro Award, The Broadway—Chicago (Velma Duplex). Tour/International— Tennessee Kelly); Women on the Verge Williams’ Traveling Companion (Dublin Int’l of a Nervous Breakdown Gay Theatre Fest); Albert in Wonderland (Marisa, Lincoln Center Theater). Off (Touring); How to Explain the History of Broadway—Hello Again (The Whore, Communism to Mental Patients (Edinburgh Transport Group); Seussical (Lortel Theatre).

Fringe Fest/Open Fist Theatre); Los Las Vegas— Peep Show (directed/ Angeles—Chekhov’s The Wood Demon, choreographed by Jerry Mitchell). Regional— Brecht’s The Wedding, Ghetto (Mark Taper Tommy (Bay Street Theatre); Carnival (Paper Forum); The Threepenny Opera (Reprise Mill Playhouse); The Producers (Merry-GoProductions); Patience, The Boor (Antaeus Round Playhouse); Nine (The Chance Theatre); The Three Sisters (Open Fist Theatre). Film/TV—Bandslam, The Tonight Theatre); The Chairs (Stages Theatre Center); Show with Jay Leno. Recordings—Seussical Kuni Leml (Westwood Playhouse); and Women on the Verge… cast albums.

Rapmaster Ronnie (Odyssey Theatre); Concerts at The Hollywood Bowl, the Nicholas Nickleby (LACC); Twelfth Night Sydney Opera House, two operas with the (Cecilwood Theatre). Film/TV— Extremely Los Angeles Opera. BFA from The Boston Loud & Incredibly Close, Tick Tock Time Conservatory. Love to M&D, DDS, The Mine.

Emporium, Critters, Body Double, Nightshift, www.nikka-graff-lanzarone.com Law & Order: SVU, Stella, Drew Carey Show, ER, Frasier, Growing Pains, Head of the Class, Jenny Latimer*— thirtysomething, Ohara, Night Court. He is Cinderella. CENTERSTAGE: internationally known for his one-man debut. Tour—25th Tennessee Williams shows.

Anniversary Tour of Les Miserables (Cosette).

Robert Lenzi*— Regional—Les Miserables Rapunzel’s Prince/ (Paper Mill Playhouse); She Loves Me Cinderella’s Father.

(Westport Country Playhouse); Phantom CENTERSTAGE: debut.

(Center West Valley); Balm in Gilead Broadway—South Pacific (Steppenwolf Intensive); My Fair Lady, (Lincoln Center). Off Cinderella (Tuacahn Amphitheater); Spitfire Broadway—Hello Again (Transport Group).

Grill, Slipper and the Rose (National Film/TV—The Last Airbender, Sex and the Premiere), Beauty and the Beast, The Taming City 2, The Happening, The Village, Blue of the Shrew (Hale Center Theatre); Much Bloods, One Life to Live, Live from Lincoln Ado About Nothing, The Fantasticks (Provo Center, Clubhouse. Robert holds a BFA in Theatre Company); A Midsummer Night’s Acting from Carnegie Mellon University.

Dream (Elison Auditorium). Other Credits— Dial M for Murder, Hamlet (Brigham Young University). Film/TV—Best Wishes Love Adele, Passage to Zarahemla, The Dance, Billy.

DRAMA DOCS

An exciting affinity group at CENTERSTAGE specifically designed to enhance the theatergoing experience of medical professionals throughout the community. Featured guest speakers will address topics ranging from subjects derived from the CENTERSTAGE repertoire to current hot-button issues facing doctors at the workplace.

Please join Dr. Murray M. Kappelman

Sunday, March 25 at 12:30 for brunch, a presentation from Resident Dramaturg & Associate Artistic Director, Gavin Witt, and a performance of Into the Woods.

Music & Lyrics by Stephen Sondheim Book by James Lapine Directed by Mark Lamos A co-production with Westport Country Playhouse

Tickets are $60 Contact Julia Ostroff at 410.986.4022 or jostroff@centerstage.org for reservations and further details. Seating is limited.

Into the Woods | 11

12 | CENTERSTAGE

BIOGR APHIES The Cast continued

Erik Liberman*—Baker.

CENTERSTAGE: debut.

Broadway— Harold Prince’s LoveMusik. Off Broadway— The Most Ridiculous Thing You Ever Hoid (NYMF Award), For Elise, Minnie’s Boys, The Calamity of Kat Kat and Willie. Tour— Fiddler on the Roof with Topol, Harvey Fierstein, and Theodore Bikel; Mabou Mines Dollhouse (Choreography).

Regional—Merrily We Roll Along (Helen Hayes Award, Signature). Concerts—An Evening of Kurt Weill (Lincoln Center); L’Histoire du Soldat (Occupy Wall Street); Broadway in the Berkshires (Shakespeare & Co). Workshops— Sundance, The Public, Playwrights Horizons. A Moth storyteller and Huffington Post blogger, he is a featured vocalist on The Beatles Complete on Ukelele. Erik is the recipient of Ovation and Garland Awards, as well as honors from Def Comedy Jam, The Kurt Weill Foundation, The Henry Mancini Institute, and YoungArts. www.erikliberman.org

Dana Steingold*— Little Red Ridinghood.

CENTERSTAGE: debut.

Broadway/National Tours— 25th Annual Putnam County Spelling Bee(Logainne). Off Broadway/Other New York—The Visit (Ottile); Anyone Can Whistle (Baby Joan, City Center Encores!); Perez Hilton Saves the Universe (Culture Project); Spidermusical (The Mint). Regional—credits include Calvin Berger (Bret, George Street Playhouse); Hairspray (Penny, North Carolina Theater); Into the Woods (Little Red, KC Rep); High School Musical 2 (Kelsi, North Shore Music Theatre); Ordinary Days (Deb, ATF); Surviving The Avalanche (Barrington Stage).

Recordings—Calvin Berger cast album.

Concerts include Metropolitan Opera Gala at Avery Fisher Hall and Detroit Opera House. Numerous Readings/Workshops. BFA from New York University. Love all around.

Cheryl Stern*—Jack’s Mother. CENTERSTAGE

debut. Broadway— 2010 Tony Award-winning revival of La Cage Aux Folles; The Women (Roundabout); Candide (NY City Opera); Laughing Room Only. Off Broadway—Claire in Being Audrey; Mamie in the Drama Desk-nominated First Lady Suite; Requiem for William (Transport Group); Alice B. Toklas in 27 Rue de Fleurus (Urban Stages); I Love You, You’re Perfect, Now Change; Game Show; That’s Life; The Immigrant. National Tours—A Grand Night for Singing; Les Misérables; Evita; Fiddler on the Roof. Regional—The Old Lady in Mary Zimmerman’s award-winning new adaptation of Candide (Huntington Theatre); Falsettos (Barrington Stage Co.); Light Up The Sky (Seattle Rep); The Times (dir. Gordon Edelstein, Long Wharf); Sisters Rosensweig (Geva/ Studio Arena); Lost in Yonkers (Tennessee Rep); No Way To Treat a Lady (Hartford Theatreworks); The Mystery of Edwin Drood (dir. Rob Marshall). Film/ TV— Brooklyn Lobster with Jane Curtin and Danny Aiello; Guiding Light; All My Children; As the World Turns; Law and Order: Criminal Intent; Sondheim: a Celebration at Carnegie Hall. Also a Drama Desk-nominated and Jonathan Larson Award-winning lyricist, Cheryl is a graduate of Northwestern University. www.cherylstern.com

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Nik Walker*—Wolf/ Cinderella’s Prince.

CENTERSTAGE: debut.

Regional—Miss Saigon (Ogunquit Playhouse); RENT (Pioneer Theatre); Man of La Mancha, RENT (Hangar Theatre); Assassins, ARTiculation (Company One). Tour—The Lion, The Witch and The Wardrobe (Theatreworks USA). Other Credits— Jesus Christ Superstar (Guerilla Tactics); Topdog/Underdog (Stella Adler Studios); The Devil and Thomas Briggs (The People’s Theatre Lab); The Who’s Tommy and originated the role of Marcus Steifel in Only Children (NYU Tisch); The Merchant of Venice, Measure for Measure (The Classical Studio NYU); Othello (Workshop, The Burning Pony). Film— Borderland. www.nikwalkersworld.com

Into the Woods | 13

BIOGR APHIES

See what’s still in store this season!

The Artistic Team

»»March CABARET Madness »»The Whipping Man »»CENTERSTAGE Gala »»Play Lab »»E. Faye Butler Cabaret

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Stephen Sondheim—Music & Lyrics—one of the most influential

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KEY AD AT CN KI

Audio Described AfterThoughts Discussion College Night Pre-Show Reception Kickin’ It with the ’Rents

MA Meet the Actors Discussion NT Night Out GLBT Cocktail Hour ON Opening Night PV Preview

❖

CLASSIC Series CABARET Series PLAY LAB Series Online Sales Only; Box Office Closed

State Theater of Maryland 14 | CENTERSTAGE

E. Faye Butler

13

8:00 Woods

Play Lab 2

The Whipping Man

8:00 PV/NT Woods

March Madness

11

and accomplished composer/lyricists in Broadway history, was born in New York City and raised in New York and Pennsylvania. As a teenager he met Oscar Hammerstein II, who became Sondheim’s mentor. Sondheim graduated from Williams College, where he received the Hutchinson Prize for Music Composition.

After graduation he studied music theory and composition with Milton Babbitt. He worked for a short time in the 1950s as a writer for the television show Topper; his first professional musical theater job was as the songwriter for the unproduced musical Saturday Night. He wrote the lyrics for West Side Story (1957), Gypsy (1959), and Do I Hear A Waltz? (1965), as well as additional lyrics for Candide (1973). Musicals for which he has written both music and lyrics include A Funny Thing Happened On The Way To The Forum (1962), Anyone Can Whistle (1964), Company (1970–1971 Tony Award Music and Best Lyrics), Follies (1971–1972 Tony Award Score and New York Drama Critics Circle Award; revised in London, 1987), A Little Night Music (1973 - Tony Award Score), The Frogs (1974), Pacific Overtures (1976 - New York Drama Critics’ Circle Award), Sweeney Todd (1979 - Tony Award Score), Merrily We Roll Along (1981), Sunday In The Park With George (1984 - New York Drama Critics Circle Award; 1985 Pulitzer Prize for Drama), Into The Woods (1987 - Tony Award Score), Assassins (1991) and Passion (1994 - Tony Award Score). He composed the songs for the television production Evening Primrose (1966); co-authored the film The Last of Sheila (1973); and provided incidental music for The Girls of Summer (1956), Invitation to a March (1961), and Twigs (1971). Side By Side By Sondheim (1976), Marry Me A Little (1981), You’re Gonna Love Tomorrow (1983; originally presented as A Stephen Sondheim Evening), and Putting It Together (1993) are anthologies of his work. He has written scores for the films Stavisky (1974) and Reds (1981), and composed songs for the film Dick Tracy (1990 - Academy Award for Best Song).

He is on the Council of the Dramatist Guild,

the national association of playwrights, composers and lyricists, having served as its president from 1973 until 1981, and in 1983 was elected to the American Academy of Arts and Letters. In 1990 he was appointed the first Visiting Professor of Contemporary Theatre at Oxford University. He was also recipient of a Kennedy Center Honor in 1993.

James Lapine—Book—has also

worked with Stephen Sondheim on Sunday In The Park With George and Assassins as well as the recent Broadway show, Sondheim on Sondheim. He also directed the first revival of Merrily We Roll Along at La Jolla Playhouse in 1985.

With William Finn he has collaborated on Falsettos, A New Brain, The 25th Annual Putnam County Spelling Bee, and the soon to be produced Little Miss Sunshine. Other Broadway credits: The Diary of Anne Frank, Golden Child, and Amour. He has written the plays Table Settings; Twelve Dreams; Luck, Pluck & Virtue; The Moment When; Fran’s Bed; and Mrs. Miller Does Her Thing.

Mark Lamos—Director. CENTERSTAGE:

A Little Night Music. Westport Country Playhouse—Artistic Director, Twelfth Night, or What You Will; Lips Together, Teeth Apart; Happy Days; She Loves Me; The Breath of Life; That Championship Season; Of Mice and Men. New York credits—The Rivals, Big Bill, Seascape, Cymbeline, Measure for Measure (Lortel Award), all for Lincoln Center Theater; The Gershwins’ Fascinating Rhythm; The Deep Blue Sea; Our Country’s Good (Tony Award nomination). Off Broadway—The End of the Day (Playwrights Horizons);Thief River (Signature Theatre Company); Love’s Fire (Public Theater, Acting Company); As You Like It (Public Theater, Central Park); Indian Blood, Buffalo Gal, Black Tie (Primary Stages). Artistic Director, Hartford Stage (’88 Tony Award for theater’s body of work).

Other theater—The Kennedy Center; Ford’s Theatre; Stratford Shakespeare Festival; Guthrie; A.C.T.; Chicago Shakespeare Theater; Yale Repertory Theatre; Shakespeare Theatre Company; Cincinnati Playhouse in the Park; San Diego’s The Old Globe; Moscow’s Pushkin Theatre Into the Woods | 15

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For more information contact Brad Norris at bnorris@centerstage.org.

16 | CENTERSTAGE

BIOGR APHIES The Artistic Team continued

(first American to direct in the former Soviet Union). Opera—I Lombardi, Wozzeck, (both televised for Great Performances); The Great Gatsby (world premiere) and Adriana Lecouvreur at the Metropolitan Opera; many productions for New York City Opera, including televised productions of Paul Bunyan, Tosca, Central Park, and Madama Butterfly (Emmy Award); Glimmerglass Opera; Gothenberg’s Stora Teatern; L’Opéra de Montréal; Chicago Lyric; San Francisco Opera; Norway’s Den Nye Opera; and opera companies of Santa Fe, St. Louis, Washington, Dallas, and Seattle.

Lamos began his career in the theater as an actor on and off Broadway and in regional theater. He made his film debut in Longtime Companion. He was awarded the Connecticut Medal for the Arts as well as honorary doctorates from Connecticut College, University of Hartford, and Trinity College.

Wayne Barker—Music Director.

CENTERSTAGE: Caroline, or Change; A Little Night Music; The Boys from Syracuse. Broadway—Peter and the Starcatcher (2011 Drama Desk Award, composer); Dame Edna: Back with a Vengeance (composer, lyricist, performer).

Off Broadway—Chicago City Limits; Aunt Chooch’s Birthday. International/Tours— Dame Edna: The Royal Tour; A Night with Dame Edna. Composer—The Great Gatsby (Guthrie); The Three Musketeers; Twelfe Night (Seattle Rep); HBO Family: A Little Curious; 2006 Commonwealth Games; 75th Royal Command Variety Performance.

Concert—Raymond Scott Orchestrette; Baltimore Symphony Orchestra (Jack Everly); Los Angeles Philharmonic; NY Pops; Chicago, Indianapolis, San Francisco, St. Louis, Pittsburgh symphonies; many others. Dramatists Guild member.

Seán Curran— Choreographer/ Musical Staging. CENTERSTAGE: debut.

Broadway—James Joyce’s The Dead, The Rivals, Cymbeline. Off Broadway—My Life With Albertine; Kilt; El Gato Con Botas; Original member of the NYC cast of STOMP; Romeo and Juillete (The Metropolitan

Opera); L’Etoile; Alcina; Turandot; Acis and Galetea; Haroun and the Sea of Stories; Where the Wild Things Are (New York City Opera). Director—Salome (Opera theater of St Louis, San Francisco Opera, Opera Montreal San Diego Opera); The Daughter of The Regiment (Opera Theater of St Louis). Artistic Director— Seán Curran Company. Arts Professor NYU Tisch School of the Arts Dance Department. www.seancurrancompany.com

Allen Moyer—Scenic Designer.

CENTERSTAGE: Snow Falling on Cedars, The Boys from Syracuse, The Voysey Inheritance, An Ideal Husband. Broadway—Lysistrata Jones, After Miss Julie, Grey Gardens (Tony/ Drama Desk noms, Henry Hewes Award), Thurgood, Little Dog Laughed, The Constant Wife, Twelve Angry Men, In My Life, Reckless, The Man Who Had All The Luck, A Thousand Clowns. Off Broadway—The New Century (Lincoln Center); Mr. Marmalade, Richard Greenberg’s The Dazzle (Roundabout Theatre); John Guare’s Landscape Of The Body, premiere of A Few Stout Individuals (Signature); Kenneth Lonergan’s Lobby Hero (Playwrights Horizons); This Is Our Youth (New Group/Second Stage); productions for the Drama Dept including As Thousands Cheer, As Bees In Honey Drown, Rude Entertainment. Opera/Dance—Orfeo ed Euridice (dir. Mark Morris, Metropolitan Opera); The Grapes of Wrath (world premiere, Minnesota Opera); San Francisco Opera; Santa Fe Opera; New York City Opera; Glimmerglass Opera; Scottish Opera; Houston Grand Opera; Sylvia (San Francisco Ballet); Romeo and Juliet: On Motifs of Shakespeare (Mark Morris Dance Group).

Awards—Obie for Sustained Excellence.

Candice Donnelly— Costume Designer. CENTERSTAGE: The Wiz, Ma

Rainey’s Black Bottom, The Importance of Being Earnest, ’Tis Pity She’s a Whore, The Matchmaker, A Little Night Music, Rosencrantz & Guildenstern are Dead, The Three Sisters, The Murder of Isaac, Lady Windermere’s Fan, Misalliance, The Winter’s Tale, She Stoops to Conquer, many others.

Broadway—Our Country’s Good, Fences, Into the Woods | 17

BIOGR APHIES The Artistic Team continued

Mar 15–18 | 4 PERFORMANCES ONLY

MARCH

CABARET

MADNESS

» Flamenco with Ricardo Marlow & Guests » Songs of the ’70s with Sahffi & Her Band » Step Dancers from Morgan State University

& McHale School of Irish Dance of Baltimore (Preshow Only!)

Flamenco with Ricardo Marlow & Guests

Ricardo Marlow beguiles audiences internationally with his extraordinary flamenco guitar playing. His credits include the Kennedy Center, the National Gallery of Art in DC, Baltimore Symphony Orchestra, Baltimore Museum of Art, as well appearances in Madrid, Nashville, and Hollywood.

Songs of the ’70s with International Singer-Songwriter Sahffi & Her Band

International singer-songwriter Sahffi comes to CENTERSTAGE to perform an evening of songs from the ’70s. A selfdescribed “neo-alternative folk” artist, she hit #1 on the charts in South Africa and nabbed a #1 download on Traxsource as a member of house group t3N.

For more information visit

WWW.CENTERSTAGE.ORG/CABARET State Theater of Maryland

18 | CENTERSTAGE

Hughie, Search and Destroy, Mastergate.

Off Broadway—Buffalo Gal, Body of Water, Hurrah at Last, Fires in the Mirror, The Skin of Our Teeth, Love’s Fire, others. Regional— A.C.T. (San Francisco); Long Wharf; La Jolla; Mark Taper; Guthrie; Alley; Berkeley Rep; A.R.T.; Yale Rep; others. Opera—Haroun & the Sea of Stories, La Finta Giardiniera, Central Park, The Flying Dutchman, The Tales of Hoffmann, Ermione, Casino Paradise, Black Water. Film/TV—Dolley Madison; Ben Franklin; Alexander Hamilton; Twilight: Los Angeles, 1992; Liberty!; others. Education— MFA, Yale School of Drama.

Robert Wierzel—Lighting Designer.

CENTERSTAGE: Who’s Afraid of Virginia Woolf?, A Little Night Music, Day of Absence, Open Admissions. Broadway—Fela! a musical directed and choreographed by Bill T. Jones (Tony Award nom; Royal National Theatre/London, EKO Center/Lagos, Nigeria; European Tour and currently on an American Tour); David Copperfield’s Dreams and Nightmares. Off Broadway—NYSF/Public; Signature; MCC; Roundabout; Playwrights Horizons; INTAR; Mostly Mozart Festival; BAM; Lincoln Center Fest; Gotham Chamber Opera. Regional—Arena Stage; A.C.T. San Francisco; Shakespeare (DC); Chicago Shakespeare; Hartford Stage; Long Wharf; Goodman; Yale Rep; California Shakespeare; Guthrie; Mark Taper; Berkeley Rep. among others. Opera—NYCO; Glimmerglass; Garnier (Paris); Tokyo; Toronto; Bergen Norway; Boston; San Diego; SFO; HGO; Wolf Trap; Omaha; Washington; Seattle; Virginia; Chicago Lyric; Chicago Opera Theatre; Montreal; Vancouver; Minnesota; FGO; Portland. Dance—26 years of collaboration w/Bill T. Jones & The BTJ/AZ Dance Company; Doug Varone; Seán Curran; Donna Uchizono; Alonzo King; Berlin Opera Ballet; Lyon Opera Ballet. Awards—SF,CA Critic Circle Award; CT Critic Circle Award; Obie (Special Citation); Bessie (Dance and Performance); American Theatre Wing; Professional—Adjunct Instructor, NYU Tisch School of the Arts. Education—USF, Tampa FL; Yale School of Drama.

Zachary Williamson—Sound Designer.

CENTERSTAGE: ReEntry. Broadway— Lysistrata Jones; The Ritz, Pal Joey (Associate, Roundabout). Off Broadway— Molly Sweeney, White Woman Street, Candida, The Hairy Ape, and others (Irish Rep); Vanities (Second Stage); ReEntry (Urban Stages). Regional—Cabaret (Kansas City Rep); Amadeus (Clarence Brown); On the Town and Joseph and the Amazing Technicolor Dreamcoat (5th Avenue Theatre); Give It Up! (Dallas Theater Center); Jacques Brel Is Alive and Well; You’re a Good Man, Charlie Brown; 26 Miles; and other productions (Two River Theater); Long Wharf; Pasadena Playhouse; Round House Theatre; Virginia Stage; Asolo; Actors Theater Louisville; St. Louis Rep; Vermont Stage; Syracuse Stage.

Matthew Melchiorre*—Stage Manager. CENTERSTAGE: Assistant

Stage Manger A Skull in Connemara.

Broadway—The Light in the Piazza, Coram Boy, Hamlet, Curtains, Monty Python’s Spamalot, Wicked, The Lion King, All Shook Up, The Frogs. Off Broadway— A.R. Gurney’s Black Tie dir. Mark Lamos, Happy Now?, Shipwrecked! An Entertainment…, A.R. Gurney’s Buffalo Gal dir. Mark Lamos, White Chocolate, Open Heart, The Architecture of Loss (Primary Stages). Other New York— Show Boat In Concert (Carnegie Hall). Regional—Twelfth Night, or What You Will dir. Mark Lamos; Suddenly Last Summer; Lips Together, Teeth Apart dir.

Mark Lamos; Beyond Therapy; The Diary of Anne Frank; Beckett’s Happy Day’s dir.

Mark Lamos; She Loves Me dir. Mark Lamos; That Championship Season dir. Mark Lamos; Tick, Tick, Boom!; Around the World in 80 Days; A Holiday Garland; The Pavilion (Westport Country Playhouse); Honk!

(Two River Theater Company).

“What you leave behind is not what is engraved in stone monuments, but what is woven into the lives of others.”

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Make sure that does not happen to you. Live smart. When you name CENTERSTAGE as a beneficiary, you can trust that your money will be spent wisely by a non-profit organization you already know and trust.

Your foresight is our future… and your peace of mind.

Master Your Own Legacy…

Join the Heritage Circle at CENTERSTAGE To learn more about opportunities to include CENTERSTAGE in your estate plans, please contact the Director of Development, Cindi Monahan at 410.986.4020.

Amanda Spooner*—Assistant Stage Manager. CENTERSTAGE: debut. Off

Broadway—Black Tie (Primary Stages); Ink’d (Playwrights Realm); Ameriville (The Public Theatre); Happy Now? (Primary Stages); NEWSical the Musical (Village Theatre).

Into the Woods | 19

CENTERSTAGE PARTNERS WITH

UMBC DEPARTMENT OF

THEATRE TO PRESENT

L R GR PARTS

THE EXTRA BITS

H C R MA

17

AT 2PM This unique experience celebrates seven years of creating strong, new roles for women. Featuring a panel discussion with all five Grrl Parts 2012 playwrights (Sheila Callaghan, Julia Jordan, Kate Moira Ryan, Tanya Saracho, and Lucy Thurber) alongside Grrl Parts artistic director Susan McCully and Susan Jonas.

umbc.edu/grrlparts 20 | CENTERSTAGE

BIOGR APHIES The Artistic Team continued

Tours—NEWSical the Musical; Finding Ways…. Regional—Les Liaisons Dangereuses, Annie, Evita (Northern Stage); Twelfth Night, Lips Together, Teeth Apart, She Loves Me (Westport); Death of a Salesman, Happy Now?, Boleros for the Disenchanted (Yale Rep); Measure for Measure, The Winter’s Tale, Holiday (Elm Shakespeare). TV—The 81st Annual Academy Awards. MFA, Yale School of Drama.

Gavin Witt—Production Dramaturg.

See page 21.

Michael Rossmy—Fight Director.

CENTERSTAGE: debut. Broadway—credits include A Tale of Two Cities (Fight Director); Fences, Cymbeline, Lestat, Tarzan, and Superior Donuts (all as Assistant Fight Director). Regional—credits include Goodspeed Opera, Papermill Playhouse, Seattle Rep, The Public, Huntington Theatre, Shakespeare Theatre, Metropolitan Opera, Yale Rep, Williamstown, The Rattlestick, Project Y, and others. Most recently Michael returned to Europe to remount the international tour of Ben Hur Live.

Michael is also a faculty member at the Yale School of Drama and the New York Conservatory for the Dramatic Arts where he teaches Stage Combat.

Tara Rubin Casting— Casting.

CENTERSTAGE: debut. Broadway—Ghost, Hugh Jackman: Back on Broadway, How to Succeed in Business Without Really Trying, Promises, Promises, A Little Night Music, Billy Elliot, Shrek, Guys and Dolls, The Country Girl, RockN’Roll, The Farnsworth Invention, Young Frankenstein, The Little Mermaid, Mary Poppins, My Fair Lady, Pirate Queen, Les Misérables, History Boys, Spamalot, Jersey Boys, 25th Annual Putnam County Spelling Bee, The Producers, Mamma Mia!, Imaginary Friends, Phantom of the Opera, Oklahoma!, Happiness, The Frogs, Contact, Thou Shalt Not. Off-Broadway—Love, Loss, and What I Wore, Second Stage. Regional— Yale Repertory, Kennedy Center, La Jolla Playhouse, Dallas Theatre Center, The Old Globe.

Westport Country Playhouse is

a nationally recognized, not-for-profit, professional theater under the artistic direction of Mark Lamos and management leadership of Michael Ross. The Playhouse creates five live theater experiences, produced at the highest level, from April through November. Its vital mix of works— dramatic, comedic, occasionally exploratory and unusual—expands the audience’s sense of what theater can be. The depth and scope of its productions display the foremost theatrical literature from the past—recent as well as distant—in addition to musicals and premieres of new plays. During the summer, the Playhouse is home to the Woodward Internship Program, renowned for the training of aspiring theater professionals. Winter at the Playhouse, from November through March, offers events outside of the main season— Family Festivities presentations, Script in Hand play readings and a Holiday Festival.

As an historic venue, Westport Country Playhouse has had many different lives leading up to the present. Originally built in 1835 as a tannery manufacturing hatters’ leathers, it became a steam-powered cider mill in 1880, later to be abandoned in the 1920s. Splendidly transformed into a theater in 1931, it initially served as a try-out house for Broadway transfers, evolving into an established stop on the New England straw hat circuit of summer stock theaters through the end of the 20th century.

Following a multi-million dollar renovation completed in 2005, the Playhouse became a state-of-the-art producing theater, preserving its original charm and character.

Today, the not-for-profit Westport Country Playhouse serves as a cultural nexus for patrons, artists and students and is a treasured resource for the State of Connecticut. There are no boundaries to the creative thinking for future seasons or the kinds of audiences and excitement for theater that Westport Country Playhouse can build.

BIOGR APHIES

F YI

Staff

Artistic Director Kwame Kwei-Armah, an award-

winning British playwright, director, actor, and broadcaster, is well-known to Baltimore audiences through his plays Elmina’s Kitchen and Let There Be Love—which had their American debuts at CENTERSTAGE—as well as his work as director of Naomi Wallace’s Things of Dry Hours. He has served on the boards of The National Theatre and The Tricycle Theatre, both in London. He most recently served as Artistic Director for the World Arts Festival in Senegal, a month-long festival of Black arts and culture, which featured more than two thousand artists from 52 countries participating in 16 different arts disciplines. He was recently named the Chancellor of the University of the Arts London.

Associate Artistic Director/ Director of Dramaturgy Gavin Witt, came

to CENTERSTAGE 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 currently teaches at Towson University.

Audience Services

Managing Director Stephen Richard, a leader

on the national arts scene for more than 30 years, joined CENTERSTAGE in January 2012. Stephen comes most recently from a position 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 at Georgetown University and George Mason 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, League of Resident Theatres, and Theatre Communications Group.

PRE-SHOW DINING Visit Sascha’s Express, our preperformance dinner service located just up the lobby stairs in our Mezzanine Café. Featuring delicious prix fixe dining, service begins two hours before each performance. You’ll find the current menu at www.centerstage.org/saschas.

ACCESSIBILITY PROGRAMS Wheelchair-accessible seating is available for every performance.

For patrons who are hearing impaired, we offer assistive listening devices at no charge. An Open Captioned performance is available for one Sunday performance of each Classic Series production for deaf and hearing impaired patrons. Several performances also feature Audio Description, and Braille programs or magnifying glasses are available upon request.

ON-STAGE SMOKING When a play requires on-stage smoking, we use tobacco-free herbal imitations and do everything possible to minimize the amount of smoke that drifts into the audience. If you’re smoke-sensitive, be sure to let our Box Office know.

PHOTOGRAPHY & RECORDING PROHIBITED Because of copyright and union regulations, photography or recording of performances—both audio and video—is strictly forbidden.

BE COURTEOUS Please silence your cell phone, pager, or other electronic devices both before the show starts and after intermission.

And, while you’re welcome to take beverages with lids to your seat, eating is never allowed inside the theater.

ANYTHING ELSE WE CAN DO? CENTERSTAGE wants every patron to have an enjoyable, stress-free experience. Your feedback and suggestions are always welcomed: info@centerstage.org.

Into the Woods | 21

PREVIEW: The Whipping Man

By Susanna Gellert, Artistic Producer

It is Passover, 1865. The Civil War just ended and Jews across the country are sitting down to the Seder meal, the ritual celebration of freedom from the bondage suffered in Egypt. And why is this night different from all other nights? In one war-ravaged home in Richmond, Virginia, the questions asked around the Seder table resonate more powerfully than ever.

Directed by Artistic Director Kwame Kwei-Armah Apr 4–May 13, 2012

Confederate officer Caleb DeLeon returns from the war to find his family missing and only two former slaves remaining in the family home: Simon, steady in his passion for a newly granted freedom; and more defiant John, who was not only Caleb’s property but also, for a time, his childhood playmate. Where once these three knew each other through the bonds of slavery, now they come together to celebrate their first Passover as free men—tied together by a tangled history and by wounds seen or unseen, but also by the rituals of their common faith.

The Whipping Man author and Florida native Matthew Lopez got his start in theater as an actor before turning to writing. While bouncing between temp jobs and auditions in New York City, Lopez penned the first draft of the play, a 20-page, two-character version about the relationship between Simon and Caleb. Much expanded and enlarged in scope, the play went on to production at a variety of theaters around the country; last spring, it had a much-heralded staging at Manhattan Theater Club in New York.

Long interested in the history of the Civil War, Lopez discovered the spark for his story of two slaves born into their master’s faith when he read that Passover in 1865 began the day after Robert E. Lee surrendered at Appomattox. From the seed of this coincidence and much historical research grew a tale about that moment when freedom finally arrives—how suddenly everything changes, and yet how surprisingly some things stay the same. The Whipping Man explores these questions by delving deep into details of America’s past. Lopez’s dialogue rings with the timbre of a history we too often know only from the letters and diaries of those who lived it.

The wrecked house in which this drama unfolds is marked not only by war’s devastation, but also by the lives of those who made it their home before fighting broke out. It was a home for a family, and for their secrets.

Buy tickets!

22 | CENTERSTAGE

Kwame Kwei-Armah, CENTERSTAGE’s new Artistic Director, will direct the play, making this his first directional outing since taking the helm. For Kwei-Armah, the play’s exploration includes powerful themes of inheritance and belief. Freed from the bonds of slavery, Simon and John remain tied to their former master through a shared faith; though the tenets and traditions of Judaism were handed down to them from the DeLeon family, these loom as large in their identities as in Caleb’s. Thus, the play asks us to consider where our beliefs come from and how they define us. Asking such powerful questions, Lopez’ play tells a story about how America’s past connects us in the present. ö

Into the Woods | 23

SUPPORTING The Annual Fund CORPORATIONS

ARTISTS CIRCLE

The following list includes gifts of $250 or more—individual, corporate, foundation, and government contributions— made to the CENTERSTAGE Annual Fund between August 1, 2010 and February 1, 2012. 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 CENTERSTAGE. We couldn’t do it without you! ●● PLAYWRIGHTS CIRCLE

American Trading & Production Corporation

The CENTERSTAGE 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.

The Baltimore Life Companies

●● ARTISTS CIRCLE

Baxter, Baker, Sidle, Conn & Jones, P.A.

The Miriam and Jay Wurtz Andrus Trust Ellen and Ed Bernard Stephanie and Ashton Carter James and Janet Clauson Lynn and Tony Deering Marilyn Meyerhoff Mr. and Mrs. George M. Sherman The Shubert Foundation, Inc. Mr. and Mrs. Robert W. Smith, Jr. The Witt/Hoey Foundation

Anonymous Accenture

Brown Advisory Environmental Reclamation Company Ernst & Young LLP FTI Consulting Hodes, Pessin & Katz, P.A. Howard Bank Lord Baltimore Capital Corporation McCormick & Co. Inc.

T. Rowe Price Associates Foundation, Inc. PRODUCERS CIRCLE

McGuireWoods LLP PNC Bank PricewaterhouseCoopers LLP Procter & Gamble Stifel Nicolaus Transamerica Financial Solutions Group Venable, LLP Whiteford, Taylor & Preston LLP The Whiting-Turner Contracting Company

●● DIRECTORS CIRCLE Alexander Design Studio Bay Imagery, Inc. Funk & Bolton, P.A. Schoenfeld Insurance Associates

($25,000+)

●● PRODUCERS CIRCLE ($10,000–$24,999)

The William L. and Victorine Q. Adams Foundation and The Rodgers Family Fund The William G. Baker, Jr. Memorial Fund Baltimore Community Foundation Penny Bank The Jacob and Hilda Blaustein Foundation, Inc. The Bunting Family Foundation The Helen P. Denit Charitable Trust Ms. Nancy Dorman and Mr. Stanley Mazaroff Mr. and Mrs. Larry D. Droppa The Goldsmith Family Foundation John Gerdy and E. Follin Smith The Laverna Hahn Charitable Trust Ms. Kathleen Hyle J.I. Foundation Kenneth C. and Elizabeth M. Lundeen Mr. and Mrs. Samuel G. Macfarlane Terry H. Morgenthaler and Patrick Kerins Mr. and Mrs. J. William Murray Mr. and Mrs. Philip Rauch George Roche Mr. Louis B. Thalheimer and Ms. Juliet A. Eurich Ms. Barbara Voss and Charles E. Noell, III

Stevenson University

●● PLAYWRIGHTS CIRCLE

●● ASSOCIATES

Denise and Philip Andrews Peter and Millicent Bain James T. and Francine G. Brady The Charlesmead Foundation The Nathan and Suzanne Cohen Foundation The Cordish Family The Jane and Worth B. Daniels, Jr. Fund of the Baltimore Community Foundation Brian and Denise Eakes Fascitelli Family Foundation Dick and Maria Gamper The Harry L. Gladding Foundation/ Winnie and Neal Borden Dr. and Mrs. Neil D. Goldberg Fredye and Adam Gross Martha Head The Hecht-Levi Foundation, Inc. Dr. and Mrs. Freeman A. Hrabowski III Murray and Joan Kappelman Francie and John Keenan

Ayers Saint Gross, Inc. Chesapeake Plywood, LLC Corporate Office Properties Trust Goldberg, Besche & Banks, P.C. J.J. Haines & Company, Inc.

●● COLLEAGUES RSM McGladrey, Inc.

●● ADVOCATES Anonymous Fireline Corporation

24 | CENTERSTAGE

INDIVIDUALS & FOUNDATIONS

($5,000–$9,999)

Mr. and Mrs. E. Robert Kent, Jr. The John J. Leidy Foundation, Inc. The Macht Philanthropic Fund Mrs. Diane Markman Joseph & Harvey Meyerhoff Family Charitable Funds Robert E. Meyerhoff and Rheda Becker John and Susan Nehra The Jim and Patty Rouse Charitable Foundation The Estate of Loretta M. Taymans Ms. Katherine L. Vaughns Ms. Linda Woolf

●● DIRECTORS CIRCLE ($2,500–$4,999)

Anonymous The Lois and Irving Blum Foundation, Inc. Drs. Joanna and Harry Brandt Sylvia and Eddie Brown Mary Catherine Bunting Annie E. Casey Foundation Marjorie Rodgers Cheshire and Mark Cheshire August and Melissa Chiasera The Mary & Dan Dent Fund of the Baltimore Community Foundation Mr. and Mrs. Walter B. Doggett, III Patricia Yevics-Eisenberg and Stewart Eisenberg Judith and Steven B. Fader Mr. and Mrs. Michael Falcone Ms. Suzan Garabedian Robert and Cheryl Guth Dr. and Mrs. J. Woodford Howard Ms. Sherrilyn A. Ifill Mr. and Mrs. Stephen Immelt Jonna and Fred Lazarus Maryland Charity Campaign Linda and John McCleary Mr. and Mrs. John L. Messmore Jim and Mary Miller Jeannie Murphy The Israel & Mollie Myers Foundation/ Mr. and Mrs. Jonathan Myers/ Mr. and Mrs. Herschel Langenthal Dr. and Mrs. Lawrence C. Pakula Monica and Arnold Sagner Scott and Mimi Somerville Scot T. Spencer The Estate of George H. Steele Mr. Michael Styer Trexler Foundation, Inc.— Jeff Abarbanel and David Goldner Kathryn and Mark Vaselkiv Mr. and Mrs. Loren and Judy Western Scott and Mary Wieler Ted and Mary Jo Wiese Ms. Cheryl Hudgins Williams and Alonza Williams Drs. Nadia and Elias Zerhouni

●● ASSOCIATES

($1,000–$2,499)

Anonymous Mr. and Mrs. Raymond Bank Family Fund of the Baltimore Community Foundation Ms. Taunya Banks Amy and Bruce Barnett Mr. Donald L. Bartling Bob and Maureen Black Ms. Katharine C. Blakeslee Mr. and Mrs. Marc Blum John and Carolyn Boitnott Mr. and Mrs. John Bond, Jr. Dr. and Mrs. Donald D. Brown Sandra and Thomas Brushart Mr. and Mrs. George L. Bunting Maureen and Kevin Byrnes Meredith and Joseph Callanan The Campbell Foundation, Inc. Caplan Family Foundation, Inc. Sally and Jerry Casey John Chester Ann K. Clapp Dr. Joan Develin Coley and Mr. Lee Rice Constantinides Family Foundation Robert and Janice Davis The Richard & Rosalee C. Davison Foundation Albert F. DeLoskey and Lawrie Deering Rosetta and Matt DeVito Mr. Jed Dietz and Dr. Julia McMillan, MD Mr. and Mrs. Eric Dott Jack and Nancy Dwyer Mr. and Mrs. Matthew Freedman Frank and Jane Gabor Jose and Ginger Galvez Jonathan and Pamela Genn, in honor of Cindi Monahan and Beth Falcone Sandra Levi Gerstung Janet and John Gilbert Ms. Ana Goldseker Goldseker Foundation H.R. LaBar Family Foundation Fund of The Greater Cincinnati Foundation Mr. and Mrs. James and Vicki Handa F. Barton Harvey, III and Janet Marie Smith Bill and Scootsie Hatter Donald and Sybil Hebb Sandra and Thomas Hess Mr. and Mrs. Leonard Homer The Harley W. Howell Charitable Foundation The A. C. and Penney Hubbard Foundation Mr. and Mrs. Theodore Imes Joseph J. Jaffa Mr. and Mrs. Mark Joseph The Abraham & Ruth Krieger Family Foundation, Inc.

Francine and Allan Krumholz Dr. and Mrs. George Lentz, Jr. Mr. and Mrs. Earl & Darielle Linehan/ Linehan Family Foundation Ms. Mary L. McGeady Tom and Cindi Monahan Ms. Stacey Morrison and Mr. Brian Morales Mr. and Mrs. Lee Ogburn Bodil Ottesen Ms. Beth Perlman Kathleen Polk Ronald and Carol Reckling The James and Gail Riepe Family Foundation Nathan and Michelle Robertson David A. Robinson Mr. Grant Roch The Rollins-Luetkemeyer Foundation Ben and Esther Rosenbloom Foundation Lainy Lebow Sachs and Leonard Sachs Mr. and Mrs. Todd Schubert Mrs. Gail Schulhoff Charles & Leslie Schwabe Mr. Steve Schwartzman The Tim and Barbara Schweizer Foundation, Inc. Bayinnah Shabazz, M.D. Barbara and Sig Shapiro The Earle & Annette Shawe Family Foundation Mr. and Mrs. Robert N. Smelkinson Judith R. and Turner B. Smith Mr. and Mrs. Robert and Terri Smith Mr. and Mrs. Scott Smith Dr. and Mrs. John Strahan Susan and Brian Sullam Becky and Andrew Swanston Dr. Edgar and Betty Sweren, in honor of Kwame Kwei-Armah Mr. and Mrs. Ronald W. Taylor Sanford and Karen Teplitzky The David and Adena Testa Fund Mr. and Mrs. Donald and Mariana Thoms John A. Ulatowski Dr. and Mrs. John Vaden Mr. and Mrs. George and Beth Van Dyke Nanny and Jack Warren, in honor of Lynn Deering Mr. and Mrs. J.W. Thompson Janna P. Wehrle Ms. Yvonne L. Williams John W. Wood Ms. Jean Wyman Eric and Pam Young Dr. Laurie S. Zabin Mr. E. Zuspan

●● COLLEAGUES ($500–$999)

Anonymous

Ms. Diane Abeloff, in memory of Martin Abeloff Stephen and Madeleine Adams The Alsop Family Foundation Elizabeth and Kenneth S. Aneckstein Mr. Appel Mrs. Alexander Armstrong Art Seminar Group Mr. Robert and Dorothy Bair Mayer and Will Baker, in honor of Terry Morgenthaler Mr. and Mrs. Charles C. and Patti Baum Ms. Jane Baum Rodbell Jaye and Dr. Ted Bayless Fund S. Woods and Catherine L. Bennett Mr. and Mrs. Bruce Blum, in memory of Shirley Feinstein Blum Beth and Dale Brady Richard F. Bragg Mr. and Mrs. Carl F. Christ Combined Charity Campaign Mr. G. Brian Comes and Mr. Raymond Mitchener, in honor of Terry Morgenthaler Gwen Davidson The Deering Family Foundation Mr. James H. DeGraffenreidt, Jr. and Dr. Mychelle Y. Farmer, M.D. Gene DeJackome and Kim Gingras The Honorable and Mrs. E. Stephen Derby Lynne Durbin and JohnFrancis Mergen Dave and Joyce Edington The Eliasberg Family Foundation, Inc. Buddy and Sue Emerson, in appreciation for Elizabeth and Ken Lundeen Margaret and Donald Engvall Mr. and Mrs. Edgar and Faith Feingold, in memory of Sally W. Feingold Sandra and John Ferriter Bob and Susie Fetter Andrea and Samuel Fine Dennis and Patty Flynn Elborg and Robert Forster Ms. Nancy Freyman Mr. and Mrs. Francis X. Gallagher, Jr. Hal and Pat Gilreath Alma Hays and John Ginovsky Ann and Jim Gordon Mary and Richard Gorman The Joseph Mullan Company, in care of Peggy Greenman Stuart and Linda Grossman Louise A. Hager Kevin and Angie Hall Terry Halle and Wendy McAllister Michael and Ann Hankin

Rebecca Henry and Harry Gruner Allan and Heidi Hoffman Mr. and Mrs. James Hormuth Henry P. Hornung, Jr., in memory of Trude Marx Mr. James Hughes Dr. and Mrs. Barry Hurwitz Ms. Harriet F. Iglehart Richard Jacobs and Patricia Lasher Dr. Richard J. Johns Dr. and Mrs. Juan M. Juanteguy Michael and Jennifer Kagan Peter and Kay Kaplan Lee Kappelman and John Rybock Ms. Shirley Kaufman Mr. and Mrs. Padraic Kennedy, in honor of Ken Lundeen Roland and Judy Phair King The Kyle Family Foundation, in honor of Guy and Sue Parr Joseph M. and Judy K. Langmead Mr. and Mrs. John Leahy, Jr. Dr. and Mrs. Yuan C. Lee Mr. Claus Leitherer and Mrs. Irina Fedorova Marilyn Leuthold Marty Lidston and Jill Leukhardt Kenneth and Christine Lobo The Ethel M. Looram Foundation, Inc. Ruth R. Marder S. R. McCullough Ms. Mary Beth Marsden and Mr. Mark McGrath Jean and Chris Mellott Joseph and Jane Meyer Ms. Mary Page Michel and Mr. Michael Morrill, in honor of Lynn and Tony Deering Jeston I. Miller Stephanie F. Miller, in honor of The Lee S. Miller Jr. Family The Montag Family Fund of The Community Foundation for Greater Atlanta, in honor of Beth Falcone Cliff and Courtney Muller George and Beth Murnaghan Lettie Myers Judith Needham and Warren Kilmer Roger F. Nordquist and Joyce Ward Mimi O’Donnell, in memory of Helen O’Donnell Claire D. O’Neill Ms. Jo-Ann Mayer Orlinsky Kevin and Joyce Parks Mr. and Mrs. James and Mimi Piper Fund of the Baltimore Community Foundation Bonnie Pitt Mike Plaisted and Maggie Webbert Dave and Chris Powell Ms. Jill Pratt

Mr. and Mrs. Richard Radmer Mrs. Peggy L. Rice Mr. and Mrs. Domingo and Karen Rodriguez Mr. and Mrs. Jerry Roesler Mr. and Mrs. Harold Rojas Dorothy L. and Henry A. Rosenberg, Jr. Mr. Michael Ross Kevin and Judy Rossiter Mrs. Bette Rothman Mr. Al Russell Sheila and Steve Sachs Ms. Renee C. Samuels Ms. Sherry Schnepfe Mr. and Mrs. Eugene H. Schreiber The Ida & Joseph Shapiro Foundation Kathy Levin-Shapiro and Sandy Shapiro Ruth Shaw, Inc. Barbara Payne Shelton Scott Sherman and Julie Rothman Alan and Lisa Shusterman Ronnie and Rachelle Silverstein, in memory of Louis and Sarah Silverstein and Jacob and Rena Kramer The Sinksy-KresserRacusin Memorial Foundation Dana and Matthew Slater Susan Somerville-Hawes, in honor of Encounter Georgia and George Stamas Mr. Gilbert H. Stewart and Ms. Joyce Ulrich Mr. and Mrs. Joe and Robin Stocks Robert and Patricia Tarola Diana and Ken Trout Sharon and David Tufaro United Way of Central Maryland Campaign Judy Vandever Carolyn and Robert Wallace The Toby and Melvin Weinman Foundation Michael T. Wharton Mrs. Edna Winik Paul Wittemann/ Greenspring Energy LLC Dr. and Mrs. Frank R. Witter Drs. Dahlia Hirsch and Barry Wohl Ann Wolfe and Dick Mead Ziger/Snead Architects Mr. and Mrs. Barry Zirkin

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 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. Funding for the Maryland State Arts Council is also provided by the National Endowment for the Arts, a federal agency.

CENTERSTAGE’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.

CENTERSTAGE participates annually in Free Fall Baltimore, a program of the Baltimore Office of Promotion and the Arts Baltimore County Executive, County Council, & Commission on Arts and Sciences Carroll County Government Howard County Arts Council through a grant from Howard County Government

●● ADVOCATES ($250–$499)

Anonymous Lindsay and Bradley Alger Mr. Alan Arrowsmith, II Mr. and Mrs. Jon Baker, in honor of Terry Morgenthaler Susan and Craig Bancroft Drs. Lewis and Diane Becker Judge Robert Bell Rachel and Steven Bloom, in honor of Beth Falcone ChiChi and Peter Bosworth Betty Jo Bowman Mr. Walter Budko

SEASON PARTNERS

Into the Woods | 25

SUPPORTING The Annual Fund Dr. and Mrs. Robert Burchard Ms. Kathleen Cahill Ms. Deborah W. Callard Cindy Candelori The Jim and Anne Cantler Memorial Fund of the Baltimore Community Foundation Mr. and Mrs. David Carter Mr. and Mrs. James Case Donna and Tony Clare Stanton Collins David and Sara Cooke Mr. and Mrs. Richard D. Crafton Ms. Barbara Crain Mr. Thomas Crusse and Mr. David Imre, in honor of Stephanie and Ash Carter Ms. Sarah Curnoles Diane and Donald D’Agati Richard and Lynda Davis Mr. and Mrs. Ivor Edmonds Deborah and Philip English Ms. Rhea Feikin Dr. and Mrs. Robert P. Fleishman Donna Flynn David and Joan Forester G. Foss Consulting, LLC Scott and Amy Frew Dr. Neal M. Friedlander and Virginia K. Adams Dr. Joseph Gall and Dr. Diane Dwyer Constance A. Getzov Mark and Patti Gillen Bruce Goldman Herbert and Harriet Goldman Thomas and Barbara Guarnieri Ms. Doris M. Gugel Mr. David Guy Mary and James Hackman Jane Halpern and James Pettit Ms. Paulette Hammond Mark and Stephanie Harrison Barbie Hart Melanie and Donald Heacock John and Cynthia Heller Lee M. Hendler Betsy and George Hess John and Kate Hetherington Mr. Donald H. Hooker, Jr. Mr. Jonathan Hornbeck Ms. Irene Hornick James S. and Hillary Aidus Jacobs A.H. Janoski, M.D., in honor of Jane Janoski Ms. Mary Claire Jeske James and Julie Johnstone Max Jordan Ann H. Kahan Henry Kahn and Marlene Trestman Richard and Judith Katz Donald Knox and Mary Towery, in memory of 26 | CENTERSTAGE

Carolyn Knox and Gene Towery David and Ann Koch Henry Koether Gina Kotowski Esther Krasevac Edward Kuhl Mr. and Mrs. Robert A. Lagas Drs. Don and Pat Langenberg Mr. Richard M. Lansburgh Drs. Ronald and Mary Leach Donna Lee and Dick Frisch Mr. Samuel Legg Leon B. Levy Terry Lorch and Tom Liebel Dr. and Mrs. John Lion Carol Macht and Sheldon Lerman The Dr. Frank C. Marino Foundation, Inc. Mr. Elvis Marks Mr. and Mrs. Terrell Marshall J. A. McAlpine Ms. Michael McMullan Mary and Barry Menne Carolyn and Michael Meredith Dr. Carole Miller Faith and Ted Millspaugh Mr. and Mrs. James and Shirley Moore David G. Morrison James D. Morrison The Honorable Diana and Fred Motz, in memory of Nancy Roche Mr. and Mrs. William H. Mullin Dr. Patrick Murphy and Dr. Genevieve A. Losonsky Stephen and Terry Needel Nina Noble Ms. Irene Norton and Heather Millar Fronda Cohen Ottenheimer and Richard L. Ottenheimer The P.R.F.B. Charitable Foundation, in memory of Shirley Feinstein Blum Justine and Ken Parezo Steve Parker and Ginny Larsen Ms. Nancy Patz Blaustein Fred and Grazina Pearson Linda and Gordon Peltz Chris and Deborah Pennington Mr. William Phillips Ronald and Patricia Pilling Ms. Tamara Plant Leslie and Gary Plotnick Dr. Albert J. Polito and Dr. Redonda G. Miller Mr. Joseph Press Robert E. and Anne L. Prince Mr. Robert Proutt Ms. Sharon Proutt Connie and Roger Pumphrey Dr. Jonas Rappeport

Mr. Rex Rehfeld and Ms. Ellen O’Brien Dr. Michael Repka and Dr. Mary Anne Facciolo Natasha and Keenan Rice Alison and Arnold Richman Richard and Sheila Riggs Richard and Mary Rimkunas Ms. Elizabeth Ritter and Mr. Lawrence Koppelman Ida and Jack Roadhouse David S. Roberts Mr. Steven Sachs Ms. Gloria Savadow Frederica and William Saxon, Jr. Mr. and Mrs. Samuel and Thea Schnydman Dr. Chris Schultz Thomas H. Segal and Clair Zamoiski Segal Ms. Minnie Shorter Mr. and Mrs. L. Siems Dr. and Mrs. Donald J. Slowinski Jim and Rosie Smith Mr. and Mrs. Lee and Gloryann Snyder Solomon and Elaine Snyder The Wilner-Stack Family, in appreciation of Sydney and Ron Wilner Joseph Sterne Brenda and Dan Stone Subway Sandwiches Mr. and Mrs. James R.and Gail Swanbeck Ted and Lynda Thilly Fredrick and Cindy Thompson Donald and Darlene Wakefield Mary A. Walsh and Richard F. Roy Mr. and Mrs. David Warshawsky Ms. Magda Westerhoust Ms. Camille Wheeler and Mr. William Marshall Mr. Tappan Wilder Ann Williams Baldwin Memorial Fund, in memory of Harry L. Smith Mr. and Mrs. Ronald Wilson Crickett and Brad Woloson Mr. Raymond Worley Mr. Calman Zamoiski, Jr. Drs. Eva and James Zinreich Mr. Paul Zugates

●● GIFTS IN-KIND

The Afro American Akbar Restaurant Dean Alexander Art Litho Au Bon Pain The Baltimore Sun Blimpie The Brewer’s Art Calvert Wine & Spirits Casa di Pasta Charcoal Grill Cima Model Management The Classic Catering People Chipotle The City Paper

Eggspectations Fisherman’s Friend/PEZ Candy, Inc. Gertrude’s Restaurant Greg’s Bagels GT Pizza Gutierrez Studios Haute Dog Heavenly Ham The Helmand Hotel Monaco Iggie’s The Jewish Times Marriott Minato Mitchell Kurtz Architect, PC Mount Vernon Stable and Saloon New System Bakery No Worries Cosmetics Oriole’s Pizza and Sub Pazo Pizza Boli’s Pizza Hut PromoWorks Republic National Distributing Company Roly Poly Romano’s Macaroni Grill Sabatino’s Senovva Shugoll Research The Signman Style Magazine Sunlight LLC, in honor of Kacy Armstrong Urbanite A Vintner’s Selection Wawa Wegman’s Whitmore Print & Imaging WYPR Radio www.thecheckshop.us

●● MATCHING GIFT COMPANIES

The Abell Foundation, Inc. Ace Charitable Foundation Bank of America The Annie E. Casey Foundation Constellation Energy The Deering Family Foundation Exxon Corporation France-Merrick Foundation GE Foundation Goldseker Foundation IBM Corporation McCormick & Co. Inc. Microsoft Matching Gifts Norfolk Southern Foundation Open Society Institute PNC Bank Stanley Black & Decker SunTrust Bank T. Rowe Price Group Verizon 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.

CENTERSTAGE Board of Trustees

Robert W. Smith, Jr., President Edward C. Bernard, Vice President Juliet Eurich, Vice President Terry H. Morgenthaler, Vice President E. Follin Smith, Treasurer Katherine L. Vaughns, Secretary Katharine C. Blakeslee+ James T. Brady+ C. Sylvia Brown+ Stephanie Carter August J. Chiasera Marjorie Rodgers Cheshire Janet Clauson Lynn Deering Jed Dietz Walter B. Doggett, III Jane W.I. Droppa Brian Eakes Beth W. Falcone C. Richard Gamper, Jr. Suzan Garabedian John R. Gilbert Carole Goldberg Ana Goldseker Adam Gross Cheryl O’Donnell Guth Martha Head Kathleen W. Hyle Ted E. Imes Murray M. Kappelman, MD+ John J. Keenan E. Robert Kent, Jr. Joseph M. Langmead Jonna Gane Lazarus Kenneth C. Lundeen John Messmore Marilyn Meyerhoff+ J. William Murray Charles E. Noell Esther Pearlstone+ Beth S. Perlman Philip J. Rauch Carol Reckling Harold Rojas Monica Sagner+ Renee C. Samuels Todd Schubert Steve Schwartzman George M. Sherman+ Scott Somerville Scot T. Spencer Michael B. Styer Ronald W. Taylor Donald Thoms Robert L. Wallace J.W. Thompson Webb Ronald M. Wilner Cheryl Hudgins Williams Judy M. Witt Linda S. Woolf + Trustees Emeriti

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Into the Woods | 27

STAFF Kwame Kwei-Armah–Artistic Director Administration

Associate Managing Director–Del W. Risberg Management Fellow–Kacy Armstrong

Artistic

Associate Artistic Director–Gavin Witt Artistic Producer–Susanna Gellert Artistic Administrator–Katie Byrnes Company Manager–Sara Grove

Audience Relations

Box Office Manager–Mandy Benedix Assistant Manager/Subscriptions Manager– Jerrilyn Keene Assistant Manager–Blane Wyche Group Sales Associate–Alana Kolb Full-time Assistants–Whitney Cunningham, Ashley Fain, Courtney Proctor, Christopher Lewis Part-Time Assistants–Janna Small, Froilan Mate, Susie Martinez Bar Manager–Sean Van Cleve House Manager & Volunteer Coordinator– Bertinarea Crampton Assistant House Managers–Linda Cavell, Rachel Garmon, Tricia Hofacker, Faith Savill Audience Relations Intern–Cedric Gum Audio Description–Ralph Welsh & Maryland Arts Access

Audio

Engineer–Amy Wedel Assistant–Eric Lott Multimedia Fellow–Stewart Ives The Jane and Larry Droppa Audio Intern– Dan Cassin

Community Programs & Education

Director–Julianne Franz Education Coordinator–Rosiland Cauthen Community Programs Fellow–Jay Gilman The James and Janet Clauson Education Intern– Shayna Small Teaching Artists–Lola Pierson, Wambui Richardson, Oran Sandel, Joan Weber Young Playwrights Festival Part-time Interns– Ashley Kelley, Tanner T. Medding

Stephen Richard–Managing Director Dramaturgy

Stage Management

Electrics

Stage Operations

Director–Gavin Witt The Lynn and Tony Deering Dramaturgy Fellow–Kellie Mecleary Master Electrician–Lesley Boeckman Assistant–Cartland Berge Light Board Operator–Patience Haskell The Barbara Capalbo Electrics Intern– Meghan O’Rourke

Finance

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

Graphics

Art Director–Bill Geenen Graphic Designer–Jason Gembicki Graphics Intern–Dan Rader Production Photographer–Richard Anderson

Information Technologies

Director–Joe Long Systems Administrator–Mark Slaughter

Marketing & Communications

Director–David Henderson Promotions Director–Charisse Nichols Public Relations Manager–Heather C. Jackson Digital Media Associate–Timothy Gelles Assistant–Courtney Proctor The Phil and Lynn Rauch Public Relations & Communications Fellow–Lily Brown Marketing Intern–Kiirstn Pagan Media Services–Planit

Operations

Director–Harry DeLair Operations Assistant–Len Dozier Housekeeper–Kali Keeney, Jacqueline Stewart Security Guards–Crown Security

Production Management

Costumes

Production Manager–Mike Schleifer Assistant Production Manager–Raine Bode Production/Stage Management Intern– Caitlin Powers

Development

Manager–Jennifer Stearns Assistant Manager– Nathan Scheifele Artisan–Jeanne-Marie Burdette Carpenter–Victoria K. Schilling The Kenneth C. and Elizabeth M. Lundeen Properties Intern–Samantha Kuczynski

Costumer–David Burdick Tailor–Edward Dawson Craftsperson–William E. Crowther Stitcher–Jessica Rietzler The Judy Witt Costumes Intern– Maggie Masson Director–Cindi Monahan Grants Manager–Sean Beattie Annual Fund Manager–Katelyn Rumbaugh Events Coordinator–Brad Norris Events Assistant–Julia Ostroff Assistant–Christopher Lewis Auction Coordinator–Sydney Wilner Auction Assistant–Norma Cohen The Ed and Ellen Bernard Development Intern– Marie Roth

28 | CENTERSTAGE

Properties

Scenery

Technical Director–Tom Rupp Assistant Technical Director–Laura P. Merola Shop Supervisor–Michael “Slippy” Lavrich Master Carpenter–Trevor Gohr Carpenters–Joey Bromfield, Scott Richardson Scene Shop Intern–Stephanie Waaser

Scenic Art

Scenic Artist–Ruth Barber The Freeman and Jacqueline Hrabowski Scenic Art Intern–Johanna Josephian

Production Assistant–Kathryn Ambrose The Peter and Millicent Bain Stage Management Intern–Becky Reed Stage Carpenter–Eric Burton Wardrobe Supervisor–Lisa Allen Wardrobe Intern–Lizzy Trawick

Telefunding

Managers–Jasmine Davis, Janet McMannis Callers–Maureen Bass, Wanda Bradley, Veronica Eldridge, Cory Frier, Cathy Haggarty, Paulette Hammond, Bruce Jenkins, Rena Lomax, Jason R. Trimmer, Julia Whiting, Michael Wright

The following designers, artisans, and assistants contributed to this production of

Into the Woods—

Assistant Director–Brian Hunt Assistant Set Designer–Warren Karp Assistant Lighting Designer–Eric Southern Carpenters–Bernard Bender, Mark Eisendrath, Seth Foster, Brian Mandel Casting Director–Eric Woodall Casting Associate–Lindsay Levine Costumes Note–Cinderella, Florinda, and Lucinda costumes built by Eric Winterling, Inc. Draper–Ginny McKeever Electrics–John Elder, Jake Epp, Jonathan Rubin, Joey Walls First Hand–Sue Holmes Followspot Operators–Caleb Cooke, Jessica Cowan, Elliot Lanes (overlap) Hair & Wigs Designer–Denise O’Brien Associate Hair & Wigs–Linda Cavell Scenic Art–Mikah Berky, Anne Boisvert, JR Fritsch, Michael Minahan, Amanda Paulick, Fred Via CENTERSTAGE 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 CENTERSTAGE perform under the terms of an agreement between CENTERSTAGE and Local 40-543, American Federation of Musicians.

CENTERSTAGE 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.

THE VALUE OF

Recognizing Achievements.

Congratulations to CENTERSTAGE on their commitment to diversity and inclusion.

Š 2012 Northrop Grumman Corporation

THE VALUE OF PERFORMANCE.

w w w. n o r t h r o p g r u m m a n . c o m

A great performance can take you anywhere.

The arts have the unique ability to transport our imaginations and refresh our spirits. And because the role of the arts in our lives is so important, M&T Bank applauds those who join us in offering our support.

M&T Bank is proud to support CENTERSTAGE.

mtb.com Š2012 M&T Bank. Member FDIC.