Jan 15–Feb 23, 2014 By Marie Jones
Directed by Derek Goldman
Animal Crackers dance of the holy ghosts: a play on memory A Civil War Christmas Stones in His Pockets Twelfth Night Vanya and Sonia and Masha and Spike Wild with Happy
SEASoN51 Theater for the H eart
Stones in His Pockets | a
An Introduction to the World of the Play In a small Irish town overrun by a Hollywood film crew, two down-ontheir-luck locals are joining the queue to earn their “40-quid-a-day” as extras. On the set, Charlie wants to show off his screenplay, and Jake, recently back from New York, has eyes on the lovely leading lady. “Jake” and “Charlie” proceed to transform into more than a dozen other characters over the course of the story. There is Mickey, legendary as the “last living extra from The Quiet Man,” and struggling teen Sean, a local lad who just wants to be part of the Hollywood film, but whose tendencies toward drink and drugs keep him off the payroll—and bitterly disappointed. Impatient and harried assistant directors Simon and Aisling are just trying to corral the locals into a scenic pastiche of the downtrodden while trying to meet the director’s demand to create a romanticized “Irish feel.” Things aren’t helped by the arrival of the film’s star, Caroline Giovanni, whose struggles with the Irish dialect frustrate her voice coach, John. At night, as the extras gather at the pub, they are surprised by the arrival of Caroline and her entourage, who are ready to rub elbows with the locals and pick up some authenticity. While she won’t give angry young Sean the time of day, Caroline picks up Jake for a tête-à-tête back at her hotel. However, his desire to impress her is deflated when she is more interested in improving her dialect than her love life. When tragedy strikes, the film crew is determined to keep plugging on— despite the uncooperative cast and the foreboding weather. Flashbacks begin to piece together the trail of clues that led to the disaster. Meanwhile, Clem the director, arrives to cajole the extras into a scene with false sincerity— before the clouds roll in. As conflict builds (along with an extreme allergy to two truckloads of flowers) Jake and Charlie reexamine their future dreams, and look for a way to create a story that will reflect the truth of their lives and their town.
Cast
Table of contents
By arrangement with Paul Elliott, Adam Kenwright, and Pat Moylan.
Stones in His Pockets
Jan 15– Feb 23, 2014
2
The Setting
3
Meet the Playwright
4
Ireland in Film
6
Tales from the Set
8
Bios: The Cast
9
Bios: The Artistic Team
11 Bios: The Staff
Clinton Brandhagen*
12 Q&A with Kwame & Stephen
13 Audience Services
Todd Lawson*
20 Supporting the Annual Fund
Captain Kate Murphy *
Stage Manager
25 Center Stage Celebrations
26 Preview: Up Next
Laura Smith*
Stage Manager
28 Center Stage Staff
By Marie Jones Directed by Derek Goldman
The Cast
(in alphabetical order, playing these and other roles)
Charlie Conlon Jake Quinn
* Member of Actors’ Equity Association
The Artistic Team
Stones in His Pockets is made possible by:
Season 51 Presenting Sponsor:
Media Partner:
Season 51 at Center Stage is made possible by:
Derek Goldman
Director
Misha Kachman
Scenic Designer
Ivania Stack
Jennifer Schriever
Andre Pluess
Jared Mezzocchi
Mark Jaster
Emma Crane Jaster
Catherine María Rodríguez
Production Dramaturg
Leigh Wilson Smiley
Voice/Dialect Director
Stephanie Klapper
Jesse Marciniak
Costume Designer Lighting Designer Sound Designer Projection Designer Movement Consultant Choreographer
Casting Director Assistant to the Director
There will be one 15-minute intermission.
PLEASE TURN OFF ALL ELECTRONIC DEVICES. IN CASE OF EMERGENCY 410.986.4080 (during performances).
Center Stage is funded by an operating grant from the Maryland State Arts Council, an agency dedicated to cultivating a vibrant cultural community where the arts thrive.
Stones in His Pockets | 1
S et t in g
time and Place
Time : Place:
Ballycastle
•
Present Day
Ireland
is a small island about the size of Indiana, measuring just 174 miles between its east and west coasts, and 302 miles from north to
IRELAND
south. It is divided between the Republic of Ireland and Northern
Dublin
Ireland, which is part of the United Kingdom. The play’s main
•
characters hail from opposite ends of the island: Jake’s home, the
unnamed town in County Kerry where the play takes place, is likely
a three-hour drive from Ireland’s capital, Dublin; his counterpart,
Charlie, has journeyed from Ballycastle—a city on the northern tip
of Northern Ireland, a day’s drive away. Found in Ireland’s southwest corner, County Kerry is home to lush farmlands, dramatic
landscapes, mossy hillsides, and small towns like the one featured
County Kerry
in Stones in His Pockets—making it an ideal film site. Despite being
cloudy most of the time, Ireland has long been popular as both a
setting and location. The first Hollywood movie shot on location
abroad was in Ireland, and many evocative Irish films—as well as those set elsewhere—continue to be shot there (See pages 4-5).
Dingle, County Kerry
2
M EET
The playwright
Playwright
Marie Jones
From the Director Much of the thrill of working on Stones in His Pockets comes from its pure theatricality and the distinctive way that it celebrates the power of the human imagination (that of the two actors who take on so many roles, but also of you the audience who then fill in and populate this story around them). Through this celebration of the imagination, the vivid and sometimes harsh realities of everyday citizens are revealed, their dreams too often thwarted by a host of socioeconomic realities. It’s also a play that satirizes the brand of dreams—and limited authenticity—that Hollywood offers, while also exploring the dynamics between insiders and outsiders, between natives and those who would take from them (even unwittingly, by blindly romanticizing them). In the end, Jake and Charlie’s experiences as extras on this film open up a larger reflection on what it means to feel one’s self an “extra” in life, perhaps less than 10 feet away from stardom, but ultimately part of the anonymous herd.
Marie Jones was born in Belfast, Northern Ireland, in 1951. Working as an actress there in the 1970s, she went to the Lyric Theatre one evening to see a play by local dramatist Martin Lynch. After seeing the show, Jones and several local actresses approached Lynch to write plays for them. He encouraged them to both write and perform, and in 1983 the company Charabanc was founded with Jones as one of its driving forces. Their first major success, Lay Up Your Ends, concerned a 1907 strike in the textile mills of Belfast and was eventually performed in Dublin, London, and Russia. Jones soon became the principal writer for Charabanc, where she worked until 1990 before setting out on her own. In 1991, she co-founded the independent and occasionally controversial DubbelJoint Theatre Company (named for Dublin and Belfast). She has since written A Night in November (1994), Women on the Verge of HRT (1996), and the critically acclaimed Stones in His Pockets, which opened in West Belfast in 1996 before moving to London and New York. It won the 2001 Laurence Olivier Award for Best Comedy after its London opening, and the two principal actors in the play won Tony Awards in New York the same year. Stones began a world tour in 2002 and has been seen in 20 countries and translated into 22 languages. Jones is currently adapting her megahit into a screenplay. The success of Stones in His Pockets has made Marie Jones a playwright of international reputation, a considerable distance from her humble beginnings as a writer for unemployed Belfast actresses.
—Director Derek Goldman
Stones in His Pockets | 3
IRELAND
Ireland
Ireland
in Film The Quiet Man
Ireland
Ireland
Ireland By Catherine María Rodríguez, Production Dramaturg
Stones in His Pockets pokes fun at one of the enduring legacies of Irish film: the many manufactured representations of Ireland, ranging from bucolic reveries to gritty docudrama. As
scholar Sean Ryder notes, “the question of how to distinguish the romantic from the real in one’s perception of Ireland has been central to debates about Irish cinema from its beginnings, just as it has been central to debates about Irish literature since the nineteenth century. How ‘real’ is the Ireland we see on screen?” From the first-ever Hollywood movie filmed on location abroad (The Lad from Old Ireland) to recent animated flicks, the small island has provided fertile ground for those who reimagine its landscapes and its people. One of these classics (The Quiet Man) lurks behind the action of Stones, but a set of recurring themes and concerns runs through many of them.
4
The Lad from Old Ireland
The Quiet Man (1952)
In this romantic comedy, an Irish-born American, played by John Wayne, returns to the Old Country to reclaim the family farm. When he falls in love with a local maiden, his dark past resurfaces to plague him. The fictional movie The Quiet Valley being filmed in Stones in His Pockets winks at this feel-good classic (and tales of its location shooting).
The Lad from Old Ireland (1910)
The first American movie studio production filmed on location abroad, shot in Ireland. In it, an Irish boy voyages to America to escape poverty and later returns to rescue his lover from a life of hardships.
Dancing at Lughnasa
COMMUNITY TIES
The Field (1990)
An Irish peasant battles the odds, and an American developer, to acquire land for his son.
LONGING
Waking Ned Divine (1998)
The Dead (1987)
A town must decide whether or how to split a dead townsman’s winning lottery ticket.
A holiday party in the winter of 1904 prompts reflection and regret for one Dublin couple, in this brooding all-Irish film adapted from the eponymous story by James Joyce.
WOMEN’S LIVES
Dancing at Lughnasa (1998)
Over the course of one month in County Donegal, 1936, five unmarried women hope for the future. But their dreams are dashed when their frail elder brother returns and a nearby factory destroys their livelihoods.
Ballroom of Romance (1982)
The Lonely Passion of Judith Hearne (1987) Waking Ned Divine
OF FOLK TALES AND FANTASY
Finian’s Rainbow (1968)
IRISH LIFE
A work of ethnofiction, this renowned film used non-professional locals to chronicle the daily routines of a family living in premodern conditions.
Adam and Paul
A young girl discovers ties between her family and the mystical Selkies.
A series of interviews with pub owners across Ireland, seeking the heart of the particularities and traditions of “the Irish pub.”
The Secret of Kells (2009)
This film set in eighth-century Ireland offers a fantastical account of the creation of the ancient Book of Kells.
Angela’s Ashes (1999)
The Barrytown Trilogy (1991, 1993, 1996)
Comprised of The Commitments, The Snapper, and The Van, this Irish trilogy focuses on the Rabbitte family, as son Jimmy forms an Irish soul band; pregnant daughter Sharon refuses to name her lover; and dad Jimmy, Sr. starts a business venture with friends.
THE QUEST
Barry Lyndon (1975)
This award-winning period drama recounts the exploits of an Irish adventurer whose love of women, nobility, and extravagance win him a dangerous enemy.
Man of Aran The Secret of Roan Inish
Two Irish Traveller boys leave the slums to retrieve a mysterious white stallion gifted by their grandfather, only to find unexpected adventures awaiting them.
The Wind That Shakes the Barley (2006)
Barry Lyndon
In this historical drama—the highest-grossing Irish release ever— two brothers join the battle for Irish independence, only to find themselves divided by civil war.
The Informer (1935)
An IRA rebel turns informant in this classic suspense thriller.
Michael Collins (1996)
This historical biopic recounts the life of the Irish patriot and revolutionary.
Two runaway children make their way across the Irish countryside, with their family fortune in the balance. Three petty criminals from Dublin chase bigger dreams on a boozy and riotous St. Patrick’s Day.
Into the West (1992)
A POLITICAL PAST
Flight of the Doves (1971)
Between the Canals (2010)
Irishman Finian (Fred Astaire) settles in the southern state of Missitucky to pursue his American dream. But trouble follows in this musical fantasy when Og the leprechaun appears to retrieve his stolen pot of gold.
The Secret of Roan Inish (1994)
The Irish Pub (2013)
A tragicomic memoir, Angela’s Ashes recounts the lives and struggles of the McCourt family in Ireland and America.
Adam and Paul (2004)
In this Irish indie, two lost youths wander Dublin in search of heroin and themselves.
A farmer’s aging daughter looks for love in a dance hall, slowly realizing that the men of her generation have either emigrated to America or begun families of their own.
Man of Aran (1934)
A penniless spinster dreams of business ventures in Fifties Dublin.
The Wind that Shakes the Barley
Stones in His Pockets | 5
TALES FROM
BEHIND THE LENS: Hollywood & Directors ALLEN DAVIAU, Cinematographer
(E.T. the Extra-Terrestrial, The Color Purple, Van Helsing) You turn around and there are literally about 300 people, all standing there waiting for you to tell them to do something or waiting for something to happen. You have a tremendous amount of responsibility because the meter is running—you are spending money! And all the forces of finance and so on are trying to get you to do it a little sooner than you want to do it. Very complex.
SAMIRA MAKHMALBAF,
Writer and Director (The Apple,
Blackboards, At Five in the Afternoon) Every morning, we sent eight vehicles to various villages in the area to recruit [extras]. We had difficulties providing them with a hot meal. And all that right in the middle of mountains very difficult to cross. Other problems created themselves. For example, when there was a funeral, a wedding, or Friday religious services, work had to be stopped. It was me who had to adapt to them. Like for the river scene, I had to go into the icy water first myself. That’s how I began to direct them. In that way I was better able to fully understand the situation.
ALEJANDRO GONZÁLEZ IÑÁRRITU, Director (Amores Perros, Babel, Biutiful)
Directing is a physically exhausting job. You have to wake up at 4 am and not get to sleep until midnight, and in between make eighteen thousand decisions every day of the week. It’s enormously physically and emotionally demanding to direct a film, to finish a film, and to promote a film. The demands are so enormous that if you haven’t prepared yourself physically, emotionally, spiritually, it can kill you. Every time I’ve made a film, I felt I was going to lose a kidney, or a piece of me, the cost of it is so high.
ANDY DAVIS, Director
(The Fugitive, Holes, The Guardian) When I can, I try to cast the extras. I don’t meet them. But I’ll look at three hundred pictures, and I’ll go, “OK, this guy, this guy. This guy’s the guard. This is the convict. This is the this.” I’ll sort of look at it in that way. And I’ll remember when I get to the set 6
that I chose those people. And sometimes I’ll even give them lines. You know, if it’s necessary. But, you know, one bad extra can ruin a scene, so you try to have as much input as you can.
DAVID MAMET, Writer and Director
(House of Games, Oleanna, Heist) The most prized stories, of course, are the morbid: who threw up on camera, who forgot to remove his or her body mic and repaired to the camper to make love with an unauthorized person (while the sound man, of course, put it out over the PA). This week my favorite is the couple who leased their house for a shoot. (“We’ll leave it better than we found it.”) One gag involved the couple’s house catching fire. The technicians built a false front on the house and, on the day, set it aflame. The gag went awry and the whole house went up in flames. The owners, standing on a neighbor’s lawn, looked at the marvelously believable effect and clapped. “They clapped three times,’’ the eyewitness said.
JANE CAMPION, Director and
Executive Producer (The Piano, Top of the Lake, Soft Fruit) The hardest scene was in the women’s camp. It’s the big scene where all the story strands start to come together. It’s a scene you’re really prepared to do when everybody’s more established in their character and you’re more familiar with your crew, but we had to shoot it in the second week! I kept saying, “Can’t you put it at the very end?” But when things are difficult, you pay more attention, and the work benefits. It’s a bit risky. I didn’t even notice [the actress] was bawling until I turned to my editor and said: “Oh my God, she really went there. She really knew what to do.”
SAM MENDES, Director
(American Beauty, Road to Perdition, Skyfall) This notion of “Hollywood” doesn’t really exist. In reality, it’s not really a place. And just as it isn’t a place, but a fragmented community occupying a giant suburb built in the desert, so the film industry isn’t really one thing—it’s six or seven studios. With the big Hollywood movies, you’re talking about the decisions made by seven or eight quite different people.
“The technicians built a false front on the house and, on the day, set it aflame. The gag went awry and the whole house went up in flames.” —David Mamet
THE SET
By Catherine María Rodríguez, Production Dramaturg
Extras get “REEL”: Baltimore & Beyond Of being an extra, a wise actor once said, “We would act for free; they have to pay us to wait.” That’s the job, and you get paid the same whether you are on set or in holding, so it’s all good work. In one still photograph that took five minutes to shoot, but I was on set for nine hours—and I spent two of those hours sharing a makeup trailer with Dame Judy Dench. Not a bad day at all! –Kelli Midgley, Baltimore actor
A Canadian commercial takes the cake: I think it was 150 extras crammed into a tiny bar filled with smoke for a mosh pit. The crew seemed to take great pleasure in yelling at us, and it was only when some people started fainting that they would give us an air break. Otherwise, I’ve been in the middle of a circus stampede, been surrounded by voluptuous nude “aliens” from another dimension, been blown up by Justin Bieber, and had gigs that I never tell without one or two drinks. Every job is an adventure.
I was shooting an exterior scene one frigid January night, and the rather famous actress (whom I’d rather not name) had to –Alec Newman, Actor cut in front of me to grab a taxi. Between takes, I and my fellow extras shivered in I was an extra in the jail scene of John place, while she had an entourage draping Waters’ Cry Baby. The scene was shot on her in blankets, bringing her hot coffee, and site at Jessup prison. We checked in at 6 fussing over her hair and makeup. My only pm and stayed until 6 am, shooting the solace was knowing that the taxi would “Teenage Rage” musical scene. A crazy, long, blow up in the next scene, and her character fun night. A couple years later I was sitting would suffer a horrible, fiery death. at the bar in the Rendezvous Lounge on 25th Street, and I heard a murmur as John Waters –Anonymous, Baltimore actor walked in and sat down right next to me. I uttered probably one of the best bar lines of Worked on a really crappy direct-to-DVD my life: “Hi, John Waters. You probably don’t movie that starred an actress who hasn’t remember me, but we spent the night in done much of anything since the mid-90s. The extras get gathered together before we prison together.”
“Hi, John Waters. You probably don’t remember me, but we spent the night in prison together.” —Jimi Kinstle
move to the set, and a Production Assistant announces that “You will not look at Ms. Star. You will not talk to Ms. Star. You will not go anywhere near Ms. Star!”—funny enough, we were doing a large, crowded Christmas mall scene where a lot of people had to bump past her. I don’t think I’ve ever seen so many people roll their eyes at once. –“Cruiseshipgirl” via customerssuck.com
I heard years ago that extra work can give you an inside look on what the Big Boys are really doing. I tried it out and made it on set of Body of Lies as a villager. It was awesome catching that extras’ bus early in the morning only to go right around the corner from where I actually lived. Blockedoff streets, wardrobe checks, meeting other extras, and hours of waiting…that was my first day. I earned about 75 bucks. Then I caught the bus back around the corner and never went back.
–Jimi Kinstle, Baltimore actor
If you have any assumptions that the work of making movies is glamorous or exciting, kill them now. Upon hearing an actor give an old speech that was pretty dull to begin with for the 10th, 11th, 12th time, you start to realize that maybe not being a movie star ain’t so bad. Because extra work is considered taboo for “real” actors, the vast majority of extras are non-union, and most of the people I speak to consider it a pretty easy gig in a down economy. You go and sit around for a day, get free food, and walk away with about $80-100. Extras are just trying to get by. –Cord Jefferson, Gizmodo Editor
–Bryan Robinson, Baltimore actor Stones in His Pockets | 7
Bios The Cast
Stones actors Todd Lawson (left) and Clinton Brandhagen (right) talk with Artistic Director Kwame Kwei-Armah (center) during first rehearsal.
Clinton Brandhagen* —Charlie. Center Stage:
debut. Broadway— Manhattan Theatre Club: Master Class (w/ Tyne Daly). Regional—Everyman Theatre: Resident Company Member, The Glass Menagerie, The Beaux’ Stratagem, August: Osage County, You Can’t Take It With You, Fifty Words, All My Sons, Shipwrecked! An Entertainment, The Amazing Adventures of Louis de Rougemont (As Told By Himself), Two Rooms, The Mystery of Irma Vep, The Cherry Orchard, Doubt, A Parable, And a Nightingale Sang; Kennedy Center: Master Class, Mister Roberts, Shear Madness; Theater J: Photograph 51; Charter Theatre: Love and Whiskey; Folger Theatre: School for Scandal, The Comedy of Errors; Woolly Mammoth Theatre Company: Stunning; Arena Stage: Christmas Carol, 1941, Anna Christie; Round House Theatre: Pride and Prejudice, The Picture of Dorian Gray, Orson’s Shadow; Ford’s Theatre: Christmas Carol: A Ghost Story of Christmas; Olney Theatre Center: Democracy, The Foreigner, Anna Karenina; Potomac Theatre Project: An Experiment with an Air Pump, Piaf; Shakespeare Theatre: Romeo and Juliet; Washington Shakespeare Company: Macbeth, Love’s Labour’s Lost; American Shakespeare Center: Dr. Faustus, Macbeth, Romeo and Juliet, Taming of the Shrew, 8
Merchant of Venice, Richard II, Much Ado about Nothing, The Knight of the Burning Pestle. Education—Southern Methodist University; University of Nevada, Las Vegas. For my brother, Shayne.
Todd Lawson*—Jake.
Center Stage: debut. Broadway—Summer and Smoke. Off Broadway—The Arm (dir. Moises Kaufman), Levittown. National Tour—A Funny Thing Happened on the Way to the Forum (Hero). Regional—Studio Theatre: Torch Song Trilogy (dir. Michael Kahn); PlayMakers Rep: It’s a Wonderful Life, A Live Radio Play; Pioneer Theatre: The Philadelphia Story; Cincinnati Playhouse: A Christmas Carol, Stone My Heart, You Can’t Take It With You; St. Louis Rep: Secret Order, The Shape of Things; Human Race Theatre: The Vertical Hour, Prelude to a Kiss; Vermont Stage: Three Days of Rain, King Lear; Portland Stage: Mary’s Wedding; Delaware Theatre Co.: Our Town; Bay Street: Hair; The Wilma: Black Comedy, The Real Inspector Hound; A Celtic Celebration with symphony orchestras around the country. Film/ TV—Top Floor (SXSW 2013), Guests of a Nation, Sides; conceived and co-wrote the book for the new rock musical Red-Blooded, All-American Man. Education—BFA, Wright State University; MFA, University of Arizona.
*Member of Actors’ Equity Association
Bios
The Artistic Team
Costume Designer Ivania Stack
Marie Jones—Playwright. Marie Jones’s
plays have toured extensively throughout the world, including the former Soviet Union, Germany, coast to coast in the United States, Canada, Britain, and Ireland. Her plays include an adaptation of Gogol’s The Government Inspector, which toured in Britain and Ireland; A Night in November (London, Glasgow, New York, and three tours of Ireland); Women on the Verge of HRT (Belfast, Dublin, Glasgow, and London’s Vaudeville Theatre); and Stones in His Pockets, which toured Ireland prior to the Dublin Theatre Festival and its West End and Broadway debut in 2001. It garnered many awards including the Laurence Olivier Award, The Evening Standard Award, and three Tony nominations including Best Play. Her most recent play, Fly Me to the Moon, was presented Off-Broadway in the fall as part of the 1st Irish Festival at 59E59 Theaters.
Derek Goldman—Director—is honored
to be making his Center Stage debut. He is Artistic Director of the Davis Performing Arts Center and Professor of Theater and Performance Studies at Georgetown University, where he is Founding Director of the Laboratory for Global Performance and Politics. He is an award-winning stage director, playwright, adapter, and developer of new work, whose artistic work has been seen around the country, Off-Broadway, internationally, and at numerous major regional theaters, including Steppenwolf, Arena Stage, Lincoln Center, Folger, Round House, Synetic, and many more. He has directed more than 80 productions and is the author of more than 25 professionally produced plays and adaptations. Recent highlights include Our Class at Theater J (Helen Hayes Nominated for Outstanding Resident Play); The Brothers Size (Baltimore Magazine’s Best Production), Shipwrecked, and Blackbird at Everyman; Once Wild: Isadora in Russia with Word Dance (2013 DC MetroDance Award); Theodore Bikel’s Drama
Projection Designer Jared Mezzocchi
Desk Nominated Sholom Aleichem: Laughter Through Tears; Book Writer of Tales from Odessa: A So-Called Musical (Segal Centre, Montreal). He holds a Ph. D in Performance Studies from Northwestern. Upcoming: The Dresser (Everyman); his original adaptation of Three Men in a Boat (Synetic).
Misha Kachman—Scenic Designer. Center Stage: debut. Regional—The Kennedy Center: Jason Invisible, Barrio Grrrl!, Snow White, Rose Red, Unleashed!, The Amazing Adventures of Dr. Wonderful; Cincinnati Playhouse in the Park: Venus in Fur; The Wilma: The Convert; Woolly Mammoth Theatre Company: Fever/Dream (Helen Hayes nom., Outstanding Set Design), Gruesome Playground Injuries, A Bright New Boise, Oedipus el rey, The Elaborate Entrance of Chad Deity (Helen Hayes Award, Outstanding Set Design), Stupid Fucking Bird; Signature Theatre: Brother Russia, Really Really, Xanadu; Round House Theatre: The Crown of Shadows, Young Robin Hood, The Lyons; Milwaukee Shakespeare: Cymbeline; Theatre J: The Odd Couple, Our Class, After the Revolution. Opera— Opera Lafayette: Così fan tutte, Les Femmes Vengées; Maryland Opera Studio: The Barber of Seville, Eugene Onegin, Xerxes. Professional— Associate Professor, Head of MFA in Design Program, University of Maryland; member, Woolly Mammoth Theatre Company of Artists. Ivania Stack— Costume Designer. Center
Stage: debut. Regional—Round House Theatre: This, Young Robin Hood, Glengarry Glen Ross; Woolly Mammoth: Detroit, The Elaborate Entrance of Chad Deity, Bright New Boise, Full Circle, Boom; Studio Theatre: Mother F**ker with the Hat, Time Stands Still, Adding Machine: A Musical, Bloody Bloody Andrew Jackson, Pop!; Everyman: God of Carnage, Heroes, 50 Words; Theatre J: Andy and the Shadows, Our Class, The Whipping Man, After the Fall, The Odd Couple, Photograph 51, The Four of Us, In Darfur; GALA Hispanic Theatre: House of the Spirits, Ana en el Tropico, Lucido, The True History of Coca Cola in Mexico; Olney
Director Derek Goldman
Theatre: Rancho Mirage, Joseph, Farragut North; Contemporary American Theatre Festival: Lidless, Breadcrumbs; Metrostage: Ghost-Writer, Lonely Planet, Savage in Limbo, The Real Inspector Hound, Heroes; dog & pony dc: A Killing Game, Beertown, Separated at Birth, Courage, Toast (co-director/ deviser). Education—University of Maryland, MFA in Design program.
Jennifer Schriever—Lighting Designer.
Center Stage: debut. Broadway—John Leguizamo’s Ghetto Klown. Off Broadway— Labyrinth: Sunset Baby; Soho Playhouse: The Other Josh Cohen, Triassic Parq; New World Stages: Bullet for Adolf. Regional—Folger: Romeo and Juliet, The Conference of the Birds, The Taming of the Shrew; Williamstown: American Hero; Indiana Rep: The Crucible; Asolo Rep: Clybourne Park; Falcon Theatre: The Gronholm Method; Signature: A Second Chance. Opera—Metropolitan Opera House: Die Fledermaus; Mariinsky Russia: Faust, A Midsummer Night’s Dream; English National Opera: Pearl Fishers. Associate Designer, Broadway—A Raisin in the Sun, Betrayal, Death of a Salesman, The Mountaintop, The House of Blue Leaves, The Book of Mormon. Adjunct Professor, Purchase College. www.jenschriever.com.
Andre Pluess—Original Music and Sound Designer. Center Stage: A Skull in
Connemara. 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; Stones in His Pockets | 9
Bios
The Artistic Team
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.
Jared Mezzocchi—Projection Designer. Center Stage: debut. New York—
3-Legged Dog: The Downtown Loop; HERE arts: You Are Dead, You Are Here; New Georges: Goldor $ Mythyka; Rob Roth/Abrons: Screen Test; The Builder’s Association: JETLAG 2012. Tour—Big Art Group: SOS, The People, The Sleep (Vienna Festival, Germany, Italy, Slovenia, Spain). Regional—National Geographic: BELL; Cleveland Playhouse: Breath and Imagination; Milwaukee Rep: The Mountaintop; Woolly Mammoth: The Elaborate Entrance of Chad Deity; Studio/Company One: Astroboy and the God of Comics. Dance—Word Dance: Once Wild: Isadora in Russia. Fashion/Design— Alcantara and Connect4Climate (2013 Design Week, Milan Italy), ThreeASFOUR (2010 Fashion Week). Awards—2013 Princess Grace Fellow, 2013 Bel Geddes Enhanced Technology Award (HERE arts and New Georges);2013 MetroDC Dance, Multimedia (Word Dance’s Once Wild). Education—MFA, Brooklyn College, Performance and Interactive Media Arts. Professional—Professor of Multimedia, MFA Design, University of Maryland.
Mark Jaster—Movement Consultant. Center Stage: debut. Mark Jaster studied with Etienne Decroux and Marcel Marceau, and served as Mr. Marceau’s teaching assistant. Past mime/movement consultation credits— Ford’s Theatre: Our Town; No Rules Theatre Company: The Personal(s); Round House Theatre: How to Write a New Book for the Bible, Our Town; Laura Zam Enterprises: Married Sex; Adventure Theatre: The Red Balloon, Winnie the Pooh, Alexander; Kennedy Center: Elephant and Piggie’s We are in a Play!. Teaching—Maryland Opera Studio, American Academy of Ballet, Shakespeare Theatre Company, Maryland Youth Ballet. Performance—Maryland Renaissance Festival, 27 years; Big Apple Circus Clown Care Program, 17 years; Two Helen Hayes nominations for performance. Artistic Co-Director of Happenstance Theater, www.happenstancetheater.com. Emma Crane Jaster—Choreographer.
Center Stage: debut. Emma Crane Jaster has spent her life in the study and practice of physical expression. She has worked around 10
the world including Paris, India, and Taiwan, choreographing for students, dancers, actors, and puppets. Locally, she choreographed the Helen Hayes-nominated production of Our Class at Theater J, the world premiere of Gilgamesh with Constellation Theatre, and the Capital Fringe-hit To Know a Veil. She earned her BA in Theater and Dance from Amherst College and studied physical theater at the Lecoq School in Paris. She is thrilled to work side-by-side on this production with her inestimable father. Follow her work at www.emmajaster.com.
Captain Kate Murphy*—Stage Manager. Center Stage: Resident Stage Manager; Stage Manager: A Civil War Christmas, Animal Crackers, Mud Blue Sky, The Mountaintop, …Edgar Allan Poe, A Skull in Connemara, American Buffalo, Crime & Punishment, Let There Be Love, The Santaland Diaries; Assistant Stage Manager for The Importance of Being Earnest, Things of Dry Hours, Trouble in Mind, Three Sisters, Radio Golf, The Murder of Isaac, Once on this Island, King Lear, Assistant Production Manager 2008–09. Regional— Trinity Rep: Boeing-Boeing; Actors Theatre of Louisville: All Hail Hurricane Gordo*, The Clean House, Moot the Messenger*, Dracula, The Ruby Sunrise*, Tall Grass Gothic*, The Drawer Boy, Amadeus, As You Like It (*premieres at the Humana Festival of New American Plays); Contemporary American Theater Festival: The Overwhelming, Pig Farm; Totem Pole Playhouse: Over 75 productions through 13 summer stock seasons. Film/TV—Route 30, Route 30 Too!, Next Food Network Star. Proud Actors Equity and ASCAP Member. Laura Smith*—Stage Manager. Center Stage: Resident Stage Manager: dance of the holy ghosts; Clybourne Park; Beneatha’s Place; Bus Stop; An Enemy of the People; The Whipping Man, Gleam; The Rivals; Snow Falling on Cedars; Cyrano; Working it Out; Fabulation or, The Re-Education of Undine; Who’s Afraid of Virginia Woolf; Joe Turner’s Come and Gone. Regional—Everyman: Pygmalion, Shipwrecked, The Exonerated, Rabbit Hole, Doubt, Gem of the Ocean, And a Nightingale Sang, The School for Scandal, A Number, Someone Who’ll Watch Over Me, Yellowman; Woolly Mammoth: Gruesome Playground Injuries, House of Gold, The Unmentionables, Vigils, After Ashley; Folger: Measure for Measure, The Comedy of Errors (ASM); Olney Theatre: Stuff Happens; Theater Alliance: Headsman’s Holiday, Pangea, [sic]; Catalyst: Cloud 9; Longacre Lea: Man with Bags. Leigh Wilson Smiley—Voice/Dialect Director. Center Stage: debut. Leigh Wilson
Smiley has voice/text/dialect directed at regional and international companies
including Shakespeare & Company in Massachusetts; Ford’s; Folger Shakespeare; Signature; Pig Iron Theatre; Cirque du Soleil; Everyman; Round House; and NBC. Leigh created The Visual Accent & Dialect Archive at www.visualaccentdialectarchive.com. She is a Designated Linklater voice teacher; a member of Screen Actors Guild; Actors Equity Association; American Federation of Television, Radio and Screen Artists; the Voice and Speech Trainers Association. Leigh is an Associate Professor and the Director of the School of Theatre, Dance, and Performance Studies at the University of Maryland, College Park.
Catherine María Rodríguez—Production Dramaturg—is a New Orleans native,
who made her Center Stage debut with dance of the holy ghosts. Catherine is the dramaturg and archivist for Un Encuentro: Theater from the Borderlands, a new transnational collaboration between Borderlands Theater (Tucson) and El Círculo Teatral (Mexico City). Notable past credits include production dramaturgy for The NOLA Project’s Much Ado about Nothing with the New Orleans Museum of Art and Bruja at Borderlands; assisting on the National New Play Network rolling world premiere of Guapa; administrative and producing work at Steppenwolf; and performance studies research at Northwestern. Catherine holds a BFA in Dramaturgy and a BA in Hispanic Studies from Carnegie Mellon. In 2013, she received the LMDA & Kennedy Center Regional Student Dramaturgy Award and debuted as a Dramaturgy Panelist at the Association for Theatre in Higher Education national conference. Saludos a todos and laissez les bons temps rouler!
Stephanie Klapper—Casting Director.
Center Stage—dance of the holy ghosts, Mud Blue Sky, …Edgar Allan Poe, The Whipping Man, A Skull in Connemara. Selected Broadway and Off Broadway—A Christmas Story, The Musical (2012 Tony nom); Dividing the Estate (2009 Tony nom); Emotional Creature (Eve Ensler); Harbor; Bronx Bombers; The Model Apartment; You Never Can Tell… Her work is frequently seen on Broadway, Off-Broadway, regionally, internationally, and on television, film, and the internet. Projects she has been involved with have won numerous awards including the Tony, Obies, Artios, the Pulitzer Prize, Sundance Audience Award, Cannes Prize Du Publique, and Comic Con awards. Klapper Casting is currently working on many new and ongoing projects in theater, film, and television in New York, around the country, as well as internationally. Member of Casting Society of America and League of Professional Theatre Women.
BIOS The Staff
Artistic Director Kwame Kwei-Armah (left) and Stage Manager Laura Smith during the first rehearsal for Stones in His Pockets.
Artistic Director Kwame Kwei-Armah OBE,
an award-winning British playwright, director, actor, and broadcaster, is in his third season as Artistic Director of Center Stage in Baltimore, Maryland. At Center Stage he has directed dance of the holy ghosts (City Paper’s Top Ten Productions of 2013); The Mountaintop; An Enemy of the People; The Whipping Man (City Paper’s Top Ten Productions of 2012), for which he was named Best Director; and Naomi Wallace’s Things of Dry Hours. Among his works as playwright are Elmina’s Kitchen and Let There Be Love—which had their American debuts at Center Stage—as well as A Bitter Herb, Statement of Regret, and Seize the Day. His latest play, Beneatha’s Place, debuted at Center Stage in 2013 as part of the ground-breaking Raisin Cycle. His other directorial credits include Let There be Love and Seize the Day at the Tricycle Theatre, New York’s Public Theater’s production of Much Ado About Nothing, the World Premiere of Detroit ’67 (nominated for Best Director) at New York’s Public Theater, and the World Premiere of The Liquid Plain at Oregon Shakespeare Festival. Kwame has served on the boards of The National Theatre and The Tricycle Theatre, both in London. He served as Artistic Director for the World Arts Festival in Senegal, a month-long World Festival of Black Arts and Culture, which featured more than two thousand artists from 52 countries participating in 16 different arts disciplines. He was named the Chancellor of the University of the Arts London, and in 2012 was named an Officer of the Most Excellent Order of the British Empire.
Managing Director Stephen Richard,
a leader on the national arts scene for more than 30 years, is the Managing Director of Center Stage in Baltimore, Maryland. Stephen most recently worked as Vice President, External Relations, for the new National Children’s Museum. Previously, he served 18 years as Executive Director of Arena Stage, where he planned and managed the theater’s $125 million capital campaign for the Mead Center for American Theater. Also a professor of Arts Management at Georgetown University, he has served on the boards and committees of some of the nation’s most prestigious arts organizations, including the National Endowment for the Arts, American Arts Alliance, the League of Resident Theatres, and the Theatre Communications Group, and currently serves on the Advocacy Committee of the Greater Baltimore Cultural Alliance and on the board of directors of the Maryland Citizens for the Arts.
Associate Artistic Director/ Director of Dramaturgy Gavin Witt came to Center
Stage in 2003 as Resident Dramaturg, having served in that role previously at several Chicago theaters. As a dramaturg, he has worked on well over 60 plays, from classics to new commissions— including play development workshops and freelance dramaturgy for TCG, The Playwrights Center, The New Harmony Project, The Old Globe, Bay Area Playwrights Festival, CATF, The Kennedy Center, and others. A graduate of Yale and the University of Chicago, he was active in Chicago theater for more than a decade as an actor, director, dramaturg, translator, and teacher, not to mention co-founder of greasy joan & co. theater, while serving as a regional Vice President of LMDA, the national association of dramaturgs. He has been on the faculty of the University of Chicago and DePaul University, and locally at Towson University.
Stones in His Pockets | 11
Q & A
with Kwame & Stephen
A conversation with Artistic Director Kwame Kwei-Armah and Managing Director Stephen Richard.
As arts practitioners—who have also spent time around the film industry—what is your impression of the impact of film crews on a city?
How can arts organizations contribute to a city’s profile? Do we have a responsibility to raise a profile or contribute to it? KKA: I certainly think that the major civic organizations in any city are tasked with elevating the perception of the city, but it is very hard. I think it is the joint responsibility of the artists and the civic heads. And to understand that at the beginning of the 21st Century, for many cities their reputations are based around two things: the way they are captured in modern media and the way their sporting team does! So, do we have a responsibility? Yes.
Stephen Richard: I think it’s a great thing for a city. Kwame Kwei-Armah: I have been part of this invading force many a time, so while I can’t speak from an official point of view, I can speak to being part of the film crew. The times that I have enjoyed the most are when you can see on the faces of the people in the city or village where you land, “Oh my God….Who are they, who are these Hollywood aliens?” SR: I used to sit in my office at the back of the Los Angeles Theatre Center, and look out over Los Angeles Street, which was skid row. Hill Street Blues used to film back there and you could see real homeless people contrasted with actors dressed as homeless. KKA: When we were filming Cutthroat Island, we landed in Phuket, Thailand, and the cast and crew were probably about a thousand people. We took every hotel in the town, every restaurant was filled. It’s really weird, because you know that you are contributing greatly to wherever you land— but of course, you may bastardize it; they may never be the same again.
What happens when a production tries to portray the nature of a specific community or a city? KKA: That’s quite hard, isn’t it! Because who actually knows what a city really is, particularly when it comes to drama? The fundamental principal of drama is conflict, and getting over conflict. So you are seldom ever going to see a city in three dimensions, it is simply there to serve, to be an unnamed character. I don’t know any city that is very pleased about its portrayal. Maybe Monte Carlo, maybe New York. But I think it’s tricky. Just know you aren’t in control and invariably you are going to come out of it not looking as great as you would like. SR: It is tricky, Kwame’s 100% right. It is about conflict as well as simplification— The Wire is a narrow slice of Baltimore life, whether accurate or inaccurate. So, it is always tricky, reputationally. It is not tricky financially. It’s a wonderful boon to the economy, it’s a wonderful boon to the artists of the region who have the opportunity to ply their trade in film and TV.
12
SR: We add to the narrative about Baltimore. Do we drive it? No. But we absolutely add to the narrative that this is a community that’s got a lot of wonderful, world-class arts organizations.
What are your thoughts about the current filming happening in Baltimore? KKA: For me personally, it’s great! The guys who are producing and writing Veep are friends of mine, so it means I can go out to dinner with them. [Laughs] One of the producers in particular is on the board of the National [Theatre], and he’s going back and telling my friends in London, “Actually, Baltimore’s really good, Baltimore’s really cool.” I also like being able to sit down and watch House of Cards and go, “No, that’s not DC, that’s Mount Vernon, that’s the street behind my theater!”
Au dience services
Dining
Sascha’s Express, our pre-performance dinner service, is located up the lobby stairs in our Mezzanine café. Service begins two hours before each performance.
Drinks
You are welcome to take beverages with lids to your seats! But please, no food.
Phones
Please silence all phones and electronic devices before the show and after intermission.
Recording
Photography and both audio and video recording are strictly forbidden.
On-Stage Smoking
We use tobacco-free herbal imitations for on-stage smoking and do everything possible to minimize the impact and amount of smoke that drifts into the audience. Let our Box Office or front of house personnel know if you’re smoke sensitive.
Accessibility
for getting everyone out of their seats. Inspiring. Thought Provoking. PNC is proud
to sponsor Center Stage. Because we appreciate all that goes into your work.
pnc.com
Wheelchair-accessible seating is available for every performance. We offer free assistive listening devices, braille programs, and magnifying glasses upon request. An Open Captioned performance* is available one Sunday performance of each production. Several performances also feature Audio Description*.
Parking
If you are parking in the Baltimore Sun Garage (diagonally across from the theater at Monument & Calvert) you can pay via credit card at the pay station in the garage lobby or at the in-lane pay station as you exit. If you have a pre-paid voucher, proceed directly to your vehicle and enter your voucher after inserting the parking ticket you received upon entering the garage, in the machine as you leave. We are unable to validate parking tickets.
Feedback
We hope you have an enjoyable, stress-free experience! Your feedback and suggestions are always welcomed: info@centerstage.org.
©2013 The PNC Financial Services Group, Inc. All rights reserved. PNC Bank, National Association. Member FDIC
*Open Captioning & Audio Description performances for Stones in His Pockets: Sun, Feb 9. Audio Description at both 2 pm and 7:30 pm, Open Captioning at 7:30 pm. Stones in His Pockets | 13
for making for making a mark in in a mark Baltimore. Baltimore. PNC is proud to bePNC a part of CENTERSTAGE. Because isisproud totobe CENTERSTAGE. PNC proud beaapart partofof CENTERSTAGE.Because Because we know a community thataaworks together thrives we community that works weknow know community that workstogether togetherthrives thrives together. together. together. pnc.com
pnc.com pnc.com
©2013 The PNC Financial Services ©2013 Group, Inc. All rights reserved. PNCGroup, Bank, National Association. Member FDICNational The PNC Financial Services Inc. AllAll rights reserved. PNC Bank, Association. Member FDIC ©2013 The PNC Financial Services Group, Inc. rights reserved. PNC Bank, National Association. Member FDIC
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Stones in His Pockets | 15
For more than four decades, Center Stage has provided professional theater of the highest caliber. We believe support of the corporate community is important to Center Stage’s continued success. Kramon & Graham has been supporting Center Stage since 2004, and will do so proudly in the future.
www.kramonandgraham.com
SuNDay
Brunch (11am-3pm) Brunch and limited lunch menu
Hospitality Night (8pm-Close) Bring your pay stub and get 20% off (excludes already discounted items)
Fine Indian Cuisine
MoNDay
$9 Burger & Pint Night (6pm-12am) 1/2 lb. burger, fries & any 16 oz draft.
Baltimore’s Premier Indian Restaurant
TuESDay
$8 Shepherd’s Pie or Fish-n-Chips (6pm-12am)
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Chicken, Lamb, Seafood, Vegetarian & Tandoori Specialties Soups, Appetizers, Indian Breads, Desserts & More Catering Services Available All Major Credit Cards Accepted
Top 50 Restaurants in Baltimore 2010 —Baltimore Sun
Oyster Night (7-10pm) $1Oysters & $2 Oyster Shooters
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Happy Hour
Every Monday-Friday 4pm-7pm* $2 off Wings, Wontons, Nachos, or Veggie Quesadillas $3 rail drinks/ $4 call liquor $2.50 domestic bottles/drafts $5 20oz Guinness & Magners Imperial Pint $4 (16oz) Draft Imports/ Microbrews $2 off all wines (by the glass) *Specials & Happy Hour food require purchase of beverage and are not available for carry-out orders
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328 North Charles Street Baltimore, MD 21201
Fiesta Night (7pm-midnight) Bucket of Corona (5) or Margarita Pitcher & Nachos or Quesadilla for $16.
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Complimentary Happy Hour Buffet (4pm-7pm) Live Music 9:30pm
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Saturday Brunch: Brunch and limited lunch menu Live Music 9:30
Restaurant 410-539-7504 Office 410-539-1006
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INTERN @
Center Stage’s Professional Internship Program
Monday: Burger Night Tuesday: Trivia Night Wednesday: Wine Night
$1 off Beer, $3.50 Rail, $5 House Wine Glass
½ Price Appetizers are back!
Friday & Saturday | 10PM James Joyce Irish Pub & Restaurant 616 S. President Street, Baltimore, MD 21202 410-727-5107 | TheJamesJoycePub.com
Now Accepting Applications
For more than 25 years, Center Stage has helped cultivate the next generation of theater makers through its Professional Internship Program, which helps bridge the gap between university and professional theater by providing hands-on experience and guidance. Center Stage welcomes a new class of roughly 20 different administrative, artistic, and production interns each season.
Internship positions include: Artistic and Dramaturgy Audience Relations Audio Carpentry Community Programs and Education Costumes Development Graphics Lighting Marketing Multimedia Production Properties Scenic Art Stage Management and more!
For a full list of internships and descriptions visit www.centerstage.org/Education/ ProfessionalInternshipProgram. Applicants must commit fulltime to one entire season at Center Stage from mid-August to early June. Applicants are advised to submit application materials by March 1, 2014.
Stones in His Pockets | 17
When the arts succeed, we all succeed. At M&T Bank, we know how important it is to support artists of all kinds. They enhance the quality of life in our communities. That’s why we offer both our time and resources and encourage others to do the same.
M&T Bank is proud to support Center Stage.
mtb.com Š2013 M&T Bank. Member FDIC. 18
The Baltimore Sun
Online
for
Celebrating its 37 year th
Hundreds of items! One week to get your bids in! Preview: February 12-14 Bidding: February 15-23
Visit www.centerstage.org/auction for details. If you have questions or donations please contact Sydney Wilner at swilner@centerstage.org or 410.986.4025. Supported By:
Season 51 Presenting Sponsor:
Media Partner:
Stones in His Pockets | 19
su ppo rt
The Annual Fund at Center Stage (June 4, 2012 through December 5, 2013.)
Board of Trustees
The following list includes gifts of $250 or more made to the Center Stage Annual Fund
Robert W. Smith, Jr., President Edward C. Bernard, Vice President Juliet Eurich, Vice President Terry H. Morgenthaler, Vice President E. Follin Smith, Treasurer J.W. Thompson Webb, Secretary
Penny Bank Katharine C. Blakeslee* James T. Brady C. Sylvia Brown* Stephanie Carter August J. Chiasera Janet Clauson Lynn Deering Jed Dietz Walter B. Doggett, III Jane W.I. Droppa Brian Eakes Beth W. Falcone Daniel Gahagan C. Richard Gamper, Jr. Suzan Garabedian Carole Goldberg Adam Gross Cheryl O'Donnell Guth Martha Head* Elizabeth J. Himelfarb Hurwitz Kathleen W. Hyle Ted E. Imes Murray M. Kappelman, MD* John J. Keenan E. Robert Kent, Jr. Joseph M. Langmead* Kenneth C. Lundeen* Marilyn Meyerhoff* Hugh Mohler J. William Murray Charles E. Noell Esther Pearlstone* Judy M. Phares Jill Pratt Philip J. Rauch Harold Rojas Monica Sagner* Renee C. Samuels Rosenfeld Todd Schubert Charles Schwabe George M. Sherman* Scott Somerville Scot T. Spencer Michael B. Styer Harry Thomasian Donald Thoms Katherine Vaughns+ Cheryl Hudgins Williams Linda S. Woolf * Trustee Emeriti + Center Stage honors the legacy of Katherine Vaughns and her many contributions as a Trustee, patron, donor, and friend of our theater.
between June 4, 2012 and December 5, 2013. Although space limitations make it impossible for us to list everyone who helps fund our artistic, education, and community programs, we are enormously grateful to each person who contributes to Center Stage.
We couldn’t do it without you! INDIVIDUALS & FOUNDATIONS
The Center Stage Society represents donors who, with their annual contributions of $2,500 or more, provide special opportunities for our artists and audiences. Society members are actively involved through special events, theater-related travel, and behind-the-scenes conversations with theater artists. Individual Season 51 sponsors
($50,000+)
Ellen and Ed Bernard
Lynn and Tony Deering
Jane and Larry Droppa Judy and Scott Phares
Fascitelli Family Foundation Daniel P. Gahagan
John Gerdy and E. Follin Smith
The Goldsmith Family Foundation
Mr. and Mrs. Philip Rauch
The Laverna Hahn Charitable Trust
Ms. Barbara Voss and Charles E. Noell, III
Mr. and Mrs. E. Robert Kent, Jr.
Jay and Sharon Smith
Presidents’ Circle
($50,000+)
The Annie E. Casey Foundation The Charlesmead Foundation The Shubert Foundation, Inc. Harold and Mimi Steinberg Charitable Trust
Ms. Katherine L. Vaughns+ Artists’ Circle
($25,000-$49,999)
Francie and John Keenan
Directors’ Circle
($2,500- $4,999)
Anonymous The Lois and Irving Blum Foundation Drs. Joanna and Harry Brandt Marjorie Rodgers Cheshire and Mark Cheshire Gene DeJackome and Kim Gingras
The Andrew W. Mellon Foundation
The Mary & Dan Dent Fund of the Baltimore Community Foundation
Mr. J. William Murray
The Harry L. Gladding Foundation/ Winnie and Neal Borden
Joseph & Harvey Meyerhoff Family Charitable Funds George Roche
Mr. and Mrs. George M. Sherman Mr. Louis B. Thalheimer and Ms. Juliet A. Eurich
Department of VSA and Accessibility at the John F. Kennedy Center for the Performing Arts Playwrights’ Circle
($5,000- $9,999)
Mr. and Mrs. Michael Falcone
Goldseker Foundation/ Ana Goldseker Robert and Cheryl Guth The Hecht-Levi Foundation, Inc. David and Elizabeth JH Hurwitz Mr. and Mrs. Stephen Immelt Jonna and Fred Lazarus
The Miriam and Jay Wurtz Andrus Trust
Sylvia and Eddie Brown
Mr. and Mrs. Earl & Darielle Linehan/ Linehan Family Foundation
August and Melissa Chiasera
The Cordish Family
Mrs. Diane Markman
Penny Bank
The Jane and Worth B. Daniels, Jr. Fund of the Baltimore Community Foundation
Mr. and Mrs. John L. Messmore
William G. Baker, Jr. Memorial Fund, creator of the Baker Artist Awards Stephanie and Ashton Carter
James and Janet Clauson
Edgerton Foundation New American Play Awards Kathleen Hyle
JI Foundation
Kenneth C. and Elizabeth M. Lundeen
Marilyn Meyerhoff
Terry H. Morgenthaler and Patrick Kerins
Mary Catherine Bunting
Mr. and Mrs. Walter B. Doggett, III Brian and Denise Eakes
Dick and Maria Gamper
Dr. and Mrs. Neil D. Goldberg
James T. and Francine G. Brady
The Bunting Family Foundation The Nathan & Suzanne Cohen Foundation
Dr. and Mrs. Lawrence C. Pakula Lainy Lebow Sachs and Leonard Sachs
Scott and Mimi Somerville
Kwame and Michelle Kwei-Armah
Robert E. Meyerhoff and Rheda Becker
The Jacob and Hilda Blaustein Foundation, Inc.
Mr. and Mrs. Hugh Mohler, Jr.
Murray Kappelman
The William L. and Victorine Q. Adams Foundation and The Rodgers Family Fund Peter and Millicent Bain
Jim and Mary Miller
Fredye and Adam Gross
Martha Head
The John J. Leidy Foundation, Inc.
($10,000- $24,999)
Linda and John McCleary
Monica and Arnold Sagner
Producers’ Circle
The Helen P. Denit Charitable Trust
20
Ms. Nancy Dorman and Mr. Stanley Mazaroff
The Macht Philanthropic Fund
Stephen Richard and Mame Hunt
The Jim & Patty Rouse Charitable Foundation Charles and Leslie Schwabe
Mr. and Mrs. Todd Schubert Scot T. Spencer Mr. Michael Styer Mr. and Mrs. Donald and Mariana Thoms Trexler Foundation, Inc. - Jeff Abarbanel and David Goldner Mr. and Mrs. Loren and Judy Western
Mr. Gilbert H. Stewart and Ms. Joyce L. Ulrich
Ted and Mary Jo Wiese
Mr. and Mrs. J.W. Thompson Webb
Sydney and Ron Wilner
Dr. Edgar and Betty Sweren, in honor of Center Stage’s 50th Anniversary Ms. Linda Woolf
Cheryl Hudgins Williams and Alonza Williams Drs. Nadia and Elias Zerhouni
Associates
($1,000-$2,499)
Anonymous Ms. Taunya Banks Mr. and Mrs. Marc Blum John and Carolyn Boitnott Dr. and Mrs. Donald D. Brown Sandra and Thomas Brushart
Roger F. Nordquist and Joyce Ward Irene E. Norton Mr. and Mrs. Lee Ogburn Dr. Bodil Ottesen Linda Hambleton Panitz Dave and Chris Powell Jill and Darren Pratt
Meredith and Joseph Callanan
The James and Gail Riepe Family Foundation
The Campbell Foundation, Inc.
Nathan and Michelle Robertson
Caplan Family Foundation, Inc. Sally and Jerry Casey John Chester Ann K. Clapp Constantinides Family Foundation Ms. Gwen Davidson The Richard and Rosalee C. Davison Foundation James DeGraffenreidt and Mychelle Farmer Albert F. DeLoskey and Lawrie Deering Rosetta and Matt DeVito Jed Dietz and Julia McMillan Mr. and Mrs. Eric Dott Jack and Nancy Dwyer Ms. Nicole Epp Mr. and Mrs. Matthew Freedman Frank and Jane Gabor Jose and Ginger Galvez Ms. Suzan Garabedian Pamela and Jonathan Genn, in honor of Cindi Monahan and Beth Falcone Richard and Sharon Gentile, in honor of the Center Stage Costume Shop Ms. Sandra Levi Gerstung Mr. and Mrs. Benjamin H. Griswold, IV Annie Groeber, in memory of Dr. John E. Adams H.R. LaBar Family Foundation Fund of The Greater Cincinnati Foundation F. Barton Harvey, III and Janet Marie Smith Bill and Scootsie Hatter Sandra and Thomas Hess Drs. Dahlia Hirsch and Barry Wohl Len and Betsy Homer The A. C. and Penney Hubbard Foundation Joseph J. Jaffa Francine and Allan Krumholz Sandy and Mark Laken Andie Laporte, in honor of Philip and Lynn Rauch Dr. and Mrs. George Lentz, Jr. Maryland Charity Campaign Robert and Susan Mathias Joseph and Jane Meyer John and Beverly Michel Tom and Cindi Monahan The Honorable Diana and Fred Motz, in memory of Nancy Roche The Israel & Mollie Myers Foundation/ Herschel and Judith Langenthal and Jonathan and Beverly Myers
Barbara Crain and Michael Borowitz Robert and Janice Davis Richard and Lynda Davis The Honorable and Mrs. E. Stephen Derby
Mr. and Mrs. Richard Eliasberg
Gail B. Schulhoff
Sandra and John Ferriter
The Tim and Barbara Schweizer Foundation, Inc.
David and Merle Fishman
Judith R. and Turner B. Smith Mr. and Mrs. Robert and Terri Smith Mr. and Mrs. Scott Smith Dr. and Mrs. John Strahan Mr. and Mrs. Ronald W. Taylor John A. Ulatowski United Way of Central Maryland Campaign
Ms. Nancy Freyman Dr. Joseph Gall and Dr. Diane Dwyer Frank and Tara Gallagher Megan M. Gillick Mary and Richard Gorman Stuart and Linda Grossman Louise A. Hager Terry Halle and Wendy McAllister
John W. Wood Eric and Pam Young Dr. Laurie S. Zabin Mr. Calman Zamoiski, Jr., in honor of Terry Morgenthaler
Colleagues ($500-$999)
Anonymous Ms. Diane Abeloff, in memory of Martin Abeloff The Alsop Family Foundation Mrs. Alexander Armstrong Mr. Robert and Dorothy Bair
Dr. and Mrs. J. Woodford Howard
Mr. Edward Hunt Ms. Harriet F. Iglehart Mr. and Mrs. Theodore Imes Richard Jacobs and Patricia Lasher Ms. Mary Claire Jeske James M. and Julie B. Johnstone Max Jordan Kirk and Debbie Joy
Harriet and Bruce Blum Jan Boyce Cindy Candelori Ms. Sue Lin Chong Mr. and Mrs. Carl F. Christ William and Bonnie Clarke Joan Develin Coley and M. Lee Rice Combined Federal Campaign
Mr. Michael T. Wharton Dr. and Mrs. Frank R. Witter
Ms. Mary L. McGeady Mr. Jeston I. Miller Stephanie F. Miller, in honor of The Lee S. Miller Jr. Family George and Beth Murnaghan Rex and Lettie Myers Ms. Jo-Ann Mayer Orlinsky Michael and Phyllis Panopoulos Chris and Deborah Pennington Mr. and Mrs. James and Mimi Piper Fund of the Baltimore Community Foundation
Dr. Neal M. Friedlander and Dr. Virginia K. Adams Hal and Pat Gilreath Herbert and Harriet Goldman Mr. Howard Gradet Joseph Griffin Thomas and Barbara Guarnieri Jane Halpern and James Pettit Ada Hamosh Melanie and Donald Heacock Aaron Heinsman and Nick Simko William and Monica Henderson Betsy and George Hess
Mr. Norman Youskauskas
Ms. Irene Hornick
Mr. Paul Zugates
Advocates ($250-$499)
Anonymous Walter and Rita Abel
Michael Baker
The Dr. Frank C. Marino Foundation, Inc.
Donna Flynn Joan and David Forester
Sue Hess
Ayd Transport
Ms. Karen Malloy
Dr. and Mrs. Robert P. Fleishman
Patricia Yevics-Eisenberg and Stewart Eisenberg
Roland King and Judith Phair King
Dr. and Mrs. Thomas J. Lynch
Steve and Teri Bennett
In memory of Sally Wessner
Mr. and Mrs. Padraic Kennedy
Mr. and Mrs. Raymond Bank Family Fund of the Baltimore Community Foundation
Judge Robert Bell
Ms. Jill Stempler Sanford and Karen Teplitzky
Mr. Alan M. Arrowsmith, II
Kenneth and Christine Lobo
Bill and Winnie Flattery
Mr. Bruce Goldman
B. Keller
Dr. and Mrs. Ronald Lesser
Bob and Susie Fetter Genine and Josh Fidler, in honor of Ellen and Ed Bernard
Station North Arts and Entertainment District
Bradley and Lindsay Alger
Claus Leitherer and Irina Fedorova
Ms. Rhea Feikin, in memory of Colgate Salsbury
Ms. Terry Gladden
Ms. Shirley Kaufman
Joseph M. and Judy K. Langmead
Deborah and Philip English Mr. Dennis Epps
Susan Somerville-Hawes, in honor of The Encounter Program
Mr. and Mrs. Delbert L. Adams
Stewart and Carol Koehler
Ms. Alice M. Dibben
Mark and Patti Gillen
Dr. and Mrs. Juan M. Juanteguy
Mr. George W. King
Mr. and Mrs. David and Gloria Crockett
The Sinksy-Kresser-Racusin Memorial Foundation
Mr. and Mrs. George and Beth Van Dyke
Mr. and Mrs. James Hormuth
Marilyn Leuthold
Jaye and Dr. Ted Bayless Fund of the Baltimore Community Foundation
Eugene and Alice Schreiber Philanthropic Fund
Mrs. Heidi Hoffman
Mayer and Will Baker, in honor of Terry Morgenthaler
Charles and Patti Baum
Sheila and Steve Sachs
Sharon and David Tufaro
Mr. James Hughes
Ann Wolfe and Dick Mead
Mr. Al Russell
Donald and Sybil Hebb
Carolyn and Robert Wallace
Mr. Todd M. Wilson and Mr. Edward Delaplaine
Kevin and Judy Rossiter Mrs. Bette Rothman
Mr. and Mrs. Barbara and Paul Timm-Brock
Ralph and Claire Hruban
Janna P. Wehrle
Dorothy L. and Henry A. Rosenberg, Jr.
Dr. and Dr. James and Vicki Handa
Kathryn and Mark Vaselkiv Nanny and Jack Warren, in honor of Lynn Deering
Ms. Jane Rodbell
Renee Samuels Rosenfeld and Jordan Rosenfeld
Donald and Margaret Engvall
Mr. and Mrs. Robert N. Smelkinson
Mrs. Peggy L. Rice
Dave and Joyce Edington
Kurt and Patricia Schmoke
Barbara P. Shelton
Richard and Kay Radmer
Mr. and Mrs. Harold Rojas
Buddy and Sue Emerson, in appreciation of Ken and Elizabeth Lundeen
Barbara and Sig Shapiro
Robert E. and Anne L. Prince
Lynne Durbin and John-Francis Mergen
The Rollins-Luetkemeyer Foundation
The Earle & Annette Shawe Family Foundation
Bonnie Pitt
Mr. and Mrs. Martin Beer S. Woods and Cathy Bennett Mr. and Mrs. Alfred and Muriel Berkeley Rachel and Steven Bloom, in honor of Beth Falcone Mr. and Mrs. Charles Bryan Dr. and Mrs. Arthur Burnett II Ms. Deborah W. Callard The Jim and Anne Cantler Memorial Fund of the Baltimore Community Foundation Mr. and Mrs. David Carter Mr. Andrew J. Cary Mr. and Mrs. James Case Ms. Cynthia Cindric Brenda M. Cley, M.D. Stanton Collins Combined Charity Campaign Comprehensive Car Care/ Robert Wagner
Mr. Donald H. Hooker, Jr. Ms. Sarah Issacs Mr. William Jacob James and Hillary Aidus Jacobs A.H. Janoski, M.D., in honor of Jane Stewart Janoski Mr. and Mrs. Peter Kaplan Richard and Judith Katz Dr. and Mrs. Myron Kellner Stephen and Laurie Kelly, in memory of Rodney Stieff Deborah King-Young and Daniel Young Donald Knox and Mary Towery, in memory of Carolyn Knox and Gene Towery David and Ann Koch Gina Kotowski Edward Kuhl Drs. Don and Pat Langenberg Mr. Richard M. Lansburgh Mr. and Mrs. William Larson Leadership—Baltimore County Sara W. Levi Marty Lidston and Jill Leukhardt Dr. and Mrs. John Lion Cheryl London Scott and Ellen Lutrey Nancy Magnuson and Jay Harrell, in honor of Betty and Edgar Sweren Mr. Elvis Marks Joan and Terry Marshall Don Martin
David and Sara Cooke
Eleanor McMillan
B.J. and Bill Cowie
Mary and Barry Menne
Stones in His Pockets | 21
CORPORATIONS
Bruce Mentzer Ms. Darlene Miller Minds Eye Cinema The Montag Family Fund of The Community Foundation for Greater Atlanta, in honor of Beth Falcone James W. and Shirley A. Moore Ms. Cassie Motz, in memory of Nancy Roche Dr. and Mrs. C.H. Murphy Stephen and Terry Needel In memory of Nelson Neuman Claire D. O’Neill Mr. Thomas Owen The P.R.F.B. Charitable Foundation, in memory of Shirley Feinstein Blum Justine and Ken Parezo George Edward Parrish, Jr. Fred and Grazina Pearson Linda and Gordon Peltz Mr. William Phillips Robin and Allene Pierson, in honor of Terry Morgenthaler Ron and Pat Pilling Thea Pinskey Mr. Mike Plaisted and Ms. Maggie Webbert Mr. Rex Rehfeld and Ms. Ellen O’Brien Dr. Michael Repka and Dr. Mary Anne Facciolo Natasha and Keenan Rice Liz Ritter and Larry Koppelman Mr. Wilfred Roesler Steven and Lee Sachs Dr. Chris Schultz Clair Zamoiski Segal, in honor of Judy Witt Phares Leslie Shepard Mrs. Kimberly Shorter Mr. and Mrs. L. Siems Dr. and Mrs. Donald J. Slowinski Reverend Sharon Smith Solomon and Elaine Snyder
Brian and Patricia Winter Harold and Joan Young Mr. William Zerhouni
Special Grants & Gifts:
The Leading National Theatres Program, a joint initiative of the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation
Government Grants
Center Stage is funded by an operating grant from the Maryland State Arts Council, an agency dedicated to cultivating a vibrant cultural community where the arts thrive. Funding for the Maryland State Arts Council is also provided by the National Endowment for the Arts, a federal agency. Center Stage’s catalog of Education Programs has been selected by the President’s Committee on the Arts and Humanities as a 2011 National Arts and Humanities Youth Program Award Finalist. Baltimore County Executive, County Council, & Commission on Arts and Sciences Carroll County Government Howard County Arts Council through a grant from Howard County Government
Gifts In-Kind The Afro American
Presidents’ Circle
Anonymous
New System Bakery Oriole’s Pizza and Sub
American Trading & ProductionCorporation
Pizza Boli’s Pizza Hut
The Baltimore Life Companies
Planit Agency PromoWorks
Chapel Valley Landscape Company
Republic National Distributing Company Sabatino’s Shugoll Research The Signman Style Magazine
T. Rowe Price Foundation, Inc. Artists’ Circle
Subway Utz Quality Foods
Wawa
The P&G Fund of The Greater Cincinnati Foundation
Wegman’s Whitmore Print & Imaging
Pessin Katz Law P.A.
WYPR Radio www.thecheckshop.us
BGE The Annie E. Casey Foundation
Ernst & Young
McGuireWoods LLP
A Vintner’s Selection
Bank of America
Environmental Reclamation Company
Howard Bank
Village Square Café
The Abell Foundation, Inc.
Cho Benn Holback + Associates
FTI Consulting, Inc.
Urbanite
Matching Gift Companies
Playwrights’ Circle
Producers’ Circle
PNC Bank Saul Ewing LLP Stifel Nicolaus Sylvan/Laureate Foundation Venable, LLP
Exxon Corporation
Whiteford, Taylor and Preston
Berger’s Cookies Blimpie The Brewer’s Art Cakes by Pamela G Casa di Pasta The Classic Catering People The Charles Theater Chipotle Eddie’s on Saint Paul Eggspectations Express Vending Fisherman’s Friend/ Pez Candy, Inc. The Fractured Prune Gertrude’s Restaurant
Mr. Martin Toner, in memory of Joan Marilyn Kappelman
Gianni’s Italian Bistro
Laura and Neil Tucker, in honor of Beth Falcone
Greg’s Bagels GT Pizza
Mr. and Mrs. David Warshawsky
Mount Vernon Stable and Saloon
The Wells Fargo Foundation
The Baltimore Sun
Cindy and Fredrick Thompson
April Duncan Wall
Mitchell Kurtz Architect, PC
Constellation Energy
Edible Arrangements
Millie Tyssowski
Michele’s Granola
The Deering Family Foundation
Renee Straber, in memory of Joan Marilyn Kappelman
Mr. Joseph Terino, in memory of Joan Marilyn Kappelman
Maryland Public Television
Atwater’s
The City Paper
Mr. and Mrs. James and Gail Swanbeck
Maryland Office Interiors
Akbar Restaurant
Mrs. Clare H. Stewart, in honor of Bill Geenen
Ms. Joann Strickland
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Mr. and Mrs. Barry and Linda Williams
SEason 51 Presenting Sponsor
HoneyBaked Ham Co. The Helmand Hotel Monaco Iggie’s
Ms. Magda Westerhoust
The Jewish Times
Ms. Camille Wheeler and Mr. William Marshall
Mars Super Markets
Mamott
GE Foundation Illinois Tool Works Foundation Kraft Foods MASCO Corporation McCormick Foundation Norfolk Southern Foundation PNC Bank Stanley Black and Decker SunTrust Bank T. Rowe Price Group 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.
Whiting-Turner Contracting Co. Directors’ Circle Alexander Design Studio Baxter, Baker, Sidle, Conn & Jones, P.A. Funk & Bolton, P.A. Schoenfeld Insurance Associates The Zolet Lenet Group at Morgan Stanley Smith Barney Associates Ayers Saint Gross, Incorporated Chesapeake Plywood, LLC Stevenson University
Stones in His Pockets | 23
TÍR NA NÓG IRISH BAR & GRILL We are your friendly neighborhood Irish bar in the heart of Baltimore’s downtown Inner Harbor. We offer Irish cuisine with an American twist and 23 Draught beers. • • • • •
Live Music every weekend Open Late Call to book your next party or event Trivia night every Wednesday When you dine with us, receive FREE parking after 5pm at LAZ Garage, 100 East Pratt Street
201 E. Pratt St. • 2nd Floor Baltimore, MD 21202 • 410-483-8968 Email: info@tirnanogbaltimore.com Hours: 11:00am-2:00am Monday-Sunday
www.tirnanogbaltimore.com
From
adrigals to Musicals
Sunday, March 9, 2014 at 3 pm Towson United Methodist Church 501 Hampton Lane, Towson
Tom Hall, music DirecTor
renowned soprano Janice Chandler Eteme joins Tom Hall and the Chorus in a program spanning the choral repertoire from the 16th century, to works of Duruflé and lauridsen, and leading to selections from the iconic musicals of irving Berlin and leonard Bernstein.
Call 410-523-7070
or visit www.BCAsings.org
24
Ph Otos Center Stage Celebrations
Major Donors Reception
Top: Sharon and Roland Campbell Bottom: Mame Hunt and Alonza Williams
Opening Night of A Civil War Christmas
Top photo, from left, back row: Victor Simonson, A.J. Shively, Matthew Greer, Jeffry Denman; middle: Tracey Conyer Lee, Sekou Laidlow, Kati Brazda, Nicole Lewis, Andrea Goss, Oberon K.A. Adjepong, Tyrone Davis, Jr.; front: Sierra Sila Weems, Mackenzie Kristine Jarrett. Bottom: Musical Director Victor Simonson and guests; Musical guest Ellen Cherry; Lindsay Knotts and Kristina Szilagyi. Opening Night photography by Tyrone Eaton
Baltimore STYLE Magazine’s Pre-Show Holiday Party
Night Out for A Civil War Christmas
Celebrating our LGBT community with Director Rebecca Taichman, Playwright Paula Vogel, and Production Dramaturg Drew Barker Stones in His Pockets | 25
prev iew up next in Season 51
By William Shakespeare Directed by Gavin Witt
Mar 5–Apr 6
Revelry, disguises, swashbuckling,
and (of course) pining lovers abound in what some call Shakespeare’s
most perfect comedy. Twins Viola and
Sebastian, separated in a shipwreck
and presuming each other dead, wash
SHAKESPEARE’S MOST PERFECT COMEDY “Twelfth Night is a perennial favorite… with its multifaceted plot mixing sweetness, sadness, and silliness.” –The New York Times
ashore in the beautiful but mysterious
When plucky Viola washes up on a strange seacoast in a foreign land, she stumbles
identity and mismatched ardor
seemingly alone in the world, she seeks solace in service. Until, that is, she falls
land of Illyria. A tale of mistaken
unfurls as lords and ladies, servants
and masters wind a topsy-turvy path to happiness.
into a classic tale of love and longing, adventure and romance. Disguised as a boy, for her boss—who, with half the town, pines for the Countess, who in turn dotes on Viola’s male masquerade. A knot of surprising love triangles and unexpected complications tangles everyone’s plans. As the inhabitants of Illyria grow more frantic—and more musical—by the hour, Viola finds herself treading a perilous path between the pitfalls of passion and jealousy. This spring, The Pearlstone Theater will transform into the elegant byways of Illyria, alive with all the mischief and delight that have made this beloved Shakespeare play a perennial favorite for 400 years.
26
t ! s u J de d Ad
u p nex t
@ center Stage
Young Playwrights Festival Monday, May 5, 7 pm
Do you know a budding writer?
Are you looking to stimulate your students’ creativity? Encourage them to submit to Center Stage’s 28th annual Young Playwrights Festival (YPF).
Apr 16–May 25
Students in grades K-12 throughout Maryland are eligible and may get to see their play on stage! Numerous plays are honored each year with workshops, in-school performances, and even performances at Center Stage.
Submission Deadline: February 7, 2014
My America/My Baltimore
In response to Center Stage’s My America project—where we asked 50 leading American playwrights “What is my America?”—we decided to ask the same question to local students in grades K-12. Submit a 2-3 minute monologue exploring what is your America. Selected monologues will be filmed and presented at this year’s Young Playwrights Festival.
Submission Deadline: February 7, 2014
By Christopher Durang In bucolic Bucks County, PA, Vanya and his sister Sonia have frittered their lives away living in the same farmhouse where they were raised. Their quiet existence of unease and regret, however, is rocked by the arrival of their glamorous movie star sister (and landlord) Masha, and her hunky boy toy, Spike. As their visit unfolds, a lifetime of sibling rivalry explodes into a weekend of comedic pyrotechnics. Acclaimed playwright Christopher Durang (The Marriage of Bette and Boo, Sister Mary Ignatius…, Center Stage’s My America) weaves Chekhovian themes and modern wit into an unforgettable experience critics have hailed as “a sublime state of hilarity” (New York Magazine).
For question and submission information, contact the Community Programs & Education Department at 410.986.4039 or education@centerstage.org or visit www.centerstage.org/ypf. Sponsors:
Transamerica M&T Bank
Maryland State Arts Council
The P&G Fund of the Greater Cincinnati Foundation
Stones in His Pockets | 27
staff Kwame Kwei-Armah OBE–Artistic Director | Stephen Richard–Managing Director Administration
Associate Managing Director–Del W. Risberg Executive Assistant–Kacy Armstrong Management Fellow–Kevin Maroney Yale Management Fellow–Molly Hennighausen
Artistic & Dramaturgy
Associate Artistic Director/Director of Dramaturgy– Gavin Witt Artistic Producer–Susanna Gellert Artistic and Dramaturgy Intern– Catherine María Rodríguez The Lynn and Tony Deering Artistic Directing Fellow– Samantha Godfrey Hot Desk Resident Playwright–Miranda Rose Hall Playwrights under Commission–de'Adre Aziza, Ken Greller, James Magruder, Daniel Reitz, KJ Sanchez
Audience Relations
Box Office Manager–Mandy Benedix Assistant Box Office Manager/Subscriptions Manager– Jerrilyn Keene Assistant Box Office Manager–Blane Wyche Senior Patron Services Associate–Lindsey Barr Patron Services Associates–Zerica Anderson, Samrawit Belai, Tiana Bias, Kendrel Dickerson, Maura Dwyer, Caitlin Joseph, Froilan Mate, Quincy Price, Santino Russo, Kristina Szilagyi, Paul Wissman Bar Manager–Sean Van Cleve Audience Relations Intern–Laura Baker Audio Description–Ralph Welsh & Maryland Arts Access Front of House|Volunteer Coordinator–Alec Lawson
Audio
Supervisor–Amy Wedel Audio Engineer–Chuck Harbert The Jane and Larry Droppa Audio Intern– Daniel Hogan
Community Programs & Education
Director–Rosiland Cauthen Community Programs & Education Fellow– Dustin Morris Community Programs & Education Fellow– Kristina Szilagyi Community Programs and Education Intern– Joshua Thomas Teaching Artists–Sean Elias, Miranda Rose Hall, Kimberly Lynne, Jerry Miles, Jr., CJay Philip, Wambui Richardson, Oran Sandel, Susan Stroupe, Ann Turiano
Costumes
Costumer–David Burdick Craftsperson–Wil Crowther Tailor–Edward Dawson First Hand–Jessica Rietzler The Judy and Scott Phares Costumes Intern– Eileen Chaffer Wardrobe Intern–Lucy Wakeland
Development
Events Manager–Brad Norris Development Administrator–Lee Lawlor Development Assistant–Christopher Lewis Auction Coordinator–Sydney Wilner Auction Assistant–Norma Cohen The Edward and Ellen Bernard Development Intern– Astoria Avilés
Finance
Director–Susan Rosebery Business Manager–Kathy Nolan Associate–Carla Moose
Graphics
Art Director–Bill Geenen Production Photographer–Richard Anderson Marketing Multimedia Fellow–Leslie Datsis Graphics Intern–Callan Silver
Information Technologies
Director–Joe Long Systems Administrator–Mark Slaughter
Electrics
Lighting Director–Lesley Boeckman Master Electrician–Bevin Miyake Staff Electrician–Anthony Reed Electrician–Aaron Haag The Gilbert H. Stewart and Ms. Joyce L. Ulrich Lighting Intern–Carly Shiner Multimedia Intern–Gregory Towle
28
Technical Director–Tom Rupp Assistant Technical Director–Laura P. Hilliker Shop Supervisor–Trevor Gohr Carpenters–Mike Kulha, Hunter Montgomery, Scott Richardson Scene Shop Intern–Amber Chaney
Scenic Art
Scenic Artist–Stephanie Nimick Scenic Art Intern–Roxanne Miftahittin
Stage Management
Resident Stage Managers–Captain Kate Murphy, Laura Smith Production Assistant–Lindsay Eberly The Peter and Millicent Bain Stage Management Intern–Chandalae Nyswonger
Stage Operations
Stage Carpenter–Eric Burton Wardrobe Supervisor–Linda Cavell The following individuals and organizations contributed to this production of
Stones in His Pockets
Electricians–Alison Burris, Jake Epp Projections Engineer–Drew Kaufman Stage Management Intern–Scott Kincaid
Marketing & Communications
Director–Tony Heaphy Marketing Manager–Madeline Long Public Relations Manager–Heather C. Jackson Publications Manager–Maggie Beetz Marketing Associate/Group Sales–Tia Abner Digital Content Associate–Emily Salinas The Jay and Sharon Smith Marketing and Public Relations Intern–Sarah Bichsel
Operations
Operations Manager–Shawn Whitenack Building Engineer–Dan Pearce Custodial Services–MultiCorp. Wylie Shaw Security Supervisor–James Williams
Production Management
Production Manager–Mike Schleifer Associate Production Manager–Caitlin Powers Production and Stage Management Intern– Quincy Price Company Manager–Sara Grove Company Management Intern–Te’ La Williams
Properties
Props Master–Jennifer Stearns Assistant Manager–Nathan Scheifele Artisan–Samantha Kuczynski The Kenneth C. and Elizabeth M. Lundeen Properties Intern–Elizabeth Chapman
Director–Cindi Monahan Annual Fund Manager–Katelyn White Grants Manager–Debbie Joy
The Center Stage Program is published by: Center Stage Associates, Inc. 700 North Calvert Street Baltimore, Maryland 21202 Editor Maggie Beetz Art Direction/Design Bill Geenen Associate Editor Heather Jackson Advertising Sales ads@centerstage.org
Scenery
CONTACT INFORMATION
Box Office Phone 410.332.0033 Box Office Fax 410.727.2522 Administration 410.986.4000 www.centerstage.org info@centerstage.org
Center Stage operates under an agreement between LORT and Actors’ Equity Association, the union of professional actors and stage managers in the United States. The Director and Choreographer are members of the Society of Stage Directors and Choreographers, Inc., an independent national labor union. The scenic, costume, lighting, and sound designers in LORT theaters are represented by United Scenic Artists, Local USA-829 of the IATSE. Musicians engaged by Center Stage perform under the terms of an agreement between Center Stage and Local 40-543, American Federation of Musicians. Center Stage is a constituent of Theatre Communications Group (TCG), the national organization for the nonprofit professional theater, and is a member of the League of Resident Theatres (LORT), the national collective bargaining organization of professional regional theaters.
Material in the Center Stage performance program is made available free of charge for legitimate educational and research purposes only. Selective use has been made of previously published information and images whose inclusion here does not constitute license for any further re-use of any kind. All other material is the property of Center Stage, and no copies or reproductions of this material should be made for further distribution, other than for educational purposes, without express permission from the authors and Center Stage.