Mar 5–Apr 6, 2014 By William Shakespeare Directed by Gavin Witt
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
Twelfth Night | a
An Introduction to the World of the Play THE PLAYERS THE SHIPWRECKED Viola– from Messaline, disguised as “Cesario” Sebastian– her twin brother
THE HOUSE OF ORSINO Duke Orsino– Duke of Illyria
ACT I
Viola, as “Cesario,” dutifully pleads Duke Orsino’s
THE HOUSE OF OLIVIA
The Duke Orsino nurses an unrequited love for
the same time, Sir Toby presses Sir Andrew to woo
Countess Olivia– a wealthy noblewoman
herself away to mourn the deaths of her father
also concoct a scheme to persuade Malvolio that
Valentine– his valet
Feste– her jester Malvolio– her steward Sir Toby Belch– her uncle Sir Andrew Aguecheek– Toby’s new friend, a wealthy traveler Maria–her housekeeper
All is not well in Illyria.
the beautiful Countess Olivia. But she has shut and brother—counseled by the contrasting
voices of her severe steward, Malvolio, and her
gentle jester, Feste. And despite the efforts of her
trusty housekeeper, Maria, domestic peace gets
constantly disrupted by the boisterous partying
of her uncle, Sir Toby Belch, and his new drinking companion, Sir Andrew Aguecheek.
Meanwhile, traveling twins Viola and Sebastian, on their way from distant Messaline, find
themselves shipwrecked and separated in a
Antonio– Sebastian’s rescuer, sworn enemy of Orsino’s forces Various other citizens of Illyria
strange land, each thinking the other drowned.
Sebastian gets pulled from the waves by Antonio, hero of a battle against the Duke Orsino’s navy
(and his sworn enemy). Viola, alone and in peril, enlists the aid of the sailor who rescued her to
bring her, disguised, into Duke Orsino’s court.
Several weeks later, Viola has safely embedded
herself—in the guise of “Cesario,” a young man— in service to Duke Orsino. This seems a fine place,
particularly as she finds herself falling in love with him—until the Duke decides to send his new pal
to woo Olivia on his behalf.
cause to Countess Olivia, but only manages to
arouse the Countess’s interest in her/himself. At
Olivia, while together with Maria and Feste they
the Countess has fallen for him. The trick succeeds brilliantly, and they rush off to witness the results.
ACT II
Olivia eagerly prepares for the arrival of “Cesario” only to find her room invaded by her suddenly
amorous steward, Malvolio. At the same time, Sir
Andrew decides that “Cesario” is his rival for Olivia, and challenges the youth to a duel. When Antonio intervenes, thinking he is rescuing Sebastian,
he is captured and dragged away, leaving Viola
hopeful that her brother may yet live. Meanwhile,
pursuing “Cesario,” Olivia comes across Sebastian,
to whom she again pleads her love—with unexpected results.
The following morning, Duke Orsino arrives
with “Cesario” in tow, to comfort the Countess. Confusion and chaos mount, until at last the
truth is revealed—with a few final twists in
store for all. Q
Cast
Table of contents
Twelfth Night
Mar 5–Apr 6, 2014
2
The Setting
3
Meet the Playwright and the Director
The World of Illyria
4
6
The Lens of Hollywood’s Golden Age
8
Bios: The Cast
10 Bios: The Artistic Team
12 Bios: The Staff
13 Q&A with Kwame & Stephen
17 Audience Services
21 Supporting the Annual Fund
25 Camp Center Stage
26 Center Stage Celebrations
27 Preview: Up Next
28 Center Stage Staff
By William Shakespeare Directed by Gavin Witt
The Cast
(in alphabetical order)
William Connell* Julie-Ann Elliott* Buddy Haardt* Caroline Hewitt* Richard Hollis* Linda Kimbrough* Allen McCullough* Ryan McCurdy Jon Hudson Odom* Brian Reddy* Vanessa Wasche*
Laura Smith* Captain Kate Murphy* Caitlin Powers*
Duke Orsino Maria Sebastian Viola Sir Andrew Aguecheek Feste Malvolio Valentine, and other citizens of Illyria Antonio Sir Toby Belch Countess Olivia Stage Manager Assistant Stage Manager Assistant Stage Manager
* Member of Actors’ Equity Association
Twelfth Night is made possible by:
Season 51 Presenting Sponsor:
Media Partner:
Season 51 at Center Stage is made possible by:
Center Stage is funded by an operating grant from the Maryland State Arts Council, an agency dedicated to cultivating a vibrant cultural community where the arts thrive.
The Artistic Team
Gavin Witt Josh Epstein David Burdick Palmer Hefferan Catherine Miller Steve Satta Faedra Chatard Carpenter Leigh Wilson Smiley Ryan McCurdy Marie Sproul Pat McCorkle Dan Pruksarnukul
Director Scenic & Lighting Designer Costume Designer Original Music and Sound Design Choreographer Violence Coordinator Production Dramaturg Voice | Dialect Director Music Supervisor Assistant Director Casting Director Additional Casting
There will be one 15-minute intermission.
PLEASE TURN OFF ALL ELECTRONIC DEVICES. IN CASE OF EMERGENCY 410.986.4080 (during performances).
Twelfth Night | 1
S et t in g
time and Place
TIME: Spring 1938 PLACE:
The Duchy of Illyria, nestled somewhere along the Adriatic coast of the Balkan Peninsula auStRia
HungaRy Romania SeRBia
italy
IllyrIa gReece
2
BulgaRia
tuRkey
M EET
The playwright The Director
Playwright
The man now known to millions simply as The Bard was born in Stratford-upon-Avon in 1564, the son of a small-town glove maker. After marrying young and starting a family,
William Shakespeare left for London to begin a life in the theater—part of an artistic and literary renaissance under the long reign of Elizabeth I. Though never more than a bit
player as an actor, as an author Shakespeare produced an extraordinary array of nearly 40
plays—from comedies and tragedies to histories and romances—as well as in sonnets and other poems. In the process, he added more than 1,500 words to the English language, and
countless indelible characters and images to our imaginations.
An Interview with Director Gavin Witt By Faedra Chatard Carpenter, Production Dramaturg
There is the endless debate about whether or not Shakespeare should be transposed or updated. What are your thoughts? Well, it’s a question that comes up
with Shakespeare certainly, but also
classical theater in general. For this
particular play, I wouldn’t call what we
are doing a “transposition.” After all,
Twelfth Night takes place in a fantastical world, based on theatrical and fictional
versions of a real world. It came into
Twelfth Night, I’d say my process as director has certainly been informed by my experience in all those other capacities— but maybe dramaturg most of all. I start by asking what story the play tells, and how it tells it; then I try to serve that, rather than putting something onto it. I try to consider the audience’s encounter with the play, and explore ways to make the story legible and accessible—not just in terms of its action, but in terms of character relationships, of actions and consequences.
boundaries—where boundaries are at once permeable and defined. It represents defined separation and also the possibility of crossing over, breaking through. After all, if a boundary is that which separates us, it is also that which we can cross to come together. Above all else though, I’d say for me it’s
an antique time under museum glass.
group of people who (sometimes despite
As Shakespeare theatricalized Illyria,
In terms of the particular journey with
of cultures, a borderland, a place of fluid
existence as a living, breathing, vital
piece of performance, not representing
How does the constellation of your experiences in theater—as a dramaturg, director, and actor—inform your approach to Twelfth Night?
it. To some extent, then and now, Illyria means “the in-between.” It’s a crossroads
Hollywood romanticized exotic locales
like Casablanca and the Balkans. Rather
than a transposition, I see it as finding a
contemporary equivalent for the same
gesture or fictional filter. Fundamentally,
what Shakespeare’s audiences encountered was incredibly modern to them, so I see
nothing especially authentic in shrouding
a story of love. We meet and watch a themselves) are learning to love, learning to love better, accepting love, trying to love and failing, being disappointed in love— the whole range. This play accepts, with incredible empathy, a notion of love across a far wider spectrum than we often allow ourselves to think about—parental love, filial love, love of friends, sacrificial love, love of self, the love of oneself in love. In Twelfth
these plays in the clothes and performance
Night we see characters encounter the
didn’t see actors in 500-year-old clothing—
and that brings forth profound humanity
style of a bygone age. Globe audiences
they saw their world brought to life on stage.
Is there a central through-line for you when you think about this play and what it communicates?
A sense of fluidity and how it operates
world through someone else’s experience and empathy, and we undergo the same journey. For me, Twelfth Night is a love story not only in the conventional sense, but as a story of the act and art of loving. Q
in the play informs how I think about
Twelfth Night | 3
What Should I Do in Illyria?
“What country, friend, is this?” “This is Illyria, lady.”
S
By Faedra Chatard Carpenter, Production Dramaturg
hakespeare named Illyria as the setting for his
The Roman Empire gave way to the Byzantine Empire, which in
Will. When Viola washes up on shore at the play’s
during which Shakespeare and his audiences knew the area as
romantic adventure, Twelfth Night; or What You
start, shipwrecked and bewildered, she has many questions about this mysterious country. And
well she might: then as since, the notion of Illyria was fueled by
fantastical fictions as much as by fascinating facts.
In terms of facts, an Illyrian setting placed the play in a region
turn gave way to some 500 years of rule by the Ottoman Turks— the embattled meeting point of East and West, a frequent
battleground and crossroads of cultures. After the Ottomans
came Austro-Hungarian rule, further preparing the explosive
mix of simmering tensions, nationalist aspirations, and violent
conflict that lit the fuse of World War I. In the aftermath of that
bloody clash emerged a host of brand-new nations, kingdoms, and
that once thrived in classical antiquity—but had since vanished
principalities, collectively gathered under a new identity: the Balkans.
Southeastern Europe, it was once inhabited by Illyrians, an
While the ethnic and cultural diversity of the Balkans has long
of conquering Romans. This unfortunate legacy of conquest
threatened to make this fusion of cultures an explosive liability.
into lore. Located along the beautiful, balmy Adriatic coast of
Indo-European people who eventually met their fate at the hands
continued for centuries, shaping the area’s ethnic diversity and charting a violent history of political turbulence.
been a trademark of the region, by the late 1930s circumstances Freshly minted little countries with freshly minted royal families lured international tourists to sparkling beaches and verdant
mountains. But all around loomed bigger neighbors hungry for
conquest, while streets and squares buzzed with conspiracies and
4
A precario u s blen d of the perverse , the pict u res q u e , a n d the perilo u s .
rumors of war. Spies lurked and plotters plotted. The coding and
ethereal otherness, these films (in tandem with novels and other
of danger. Political, geographic, and ideological boundaries were
troubled yet exoticized idea of the Balkan Peninsula—one that was
decoding of identities became a means of survival and a source
forms of art and literature) helped to package and disseminate a
progressively pushed and transgressed all over Europe, creating
also duly shaped by the all-too-real political climate of the moment.
patriotism. Economic instability persisted, ethnic turmoil increased,
All of these elements help make Illyria—and all that that entails—
over the horizon.
perceived through the lens of theatrical fictions of the 1600s or
fertile ground for those who sought to capitalize on paranoia or
and Fascism marched steadily across the map. World War II lay just
Despite Illyria’s roots in veracity, knowledge of the region as a
an apt setting for Shakespeare’s adaptation of an old tale, whether cinematic fictions of the 1930s. The obscure dangers and enticing
possibilities that form the region’s mythos serve the theatrical
geographical or cultural reality has been skewed by innovative
ambiguities and stylistic medley found in Twelfth Night.
its neighborhood have long been endowed with the allure of being
Hosting a precarious blend of the perverse, the picturesque, and the
imaginings. In Shakespeare’s day and almost ever since, Illyria and
a far-away place from a far-away time, the subject of traveler’s
tales and imaginative fantasies. This is, after all, the territory of
such fictional lands as Zenda, Ruritania, and Transylvania—favored
perilous, Illyria welcomes us to a place both familiar and alien—a
land replete with hilarity and hardship, mayhem and mystery, and
its fair share of certain uncertainties. It is, in ways both literal and
backdrop for page-turning adventure novels and mist-shrouded
figurative, the Illyria that Shakespeare imagined. The beaches may
long-standing tendency to merge fact and fiction when
it raineth every day.” Q
Hollywood romances. These artistic forays speak to the West’s
be sunny and the water warm, but pack an umbrella: here,“The rain
constructing perceptions of the Balkan region.
Informed by these “factional” concepts, studio films of the late
1930s began to capitalize on the public’s faint knowledge of, but growing fascination with, the Balkans. Framing the region as a place of exotic beauty, lurking menace, haunting mystery, and
Twelfth Night | 5
Dar k er Truth s in Veils o f Lig htn ess
Looking Through the Lens of Hollywood’s Golden Age
6
T
By Linda DeLibero, Director of Film & Media Studies, Johns Hopkins University
urbulent times often make for remarkable art, and such was the case during the late 1930s, arguably the richest moment in the history of cinema.
Despite the Depression and the threat of war, the fabled Studio System had become a well-oiled factory capable of churning out dozens of films a month, fed by audiences eager for distraction. Paradoxically, Hollywood’s beautifully precise mechanism for the manufacture of dreams allowed for unprecedented experimentation and creativity. It was the best of times to be a filmmaker. In the heady atmosphere of Hollywood’s frenzied production and amidst growing awareness of global turmoil, the elements of two genres—one nascent, one in full flower—came to characterize the best of what cinema had to offer. Film noir and screwball comedy, although superficially dissimilar, share a number of characteristics that thread their way through the films of 1938 and provide fitting inspiration for Shakespeare’s play about gender and class confusion, upended social hierarchies, and worlds fractured by uncertainty.
Screwball Comedies
Screwball had its heyday from the early 1930s to the early years of World War II, and its origins in the Great Depression point to its thematic concerns. The economic downturn provoked an obvious challenge to traditional notions of power and masculinity, and in screwball comedy this upheaval in the social order is humorously played out in romantic pairings featuring feisty dames and their bemused and often passive male partners. Sophisticated, rapid-fire verbal sparring (often from the pen of European refugees like Ernst Lubitsch and Billy Wilder) mixes incongruously with slapstick pratfalls to hilariously subversive effect—even the wealthiest, glossiest specimens could slip on a banana peel, to the delight of Depression-era viewers across the class spectrum. Most important, screwball thumbed its nose at the Production Code, which sought to preserve Hollywood movies as advertisements for the American Way of Life: no sex, no violence, no moral
turpitude. “Perversions” like homosexuality theoretically didn’t exist, which makes the outrageous sexual innuendo of a screwball like Howard Hawks’ 1938 Bringing Up Baby all the more remarkable. The philosopher Stanley Cavell claimed that screwballs like Baby borrowed their “comedy of remarriage” structure from Shakespeare, and certainly the gender confusion signaled by crossdressing in Twelfth Night applies here: who can forget the memorable moment when Cary Grant leaps into the air, sporting a lovely marabou-trimmed negligee?
“
When I was musing on an exotic, enticing borderland full of expatriates in a romantic thriller atmosphere, Casablanca immediately came to mind. Then the more I pushed on that idea, I found an incredible commonality in many films from that period. They share a sense of atmosphere and often a fascination with this part of the world; they celebrate the elegant and glamorous and witty; they boldly explore the nature of love and relationships; they have a kind of heightened encounter with the world, a heightened sense of consequence. Preston Sturges, Howard Hawks, Hitchcock—they share a comfortable embrace of the absurd, invested with a genuine sense of emotional truth, that to me feels absolutely in sync with this play.
—Director Gavin Witt
Film Noir
”
The uncertainty and cynicism that undermines the screwball happy ending connects it to the themes of film noir, which in the late 1930s was only beginning to come into its own. Many film historians point to John Huston’s detective drama The Maltese Falcon (1941) as the first noir, but we can see its seeds in Marcel Carné’s 1938 crime drama, Quai des Brumes (Port of Shadows). In Carné’s film, another passive male (played by that inimitable French icon of masculinity, Jean Gabin) encounters a sexually forthright female, precursor to noir’s ubiquitous femme fatale.
As in screwball, appearances are both deceiving and undecidable: both halves of the romantic duo possess androgynous qualities signaled by clothing and attitude that threaten to upend traditional notions of gender. Here, as in the noir films to follow, screwball’s lighthearted eroticism is rendered dangerous and deadly. Quai des Brumes’ visual style is code for deeply unsettling desires roiling beneath the surface of ordinary life: gleaming, undulating surfaces; pools of blackness lit by garish neon; enveloping fog and the eponymous shadows. This noir palette subsequently became shorthand for a world darkened by the horrors of war.
Noir-Screwball Hybrids
Meanwhile, in Britain, Alfred Hitchcock—a director almost always ahead of his peers— concocted the perfect mix of screwball and noir in 1938 with his penultimate British film, The Lady Vanishes. Set in the fictional country of “Bandrika,” (a Balkanlike combination of charm, savagery, and intrigue described as “one of Europe’s undiscovered treasures”), Lady is a spy thriller whose resolution depends on the growing romance between a comically mismatched couple. Margaret Lockwood’s wealthy, strong-willed heroine and Michael Redgrave’s bumbling, penniless musicologist trade insults and barbs before they combine forces to save the day. Similar hybrids of noir and screwball were obtained in Preston Sturges’s Sullivan’s Travels (1941) and Lubitsch’s To Be or Not to Be (1942), but these later examples are exceptions that proved the rule: screwball was on its way out. The genre’s airiness and intricate subtleties could not survive the brute fact of war. And although elements of screwball still find their way into contemporary comedy, film noir has proven to be a hardier cinematic influence. As with Shakespeare’s tragedies, we curiously tend to value tales of doom over work that makes us laugh. But in that brief period between the wars, filmgoers had their pick of both sides of the human experience in equal measure and were better for it. Sometimes, to disguise darker truths and stark realities in a veil of lightness is the most difficult artist’s trick of all. Q Twelfth Night | 7
Bios The Cast
William Connell*—Duke Orsino. Center Stage: debut.
Broadway—A View from the Bridge (2010 revival); Lincoln Center Theater: The Coast of Utopia. Off Broadway/Other New York—Keen Company: Alphabetical Order, The Maddening Truth; New York Musical Theatre Festival: Sherlock Holmes, The Early Years; Theatre for a New Audience: All’s Well That Ends Well; Lincoln Center Institute: The Dinner Party; NYCT: Mary Stuart; Threads Theater Company: Babette’s Feast; TheaterWorks USA: The Midnight Ride of Paul Revere; Sonnet Repertory Theatre: The Tempest; New York International Fringe Festival: …Categories. Regional—Repertory Theatre of St. Louis: The Mousetrap; Pennsylvania Shakespeare Festival: The 39 Steps; Gulfshore Playhouse: The Importance of Being Earnest; San Francisco Playhouse: Bell, Book & Candle; Actors Theatre of Louisville: The Hour of Feeling, Hero Dad; Merrimack Repertory Theatre: The Voice of the Turtle; Geva Theatre Center: Pride and Prejudice; Two River Theater Company: The Glass Menagerie; Dorset Theatre Festival: Murder On The Nile; Weston Playhouse: As You Like It. Film/TV—Not Fade Away, Smash, Gossip Girl, Law & Order, Guiding Light. Education—BFA, North Carolina School of the Arts.
(workshop); Theater J: Central Park West; Born Guilty/Peter and the Wolf; Folger Theatre: Romeo and Juliet; Arena Stage; Age of Innocence (workshop); Washington Stage Guild: Old Times; MetroStage: Earhart. Film/TV—Veep, Jamesy Boy, The Wire. Audiobooks—Potomac Talking Books, Inc. for Library of Congress; Graphic Audio. Education—MFA, The Catholic University of America.
College; MFA, American Conservatory Theater. She is a founding member of The_______Space acting collective, and is currently working on an adaptation of Howard’s End.
Richard Hollis*— Sir Andrew. Center Stage:
debut. Broadway/West End—National Theatre: Coast of Utopia, His Girl Friday, The Country Doctor, Tartuffe, The Buddy Haardt*—Sebastian. Wonders of Sex; National Theatre Studio: Center Stage: debut. Off workshops of The Changeling and Twelfth Broadway/Touring—The Night. London/Off West End—Torn (World Acting Co. (including Lincoln Premiere); The Years Between; The Skin Game; Center, New Victory Theatre, Diana of Dobson’s; Oz; State of Innocence Guthrie Theatre): As You Like (World Premiere); Hamburg (World Premiere). It (Oliver). Regional—Orlando Shakespeare: New York—Queens Theatre: Hit Lit. National Red (Ken); Florida Stage: Ward 57 (Small); Tours—Present Laughter, Macbeth, Henry V. Mathew Shepard Foundation w/ the Regional—Two River Theater Company: Women’s Theatre: The Laramie Project (w/ Present Laughter; Hudson Stage: Stones in T.R. Knight); Guthrie’s Dowling Theatre: His Pockets; Triad Stage: The Illusion; Capital Shadowgrass (Jamie). Other credits—The Rep: The Sisters Rosensweig; Northern Stage: New Group, Barnstormers Theatre, NH. Romeo and Juliet, The Real Thing, Amadeus; Education—BFA, University of Minnesota/ Pitlochry Festival Theatre: The Real Thing. Guthrie Theatre Actor Training Program. Film/TV—Dark Shadows, The Office (BBC), Thanks to everyone! Shakespeare’s Happy Endings, Eastenders, Caroline Hewitt*—Viola. Silent Witness, Doctors, Waking the Center Stage: The Rivals Dead, Believe. (Julia). Off Broadway— New York Theater Workshop: Linda Kimbrough*— Five Very Pretty Girls (reading, Feste. Center Stage: debut. dir. Michael Greif); Checkers Off Broadway— Julie-Ann Elliott*—Maria. (reading w/ Live Schreiber and Hope Davis); Provincetown Playhouse: Center Stage: debut. Theater for a New Audience: Tamburlaine Edmond (Edmond’s Wife). Regional—Olney Theatre: (reading, dir. Julie Taymor); The Public International—Barbican Angel Street, Dinner with Theater Emerging Writers Group: Stockholm, Theatre, London: The Man Who Came to Friends, Night Must Fall, The Pennsylvania (reading), A Short History of Dinner (Nurse Preen); Galway Arts Festival, Millionairess, The Mousetrap, Women (reading w/ Judith Ivey). Ireland: Better Late (Nora). Regional—Actors The Constant Wife, Hedda Gabler, An Enemy Regional—Alley Theatre: Warrior Class; Theatre of Louisville: Gnit (Mother); of the People, The Heiress, Lend Me a Tenor, American Conservatory Theater: The Pittsburgh Irish and Classical Theatre: Pride Blithe Spirit, Necessary Targets, Tartuffe, Trip Caucasian Chalk Circle (dir. John Doyle), A & Prejudice (Lady Catherine), The History to Bountiful; Potomac Theatre Project: The Christmas Carol; Chautauqua Theater Boys (Mrs. Lintott), The Pitmen Painters Best Man, Crave, Arcadia, Stanley, Mad Forest; Company: Arcadia, The Winter’s Tale; (Helen Sutherland); Cleveland Play House: Everyman Theatre: As Bees in Honey Drown, Portland Stage Company: Marie Antoinette: Noises Off (Dottie); Alliance Theatre: The Nude with Violin, The Price; Rep Stage: The Color of Flesh; Virginia Stage Company: Fourth Wall (Julia); Indiana Repertory God’s Ear, Faith Healer; Round House Theatre: The Great Gatsby; Gulfshore Playhouse: Theatre: The Gospel According to James Charming Billy; Studio Theatre: Superior Blithe Spirit; Surflight Theatre: Barefoot in (Mary); Goodman Theatre: Other Desert Donuts; Shakespeare Theatre: Way of the the Park. Translator—Rose (The Australian Cities (Silda), The Water Engine (Mrs. Varek), World, Titus Andronicus, As You Like It; Night). Education—BA in French, Vassar The Good Person of Setzuan (Mrs. Yang), Kennedy Center: Shear Madness, Mockingbird 8
Order, Ed, Gilmore Girls, Buffy, and notably Design. Professional—Faculty, Brooklyn “The High Talker” on Seinfeld. Conservatory of Music; Technical Consultant, Historic Tours of America; Vanessa Wasche*— Freelance Composer: Marvel Entertainment, Olivia. Center Stage: debut. Film, Theatre. ryanmccurdyarts.com. For Off Broadway—Axis Mom and Dad. Theater/Rattlestick: Killers and Other Family; 59 E 59: Jon Hudson Odom*— The Pillowbook. Regional— Allen McCullough*— Antonio. Center Stage: The Cleveland Play House: Venus in Fur; American Football Project Malvolio. Center Stage: TheaterWorks, Hartford: Motherf**ker With Play Lab, The Decade Plays debut. Broadway— the Hat; Guthrie Theater: Major Barbara, A Anniversary reading. Roundabout: Twelve Angry Christmas Carol; Arts Center Coastal Regional—The Goodman: Men (National tour). Carolina: Black Coffee; Chautauqua Theater Off Broadway—The Irish Rep: A Christmas Carol; Rep Stage: Yellowman; Company: My Children! My Africa!, Light Up Fords: Our Town; Everyman Theatre: You The Hairy Ape; Directors Co: Ashes to Ashes; the Sky; Tennessee Williams Festival: The Can’t Take It With You; Studio: 2-2-Tango, Theatre for a New Audience; The Shaw Parade (World Premiere); Minneapolis Invisible Man(u/s); The Keegan: A Few Good Project; The Flea; Ensemble Studio. Theater Garage: Allison Moore’s Split (World Men; Theater Alliance: Reals; Constellation: Regional—Folger Shakespeare: Romeo & Premiere); Shakespeare on The Cape: Twelfth The Ramayana; National Gallery of Art: Juliet (Montague); Westport Playhouse: The Night, A Midsummer Night’s Dream, As You Diary of Anne Frank; TheaterWorks Hartford: Framed; Ravinia Festival: West Side Story 50th Anniversary. Awards—Kennedy Center/ Like It, Romeo and Juliet; NYU Studio Tisch: The Seafarer (Mr. Lockhart); Living Room The Pink Bedroom. Film/TV—The Good Wife Kenan Fund for the Arts Fellow in Theatre: Uncle Vanya (Astrov), The Seagull (Recurring), The Reluctant Professor (Hugh Performance. Education—University of (Trigorin); Long Wharf: The Crucible; Grant comedy). Education—MFA, NYU North Carolina School of the Arts. Hubbard Hall: Our Town (The Stage Graduate Acting Program; BFA, University Manager), The Real Thing (Henry), Private Brian Reddy*—Sir Toby of Minnesota/Guthrie Theater Actor Lives (Elyot) As You Like It (Jacques); also Belch . Center Stage: debut. Training Program. Williamstown and Berkshire Festivals. Film/ Broadway—Cat on a Hot Tin TV—Martha, Marcy, May, Marlene; Monkfish *Member of Actors’ Equity Association Roof, A Free Man of Color, (2014); Just Like the Son; Vampire’s Kiss; Finian’s Rainbow, Gypsy Law & Order: CI; Onion News. Upcoming— (w/ Patti LuPone), The Caine The Cherry Orchard with Living Room Mutiny Court-Martial, Dinner at Eight, Abe Theatre’s site-specific productions, of which Lincoln in Illinois (Steven Douglas), The he is a founding Co-Director. allenmcc.com. Crucible (Rev. Parris), A Little Hotel, Alice in With love, for Angus and Randolyn. Wonderland, and the National company of M. Butterfly. Off Broadway—Death Defying Ryan McCurdy— Acts, Othello (Iago), A Midsummer Night’s Valentine. Center Stage: Dream (Bottom), The Cradle Will Rock (dir. debut. Broadway—Gypsy John Housman), Orchards. Regional— of the Year, Easter Bonnet Extensive credits, including the Guthrie: Competition (Broadway Christopher Hampton’s Appomattox (World Cares/Equity Fights Aids Premiere), Pygmalion, Ah, Wilderness; Alley for Once: A New Musical). Off Broadway— Theater: Rajiv Joseph’s Monster at the Door American Theatre of Actors: Two Noble (World Premiere); Arena Stage; Goodman Kinsmen. Other New York—Manhattan Theatre Source: Wise Men (Pew); The Players Theatre; two seasons at Shakespeare Theater of DC; three seasons with The Club: The Secret Sharer (Captain Dana, Acting Company. Film/TV—Many credits, Reading). Concert Appearances—The Bitter including O Brother Where Art Thou, Envy, End, Toshi’s Living Room, Alphabet Lounge Lost Souls, The Birdcage, Casino, What About (w/ Bonfire Falls); B.B. King Blues Club, Bob?, Elementary, House of Cards, Person of Arlene’s Grocery, Pete’s Candy Store (solo). Interest, The Good Wife, Numbers, Law & Education—Savannah College of Art and The Cherry Orchard (Charlotta); Chicago Shakespeare Theatre: Cymbeline (The Queen), All’s Well That Ends Well (The Countess), Richard III (Margaret), King John (Elinor). Film/TV—Spartan, Red Belt, State & Main, Homicide, The Phil Spector Story (HBO), Door to Door (TNT), The Unit (CBS).
Twelfth Night | 9
Bios
The Artistic Team
Costume Designer David Burdick at first rehearsal of Twelfth Night.
Gavin Witt—Director. (see page 12)
The Rainmaker; Blithe Spirit; many others. Regional—Everyman Theatre: The Beaux’ Josh Epstein—Scenic & Lighting Designer. Stratagem, August: Osage County, You Can’t Center Stage: …Edgar Allan Poe (Lighting Take It with You, Private Lives, All My Sons, The Designer). Regional—Mark Taper Forum, Mystery of Irma Vep; Walnut Street/Totem The Guthrie, The Goodman, Trinity Rep, Pole: The Last Night of Ballyhoo, Moon Over Long Wharf Theatre, Paper Mill Playhouse, Buffalo. Opera—Cincinnati: Don Giovanni; Alliance Theater, Actor’s Theatre of Louisville, Boston Lyric: I Puritani; Tulsa: Tosca, The Playmaker’s Rep., Lyric Theatre, Cincinnati Barber of Seville, Carmen, Fidelio. Dance— Playhouse in the Park. Off Broadway—New BAM: FLY: Five First Ladies of Dance; Dayton Georges Theater Company, Julliard School Contemporary: Lyric Fire (world premiere, of Drama, Clubbed Thumb, Target Margin dir/choreographer Dianne McIntyre). Theater, Rattlestick Playwrights Theater, Miscellaneous—Baltimore Symphony La MaMa, Naked Angels, Macy’s 2006–08 Orchestra: Holiday Spectacular. New York City Holiday Windows. Opera— Palmer Hefferan—Original Music Minnesota Opera, Opera Santa Barbara, & Sound Design. Center Stage: debut. Ft. Worth Opera, Wolf Trap Opera Company, Broadway—Mothers and Sons (w/ Tyne Daly, Berkshire Opera, Manhattan School of assistant). Off Broadway—Clurman Theatre: Music. Awards—Recipient of the NEA/TCG Career Development Program for Designers, The Surrender; 59E59: I Am The Wind; Keen Company: The Film Society; The Public (SPF): Member of the O’Neill Playwrights Tio Pepe; MTC: Taking Care of Baby (assistant), Conference Artistic Council. Teaching— Choir Boy (associate); Play Company: Adjunct professor at UCLA School of Theater, American Hwangap (assistant); Second Film and Television. Education—Received Stage: Boys’ Life (assistant); MCC: Fifty Words MFA from NYU’s Tisch School of the Arts. (assistant). Regional—Studio Theatre: Edgar www.joshepsteindesign.com. & Annabel; Signature Theatre: Pride in the David Burdick—Costume Designer. Falls of Autrey Mill; Yale Rep: American Center Stage: dance of the holy ghosts; Night; American Players: Heroes; Hartford Animal Crackers; …Edgar Allan Poe; The Stage: Dying City, Hedda Gabler (assistant); Mountaintop; An Enemy of the People; The Westport Playhouse: Dinner with Friends, Whipping Man; A Skull in Connemara; The Tartuffe (assistant). DC Area—Constellation Rivals; Snow Falling on Cedars; Working it Theatre: 36 Views; Taffety Punk: Titus Out; Cyrano; Caroline, or Change; Hearts; Andronicus. Education—BFA, Savannah Things of Dry Hours; Crumbs from the Table College of Art & Design; MFA, Yale School of Joy; Elmina’s Kitchen; Picnic; a.m. Sunday; of Drama. Special thanks to Drew 10
Lichtenberg for his love and support. www.palmerhefferan.com.
Catherine Miller—Choreographer. Center Stage: debut. Artistic Director, WalkingTalking Company: performed at Jacob’s Pillow, 92nd Street Y, American Dance Festival, APAP City Center, Actor’s Fund Arts Center, Orpheum Theater, Powerhouse Books, Dance Theater Workshop. Choreographer—Kennedy Center MFA Playwrights Workshop, “Pharmacophore” Storefront for Art and Architecture, The Yard (artist in residence multiple years), University of the North Carolina School of the Arts. Dancer/Performer—New York City Opera: originated the principal dance role “Thanatos” in premiere of Telemann’s Orpheus (dir. Rebecca Taichman); Mark Dendy DanceTheatre (Associate Artistic Director for 3 years); Doug Varone and Dancers; Jonah Bokaer; Carolyn Dorfman Dance Company; Shen Wei Dance Arts; Guest artist with Metropolitan Opera, Opera Colorado, Minnesota Opera, and the Aquila Theatre Company. Film—Katie in the feature film Five Dances. Steve Satta—Violence Coordinator.
Center Stage: debut. Combat Work—The Ridiculous Theatrical Company, The Metropolitan Opera, Riverside Shakespeare Company (NY), West End Theatre (NY), University of Nebraska (guest artist), Towson University (faculty). Actor—National Actor’s Theatre, Riverside Shakespeare Company,
The Pearl Theatre, Wayside Theatre, Mill Mountain Theatre, National Shakespeare Company, Baltimore Shakespeare Festival, Iron Crow Theatre (Baltimore). Voice/Dialect coach—The Wire (guest coach), Everyman Theatre, Baltimore Shakespeare Festival, Olney Theatre, York University (Toronto), Towson University. Other Professional— Artistic Director, Iron Crow Theatre Company. Awards—Kennedy Center American College Theatre Festival. Regional—Excellence in Fight Choreography (R&J), Excellence in Direction (Romeo and Juliet and Angels in America: Perestroika); National— Distinguished Production of a Classic Play (Macbeth), National Teaching Artist Award. Education—BFA, NYU Tisch; MFA, York University. Faculty at Towson University. Thanks to Gavin, Laura, and the company. Love to Patrik.
Laura Smith*—Stage Manager. Center Stage: Resident Stage Manager: Stones in His Pockets; 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. Captain Kate Murphy*—Assistant Stage Manager. Center Stage: Resident
Stage Manager; Stage Manager: Stones in His Pockets, 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: BoeingBoeing; 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.
Caitlin Powers*—Assistant Stage Manager. Center Stage: Assistant Stage
Manager for The Whipping Man, A Skull in Connemara, American Buffalo; Assistant Production Manager 2012–14. Regional— Contemporary American Theater Festival: Assistant Stage Manager for Captors, In a Forest, Dark and Deep, Race, We Are Here; Arts Emerson: The Color of Rose (World Premiere); Fringe NYC 2009: Muffin Man: The Musical.
Leigh Wilson Smiley—Voice/ Dialect Director. Center Stage: Stones
in His Pockets. 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.
Pat McCorkle—Casting Director.
Center Stage: A Civil War Christmas, Animal Crackers, The Mountaintop, Bus Stop, Gleam. Pat McCorkle (C.S.A.) Memorable Broadway casts include End of the Rainbow, The Lieutenant Of Inishmore, The Glass Menagerie, Cat On A Hot Tin Roof, One Flew Over The Cuckoo’s Nest, Amadeus, Faedra Chatard Carpenter—Production She Loves Me, Blood Brothers, A Few Good Dramaturg. Center Stage: The Whipping Men, and New York premieres of Almost Man, Ma Rainey’s Black Bottom, Fabulation, Maine, Down the Garden Paths, Killer Joe, Joe Turner’s Come and Gone. Regional— Mrs. Klein, Driving Miss Daisy. Most recently, Theater J: Locally Grown Festival; Kennedy Pat cast critically acclaimed Off Broadway Center: The Wings of Ikarus Jackson, productions of; Becoming Dr. Ruth, Lady Locomotion, New Voices/New Visions; Day, Tribes, and Our Town. Feature film African Continuum: Fresh Flavas New Play credits include: Girl in the Lake, Premium Development program; TheaterWorks: Fences; Rush, Ghost Town, Secret Window, Basic, Tony Crossroads: Former Resident Dramaturg/ and Tina’s Wedding, The Thomas Crown Literary Manager, Crumbs from the Table Affair, The 13th Warrior, Madeline, Die Hard of Joy, Spirit North (world premiere); Arena with a Vengeance, School Ties, etc., and for Stage: Long Day’s Journey Into Night, The television, Twisted (ABC Family) humans Odyssey (American premiere). Professional— for Sesame Street, Californication (Emmy Assistant Professor of Theatre, University of nomination), Hack (CBS), Strangers with Maryland, College Park; Board of Directors Candy, Barbershop, Chapelle’s Show, among for Literary Managers and Dramaturgs of the many others. Americas (LMDA); member of the American Society for Theatre Research (ASTR), and Association for Theatre in Higher Education (ATHE). Education—BA, Spelman College; MA, Washington University; PhD, Stanford. Twelfth Night | 11
BIOS The Staff
Artistic Director Kwame Kwei-Armah OBE,
Black Arts and Culture, which featured more
playwright, director, actor,
was named the Chancellor of the University
season as Artistic Director of
an Officer of the Most Excellent Order of the
than two thousand artists from 52 countries
an award-winning British
participating in 16 different arts disciplines. He
and broadcaster, is in his third
of the Arts London, and in 2012 was named
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, Dominique Morrisou’s Skeleton Crew at the Lark Play Development Center in New
York, 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
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.
Stage in 2003, after nearly 15 years in Chicago as an actor, dramaturg, director, translator, and teacher. Before making his Center Stage full production directorial debut with Twelfth Night, Gavin directed more than a dozen Young Playwrights Festival entries and last year’s 50th Anniversary Decade Plays. In the First Look and Play Lab series, he has directed new play readings of such contemporary playwrights as Caridad Svich, Chiori Miyagawa, Abi Basch, Jason Grote, Allison Moore, and Kirsten Greenidge. Previously, he directed his Jeff-nominated adaptation of Pericles, as well as several other Shakespeare plays. Other Chicago directing credits include Ostrovsky’s A Family Affair, Marlowe’s Tamburlaine, Kaughman and Hart’s You Can’t Take It with You, and a number of projects for the Chicago Humanities Festival.
Center Stage Advisory board
James Bundy, Artistic Director at Yale Repertory Theatre
a group of Artistic Directors from theaters
James Nicola, Artistic Director at New York Theatre Workshop
The Center Stage Advisory Board is
Susan Booth, Artistic Director at Alliance Theatre
Marc Masterson, Artistic Director at South Coast Repertory
across the country. We thank these
Diane Paulus, Artistic Director at the American Repertory Theater
hand to provide guidance and advice to
Carey Perloff, Artistic Director at the American Conservatory Theater
experienced professionals who are on Center Stage leaders, board, and staff.
Neil Pepe, Artistic Director at Atlantic Theater Company
Bill Rauch, Artistic Director at Oregon Shakespeare Festival
Michael Ritchie, Artistic Director at Center Theatre Group
Tim Sanford, Artistic Director at Playwrights Horizons 12
Associate Artistic Director/ Director of Dramaturgy Gavin Witt came to Center
Q & A
with Kwame & Stephen
A conversation with Artistic Director Kwame Kwei-Armah and Managing Director Stephen Richard.
What is your favorite Shakespeare Play?
What was your first experience with live Shakespeare?
Kwame Kwei–Armah: That’s hard… Well, I love and I hate King Lear. So it’s between Lear and Hamlet. They are the two plays that I think about the most.
KKA: The first one was that RSC Taming of the Shrew. It starred a very young Jonathan Pryce. It was about 150 miles away from where we lived. As we sat down for the show, someone in the crowd jumped up and started swearing and misbehaving. An usher came, grabbed him, and they started fighting. I sat there going, “Oh, my god, we’ve come all this way and the show isn’t going to happen!” He punched one usher, who fell to the ground, and four other ushers ran down the aisle. I was petrified. Then the man ran onto the stage and pulled the curtain down…. And the show began, with Jonathan Pryce entering on a motorbike. And I was sucked in.
Stephen Richard: I’ve grown into Lear as my favorite… [Kwame laughs] Read into that what you’d like.
What are some of the unique or innovative productions you’ve seen? KKA: I really liked the all-female Julius Caesar at the Donmar Warehouse in London/St. Ann’s Warehouse in Brooklyn. But there are two that really stand out to me. I saw Taming of the Shrew at the Royal Shakespeare Company (RSC) when I was 14. It was magnificent: it frightened me, scared me, and made me laugh. And I saw a Julius Caesar at the Piccolo Theatre in Milan. Of course I don’t speak Italian, but we all know the story. That’s the most amazing production I’ve ever seen of any Shakespeare. I was in Milan, amid Prime Minister Berlusconi being attacked, and it was a modern production—they were in Versace, all Italian clothes—and it was staged in a most fantastic and challenging way. SR: My two favorites would be Mark Rylance’s Twelfth Night [that just closed in February] in New York, and Synetic Theater’s wordless Lear in Arlington, VA. Synetic is a movement-based theater company, so these two are about as far apart as you can imagine!
Now, of course, the sophisticated ones probably knew it was a stunt from the time the usher fell, but I didn’t. And I remember it that vividly to this day.
What do you personally feel makes Shakespeare’s work relevant? KKA: Honest to God truth, I don’t know. Every expert has said all the things, and I think everything everyone says is true. To be honest with you, I have almost defined myself by not being a Shakespeare lover. I defined myself and my art that way, because I get bored of the colonial [Britain and European] being celebrated as the only, the highest, when I think there are other magnificent world artists. Shakespeare’s brilliant in English, but there are other brilliant playwrights of that era and later. As I’ve gotten older, and after directing Much Ado About Nothing [at New York’s Public Theater], I found myself going, okay, you were being a bit immature. Enjoy this. Enjoy him, and enjoy the flexibility that you get with being able to play with something as robust as what he creates. SR: I think for me it’s the complexity, the chess game, the world of interpretations available. Other theater is also complex, but Shakespeare is so wonderfully complex… you can see it over and over, you can see many different productions.
Why did you choose Twelfth Night when planning to include Shakespeare this season? SR: The first Shakespeare I saw was at my college, it was Macbeth. As one might expect at an out-there college in the early ’70s, it was an out-there production. But it’s a sad commentary that in public schools in Houston, Texas, we had zero exposure to Shakespeare. Zero, neither read nor saw. So my first was in my sophomore year of college. And I started dating one of the actresses….. [Kwame laughs]. Well, that’s how I got into the theater business! KKA: I thank her!
KKA: We wanted to think what thematically sat within the season, and it’s one of the great comedies. We wanted this season to have a theme of heart, and comedy, and lightness, and I think Twelfth Night does that really well. SR: I think Kwame hit it… it’s really a romantic comedy. Q
Join the conversation!
Email hjackson@centerstage.org with your questions for Kwame and Stephen. centerstagemd
@centerstage_md
Jonathan Pryce and David Suchet. Photo Joe Cocks collection © Shakespeare Birthplace Trust. Twelfth Night | 13
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Dining
Sascha’s Express, our pre-performance dinner service, is located up the lobby stairs in our Mezzanine café. Service begins two hours before each performance.
Drinks
You are welcome to take beverages with lids to your seats! But please, no food.
Phones
Please silence all phones and electronic devices before the show and after intermission.
Recording
Photography and both audio and video recording are strictly forbidden.
On-Stage Smoking
We use tobacco-free herbal imitations for on-stage smoking and do everything possible to minimize the impact and amount of smoke that drifts into the audience. Let our Box Office or front of house personnel know if you’re smoke sensitive.
Accessibility
Wheelchair-accessible seating is available for every performance. We offer free assistive listening devices, braille programs, and magnifying glasses upon request. An Open Captioned performance* is available one Sunday performance of each production. Several performances also feature Audio Description*.
Parking
If you are parking in the Baltimore Sun Garage (diagonally across from the theater at Monument & Calvert) you can pay via credit card at the pay station in the garage lobby or at the in-lane pay station as you exit. If you have a pre-paid voucher, proceed directly to your vehicle and enter your voucher after inserting the parking ticket you received upon entering the garage, in the machine as you leave. We are unable to validate parking tickets.
Feedback
We hope you have an enjoyable, stress-free experience! Your feedback and suggestions are always welcomed: info@centerstage.org. *Open Captioning & Audio Description performances for Twelfth Night: Sun, Mar 30. Audio Description at both 2 pm and 7:30 pm, Open Captioning at 7:30 pm. Twelfth Night | 17
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su ppo rt 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 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.
The Annual Fund at Center Stage
The following list includes gifts of $250 or more made to the Center Stage Annual Fund between
August 10, 2012 and February 12, 2014. 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!
We couldn’t do it without you! INDIVIDUALS & FOUNDATIONS
The Center Stage Society represents donors who, with their annual contributions of $2,500 or more, provide special opportunities for our artists and audiences. Society members are actively involved through special events, theater-related travel, and behind-the-scenes conversations with theater artists. Individual Season Sponsors
(50,000+) Ellen and Ed Bernard Lynn and Tony Deering Jane and Larry Droppa Judy and Scott Phares Mr. and Mrs. Philip Rauch Jay and Sharon Smith Ms. Barbara Voss and Charles E. Noell, III
Presidents’ Circle ($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)
The Miriam and Jay Wurtz Andrus Trust William G. Baker, Jr. Memorial Fund, creator of the Baker Artist Awards Penny Bank Stephanie and Ashton Carter James and Janet Clauson Edgerton Foundation New American Play Awards Kathleen Hyle JI Foundation Marilyn Meyerhoff Terry H. Morgenthaler and Patrick Kerins
Producers’ Circle ($10,000- $24,999)
The William L. and Victorine Q. Adams Foundation and The Rodgers Family Fund Peter and Millicent Bain The Jacob and Hilda Blaustein Foundation, Inc. The Bunting Family Foundation The Nathan & Suzanne Cohen Foundation The Helen P. Denit Charitable Trust Ms. Nancy Dorman and Mr. Stanley Mazaroff Fascitelli Family Foundation Daniel P. Gahagan John Gerdy and E. Follin Smith The Goldsmith Family Foundation
The Laverna Hahn Charitable Trust Francie and John Keenan Mr. and Mrs. E. Robert Kent, Jr. Kenneth C. and Elizabeth M. Lundeen The Andrew W. Mellon Foundation Joseph & Harvey Meyerhoff Family Charitable Funds Mr. J. William Murray 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)
James T. and Francine G. Brady Mary Catherine Bunting August and Melissa Chiasera The Cordish Family The Jane and Worth B. Daniels, Jr. Fund of the Baltimore Community Foundation Mr. and Mrs. Walter B. Doggett, III Brian and Denise Eakes Dick and Maria Gamper Carole and Neil Goldberg Fredye and Adam Gross Martha Head Murray Kappelman Kwame and Michelle Kwei-Armah The John J. Leidy Foundation, Inc. The Macht Philanthropic Fund Robert E. Meyerhoff and Rheda Becker Stephen Richard and Mame Hunt The Jim & Patty Rouse Charitable Foundation Charles and Leslie Schwabe Mr. Gilbert H. Stewart and Ms. Joyce L. Ulrich
Dr. Edgar and Betty Sweren, in honor of Center Stage’s 50th Anniversary Mr. and Mrs. J.W. Thompson Webb Ms. Linda Woolf
Directors’ Circle ($2,500- $4,999)
Anonymous The Lois and Irving Blum Foundation Drs. Joanna and Harry Brandt Sylvia and Eddie Brown Marjorie Rodgers Cheshire and Mark Cheshire Mr. John Davison Gene DeJackome and Kim Gingras The Mary & Dan Dent Fund of the Baltimore Community Foundation Mr. and Mrs. Michael Falcone Ms. Suzan Garabedian The Harry L. Gladding Foundation/ Winnie and Neal Borden Goldseker Foundation/ Ana Goldseker Robert and Cheryl Guth The Hecht-Levi Foundation, Inc. David and Elizabeth JH Hurwitz Steve and Susan Immelt Jonna and Fred Lazarus Mr. and Mrs. Earl & Darielle Linehan/ Linehan Family Foundation Mrs. Diane Markman Linda and John McCleary John and Mary Messmore Jim and Mary Miller Mr. and Mrs. Hugh Mohler, Jr. John and Susan Nehra Dr. and Mrs. Lawrence C. Pakula Lainy Lebow Sachs and Leonard Sachs Monica and Arnold Sagner Mr. and Mrs. Todd Schubert Scott and Mimi Somerville Scot T. Spencer Mr. Michael Styer Mr. and Mrs. Donald and Mariana Thoms Trexler Foundation, Inc. Jeff Abarbanel and David Goldner Mr. and Mrs. Loren and Judy Western Ted and Mary Jo Wiese Cheryl Hudgins Williams and Alonza Williams Sydney and Ron Wilner Drs. Nadia and Elias Zerhouni Twelfth Night | 21
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
Joan Develin Coley and M. Lee Rice Barbara Crain and Michael Borowitz
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.
The Rollins-Luetkemeyer Foundation
Rose Carpenter Sally and Jerry Casey John Chester Ann K. Clapp Combined Federal Campaign Constantinides Family Foundation Ms. Gwen Davidson The Richard and Rosalee C. Davison Foundation Albert F. DeLoskey and Lawrie Deering Rosetta and Matt DeVito Mr. Jed Dietz and Dr. Julia McMillan Mr. and Mrs. Eric Dott Jack and Nancy Dwyer Ms. Nicole Epp Dennis and Patty Flynn Dr. and Dr. Matthew Freedman Frank and Jane Gabor Jose and Ginger Galvez
Kurt and Patricia Schmoke Gail B. Schulhoff The Tim and Barbara Schweizer Foundation, Inc. Bayinnah Shabazz, M.D. Barbara and Sig Shapiro
Robert and Janice Davis Richard and Lynda Davis James DeGraffenreidt and Mychelle Farmer
Ms.. Kimberly Stokes Dr. and Mrs. John Strahan Susan and Brian Sullam Robert and Patricia Tarola Mr. and Mrs. Ronald W. Taylor John A. Ulatowski
Mrs. Peggy L. Rice
Mr. and Mrs. Harold Rojas
Patricia Yevics-Eisenberg and Stewart Eisenberg
Dorothy L. and Henry A. Rosenberg, Jr. Renee Samuels Rosenfeld and Jordan Rosenfeld
The Eliasberg Family Foundation Buddy and Sue Emerson, in appreciation of Ken and Elizabeth Lundeen Mr. Donald M. and Mrs. Margaret W. Engvall
David and Merle Fishman
Mr. and Mrs. Scott Smith
Mr. and Mrs. Richard Radmer
Lynne Durbin and John-Francis Mergen
Barbara P. Shelton
Judith R. and Turner B. Smith
Robert E. and Anne L. Prince
Jane and Stanley Rodbell and James R. Shapiro
Sandra and John Ferriter
Mr. and Mrs. Robert and Terri Smith
Pitt O’Neill Family
The Honorable and Mrs. E. Stephen Derby
The Earle & Annette Shawe Family Foundation Mr. and Mrs. Robert N. Smelkinson
Mr. and Mrs. James and Mimi Piper Fund of the Baltimore Community Foundation
Bob and Susie Fetter Ms. Nancy Freyman Dr. Joseph Gall and Dr. Diane Dwyer Frank and Tara Gallagher Megan M. Gillick Terry L. Gladden Mary and Richard Gorman Stuart and Linda Grossman Louise Hager Terry Halle and Wendy McAllister Vicki and Jim Handa
Kevin and Judy Rossiter Mrs. Bette Rothman Mr. Al Russell Sheila and Steve Sachs Eugene and Alice Schreiber Philanthropic Fund The Sinksy-Kresser-Racusin Memorial Foundation Susan Somerville-Hawes, in honor of The Encounter Program Ms. Jill Stempler Sanford and Karen Teplitzky Mr. and Mrs. Barbara and Paul Timm-Brock David and Sharon Tufaro Mr. and Mrs. George and Beth Van Dyke In memory of Sally Wessner Mr. Michael T. Wharton Dr. and Mrs. Frank R. Witter
Pamela and Jonathan Genn, in honor of Cindi Monahan and Beth Falcone
United Way of Central Maryland Campaign
Richard and Sharon Gentile, in honor of the Center Stage Costume Shop
Nanny and Jack Warren, in honor of Lynn Deering
James and Rosemary Hormuth
Janna P. Wehrle
Ralph and Claire Hruban
($250-$499) Anonymous
Mr. James Hughes
Rita and Walter Abel
Mr. Edward Hunt
Ms. Lisa Abrams
Mr. and Mrs. Theodore Imes
Mr. and Mrs. Delbert L. Adams
Richard Jacobs and Patricia Lasher
Bradley and Lindsay Alger
Ms. Mary Claire Jeske
Mr. Alan M. Arrowsmith, II
Sandra Levi Gerstung Mr. and Mrs. Benjamin H. Griswold, IV Annie Groeber, in memory of Dr. John E. Adams
Kathryn and Mark Vaselkiv
Mr. Todd M. Wilson and Mr. Edward Delaplaine Ann Wolfe and Dick Mead John W. Wood
Donald and Sybil Hebb Mrs. Heidi Hoffman Dr. and Mrs. J. Woodford Howard
F. Barton Harvey, III and Janet Marie Smith
Eric and Pam Young
Bill and Scootsie Hatter
Mr. Calman Zamoiski, Jr., in honor of Terry Morgenthaler
Max Jordan
Colleagues
Dr. and Mrs. Juan M. Juanteguy
Sandra and Thomas Hess Drs. Dahlia Hirsch and Barry Wohl Len and Betsy Homer The A. C. and Penney Hubbard Foundation Ms. Harriet F. Iglehart Joseph J. Jaffa
Dr. Laurie S. Zabin
($500-$999)
Anonymous Ms. Diane Abeloff, in memory of Martin Abeloff The Alsop Family Foundation
Francine and Allan Krumholz
Mrs. Alexander Armstrong
H.R. LaBar Family Foundation Fund of The Greater Cincinnati Foundation
Mr. Robert and Dorothy Bair
Sandy and Mark Laken
Mayer and Will Baker, in honor of Terry Morgenthaler Mr. and Mrs. Raymond Bank Family Fund of the Baltimore Community Foundation
Andie Laporte, in honor of Philip and Lynn Rauch Dr. and Mrs. George Lentz, Jr. Maryland Charity Campaign Robert and Susan Mathias Mr. and Mrs. Steven and Karen McCurdy Joseph and Jane Meyer
22
Roger F. Nordquist and Joyce Ward Irene E. Norton
Kirk and Debbie Joy Ms. Shirley Kaufman B. Keller Mr. and Mrs. Padraic Kennedy Mr. George W. King Roland King and Judith Phair King Stewart and Carol Koehler Joseph M. and Judy K. Langmead Claus Leitherer and Irina Fedorova Dr. and Mrs. Ronald Lesser Marilyn Leuthold
Charles and Patti Baum
Kenneth and Christine Lobo
Jaye and Dr. Ted Bayless Fund of the Baltimore Community Foundation
The Dr. Frank C. Marino Foundation, Inc.
Judge Robert Bell Steve and Teri Bennett Harriet and Bruce Blum
Mr. and Mrs. John and Beverly Michel
Jan Boyce
Tom and Cindi Monahan
Cindy Candelori
The Israel & Mollie Myers Foundation/ Herschel and Judith Langenthal and Jonathan and Beverly Myers
Dr. and Mrs. Thomas J. Lynch
Mr. Norman Youskauskas Mr. Paul Zugates
Advocates
Mr. Wayne Arvin Mrs. Darlene E. Austin Ayd Transport Michael Baker Mr. and Mrs. Martin Beer Melissa A. Behm 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 Ms. Darlene Campbell
Mr. and Mrs. David and Gloria Crockett Jay and Bette Demarest Ms. Alice M. Dibben Ed and Ina Dreiband Stacie C. Dunlap Deborah and Philip English Ms. Vicky Favor Ms. Rhea Feikin, in memory of Colgate Salsbury Faith and Edgar Feingold, in memory of Sally W. Feingold Genine and Josh Fidler, in honor of Ellen and Ed Bernard Bill and Winnie Flattery Dr. and Mrs. Robert P. Fleishman Donna Flynn Joan and David Forester Dr. Neal M. Friedlander and Dr. Virginia K. Adams Mark and Patti Gillen Hal and Pat Gilreath Herbert and Harriet Goldman Mr. Bruce Goldman Dr. Larry Goldstein and Dr. Diane Pappas Ms. Hannah B. Gould Mr. Howard Gradet Joseph Griffin Thomas and Barbara Guarnieri Mr. and Mrs. James Hackman Ada Hamosh Melanie and Donald Heacock Aaron Heinsman and Nick Simko William and Monica Henderson Betsy and George Hess Sue Hess Mr. Donald H. Hooker, Jr. Ms. Irene Hornick Ms. Sarah Issacs Mr. William Jacob James and Hillary Aidus Jacobs Ms. Monica James A.H. Janoski, M.D., in honor of Jane Stewart Janoski Mr. and Mrs. James and Julie Johnstone Mr. and Mrs. Peter Kaplan Richard and Judith Katz Dr. and Mrs. Myron Kellner Stephen and Laurie Kelly, in memory of Rodney Stieff Ms. Kim-Khoi Khue Donald Knox and Mary Towery, in memory of Carolyn Knox and Gene Towery David and Ann Koch Thomas and Lara Kopf Larry Koppelman and Liz Ritter
The Jim and Anne Cantler Memorial Fund of the Baltimore Community Foundation
Gina Kotowski
Mary L. McGeady
Mr. and Mrs. David Carter
Ms. Dorothy Kuhlman
The Honorable Diana and Fred Motz, in memory of Nancy Roche
Mr. and Mrs. James Case
Mr. Andrew J. Cary
Edward Kuhl Drs. Don and Pat Langenberg Mr. Richard M. Lansburgh
George and Beth Murnaghan
Brenda M. Cley, M.D.
Rex and Lettie Myers
Mr. and Mrs. Stanton Collins
Leadership—Baltimore County
Ms. Sue Lin Chong
Ms. Jennifer Nelson
Combined Charity Campaign
Sara W. Levi
Mr. and Mrs. Carl F. Christ
Ms. Jo-Ann Mayer Orlinsky
David and Sara Cooke
Marty Lidston and Jill Leukhardt
William and Bonnie Clarke
Michael and Phyllis Panopoulos
B.J. and Bill Cowie
Dr. and Mrs. John Lion
Mr. and Mrs. William Larson
Ms. Cheryl London Scott and Ellen Lutrey Nancy Magnuson and Jay Harrell, in honor of Betty and Edgar Sweren Frank and Joyce Margolis Mr. Elvis Marks Joan and Terry Marshall Don Martin Eleanor McMillan
Mrs. Clare H. Stewart, in honor of Bill Geenen Brenda and Dan Stone Renee Straber, in memory of Joan Marilyn Kappelman Mr. and Mrs. James and Gail Swanbeck Mr. Joseph Terino, in memory of Joan Marilyn Kappelman Fred and Cindy Thompson
Mary and Barry Menne
Mr. Martin Toner, in memory of Joan Marilyn Kappelman
Bruce Mentzer
Susan Treff
Ms. Darlene Miller
Laura and Neil Tucker, in honor of Beth Falcone
Tracy Miller and Paul Arnest, in honor of Stephanie Miller Minds Eye Cinema The Montag Family Fund of The Community Foundation for Greater Atlanta, in honor of Beth Falcone
Millie Tyssowski Sarah Valente April Duncan Wall Mr. and Mrs. David Warshawsky Mr. Donald Wells
James W. and Shirley A. Moore
Ms. Camille Wheeler and Mr. William Marshall
Ms. Cassie Motz, in memory of Nancy Roche
Mr. and Mrs. Barry and Linda Williams
Dr. and Mrs. C.H. Murphy
Ms. Anita Wilmore
Stephen and Terry Needel
Deborah King-Young and Daniel Young
In memory of Nelson Neuman Ms. Mildred Nohe Dr. and Mrs. Alex Ober Claire D. O’Neill 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 Chris and Deborah Pennington Dr. and Mrs. James M. Pepple Mr. William Phillips Robin and Allene Pierson, in honor of Terry Morgenthaler Ronald and Patricia Pilling Dr. and Mrs. Jeffrey Posner Mr. Rex Rehfeld and Ms. Ellen O’Brien Cyndy Renoff and George Taler Dr. Michael Repka and Dr. Mary Anne Facciolo John and Dotty Reynolds Bob and Phoebe Reynolds Natasha and Keenan Rice Alison and Arnold Richman Mr. Wilfred Roesler Steven and Lee Sachs Ellen and Dino Sangiamo Dr. Chris Schultz Clair Zamoiski Segal, in honor of Judy Witt Phares Leslie Shepard Mrs. Kimberly Shorter Mr. and Mrs. L. Siems Ms. Pamela Skelding Dr. Donald and Val Jean Slowinski. Reverend Sharon Smith Solomon and Elaine Snyder
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 Akbar Restaurant Atwater’s The Baltimore Sun Berger’s Cookies Blimpie The Brewer’s Art Cakes by Pamela G Casa di Pasta The Classic Catering People The Charles Theater
Chipotle The City Paper Eddie’s on Saint Paul Edible Arrangements Eggspectations Express Vending Fisherman’s Friend/ Pez Candy, Inc. The Fractured Prune Gertrude’s Restaurant Gianni’s Italian Bistro Greg’s Bagels GT Pizza HoneyBaked Ham Co. The Helmand Hotel Monaco Iggie’s The Jewish Times Mamott Mars Super Markets Maryland Office Interiors Maryland Public Television Michele’s Granola Mitchell Kurtz Architect, PC Mount Vernon Stable and Saloon New System Bakery Oriole’s Pizza and Sub Pizza Boli’s Pizza Hut Planit Agency PromoWorks Republic National Distributing Company Sabatino’s Shugoll Research The Signman Style Magazine Subway Urbanite Utz Quality Foods Village Square Café A Vintner’s Selection Wawa Wegman’s Whitmore Print & Imaging WYPR Radio www.thecheckshop.us
Matching Gift Companies
The Abell Foundation, Inc. Bank of America BGE The Annie E. Casey Foundation Constellation Energy The Deering Family Foundation Exxon Corporation GE Foundation Illinois Tool Works Foundation Kraft Foods MASCO Corporation McCormick Foundation Norfolk Southern Foundation PNC Bank Stanley Black and Decker SunTrust Bank T. Rowe Price Group
CORPORATIONS
SEason 51 Presenting Sponsor
Presidents’ Circle
Playwrights’ Circle Anonymous American Trading & Production Corporation Ayers Saint Gross, Incorporated The Baltimore Life Companies
T. Rowe Price Foundation, Inc. Artists’ Circle
Chapel Valley Landscape Company Cho Benn Holback + Associates Environmental Reclamation Company Ernst & Young FTI Consulting, Inc. Howard Bank Jenkins Baer Associates McGuireWoods LLP
Producers’ Circle
The P&G Fund of The Greater Cincinnati Foundation Pessin Katz Law P.A. PNC Bank PricewaterhouseCoopers Saul Ewing LLP Stifel Nicolaus Sylvan/Laureate Foundation Venable, LLP Whiteford, Taylor and Preston 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 Barne
Associates Chesapeake Plywood, LLC Stevenson University
Twelfth Night | 23
THEATER FOR THE HEART DLA Piper proudly supports Center Stage and your production of Twelfth Night under the direction of Gavin Witt. We salute your commitment to artistic excellence in Baltimore.
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Robert W. (Jay) Smith, Jr., The Marbury Building, 6225 Smith Avenue, Baltimore, MD 21209 DLA Piper LLP (US) | Attorney Advertising
24
Co mm u ni t y & Ed u cat io n A Day in the Life
of a Center Stage Camper By Kristina Szilagyi
“Ago!” “Ame!” So starts the morning circle up at Camp Center Stage.
This quick call and response, borrowed from West African tradition, signals the readiness for all to come together. After a group warm-up, campers head their separate ways for the first classes of the day: acting, improvisation, and Broadway dance. (Classes are in the same rehearsal rooms where Twelfth Night actors rehearsed!) In Ms. CJay Philip’s class, the Broadway veteran guides the young performers through the precise choreography of a spectacular dance number. Mr. Wambui Richardson challenges campers to trust their instincts as he guides them through improv techniques. In acting class, budding theater artists use their voices and bodies to translate the written word into collaborative storytelling. Lunchtime sees a different side of campers and counselors alike: some off in a corner furiously writing a scene they’ll perform for everyone in the afternoon, a group in the middle of the rehearsal hall unable to refrain from an infectious impromptu dance party, two singers who moonlight as comedians employ a stairwell as auxiliary rehearsal space, shaping their belting power ballads into a hilarity of competing divas. We eat lunch, too. In the afternoon, we mix things up a bit. Campers learn the art and rigor behind miming and clowning from the welltraveled clown duo The Jokesters. Maria Broom, known for her work in The Wire and loved for her work as a dancer and storyteller, introduces the fledgling thespians to storytelling traditions from around the world. The afternoon is also an opportunity for the young performers to dabble in and showcase solo performance work.
Not only do these young entertainers learn the art of performance and self-expression, they also play, have fun, and make new friends. We take pride in the many friendships that are forged during camp and continue beyond Center Stage. Director of Community Programs & Education Rosiland Cauthen leads the group through community and ensemble building exercises to balance the individual voices and to help the students find a creative and inclusive safe space.
But the fun doesn’t stop there!
Opportunities to stay connected with fellow campers and Center Stage continue throughout the year. Through events like mini-reunions at Kickin’ It with the ‘Rents and Backstage @ Center Stage, campers stay connected to the friends that they make during the summer and to the artists at Center Stage. Camp CS can also lead to audition opportunities for the professional productions. Recently, camp alums Sierra Weems (Jessa in A Civil War Christmas) and Zion Jackson (Morten in last season’s An Enemy of the People) have gone on to perform professionally at Center Stage. While we can’t guarantee that your child will become the next Broadway star, we can provide the training, teachers, and safe environment to help recognize and motivate their talent.
Camp Center Stage Summer 2014 Session I (Grades 1-6): July 7-18
Session II (Grades 7-12): July 21-August 1 www.centerstage.org/Education/CampCS
Registration is now open!
Learn about scholarship opportunities online.
Join us on May 5, 7 pm
Join us for an awards ceremony and professionally staged readings of plays and screenings of My America/My Baltimore monologues by Maryland students in grades k–12.
This event is FREE with a $5 suggested donation. Seating is limited, and tickets are required. Reserve your ticket by calling 410.332.0033.
www.centerstage.org/ypf
Twelfth Night | 25
Ph Otos Center Stage Celebrations
A pre-show Whiskey Tasting event for Stones in His Pockets, hosted by Liam Flynn’s Ale House.
Opening Night of Stones in His Pockets pre-show Community Arts Reception (bottom) and after party, with cast and crew (below) including (left) Stones actors Todd Lawson and Clinton Brandhagen with Director Derek Goldman.
26
B r o a d w ay C o m e s t o B a lt i m o r e
prev iew up next in Season 51
“Hugely
entertaining…
few contemporary playwrights have proven as deft as Durang at mining both the absurdity and the dangers of human folly.” –USA Today
VANYA AND SONIA AND MASHA AND SPIKE By Christopher Durang Directed by Eric Rosen
Apr 16–May 25 Siblings Vanya and Sonia sacrificed years of theirs lives caring for their ailing parents, while their sister Masha went to Hollywood. But Masha (as she never fails to remind them) paid all of the bills, and still does to this day. Masha and her much younger, often scantily clad boyfriend, Spike, have little in common with the siblings she left behind. When these four get together, the insults and quips, accusations and emotions run rampant. Add a psychic cleaning person, a naïve neighbor, and a costume party invitation and this motley crew turns an awkward family feud into something much more interesting.
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 Explains it All For You) weaves
Chekhovian themes and modern wit into an unforgettable
experience critics have hailed as “a sublime state of hilarity” (New York Magazine).
MASHA: Sweetest Vanya, dearest Sonia. How I’ve missed you. You both look the same. Older. Sadder. But the same. It’s wonderful to see you, Vanya. Oh, and you too, Sonia. SONIA: Yes, hello. I’m easy to miss.
Twelfth Night | 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 Management Intern–Katie Macdonald
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, 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 Multimedia Fellow–Gregory Towle
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
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
Interim Lighting Supervisor–Bevin Miyake Interim Master Electrician–Anthony Reed Staff Electrician–Aaron Haag The Gilbert H. Stewart and Ms. Joyce L. Ulrich Lighting Intern–Carly Shiner
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 Company Manager–Sara Grove
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
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 Management Intern–Tenley Pitonzo
Stage Operations
Stage Carpenter–Eric Burton Wardrobe Supervisor–Linda Cavell The following individuals and organizations contributed to this production of
Twelfth Night
Artisans–Erin Gray, Jeanne-Marie Hannan, Lynne Sablack Assistant Costume Designer–Eileen Chaffer Assistant Dramaturg–Julia Klavans Assistant Lighting Designer–Alex Mannix Associate Scenic Designer–Junmei Fu Drapers–Sue McCorkle, Ginny McKeever Electricians–Alison Burris, Christina Elwell, Jake Epp, Gabriel Rodriguez First Hand/Stitcher–Maggie Masson, Sue Holmes Hair/Wigs–Linda Cavell 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.
Development
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 C. 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
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.
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