Wild with Happy Program

May 28–Jun 29, 2014

By Colman Domingo

Directed by Jeremy B. Cohen

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 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….

AUNT GLO. You’re in GRIEF! GRIEF! I saw that on that Dr. Medical something. That woman wrote about it. Lizabeth...Cuba...Gooding! The stages of grief! You got, stage one and two! Denial mixed in with a little anger.

5 Stages

ofGrief:

Denial

Anger Bargaining

Depression Acceptance

In her 1969 book On Death and Dying, Elisabeth Cuba Gooding Kübler-Ross introduced the theory of the five stages of grief. Often applied not just to the dying, but to anyone going through a life-threatening or lifealtering event, these stages are denial, anger, bargaining, depression, and acceptance.

In Wild with Happy, Gil faces the loss of his mother at a time when he already feels alone and rejected—both by work and by his former lover. To top it all off, he must also deal with the presence of his Aunt Glo, who copes with her own grief by clinging to the funeral rites of their community.

But Glo isn’t far off in her assessment of Gil’s state.

Despite all evidence to the contrary—and his insistence that he’s fine—Gil has detached himself, in a phase of denial and isolation, from family and the traditions that Aunt Glo wants for his mother.

Resisting the consoling efforts of a sensitive funeral director and his outrageous best friend, Gil can’t repress the memory of the times he should have been there for his mother as she faced her fate. In an attempt at avoidance, and denying his need to grieve, he rushes back to his familiar—albeit floundering—life in New York.

In his haste to deal with his loss and move on, Gil lashes out in anger. He refuses to see what good religion ever did for his mother. He fights against Glo’s demand for a big memorial. He blames his mother for what he considers her naively childlike belief in magic, wonder, and hope.

Gil may think he’s had the last word, but as Kübler-Ross warns, there are still more stages left on the road to acceptance.

AUNT GLO. Strange you laughing like that.

GIL. I feel like I am having an out-of-body experience.

AUNT GLO. Mmm hmm. I don’t know what stage that is.

Cast

Table of contents

Wild with Happy

May 28–Jun 29, 2014

2

The Setting

3

Meet the Playwright

4

Leaning into Grief

6

Cinderella as Inspiration

9

Bios: The Cast

10 Bios: The Artistic Team

12 Bios: The Staff

13 Q&A with Kwame and Stephen

15 Audience Services

19 Supporting the Annual Fund

25 Preview: 2014/15 Season

26 Center Stage Celebrates

28 Staff

By Colman Domingo Directed by Jeremy B. Cohen

The Cast

(in order of appearance)

Forrest McClendon*

James Ijames*

Chivas Michael*

Stephanie Berry*

Gil Terry, Church Nurse Mo, Elder Bovane Adelaide, Aunt Glo

Laura Smith* Stage Manager Caitlin Powers*

Assistant Stage Manager

* Member of Actors’ Equity Association

The Artistic Team

Season 51 Presenting Sponsor:

Jeremy B. Cohen Director Tony Cisek Scenic Designer Alejo Vietti Costume Designer Robert Wierzel Lighting Designer Robert Kaplowitz Sound Designer and Additional Music Jeff Sugg Projection Designer Catherine María Rodríguez Production Dramaturg Pat McCorkle Casting Director

Media Partner:

There will be no intermission.

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).

World Premiere production by The Public Theater (Oskar Eustis, Artistic Director; Patrick Willingham, Executive Director) Wild with Happy was developed, in part, with the assistance of The Sundance Institute Theatre Laboratory.

Wild with Happy was also developed at TheatreWorks, Palo Alto, CA as part of their New Works Festival (Robert Kelly, Artistic Director; Phil Santora, Managing Director).

Wild with Happy | 1

S et t in g

time and Place

TIME:

The Present

New York Baltimore

Richmond

Savannah Jacksonville

2

Philadelphia

PLACE:

Philadelphia & on the Road

M EET

The playwright

Playwright Colman Domingo Colman Domingo is an award-winning actor, playwright, and director known for his work on stage, television, and film. The proud son of Clarence and Edith Bowles, Domingo was born and raised in Philadelphia, where he completed a degree in journalism at Temple University and where the journey of Wild with Happy begins.

To pen Wild with Happy, Domingo drew inspiration from a trip to

Disney World, from his mother’s passing, and from the experiences

of close friends. The play is a celebratory satire about love, loss, and faith. Reflecting on Wild and his work as a playwright, Domingo

When asked what fairy tale character he would be if given the choice, Domingo laughed, “This

shared, “I’m trying to take you to a place in your dreams. Other

sounds so silly, but I would be

politics of the world. I want to focus on magic and taking your

Seven Dwarfs. He’s marching to his

playwrights can write about the troubles in the world and the breath away.”

Dopey from Snow White and the own drum. I don’t know if he’s really

As a playwright, Domingo showcases a range of influences, from

aware of the story in many ways.

he frequently acts, have enjoyed productions and critical success

He may be a little off—but very

magical realism to Shakespeare and Ionesco. His plays, in which

across the United States and internationally. Domingo is currently under commission from American Conservatory Theater, Berkeley

But I think he’s an innocent. sweet and earnest.”

Repertory Theater Underground, the off-Broadway Inner Voices

series, and People’s Light and Theater Company. He has been

awarded residencies at Sundance Theater Lab, Yaddo, and Banff Playwrights Colony (Canada).

Domingo has starred on Broadway (including The Scottsboro Boys

with Forrest McClendon, seen in this production as Gil), television,

and in film. In addition to his artistic credits, Domingo also serves as

an educator. He is on the faculty of The National Theater Institute at the Eugene O’Neill Theater Center and has taught, guest lectured,

and mentored at various institutions, including the Savannah

College of Art and Design, The New York Writers Institute, Temple University, The Art Institute of San Francisco, and Community

College of Philadelphia (The Center for Male Engagement).

Wild with Happy | 3

Leaning into

Playwright Colman Domingo on Grief, Healing, and Cinderella Stories

Interview by Catherine María Rodríguez, Production Dramaturg

Catherine Maria Rodriguez: I’ve heard you say that in your own healing process, after losing your mother, you “leaned into grief.” What do you mean by that?

Colman Domingo: No one ever knows unless you lose a parent and you hear those words that your mother’s gone...and I know a sound came out of me that I’ve never heard before, and I never will hear again, hopefully. But it was an animal sound. It was that deep.

It was howling for, I don’t know, the Alpha and the Omega. I have no idea. But once you feel that, you think you’re devastated and you’ll never be the same. I really didn’t know who I was anymore. All of a sudden I’m an orphan. A dear friend said to me “Let it wash over you.

Don’t fight it.” I took that advice. I didn’t try to hold it in.

I was raw. It hurts, and you have to allow it to happen.

Was Wild with Happy a part of that healing process for you?

I think so. I wrote another play, A Boy and His Soul, which was more of that process of picking up the pieces. Wild with Happy was more of an examination of grief, and a satire. Really looking at all the absurdities that surround death. You know, like the idea that one minute she’s your mother, the next someone is calling her “the body.” No one prepares you for any of this. I remember when we were at the funeral home, one of 4

my dearest friends shows up late. He has a baby in his arms—no one still knows who the baby was. He runs up, puts the baby down with someone, and comes up.

For my brothers and sisters and me, it’s this precious moment, the last time we’re gonna see mom’s face.

And all of a sudden, my friend sticks his face in. I’m like “What the—what are you doing?!” So not everyone is really equipped to handle grief. But they love you, and they’re doing their best. And that’s the thing, I think, especially around death: everyone is doing their best with what they can.

This is a new play woven from personal stories, but it also borrows from—and winks at—a very old and universal tale: it’s a Cinderella story.

Wild with Happy is a lot of gathered stories. For me, honestly, this story is not about me: this is your story.

It’s all of our story. It started to become that fairy tale.

I already had this protagonist, and I already knew that he lost his mother, so it’s kind of a happy accident that these two thematically and structurally make sense. With all the research I was doing, I was looking at deconstructing these characters, to heighten everything a bit. We’re able to examine human conflict and very deep things like grief if there’s a little satire attached to it.

Satire is, I think, very honest. Maybe it’s my point of view as a playwright. I’m not the child of August Wilson; I think I’m more of the child of Nicky Silver, of Ionesco. There’s something about lifting our experience up so that it doesn’t just live in realism; I think that we live in magical realism as well. Also, this state of grief, for me, is odd. Just like a fairy tale, it’s surreal. I think it’s fun that the audience puts it together that they’ve been living in a fairy tale the whole time. There’s always that moment [in fairy tales] where they’re like, “Oh… I already had the power, I had it inside of me all along.” But no matter what, you can’t deny it—if you are a princess, you’re going to be a princess, you know?

This is the first production in which you’re not playing the character of Gil. What’s changed for you in that time?

And how is it to just watch?

It’s great. I think I’m able to clarify the thoughts even more. I see even more objectively how tough a play this is—it’s really hard to do. Where I am with [the play] now, I am very proud that it’s out into the world and that it’s for another actor to experience. I get to just watch and be delighted by the way I’m hearing lines. I’m a playwright who will change something based on what the actor is doing. I can actually help give you words, or just change something because I think it makes more sense coming out of your mouth this way. I’m all for it.

What sparked you to write Wild with Happy?

things up, to fill a void. Two, I was also inspired by faith and belief.

Anika, my best friend, took me to Disney World. (She gave me the title of the play, because she actually said, “Look at these people!

Everybody’s just wild with happy.”) That place really takes everyone back to their childhood to believe in magic again. I wanted to take a character and take everything away from him and then challenge him to believe again. Because my own personal belief is that you’ve got to believe in something in order to live. You gotta have some faith, some hope; if you don’t, you’re a walking corpse.

Who is Wild for? And what are you looking to leave your audiences with?

I honestly think that Wild is for everyone, but especially for the cynics in the world. For those people who have seen everything, but somewhere in their most private moments they want to believe again. I want to be breathless in the theater, I do. I want everyone shoulder to shoulder, laughing together, crying together, saying, “Oh my God, that’s my story, too.” I want to come and be taken away somewhere with everyone else. I really hope that young people come to see this show, as well as people who’ve seen everything, maybe a bit more jaded. That’s my audience. The more jaded, the better. Because I have a challenge for you: I’d like for you to just relax your arms, open up your heart again. That’s the power of theater and what we can do. To just lift us, maybe to lift us to possibility again, and to hope.

Two events. One, I was inspired by the loss of my own mother, and the losses of many of my friends and their mothers. I was interested in what people do when they’re grieving to cover Wild with Happy | 5

In search of my mother’s garden, I found my own.

–Alice Walker

A dream is a wish your heart makes When you’re fast asleep.

In dreams you lose your heartaches: Whatever you wish for, you keep.

–Walt Disney’s Cinderella

Sometimes crying or laughing are the only options left, and laughing feels better right now.

–Veronica Roth, Divergent

6

T

here was once a rich man whose wife lay sick, and when she felt her end drawing near she called to her daughter to come near her bed, and said, “Dear child, be pious and good, and God will always take care of you, and I will look down upon you from heaven, and will be with you.” And then she closed her eyes and expired. The maiden went every day to her mother’s grave and wept, and was always pious and good. When the winter came the snow covered the grave with a white covering, and when the sun came in the early spring [it] melted it away.

[…] and to Cinderella, her father gave [a] hazel-twig. She thanked him, and went to her mother’s grave, and planted this twig there, weeping so bitterly that the tears fell upon it and watered it, and it flourished and became a fine tree. Cinderella went to see it three times a day, and wept and prayed, and each time a white bird rose up from the tree, and if she uttered any wish the bird brought her whatever she had wished for.

–Cinderella, Jacob and Wilhem Grimm

The display of grief makes more demands than grief itself.

How few men are sad in their own company.

–Seneca

It’s all right to cry Crying gets the sad out of you It’s all right to cry It might make you feel better.

–Free To Be You and Me

You’re in GRIEF! The stages of grief!

You got, stage one and two! Denial, mixed with a little anger. It’s something.

People must know when it’s their time.

—Aunt Glo, Wild with Happy

These tales were told to give people hope that you could work through sorrow, that you could work through loss, that you could work through injustice.

From a conversation with Professor Jack Zipes:

There’s something very natural that Cinderella represents, this story represents: that natural love, deep love that binds mother and child together.

The key is a turning point, when the protagonist

(whether male or female) shows true grief. It is at that point that other

people come to the aid of the person who’s crying

or weeping. You don’t find that type of grieving—or

protecting of the child— in other tale types.

•••

If you show true sorrow in

a fairy tale, that can show

your integrity, your loyalty,

F

or Wild with Happy, playwright Colman Domingo drew from many inspirations, including his own fractured take on the traditional Cinderella story. For some insight on grief and loss in fairy tales generally, and the very special role of the mother in Cinderella, production dramaturg Catherine María Rodgríguez turned to Jack Zipes— one of the world’s foremost experts on folk and fairy tales, and Professor Emeritus of German and Cultural Studies at the University of Minnesota. Here are a few of his thoughts.

your faith; and it will be heard—not by, say, God

or anything like that, but

other people—good people, or sometimes animals, who then come to the

rescue of the protagonist who has suffered a loss

or is being misjudged or treated unkindly.

••• The tales tend to be

counter-tales to the

reality in which the tellers or writers are living. We

could even say that today.

We’re living in a really

perverse world. And why

do we tell tales and go

to see movies that have these fairy tale motifs?

There is hope; we can

see that things could be

different. The fairy tales offer alternatives to the perverse world. That

notion in Cinderella and

Don’t be ashamed to weep; ‘tis right to grieve.

Tears are only water, and flowers, trees, and fruit cannot grow without water. But there must be sunlight also. A wounded heart will heal in time, and when it does, the memory and love of our lost ones is sealed inside to comfort us.

many other tales that

you can work through

sorrow, loss, and injustice is really crucial for

understanding what the fairy tales are all about;

they’re very serious.

–Brian Jacques, Taggerung

Wild with Happy | 7

Ph otos

first Rehearsal

Center Stage staff and guests gather to greet the cast and crew of Wild with Happy, a tradition the Theater enjoys at the first rehearsal of every show. After welcoming remarks and introductions, the Artistic Team gives presentations of their work and vision, offering the staff deeper insight into the play. Staff and guests are then invited to observe the first reading.

Clockwise from top left: Scenic Designer Tony Cisek; Director Jeremy Cohen and Stephanie Berry; Forrest McClendon and Cohen; James Ijames; Colman Domingo and Cohen; seated from left: McClendon, Cohen, Berry; standing: Robert Kaplowitz, Domingo, Chivas Michael.

8

Bios The Cast

Stephanie Berry*— Adelaide/Aunt Glo. Center

Stage: Gleam. Broadway & Off Broadway—credits include her one-woman show, The Shaneequa Chronicles: The Making of a Black Woman in New York (Obie Award, two Audelco Awards); Classical Theatre of Harlem: Henry V (King of France/Hostess); Woodie King’s New Federal Theatre: Cool Blues; National Black Theatre: Macbeth; National Black Theatre Festival: Iced-Out, Shackled and Chained. Regional—Denver Center Theatre: Gee’s Bend; Studio Theatre: Marcus and the Secret of Sweet; Milwaukee Rep: Trouble in Mind, Gem of the Ocean; Mark Taper Forum: Distracted; Philadelphia Theatre Company: Intimate Apparel; Delaware Theatre: Spunk; Portland Center Stage: King Lear; Oberlin: Hamlet; Arden Theatre Company: Fences (Barrymore Award Nomination). Film/TV—The Delivery Man, Invasion, No Reservations, Finding Forrester, Blue Bloods, Louie, all of the Law & Order programs, among numerous others.

Awards—Recognized as “Making a Difference” local hero of PS 123 in Harlem; 2010 recipient of the TCG/Fox Foundation Resident Actor Fellowship as a Distinguished Artist. Other Professional—Founding member of Blackberry Productions Theater Company, a Harlem-based organization that develops new works and brings theater to underserved populations throughout New York. Ms. Berry is a veteran actor, writer, and teaching artist and has been recognized as a pioneer in the field of Arts in Education.

James Ijames*—Terry/ Church Nurse. Center Stage:

debut. Regional—Arden Theatre: Empty Plate at the Cafe du Grand Beouf, James and the Giant Peach, Romeo and Juliet, Superior Donuts (Barrymore Award, Supporting Actor), The Whipping Man, Endgame, Three Sisters; People’s Light and Theatre: One Flew Over the Cuckoo’s Nest, Gossamer,

Shipwrecked; Wilma Theatre: Angels in America Part 1 and 2 (Barrymore Award, Supporting Actor); Philadelphia Theatre Company: Grey Gardens, Ruined; Mauckingbird Theatre: The Threshing Floor, The Importance of Being Earnest; InterAct Theatre: We Are Proud To Present….

Education—BA in Drama Morehouse College, MFA in Acting Temple University.

2011 F. Otto Haas Award for an Emerging Philadelphia Artist recipient. Professional— Assistant Professor of Theatre, Villanova University. James is thrilled to be making his Center Stage debut in this production of Wild with Happy.

Chivas Michael*— Mo/Elder Bovane. Center

Stage: debut. Off Broadway— The Public Theater/Royal Shakespeare Co/GableStage: Antony & Cleopatra; Classic Stage Co: Romeo & Juliet; BAM: Brooklyn Omnibus (Song Cycle, soloist); Lincoln Center: The Broadway Problem; NYTW: Sliding into the Beast. Regional— Guthrie Theater: Servant of Two Masters; Yale Rep/Berkeley Rep: A Doctor in Spite of Himself; Shakespeare on the Sound: Much Ado About Nothing, A Midsummer Night’s Dream; Williamstown Theatre Festival: A Funny Thing…; Tulane Shakespeare Festival: Forrest McClendon*— Hamlet; Porthouse Theatre: Oklahoma!; Gil. Center Stage: debut.

Mahogany Theatre: I Am a Man, Once on Broadway/London—The This Island, Flyin’ West, A Chorus Line.

Scottsboro Boys (Tony Award Film—Fish: The True Story of a Boy in a nomination). Off Broadway— Men’s Prison. University—New York Vineyard Theatre: The University: The Winter’s Tale, Our Lady of 121st Scottsboro Boys; New Federal St., Kalakkuta Show, Rocket to the Moon, Theatre: James Baldwin: A Soul on Fire. Other Gem of the Ocean, A Month in the Country, New York—Theater at St. Clements: A Raisin in the Sun; Dillard University: The Mandela: A New Musical (Thembi).

Wiz, El Haj Milik. Education—MFA, NYU Regional—Guthrie/Philadelphia Theatre Graduate Acting Program.

Company: The Scottsboro Boys (Barrymore Award); North Carolina Shakespeare Festival: Romeo and Juliet (Friar Lawrence); Philadelphia Shakespeare Theatre: Othello (title role); Lantern Theater Company: Julius Caesar (title role); Zach Scott Theatre: The America Play (B. Iden Payne and Central Texas Critics Table Awards); Westport Playhouse: A Christmas Carol (Christmas Past); Two River Theater: Jacques Brel Is Alive… and Living in Paris (Man #1); Walnut Street Theatre: The Maids (Claire); Wilma Theater: The Threepenny Opera (Street Singer); 11th Hour Theatre Company: Avenue X (Barrymore Award). Education—University of Connecticut. Professional—Adjunct Professor, Brind School of Theater, University of the Arts; Artist-in-Residence, Boyer College of Music & Dance, Temple University.

Awards—2014 Lunt-Fontanne Fellowship; Mid-Atlantic Arts Foundation Fellowship/ Interdisciplinary New Performance Forms. www.forrestmcclendon.com

Wild with Happy | 9

Bios

The Artistic Team

Four Noses by singer-songwriter Jonatha Colman Domingo is an award-winning Brooke (The Duke on 42nd St.), and the world actor, playwright, and director. He is premiere of Aditi Kapil’s Brahman/i (Mixed the author of Wild with Happy (2013 Blood). Other Regional—Credits include Audelco Awards for Best Production and world premieres of Theresa Rebeck’s The Best Playwright), A Boy and His Soul (2010 Novelist (Dorset Theatre); Smart Cookie Lucille Lortel Award Best Solo Show and (Alliance); Adam Rapp’s Ghosts in the GLAAD Media Award for Best Production Cottonwoods (Victory Gardens); Scott on or off Broadway), Up Jumped Springtime, McPherson’s Scraped (Bailiwick); The Idiot and the short plays Mission of a Saint and Box (Naked Eye Theatre Company, Open Redemption of a Sinner. He is currently Fist Theatre). Other—US premiere of under commission from The American Mom’s the Word (Metropolis Theatre/Royal Conservatory Theater, Off Broadway’s George); East Coast premiere of Closet Inner Voices Series, and People’s Light and Land (NY Performance Works); and the Theater Company. His plays have been produced at The Public Theater, The Vineyard Midwest premiere of Shopping and F***ing (Bailiwick); The Scene, Bad Dates, and Trip Theater, Theatreworks, The Tricycle Theater to Bountiful (Alley Theatre); the four-city (London), Brisbane Powerhouse (Australia), tour of The Adventures of Tom Sawyer Lincoln Center Director’s Lab, Theater (Actor’s Theatre of Louisville, Rep Theatre Rhinoceros, Thick Description Theater, and of St. Louis, Kansas City Rep, New Victory The Philadelphia Theater Company. He has Theatre); Hannah and Martin (Theater received residencies from Sundance, Banff J); Nickel and Dimed (Steppenwolf); The Playwrights Colony, and Yaddo.

Unexpected Man (Adirondack Theatre).

Mr. Domingo, as an actor, has starred on Founding Artistic Director of Naked Eye Broadway in Passing Strange, Chicago, Well, Theatre Company in Chicago, where he and The Scottsboro Boys and has co-starred has developed/directed 20 plays, including in films such as Lee Daniel’s The Butler, world premieres of Jamie Pachino’s Waving Steven Spielberg’s Lincoln, Spike Lee’s Red Goodbye (Steppenwolf) and Timothy Hook Summer, Passing Strange, Miracle at Mason’s Cannibals and Midwest premieres St. Ana, King of the Bingo Game, Hairbrained, of Adam Rapp’s Nocturne and Naomi and Newlyweeds among many others. The Wallace’s One Flea Spare (Goodman). acting work of Mr. Domingo has been Workshops/Development—Seminar (NYSF), honored with Olivier, Tony, Drama Desk, Brahman/i (LaJolla Playhouse), Some of the Drama League, Audelco, and What’s on People, All of the Time (Pasadena Playhouse), Stage (London) nominations as well Good on Paper (Denver Center), Lost Boy as winning the Obie, Connecticut Critics Found in Whole Foods (New Harmony), The Circle, and Bay Area Theater Critics Circle.

Radiant Abyss (Woolly Mammoth), plays www.colmandomingo.com

by Adam Bock, Michael Elyanow, Barbara Field, Basil Kreimendahl, Dan O’Brien, Jeremy Cohen—Director—is the Artistic Hana Sharif, Mat Smart, and Victoria Director of the Playwrights’ Center. Center Stewart. Awards—numerous awards and Stage: US premiere of Kwame Kwei-Armah’s nominations, including Jeff, Helen Hayes, Let There Be Love w/ Avery Brooks. Regional/ After Dark. Other Professional—Director and NYC—Associate Artistic Director/Director of part of the Directing Faculty at the O’Neill New Play Development at Hartford Stage Playwright’s Conference/National Theatre (2003-10) directing credits included Snow Institute, recipient of an NEA/TCG Directors Falling on Cedars, The Adventures of Tom Fellowship, and a Northwestern University Sawyer, Mistakes Were Made, The Scene award for his play 12 Volt Heart. (with George Street Playhouse), Mahalia: A Gospel Musical, I Am My Own Wife, Frankie Tony Cisek—Scenic Designer. Center and Johnny in the Clair de Lune, Bad Dates, A Stage: debut. Off Broadway—Roundabout: Christmas Carol. Cohen recently directed a Beyond Glory; New York Theatre Workshop: new Off Broadway musical My Mother Has columbinus. Regional—Ford’s Theatre, Arena 10

Stage, Goodman Theatre, Guthrie Theater, Cincinnati Playhouse, Portland Center Stage, Milwaukee Rep, Cleveland Play House, South Coast Rep, Folger, Woolly Mammoth, Round House, Indiana Rep, Syracuse Stage, Geva Theatre Center, Actors Theatre of Louisville, Intiman Theatre, Two River Theatre, Virginia Stage, Delaware Theatre Company, Theatre Alliance, Theater J, GALA, Signature, Berkshire Theatre Festival, Alabama Shakespeare Festival, Shakespeare & Company, The Kennedy Center. Education— New York University Tisch School of the Arts. Awards—four Helen Hayes Awards, Washington; four Drammy Awards, Portland; Barrymore nomination, Philadelphia. www.tonycisek.com.

Alejo Vietti—Costume Designer. Center

Stage: debut. Broadway—Beautiful: The Carole King Musical. Other New York— credits include works for Manhattan Theatre Club, Primary Stages, MCC, Radio City Music Hall Rockettes, Irish Rep, The New Group, Rattlestick, Cherry Lane, Soho Rep, Club Thumbed, and Estudio Ensemble, among others. Selected Regional—Alley Theatre (over 20 productions), Hartford Stage Company, Old Globe Theatre, St. Louis Rep, Signature Theatre in Virginia, Philadelphia Theatre Company, Williamstown Theatre Festival, Guthrie Theater, Pasadena Playhouse, Cincinnati Playhouse, Paper Mill Playhouse, Ford’s Theatre in DC, Long Wharf, Pittsburgh Public, Pasadena Playhouse, NY Stage and Film, Arizona Theatre Company, and 5th Ave Seattle, among others. Opera— New York City Opera, Lyric Opera of Chicago, Minnesota Opera, Wolf Trapp Opera, Opera Santa Barbara. Ballet—Donesk Opera (Ukraine) and Colorado Ballet. Awards— Recipient of the 2010 TDF Irene Sharaff Young Master Award.

Robert Wierzel—Lighting Designer.

Center Stage: Into the Woods, Who’s Afraid of Virginia Woolf?, A Little Night Music, Day of Absence, Open Admissions. Broadway—Lady Day at Emerson’s Bar & Grill; Fela!, musical directed and choreographed by Bill T. Jones.

Off Broadway—NYSF/Public, Signature, MCC, Roundabout, Playwrights Horizons, Mostly Mozart Festival, BAM, Lincoln

Center Festival, Gotham Chamber Opera.

Regional—includes Arena Stage, A.C.T., San Francisco, Shakespeare (DC), Chicago Shakespeare, Hartford Stage, Long Wharf, Goodman, Yale Rep, Guthrie, Mark Taper, Berkeley Rep. Opera—NYCO, Glimmerglass, Paris Opera (Garnier), Tokyo, Toronto, Boston, San Diego, SFO, HGO, Omaha, Washington National, Seattle, Virginia, Chicago Lyric, Chicago Opera Theatre, Montreal, Vancouver, Minnesota, FGO, Portland.

Dance—numerous collaborations (27 years) with the Bill T. Jones/Arnie Zane Dance Co., Doug Varrone, Donna Uchizono, Sean Curran, Liz Gerring, Andrea Miller, Lyon Opera Ballet. Awards—Tony Nomination, Fela!, Obie (Special Citation), Bessie (Dance and Performance), American Theatre Wing. Professional—Adjunct Instructor, NYU/TISCH. Education—University of South Florida, Yale.

World, Tribes, Slug Bearers of Kayrol Island, The Accidental Trilogy. Regional—Dallas Theatre Center: Fortress of Solitude; Alley: Elephant Man; The Mountaintop; Arena: The Mountaintop; Shakespeare Theater: As You Like It. He has also worked with Cynthia Hopkins, Laurie Anderson, and The Wooster Group. Awards—a Lortel, an Obie, a Bessie, and two Hewes Awards.

Jeff Sugg—Projection Designer, is a

with dance of the holy ghosts. She has been named a 2014 Leadership Institute Fellow by the National Association of Latino Arts and Cultures (NALAC). Catherine is the dramaturg and archivist for Un Encuentro: Theater from the Borderlands, a

new transnational collaboration between Borderlands Theater (Tucson) and El Círculo Teatral (Mexico City). Notable past credits include production dramaturgy for Stones in His Pockets at Center Stage; The NOLA Project with the New Orleans Museum of Art; assisting on two National New Play Network rolling world premieres; administrative and producing work at Steppenwolf; and performance studies research at Northwestern. Catherine holds a BFA in Dramaturgy and a BA in Hispanic Studies from Carnegie Mellon. In 2013, she received the LMDA & Kennedy Center Regional Student Dramaturgy Award and debuted as a Dramaturgy Panelist at the Association for Theatre in Higher Education national conference. Saludos a todos and laissez les bons temps rouler!

Laura Smith*—Stage Manager. Center Stage: Resident Stage Manager: Twelfth Night; 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: Pat McCorkle—Casting Director.

Pygmalion, Shipwrecked, The Exonerated, Center Stage: Twelfth Night, A Civil Rabbit Hole, Doubt, Gem of the Ocean, And Robert Kaplowitz—Sound Design and War Christmas, Animal Crackers, The a Nightingale Sang, The School for Scandal, Additional Music. Center Stage: debut.

Mountaintop, Bus Stop, Gleam. Pat McCorkle A Number, Someone Who’ll Watch Over Me, Broadway—Bill T. Jones’ Fela (Tony Award (C.S.A.) is currently casting several Broadway Yellowman; Woolly Mammoth: Gruesome for Best Sound Design); Roundabout: An productions including Amazing Grace and Playground Injuries, House of Gold, The Almost Holy Picture. Other NYC— the Public/ Unmentionables, Vigils, After Ashley; Folger: Long Days Journey into Night with Jessica NYSF: John Beluso’s The Poor Itch, Lemon Lange. Broadway cast highlights include End Measure for Measure, The Comedy of Errors Anderson’s County Of Kings, Neil LaBute’s (ASM); Olney Theatre: Stuff Happens; Theater of the Rainbow, The Lieutenant Of Inishmore, Wrecks, others. NYTW: Lucidity Suitcase’s Red Alliance: Headsman’s Holiday, Pangea [sic], The Glass Menagerie, Cat on a Hot Tin Roof, Eye to Havre de Grace, Kia Corthron’s Light, One Flew Over The Cuckoo’s Nest, Amadeus, Catalyst: Cloud 9, Longacre Lea: Man with Raise the Roof; MTC: Abbey Spallin’s Pumpgirl, Bags.

She Loves Me, Blood Brothers, A Few Good Chloe Moss’s This Wide Night (Naked Men, and recent New York premiers of Our Caitlin Powers*—Associate Stage Angels); SoHo Rep: Adam Bock’s The Thugs; Town, Tribes, Almost Maine, Becoming Dr. Manager. Center Stage: Assistant Stage Playwrights Horizons: A Small Fire; Second Ruth, Lady Day, and Driving Miss Daisy. Film Manager for Twelfth Night, The Whipping Stage, LAByrinth, LCT3, MCC, Primary Stages, credits include Junction, Premium Rush, Man, A Skull in Connemara, American The Vineyard, and many 99-seat theaters Ghost Town, Secret Window, Basic, Tony and Buffalo; Associate Production Manager south of 14th St. Philadelphia—PlayPenn, Tina’s Wedding, The Thomas Crown Affair, 2012–14. Regional—Contemporary American Arden, Interact, Wilma, PTC, PLTC, Azuka, The 13th Warrior, Madeline, Die Hard with Theater Festival: Assistant Stage Manager a Vengeance, School Ties, etc. Television— Lantern, Walnut Street. Regional—O’Neill for Captors, In a Forest, Dark and Deep, Race, Saint George (George Lopez show), Twisted Theater Conference, Sundance, Guthrie, Alley, We Are Here. Arts Emerson: The Color of Rose (ABC Family), humans for Sesame Street, DTC. Installation—Lincoln Center Library (World Premiere). Fringe NYC 2009: Muffin Californication (Emmy nomination), Hack Museum. Upcoming—Pig Iron’s Live Faster, Man: The Musical.

(CBS), Max Bickford (CBS), Strangers with the Public’s Fortress of Solitude, Tuomonan Candy, Barbershop, Chapelle’s Show, & Cromie’s Lautrec Project. Education— Catherine María Rodríguez— Lecturer in Sound Design, Princeton. As Production Dramaturg—is a New Orleans among others. always, for N&K. native, who made her Center Stage debut Brooklyn-based designer and multi-award winner. Center Stage: debut. Broadway— Macbeth (LCT), A Time to Kill, Bring It On, Magic/Bird, 33 Variations. Off-Broadway— An Octoroon, Last Five Years, This Clement

Wild with Happy | 11

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.

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 Stephen Richard is the a dramaturg on scores of productions, Managing Director of readings, and workshops at Center Stage, he Center Stage in Baltimore, has helped develop new work around the Maryland. Stephen most country. Before making his Center Stage recently worked as Vice mainstage directorial debut with Twelfth President, External Relations, Night, Gavin directed more than a dozen for the new National Young Playwrights Festival entries, as many Children’s Museum. Previously, he served 18 new play readings, and last year’s 50th years as Executive Director of Arena Stage, Anniversary Decade Plays for Center Stage. A where he planned and managed the graduate of Yale and the University of theater’s capital campaign for the Mead Chicago, he has taught at the University of Center for American Theater. Until recently a Chicago, DePaul, and locally at Towson; professor of Arts Management at served on the advisory boards of several Georgetown University, he has served on theaters; and spent more than a decade as a the boards and committees of some of the regional vice president of the national nation’s most prestigious arts organizations, association of dramaturgs, LMDA. 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.

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

experienced professionals who are on

Neil Pepe, Artistic Director at Atlantic Theater Company

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

Center Stage leaders, board, and staff.

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 and Stephen

A conversation with Artistic Director Kwame Kwei-Armah and Managing Director Stephen Richard

What was your first encounter with Colman Domingo’s work?

Why is it important to bring new works to Baltimore?

What might our audiences get from this play?

Stephen Richard: Although my wife has worked with him several times, and loves him dearly, the first time I saw him or met him was when we saw Wild with Happy.

KKA: It’s important that part of the gig is to bring new things to your audience, that you introduce them to things that other parts of the country are celebrating. The gig is to say, look at this, this is fun, this is what’s moving. It is part of what we should be doing. And part of the job of many Artistic Directors is to contribute to the canon, to develop work and pass it on.

The more theaters that do it, the more that this play will become part of the canon and represent the new America. This kind of play represents an American sensibility that I think a Baltimore audience will just eat up.

KKA: One of the things that I said when I got here was that I wanted to be sure that every part of our multicultural and diverse audiences, would at one point find themselves, excuse the pun, center stage in our storytelling. And it was important to me to find a play—and even a little bit in Vanya and Sonia…, where our gay community felt that they were center stage. It’s not a show specifically for the gay community, it’s a universal show, but the story is coming through the lens of gay characters, written by a gay playwright. And at the end, it is a universal, heartwarming story about a son and his love for his mother.

Kwame Kwei-Armah: I first saw him in Scottsboro Boys years ago and he was just brilliant. And when he was working Lee Daniel’s The Butler with my nephew, my name come up and Colman went “Oh my god, is that your uncle? I’ve been dying to speak to him.” And when my nephew told me about him I went, “Oh my god, Colman, I’ve been dying to speak to him!”

So we spoke to each other over Instagram, actually for the first time. Then we went to see Wild with Happy.

Why bring Wild with Happy to Baltimore?

KKA: Quite frankly, it’s hilarious, it’s heartwarming, and I cried when I saw it.

We get a chance as Artistic Directors every now and again to go, “I just love that play, I think that play is going to work for our audiences. Let’s do it.”

SR: It is zany and hilarious, with a huge, huge heart.

SR: The way I think about it is that there is nothing wrong with turning on the TV and watching AMC movie classics—but imagine only doing that. It’s about going out to the theater and seeing something new. It’s that balance that I think audiences desire, and we certainly like providing.

What is unique about the process here compared to previous productions of Wild with Happy?

What note does this play leave the season on as we look at next season?

KKA: At the end of our season of “Theater for the Heart,” I hope it leaves our audiences with a feeling of joy and warmth.

KKA: I think what’s interesting is that this is the first time that [playwright] Colman Domingo hasn’t been in it. The first time he has been able to look at it from the outside, and maybe, with the director, Jeremy Cohen, say, “I’d like to change that bit, or refine this.”

Join the conversation!

Email info@centerstage.org with your questions for Kwame and Stephen. centerstagemd

@centerstage_md

Wild with Happy | 13

14

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 Wild with Happy: Sun, Jun 22.

Audio Description at both 2 pm and 7:30 pm, Open Captioning at 7:30 pm.

Wild with Happy | 15

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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

Wild with Happy | 17

18

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 October 30, 2012 and May 5, 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†

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

Artists’ Circle

Playwrights’ Circle

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

James T. and Francine G. Brady

($25,000-$49,999)

($5,000- $9,999)

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

Producers’ Circle

Murray Kappelman

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 John J. Leidy Foundation, Inc.

($10,000- $24,999)

Kwame and Michelle Kwei-Armah 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. Mathias J. DeVito

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. Harry Thomasian 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 Mr. Todd M. Wilson and Mr. Edward Delaplaine Drs. Nadia and Elias Zerhouni Wild with Happy | 19

su ppo rt Associates

($1,000- $2,499)

Anonymous Mayer and Will Baker, in honor of Terry Morgenthaler 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 The Richard and Rosalee C. Davison Foundation Albert F. DeLoskey and Lawrie Deering Mr. Jed Dietz and Dr. Julia McMillan Mr. and Mrs. Eric Dott Jack and Nancy Dwyer The Epp Family Dennis and Patty Flynn Dr. and Dr. Matthew Freedman Frank and Jane Gabor

Roger F. Nordquist and Joyce Ward

Combined Charity Campaign

Irene E. Norton

Joan Develin Coley and 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 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. Robert N. Smelkinson Mr. and Mrs. Robert and Terri Smith Mr. and Mrs. Scott Smith Judith R. and Turner B. Smith Ms. Kimberly Stokes Dr. and Mrs. John Strahan

Jose and Ginger Galvez

Susan and Brian Sullam

Pamela and Jonathan Genn, in honor of Cindi Monahan and Beth Falcone

Mr. and Mrs. Ronald W. Taylor

Richard and Sharon Gentile, in honor of the Center Stage Costume Shop

Robert and Patricia Tarola John A. Ulatowski

Ms. Sue Lin Chong

Ms. Jo-Ann Mayer Orlinsky

Mr. and Mrs. Carl F. Christ

Michael and Phyllis Panopoulos

William and Bonnie Clarke

Mr. and Mrs. James and Mimi Piper Fund of the Baltimore Community Foundation

Robert and Janice Davis Richard and Lynda Davis

Lynne Durbin and John-Francis Mergen

Dorothy L. and Henry A. Rosenberg, Jr. Renee Samuels Rosenfeld and Jordan Rosenfeld

Patricia Yevics-Eisenberg and Stewart Eisenberg The Eliasberg Family Foundation Buddy and Sue Emerson, in appreciation of Ken and Elizabeth Lundeen 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 Terry Halle and Wendy McAllister Vicki and Jim Handa Mrs. Heidi Hoffman

Ralph and Claire Hruban

Nanny and Jack Warren, in honor of Lynn Deering Janna P. Wehrle

Mr. James Hughes

F. Barton Harvey, III and Janet Marie Smith

Ann Wolfe and Dick Mead

Donald and Sybill Hebb Sandra and Thomas Hess Drs. Dahlia Hirsch and Barry Wohl Len and Betsy Homer

Eric and Pam Young Dr. Laurie S. Zabin Mr. Calman Zamoiski, Jr., in honor of Terry Morgenthaler

The A. C. and Penney Hubbard Foundation

Colleagues

Ms. Harriet F. Iglehart

Anonymous

Joseph J. Jaffa

($500-$999)

Max Jordan

Ms. Diane Abeloff, in memory of Martin Abeloff

Mr. and Mrs. Mark K. Joseph, in honor of Lynn Deering

The Alsop Family Foundation

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. Delbert L. Adams Mrs. Alexander Armstrong

Mr. and Mrs. Theodore Imes Richard Jacobs and Patricia Lasher Ms. Mary Claire Jeske Kirk and Debbie Joy Dr. and Mrs. Juan M. Juanteguy Mr. and Mrs. Peter Kaplan Ms. Shirley Kaufman Donald Knox and Mary Towery, in memory of Carolyn Knox and Gene Towery B. Keller Mr. and Mrs. Padraic Kennedy Mr. George W. King Roland King and Judith Phair King Stewart and Carol Koehler

Mr. Alan M. Arrowsmith, II

Joseph M. and Judy K. Langmead

Mr. and Mrs. Robert and Dorothy Bair

Claus Leitherer and Irina Fedorova

Mr. and Mrs. Raymond Bank Family Fund of the Baltimore Community Foundation

Dr. and Mrs. Ronald Lesser Marilyn Leuthold Kenneth and Christine Lobo

Charles and Patti Baum

Dr. and Mrs. Thomas J. Lynch

Jaye and Dr. Ted Bayless Fund of the Baltimore Community Foundation

The Dr. Frank C. Marino Foundation, Inc.

Judge Robert Bell

Mrs. Peggy L. Rice

Mr. and Mrs. Harold Rojas

James and Rosemary Hormuth

John W. Wood

Mr. and Mrs. Richard Radmer

The Honorable and Mrs. E. Stephen Derby

Mr. and Mrs. Benjamin H. Griswold, IV

Bill and Scootsie Hatter

Robert E. and Anne L. Prince

Jane and Stanley Rodbell and James R. Shapiro

United Way of Central Maryland Campaign

Sydney and Ron Wilner

Pitt O’Neill Family

James DeGraffenreidt and Mychelle Farmer

Dr. and Mrs. J. Woodford Howard

Sandra Levi Gerstung

20

The Israel & Mollie Myers Foundation/ Herschel and Judith Langenthal and Jonathan and Beverly Myers

Mary L. McGeady

Kevin and Judy Rossiter Mrs. Bette Rothman Sheila and Steve Sachs

Mr. and Mrs. David and Gloria Crockett Gwen Davidson 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

Eugene and Alice Schreiber Philanthropic Fund

Joan and David Forester

The Sinksy-Kresser-Racusin Memorial Foundation

Dr. Neal M. Friedlander and Dr. Virginia K. Adams

Susan Somerville-Hawes, in honor of The Encounter Program

Mark and Patti Gillen

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 Bradley and Lindsay Alger 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 The Jim and Anne Cantler Memorial Fund of the Baltimore Community Foundation Mr. and Mrs. David Carter Mr. Andrew J. Cary Mr. and Mrs. James Case Brenda M. Cley, M.D.

Elborg and Robert Forster

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 Christine B. Hall 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 Richard and Judith Katz Dr. and Mrs. Myron Kellner Stephen and Laurie Kelly, in memory of Rodney Stieff Ms. Kim-Khoi Khue David and Ann Koch Thomas and Lara Kopf Larry Koppelman and Liz Ritter Barry Kropf Gina Kotowski Edward Kuhl Ms. Dorothy Kuhlman Drs. Don and Pat Langenberg Mr. Richard M. Lansburgh

Joseph and Jane Meyer

Steve and Teri Bennett

The Honorable Diana and Fred Motz, in memory of Nancy Roche

Mr. and Mrs. John and Beverly Michel

Harriet and Bruce Blum

George and Beth Murnaghan

Combined Charity Campaign

Jan Boyce

Rex and Lettie Myers

David and Sara Cooke

Marty Lidston and Jill Leukhardt

Tom and Cindi Monahan

Cindy Candelori

Ms. Jennifer Nelson

B.J. and Bill Cowie

Dr. and Mrs. John Lion

Mr. and Mrs. Stanton Collins

Mr. and Mrs. William Larson Leadership—Baltimore County

Ms. Cheryl London

Solomon and Elaine Snyder

Scott and Ellen Lutrey

Mrs. Clare H. Stewart, in honor of Bill Geenen

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 Mary and Barry Menne Bruce Mentzer Ms. Darlene Miller Tracy Miller and Paul Arnest, in honor of Stephanie Miller Minds Eye Cinema

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 Mr. Martin Toner, in memory of Joan Marilyn Kappelman Susan Treff Laura and Neil Tucker, in honor of Beth Falcone Millie Tyssowski Sarah Valente

The Montag Family Fund of The Community Foundation for Greater Atlanta, in honor of Beth Falcone

April Duncan Wall

James W. and Shirley A. Moore

Ms. Camille Wheeler and Mr. William Marshall

Ms. Cassie Motz, in memory of Nancy Roche Dr. and Mrs. C.H. Murphy Stephen and Terry Needel 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

Mr. and Mrs. David Warshawsky Boe and Patti Wells

Mr. and Mrs. Barry and Linda Williams Ms. Anita Wilmore Deborah King-Young and Daniel Young 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 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 Barney

Associates Chesapeake Plywood, LLC Stevenson University

Wild with Happy | 21

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.

22

Book your Student Matinee tickets for Amadeus TODAY!

Amadeus Oct 2, 2014 Oct 9, 2014

To book a group, call Group Sales at 410.986.4008 or email groups@centerstage.org.

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Management | Development | Construction

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

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STEp 14/15 into season New Worlds Amadeus The Epic Masterpiece

Amadeus

One Night in Miami…

By Peter Shaffer

Sep 10–Oct 12

By Kemp Powers

“[An] angry and thrilling… confrontation between mediocrity and genius.”

The Musical That Changed the Rules

–The New York Times

Next to Normal Music by Tom Kitt Book and Lyrics

by Brian Yorkey

“[A] brave, breathtaking musical… A work of muscular grace and power.”

–The New York Times

A Holiday Classic for the Family

“Crackles with both the charisma and humanity of these iconic figures.”

One Night in Miami…

The Amy Herzog Festival:

–The Hollywood Reporter

The Amy Herzog

Festival:

Oct 8–Nov 16

Next to NORMAL

Jan 14–Feb 15

Sam Cooke.

Jim Brown.

Malcolm X. Muhammad Ali.

“No one currently writing for the theater has a sharper grasp of character, or more sheer storytelling technique.”

–TIME

It’s a Wonderful Life

After the Revolution

Nov 18–Dec 21

Mar 18–May 17

Adapted by Joe Landry

“One of the best holiday shows around.”

–The Chicago Sun-Times

By Amy Herzog

4000 Miles

After the

Revolution

By Amy Herzog

Apr 1–May 24

And One More…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.

It’s a a Member!

Wonderful Become Full Season Memberships start at just $162.

Life: Membership Hotline: 410.986.4046.

A Live Radio Play

4000 MILES Wild with Happy | 25

Ph otos

Celebrations

Opening Night of Twelfth Night & the 2014/15 Season Announcement

Singer/songwriter Letitia VanSant (below) entertained guests and the Twelfth Night cast. (Middle photo from back row, left to right: Vanessa Wasche, Allen McCullough, Caroline Hewitt, Julie-Ann Elliott, Linda Kimbrough, Jon Hudson Odom, Buddy Haardt, Gavin Witt. Front: William Connell, Ryan McCurdy, Brian Reddy.)

Board to Board Pre-show Reception

The Center Stage Board of Trustees invited the boards of Everyman Theatre, Single Carrot Theatre, and Chesapeake Shakespeare to a pre-show event for the Opening Night production of Vanya and Sonia and Masha and Spike.

Opening Night photography by Tyrone Eaton

26

The 28th Annual Benefit Gala for Center Stage

Christine Andreas (right) performed for guests at the Center Stage Gala in honor of the Costume Shop.

Gala photography by Shawn Ferry

Opening Night of Vanya and Sonia and Masha and Spike

Guests and staff join cast and crew to celebrate Opening Night. (Bottom left, from left: Barbara Walsh, Brooke Redler, Susan Rome, Zachary Andrews, Kwame Kwei-Armah, Emily Peterson, Kerry Warren, Bruce Nelson, Eric Rosen, Victor En Yu Tan.)

Wild with Happy| 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 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 The Terry H. Morgenthaler and Patrick Kerins 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

28

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

Lighting Director–Tamar Geist Master Electrician–Bevin Miyake Staff Electricians–Anthony Reed & 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 Marketing Intern–Kate Bondurant

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 The Peter and Millicent Bain Stage Management Intern–Chandalae Nyswonger Stage Management Intern–Tenley Pitonzo Intern–Alexis Davis

Stage Operations

Stage Carpenter–Eric Burton Wardrobe Supervisor–Linda Cavell The following individuals and organizations contributed to this production of

Wild with Happy

Artisans–Lynne Twining Assistant Director–Angelisa Gillyard Assistant Lighting Designer–Brian Jones Assistant Projection Designer–Dan Vatsky Carpenters–Bernard dred BANG, Roberto Castrence, Jake Epp, Seth Foster, Peter Garretson-Butt, Shelton Hall, Nathan “Scotty” Jones, Brian Jamal Marshall, Evan McDougall, John Reuter Electricians–Paul Callahan, Jake Epp, Gabriel Rodriguez Painters–Sarah Senior Scenic Artist–Roxanne Miftahittin Special Thanks to Jack Zipes, Professor Emeritus of German and Cultural Studies at the University of Minnesota

Operations

Center Stage operates under an agreement between LORT and Actors’ Equity Association, the union of professional actors and stage managers in the United States.

Production Management

The Director and Choreographer are members of the Society of Stage Directors and Choreographers, Inc., an independent national labor union.

Operations Manager–Shawn Whitenack Custodial Services–MultiCorp. Wylie Shaw Security Supervisor–James Williams Director of Production–Rick Noble Associate Production Manager–Caitlin Powers Company Manager–Sara Grove The Philip and Lynn Rauch 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

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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