Apr 16–May 25, 2014 By Christopher Durang Directed by Eric Rosen
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
An Introduction to the World of the Play I have written parodies, but this is not one. It is a “regular” play that is set in the present time, in Bucks County, PA. And Vanya and Masha are brother and sister, and Sonia is their adopted sister. And they had professor parents who named them after Chekhov characters. But they are not in pre-revolutionary Russia, and they don’t have samovars, and they don’t pay for things with rubles. —Playwright Christopher Durang (see page 4) Vanya, Sonia, and Masha are adult siblings who
obviously named for and modeled on the Greek
were raised by professors and, obviously, by admirers
prophetess, also echoes elements of Charlotta, the
not necessary to know his classic texts in order to
a blend of maidservants, cooks, and other truth-tellers
of the Russian playwright Anton Chekhov. But it’s
know these people—comically resentful, bitter,
spent but grasping; afraid of aging, death, and the
meaning(lessness) of life. And, of course, mired in the rivalry that siblings rarely outgrow.
Vanya is named after Uncle Vanya, a character in a
eccentric governess of The Cherry Orchard—as well as
throughout Chekhov’s work.
In both tone and content, the play’s dialogue also
exhibits the odd nod-and-elbow to Chekhov (with even
the occasional direct quote). From the introductory
debate over beverages that references Uncle Vanya, to
Chekhov play by the same name; Sonia is named for
the overall rhythm of the text, the influence of source
in both Three Sisters and The Seagull, but as imagined
orchard of questionable size lingering out back….
another character in the same play. There is a Masha
by playwright Christopher Durang, her character also
recalls Arkadina, an actress in The Seagull, who harbors
the same self-absorption of the Masha we meet here. And Spike. Well, we’ll get to Spike.
material is always present. Not to mention that cherry Oh, and Spike. While he may appear an entirely original,
American creation, he parallels Arkadina’s literary boytoy, Trigorin. His given name, Vlad, could be Durang’s
wink to Vladimir Rode, a sub-lieutenant in Three Sisters.
But the Chekhovian references do not stop there.
Or, then again, maybe he’s just a stud.
Durang peppers the entire play with allusions. For
example, the lovely, wide-eyed Nina is lifted almost
intact from The Seagull. Cassandra, while more
From Director Eric Rosen:
“I was delighted when I saw the show last year, surrounded by young people who laughed
as hard as I did at the comedy of
the first act. Two young women at intermission were tearing
through Google on their mobile
phones. I overheard them confess
that neither had even heard of
Chekhov, and were surprised and
delighted that there was a play
I knew in that moment I would
performance, I asked them how
to share this brilliant comedy with
enthusiastic, radiant with the happiness only a really great comedy can inspire—
Center Stage.”
called Uncle Vanya. After the
they liked it. They were so
and then said they couldn’t wait to get home to read up on Chekhov.
direct this play and I am so excited
audiences at Kansas City Rep and
Cast
Table of contents
Vanya and Sonia and Masha and Spike
Apr 16–May 25, 2014
2
By Christopher Durang Directed by Eric Rosen
The Setting
3
Meet the Playwright and the Director
4
Durang on Durang
5
Chekhov in Brief
6 Anton Chekhov
8
Bios: The Cast
9
Bios: The Artistic Team
11 Bios: The Staff
12 Audience Services
13 Q&A with Kwame
18 Supporting the Annual Fund
25 Preview: Up Next
26 Preview: 2014/15 Season
28 Center Stage Staff
A co-production with Kansas City Repertory Theatre Eric Rosen, Artistic Director Angela Gieras, Executive Director Jerry Genochio, Producing Director
The Cast
(in order of appearance)
Bruce Randolph Nelson*
Vanya
Barbara Walsh*
Sonia
Kerry Warren*
Susan Rome*
Zachary Andrews*
Emily Peterson*
Brooke Redler*
Cassandra Masha Spike Nina Stage Manager
* Member of Actors’ Equity Association
The Artistic Team
Vanya and Sonia and Masha and Spike is made possible by:
Season 51 Presenting Sponsor:
Eric Rosen
Donald Eastman
Melissa Torchia
Costume Designer
Victor En Yu Tan
Lighting Designer
Joshua Horvath
Sound Designer
Chip Miller, Gavin Witt
Stephanie Klapper
Chip Miller
Director Scenic Designer
Dramaturgy Casting Director Assistant Director
There will be one 15-minute intermission 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.
PLEASE TURN OFF ALL ELECTRONIC DEVICES. IN CASE OF EMERGENCY 410.986.4080 (during performances). Originally produced on Broadway by: Joey Parnes, Larry Hirschhorn, Joan Raffe/Jhett Tolentino, Martin Platt & David Elliot, Pat Flicker Addiss, Catherine Adler, John O’Boyle, Joshua Goodman, Jamie deRoy/Richard Winkler, Cricket Hooper, Jiranek/Michael Palitz, Mark S. Golub & David S. Golub, Radio Mouse Entertainment, Shawdowcatcher Entertainment, Mary Cossette/Barbara Manocherian, Megan Savage/Meredith Lynsey Schade, Hugh Hysell/Richard Jordan, Cheryl Wiesenfeld/Ron Simons, S.D. Wagner, John Johnson in association with McCarter Theater Center and Lincoln Center Theater Originally commissioned and produced by McCarter Center Theater, Princeton, N.J. Emily Mann, Artistic Director; Timothy J. Shields, Managing Director; Mara Isaacs, Producing Director; and produced by Lincoln Center Theater, New York City under the direction of Andre Bishop and Bernard Gersten in 2012.
“Here Comes The Sun” Written By George Harrison Published By Harrisongs, Ltd. (ASCAP) Used By Permission. All Rights Reserved Vanya and Sonia and Masha and Spike is presented by special arrangement with Dramatists Play Service, Inc., New York.
Vanya and Sonia and Masha and Spike | 1
S et t in g
time and Place
TIME: The Present PLACE:
These siblings are gathered in a lakeside farmhouse, nestled within Bucks County, PA. However, the idleness of country living can play out in many settings—certainly any wealthy, provincial locale.
Podolsk, Russia
2
Millford, Pennsylvania
M EET
The playwright & The Director
Emily Peterson and Mary Beth Fisher Photo by Don Ipock/Kansas City Repertory Theatre
From the Director
In a play that refers to and quotes from every major Chekhov play, especially Uncle Vanya, Three Sisters, The Cherry Orchard, and The Seagull, Durang does something magical: he invents a perfectly plausible comedic world in which four famous characters from these plays are reincarnated as a highly dysfunctional family living in the wealthy enclave of Bucks County, PA. Most important, the comedy he creates is not in any way sendup, camp, or satire, and it is entirely original on its own terms. Adding a touch of Greek tragedy, voodoo, and a self-described “young stud” who was almost cast in Entourage 2, Durang has created a classic comedy that is uniquely, well, Durangian, I suppose, by emulating the emotional pull of all the repression, torture, despair, and hope that are described as Chekhovian. As the character Sonia says, “It’s all rather Pirandellian. And rather cheeky.” Eric Rosen Artistic Director Kansas City Repertory Theatre
Playwright Christopher Durang
lives in Bucks County, PA, in what the New York Times calls “bourgeois comfort in an 18th-century stone house with his partner of nearly 20 years”—a setting that helped inspire Vanya and Sonia and Masha and Spike. He grew up in New Jersey attending Catholic schools, wrote his first play at age eight, and co-wrote his first musical at 13. He received his BA from Harvard and MFA in playwriting from the Yale School of Drama and has since received numerous awards and accolades for a body of work including The Marriage of Bette and Boo, Beyond Therapy, and Sister Mary Explains It All for You. Durang also contributed to the Center Stage 50th Anniversary My America project (see www.centerstage.org/ MyAmerica).
Vanya and Sonia and Masha and Spike | 3
Christopher Durang is the author of many plays, including Beyond Therapy; Sister Mary Ignatius Explains It All For You; The Marriage of Bette and Boo; Laughing Wild; Betty’s Summer Vacation; and Why Torture is Wrong, and the People Who Love Them. For this interview, he spoke with…himself.
Chris: What’s a “comic” blender? Durang: It’s a blender that is funny. As opposed to a tragic blender. Chris: And is this play a parody of Chekhov? Durang: No, it is not. I have written parodies, but this is not one. It is a “regular” play that is set in the present time, in Bucks County, Pennsylvania. And Vanya and Masha are brother and sister, and Sonia is their adopted sister. And they had professor parents who named them after Chekhov characters. But they are not in pre-revolutionary Russia, and they don’t have samovars, and they don’t pay for things with rubles. On the other hand, they are filled with regret and bitterness and are busy wondering if they made the right choices in life. Vanya and Sonia, in particular, feel they have missed having a life, and they are resentful of their sister Masha who is a movie star. And Spike is Masha’s new, not-terribly-age-appropriate boyfriend. Chris: I’m sorry, I wandered into the kitchen to get a ginger ale. Could you say that all again? Durang: No, I couldn’t. But the tape recorder was on, you can transcribe it later on. Chris: Oh Lord. Transcribing things. Very difficult. But how I love ginger ale. Durang: Me too! And to answer your question, I am not an alcoholic, but I do love ginger ale. Chris: I’m sorry. What about alcoholic? Durang: Nothing. I just like to say that I am not one. It’s unusual. Chris: Uh huh. So this play, which is a parody, pokes fun at the work of Tennessee Williams, right? Durang: IT IS NOT A PARODY. Is something wrong with your short term memory?
4
Durang
Durang: Well, it’s called Vanya and Sonia and Masha and Spike. It takes Chekhov themes and characters and mixes them all up, as if I’ve put them into a comic blender.
Durang ON
Chris: Tell me about your new play.
Chris: There certainly is. And with yours. I remember you said something to me this morning, and I can’t for the life of me remember what you said. Durang: When I read Chekhov in college, I really loved it…but I was in my early 20s, and when I read about the middle aged and older characters feeling gloomy with their life choices, I felt empathy—but I was very young, I had all my hopes and plans ahead of me.[….] And now that I am a lot older, suddenly I totally understand those characters who are looking back, and thinking, oh that was a mistake. Or oh that was a missed opportunity. Or they’re looking ahead and saying, oh Lord the future looks bleak. Especially since the weather is now terrifying. Gosh those people who deny global warming exists…well, it’s hard sharing a planet with people who think science is bunk, and oil is fine, and I guess we’re stuck with nothing being done until the earth becomes uninhabitable. With the extreme heat, I envision people needing to walk around in plastic, air-conditioned bubbles. For real. Chris: I am texting my massage person. Please don’t talk for a little while, I am having trouble with my autocorrect. I told him I couldn’t see him for a massage, and autocorrect changed it to I wanted to sue him for a sausage. And now he’s upset. Durang: Yes, to answer your question, my characters live in the present and they use telephones and texting and Google. So it is in the present. Chris: Why does autocorrect think sausage is a sensible word but not massage? Durang: I don’t know. Nothing in the world makes sense. I want to end this interview. You’re not listening to me. Chris: Yes, I am. Your play is a parody, you admit you’re an alcoholic, and you are bitter and you want to live in an air-conditioned bubble. Durang: Uh huh. You know the dramaturg did an interview with me. I’m going to ask her to print some of that. And you should go back to bed and eat your chocolates. Chris: I love to stay in bed all day. That’s the problem with today. I got up.
This interview originally appeared in conjunction with the McCarter Theatre Center production of Vanya and Sonia and Masha and Spike. Reprinted by permission.
Shakespeare. Molière. Ibsen. Williams. Churchill. Sondheim. Wilson.
These theatrical giants have their passionate supporters, those who swear by their every word and would walk barefoot over glass to enjoy their work. But if there is one sine qua non, one n’est plus ultra, one bomb-diggetty—one playwright whom theater people seem to cherish above all others—it’s Anton Chekhov. Dead of tuberculosis at an untimely 44, he nevertheless managed in his too-brief career to change theater profoundly—and left a body of writing that endures still, from short stories and vaudevilles to his four major plays.
spoiler alert
Chekhov in Brief By Gavin Witt, Associate Artistic Director
Left: David Adkins and Christine Marie Brown in Three Sisters. Right: James Lawless, Lois Smith, and Stephen Markle in The Cherry Orchard Photos by Richard Anderson
Uncle Vanya (last produced at Center Stage, 1986-87)
On a remote country estate, Uncle Vanya lives and works in reasonably contented obscurity with his mother and his niece, Sonia. They share occasional visits with the local doctor, Astrov—who loves vodka more than medicine, but who’s managed to capture Sonia’s heart. Love and longing soon prove catching, when outsiders arrive in the person of Vanya’s former brother-in-law, a famous professor, and his new, young wife, Yelena. The Professor’s arrival throws quiet routines into a tizzy, and beautiful Yelena does the same for Vanya and Astrov. Shots get fired, hearts get broken, vodka gets drunk, until the visitors leave and calm—along with broken dreams and disappointment—settles over the estate once again.
Three Sisters (last produced at Center Stage, 2006-07)
Prozorov sisters Olga, Masha, and Irina are the toast of their small Russian town—where they live, along with their brother, Andre, in the reflected glory of their dead father. Andre is a promising scholar, Irina an eligible young belle, the glitter of Moscow beckons, and the future is bright with possibility. And into town marches a regiment, with a dashing officer at its head and a Count and a Baron in its ranks. Married Masha takes up with worldly Colonel Vershinin, and the Count and the Baron vie for Irina’s attentions. But time marches on, and Moscow remains a distant dream. Expectations go unfulfilled, marriages go awry, the Count kills the Baron in a duel, the regiment marches off, and the sisters remain—sadder, older, and perhaps wiser.
The Cherry Orchard (last produced at Center Stage, 1994-95) Lyuba Ranevskaya and her brother Gayev hail from an old aristocratic family, who have owned the beautiful cherry orchard and its estates for generations, enjoying a life of idle ease. Now they’ve fallen on hard times, and the estate faces the auction block. Surrounded by an eclectic mix of hangers-on, servants, and relations, the family must embrace change or get run over by it. Wealthy Lopakhin, descendant of the estate’s serfs but devoted to Ranevskaya, has a plan that involves selling and ripping up the orchard, but the family won’t consider it. When the gavel falls, Lopakhin has bought the estate after all, though it brings none of the triumph he expected. And the family drifts on, into an uncertain future.
The Seagull (last produced at Center Stage, 1971-72) Konstantin has written a play. Not just any play, but one the rebel artist hopes will shake up the old order forever—an order personified by his mother, the legendary actress Arkadina. They gather at a country estate, where the beautiful and naïve neighbor girl, Nina, agrees to perform the play for Arkadina and her lover, the renowned author Trigorin. Meanwhile, Masha longs for Konstantin, who longs for Nina, who longs for Trigorin, who lives with Arkadina but longs for youthful ardor and fresh inspiration. Amid this longing, his play’s failure and a failed suicide attempt leave Konstanin recuperating in his mother’s care, while Nina pursues fame, fortune, and Trigorin to Moscow. She returns two years later, dreams dashed. Konstantin still loves her, Masha still yearns for him, but Nina still cares only for the footlights’ fleeting folly. Rejected again, Konstantin finally succeeds—in shooting himself. Vanya and Sonia and Masha and Spike | 5
Anton Chekhov
— the immortal Russian master of tortured, repressed longing—
famously thought most of his plays were comedies. Over the last century, millions of audience members have disagreed. Enter Christopher Durang, the American master of absurdist comedies, who struck gold with an idea to reveal just how funny Chekhov can be in his Tony-winning Vanya and Sonia and Masha and Spike.
—Eric Rosen, Artistic Director of Kansas City Repertory Theatre
All I wanted was to say honestly to people Have a look at yourselves and see how bad and dreary your lives are The important thing is that people should realize
for when they do they will most certainly create another and
better
life for themselves —Anton ChekHov
that
Born on January 29, 1860, in Taganrog, Russia, on the Sea of Azov, Anton Pavlovich Chekhov would eventually become one of Russia’s most cherished storytellers. The son of a grocer and the grandson of a serf, young Chekhov began working at an early age in his father’s grocery store. When his father fled Taganrog in 1876 to escape his creditors, 16-year-old Chekhov was left to care for his home and family, which included his mother and three younger siblings. Chekhov’s own family home and shop were auctioned off.
humorous stories and sketches under a pen name to help support his family. After graduating in 1884 with a degree in medicine, he began to freelance as a journalist and writer of comic sketches. Early in his career, he mastered the form of the one-act and produced several masterpieces of this genre including The Bear (1888), in which a creditor hounds a young widow but becomes so impressed when she agrees to fight a duel with him that he proposes marriage; and The Wedding (1889), in which a bridegroom’s plans to have a general attend his wedding ceremony backfire when the general turns out to be a retired naval captain “of the second rank.”
In 1879, Chekhov enrolled as a medical student at the University of Moscow. During his years in school he wrote
His first full-length play, Ivanov, an immature work when compared to his later plays, was produced in 1887 in
Adapted from an article by Laura Sales in McCarter Theatre’s 2003 Uncle Vanya study guide.
6
Moscow, with not much success, although a subsequent production in St. Petersburg in 1889 was popular and praised. His next play, The Wood Demon (1889), had trouble finding a producer and was critically panned. Through the success of his stories and articles, by 1892 he was able to fulfill his lifelong dream of buying an estate at Melikhovo, near Moscow. There he entertained himself with gardening, planting entire forests and a cherry orchard of his own. It was during his stay in Melikhovo in 1895 that Chekhov wrote The Seagull. Its first performance at the Alexandrinsky Theatre in St. Petersburg in 1896 was so badly received that Chekhov actually left the auditorium during the second act and vowed never to write for the theater again. But in the hands of the Moscow Art Theatre
Chekhov family and friends in 1890. (Top row, left to right) Ivan, Alexander, Father; (second row) unknown friend, Lika Mizinova, Masha, Mother, Seryozha Kiselev; (bottom row) Misha, Anton
in 1898, The Seagull was transformed into a critical success. It was also at the Moscow Art Theatre in 1898 that Chekhov saw the actress Olga Knipper, and soon after wrote to a friend, “Were I to stay in Moscow, I would fall in love with her.” By 1901, Chekhov and Knipper were married. In 1899, Chekhov gave the Moscow Art Theatre a revised version of The Wood Demon, now titled Uncle Vanya (1899). Along with The Three Sisters (1901) and The Cherry Orchard (1904), it cemented Chekhov’s important place in the history of modern theater. However, although the Moscow Art Theatre productions brought Chekhov great fame, he was never quite happy with the style that director Konstantin Stanislavsky imposed on the plays.
While Chekhov insisted that most of his plays were comedies, Stanislavsky’s productions tended to emphasize their tragic elements. In spite of their stylistic disagreements, it was not an unhappy marriage, and these productions brought widespread acclaim to both Chekhov’s work and the Moscow Art Theatre itself. Chekhov considered his mature plays to be a kind of comic satire, pointing out the unhappy nature of existence in turn-of-thecentury Russia. Perhaps Chekhov’s style was described best by the writer himself: “All I wanted was to say honestly to people: ‘Have a look at yourselves and see how bad and dreary your lives are!’ The important thing is that people should realize that, for when they do, they will most certainly create another and better life for themselves. I will
not live to see it, but I know that it will be quite different, quite unlike our present life.” During Chekhov’s final years, he was forced to live in exile from the intellectuals of Moscow. In March of 1897, he suffered a lung hemorrhage, and although he still made occasional trips to Moscow to participate in the productions of his plays, he was forced to spend most of his time in the Crimea for the sake of his health. He died of tuberculosis on July 14, 1904, at the age of forty-four, and was buried in Moscow.
Vanya and Sonia and Masha and Spike | 7
Bios The Cast
Zachary Andrews*—Spike.
Center Stage: debut. Regional—Denver Center Theatre Company: Romeo and Juliet, Three Musketeers, A Christmas Carol; Germinal Stage Denver: Long Day’s Journey Into Night, The Actor’s Nightmare, More Stately Mansions, Candida; Riverside Theatre Shakespeare: Two Gentlemen of Verona, Ah! Wilderness, Love’s Labour’s Lost, Romeo and Juliet; Colorado Shakespeare Festival: Three Musketeers, A Comedy of Errors, Much Ado About Nothing. Kansas City—KC Rep: Vanya and Sonia and Mashsa and Spike, Romeo and Juliet, A Christmas Carol; Coterie: Dracula: The Journal of Jonathan Harker; UMKC Theatre: The Last Days of Judas Iscariot (Guest Artist), Arcadia, The Master and Margarita, Great Expectations. Education/Training—BFA, University of Colorado; Second City Conservatory Program; MFA, UMKC.
Bruce Randolph Nelson*— Vanya. Center Stage: Animal
Hopkins University. Teaching—Everyman Theatre. Education—Towson University.
Emily Peterson*—Nina.
Center Stage: debut. Regional—Collaboraction: Picasso After Dark; Black Hills Playhouse: Leading Ladies; Old Creamery Theatre: The Glass Menagerie); Okoboji Summer Theatre: Doubt, Alice in Wonderland, Nunsense II. Kansas City—KC Rep: A Christmas Carol, Saved, Liliom; Kansas City Actors Theatre: Picnic, The Mousetrap, Inspector Hound; Heart of America Shakespeare Festival: As You Like It, Antony and Cleopatra, A Midsummer Night’s Dream; The American Heartland Theatre: The Importance of Being Earnest, The 39 Steps; Metropolitan Ensemble Theatre: Pride and Prejudice; Bellenwissle Productions: Alice in Wonderland. Film/TV—Can currently be seen on NBC’s Chicago PD and USA’s Sirens. Education—BFA, Stephens College.
Susan Rome*—Masha.
Center Stage: Mud Blue Sky, Crackers, …Edgar Allan Poe, An Enemy of the People. Galileo, Arms and the Man. Regional—Theatre J: After Regional—Rep Stage: The the Revolution (Mel, Helen Goat (Martin), Hysteria Hayes nomination), The (Dalí), The Violet Hour Argument (Sophie), The (Gidger, Helen Hayes Award), The Dazzle Moscows of Nantucket (Ellen), Spring (Langley, Helen Hayes Award), Irma Vep Forward, Fall Back (Minnie, Naomi), The Last (Lady Enid, Helen Hayes nom), Faith Healer Seder (Julia), The Ride Down Mt. Morgan (Teddy, Helen Hayes nom); Everyman (Leah); Rep Stage: Las Meniñas (Mother Theatre: Company Member, The Dresser Superior/Queen Mother), A Shayna Maidel (Norman), Red (Rothko), August: Osage (Mama); Baltimore Shakespeare Festival: County (Steve), The Beaux’ Strategem (Boniface/Foigard), You Can’t Take It with You Richard III (Elizabeth), Macbeth (Lady Macbeth), All’s Well That Ends Well (Widow); (Kolenkhov), Private Lives (Elyot), Artemis Productions: Why We Have A Body Shipwrecked! (Louis/Best Actor City Paper), I (Renee); Center Stage Seattle: The Legacy Am My Own Wife (Charlotte), The Pavilion (Rachel); Mark Taper Forum: The Substance (Narrator/Best Actor City Paper); Folger of Fire (Sarah); Padua Hills Playwrights Theatre: The Comedy of Errors (Antipholus of Festival: The Interpreter of Horror (Willa), Ephesus), She Stoops to Conquer (Tony); Amado Amor (Ensemble); Road Theatre Olney Theatre Center: Farragut North (Paul), Company: The Chisholm Trail Went Through The Underpants (Cohen); Woolly Mammoth Here (Eileen), The Walkers (Fern), Why Things Theatre: Company Member, Dead Man’s Cell Burn (Vera), I-Land (Lana), Balm in Gilead Phone (Dwight, Originated Role), Fuddy (Terry, Rust); Fountain Theatre: The Couch Meers (Limping Man, Helen Hayes nom); The (Toni); Burbage Theatre: Bad Country (Tony); Shakespeare Theatre: The Taming of the Cast Theatre: Perpetual Care (Susan); Shrew (Tranio); Signature Theatre: Never the Ensemble Studio Theatre: Branches Among Sinner (White). Tour—National Players. the Stars (Nora); Nosotros Theatre: Of Mice Facilitation—McCormick Spice, Johns 8
and Men (Curley’s Wife). Film/TV—My One and Only, The Invasion, A Dirty Shame, The Wire, The Secret Service, NYPD Blue. Education—BFA, Boston University.
Barbara Walsh*—Sonia.
Center Stage: A Little Night Music. Broadway—Falsettos (Tony, Drama Desk nominations, L.A. Ovation Award); Company (Drama Desk and Drama League nominations, PBS Great Performances); Hairspray; Big; Blood Brothers; Nine; Rock ‘n Roll: the first 5,000 years; Ragtime (Mother: Chicago company). Off Broadway—1,000 Words Come to Mind, Normal, Birds of Paradise, Reading Under the Influence, Forbidden Broadway. National Tours— Falsettos, Chess (Carbonell Award), Les Misérables, Nine, Oklahoma! Regional— Company, Master Class, Grey Gardens, A Little Night Music, Creating Claire, 33 Variations, Dinner With Friends, The Sisters Rosensweig, and A Streetcar Named Desire. Film/TV— Life with Mikey, Law & Order, One Life to Live. www.barbarawalsh.biz.
Kerry Warren*— Cassandra. Center Stage:
debut. Off Broadway—Public Theater: Much Ado About Nothing (dir. Kwame Kwei-Armah); ESPA/Primary Stages: Black Hoodie; Las Vegas Academy: The Elephant Man, As You Like It; Insurgo Theatre Movement: Macbeth. Juilliard—Pericles, The Taming of the Shrew, Twelfth Night, Romeo and Juliet, Henry V, In the Continuum, McReele, Bike America, Trust, Cabaret, Chekhov Stories, Lorca Project. Education—The Juilliard School Drama Division; British American Drama Academy.
Bios
The Artistic Team
Eric Rosen—Director, was the founding Artistic Director of Chicago’s About Face Theatre (AFT) from 1995 to 2008, and is a writer, director, and producer. Original projects include Venice (KC Rep, Center Theatre Group, Public Theater, “Best Musical of 2010” TIME Magazine); Wedding Play (Steppenwolf/AFT, Jeff nom); Winesburg, Ohio (Steppenwolf/AFT, Arden Theatre Company, KC Rep, Barrymore Award, Jeff Award); Clay (AFT, Lookingglass Theatre, Center Theatre Group, KC Rep, Lincoln Center/CT3, Drama Desk Nom, Jeff Award); Undone, Whitman and Dream Boy (Jeff Award, several productions across the country). In addition to Venice, other Rep directing credits include: Clay; Winesburg, Ohio; world premiere of A Christmas Story, The Musical! (three Tony noms, including Best Musical); Cabaret; August: Osage County; The Whipping Man; Pippin; Death of a Salesman and Romeo and Juliet. Additional directing credits include productions at Lincoln Center, Center Theatre Group, Steppenwolf, Goodman, Alliance, Lookingglass, Chicago Shakespeare, Hartford Stage, 5th Avenue, Prince, Cincinnati, Melbourne (Australia); workshops at Sundance, O’Neill, Playwrights Horizons, and the Public Theater. He has developed and produced over 40 world premieres, including Doug Wright’s Pulitzer Prize- and Tony Award- winner I am My Own Wife and work by Mary Zimmerman, Frank Galati, Stephen Flaherty, Moisés Kaufman, David Cale and The Civilians, among others. He holds a doctorate in performance studies from Northwestern University, and has twice served as an NEA panelist, and serves on the Board of Directors of Theatre Communications Group, the national organization of non-profit theatres.
His play Betty’s Summer Vacation (Drama Desk Award nom) had its world premiere at Playwrights Horizons to great critical acclaim and sold-out houses and was extended three times (four Obie Awards). His musical (with music by Peter Melnick) Adrift in Macao premiered at New York Stage and Film. Mrs. Bob Cratchit’s Wild Christmas Binge was commissioned by Pittsburgh’s City Theater. He and Sigourney Weaver co-wrote and performed in their acclaimed Brecht-Weill parody Das Lusitania Songspiel and were both nominated for Drama Desk Awards for Best Performer in a Musical. In 1993, he sang and tried to dance in the five-person Off-Broadway Sondheim revue Putting it Together with Julie Andrews at Manhattan Theatre Club. He played a singing Congressman in Call Me Madam with Tyne Daly as part of Encores! He can be heard on cast recordings of both productions. In movies, he has appeared in The Secret of My Success, Mr. North, The Butcher’s Wife, Housesitter, The Cowboy Way, The Object of My Affection, Simply Irresistible, and The Out of Towners, among others. For television, he wrote for the Carol Burnett special “Carol and Robin and Whoopi and Carl;” and for PBS’ series Trying Times, he wrote a teleplay called The Visit starring Swoosie Kurtz. He’s written several screenplays, including The House of Husbands (co-authored with Wendy Wasserstein), The Adventures of Lola for TriStar and director Herbert Ross, The Nun who Shot Liberty Valance, and his own adaptation of Sister Mary…, which aired on Showtime with Diane Keaton; and two sitcom pilots, Billy and Meg (for Fox Television) and Dysfunction! The TV Show for Warner Brothers. Awards—Guggenheim, Rockefeller, CBS Playwriting Fellowship, Lecompte du Nouy Foundation grant, Kenyon Festival Christopher Durang—Playwright. Theatre Playwriting Prize, and Lila Wallace Christopher Durang’s plays include A History Readers Digest Award. Education—He has of the American Film (Tony nom, Best Book an MFA from the Yale School of Drama. He is of a Musical), The Actor’s Nightmare, Sister co-chair of the Playwriting Program at the Mary Ignatius Explains It All for You (Obie Juilliard School in Manhattan and a member Award), Beyond Therapy, Baby with the of the Dramatists Guild Council. Bathwater, The Marriage of Better and Boo (Obie Award, Dramatists Guild Hull Warriner Donald Eastman—Scenic Designer. Center Stage: Ma Rainey’s Black Bottom, The Award), Laughing Wild, and Durang Durang. The Idiots Karamozov, a full-length play with Piano Lesson, The Baltimore Waltz, The Loman Family Picnic, Police Boys. Broadway— music written with Albert Innaurato, was Cuba…w/ Robert DiNiro. Off Broadway— revived at the American Repertory Theatre.
The Public, Classic Stage Company, La MaMa Experimental Theatre Company, Signature Theatre, The Women’s Project. Opera—New York City Opera, Glimmerglass Festival, San Francisco Opera, BAM Next Wave Festival, Seattle Opera, Lincoln Center Festival. Regional—KC Rep: American Buffalo, August: Osage County, The Drawer Boy; Arena Stage: My Fair Lady, Mary T and Lizzy K; American Conservatory Theater, Goodman Theatre, Guthrie Theater, Hartford TheaterWorks, Seattle Rep. Awards—2013 Best of Kansas City Award for American Buffalo, Village Voice OBIE for Sustained Excellence, NEA Grantee. Education—California Institute of the Arts and Yale School of Drama. Recent and Upcoming—Cendrillon (Juilliard), Don Quichotte (Canadian Opera), Appomattox (Washington National Opera).
Melissa Torchia—Costume Designer.
Center Stage: debut. Regional—The House Theatre: Rose and the Rime, The Iron Stag King, The Crownless King, The Magnificents; Chicago Shakespeare Theatre: A Midsummer Night’s Dream; Court Theatre: Jitney, Mountaintop; California Shakespeare Theater: The Verona Project; Lookingglass Theatre: Peter Pan; Steppenwolf: Samuel J and K; Paramount Theatre: My Fair Lady, Joseph and the Amazing Technicolor Dreamcoat, Hair; American Theatre Project: Grease; Drury Lane Theatre Oakbrook: Gypsy, Aida, Sugar; American Musical Theatre Project, Northwestern University: Not Wanted on the Voyage; Remy Bumppo: The Importance of Being Earnest (Jeff nom); A Red Orchid Theatre: Abigail’s Party, Butcher of Baraboo. Education—MFA in Costume Design, Northwestern University. Ms. Torchia presented her design work at the Prague Quadrennial, an international scenography conference. www.melissatorchia.com
Victor En Yu Tan—Lighting Designer.
Center Stage: The Colored Museum. Broadway—NYSF at the Belasco Theater: As You Like It, Macbeth, Romeo & Juliet. Off Broadway/New York—Julia Miles Theatre: Imelda, Shogun Macbeth, Tea, Rashomon; New Victory Theater: Sheila’s Day; Carnegie Hall: Noa Ain’s opera Trio; over 25 plays for New York Shakespeare Festival and over 40 plays for Pan Asian Repertory Theatre. Regional—KC Rep: Romeo & Juliet, Vanya and Sonia and Masha and Spike | 9
Carousel, Death of a Salesman, The Whipping Man, Broke-ology, Borderland, Liliom, Machinal, and others; Crossroads Theatre: KC Swing!, Fishy Waters, Train to 2010; Virginia Stage: Odd Couple; Virginia Stage/Capital Rep/Santa Barbara ETC co-production: Black Pearl Sings!; Hartford Stage: Sheila’s Day; Colorado Shakespeare Festival: King Lear, Taming of the Shrew, Our Town, To Kill a Mockingbird, Hamlet; Goodman Theatre: Ballad of Emmitt Till (Premiere); Arena Stage: Resurrection (Premiere); Theater for the New City: On Naked Soil (Premiere); Cleveland Playhouse: Gee’s Bend; Sacramento Opera, Pasadena Playhouse, Actors Theatre of Louisville, Indiana Repertory Theatre, Mark Taper Forum, Asolo Theatre, Cincinnati Playhouse, and other regionals.
Joshua Horvath—Sound Designer. Center Stage: Crime & Punishment, Around the World in 80 Days. Off Broadway—Lincoln Center: Clay. Regional—Lookingglass Theatre: Around the World in 80 Days, Hephaestus, Fedra: Queen of Haiti, 1984, They All Fall Down; Long Wharf: A Civil War Christmas, Man of La Mancha, Carousel; Hartford Stage: A Raisin in the Sun; Goodman: Pullman Porter Blues, The Good Negro, The Sins of Sor Juana, The Long Red Road, Ain’t Misbehavin’, Proof, Electricidad, Rock n’ Roll, The Crowd You’re in With; Steppenwolf: Jesus Hopped the ‘A’ Train, Taking Care; Court Theatre: Arcadia, Titus Andronicus, Guys and Dolls, Fences, The Illusion; Kansas City Rep: The Foreigner, Little Shop of Horrors, Venice, Around the World in 80 Days, Saved, Clay, Winesburg, Trip to Bountiful; Kirk Douglas Theatre: Venice, Clay, Permanent Collection. Awards—Fourtime Jeff Award winner and 10-time nom; LA Weekly Award nom; ASCAP. Other Professional—Company member House Theatre of Chicago; Lookingglass Artistic Associate; collaborative partner of The Goodman Theatre; co-owner of Aria Music Designs, LLC; teaches sound design for theater and film at Northwestern University. Brooke Redler*—Stage Manager. Center Stage: debut. Off Broadway—Fault Line Theatre: From White Plains, the Faire, Breathing Time; Regional—Kansas City Repertory: Stage Manager The Whipping Man, A Christmas Carol, August: Osage 10
County, Cabaret, Saved, Palomino; Assistant Stage Manager Bus Stop, A Flea in Her Ear, Winesburg, Ohio, Radio Golf, The Drawer Boy, A Marvelous Party!, Bad Dates, The Syringa Tree, Love, Janis, Clay; Starlight Theatre: Production Stage Manager Peter Cottontail III, Assistant Stage Manager Aladdin Jr., Anything Goes, The King and I, Cinderella; HASF: Assistant Stage Manager King Henry V, Romeo and Juliet; Utah Shakespeare Festival: Stage Manager Peter and the Starcatcher, Richard II; Creede Repertory: Stage Manager The Drowsy Chaperone, Is He Dead?, Harry The Great; Stages St. Louis: Assistant Stage Manager Big River, Promises, Promises. Opera—Long Beach Opera: Production Stage Manager Moscow Cherry Town, Medea, Assistant Stage Manager The Good Soldier, Schweik; Santa Fe Opera, two seasons.
Gavin Witt—Production Dramaturg. (see
page 11)
Stephanie Klapper—Casting Director.
Klapper’s casting work has been seen on Broadway, Off-Broadway, regionally, internationally, and on television, film and the internet. Selected recent Broadway/ Off Broadway: Dividing the Estate (2009 Tony Nomination); The Temperamentals; A Lifetime Burning; King Lear; Incident at Vichy; A Dangerous Personality; King of Shadows; an oak tree (Artios Award winner), Indoor/Outdoor. Resident casting director for Primary Stages. NY casting for Eric Rosen’s Winesburg, Ohio (KC Rep); Mary Zimmerman’s The Arabian Nights (KC Rep & Berkeley Rep), The Sound of Music (The New Theatre); The Picture of Dorian Gray (Round House Theatre); A Streetcar Named Desire (English Theatre of Frankfurt), New York, U.S. and international tours of In the Continuum. She has ongoing projects in NYC and with many regional theaters around the country as well as numerous independent films. Klapper is a member of the Casting Society of America and the League of Professional Theatre Women.
Kansas City Repertory Theatre—Just shy of its 50th anniversary, Kansas City Repertory Theatre is one of the nation’s oldest and most respected regional theaters. Lauded by The Wall Street Journal, TIME magazine, Variety, and the Toronto Sun, the
Rep produces mainstage plays and special events at Spencer Theatre, where it serves as the professional theater in residence at the University of Missouri-Kansas City, and Copaken Stage located in downtown Kansas City. Under the artistic direction of Eric Rosen, the Rep’s original work and collaborations have been seen across the country. With 22 production transfers in the last five years the Rep is emerging as an important center for the creation of new work of national significance. Recent transfers to Broadway and Off-Broadway include Venice at the Public Theater (with Center Theatre Group), Clay at Lincoln Center/LCT3, A Christmas Story: The Musical (Broadway, Tony nom, best musical), Tom Sawyer at the New Victory, and The Great Immensity (upcoming at the Public.) Kansas City Rep’s leadership team includes Executive Director Angela Lee Gieras and Director of Production Jerry Genochio.
BIOS The Staff
Artistic Director Kwame Kwei-Armah OBE, an award-winning
British playwright, director, actor, and broadcaster, is in his third season as Artistic Director of Center Stage in Baltimore, Maryland. At Center Stage he has directed dance of the holy ghosts (City Paper Top Ten Productions of 2013); The Mountaintop; An Enemy of the People; The Whipping Man (City Paper 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 groundbreaking Raisin Cycle. His other directorial credits include Let There Be Love and Seize the Day at the Tricycle Theatre, Dominique Morisseau’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 Black Arts and Culture, which
featured more than 2,000 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.
Stage in 2003, after nearly 15 years in Chicago as an actor, director, dramaturg, translator, and teacher—and co-founder of the classically based greasy joan & co theater. In addition to working as a dramaturg on scores of productions, readings, and workshops at Center Stage, he has helped develop new work around the country. Before making his Center Stage mainstage directorial debut with Twelfth Night, Gavin directed more than a dozen Young Playwrights Festival entries, as many new play reading, and last year’s 50th Anniversary Decade Plays for Center Stage. A graduate of Yale and the University of Chicago, he has taught at the University of Chicago, DePaul, and locally at Towson; served on the advisory boards of several theaters; and spent more than a decade as a regional vice president of the national association of dramaturgs, LMDA.
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
Associate Artistic Director/ Director of Dramaturgy Gavin Witt came to Center
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
Vanya and Sonia and Masha and Spike | 11
Au dience services Dining
Sascha’s Express, our pre-performance dinner service, is located up the lobby stairs in our Mezzanine café. Service begins two hours before each performance.
Drinks
You are welcome to take beverages with lids to your seats! But please, no food.
Phones
Please silence all phones and electronic devices before the show and after intermission.
Recording
Photography and both audio and video recording are strictly forbidden.
On-Stage Smoking
We use tobacco-free herbal imitations for on-stage smoking and do everything possible to minimize the impact and amount of smoke that drifts into the audience. Let our Box Office or front of house personnel know if you’re smoke sensitive.
Accessibility
Wheelchair-accessible seating is available for every performance. We offer free assistive listening devices, braille programs, and magnifying glasses upon request. An Open Captioned performance* is available one Sunday performance of each production. Several performances also feature Audio Description*.
Parking
If you are parking in the Baltimore Sun Garage (diagonally across from the theater at Monument & Calvert) you can pay via credit card at the pay station in the garage lobby or at the in-lane pay station as you exit. If you have a pre-paid voucher, proceed directly to your vehicle and enter your voucher after inserting the parking ticket you received upon entering the garage, in the machine as you leave. We are unable to validate parking tickets.
Feedback
We hope you have an enjoyable, stress-free experience! Your feedback and suggestions are always welcomed: info@centerstage.org. *Open Captioning & Audio Description performances for Vanya and Sonia and Masha and Spike: Sun, May 11. Audio Description at both 2 pm and 7:30 pm, Open Captioning at 7:30 pm.
12
Q & A
with Kwame
A conversation with Artistic Director Kwame Kwei-Armah
What is the connecting theme of next season’s productions?
One of the things that I love about next season is that all of these stories are about people right on the edge of what they’ve always known. All of these plays are about the moments that come in every life when you know that things are about to change forever—they’re all stories of people stepping into new worlds. And because of that, each one of these shows carries a particularly beautiful kind of weight and tension.
Amadeus
We open with Amadeus, in what will be a really grand revival. The tension between mediocrity and genius has always fascinated me. There’s a sign up on the wall in my office that says “Talent hits a target no one else can hit. Genius hits a target no one else can see.” I think about that a lot as a sort of reminder to myself that there are limitations to talent. I think that is what Salieri has to negotiate with himself. Plus, Amadeus is everything a great play is: the stakes are high, it’s intense, it’s moving, and it’s beautifully written.
Next to Normal
I said that I would bring us more musicals, and I think Next to Normal is the epitome of the modern musical—along with Rent, of course. The music is fantastic, really young, and the subject is intelligent and something that fascinates me. And so we’re going to take this Broadway-scale rock musical and put it in our Head Theater. It is a beautiful story of a family’s struggle to find peace, and I think the intimacy of our theater is going to produce a whole new perspective on the story.
It’s a Wonderful Life
A Civil War Christmas showed us that our audiences are thirsty for this kind of holiday special, and I think this is going to be a lovely show for everyone to bring their family to. The story is told inside the studio of a live 1940s radio broadcast. It is a heartwarming and loving piece of theater, and it’s a take on that classic story that is a little unexpected.
One Night in Miami…
This is the East Coast premiere of a play I saw in Los Angeles last year, about the night that Cassius Clay beat Sonny Liston and became the heavyweight champion of the world. The play puts Muhammad Ali, Sam Cooke, Jim Brown, and Malcolm X in a hotel room. It’s fictitious, but it’s really interesting that the event really happened. It’s a play that we think is going to resonate with our audiences here.
4000 Miles and After the Revolution
Many theaters are producing Amy Herzog’s work across the country. She’s seen as one of the bright stars of American theater, and I wanted to do something a bit different. Rather than introduce her through one of her plays, as others have done, I thought we would do two of her plays in repertory— and then ask her to write a short new piece for our Fourth Space initiative. We’re calling it The Amy Herzog Festival.
And the last play of the season? It will be announced soon, and should be a lot of fun.
Join the conversation!
Email hjackson@centerstage.org with your questions for Kwame and Stephen. centerstagemd
@centerstage_md
Vanya and Sonia and Masha and Spike | 13
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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)
MoNDay
$9 Burger & Pint Night (6pm-12am) 1/2 lb. burger, fries & any 16 oz draft.
TuESDay
$8 Shepherd’s Pie or Fish-n-Chips (6pm-12am)
WEDNESDay
Oyster Night (7-10pm) $1Oysters & $2 Oyster Shooters
THurSDay
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
328 North Charles Street Baltimore, MD 21201
Fiesta Night (7pm-midnight) Bucket of Corona (5) or Margarita Pitcher & Nachos or Quesadilla for $16.
FrIDay
Complimentary Happy Hour Buffet (4pm-7pm) Live Music 9:30pm
SaTurDay
Saturday Brunch: Brunch and limited lunch menu Live Music 9:30
Restaurant 410-539-7504 Office 410-539-1006
www.mickosheas.com E-mail: info@mickosheas.com
Vanya and Sonia and Masha and Spike | 15
16
Vanya and Sonia and Masha and Spike | 17
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.
18
The Annual Fund at Center Stage
The following list includes gifts of $250 or more made to the Center Stage Annual Fund between
September 18, 2012 and March 19, 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! 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 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 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 Kathryn and Mark Vaselkiv Mr. and Mrs. Loren and Judy Western Ted and Mary Jo Wiese 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 Meredith and Joseph Callanan The Campbell Foundation, Inc. Caplan Family Foundation, Inc. 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
The Israel & Mollie Myers Foundation/ Herschel and Judith Langenthal and Jonathan and Beverly Myers Roger F. Nordquist and Joyce Ward
William and Bonnie Clarke Joan Develin Coley and M. Lee Rice
Mr. and Mrs. Lee Ogburn
Barbara Crain and Michael Borowitz
Dr. Bodil Ottesen Linda Hambleton Panitz Dave and Chris Powell Jill and Darren Pratt The James and Gail Riepe Family Foundation Nathan and Michelle Robertson The Rollins-Luetkemeyer Foundation Kurt and Patricia Schmoke Mr. and Mrs. Todd Schubert Gail B. Schulhoff The Tim and Barbara Schweizer Foundation, Inc. Bayinnah Shabazz, M.D. Barbara and Sig Shapiro The Earle & Annette Shawe Family Foundation Barbara P. Shelton
Mr. and Mrs. Eric Dott
Mr. and Mrs. Robert N. Smelkinson Mr. and Mrs. Robert and Terri Smith
The Epp Family
Mr. and Mrs. Scott Smith
Dr. and Dr. Matthew Freedman Frank and Jane Gabor Jose and Ginger Galvez Pamela and Jonathan Genn, in honor of Cindi Monahan and Beth Falcone Richard and Sharon Gentile, in honor of the Center Stage Costume Shop Sandra Levi Gerstung Mr. and Mrs. Benjamin H. Griswold, IV Annie Groeber, in memory of Dr. John E. Adams F. Barton Harvey, III and Janet Marie Smith Bill and Scootsie Hatter Donald and Sybill Hebb 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 Francine and Allan Krumholz H.R. LaBar Family Foundation Fund of The Greater Cincinnati Foundation 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 Mr. and Mrs. Steven and Karen McCurdy
Mr. and Mrs. Carl F. Christ
Irene E. Norton
Jack and Nancy Dwyer Dennis and Patty Flynn
Cindy Candelori Ms. Sue Lin Chong
Judith R. and Turner B. Smith 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
Robert and Janice Davis Richard and Lynda Davis James DeGraffenreidt and Mychelle Farmer
Mr. Donald M. and Mrs. Margaret W. Engvall Sandra and John Ferriter Bob and Susie Fetter David and Merle Fishman 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 Mrs. Heidi Hoffman James and Rosemary Hormuth
Nanny and Jack Warren, in honor of Lynn Deering
Dr. and Mrs. J. Woodford Howard
Janna P. Wehrle
Ralph and Claire Hruban Mr. James Hughes
Mr. Todd M. Wilson and Mr. Edward Delaplaine Ann Wolfe and Dick Mead 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
Mr. and Mrs. Theodore Imes Richard Jacobs and Patricia Lasher Ms. Mary Claire Jeske Max Jordan Kirk and Debbie Joy Dr. and Mrs. Juan M. Juanteguy 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
Mrs. Alexander Armstrong
Dr. and Mrs. Ronald Lesser
Mr. Robert and Dorothy Bair
Marilyn Leuthold
Mayer and Will Baker, in honor of Terry Morgenthaler
Kenneth and Christine Lobo
Mr. and Mrs. Raymond Bank Family Fund of the Baltimore Community Foundation Charles and Patti Baum Jaye and Dr. Ted Bayless Fund of the Baltimore Community Foundation
Dr. and Mrs. Thomas J. Lynch The Dr. Frank C. Marino Foundation, Inc. Mary L. McGeady The Honorable Diana and Fred Motz, in memory of Nancy Roche George and Beth Murnaghan
Mrs. Peggy L. Rice
Deborah and Philip English Ms. Vicky Favor
Mr. and Mrs. Harold Rojas Dorothy L. and Henry A. Rosenberg, Jr.
Kevin and Judy Rossiter 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 Mr. John Wessner Mr. Michael T. Wharton Dr. and Mrs. Frank R. Witter Mr. Norman Youskauskas Mr. Paul Zugates
Advocates ($250-$499) Anonymous
Rita and Walter Abel Ms. Lisa Abrams Mr. and Mrs. Delbert L. Adams Bradley and Lindsay Alger Mr. Alan M. Arrowsmith, II 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
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Leadership—Baltimore County
Ms. Jennifer Nelson
Combined Charity Campaign
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Vanya and Sonia and Masha and Spike | 19
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
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Mrs. Clare H. Stewart, in honor of Bill Geenen
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
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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 McCormick Foundation Norfolk Southern Foundation PNC Bank Stanley Black and Decker SunTrust Bank T. Rowe Price Foundation
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
Cassidy Turley Chapel Valley Landscape Company Cho Benn Holback + Associates Environmental Reclamation Company Ernst & Young FTI Consulting, Inc. Howard Bank Jenkins Baer Associates
Producers’ Circle
McGuireWoods LLP 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
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. Vanya and Sonia and Masha and Spike | 21
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Washington • WJZ-TV • Woodhall Wine Cellars • Woolly Mammoth Theatre Company • World Wrestling Entertainment, Inc. • Wyndham Baltimore Peabody Court • WYPR, Your Public Radio • Y of Central Maryland • Yucatan Holidays • Zippy Tours • Special Thanks to Hillary Jacobs
THANK
YOU! The Baltimore Sun for
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Online
Special Thanks to our Sponsors!
Season 51 Presenting Sponsor:
Legg Mason salutes Center Stage and proudly supports Vanya and Sonia and Masha and Spike.
Fine Indian Cuisine Baltimore’s Premier Indian Restaurant 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
823 N. Charles Street 410-539-0944
www.akbar-restaurant.com
Mon, May 5, 7 pm
Join us for an awards ceremony and professionally staged readings of plays from young playwrights as well as screenings of My America/ My Baltimore monologues by Maryland students in grades k-12. The event is FREE with a $5 suggested donation. Seating is limited, and tickets are required. Reserve your tickets by calling the Center Stage Box Office.
410.332.0033 www.centerstage.org/ypf
Felicia Curry, Lesley Boeckman, John Benoit, and Beth Hylton in Brightly & Jade (2013). Vanya and Sonia and Masha and Spike | 23
Women playing mah jongg in the Catskills, c. 1960, collection of Harvey Abrams.
Exhibit runs
March 30 – June 29, 2014 The Jewish Museum of Maryland 15 Lloyd Street, Baltimore For more information: Jewishmuseummd.org | 410-732-6400
Developed by the Museum of Jewish Heritage – A Living Memorial to the Holocaust
24
A H E A RTW A R M I N G A DV E N TUR E
prev iew up next in Season 51
with
Happy WILD WITH HAPPY By Colman Domingo Directed by Jeremy B. Cohen May 28–Jun 29 Grief is a funny thing. Gil’s boyfriend has left him, his acting career isn’t
exactly taking off, and his mother
just passed away. He’s not taking it all very well. But luckily his
boisterous Aunt Glo, a sensitive
funeral director, and his outrageous
best friend may be exactly what
he needs. Colman Domingo’s new
comedy, a recent smash hit at New
York’s Public Theater, is a wild ride
through love, loss, and, just maybe,
The Most Magical Place on Earth.
Tony Award-nominated
actor Colman Domingo, has “finally become one of those actors where people go, ‘Oh, you look familiar!’” or so Domingo told the Philadelphia City Paper. Having appeared in films such as Lincoln, The Butler, and 42, this actor/writer has also starred in his own Wild with Happy, which premiered at the Public Theatre in New York in 2012. This spring, Domingo’s “absurdly amusing” (Variety) play comes to Center Stage’s Pearlstone Theater under the direction of Jeremy B. Cohen. Domingo manages to create the stuff fairy tales are made of— from the archetypal loss of a mother to the warm glow of unexpected romance. Yet, this play is also a realistic glimpse into the anger, regret, and even humor that arises when we lose a loved one.
“Absurdly
amusing.” –Variety
ADELAIDE: So what, things don’t work out as planned. So what?! You gotta let go and open up to something new. Magic. It baffles me why you don’t have anybody. You are a prize. You gotta pray on your “love” situation. GIL: There is no need to pray on my “love” situation. I live in New York. I can get a “situation” anytime! ADELAIDE: That’s your problem! Too many “situations” and not enough love!
“[Domingo is] extravagantly talented.” –Entertainment Weekly
Vanya and Sonia and Masha and Spike | 25
prev iew
STEp 14/15 into season New Worlds Friends, Welcome to Center Stage’s 2014/15 Season, and step with us into new worlds. There’s a moment in Amadeus when Court Composer Antonio Salieri comes face to face with the realization of his own mediocrity compared to Mozart’s true genius. It’s a tipping point. A moment when everything changes. And it’s in those moments, when the ground seems to give way, that we find out exactly what we’re made of. In 2014/15 that’s what we’re exploring. The moments—big or small, private or public— in every life, when it becomes clear that nothing can stay the same. Some of these stories are deeply personal; others changed the course of history. Together we’ll witness the rise and fall of Mozart, and the night Cassius Clay became Muhammad Ali. We’ll explore one family’s struggle to find their version of normal, and during the holiday season we’ll reimagine the journey of that much-loved everyman, George Bailey. In the spring, we introduce Baltimore to one of America’s brightest young playwrights, Amy Herzog, with two plays about unforeseen transformations in one American family. Through music, drama, and comedy we’re telling stories of legends stepping into new worlds. Are you ready?
Love, Kwame
26
Amadeus By Peter Shaffer
Sep 10–Oct 12
The Epic Masterpiece
In 18th century Vienna, music is the currency of power. And Court Composer Antonio Salieri is the toast of the town. That is, until a young prodigy by the name of Mozart comes on the scene. Reeling from the realization of his own mediocrity in the face of true genius, Salieri swears
vengeance on the God that gifted Mozart’s breathtaking talent. Swells of music and madness stir through Center Stage’s epic new revival of the Tony Award-winning drama that raises the question: how far would you go to secure your legacy?
“One thing has remained constant and exhilarating— Mr. Shaffer’s ability to celebrate genius in a fashion that is simultaneously illuminating, moving, and just.” –The New York Times
Oct 8–Nov 16
Next to NORMAL The Musical That Changed the Rules
Get up close and personal with the Pulitzer Prize-winning musical that changed everything, as Next to Normal gets a blistering new production in Center Stage’s intimate Head Theater. The story of one family’s struggle with mental illness, Next to Normal dives boldly into the gaps and crevices of our modern fragmented lives. Set to an electric score, this “brave, breathtaking musical” (The New York Times) gets right to the heart of what it means to truly miss someone.
Herzog Festival
The
Music by Tom Kitt Book and Lyrics by Brian Yorkey
Center Stage introduces Baltimore to playwright Amy Herzog, one of the most exciting voices in American theater, through two of her hit plays— staged in repertory for the first time ever. Featuring three generations of one New York family, After the Revolution and 4000 Miles are gripping and surprising examinations of the unending power of family to shape our identities and our lives.
Adapted by Joe Landry
Nov 18–Dec 21
It’s a Wonderful Life: A Live Radio Play
A Holiday Classic for the Family
One Night in Miami…
Sam Cooke. Jim Brown. Malcolm X. Muhammad Ali.
Revisit Bedford Falls, fall in love again with George and Mary, and discover the magic of an angel named Clarence. It’s Christmas Eve in 1946, and somewhere in small-town America a live radio broadcast brings to life Frank Capra’s timeless film in all of its feelgood glory. Be a part of the live studio audience, and join the cast and crew as they take you on a journey through the most important evening in one man’s life. It’s the perfect holiday outing for the entire family and, who knows, an angel might even get his wings.
By Kemp Powers
Jan 14–Feb 15
February 25, 1964. Twenty-twoyear-old Cassius Clay has just won the world heavyweight boxing title. Instead of hitting the town, Clay chooses to celebrate in a Miami hotel room with three close friends— activist Malcolm X, singer Sam Cooke, and football star Jim Brown. This fictional account of a real night imagines what might have happened in that tiny hotel room. As the Civil Rights movement stirs outside, and the melody of “A Change is Gonna Come” hangs in the air, four men will emerge from that one night ready to define a new world.
After the
Revolution By Amy Herzog Mar 18–May 17
Emma Joseph is young, ambitious, talented, and about to put the ideals of her politically Leftist, New York family into action. But a long-buried secret about her much-loved, blacklisted grandfather threatens her work and throws her principles—and loyalties— into question. As the family, including grandmother Vera, wrestle with their legacy, Emma must chart her own course forward.
4000
MILES By Amy Herzog
Apr 1–May 24
Set 10 years later, 91-year-old grandmother Vera Joseph takes center stage when, after a tragic loss on a crosscountry bike trip, her 21-yearold grandson Leo shows up at her apartment. As a onenight stopover turns into an extended stay, these unlikely roommates frustrate, bewilder, and—eventually—connect with each other. In ways funny, raw, and heart-wrenching, grandmother and grandson find the common identity each needs to move forward.
TBA Coming SOON!
May 13–Jun 21
Center Stage is finalizing details on a major new project that will be an extraordinary ending to the 2014/15 Season. Vanya and Sonia and Masha and Spike | 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 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 Assistant House Managers– Faith Savill, Caitlin Joseph, Lindsay Jacks, Paul Wissman
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 The Judy and Scott Phares Costumes Intern– Eileen Chaffer Wardrobe Intern–Lucy Wakeland
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
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Development
Director–Cindi Monahan Annual Fund Manager–Katelyn White Grants Manager–Debbie Joy 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
Scenery
Technical Director–Tom Rupp Assistant Technical Director–Laura P. Hilliker Shop Supervisor–Trevor Gohr Carpenters–Mike Kulha, Hunter Montgomery, Scott Richardson
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
Vanya and Sonia and Masha and Spike
Assistant Lighting Designers–Devorah Kengmana, Carly Shiner Carpenters–Foster Bender, Seth Bernard, Jake Epp, Justin Hensley, Daniel Lopez, Brian Jamal Marshall
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
Associate Production Manager–Caitlin Powers Company Manager–Sara Grove Company Management Intern–Samantha Gloria
Properties
Props Master–Jennifer Stearns Assistant Manager–Nathan Scheifele Artisan–Samantha Kuczynski The Kenneth C. and Elizabeth M. Lundeen Properties Intern–Elizabeth Chapman
CONTACT INFORMATION
Box Office Phone 410.332.0033 Box Office Fax 410.727.2522 Administration 410.986.4000 www.centerstage.org info@centerstage.org
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.
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