Everyman Theatre Charles Dickens' "Great Expectations" Program by Everyman Theatre

BALTIMORE/DC PREMIERE

FEB 1 thru MAR 5

E V ERYM A N THE ATRE G R E AT S TO R I E S , W E L L TO L D.

CHARLES DICKENS' GREAT EXPECTATIONS | 1

A NOTE FROM THE ARTISTIC DIRECTOR By Vincent M. Lancisi, Artistic Director

elcome. The stage adaptation you are about to see celebrates the art of transformation in so many ways. You will witness six actors playing 36 characters distilling an epic novel to approximately two hours of non-stop creativity traversing the stage. It’s pure magic. A great actor can do more with a glance or a well-placed sneer than a paragraph of descriptive writing in some novels. Actors who turn on a dime and create characters using bold choices and characteristics immediately recognizable are a rare breed. That kind of transforming is ingenious and I’m so happy to see this kind of work on our stage. The design team on this production have created a physical world that plunges us into the many locales of the play. Their vivid designs provide the environments that encourage us to travel with Pip through the adventures of his life. It’s been a pleasure watching the set go from ideas and research to a fully realized vast playing space, a collage of the world of Dickens’ Great Expectations. It’s ingenious in the ways it evokes locations, atmospheres, states of mind. It’s as clever for what is seen as for what is unseen yet perceived. The costumes are equally vivid and dramatic without fully rendering each costume change so the story can move effortlessly from one scene to the next without elaborate changes. The lighting E V E RYM A N T H E AT R E | 2

isolates what we see and feel and how we imagine the world to be scene by scene, moment by moment. The sound supports the emotional journey, enhancing the conflict, the mood, the world. It’s such a collaborative endeavor with all elements adding to the whole. All the facets of design constantly transform the world with a blink of an eye, the wave of a hand, transporting us in time and space. The art of adapting works for the theatre is a challenging business. Capturing the spirit of Dickensian society and the Victorian age in one space right in front of the audience is a major feat. The scope of characters and number of locales alone are vast and varied. How to distill the writing into passages that are actable, vibrant, and pertinent to the storytelling is a real gift. Gale Childs Daly has done a masterful job creating a Great Expectations for the stage that is dynamic, fast paced, and presented in a way that is riveting and faithful to Charles Dickens’ original. As you prepare for the wild ride ahead of you, enjoy the thrill of willingly suspending your disbelief. Allow yourself to enter fully into the world of the play and the players’ stories and you will be mightily rewarded. For in Pip’s journey lies many twists and turns resulting in truths about growing up and about life’s lessons everywhere. Enjoy the show.

E V ERYM A N THE ATRE presents

Vincent M. Lancisi, Founding Artistic Director Jonathan K. Waller, Managing Director

CHARLES DICKENS'

GREAT EXPECTATIONS Adaptor GALE CHILDS DALY Director TAZEWELL THOMPSON

Pip...................................................................................................... DREW KOPAS* Narrator #1...........................................................BRUCE RANDOLPH NELSON* Narrator #2....................................................................... GERRAD ALEX TAYLOR Narrator #3.......................................................FRANCHELLE STEWART DORN* Narrator #4..........................................................ELIZABETH ANNE JERNIGAN* Narrator #5.................................................................................... BRIT HERRING*

Set Design

Lighting Design

YU-HSUAN CHEN

STEPHEN QUANDT

Sound Design

Fight Choreography

FABIAN OBISPO Props Master

JILLIAN MATHEWS

LEWIS SHAW Dramaturgy

JOHANNA GRUENHUT

Costume Design

DAVID BURDICK Dialects Coach

GARY LOGAN Stage Manager

CAT WALLIS*

Setting: 19 th Century England. Moving between North Kent, Satis House and London.

This production will be performed in two acts with one intermission.

PLEASE TURN OFF ALL CELL PHONES. NO TEXTING. NO EATING IN THE THEATRE. Produced by special arrangement with Dramatic Publishing, Woodstock, Illinois. The videotaping or making of electronic or other audio and/or visual recordings of this production or distributing recordings on any medium, including the internet, is strictly prohibited, a violation of the author’s rights and actionable under United States copyright law. * Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States PRODUCTION SPONSOR

VIC & NANCY ROMITA CHARLES DICKENS' GREAT EXPECTATIONS | 3

A NOTE FROM THE MANAGING DIRECTOR By Jonathan K. Waller, Managing Director

n a warm day this January, the cast, design team, and production team of Great Expectations, along with the Everyman staff, gathered in our rehearsal hall for what has become one my favorite days of the year—first reads. There’s nothing mysterious about it. This is when we hear what the play sounds like out loud with our cast for the first time. It’s magical because the talent in the room is always palpable and the true, raw, virtuosic nature of the actors’ skill is on display around the most intimate of settings—of a few tables and chairs. It creates an experience like nothing else. For Great Expectations, these 6 actors made 35 characters come alive and it was mesmerizing. This feeling is so captivating, we often invite donors to join us in the room to experience a first read first hand. We are also in our second year of our Salon Series, which is not quite a first read, but it’s close. It features readings of plays that are curated by the women of Everyman’s Resident Acting Company, rehearsed for one day (for just a few hours prior to the public reading!), and performed by some of the finest actors in the region. Last year we presented four plays, but they sold out so quickly, we expanded this year to six. First reads usually happen six times a year at Everyman—one for each of the six plays— but this year, we got a bonus one—albeit, again, not quite a first read, but close. Back in November, many Everyman Board and staff traveled to New York City to hear E V E RYM A N T H E AT R E | 4

a workshop presentation of a new musical we’ve been developing called Los Otros (opening here after Great Expectations). There we all were in an intimate New York rehearsal studio hearing for the first time the revised score of a musical Everyman Theatre had commissioned—a score written by Tony Award nominated composer Michael John Lachiusa and sung, in part, by Broadway legend and Tony Award winner Carolee Carmello, whose performance in Parade is among my all-time favorites. It was amazing. I think the thing I like most about first reads is that they are packed with potential. Like reading a book, my imagination creates the whole theatrical world. And inevitably, at some point during this process, my mind turns to you, our subscribers and ticket buyers, and how excited I am for the day you get to see this potential become reality; how excited I am for you to see how director Noah Himmelstein will bring this reimagined, unique, two-person musical about interconnectedness, love, risk and revelation to life on Everyman’s stage this spring with two Broadway powerhouses, Judy McLean and Philip Hernández. And tonight, I’m reminded of how excited I was so many weeks ago on that warm January day—for you to experience this marvelous adaptation of Charles Dickens’ Great Expectations. I think you’re in for a wonderful ride. Thank you for joining us and I’m looking forward to seeing you back soon for Los Otros.

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WELCOME TIM EVERYMAN ADDS TWO NEW ACTORS TO ITS RESIDENT COMPANY TIM GETMAN

Most recently at Everyman Tim has been in: Outside Mullingar (Anthony), God of Carnage (Alan), All My Sons (George Deever), Two Rooms (Walker Harris), The Exonerated. Top: Tim Getman and Beth Hylton in Outside Mullingar. Bottom: Tim Getman in God of Carnage.

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M AND YAEGEL The Everyman Resident Company of actors just got larger and richer with the addition of two extraordinary actors, Tim Getman and Yaegel T. Welch. As the company has enjoyed working with these two fine actors, it became evident that their huge talents would enhance our resident company. Their work at Everyman has been dynamic and transformational. We considered them both to be part of the extended Everyman family of artists. Now we bring them into the fold and welcome them as our immediate family. I’m sure you’ll recognize them from their previous roles at Everyman. I can’t wait to see what they’ll bring to the stage in years to come. —Vincent M. Lancisi, Founding Artistic Director

YAEGEL T. WELCH

Most recently at Everyman Yaegel has been in: Dot (Donnie), By the Way, Meet Vera Stark (Barksdale/Herb Forrester), The Beaux’ Stratagem (Aimwell), The Brothers Size (Ogun). Top: Yaegel T. Welch in Dot. Bottom: Dawn Ursula and Yaegel T. Welch in By the Way, Meet Vera Stark.

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DRAMATIC IRONY IN GREAT EXPECTATIONS

reat Expectations—the novel, that is— was a major international bestseller. And it holds up today, not just for historical value, but as entertainment. It is no surprise then that in addition to still being read it has been interpreted for the stage (and also for the screen) since as early as 1939. As a novel, it has one feature that has been widely discussed by critics that is worth considering in conjunction with this staged performance: the use of dramatic irony. Consider how and when this device appears in and influences the play, and if you are familiar with the novel, whether it functions similarly here, or differently. Dramatic irony is an essence of drama. It is when an audience or a reader understands something that a character or characters do not. A classic example is from Macbeth. Duncan says that he trusts Macbeth. But we, the audience, have reason to doubt Macbeth even if Duncan does not. Novels routinely employ dramatic irony. But in Great Expectations, it's a bit complicated by Pip’s first person narration. How could we know something that Pip does not if he is our guide throughout? The answer is that Pip is the narrator of his own past, telling a story from a present time. Indeed, he, the narrator is a changed version of the person at the start of the story. So he knows things that the Pip in the story does not. As a result, so can we. Critics have argued that there is inherent dramatic irony in the way he tells the story, blending the past tense with the past perfect tense. For example, in describing how his sister physically E V E RYM A N T H E AT R E | 8

abused both him and her husband Pip uses the past perfect, “she was not a good-looking woman, my sister; and I had a general impression that she must have made Joe Gargery marry her by hand.” The words ‘had’ and ‘have’ adjoining the verb create the past perfect, and add a kind of contemplative atmosphere, different from the straightforward use of the past tense that Pip employs when discussing most of the action in the story. How and where does narration produce dramatic irony on stage? Moreover, at the core of Great Expectations are several mysteries about the identities of friends, parents, benefactors, antagonists and assailants. When the reader should have solved some of these mysteries, in the novel, is debatable. Certainly, the reader will know a few things before Pip the character and, by definition, not as soon as Pip the narrator. When and how does the dramatic irony appear in the play? When do you know something that you think Pip (the character) does not? When do other characters perhaps know something he does not? You might also think about how the relationship between the cast and characters plays here—there are more characters than there are cast. In the end, part of what makes Great Expectations so enduring and so fun, both the novel, and the play, is how deeply we end up involved in the inner mental life of two different people who are actually the same, Pip now and Pip then. If that’s not dramatic irony, it certainly is drama!

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THE EARLY LIFE OF CHARLES DICKENS: A BRIEF BIOGRAPHY

reat Expectations is not exactly autobiographical. But a great many of its themes arise from Dickens’ own experiences, and the main character’s life overlaps with Dickens’ both in terms of time and place, and in terms of more than a few experiences. Charles Dickens was born in Portsmouth on February 7, 1812, the second of eight children. His family was frequently plagued by financial insecurity. They moved to London, with the hope that their luck might change. But soon after their arrival, Charles’ father, John Dickens, was arrested for debts unpaid, sentenced to Marshalsea Debtors Prison. The family went along with him, not an uncommon practice in Victorian England, one that allowed families to stay together. However, Charles was the exception among his siblings. Rather than accompany the family, “Charles was sent to work in Warren's blacking factory and endured appalling conditions as well as loneliness and despair.”1 He earned only

six shillings per week pasting labels on bottles. Mostly, he saved his money in order to help his father. Separation from his family was horrible. In later years, Dickens described the experience as haunting: “so easily cast away at such an age…My whole nature was so penetrated with grief and humiliation of such considerations, that even now, famous and caressed and happy, I often forget in my dreams that I have a dear wife and children; even that I am a man; and wander desolately back to that time of my life."2 For better or worse, though, his experiences at the blacking factory became central features of his fiction, including ‘orphaned’ children, abject poverty, and food insecurity. “The experience was never forgotten and became fictionalized in two of his betterknown novels David Copperfield and Great Expectations.” 3 Eventually John Dickens was released from prison and Charles went back to school. Thus he enjoyed the privilege

1 bbc.co.uk/history/historic_figures/dickens_charles.shtml 2 Chambers Journal, Part 1. W & R Chambers Publishing, 1872. Digitized by The University of California, April 23, 2012 3 bbc.co.uk/history/historic_figures/dickens_charles.shtml

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of childhood only as an adolescent and young adult, not unlike Pip in Great Expectations. At fifteen Charles began work in an attorney’s office. Soon realizing his passions were elsewhere, he taught himself shorthand and he began to work as a reporter. In 1834 he joined The Morning Chronicle, reporting on parliamentary debates. “With new contacts in the press he was able to publish a series of sketches under the pseudonym 'Boz'. Within the same month came the publication of the highly successful Pickwick Papers, and from that point on there was no looking back for Dickens.”4 The Pickwick Papers became a publishing phenomenon largely because of Dickens’s method of serialized fiction, and his use of cliffhangers. “He was also a theatre enthusiast, wrote plays and performed before Queen Victoria in 1851. His energy was inexhaustible and he enjoyed lecturing abroad—for example lecturing against slavery in the United States.” 5 Dickens made two American tours and published American Notes, a series of critical essays about his observations. In his later work Dickens’s social criticism and commentary became more radical and his comedy more savage. His last novel, The Mystery of Edwin Drood, was never completed. Dickens died on June 9, 1870. He is buried at Westminster Abbey.

CHARLES DICKENS’ MAJOR WORKS At the time of his death, Charles Dickens was at work on his fifteenth novel, The Mystery of Edwin Drood. A prolific writer, Dickens also penned thousands of periodicals, letters and sketches, dozens of short stories and novellas, many poems, and several plays. Great Expectations was first serialized in weekly sections from December 1, 1860 through August 3, 1861 in All the Year Round, a magazine which Dickens himself edited. 1836-7: The Pickwick Papers 1837: Oliver Twist 1838-9: Nicholas Nickleby 1840-1: The Old Curiosity Shop and Barnaby Rudge 1842: American Notes 1843: A Christmas Carol 1843-4: Martin Chuzzlewit 1846-6: Dombey and Son 1849-50: David Copperfield 1853: Bleak House 1854: Hard Times 1857: Little Dorrit 1859: A Tale of Two Cities 1860-1: Great Expectations 1864-5: Our Mutual Friend

4 bbc.co.uk/history/historic_figures/dickens_charles. shtml 5 bbc.co.uk/history/historic_figures/dickens_charles. shtml

1870: The Mystery of Edwin Drood, not completed and Dickens’s intended ending is unknown.

Dramaturgy by Johanna Gruenhut with additional research provided by Abigail Cady.

CAST BIOGRAPHIES FRANCHELLE STEWART DORN (Narrator #3): Everyman Theatre: debut. She has played dozens of roles over her career at the Shakespeare Theatre Company, Arena Stage, the American Conservatory Theater, Yale Repertory Theater, Long Wharf, George Street Playhouse, Great Lakes Theater Company, Cleveland Playhouse, Arizona State Theatre, Seattle Children’s Theatre, Chautauqua Theatre, the Guthrie, Oregon Shakespeare Festival, the Contemporary American Theater Festival, off Broadway at Red Bull and at The State, Zach and Austin Shakespeare theaters in Austin. Ms. Dorn has been seen on Law and Order, and in the films Die Hard with a Vengeance, Chances Are and Raise the Titanic. She can also be seen on one of PBS’ longest running series: Literary Visions. She fondly remembers her role as Dr. Rita Madison on NBC’s Another World. Fran has been nominated for seven Helen Hayes Awards and has been the recipient of three. She has also won The Austin Critics’ Circle Award for her performances in Who’s Afraid Of Virginia Woolf?, Mrs. Warren’s Profession, Edge Of Peace and Medea. She has more than 400 voice-overs and on-camera appearances to her credit. Fran received her acting training at the Yale School of Drama and is a past head of the acting program in the Department of Theatre and Dance at the University of Texas, Austin where she remains the Virginia L. Murchison Regents Professor. She has been named both an Academy Distinguished and Regents’ Outstanding Teacher and is a past recipient of the COFA Outstanding Teacher award. She thanks Ed, Amani, Mary and Fritz for making life worthwhile. BRIT HERRING (Narrator #5): Everyman Theatre: debut. OFF-BROADWAY: SoHo Playhouse: The Devil and Billy Markham (The Reverend), The Lion Theatre on Theatre

Row: Paradise (Phil). REGIONAL: Guthrie Theater: The Critic/The Real Inspector Hound (Mr. Puff/Moon), Shakespeare Theatre Company: A Midsummer Night's Dream (Theseus/Oberon), The Kennedy Center: Shear Madness (Eddie), The Washington Stage Guild: Discord (Thomas Jefferson), Red Herring (Frank), The Apple Cart (King Magnus), Infinity Theatre Company: Million Dollar Quartet (Sam Phillips), Annapolis Shakespeare Company: Macbeth (Macbeth). Brit is a voiceover artist for the National Library Service for the Blind. Education: The Shakespeare Theatre Company's Academy for Classical Acting (MFA) and The British American Theatre Institute. www.britherring.com ELIZABETH ANNE JERNIGAN (Narrator #4): Everyman Theatre: debut. Theater J: The Admission (Neta), After The Revolution (Jess), Passing the Love of Women (Reyzele); Roundhouse Theatre: Pride and Prejudice (Charlotte, Mrs. Reynolds); Compass Rose, To Kill a Mocking Bird (Jean Louise ); Virginia Shakespeare Festival, Comedy of Errors (Luciana); Olney Theater, Is He Dead? (Marie); Keegan Theater, Noises Off (Poppy), Dancing at Lughnasa (Agnes); Shakespeare in the Pub: Richard II (Richard II); Maryland Shakespeare Festival: Midsummer Nights Dream (Titania), Merchant of Venice (Portia), Richard III (Queen Elizabeth); Shakespeare Theatre Company: Way of the World (Peg); Scena Theatre: The Insect Play (Mrs. Cricket). Voice over work includes recurring characters in the fully cast audio books of Graphic Audio. Elizabeth Anne studied Theater and Art at Catholic University. DREW KOPAS (Pip): Everyman Theatre: Death of a Salesman (Bernard), A Streetcar Named Desire, Pygmalion (Freddy/ Nepommuck), All My Sons (Frank). Regional: Faction of Fools: Our Town (George), A Commedia Romeo and Juliet

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(Romeo); Constellation Theatre Company: On the Razzle (Melchior), The Ramayana (Lakshman); Olney Theatre Center: Da (Young Charlie), Misalliance (Gunner), Witness for the Prosecution (Clegg); Rep Stage: Las Meninas (Louis XIV); 1st Stage: Italian American Reconciliation (Aldo); Keegan Theatre: Of Mice and Men (Whit), There are Little Kingdoms (Jamesie); We Happy Few: Duchess of Malfi (Antonio). Dobama Theatre: Cock (M); Great Lakes Theater: The Winter’s Tale (Archidamus); Idaho Shakespeare Festival: Much Ado About Nothing (Conrad); Virginia Shakespeare Festival: Two Gents (Valentine), Merchant of Venice (Gratiano); Shakespeare Theatre Company: Twelfth Night – Free for All (Curio). Tour: National Players. Education: MFA, Western Illinois University. www.drewkopas.com BRUCE RANDOLPH NELSON (Narrator #1): Everyman Theatre (Resident Company Member): Wait Until Dark, Death of a Salesman, A Streetcar Named Desire, Blithe Spirit, Ghosts, Ruined, Deathtrap, The Dresser, Red (Mark Rothko, Baltimore Magazine’s Best Actor), The Beaux’ Stratagem, August: Osage County, You Can’t Take it With You, Private Lives, Shipwrecked! (Louis/Best Actor City Paper), I Am My Own Wife, The Pavilion (Narrator/Best Actor City Paper), Irma Vep. Regional: Center Stage: Amadeus (Antonio Salieri), Animal Crackers (Groucho), The Final Strange Tale of Edgar Allen Poe (Poe), Vanya, Sonya, Masha and Spike (Vanya); Rep Stage: The Goat (Martin), Hysteria (Dali), The Violet Hour (Gidger/ Helen Hayes Award), The Dazzle (Langley/ Helen Hayes Award), Irma Vep (Enid/Helen Hayes Nomination), Faith Healer (Teddy/ Helen Hayes Nomination); Folger Theatre: The Comedy of Errors (Antipholus of Ephesus), She Stoops to Conquer (Tony); Olney Theatre Center: Farragut North (Paul), The Underpants (Cohen); Woolly Mammoth Theatre (Company Member): Dead Man’s Cell Phone (Dwight/Originated E V E RYM A N T H E AT R E | 14

Role), Fuddy Meers (Limping Man/Helen Hayes Nomination); The Shakespeare Theatre: The Taming of the Shrew (Tranio); Signature Theatre: Never the Sinner (White); Tour: National Players; Teaching: Howard Community College, Everyman Theatre, Stevenson University, University of Baltimore. Education: Towson University. GERRAD ALEX TAYLOR (Narrator #2): Everyman Theatre: debut. Regional: Chesapeake Shakespeare Company: Anne of the Thousand Days (Northumberland), The Three Musketeers (Aramis), Romeo and Juliet school matinee (Mercutio-2016/Romeo2014),Macbeth (Malcolm), Much Ado About Nothing (Claudio), A Christmas Carol (Young Scrooge), The Merry Wives of Windsor (Fenton); The Great River Shakespeare Festival: The Merry Wives of Windsor (Host), Hamlet (Marcellus/Gravedigger), Rosencrantz and Guildenstern are Dead (Player), Henry V (Montjoy); Nevada Conservatory Theatre: Urinetown: The Musical (Hotblades Harry), Equus (Alan Strang), Romeo and Juliet (Mercutio), A Funny Thing Happened on the Way to the Forum (Protean), Seven Guitars (Canewell), The Seagull (Medvedenko); Pallas Theatre Collective: The Taming of the Shrew (Petruchio). Tour: Shakespeare Festival St. Louis Education Tour 2015: Antony and Cleopatra (Antony), Two Gentlemen of Verona (Proteus). Directing: Mary Poppins, Shrek: The Musical, The Children’s Theatre of Annapolis; The Colored Museum, AfricanAmerican Student Association for Theatre/Film-UNLV. Teaching: Chesapeake Shakespeare Company, Educational Theatre Company, The Children’s Theatre of Annapolis. Education: MFA Performance, University of Nevada, Las Vegas; BA Neuroscience, The Johns Hopkins University. Mr. Taylor is also a Resident Acting Company Member and Associate Artistic Director of the Chesapeake Shakespeare Company.

WHAT IS THE BROMO DISTRICT? Imagine an arts district that connects the Stadiums and Downtown with a major corridor of Theatres, Galleries, and other public displays of art. Heading north, up the main arteries of Eutaw and Howard Streets, encounter Theatres, a public marketplace, and incubators spawning pop up galleries and emerging artists to be discovered. Continue on to find arts organizations celebrating the history and heritage of Baltimore and cultural institutions leading visitors up to the northern reaches of the district at Read and Howard Streets. In the next decade the Bromo Tower Arts and Entertainment District will become a premiere district for performances and arts exhibitions sought out by citizens of Baltimore and visitors alike. The district will offer opportunities for artists of all disciplines to live, work, and create here. The district encourages the collaboration among its stakeholders and will attract new ones offering resources towards the creation and display of the arts.

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DIRECTOR AND DESIGNER BIOGRAPHIES DAVID BURDICK (Costume Design) Everyman Theatre (Resident Costume Designer): Dot, Death of A Salesman, A Streetcar Named Desire, August Wilson’s Fences, An Inspector Calls, Blithe Spirit, Ghosts, Ruined, By The Way, Meet Vera Stark, Red, The Beaux’ Stratagem, August: Osage County, You Can’t Take It With You, Private Lives, All My Sons, The Mystery of Irma Vep. Regional: Center Stage: Animal Crackers, The Final Strange Tale of Edgar Allen Poe, An Enemy of the People, The Rivals, Caroline or Change, Mrs. Warren’s Profession, Private Lives, Les Blancs, The Piano Lesson, Picnic and others; Theatre of the First Amendment: Open the Door Virginia. Opera: Boston Lyric Opera: I Puritani; Cincinnati Opera: Don Giovanni; Tulsa Opera: Tosca, Carmen, The Barber of Seville, Fidelio. Eastman School of Music: The Rape of Lucretia. Dance: Dayton Contemporary Lyric Fire. Other: Baltimore Symphony Orchestra: Holiday Spectacular. YU-HSUAN CHEN (Scenic Design) Everyman Theatre: debut. Yu-Hsuan Chen is a New York based set and production designer, originally born and raised in Taiwan. Selected theater credits include New York: Dixon Place: Hummm; University Settlement, How to Field Dress an Android; Center of Arts and Culture: Bed Stuy,Sister Son/Ji; 5th Floor Theater: The Caucasian Chalk Circle; Shapiro Theater: The Seven Deadly Sins; Shubert Theater: A Bright Room Called Day. She received her MFA in Design for Stage and Film at Tisch School of the Arts, NYU. www.yuhsuanchendesign.com VINCENT M. LANCISI (Founding Artistic Director) founded Everyman Theatre in October of 1990 and has directed over 35 productions including Dot, Death of A Salesman, Under the Skin, Blithe Spirit, Deathtrap, Tribes, The Glass Menagerie, The E V E RYM A N T H E AT R E | 16

Beaux’ Stratagem, August: Osage County, You Can’t Take It With You, Stick Fly, All My Sons, Two Rooms, Rabbit Hole, The Cherry Orchard, Doubt, Much Ado About Nothing, The Cone Sister, And a Nightingale Sang, The School for Scandal, A Number, Amadeus, Cat on a Hot Tin Roof, Buried Child, The Last Night of Ballyhoo, A Delicate Balance, Hedda Gabler, Proof, Uncle Vanya and The Last Five Years. In addition to his work at Everyman, he has taught acting and directing at Towson University, University of Maryland, Catholic University, Howard Community College, and at Everyman Theatre. He is a member of the Society of Stage Directors and Choreographers. Vincent is the President of the Bromo Tower Arts & Entertainment District board. He is also on the Market Center Merchants Board. In the past, he has sat on the boards of the Baltimore Theatre Alliance and the Greater Baltimore Cultural Alliance as well as panels for the Maryland State Arts Council. Vincent holds his undergraduate degree in Theatre from Boston College and his master’s degree in Directing from The Catholic University of America. GARY LOGAN (Dialects Coach) Everyman Theatre (Resident Dialect Coach): Death of a Salesman, A Streetcar Named Desire, Outside Mullingar, An Inspector Calls, Blithe Spirit, Ruined, Tribes, The Dresser, The Beaux’ Stratagem, August: Osage County, Private Lives, Pygmalion, The Soul Collector, Our Town, Doubt, Much Ado About Nothing, And a Nightingale Sang. Regional: Kennedy Center: Master Class (with Tyne Daly); Signature Theatre: Westside Story, I Am My Own Wife; Arena Stage: Frankie and Johnny in the Clair de Lune; Studio Theatre: Moment, Jumpers for Goalposts, Belleville, Tribes, The Real Thing, Venus in Fur, Frozen, Crestfall; Ford’s Theatre: Shenandoah (with Scott Bakula), State of the Union, A Christmas Carol; Folger: Henry V, Othello, Henry VIII, Much Ado About Nothing; Shakespeare Theatre Company: The Tempest, The Importance of Being Earnest, As You Like It, Design for Living, The Way of

the World, An Enemy of the People, Julius Caesar; Chautauqua Theater Company: Henry V, Clybourne Park, Macbeth, Love’s Labour’s Lost, The Winter’s Tale, The Just; Denver Center Theatre Company: Romeo and Juliet, Misalliance, Wit, The Winter’s Tale, Valley Song, The Tempest (over 50 others); International: The Royal Shakespeare Company and Denver Center Theatre Company: Tantalus (Sir Peter Hall, director); Stratford Festival of Canada: Twelfth Night and The School for Scandal (with Brian Bedford), The Miser, The Night of the Iguana. Author: The Eloquent Shakespeare (University of Chicago Press).

Perseverance Theatre, Florida Stage, Laguna Playhouse and New York Stage And Film. His works for the theatre have been recognized by the Hewes Design Award, Helen Hayes, Bay Area Theatre Critics Circle, Barrymore, NAACP, Audelco, Jackie and the IRNE.

STEPHEN QUANDT (Lighting Design) Recently worked with Director Tazewell Thompson on Ruined at Everyman Theatre in addition to Intimate Apparel and Big Love at Dartmouth College and on Red at Theaterworks in Hartford, CT. Other companies and venues in NYC include The Alvin Ailey Dance Foundation, Manhattan FABIAN OBISPO (Sound Design) Tap Dance Co., The Joyce Theatre, Lincoln Everyman Theatre: Ruined. Recent credits Center’s Alice Tully Hall and Avery Fisher in the DC area include Arena Stage’s Hall, Symphony Space, The Manhattan Mary T. & Lizzy K., Shakespeare Theatre Center, HERE!, The Samuel Beckett Company’s Henry V and Two Gentlemen Theatre, Merkin Concert Hall, Circle in Of Verona and Folger Theatre’s Romeo the Square/Bleeker St., The Naked Angels, and Juliet. He has composed and sound Columbia University, Aaron Davis Hall, designed for Off-Broadway and regional and The Variety Arts Theatre. Regional: theatres including the Public Theater, TheaterWorks, Hartford, Alabama Manhattan Theatre Club, Manhattan Shakespeare Festival, The Kennedy Center, Class Company, Atlantic Theatre Company, Capital Rep. Co., Albany NY, Hope College, Vineyard Theatre, New Group, Classic Holland, MI, Studio Arena Theater, Buffalo, Stage Company, Primary Stages, New York NY, Merrimack Rep., Lowell MA, North Theatre Workshop, Theater For A New Shore Music Theatre, The Court Theatre Audience, MaYi Theatre, Women’s Project, at the University of Chicago, Stamford Kennedy Center, The Acting Company, Center for the Arts, The Yale Dramatic Goodman Theatre, Guthrie Theater, Association, Gettysburg College, and The American Conservatory Theater, Oregon Kansas City Ballet. Internationally he Shakespeare Festival, Seattle Repertory has designed in France, Austria, Canada, Theatre, Cleveland Playhouse, Opera Australia and Colombia. He has taught Columbus, Huntington Theatre Company, design at the Theater Studies Program at Children’s Theatre Company, Victory Yale University and at Queens College in Gardens Theater, American Theatre New York City. When he’s not designing Company, St. Louis Repertory Theatre, he’s rescuing cats and dogs around the Long Wharf Theatre, TheatreWorks, country in natural disasters and cruelty Hartford Stage, Westport Country cases with the ASPCA. He lives with his Playhouse Syracuse Stage, Indiana husband costume designer Thom Heyer Repertory Theatre, Delaware Theatre and their three cats in New York City. Company, George Street Playhouse, LEWIS SHAW (Fight Choreography) Playmakers Repertory Company, Virginia Everyman Theatre (Resident Fight Stage, Shakespeare Santa Cruz, Alabama Choreographer): Wait Until Dark, Death Shakespeare, Philadelphia Shakespeare of A Salesman, A Streetcar Named Desire, Festival, People’s Light and Theatre Blithe Spirit, Ruined, Deathtrap, The Dresser, Company, Asolo Repertory Theatre, CHARLES DICKENS' GREAT EXPECTATIONS | 17

The Beaux’ Stratagem, Topdog/Underdog, Valley, Heartless, A Discourse on the God of Carnage, August: Osage County, You Wonders of the Invisible World, Gidion’s Can’t Take It With You, Fifty Words, Private Knot, From Prague; Delaware REP Lives, A Raisin in the Sun, Stick Fly, All (selected): Night of the Iguana, The My Sons, Blackbird, The Mystery of Irma Threepenny Opera, Hamlet, The Skin of Vep, The Cherry Orchard, The Cripple of Our Teeth, Our Country’s Good, The Cripple Inishmaan, Red Herring, The Lion in Winter, of Inishmaan, Noises Off!, I am My Own Much Ado About Nothing. Regional: The Wife, The Glass Menagerie, Fever (world Shakespeare Theatre, Baltimore Opera, premiere); Dallas Children’s Theatre: The Rep Stage, Studio Theatre; Performed at Boxer; Seattle Children’s Theatre: The The Shakespeare Project, The Baltimore Borrowers, Lyle the Crocodile; Nebraska Shakespeare Festival. Broadway: Repertory Theatre: The Little Prince, Jakes Weapons Creator for Addams Family, Shrek, Women, Dinner with Friends, You’re a Good A Life In The Theatre, Aida, Into the Woods, Man Charlie Brown; Snowy Range Summer The Scarlet Pimpernel, The Pirate Queen. Theatre: Headset (premiere), Kosher International: The Globe Theatre, London. Lutherans (premiere); The Missouri TV/Film: Daredevil, Iron Fist and Gotham. Theatre: Babes in Arms. Education: MFA Other: Vulcan’s Forge Fine Dueling PTTP University of Delaware. Supplies (Owner). TAZEWELL THOMPSON (Director) last directed Ruined at Everyman Theatre. Thompson is an acclaimed international director of opera—Europe, Asia and Canada—and theatre—over 75 productions in major theaters across the US, including 24 productions at Arena Stage, where he was an associate director—and an award winning playwright, with play commissions from Lincoln Center Theatre; Arena Stage; South Coast Rep and Peoples Light and Theatre Company. His personal highlights include: Caucasian Chalk Circle, The Crucible, Lost in the Stars, Dialogues of the Carmelites, Black Star Line, As You Like It, and his own Constant Star and Mary T. & Lizzy K. He will direct A Raisin in the Sun next at Arena Stage and The Handel opera Xerxes at Glimmerglass. He has been commissioned to write the libretto for a new opera for the Glimmerglass Festival. CAT WALLIS (Stage Manager) Everyman Theatre: The Roommate, Under The Skin, Fences, Ghosts, Grounded, (Stage Manager); Death  of A Salesman, A Streecar Named Desire, Ruined (Assistant Stage Manager); Regional: Contemporary American Theatre Festival: Uncanny E V E RYM A N T H E AT R E | 18

Actors’ Equity Association was founded in 1913 to protect Actors from severe mistreatment that permeated the industry at the time. The 40,000 member association consists of distinguished stars and other professional actors and stage managers who work nationwide, from New York’s Broadway to Los Angeles, from Minneapolis to Miami Beach, in regional, stock and dinner theatre, and in theatre for young audiences which build audiences for tomorrow. The actors and stage managers are committed to working in the theatre as a profession, not an avocation, and bring to you the finest professional training and experience. By presenting Equity productions, this theatre offers to you, our audience, the best entertainment presented by the finest quality actors and stage managers that your admission dollars can buy. The Lighting, and Sound Designers are represented by United Scenic Artists, Local USA 829 of IATSE The Director is a member of the Stage Directors and Choreographers society (SDC).

A HISTORY OF EVERYMAN

veryman Theatre was founded by Vincent Lancisi in 1990. From the beginning Everyman strove to provide top-notch theatre that is affordable and accessible to everyone. With a Resident Company of local, professional artists, Everyman has staged critically-acclaimed productions ranging from classics to contemporary works to world premieres over the past 25 years.

subscriptions numbers grew and a string of popular and acclaimed productions, including Amadeus, Cat on a Hot Tin Roof, The Lion in Winter, The Glass Menagerie, The Crucible, and the wildly successful Proof, proved that Everyman was a mainstay in the Baltimore theatre scene. Through a generous donation from Bank of America and the Harold A. Dawson Trust, Everyman was given its new home on Fayette Street. Over the span of six years, Everyman completed a successful $18 million capital campaign co-chaired by Gina and Dan Hirschhorn.

Everyman’s first production—The Runner Stumbles—was produced in the winter of 1990 at Saint John’s Church. For the next four years, Everyman could only afford to produce one production per year at various locations in Baltimore, including Vagabond’s Theatre, the Theatre Project and even a classroom at MICA. The 1994/95 Season marked a series for firsts for Everyman. It was the first year at 1727 North Charles Street, which would be Everyman's home for 18 years. It also marked the first multi-production line-up— starting with Sam Shepard's Buried Child— and also offered subscriptions to patrons for the first time. Throughout the late 1990s and early 2000s,

In January 2013, Everyman celebrated the Grand Opening of its new permanent home on Fayette Street with the recordbreaking production of the Pulitzer Prize winning drama, August: Osage County. Everyman celebrated its 25th anniversary during the 2015/16 Season by producing "The Great American Rep," a feat featuring American classics Death of a Salesman and A Streetcar Named Desire performed with the same cast in rotating repertory. Everyman invites you to be part of the journey for the next 25 years.

FOUNDING BOARD MEMBERS These extraordinary board members have provided leadership for the organization for ten or more years.

Gordon Becker Nathan Chernoff+ Patricia Egan James R. Eyler Susan Sachs Fleishman + Deceased

Maurice Furchgott Niki Harris Gina B. Hirschhorn Bridget M. Horner Jeannie Howe

Vincent M. Lancisi Jonathan Melnick R. Rex Rehfeld E. Lee Robbins, M.D. Zelig Robinson

Vic Romita Frank Rosenberg Leonard Sachs+ Elspeth Udvarhelyi+ Martha Weiman

CHARLES DICKENS' GREAT EXPECTATIONS | 19

EVERYMANâ&#x20AC;&#x2122;S 2016/17 SEASON IS MADE POSSIBLE WITH THE SUPPORT OF OUR GENEROUS DONORS Sponsors listed as of December 15, 2016

SEASON SPONSORS

NEIL & ELLEN MELTZER

GREAT EXPECTATIONS PRODUCTION SPONSOR

VIC & NANCY ROMITA MAJOR SUPPORT FROM WILLIAM G. BAKER, JR. MEMORIAL FUND, CREATOR OF THE BAKER ARTIST PORTFOLIOS, WWW.BAKERARTIST.ORG

PAY-WHAT-YOU-CAN SPONSOR

DR. E. LEE & BEA ROBBINS E V E RYM A N T H E AT R E | 20

ANNUAL FUND DONORS Thank you to all our generous annual fund donors. Your support is essential and allows us to present the very best in live professional theatre. Gifts listed here were received from donors between July 1, 2015 and December 15, 2016.

GOVERNMENT, FOUNDATIONS, FUNDS AND CORPORATIONS

PRODUCER $2,500 - $4,999

The Ashworth/Welch Charitable Fund Charlesmead Foundation DLA Piper LLP Harvey M. Meyerhoff Fund, Inc. Herschel and Judith Langenthal Philanthropic Fund IBM Corporation Sinsky-Kresser-Racusin Memorial Foundation Inc.

ANGEL $20,000+

Anonymous Baltimore County Commission On Arts And Sciences Bunting Family Foundation, Inc. David And Barbara B Hirschhorn Foundation France-Merrick Foundation Helen S. and Merrill L. Bank Foundation The Henry and Ruth Blaustein Rosenberg Foundation J. Mayo Greenberg Theatre Fund Jacob and Hilda Blaustein Foundation, Inc. Lockhart Vaughan Foundation Maryland State Arts Council Paul M. Angell Family Foundation The Shubert Foundation Stockman Family Foundation William G. Baker, Jr. Memorial Fund, creator of the Baker Artist Portfolios, www.BakerArtist.org

ASSOCIATE PRODUCER $1,000 - $2,499

RESIDENT COMPANY SPONSOR $10,000 - $19,999

Bank Of America Foundation Goldsmith Family Foundation Hecht-Levi Foundation Joseph and Harvey Meyerhoff Family Charitable Funds Legg Mason Corporate Citizenship LifeBridge Health T. Rowe Price Foundation Talcott-Gran Charitable Trust

EXECUTIVE PRODUCER $5,000 - $9,999

Anonymous Abell Foundation, Inc. American Trading And Production Corporation Baltimore Office of Promotion and the Arts Benno and Elayne Hurwitz Family Foundation Earle and Annette Shawe Family Foundation Eddie C. and C. Sylvia Brown Family Foundation Fancy Hill Foundation Helen Pumphrey Denit Trust, U.S. Trust, Bank of America, Trustee + DECEASED

John J. Leidy Foundation, Inc. Lord Baltimore Capital Corporation Mayor Stephanie Rawlings-Blake & the City of Baltimore Creative Baltimore Fund Muller Charitable Foundation, Inc. Sun Trust Venable Foundation Wells Fargo Foundation Yumkas, Vidmar, Sweeney & Mulrenin, LLC

Anonymous Baltimore Office of Promotion and the Arts Campbell Foundation, Inc. Exelon Foundation Harbor Bank Harris Jones & Malone, LLC Jaye and Dr. Ted Bayless Fund Lois and Philip Macht Family Philanthropic Fund M. Sigmund And Barbara K. Shapiro Philanthropic Fund Mary Jean and Oliver Travers Foundation in honor of Stan Miller Richard and Rosalee C. Davison Foundation Susan Sachs Fleishman Fund The Wolman Family Foundation

DIRECTOR $500 - $999

Cantler Fulwiler Family Fund Doctrow Family Fund Eugene and Alice Schreiber Philanthropic Fund Francine Manekin and Family Philanthropic Fund Helen M. Hughes Trust Jencks Family Fund McCormick & Company Norfolk Southern Foundation Matching Gifts Program Mr. and Mrs. Raymond L. Bank Family Fund

PLAYWRIGHT $250 - $499

Actorsâ&#x20AC;&#x2122; Equity Foundation, Inc. Gabbay Family Fund Jacob S. Shapiro Foundation Joyce and Robert Knodell Family Charitable Fund Ransome-Wilcox Family Fund Reliable Churchill Taylor Foundation, Inc.

CHARLES DICKENS' GREAT EXPECTATIONS | 21

INDIVIDUALS ANGEL $20,000+

Anonymous Susan W. Flanigan Gina and Dan Hirschhorn John and Susan Nehra Dr. E. Lee and Bea Robbins Vic and Nancy Romita

RESIDENT COMPANY SPONSOR $10,000 - $19,999 Stan and Laurie Miller Elizabeth K. Moser David and Betsy Nelson

EXECUTIVE PRODUCER $5,000 - $9,999

Bunny and Alan Bernstein+ William and Pat Bettridge Mary Catherine Bunting Richard Friedler Ronnie Kleiman Peter Leffman Mark Paul Lehman and Kurt Davis Wil Love and Carl Schurr Ellen and Neil Meltzer Diane and Pete Nachtwey Bryan and Jennifer Rakes John and Marsha Ramsay Frank and Ann Rosenberg Stephen and Gail Shawe Lawrence Yumkas and Miriam Fisher

PRODUCER $2,500 - $4,999

Anonymous Stan and Edie Brown Shaun Carrick and Ronald Griffin Paul and Kathleen Casey Diane E. Cho and David W. Benn Dr. Larry and Nancy Fishel Mitzi and Norman Glick Philanthropic Fund Corie Godine Lisa Harris Jones and Sean Malone Phyllis and Joe Johnson Sandy and Mark Laken in memory of Shawn Laken Kenneth C. and Elizabeth M. Lundeen Brian and Eileen Oâ&#x20AC;&#x2122;Rourke David and Nancy Paige Grant and Elissa Roch Matthew and Mary Satchwell

Len and Selma Sherman Joy and Steven Sibel Louis B. Thalheimer and Juliet A. Eurich

ASSOCIATE PRODUCER $1,000 - $2,499 A nonymous

George and Frances Alderson David and Suzanne Alexander Tim and Joy Ambrose Brenda K. Ashworth and Donald F. Welch Robert R. Bair and Dorothy D. Bair Penny Bank Bruce and Polly Behrens Emile A. Bendit Helen Blakey Dr. and Mrs. Mordecai Blaustein Patty Bond Winnie and Neal Borden Robert and Teresa Brookland Evelyn Cannon Glenda Chernoff Chuck Cohen and Ann Amernick James C. Storey and Janice L. Collins Betty & Stephen Cooper Michael Borowitz and Barbara Crain Harlan and Jean Cramer Vera Case and Adam Ehart Jennifer Engel Nelson and Sara Fishman Gwen DuBois & Terry Fitzgerald Fran and John Flanigan Elborg and Robert Forster Jason and Laurie Frank Charlton G. C. Friedberg Debra and Maurice Furchgott Jill and Ira Gansler Sandra Levi Gerstung Barbara Glynn Herbert and Harriet Goldman Marci Gordon and Andrew Barnstein Stephen and Julie Gottlieb Robert and Cheryl Guth Stephen P. & Jacquelyn M. Hall James and Catherine Hammond Michael Hayes and Lori Clawson

E V E RYM A N T H E AT R E | 22

Charles Henck and Karen Malloy Sandra and Thomas Hess June and George Higgins William C. Jacob and Jennifer S. Williams Shirley A. Kaufman Kelly Keenan Trumpbour Paul Konka and Susan DuganKonka Francine and Allan Krumholz Vincent Lancisi and Robin Vanscoy Bernard and Steffi Liberman Sara Lombardo and James MacNicholl Joy Mandel and Tim Nehl Richard Manichello and Margo Halle/Ram Films Inc Linda Matheson Dr. Wendy Matt & Dr. Sukumar Balachandran Phyllis McIntosh John and Shanae McLean John and Mary Messmore Joseph and Jane Meyer Charlotte Modly and Paul Tarantino Charlie and Marcia Moylan Tracy Namie in memory of Stephen Namie Ruth Nolan Franchella Pailen-Watkins Fred and Grazina Pearson Mike Plaisted and Maggie Webbert Reid Reininger Larry Koppelman and Liz Ritter Harriet Roberts Zelig and Linda Robinson Rona and Arthur Rosenbaum Leslie and Jay Rosenthal Robert and Lelia Russell Monica and Arnold Sagner Gilda B. Sherman Rachelle and Ronnie Silverstein Susan and John Spencer Joaneath A. Spicer Ruth and Chuck Spivak Fred and Joan Steffens Linda Stewart Damie and Diane Stillman Margaret Taliaferro JoAnn Tracey Karen and Jim Trennepohl Michael and Helen Weiss Dr. Laurie S. Zabin

DIRECTOR $500 - $999

Anonymous James and Ellen Adajian Dr. Sania Amr in memory of Jo Tyson Tildon Neil Axel Joel Balsham Bruce and Amy Barnett Frank Eisenberg and Catherine C. Blake Mr. James Blackburn Liz Block Harriet and Bruce Blum Mr. and Mrs. A. Stanley Brager, Jr. Livio and Diane Broccolino David Brown Donald D. Brown and Linda W. Brown Arnold D and Joyce Ann Bruckner Hank Bullwinkel and Teri Majewski Jennifer Burdick Dr. Elizabeth Burin and Dr. Avishai Ben-David Susan L. Chomicz Suzanne F. Cohen Ken Davies Michael and Judith DeHaemer Walter B. Doggett III and Joanne Doggett Ross and Michele Donehower Rosemary Eck Tony and Jaymee Farinacci Dr. and Mrs. Stanley Goldberg George Goodale Judith A. Gottlieb Hannah and Thorne Gould Jon Greenberg and Connie Rosemont Richard B. Gross Michael Guarnieri Donald M. and Dorothy W. Gundlach Betty Gunther in honor of Robert Gunther Terry Halle and Wendy McAllister Fritzi K. and Robert J. Hallock Dr. Rhoda Harrison Barbara L. Hecht Holly Hertsgaard Samuel and Barbara Himmelrich Ken and Ellen Himmelstein Robert and Abigail Hoffman

Shirley T. Hollander Frank and Anne Hubbard Dave and Katherine Hurst Ruth B Hurwitz Dr. and Mrs. Iredell W. Iglehart III Lois and Joseph Johnson, Jr. Ann H. Kahan Edi and Barbara Karni Townsend and Bob Kent Joan Klein Ann and David Koch Ann Koontz Harriet and Jay Kramer Stanford and Lynne Lamberg Jessica Lanzillotti Harry and Beth Lebow Greg Lehne Diane Leonard Vernon and Doris Lidtke Barry Linkner Kathleen Liparini Alison Loughran in memory of Donna Loughran Sam and Suzie Macfarlane Frank and Joyce Margolis Patrick Martyn and Eric Lomboy Dennis G. McGough Herb and Miriam Mittenthal Carl and Undine Nash Linda Nevaldine Andrew and Sharon Nickol Ted Niederman and Ricka Neuman Lewis and Dee Noonberg Drs. Mary O’Connor and Charles King Steve and Sherri O’Donnell Gretchen Schmidl and Tim O’Leary Robert and Patricia Orr Joan W. Orso Thomas L. and Leslie V. Owsley Dr. and Mrs. Lawrence C. Pakula William and Susan Paznekas Dale and Dorothy Piper Leslie and Gary Plotnick Dorothy Holliday Powe in memory of Ethel J. Holliday Scott and Gwyneth Radloff Karen Ray and Howard Turk Sarah S. Robinson Domingo and Karen Rodriguez Carla Wolf Rosenthal and Alan Schwartz

Bette Rothman + Jamie and Sarah Ryan Jean Savina and Gayle Barney Susan Scheidle Norman A. and Leonora D. Sensinger Riva and Dr. Al Shackman David and Sarah H. Shapiro in honor of Gina Hirschhorn Peter and Cheryl Snyder Lynne Stuart Pat Thompson and Ed Sledge Elizabeth Trexler Carly Troyer Bonnie Binder and Bob Tucker Henry and Barbara Valeri Dr. and Mrs. Peter Warschawski Peter Cohen and Ann Watson in honor of Stan & Laurie Miller Maria Wawer William Marshall and Camille Wheeler Beverly Winter Carol Yumkas Marvin and Cindy Zelkowitz

PLAYWRIGHT $250 - $499 Anonymous Anonymous in honor of Maurice and Debra Furchgott Lissa Abrams and Abe Wasserberger Ronald and Baiba Abrams Brad and Lindsay Alger Eleanor Allen Taunya L. Banks Richard Baum and Kathleen Petersen in memory of Ron Pototsky Jan Boyce Brooks Bradley Jason and Melinda Brandt Jean Brune Joseph and Barbara Cirelli Joan Coley and Lee Rice Cynthia Conklin Will Cooke Joan S. Cornblath Gwen Davidson Albert DeLoskey and Lawrie Deering Michael Domue in honor of Wil Love and Carl Schurr Neil and Deborah Eisenberg

CHARLES DICKENS' GREAT EXPECTATIONS | 23

Susi Ettinger Dr. Mary Anne Facciolo & Dr. Michael Repka Edgar and Faith Feingold Susie and Bob Fetter John and Dorothy Foellmer Rhona and Sonny Freiman Mrs. Noris and Mr. Avi Friedman Mark and Patty Gillen Mr. and Mrs. David Glickman in memory of David Glickman Stephanie Graham Ben Greenwald Dale and Alonzo Griffin Thomas and Rebecca Hamer Gary C. Harn Ricki and George Henschel Harriet S. Iglehart Louise and Richard Kemper Robert Knodell Ron and Marianne Kreitner Evan Toni Krometis Rosalind and Alfred Kronthal Jonna & Fred Lazarus Sara W. Levi Naomi Levin Howard and Peggy Levinton Peter Levy and Diane Krejsa Diane Maloney-Krichmar Frank and Joyce Margolis in honor of Dr. Johnathan Margolis & Dr. Linda Keyes Richard Marriott Jeanne E. Marsh Hans and Judy Mayer Stephanie F. Miller Todd Myers and Lois Schneck Barry Narlines in memory of Dr. Ronald Pototsky Jeffrey Nover Dr. and Mrs. Crossan O’Donovan Margaret Palmer in honor of Kyle Prue Bob and Shirley Prue Hazel D. Radowsky Alan and Pamela Ray Jill Ann Rodenburg in memory of Joan Burns Dr. and Mrs. Alfred Rosenstein Dr. and Mrs. Steven Sandler Richard and Kayleen Saucier Frederica Saxon + Barbara K. Scherlis Thomas M. Scott III

Betsy and Carlton Sexton Joel and Robin Shaivitz Terry E. Singer in memory of Reuben and Ethel Singer James Slaughter III and Anne Cowan Slaughter Eric Snyder in honor of The Wiesters Sid and Sandy Socolar in memory of Vivienne Shub and Naomi Greenberg-Slovin Judy and Carl Sterling Steve and Sue Sternheimer Hugh and Kitty Stierhoff Ellen Stifler Ellen M. Heller and Shale D. Stiller James Stofan and William Law Harriet Stulman Elizabeth Trimble Eli Velder John and Mary Lou Walker Joanne Wallach Jonathan and Rachel Waller Joe and Debra Weinberg Mark I. Whitman Raymond Kraft and Gregory Wise Patricia A. Yevics-Eisenberg Miriam and Robert Zadek

WINTER GALA 2017 CORPORATE SPONSORS

American Trading And Production Corporation Bank Of America BB&T BGE The Henry and Ruth Blaustein Rosenberg Foundation Brown Advisory Cho Benn Holback & Associates Classic Catering Future Care Gallagher Evelius & Jones Beth Goldsmith Legg Mason Corporate Citizenship LifeBridge Health Lord Baltimore Hotel M&T Bank P. Flanigan and Sons

E V E RYM A N T H E AT R E | 24

Phyllis & Leonard J. Attman Foundation Pricewaterhouse Coopers, LLP Sun Trust Yumkas, Vidmar, Sweeney & Mulrenin, LLC

INDIVIDUALS PRODUCERS’ CIRCLE

Jean Brune Susan W. Flanigan Gina and Dan Hirschhorn J.R. and Marsha Kirkland Stan and Laurie Miller Dr. E. Lee and Bea Robbins Vic and Nancy Romita Kelly Keenan Trumpbour

ARTISTS’ CIRCLE

Alan and Amy Meltzer John and Susan Nehra Bryan and Jennifer Rakes Stevenson University

DIRECTORS’ CIRCLE

Laura Black and Charles Klein Deborah and Maurice Furchgott Marci Gordon and Andrew Barnstein Bridget and John Horner, Jr. Christine Miki and William Jaquis in honor of Neil Meltzer David and Betsy Nelson Brian and Eileen O'Rourke David and Nancy Paige

Please bring any errors or omissions to our attention by contacting Dustin Morris: dmorris@everymantheatre.org 443.615.7055 x7122

EVERYMAN THEATRE THANKS OUR