"Skull" Program

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A

IN

By Martin McDonagh

Directed by BJ Jones The Head Theater

January 25–March 4 | 2011–12 season

State Theater of Maryland

A Skull in Connemara

Contents

By Martin McDonagh Directed by BJ Jones

The Boy from County Nil

1

Shamrocks or Shanties

2

Mr. Body, I Exume?

4

Letter from the Director

5

Biographies: The Cast

7

Biographies: Artistic Team

8

Biographies: Staff

13

FYI: Audience Services

13

Si Osborne *

FOCUS: Young Playwrights Festival

14

Preview: Into the Woods

15

Jordan J. Brown*

Supporting the Annual Fund 16 Board of Trustees

18

Richard Thieriot*

CENTERSTAGE Staff

20

The Head Theater

Jan 25–Mar 4

The Artistic Team

BJ Jones

Director

The Cast (in speaking order) Barbara Kingsley*

Maryjohnny Rafferty

Todd Rosenthal

Scenic Designer

David Burdick

Mick Dowd

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Costume Designer

Michelle Habeck

Lighting Designer

Andre Pluess

Sound Designer

Kellie Mecleary

Production Dramaturg,

A

The Lynn & Tony Deering Dramaturgy Fellow Gillian Lane-Plescia

Dialect Consultant

Lewis Shaw

Fight Director

Maírtin Hanlon

Thomas Hanlon

Captain Kate Murphy*

Stage Manager

Laura Smith*

Assistant Stage Manager

Matthew Melchiorre*

Assistant Stage Manager

*Member of Actors’ Equity Association

SETTING:

Place : Leenane, Co. Galway, Ireland Time : 1990s

A Skull in Connemara is presented by special arrangement with Dramatists Play Service, Inc., New York.

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Supported by

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.

Art Direction/Design Bill Geenen

Contributors Jay Gilman, Kellie Mecleary, Gavin Witt

By Martin McDonagh

A Skull in Connemara was first presented as a Druid Theatre Company and Royal Theatre Company co-production in Galway, Ireland and then in London in the summer of 1997.

There will be one 15-minute intermission.

Editor Heather C. Jackson

Design Jason Gembicki

Stephanie Klapper Casting

Casting Director

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

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CONTACT INFORMATION

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

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(during performances only) 410.986.4080 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.

The Boy from County Nil

By Kellie Mecleary, Production Dramaturg

writing them in the first place; perceiving similarities between his style and that of Pinter and Mamet, he wanted a way to set himself apart from these influences.

Ireland provided a distinctive setting and language with which to do so. McDonagh visited Irish relatives in Connemara every summer, and he found Gaelic syntax and rhythms fascinating and stage-worthy.

He recalls, “That seemed an interesting way to go, to try, to do something with that language that wouldn’t be English or American.”

“McDonagh is the man from nowhere, elsewhere, anywhere and everywhere, displaced without the longing for a place or a position either within a single nationality or canon.”

—Lillian Chambers and Eamonn Jordan, The Theatre of Martin McDonagh his is an apt description of a man who grew up in London, the son of Irish immigrants—a lover of punk rock, Tarantino films, and Australian soap operas; writer of unsentimental, brutal comedies; and provocateur extraordinaire.

Since his ascendance into the theater limelight in 1996, McDonagh has made a name for himself not only as a formidable playwright but also as the industry’s rebelwithout-a-cause—dissing theater, Ireland, even Sean Connery (drunkenly spewing expletives at the man during an awards ceremony), without blinking an eye.

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Like any good bad-boy, McDonagh dropped out of school at age 16. Surviving on his parents, welfare, and menial jobs when necessary, McDonagh spent his days reading, watching TV, and entertaining his

The playwright also cites as influences the work of film directors Quentin Tarantino, Martin Scorsese, David Lynch, and Terrence Malick; the structure of soap operas; and the energy and attitude of punk rock bands like The Clash and the Pogues—one of his rare (acknowledged) Irish inspirations.

When it comes to other Irish artists, McDonagh is like the rebel teen who denies any relation to his parents. But his features give him away. McDonagh's plays cannot hide their descent from Joyce, Yeats, Beckett, and, perhaps most notably, J.M. Synge. The playwright responsible for The Playboy of the Western World, Synge similarly satirized and celebrated the rural Irish through humor and violence. Also like McDonagh, Synge was criticized for these elements by many of his countrymen.

brother with new twists on old fables. It was in this time that McDonagh discovered his knack for storytelling. He began writing—short stories, radio dramas, and film scripts. Nothing came of any of this Others see McDonagh’s work in a different, until one day, in 1994, at the age of 24, he more hybrid light. Garry Hynes, Artistic decided to quit working and do nothing but Director of the Druid Theatre—where write—not fiction, not film, but plays. As the Leenane trilogy got its start—states, McDonagh tells it, theater was something “There’s this issue about Martin and of a last resort: the easiest medium to authenticity—the response that his [work write in, and therefore the one most does not represent] Irish life now…Of likely to guarantee success. Nine months course it isn’t [authentic]…it’s not meant of writing produced two trilogies and a to be. It’s a complete creation, and that’s drama, The Pillowman. Six of those plays, fascinating.” In gleefully smashing together including A Skull in Connemara, were major old tropes with contemporary styles, this successes—launching McDonagh’s career. rebellious youth produced something new. Though it resists categorization, it’s The bulk of these plays are set in wild certainly bold, brash, defiant—and above Western Ireland. According to McDonagh, all else, one hell of a ride. e the choice was as practical as was

A Skull in Connemara | 1

Shamrocks or Shanties

By Kellie Mecleary, Production Dramaturg

A healthy nation is as unconscious of its nationality as a healthy man of his bones. But if you break a nation’s nationality it will think of nothing else but getting it set again.

—G.B. Shaw eturning to Ireland after many years, James Joyce wrote, “I have lived so long abroad and in so many countries that I can feel at once the voice of Ireland in anything. The disorder of the table was Irish, the wonder on the faces also, the curious looking eyes of the woman herself and her waitress.” Joyce recognized some quality that he could point to but not describe, one that is curiously mixed. It is hard enough to define a national character, or to say what makes a space, a face, an attitude stand for a country. This difficulty becomes infinitely more challenging for a land with a broken nationality, like Ireland. By the 17th Century, the English had invaded and colonized their western neighbor, imposing through law and force a foreign culture and language. For a time, the most dominant representations of the Irish came from outside: harsh, negative images in arts and popular entertainment. Only after more than two centuries was this set of stereotypes successfully challenged, by members of the Irish Nationalist movement. They called for Irish artists to take part in reclaiming their culture, identity, and national pride.

Some embraced this call to arms, others wrestled with it, and still others challenged it. The question of how to represent the Irish and Irishness became a heated one, never adequately answered. Here is just a small sample of some explorations of Irish Representation— historical and contemporary, affirmative and critical. Somewhere in all this lies the conversation McDonagh is joining, another voice in Ireland’s difficult and fraught exploration of itself.

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“Our poets and artists…will teach us, by their vision, the noble race we may become, expressed in their poetry and their pictures…. They have to show us the way, and the people will then in their turn become the inspiration of the poets and artists of the future Gaelic Ireland.”

—General Michael Collins, Nationalist leader in Irish War of Independence, ca. 1920s

Maybe a twelvemonth since Suddenly I began, In scorn of this audience, Imagining a man And his sun-freckled face, And grey Connemara cloth, Climbing up to a place Where stone is dark under froth, And the down turn of his wrist When the flies drop in the stream: A man who does not exist, A man who is but a dream….

—W.B. Yeats, “The Fisherman,” 1916

“Is it possible that you don’t know that all this top-o-the-morning and broth-of-a-boy and more-power-to-your-elbow business is as peculiar to England as the Albert Hall concerts of Irish music are? But when a thoroughly worthless Irishman comes to England, and finds the whole place full of romantic duffers like you, who will let him loaf and drink and sponge and brag as long as he flatters your sense of moral superiority by playing the fool and degrading himself and his country, he soon learns the antics that take you in. He picks them up at the theatre or the music hall.”

—G.B. Shaw, John Bull’s Other Island, 1904

A Plenteous place is Ireland for hospitable cheer, Uileacan dubh O! Where the wholesome fruit is bursting from the yellow barley ear; Uileacan dubh O! There is honey in the trees where her misty vales expand, And her forest paths in summer are by falling waters fann’d, There is dew at high noontide there, and springs i’ the yellow sand, On the fair hills of holy Ireland.

—Samuel Ferguson, “The Fair Hills of Ireland,” 1834

“If poetry creates a paradise of its own, and tends to make mankind happier, Ireland has indeed need of song…The days of her mourning are not yet ended. The dirge of a thousand years still swells over the land of numberless sorrows. The voice of her song is still plaintive over the razed homesteads of her valleys, over the sweltering plague-ship and shattered bark of the Western Main.”

—Edward Hayes, The Ballads of Ireland, 1856

“‘Well,’ said Gabriel, ‘if it comes to that, you know, Irish is not my language….

[T]o tell you the truth…I’m sick of my own country, sick of it!’”

—James Joyce, “The Dead,” 1914

“…the really uncultured Irishman is the man who has lost the Gaelic tradition and culture and has not yet gained the tradition and culture of England.”

—Lady Gregory, Playwright, 1898

“It is not without pleasure that I catch at an opportunity of justifying myself from the charge of intending any national reflection in the character of Sir Lucius O’Trigger. …if the condemnation of this comedy…could have added one spark to the decaying flame of national attachment to the country supposed to be reflected on, I should have been happy in its fate.”

—Richard Brinsley Sheridan, Preface to The Rivals, 1776

“It is a melancholy object to those, who walk through this great town, or travel in the country, when they see the streets, the roads and cabbin-doors crowded with beggars of the female sex, followed by three, four, or six children, all in rags, and importuning every passenger for an alms.”

—Jonathan Swift, A Modest Proposal, 1729

“Anyone who has lived in real intimacy with the Irish peasantry will know that the wildest sayings and ideas in this play are tame indeed, compared with the fancies one may hear in any little hillside cabin in Geesala, or Carraroe….”

—J.M. Synge, Introduction to The Playboy of the Western World, 1907

y of march firstinda On tahse ra in g it w e thaern seen g wohrsave ev It wtahsinrag intin hat I any of the road de si er h t o e h t n o Stay never tell ng of ‘cause you cahnirst like a ga We’vels a t devi the county hdsell f o s y bo e h t re e’ W poun nd myeouten ink And dit’sI’lllebu dr a y an wake me early And hmeomthoer rning The County Hell,” 1984 in t s From , “B —The Pogues

oy

A Skull in Connemara | 3

Mr. Body, I Exhume?

By Kellie Mecleary, Production Dramaturg

efore encountering A Skull in Connemara, I had never heard of grave exhumation, the job of Skull’s protagonist, Mick Dowd. In the play, Leenane’s cemetery is short on space, so Dowd must dig up the old dead to make room for new corpses. The practice seemed grotesque and horrific, even unbelievable. Since McDonagh is known for dabbling in surrealism, creating worlds with larger-than-life characters who follow twisted logic, I assumed Dowd’s job was a fabrication.

B

I thought, “surely, people don’t actually exhume bodies once they’ve been laid to rest, do they?”

Yep, they do.

Turns out grave exhumation has a long, fascinating history that traverses continents, spans centuries, and continues today. There are many exhumation stories worth telling, but those that sound the most like Skull’s—the most tonally, situationally, and philosophically similar— all took place in pre-Enlightenment urban Europe. At that time, it was common to bury bodies near or even under churches, in the hope that the sacred ground would rub off on souls and help their chances at the Gates of Heaven. Combine this with a growing lack of space in cities, and they had a real problem on their hands: church floors began to rise as bodies built up underneath, and the smell of decay began wafting through the floorboards, which did little to improve church attendance. There are even tales of cemeteries becoming so overcrowded that the walls burst under the pressure, spilling bodies into the church and neighboring basements.

For a time, church officials attempted to solve the problem by secretly removing some bones from graves, and depositing 4 | CENTERSTAGE

them in ossuaries—buildings that essentially serve as bone dumps. At one point in Paris, six million bodies were removed from graveyards and placed in quarries outside the city limits. Workers operated by night, filling carts with remains and pushing them through the streets, followed by prayer-intoning priests.

Passersby helped by picking up bones that fell off the cart on the way.

It should be noted that mass grave exhumations still take place today, just in a more organized fashion. Necropolis is a London company that has been providing funereal and exhumation services since 1852. They exhume roughly 15,000 bodies per year, for every reason from city park development to forensics cases. It is, apparently, a highly competitive and lucrative industry. Further, should you decide to exhume an Irish body, the Irish government provides clear, easily accessible exhumation regulations online. There you will find a list of situations in which a grave may be exhumed, including “for public health reasons (e.g. if a graveyard or cemetery is being moved).” If they were so inclined, the citizens of Leenane could certainly claim this as the reason for their exhuming antics.

Perhaps it is this lack of bureaucracy— this absence of paperwork, corporate companies, and regulated procedure— that makes Mick’s work in Skull feel so otherworldly, so unimaginable to me.

Maybe if Mick were wearing a sanitation suit and protective goggles I would feel less perturbed. Without them, the scenario acquires a rawness that affects me much more than any realistic depiction might have done. It is an aspect of McDonagh’s technique: to take reality and warp it slightly, revealing the truth underneath.

They say the truth isn’t always easy; in this case, it’s downright icky. So don’t be surprised if, like me, you squirm during its unearthing. e For more, visit www.centerstage.org/skull.

Letter from the Director

I toyed with the idea of writing some new director’s notes for this production of A Skull in Connemara, which I first directed at Northlight Theatre in 2002, but my old director’s notes feel as fresh to me now as they did then.

I am energized by the notion that 10 years of living and artistry will bring a depth and a slant on the work, and that a different company, along with my old colleague Si Osborne, will electrify the discovery of Skull in thrilling ways.

All my gratitude to Kwame, Gavin, and the staff of CENTERSTAGE for inviting me home.

FEBRUARY 2002: “The Irish have an abiding sense of tragedy which sustains them throughout temporary periods of joy.” It is a quote from Oscar Wilde printed on a sign I bought in Ireland on a family vacation. It hangs on the door of my office.

I must say that returning to Martin McDonagh’s work is such a pleasure for me. The first play I directed as Northlight’s Artistic Director was The Cripple of Inishmaan, and it was a transcendent experience for the cast and, apparently, our audience. It was one of the hits of that season, and certainly remains high on my list of all-time favorite directorial experiences. Mr. McDonagh’s world is darkly skewed and hilarious. Its inhabitants are venal and small-minded, yet heart-wrenchingly human. Their marrow-deep wounds ache all the way to the last row, and although we guffaw at their foibles, we understand their ineffable sadness.

“

I am privileged to return, like Mick, to the earth of McDonagh’s church yard.

”

A Skull in Connemara is about making amends. Whatever the circumstances of Oona’s demise, the little deaths that we inflict on each other happen every day. Brothers hurt brothers, neighbors wound neighbors, and the instruments of pain vary from thoughtless words to a wooden mallet.

Hearts can break as easily as skulls can crack, and often there is no going back to make a meaningful amend.

As always, McDonagh’s theatrical journey is elliptical; the side trip is funny and seemingly silly but never boring, never frivolous. The hearts of his plays throb with humanity in full cry. I am so happy to be back in McDonagh-land, where the sun shines darkly, the shadows are deep, and the people are filled with flaws but are so very human. It feels like home.

—BJ Jones, Director

A Skull in Connemara | 5

The Journey’s not Over!

Into the woods

Music and Lyrics by Stephen Sondheim (A Little Night Music, Sweeney Todd) Directed by Mark Lamos A co-production with Westport Country playhouse

Mar 7–Apr 15, 2012 What happens after Happily ever After, after all? In Sondheim’s beloved musical retelling, an assortment of familiar folktale figures make their way “Into the Woods” to find out, then live with the consequences.

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2 Adults, 2 Children HALF-PRICE A-preFerreD SeATS Details: www.centerstage.org/woods

The whipping Man

Directed by Kwame Kwei-Armah

Apr 4–May 13, 2012 At the close of the Civil War, three richmond Jews— one a former Confederate soldier and two his former slaves—spend the eve of passover struggling with new roles and age-old questions of justice and mercy.

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by Apr 4 for performances Apr 4–24 only. promo Code 12wP10off.

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

Find out more about all these events at www.centerstage.org: » Cabarets: Mar 15–18, May 17–20

» young playwrights Festival: Apr 30

» play Lab: Apr 27–29

» CeNTerSTAGe Gala: May 5

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Biogr aphies The Cast

Jordan Brown*—Maírtin Hanlon. CENTERSTAGE:

debut. Off Broadway—The Beckett Theatre: Much Ado About Nothing (Claudio).

Regional—Ravinia Festival: West Side Story; River Valley Rep: The Light in the Piazza; Northlight Theatre: Sense and Sensibility (world premiere, dir. Jon Jory); Timeline Theatre Company: The Pitmen Painters (Chicago premiere, dir. BJ Jones).

Film/TV—As the World Turns. Education— University of the North Carolina School of the Arts. For Fayth Anne. Special thanks to BJ Jones.

Barbara Kingsley*— Maryjohnny Rafferty.

CENTERSTAGE: debut.

Broadway & Broadway Tour— August: Osage County.

National/Regional Tours— Ah, Wilderness!; Great Expectations; The Miser; Gertrude Stein and a Companion.

Regional—Guthrie: Jane Eyre, Romeo and Juliet, The Night of the Iguana, Once in a Lifetime, The Man Who Came to Dinner, Death of a Salesman, The Front Page; Repertory Theatre of St. Louis: You Can’t Take It with You; Cincinnati Playhouse in the Park: You Can’t Take it with You; Arizona Theatre Company: Molly’s Delicious; Two River Theatre: Melissa Arctic; Theatre de la Jeune Lune: The Miser, Tartuffe; Illusion Theater: Three Viewings; Park Square: August: Osage County, Panic, Retreat From Moscow, The Waltz of the Torreadors; Jungle Theater: Tamarack, The Glass Menagerie, The House of Blue Leaves, Tennessee Williams One-Acts, Old Times, Gertrude Stein and a Companion; Ten Thousand Things: Twelfth Night, The Good Person of Szechwan, King Lear, The Furies, Cymbeline, The Tempest, Measure for Measure, The Caucasian Chalk Circle. Film/TV—Lumpy, Ticket Out, Feeding Randy, Deer Hill Road, Older than America, A Simple Plan, The Straight Story, Sweet Land, Overnight Delivery, Herman USA, Here On Earth. Other Professional—Playwriting: Living In The Blue Zone, Proof of Me by Degree; Teaching: University of Minnesota,

Dept. of Theatre & Dance since 1998.

Awards— 2011 MSAB Artist Initiative Grant (Playwriting); Twin Cities Kudos Award (Acting) for Tartuffe (Dorine).

Si Osborne*—Mick Dowd.

CENTERSTAGE: debut.

Regional—Intiman Theatre, ACT Seattle, Actors Theatre of Louisville, Great Lakes Shakespeare, Cleveland Playhouse, Ahmanson Theatre LA, Chanhassen Theatre, Northlight Theatre, American Players Theatre. Chicago—Credits include National Jewish Theater, Wisdom Bridge Theatre, Victory Gardens Theater, Steppenwolf Theatre, Chicago Shakespeare Theater, Next Theatre, Illinois Theatre Center, Halstead Street Theater, RemyBumppo Theatre, Famous Door Theatre, Remains Theatre, Apple Tree Theatre, Red Orchid Theatre. Favorite roles include Frank in Faith Healer at Steppenwolf and Heisenberg in Copenhagen for both 1900 Productions and Illinois Theatre Center.

Film/TV— Steel City, Joint-Body, Early Edition, Brewster Place, The Untouchables, The Beast.

Other professional—Director, credits include True West, A Prayer for My Daughter, Northwest Highway.

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Richard Thieriot*— Thomas Hanlon.

CENTERSTAGE: debut. Off Broadway— TACT: Children.

Regional— A.C.T.: Clybourne Park; Shakespeare Theatre: Design for Living; Denver Center: Harvey, When Tang Met Laika, You Can’t Take It with You; Cal Shakes: Pastures of Heaven, Mrs. Warren’s Profession, A Midsummer Night’s Dream; Colorado Shakespeare Festival: Julius Caesar, Servant of Two Masters; Shakespeare Santa Cruz: As You Like It, Engaged. Education—The National Theater Conservatory MFA; The London Academy of Music and Dramatic Arts; UC Santa Cruz.

Member of Studio 12 and Poor Richard.

1013 N. Charles Street 410.332.0332 minatosushibar.com

A Skull in Connemara | 7

Biogr aphies The Artistic Team

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Martin McDonagh—Playwright.

Plays—A Behanding in Spokane, The Pillowman (Tony nominee, Best Play 2005; Olivier Award Winner 2004), The Lieutenant of Inishmore (Olivier Award Winner, Best Comedy 2003), The Beauty Queen of Leenane (Tony nominee, Best Play 1998), The Lonesome West (Tony nominee, Best Play 1999), A Skull in Connemara, The Cripple of Inishmaan, The Banshees of Inisheer, The Retard is out in the Cold, Dead Day at Coney. Other works include Barney Nenagh’s Shotgun Circus, Suicide on Sixth Street, In Bruges, Seven Psychopaths, Six Shooter (Oscar, Best Short 2006).

BJ Jones—Director/Northlight Artistic Director—is in his 14th season as Artistic

Director of Northlight Theatre, where he was Jeff nominated for the world premieres of The Outgoing Tide with John Mahoney and Rondi Reed, Craig Wright’s Lady, Larry Gelbart and Craig Wright’s Better Late, Rounding Third with George Wendt, and Sky Girls. Other directorial work includes The Pitmen Painters, Grey Gardens, The Lady with All the Answers, The Retreat From Moscow, A Skull in Connemara, The Cripple of Inishmaan, The Lieutenant of Inishmore, and the upcoming Ten Chimneys. As a producer, he guided the world premieres of Jason Robert Brown’s The Last Five Years, The Gamester, and Studs Terkel’s ‘The Good War’.

Mr. Jones has directed in the Chicago area at Steppenwolf, TimeLine, and Next, and around the country at Cherry Lane Theatre NY, Actors Theatre of Louisville, Atlanta’s Alliance Theatre, The Utah Shakespeare Festival, The Asolo Theatre, and Intiman Theatre, including productions such as A Number, Twelfth Night, Glengarry Glen Ross (Suzie Bass Nominee - Best Director), Pygmalion, The Price (Jeff Nomination Best Director), and 100 Saints You Should Know. A two-time Jeff Award winner, he has appeared in dozens of productions at virtually every major theater in Chicago, including The Guys and House & Garden (Goodman), The Royal Family and The Playboy of the Western World (Steppenwolf), and Candide and Comedy of Errors (Court).

Film/TV credits include The Fugitive, Body Double, Law and Order: Criminal Intent, Early Edition, Cupid, and Turks, among others.

Todd Rosenthal—Scenic Designer.

CENTERSTAGE: Death and the Maiden.

Broadway—August: Osage County (Tony award); The Motherf**ker with the Hat (Tony award nom); Who’s Afraid of Virginia Woolf.

Off Broadway—Barrow Street Theatre: Red Light Winter; Manhattan Theater Club: Close Up Space. International— Theatre Royal Waterford, Ireland: The Beauty Queen of Leenane; Sydney Theatre Company, National Theatre in London: August: Osage County; Exhibitor, 2007 Prague Quadrennial.

Regional— Guthrie: Roman Holiday; Arena Stage: Red; Steppenwolf Theatre: A Parallelogram, Clybourne Park; Goodman Theatre: The Seagull; Oregon Shakespeare: As You Like It; Alliance: Stephen King/John Mellencamp’s Ghost Brothers of Darkland County. Exhibitions—Lead designer for Mythbusters™, the Explosive Exhibition and Sherlock Holmes, the Science of Deduction (Museum Exhibition). Awards—Laurence Olivier Award, Los Angeles Times Ovation Award, Los Angeles Backstage Garland Award, Joseph Jefferson Award, Michael Merritt Award for Excellence in Design and Collaboration. Other professional— Associate Professor, Northwestern University. Graduate, Yale School of Drama.

Website: toddar.com.

David Burdick— Costume Designer.

CENTERSTAGE: 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: 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.

CENTERSTAGE: 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.

Andre Pluess— Original Music and Sound Designer. CENTERSTAGE: debut.

Broadway—Metamorphoses; I Am My Own Wife; 33 Variations; Lincoln Center: The Clean House. Chicago—credits include Court Theatre, Lookingglass Theatre (Artistic Associate), Victory Gardens Theater (Resident Designer), About Face Theatre (Artistic Associate), Steppenwolf Theatre, Goodman Theatre, Northlight Theatre, and many others. Regional—recent credits include Shakespeare Theatre, DC: Cymbeline; Goodman Theatre: Stage Kiss; Steppenwolf Theatre: Sex with Strangers; Center Theatre Group: Palomino; Seattle Rep: Equivocation; Oregon Shakespeare Festival: The Merchant of Venice, Ghost Light; ACT: Marcus; California Shakespeare: Macbeth, Titus Andronicus. Film—score for The Business of Being Born. Awards— multiple Joseph Jefferson Awards/Citations, an L.A. Ovation Award, Barrymore Award, Drama Critics Circle Award, and Drama Desk/Lortel nominations for composition and sound design.

Captain Kate Murphy*—Stage Manager. CENTERSTAGE: Stage Manager

for American Buffalo, Crime & Punishment, Let There Be Love, The Santaland Diaries; Assistant Stage Manager for The Importance of Being Earnest, Things of Dry Hours, Trouble in Mind, The Boys From Syracuse, The Three Sisters, Radio Golf, The Murder of Isaac, Once on this Island, King Lear;

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www.akbar-restaurant.com A Skull in Connemara | 9

Biogr aphies The Artistic Team continued

Assistant Production Manager 2008-2009.

Regional—Actors Theater of Louisville: All Hail Hurricane Gordo, The Clean House, Moot the Messenger, Dracula, The Ruby Sunrise, Tall Grass Gothic, The Drawer Boy, Amadeus, As You Like It; Contemporary American Theater Festival: The Overwhelming, Pig Farm; Totem Pole Playhouse: Over 60 productions through ten seasons. Film/TV—Route 30, Route 30 Too! (dir. John Putch), The Next Food Network Star. With love and peace for Gerald Mamrol.

Laura Smith*—Assistant Stage Manager. CENTERSTAGE: Stage Manager

for American Buffalo; 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.

Matthew Melchiorre*—Assistant Stage Manager. CENTERSTAGE: debut.

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—White Chocolate; Open Heart; The Architecture of Loss; Primary Stages: A.R. Gurney’s Black Tie (dir. Mark Lamos); Happy Now?; Shipwrecked, An Entertainment!…; A.R. Gurney’s Buffalo Gal (dir. Mark Lamos).

Other New York—Carnegie Hall: Show Boat In Concert. Regional—Westport Country Playhouse: 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; 10 | CENTERSTAGE

A Holiday Garland; The Pavillion; Two River Theater Company: Honk!

Kellie Mecleary—Production Dramaturg—holds a Master’s Degree

in Performance Studies from New York University and a BA in English and Theater from Goucher College. Other CENTERSTAGE credits include Production Dramaturg for American Buffalo. She also served as Production Dramaturg for Single Carrot’s MilkMilkLemonade. Previously New York based, she has worked as a dramaturg, director, critic, producer, administrator, and stage manager with various organizations including Brave New World Repertory Company, Pipeline Theater Company, WOW Café Theater, Manhattan Theater Source, and Vital Theater. Her writing has been published through Cerise Press and OffOffOnline.com.

Gillian Lane-Plescia—Dialect Consultant. CENTERSTAGE: The

Homecoming, The Importance of Being Ernest, ’Tis Pity She’s a Whore, Rosencrantz & Guildenstern are Dead, Things of Dry Hours, Crumbs from the Table of Joy, Hay Fever, The Voysey Inheritance, Two Gentlemen of Verona, Elmina’s Kitchen, Sweeney Todd, Mary Stuart, Peter Pan, Blithe Spirit, A Raisin in the Sun, An Ideal Husband. Broadway— War Horse; Priscilla: Queen of the Desert; Roundabout: The Philanthropist. Off Broadway—NYTW; Public; Classic Stage Co.; Cherry Lane; Clurman; Madison Square Garden; Acting Company; Roundabout; George Street Playhouse. International— Banff Centre (Canada). Regional—Alley; Arena Stage; Actors Theatre of Louisville; Barrington Stage Co.; Bay Street; Goodman; Guthrie; Hartford Stage; Huntington; Long Wharf; NJ Shakespeare Fest; McCarter; Milwaukee Rep; Seattle Rep; Steppenwolf; Trinity Rep; Yale Rep. Professional—Faculty, The Juilliard School.

Lewis Shaw—Fight Director.

CENTERSTAGE: Gleam, Crime & Punishment, Snow Falling on Cedars. Fight Direction— Everyman Theatre: Private Lives, All My Sons, Mystery of Irma Vep, Filthy Rich, Much Ado About Nothing; Baltimore Opera: Romeo et Juliette, Otello, Elektra, Aida; Studio Theatre:

Frozen, Mojo; Rep Stage: Bach at Leipzig, Lonesome West, Swan; Globe Theatre, London (Workshop Season); Shakespeare Theatre: Taming of the Shrew; over 40 episodes of America’s Most Wanted. Other Professional—Weapons and Specialty Prop Design: Broadway: Addams Family, Life in Theatre, Shrek, Pirate Queen, Aida, Scarlet Pimpernel, Tarzan; West End: Royal Family.

Regional: Ben-Hur Live, Metropolitan Opera, Baltimore Opera, Washington Opera, Folger Theatre, Shakespeare Theatre.

Film/TV: Killer Joe, Death Games. Teaching— Certified Teacher with the Society of American Fight Directors and on faculty for the Opera Studio at University of Maryland, College Park.

Stephanie Klapper— Casting Director.

Her work has been seen on Broadway, Off Broadway, regionally, internationally, on television, internet and film. Selected Broadway and Off Broadway—RX; Motherhood Out Loud; Olive and the Bitter Herbs; Stop the Virgins!; Cactus Flower; Black Tie; In Transit; Secrets of the Trade; The Temperamentals; Dividing the Estate (2009 Tony Nomination); 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. NY Casting—The Cherry Sisters (Actor’s Theatre of Louisville); Eric Rosen and Matt Sax’s Venice; Saved! for Gary Griffin; Moises Kaufman’s Into the Woods; Mary Zimmerman’s The White Snake; The Arabian Nights; Mirror of the Invisible World. International—Cat on a Hot Tin Roof (Vienna); Who’s Afraid of Virginia Woolf? (Frankfurt). Ongoing projects for a number of regional theatres including: Capital Repertory Theatre, Hartford Stage Company; Westport; Delaware Theatre Company, Milwaukee Rep; Adirondak Theatre Festival, Asolo Theatre, Playmakers Rep, Kansas City Rep, The New Theatre, Commonwealth Shakespeare Company.

Numerous independent feature films.

Member Casting Society of America and League of Professional Theatre Women.

A Skull in Connemara | 11

12 | CENTERSTAGE

biogr aphies

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.

Gavin Witt—Associate Artistic Director/Director of Dramaturgy— 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.

F YI

Audience Services 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.

A Skull in Connemara | 13

FOCUS : Communit y Programs & Education

CENTERSTAGE’s Young Playwrights Festival 2012

By Jay Gilman, Community Progams Fellow

This season marks the 26th year of the Young Playwrights Festival, or YPF, as its known throughout CENTERSTAGE. The Festival performance takes place on Monday, April 30, but the Community Programs & Education Department’s work begins long before then.

“Before we get to selecting winners, we’re out in the schools months in advance providing Playwriting Residencies,” explains Rosiland Cauthen, Education Coordinator. “Working with students one-on-one uses playwriting as a key to learning and literacy, and each year our Residency program has grown.”

Photo by Richard Anderson

A new element of the Festival is the YPF Tour, now in its second year. The tour assembles a group of previously honored plays to perform at schools across the state. For some students, it’s their first opportunity to see theater. They’re often thrilled to discover that someone their own age, not an adult, was the creative force behind the performance they witnessed.

Following the Residencies and the Tours over the fall and winter months, the spring brings a flood of submissions into the building. Each of the hundreds of plays gets evaluated at least twice. For the first time this year, a digitized evaluation process will include playwriting and dramaturgy 14 | CENTERSTAGE

students, as well as young theater professionals from across Maryland.

Through the evaluation process, about 20 playwrights get selected to participate in the second phase of the Festival. Some have their plays produced, with design elements and professional actors, at CENTERSTAGE; others receive a staged reading at their school. All receive a day-long workshop with a professional playwright-mentor, who helps the young playwrights further develop their scripts.

For many staff members, the hours leading up to the plays’ performances are the most exciting of the season. Associate Artistic Director Gavin Witt explains, “Everyone is running at full steam, with a single purpose in mind: making our young writers, their families, and their friends proud.”

With newly appointed Artistic Director Kwame Kwei-Armah, himself an acclaimed playwright, at CENTERSTAGE’s helm, the festival is part of an institution where playwriting is growing even closer to the center of our mission.

Twenty-six years have created a multitude of memories; but one stands out to Julianne Franz, Director of Community Programs & Education. “We had a first grader who wrote a page-and-a-half play about a time machine, asking the question of whether or not a particular dinosaur was a meat eater or a plant eater. This short play became a 12-minute epic performance by actors Larry O’Dwyer and Ernest Perry,” says Franz. “Something happens in those moments that is bigger than the Festival— there’s something incredible about young artists having made a brand new play that the whole community has come out to support and enjoy.”

Have a young playwright who may be interested in submitting a play? Get in touch with the Community Programs & Education Department at 410.986.4050 or education@centerstage.org. ö

CENTERSTAGE’s Community Programs & Education Department integrates theater into the lives of nearly 10,000 Marylanders each season. Below are just some of our programs. Find out more about all that we do at www. centerstage.org/education. »» Apprentices, Part-time Interns, and the Professional Internship Program »» Backstage@CENTERSTAGE, our annual open house »» The Baltimore School for the Arts’ Mentees and BSA Stage programs »» Camp CENTERSTAGE, our summer intensive »» Community Classes, during the fall and spring semesters »» Digital Dramaturgy, our online resource guide »» Encounter, our year-long intensive after-school program »» Student Critics »» Student Matinees »» M&T Bank presents: Kickin’ it with the ’Rents, our family night series »» Classic Series post-show discussions, visual art, digital documentation, and more »» The Young Playwrights Festival, Young Playwrights Festival Residencies and the Young Playwrights Festival Tour

The Young Playwrights Festival is supported in part by:

Preview: Into the Woods

Once Upon a Time

By Gavin Witt, Associate Artistic Director/Resident Dramaturg

What phrase conjures more anticipation than Once upon a time? These are the first words of Sondheim and Lapine’s Into the Woods. With them, a door creaks open, a curtain rises—and beyond lies a limitless world of imagination, potential, adventure, and discovery.

And so into the woods we go. “But who can tell what’s waiting on the journey?” What dark magic lurks there among the trees? What glittering treasures or beckoning pleasures await? What dreams might we fulfill?

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

Mar 7–Apr 15, 2012

“Into the woods, Who knows what may Be lurking on the journey.”

—Stephen Sondheim

These are just some of the questions and complexities that Stephen Sondheim and his collaborator, librettist James Lapine, extract from the antique antics of some beloved folk tales. With one of Sondheim’s most hummable of scores, Into the Woods pairs lyrics and a book that evoke the classic Grimm stories with a timeless twist, mixing nursery rhymes with ethical nuance.

In the forest, we meet Cinderella, with requisite step-family; Little Red Riding Hood; Jack and his best friend, Milky White the cow; a melodious, if repetitive, Rapunzel; and assorted Princes—charming, of course. And don’t forget a wolf with appetites; a wandering giantess; and, naturally, a Witch—strangely fond of greens, and maybe a bit more than meets the eye.

Among these familiar favorites we find new friends: a Baker and his wife, a loving couple desperate to become parents. Their quest sets in motion a chain of events that tangles as fast as it unravels, as everyone tries to get—what they want, out of the woods, and home before dark. Along the way, each learns that “wishes come true, not free;” that parents, and children, can mean well and still disappoint; that “there are rights and wrongs and in-betweens.” Maybe we all find a gap between the story we set out to tell, or the journey of our life as we plan it, and what actually unfolds. But don’t worry: despite twists and turns along the way, the show still ends with the promise of “And happy ever after!”

For CENTERSTAGE, this is our third foray into the magical realms of Sondheim, following Sweeney Todd (2004–05) and A Little Night Music (2007–08). From the latter we also welcome back director Mark Lamos, no stranger to the works of this modern American master. With Lamos at the helm, a stellar company of artists, and this award-winning show, the only thing you’ll wish for is more. h

Explore the remaining 2011–12 season or buy tickets!

Note: For families of younger viewers, CENTERSTAGE will be offering a special performance of just Act One of Into the Woods on March 22 at 10:30 am. This gets you on your way in half the time, and lets you avoid some of the more mature questions raised in Act Two. After all, as Sondheim reminds us, “Children will listen.”

A Skull in Connemara | 15

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 July 1, 2010 and December 14, 2011. 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. McGuireWoods LLP

T. Rowe Price Associates Foundation, Inc.

PNC Bank PricewaterhouseCoopers LLP Procter & Gamble

Producers Circle

Stifel Nicolaus SunTrust Bank 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.

($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

Schoenfeld Insurance Associates

●● Playwrights Circle

Stevenson University

Denise and Philip Andrews Peter and Millicent Bain James T. and Francine G. Brady The Charlesmead Foundation The Nathan & 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

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

●● Colleagues RSM McGladrey, Inc. Thomson Remodeling

●● Advocates Anonymous Fireline Corporation

16 | 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 & Patty Rouse Foundation, Inc. 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 The 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 Linda and John McCleary Mr. and Mrs. John L. Messmore Jeannie Murphy The Israel & Mollie Myers Foundation/ Mr. and Mrs. Jonathan Myers/Mr. and Mrs. Herschel Langenthal Dr. and Mrs. Lawrence C. Pakula The James and Gail Riepe Family Foundation 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 Sydney and Ron Wilner

●● Associates

($1,000–$2,499)

Anonymous Mr. and Mrs. Raymond Bank Family Fund of the Baltimore County Foundation Ms. Taunya Banks Amy and Bruce Barnett Mr. Donald L. Bartling Bob and Maureen Black Mr. and Mrs. Marc Blum John and Carolyn Boitnott Mr. and Mrs. John Bond, Jr. Jan Boyce Dr. and Mrs. Donald D. Brown Sandra and Thomas Brushart 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 Robert and Janice Davis The Richard & Rosalee C. Davison Foundation Mr. James H. DeGraffenreidt, Jr. and Dr. Mychelle Y. Farmer, M.D. Albert F. DeLoskey and Lawrie Deering Rosetta and Matt DeVito Mr. Jed Dietz and Dr. Julia McMillan, MD Mr. and Mrs. Eric Dott The Dramatists Guild Fund, Inc. Jack and Nancy Dwyer Mr. and Mrs. Matthew Freedman Frank and Jane Gabor Jose and Ginger Galvez Jonathan and Pamela Genn, in honor of Beth Falcone and Cindi Monahan Janet and John Gilbert Ms. Ana Goldseker Goldseker Foundation H.R. LaBar Family Foundation Fund of The Greater Cincinnati Foundation 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 Maryland Charity Campaign Ms. Mary L. McGeady Jim and Mary Miller Tom and Cindi Monahan Ms. Stacey Morrison and Mr. Brian Morales Mr. and Mrs. Lee Ogburn Bodil Ottesen Ms. Beth Perlman Ronald and Carol Reckling 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 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 Webb Janna P. Wehrle Ms. Yvonne L. Williams John W. Wood Ms. Jean Wyman Eric and Pam Young Drs. Nadia and Elias Zerhouni 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 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 Cindy Candelori Ms. Sue Lin Chong Mr. and Mrs. Carl F. Christ Combined Charity Campaign Ms. Barbara Crain Gwen Davidson and Nancy Haragan The Deering Family Foundation The Ethel M. Looram Foundation, Inc. Gene DeJackome and Kim Gingras The Honorable and Mrs. E. Stephen Derby Ms. Lynne Durbin and John-Francis 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. Faith and Edgar 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. Sandra Levi Gerstung Hal & Pat Gilreath Alma Hays and John Ginovsky Ann and Jim Gordon Mary and Richard Gorman The Joseph Mullan Company, in care of Peggy Greenman 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 Dr. Richard J. Johns Dr. and Mrs. Juan M. Juanteguy Michael and Jennifer Kagan Peter and Kay Kaplan Lee Kappelman and John Rybock 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 Ruth R. Marder Mr. Elvis Marks 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 Miller, in memory of Joan Denny 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 Carolyn and Kevin O'Keefe Claire D. O'Neill Ms. Jo-Ann Mayer Orlinsky Kevin and Joyce Parks Bonnie Pitt Mike Plaisted and Maggie Webbert Dave and Chris Powell 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 Linda G. Schneider and S.T. Crook Ms. Sherry Schnepfe

Mr. and Mrs. Eugene H. Schreiber Kathy Levin-Shapiro and Sandy Shapiro Ruth Shaw, Inc. Barbara Payne Shelton Julie Rothman and Scott Sherman, in memory of Donald Rothman Alan and Lisa Shusterman Ronnie and Rachelle Silverstein, in memory of Louis and Sarah Silverstein and Jacob and Rena Kramer The Ida & Joseph Shapiro Foundation The Sinksy-KresserRacusin Memorial Foundation Dana and Matthew Slater Susan Somerville-Hawes, in honor of Encounter Georgia and George Stamas Mr. and Mrs. Joe and Robin Stocks Robert and Patricia Tarola United Way of Central Maryland Campaign Diana and Ken Trout 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 Dr. Laurie S. Zabin Mr. and Mrs. Barry Zirkin

●● Advocates ($250–$499)

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

Anonymous Baltimore County Mr. Alan Arrowsmith, II Mr. and Mrs. Jon Baker, Executive, County in honor of Terry Council, & Commission Morgenthaler on Arts and Sciences Susan and Craig Bancroft Ms. Jane Baum Rodbell Carroll County Government Drs. Lewis and Diane Becker Howard County Arts ChiChi and Peter Council through a grant Bosworth from Howard County Betty Jo Bowman Government Mr. Walter Budko Dr. and Mrs. Robert Burchard Ms. Kathleen Cahill The Jim and Anne Cantler Memorial Fund of the Baltimore Community Season Partners Foundation Mr. and Mrs. David Carter Mr. and Mrs. James Case Mr. John Claster Stanton Collins David and Sara Cooke Mr. and Mrs. Richard D. Crafton 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

A Skull in Connemara | 17

supporting The Annual Fund

Deborah and Philip English Ms. Rhea Feikin Dr. and Mrs. Robert P. Fleishman Donna Flynn David and Joan Forester Scott and Amy Frew Dr. Neal M. Friedlander and Virginia K. Adams Donna Lee and Dick Frisch G. Foss Consulting, LLC Dr. Joseph Gall and Dr. Diane Dwyer Constance A. Getzov Mark and Patti Gillen Bruce Goldman Herbert and Harriet Goldman Stuart and Linda Grossman Thomas and Barbara Guarnieri Ms. Doris M. Gugel 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 Sue Hess John and Kate Hetherington Mr. Donald H. Hooker, Jr. Ms. Irene Hornick Mr. and Mrs. Martin Horowitz James S. and Hillary Aidus Jacobs Richard Jacobs and Patricia Lasher A.H. Janoski, M.D. Ms. Mary Claire Jeske James and Julie Johnstone Max Jordan Ann H. Kahan Henry Kahn and Marlene Trestman Lee Kappelman and John Rybock Richard and Judith Katz Ms. Shirley Kaufman Donald Knox and Mary Towery, in memory of Carolyn Knox and Gene Towery David and Ann Koch Henry Koether Gina Kotowski Esther Krasevac Edward Kuhl Drs. Don and Pat Langenberg Mr. Richard M. Lansburgh Drs. Ronald and Mary Leach Mr. Samuel Legg Leon B. Levy Dr. and Mrs. John Lion

18 | CENTERSTAGE

Carol Macht and Sheldon Lerman The Dr. Frank C. Marino Foundation, Inc. Mr. and Mrs. Terrell Marshall J. A. McAlpine Ms. Michael McMullan Carolyn and Michael Meredith 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 Judy Oster 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 Patsy and Tony Perlman Mr. William Phillips Ronald and Patricia Pilling Mr. and Mrs. James and Mimi Piper Fund of the Baltimore Community Foundation 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 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 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 Mr. and Mrs. Rodney and Dorothea S. Stieff Subway Sandwiches Dr. James 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. 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. Ziger/Snead Architects Drs. Eva and James Zinreich Mr. Paul Zugates

●● Gifts In-Kind

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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

CENTERSTAGE A Skull in Connemara

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A Skull in Connemara | 19

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 Company Management Senior Intern– Tricia Hofacker

Audience Relations

Box Office Manager–Mandy Benedix Assistant Box Office Manager/ Subscriptions Manager–Jerrilyn Keene Assistant Box Office Manager–Blane Wyche Box Office/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

Costumes

Costumer–David Burdick Tailor–Edward Dawson Craftsperson–William E. Crowther Stitcher–Jessica Rietzler The Judy Witt Costumes Intern– Maggie Masson

Development

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

20 | CENTERSTAGE

Stephen Richard–Managing Director Dramaturgy

Director–Gavin Witt The Lynn and Tony Deering Dramaturgy Fellow–Kellie Mecleary Apprentices–Alesia Etinoff, Kate Wicker

Electrics

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

Stage Management

Production Assistant–Kathryn Ambrose The Peter and Millicent Bain Stage Management Intern–Becky Reed

Stage Operations

Stage Carpenter–Eric Burton Wardrobe Supervisor–Lisa Allen Wardrobe Intern–Lizzy Trawick

Telefunding

Managers– Jasmine Davis, Janet McMannis Callers–Maureen Bass, Wanda Bradley, Whitney Cunningham, Tamar Fleishman, Cory Frier, Paulette Hammond, Bruce Jenkins, Rena Lomax, Jason R. Trimmer, Michael Wright

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

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

Properties

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

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

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

A Skull in Connemara—

Assistant to the Director–Sam Shea Carpenters–Bernard Bender, Brian Mandel Casting Assistants–Tyler Albright, Lauren O’Connell Electrics–Jake Epp, Michelle Mann, Frank Miller, Jacob Moriarty-Stone, Jennifer Reiser, Jonathan Rubin Hair & Wigs–Linda Cavell Scenic Art–Maureen Bass, Anne Boisvert, Katie Fry, Jamie Kumpf 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.

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