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FAMILY CONCERT: A SWINGIN’ NUTCRACKER!
SAT, DEC 8 11 AM FUN FOR AGES 4 & UP • TICKETS FROM $15 FLY Dance Company hip-hop dancers join the BSO for this fun-filled holiday concert, riffing off of Duke Ellington's reimagining of Tchaikovsky's masterpiece.
HANDEL MESSIAH
SAT, DEC 8 8 PM SUN, DEC 9 3 PM TICKETS FROM $25 • KIDS 12 & UNDER 50% OFF Experience Handel's masterwork, including the iconic "Hallelujah" Chorus, conducted by Edward Polochick with the Concert Artists of Baltimore Symphonic Chorale.
CIRQUE NUTCRACKER
FRI, DEC 14 8 PM SAT, DEC 15 3 PM SUN, DEC 16 3 PM TICKETS FROM $25 • KIDS 12 & UNDER 50% OFF Troupe Vertigo’s acrobats, contortionists, jugglers, strongmen and high-flying aerialists join the orchestra for a holiday-themed celebration.
HOLIDAY POPS
SAT, DEC 22 3 PM SAT, DEC 22 8 PM TICKETS FROM $25 • KIDS 12 & UNDER 50% OFF Broadway's Andy Einhorn leads the BSO and the Baltimore Choral Arts Society in festive favorites from A Christmas Carol, Frozen and The Sound of Music. Featuring the ever-popular tap-dancing Santas and an audience sing-along. Holiday Presenting Sponsor: WHITING-TURNER Holiday Supporting Sponsors: SOUTHWEST | LORD BALTIMORE CAPITAL PARTNERS. LLC
GIVE THE GIFT OF MUSIC THIS HOLIDAY SEASON WITH A GIFT CERTIFICATE TO THE BSO! Available at BSOMUSIC.ORG/GIFT
JOSEPH MEYERHOFF SYMPHONY HALL OF 10 OR MORE RECEIVE BSOMUSIC.ORG | 410.783.8000 | GROUPS A DISCOUNT UP TO 20%!
EVERYMAN THEATRE
Vincent M. Lancisi, Founder, Artistic Director
presents
THE IMPORTANCE OF BEING EARNEST Playwright OSCAR WILDE Director JOSEPH W. RITSCH
Algernon Moncrieff...........................................................................DANNY GAVIGAN* John Worthing, J.P................................................................................JAYSEN WRIGHT* Lane/Merriman........................................................................................CARL SCHURR* Lady Bracknell.................................................................BRUCE RANDOLPH NELSON* Hon. Gwendolen Fairfax........................................................................KATIE KLEIGER* Miss Prism.............................................................................................HELEN HEDMAN* Cecily Cardew................................................................................. PAIGE HERNANDEZ* Rev. Canon Chasuble, D.D.............................................................................. WIL LOVE* Set Design
DANIEL ETTINGER Sound Design and Original Music Composition
ROC LEE Fight Choreography
LEWIS SHAW
Lighting Design
HAROLD F. BURGESS II Wig Design
DENISE O’BRIEN Dramaturgy
LINDSEY R. BARR
Costume Design
DAVID BURDICK Dialects
GARY LOGAN Props Master
JILLIAN MATHEWS
Stage Manager
CAT WALLIS* Setting: London, 1895 This production will be performed in three acts with two intermissions. SPONSORS LAWRENCE J. YUMKAS & MIRIAM FISHER
PLEASE TURN OFF ALL CELL PHONES. NO TEXTING. NO EATING IN THE THEATRE. 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
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YOUR CREATIVE JOURNEY STARTS HERE!
WINTER
CLASSES YOUR CREATIVE JOURNEY STARTS HERE CREATIVE MATES AGES 3-5 JAN 19-FEB 23 | 10-10:45am
PLAY BUILDERS GRADES 3-5 JAN 19-MAR 9 | 11:15-12:30pm WONDERLAND MISADVENTURES Bring new adventures of Alice to the stage. Design Highlight: Set Design.
MAGICAL KINGDOM Lower the drawbridge, ride on horses, and join us for a royal celebration! STORY EXPLORERS GRADES K-2 JAN 19-MAR 9 | 10-11am
THEATRE MAKERS GRADES 6-8 JAN 19-FEB 23 | 11am-12:30pm
MYSTERIES ABOUND Search for clues through story in this special exploration of the dramatic.
MUSICAL THEATRE DANCE Build the foundational language of dance, movement as story, and experience the joy of ensemble.
GIVE THE GIFT OF ARTS LEARNING! Gift Certificates available for youth and adult classes. NEXT: Theatre Night for Teens:
EVERYTHING IS WONDERFUL Sun, Feb 3 | Pre-show activites begin at 6 PM $10 for dinner, conversation, show, and dessert
LEARN MORE AND REGISTER EVERYMANTHEATRE.ORG/EDUCATION 443.615.7055 x7142
A NOTE NOTE FROM FROM A ARTISTIC DIRECTOR ARTISTIC DIRECTOR, VINCENT M. LANCISI VINCENT M. LANCISI
W
elcome. The holidays are upon us, and a trip to the theatre is the perfect occasion to add to your holiday season. There’s nothing more social and rewarding than an evening out with friends and going to see a play together. This is one reason I chose to schedule The Importance of Being Earnest at this time of year. When better to come out and have some sheer fun and enjoy one of the wittiest, funniest, most colorful plays written in the English language? I’m not sure there is a finer, more perfectly constructed comedy out there. Everybody has an Aunt Augusta in their lives, or an Algernon or Jack who is impossible to please when it comes to the holidays and gift giving (there are only so many monogrammed cigarette cases one can give, after all!) Have you tried the present of live theatre? Gifting the opportunity to get out of the house to see a performance that is alive, heartfelt, and compelling is a wonderful present for anyone. Going to the theatre is one of the few activities that gets us up off the sofa and allows us to come together in our community to experience a human story away from the mindless solitary confinement of our TV, computer, and phone screens.
We are engaged by playwrights and actors who hold the mirror up to nature and make us laugh, cry, and care about each other. Give yourself and your loved ones the gift of great theatre in your lives. You’re here— but are your friends? Family? Co-workers? Treat them to the wonderful, life affirming theatre at Everyman. Stop by the box office after the show to learn more.
“Give yourself and your loved ones the gift of great theatre” While making your gift-giving list this year, please consider contributing to Everyman Theatre in honor of a loved one. Our commitment to low ticket prices makes it a challenge to fund the high quality performances we’re committed to producing at Everyman. If you make a new or increased gift before the end of the year, it will be matched by a passionate and generous Everyman supporter. Your contribution will benefit all who come to see shows at Everyman. Let’s ring in the holiday season together by sharing the gift of great theatre. It’ll enrich our lives and put smiles on our faces. Thank you for coming, & happy holidays! THE IMPORTANCE OF BEING EARNEST | 3
SUBVERTING SOCIETAL EXPECTATIONS: Photo: Telegraph UK
THE TWO AUDIENCES OF WILDE’S WORK By Lindsey R. Barr
T
hroughout Oscar Wilde’s life (18541900), he penned nine plays in total. Of all his plays, The Importance of Being Earnest is the most uniquely Wildean. It is through the use of satirical comedy that Wilde was able to challenge the Victorian norms of love and marriage, and subvertly introduce the possibilities of pleasure and sexuality unacknowledged in British aristocratic social spheres. While some scholars are divided, there is strong evidence to indicate that Wilde’s sexuality and personal life informed and underscore much of the piece.
the common London theatre-goer, Wilde achieved acclaim and success. What most of these typical audience members were not aware of was the gay code riddled throughout the piece that spoke directly to the underground homosexual community.
By many, The Importance of Being Earnest is considered a perfect comedy: full of witty banter, quick repartee, and clever guises. Indeed, audiences that attended the theatre (particularly the St. James Theatre in London, where the piece premiered) were of the upper class, the majority heterosexual, who engaged in the expected and mannerly behavior of Victorian society. Wilde’s use of sparkling social commentary had audiences consumed by what they believed to be pure fiction, and delighted by the jesting at cultural norms. By making these performances relatable and palatable to
In the late 19th century, homophobia was rampant in London, and men were arrested for engaging in “gross indecency.” Wilde himself was convicted of such a crime for his long-standing relationship with Lord Alfred Douglas. It was not until 2017 with the introduction of the Turing’s Law that Wilde, along with 50,000 other gay men, were posthumously pardoned of these crimes.
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Throughout Wilde’s life, his sexuality impacted his perception of society and his success both on stage and off. Though he was married to Constance Lloyd with whom he had two children, Wilde often engaged in sexual relationships with men; both acquaintances and young men for “rent.”
In writing and presenting The Importance of Being Earnest, Wilde was able to produce a piece that was well-received by the heterosexual London socialite, but also con-
The Marquess of Queensberry—Bosie’s father— publicly accused Wilde of sodomy.
Photo: Telegraph UK
Wilde and his long time lover, Lord Alfred (Bosie) Douglas.
Half Moon Street, the bohemian haven that inspired Algernon’s apartment.
tained subtext that spoke directly to a gay audience, containing references that only they would recognize.
Coded Language: ● B4, The Albany: Jack’s calling card reads that he lives at B4, The Albany, which was the address of Wilde’s friend George Ives, an early gay activist and founder of the secret homosexual society The Order of Chaeronea. ● Bunburying: the pun (literally bun and burying) denotes a strong connotation with sexual intercourse between two men. Also used contextually to refer to leading a double life by avoiding one’s responsibilities and duties, falsely claiming to have business elsewhere. ● Cecily: a popular trade reference for “renting” boys. ● Cigarette cases: It is documented through Wilde’s trial that he often gave his lovers engraved cigarette cases. ● Cucumber Sandwiches: An allusion because of the cucumber’s phallic shape, but also that the cucumber sandwiches are made to be served to the female characters
of Bracknell and Gwendolen, but are consumed only and entirely by Algernon. ● Earnest: drawn from the word “uranist” or “uranism”, which was a contemporary word for homosexual. It is also said that “being earnest” held the same meaning as “is he so?” when people in the era meant to ask if someone was gay. Additionally there is a theory that the term is connected to the poetry of John Gambril Nicholson whose 1892 published collection of poems entitled Love in Earnest, where he included a poem that references his male lover Ernest. As a result, the name Ernest had already been used as an allusion to same-sex love in some circles before Wilde’s play. ● Half Moon Street: in the late 1880s, this area was very “colorful” and was seen as a bohemian haven where confirmed bachelors took up residence. The street was named after the Half Moon Public House on the corner, and was home to many of Wilde’s close acquaintances.
THE IMPORTANCE OF BEING EARNEST | 5
THE HAPPY PRINCE
THE LIFE AND TIMES OF OSCAR WILDE
Begins studies at Magdalen College in Oxford. Wilde raises some eyebrows for his flamboyant dress and mannerisms.
1874
1854
Oscar Fingal O’Flahertie Wills Wilde is born in Dublin, Ireland.
1871–1874 Attends Trinity College in Dublin.
Straiton & Storm’s New Cigars, New York, 1882
1895 The Importance of Being Earnest premieres: Wilde is now Boise’s lover, enraging Bosie’s father, the Marquis of Queensberry.
FEB 14
FEB 18
Queensberry leaves a calling card at Wilde’s club inscribed: “Oscar Wilde, posing sodomite.” Wilde sues for libel.
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1878 Graduates from Oxford and moves to London.
1894 Wilde meets and seduces then-16-year-old Alphonse Conway, who would testify against him.
The Queensberry Trial begins: The focus is Wilde’s conduct as a gay man rather than libel. His letters to Bosie are submitted as evidence, and he is arrested on charges of gross indecency.
APR 3
APR 26 MAY 25
Bosie leaves the country. Constance Wilde takes their sons to Europe. Wilde never sees his children again.
Oscar Wilde is sentenced to two years hard labor. He is sent immediately to prison.
Police News comic, 1895
n.
ay,
5
Writes The Duchess of Padua during his UK lecture tour, which does poorly.
Wilde’s first son, Cyril, is born.
1881
1883
1885
1882
1884
Embarks on a US lecture tour and produces his first play, Vera, which is unpopular.
1886
Marries Constance Lloyd
1892-1893
1891
Wilde’s plays Lady Windemere’s Fan and A Woman of No Importance premiere to great success.
He befriends an Oxford student named Lord Alfred (“Bosie”) Douglas.
Photo: eraseunavezqueseera.com
Wilde publishes a collection of verse entitled Poems.
Second son, Vyvyan, is born.
1890
Wilde’s only novel and best-known work, The Picture of Dorian Grey, is published in Lippincott’s Monthly Magazine.
1888 Wilde publishes The Happy Prince and Other Tales, a collection of fairy tales.
1897
1897
1898
1900
Wilde released from Jail and goes to France, where he spends the rest of his life in exile.
Wilde and Bosie reunite in France. They soon separate, and the penniless Wilde moves into the Hotel d’Alsace in Paris.
Wilde’s wife Constance dies in Italy following spinal surgery at the age of 40.
After a deathbed conversion to Catholicism, Oscar Wilde dies of meningitis in Paris at the age of 46.
THE IMPORTANCE OF BEING EARNEST | 7
ASK THE DIRECTOR: Q&A WITH JOSEPH W. RITSCH By Lindsey R. Barr
T
he Importance of Being Earnest is a well-known and often-produced piece. Learn more about Director Joseph W. Ritsch’s insight and inspiration. How did you go about approaching the show, and how did your vision develop from reading the script? As most directors do, I always ask “why this play now?,” especially with a play with such an iconic history as The Importance of Being Earnest. I was very much drawn to how personal this play was for Wilde as a gay man. The queer politics that are a large part of his social criticism in the play are interesting. It’s also fascinating to me how he took his oppression and the need to live a double life and turned that tragedy into something so witty and amusing. What about pop art aesthetics influenced your research and design conversations? I am a very visual director: I often start from the outside and work inwards. I love creating the visual world with the designers as I believe it creates the rules of the world the actors and I then get to Roy Lichtenstein play in. I get a lot “In the Car”, 1963. EVERYMAN THEATRE | 8
of information from looking at previous productions of a play, particularly one with such an iconology as this one. I quickly discovered that 90% of the productions were visually pastel: sets, costumes, lighting. This didn’t appeal to me at all. This play feels bright and sexy to me, not pastel and delicate. I also like to look at other art forms and how they can inform and inspire the work we do in the theatre. I started looking at the Pop Art era, at first because of the color palettes of those artists, but then realized that Roy Lichtenstein was exploring love and relationships with a very similar wit as Wilde was. This became the “in” for me and the design team. Keeping the silhouettes of the original period, yet exploding it with the colors, patterns and other elements of the Pop Art period. We’ve talked a lot about the influence of Wilde’s life on the play and the characters. In doing your research, what was most interesting to learn about Wilde and how that presents itself in the show? I was fascinated where in the timeline of Wilde’s life that this work fell, particularly in regard to his indecency trial and conviction. (see pages 6-7) In many ways there are elements of the play that seemingly foreshadow what was coming for him. The play feels very much like a “coming out” veiled in a social satire of the heterosexual upper class. I was also very moved, even saddened, that this was his last play. The conviction and prison sentence really seemed to break him, and he died poor and basically alone. What does Wilde’s legacy provide to you as a director, and how do you work through that legacy to inform your vision for the show? As a director, this play gives me the opportunity to explore one of the greatest comedies of all time while simultaneously, as a gay man, it gives me the opportunity to pay tribute to one of the most important figures in queer history. I truly believe you can’t separate Wilde the man from this play. And I hope that if he were sitting in our audience he would be honored and proud.
CAST BIOGRAPHIES DANNY GAVIGAN (Algernon Moncrieff) Everyman Theatre (Resident Company Member): Dancing at Lughnasa (Gerry), The Book of Joseph (Joseph), Long Day’s Journey Into Night (Edmund), Noises Off (Garry Lejeune), A Streetcar Named Desire (Stanley), Death of a Salesman (Happy), Ghosts (Osvald), Deathtrap (Clifford Anderson), The Understudy (Jake), Crimes of the Heart (Doc), The Beaux’’ Stratagem (Archer). Regional: Ford’s Theatre: Death of a Salesman (Happy), Who’s Afraid of Virginia Woolf? (Nick); La Jolla Playhouse: Peer Gynt (Hero Peer); Kansas City Rep: Peer Gynt; Baltimore Center Stage: The Rivals (Fag/ David), Snow Falling on Cedars (Carl); Round House Theatre: Miss Bennet: Christmas at Pemberley (Darcy), NSFW (Rupert), How to Write a New Book for the Bible (Paul), Bengal Tiger at the Baghdad Zoo (Tom), Double Indemnity (Nino/Norton), Pride and Prejudice (Wickham); Woolly Mammoth Theatre Company: Detroit (Kenny); Signature Theatre: Really Really (Jimmy); Studio Theatre: Mojo (Potts), All That I Will Ever Be (Bart). HELEN HEDMAN (Miss Prism) Everyman Theatre: The Book of Joseph, Outside Mullingar, Blithe Spirit, Pygmalion, School for Scandal, Cripple of Inishmaan. Regional: Arena Stage: Watch on the Rhine, A Delicate Balance, Long Day’s Journey Into Night, The Women, The Caucasian Chalk Circle; Shakespeare Theatre Company: Lady Windermere’s Fan, A Woman of No Importance, The Country Wife and Camino Real; Round House Theatre: I’ll Get You Back Again, Rapture, Blister, Burn, The Chemistry of Change, The Rehearsal; Studio Theatre: The Year of Magical Thinking; Signature Theatre: Crazy for You, Beaches (world premiere), Show Boat, My Fair Lady, The Sex Habits of American Women; Olney Theatre: Piaf (Helen Hayes nomination), Triumph of Love, Omnium Gatherum; Rep Stage: The Seagull, Mrs.
Farnsworth, Kimberly Akimbo; Ford’s Theatre: Sabrina Fair, A Christmas Carol; Lyric Theatre of Oklahoma: The Glass Menagerie, An Inspector Calls; International Shaw Conference: Press Cuttings; St. Louis Repertory: Canterbury Tales. Film/TV: Homicide, Silent Fall w/ Richard Dreyfuss and Beast (Winner 2018 South by Southwest Film Festival Jury Award). PAIGE HERNANDEZ (Cecily Cardew) Everyman Theatre (Resident Company Member): Dot (Averie), The Children’s Hour (Mary Tilford), School for Scandal (Mariah); Regional Theatre: The Kennedy Center: All the Way Live (Herself), American Scrapbook (Ensemble); Mermaids, Monsters…(Marta Elena); Michigan’s Wharton Center for the Performing Arts: Shape of a Girl (Braidie); Lungs (W); Adventure Theatre: Wizard of Oz (Dorothy); Imagination Stage: Cinderella The Remix (Cinderella); P.Nokio (Graffiti Fairy); Zomo the Rabbit (Big Fish); Hip Hop Anansi (Spray); Playhouse Square: Havana Hop (Yeila), Alliance Theatre: Paige in Full (Herself); Folger Theatre: Second Shepard’s Play (Virgin Mary); GALA Hispanic Theatre: Caribeana Imperial (Sade); Keegan Theatre: The Crucible (Titubua) Baltimore School for the Arts: Lysistrata (Lysistrata) Education: BA, University of Maryland, Baltimore School for the Arts KATIE KLIEGER (Hon. Gwendolen Fairfax) Everyman Theatre: Dancing at Lughnasa. Off-Broadway: Ring Twice for Miranda (New York City Center); The Fall (Soho Playhouse). Regional: Studio Theatre: The Wolves, The Effect; Round House Theatre: The Book of Will, Miss Bennet; Kennedy Center: Home, Again; Ford’s Theatre: A Christmas Carol; Guthrie Theatre: Juno and the Paycock, Christmas Carol, Blue Stockings. Training: University of Minnesota/ Guthrie BFA Actor Training Program.
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WIL LOVE (Rev. Canon Chasuble, D.D.) Everyman Theatre (Resident Company Member): The Book of Joseph, (Salo/Elderly Arnold) Noises Off (Selsdon Mowbray), Death of a Salesman (Willy Loman), Outside Mullingar, (Tony), Deathtrap (Porter Milgrim), By The Way, Meet Vera Stark (Frederick Slasvick/Brad Donovan), The Dresser (Geoffrey Thornton), August: Osage County (Charlie Aiken), Heroes (Gustave), You Can’t Take It With You (Mr. DePinna, Grandpa), Pygmalion (Doolittle), Our Town (Stage Manager), The Cherry Orchard (Pishchik), Much Ado About Nothing (Dogberry), School for Scandal (Sir Oliver), The Cripple of Inishmaan (Johnnypateenmike). National Tours: Daisy Mayme, The Show-off (both with Jean Stapleton). Regional Theatre: Baltimore’s Center Stage (31 productions), Repertory Theatre of St. Louis (25 productions), Detroit’s Meadow Brook Theatre (18 productions), Philadelphia’s Walnut Street Theatre, Buffalo Studio Arena, Actors’ Theatre of Louisville, Seattle Repertory Theatre, Pennsylvania’s Totem Pole Playhouse (43 seasons as resident actor; 25 seasons as Associate Artistic Director). Over 250 performances as Ebenezer Scrooge in A Christmas Carol adapted from the story by him and Carl Schurr. TV/Film: The Father and the Bear, Route 30 Trilogy, Better Living Through Chemistry, Veep, Something the Lord Made, Homicide: Life on the Street, PBS Trifles, Once Upon A War, Mr. Magister, Crabs. Education: MFA, Wayne State University. Member of Actor’s Equity Association since 1967. BRUCE RANDOLPH NELSON (Lady Bracknell): Everyman Theatre (Resident Company Member): Dancing at Lughnasa, The Book of Joseph, M. Butterfly, Noises Off, Great Expectations, 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, EVERYMAN THEATRE | 10
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 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. CARL SCHURR (Lane/ Merriman): Everyman Theatre (Resident Company Member): Noises Off (Lloyd Dallas), Death of a Salesman (Uncle Ben), A Streetcar Named Desire (Doctor), Blithe Spirit (Dr. Bradman), The Dresser (Sir), August: Osage County (Beverly Weston), Heroes (Philippe), You Can’t Take It With You (Mr. Kirby), All My Sons (Joe Keller), Our Town (Prof. Willard, Joe Stoddard, Constable Warren), The Cherry Orchard (Gayev), Much Ado About Nothing (Leonato), The School for Scandal (Sir Peter Teazle), Proof (Robert), Private Lives (Director); National Tour: Daisy Mayme, The Show-off (both with Jean Stapleton). Regional Theatre: Meadow Brook Theatre: Pygmalion (Henry Higgins), Present Laughter (Garry Essendine); Repertory Theatre of St. Louis: Noises Off (Frederick), Hay Fever (Richard); Walnut Street Theatre: Art (Serge); Missouri Repertory Theatre: The Hostage (Princess Grace), The Misanthrope (Philinte); Studio Arena: Loot
SATURDAY, JANUARY 12, 2019 6 – 11 PM | THE LORD BALTIMORE HOTEL EVERYMAN THEATRE PRESENTS
A Midwinter
Night’s Dream
A GALA HONORING
Beth Goldsmith
& THE GOLDSMITH FAMILY FOUNDATION
PURCHASE TICKETS AT EVERYMANTHEATRE.ORG/GALA
FALL BACH CONCERT | NOVEMBER 4 Missa Brevis (Lutheran Mass) in A major Brandenburg Concerto No. 4
A BAROQUE CHRISTMAS | DECEMBER 2
Bach’s Christmas Oratorio: Cantata 1, Corelli’s Christmas Concerto, “Comfort Ye” and “Every Valley” from Handel’s Messiah, and Vivaldi’s Gloria
NEW YEAR’S DAY BAROQUE CELEBRATION CONCERT & SOIRÉE! | JANUARY 1, 2019
Ring in 2019 with our annual New Year’s concert!
WINTER FIREWORKS | JANUARY 6, 2019 Bach’s Cantata 171 and Cantata 91 Handel’s Music for the Royal Fireworks
A BAROQUE MASTERS MEDLEY FEBRUARY 3, 2019
Bach’s Brandenburg Concerto No. 1 and Handel’s Water Music
CELEBRATION of the PSALMS & BACHFEST SILENT AUCTION MARCH 3, 2019
Bernstein’s Chichester Psalms and other sacred works with Hazzan Perlman, tenor
Our boldest and biggest season yet!
A SPRING FÊTE | APRIL 7, 2019
Bach’s Cantatas 49 and 84 and Handel’s Organ Concerto Op. 4, No. 4
CHERISHED MUSIC of JOHN RUTTER MAY 5, 2019
Mass of the Children featuring the Children’s Chorus of Carroll County and Gloria
CELEBRATION of VENICE JUNE 2, 2019
Celebrated orchestral works by Vivaldi and Johann Roman NOTE: All performances begin at 4 p.m.
Bach In Baltimore is supported by a grant from the Maryland State Arts Council, an agency dedicated to cultivating a vibrant cultural community where the arts thrive. Bach in Baltimore acknowledges the William G. Baker, Jr. Memorial Fund, creator of the Baker Artists Awards, BakerArtistsAwards.org. Bach in Baltimore is supported in part by grants from the Citizens of Baltimore County, Creative Baltimore Fund, Free Fall Baltimore, Harford County Cultural Arts Board, Howard County Arts Council, and the Peggy & Yale Gordon Trust.
THE IMPORTANCE OF BEING EARNEST | 11
BachinBaltimore.org
For tickets and concert information, visit BachinBaltimore.org or call 410.941.9262
(McLeavy), Ah, Wilderness! (Arthur), Dark of the Moon (Preacher Haggler); Center Stage: One Flew Over the Cuckoo’s Nest (Dr. Spivey), The Beaux’’ Stratagem (Count Bellair); Totem Pole Playhouse: Producing Artistic Director for 25 years, As a director, productions at Actors Theatre of Louisville, GeVa, Syracuse Stage, Walnut Street Theatre. Education: MA University of Michigan. Member of Actor’s Equity Association since 1971. JAYSEN WRIGHT (John Worthing, J.P.) Everyman Theatre: Debut. Regional: Theatre J: Actually (Tom), Sons of the Prophet (Vin); Folger Theatre: Macbeth (Lenox); Ford’s Theatre: The Wiz (Royal Gatekeeper/Lord High Underling/Uncle Henry), A Christmas Carol (2016, 2017); Studio Theatre: WIG OUT! (Eric), Choir Boy (AJ), The Rocky Horror Show; Arena Stage: Smart People (Jackson); Imagination Stage: Anatole, Mouse Magnifique (Anatole)*, Davy Copperfield, The Miraculous Journey of Edward Tulane, Looking for Roberto Clemente (Roberto Clemente); 1st Stage: Now Comes the Night (Brad); Take Me Out (Darren); Marin Theatre Company: Choir Boy (AJ); Adventure Theatre: Pinkalicious,12 Days of Christmas; Shakespeare Theatre Company: Measure for Measure, Coriolanus, Wallenstein; The Welders: Carolina Layaway Grail (Sidekick) Education: MFA from Indiana University *upcoming
DIRECTOR AND DESIGNER BIOGRAPHIES LINDSEY R. BARR (Dramaturgy) Everyman Theatre: Sweat, Dancing at Lughnasa, Single Carrot Theatre: A Beginner’s Guide to Deicide; Fell’s Point Corner Theatre: Stop, Kiss; Capital Fringe Festival: Sweet Painted Lady; WordBRIDGE Playwright’s Laboratory: Caleb’s Moon, Tall Skinny Cruel, Cruel Boys. Towson University: MacBeth, Kaspar, What Once We Felt, The Misanthrope. Education Program Content Writer: Regional: Everyman Theatre: Grounded, Deathtrap, Ruined, Ghosts, An Inspector Calls, Fences, Outside Mullingar, Under
the Skin; Directing: Regional: Baltimore Center Stage Play Lab (AD): Handle It, To the Flame; Goethe Institut (AD): The Privacy Project; Interrobang Theatre Company (staged reading): Her Devices; Script Evaluator: Studio Theatre. Education: BS Towson University, MS University of Baltimore, MA (in progress) University of Maryland, College Park. HAROLD F. BURGESS II (Lighting Designer) Everyman Theatre: Sweat, Aubergine, Dot, Death of a Salesman, A Streetcar Named Desire, Ghosts, Grounded, By The Way, Meet Vera Stark, The Dresser, Heroes, The Brothers Size, The School for Scandal. Regional: Studio Theatre: Breath Boom, My Children! My Africa!; Round House Theatre: A Year With Frog and Toad (co-design); Olney Theatre Center: Aubergine, Thurgood, Grounded, Monster, Having Our Say; Theatre J: Trayf, Broken Glass, Another Way Home, The Sisters Rosensweig, The Hampton Years; Mosaic Theatre Company: Unexplored Interior. Design credits include Rep Stage, Imagination Stage, Northern Stage (VT) and several local universities. Education: MFA, University of Maryland. Teaching: Director, College Park Scholars Arts program, UMD. DAVID BURDICK (Costume Designer) Everyman Theatre (Resident Costume Designer): Sweat, Dancing at Lughnasa, The Book of Joseph, Long Day’s Journey Into Night, The Revolutionists, Intimate Apparel, Los Otros, Great Expectations, 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: Baltimore Center Stage: Lookingglass Alice, Jazz, Amadeus, Next to Normal, 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; Olney Theatre Center: The Diary of Anne Frank. 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. Dayton Contemporary Dance: Lyric Fire. Other: Baltimore Symphony Orchestra: Holiday Spectacular.
DANIEL ETTINGER (Set Designer) Everyman Theatre (Resident Set Designer): highlights include Sweat, The Book of Joseph, Long Day’s Journey Into Night, The Revolutionists, Noises Off, Los Otros, Death of a Salesman, A Streetcar Named Desire, Outside Mullingar, Blithe Spirit, Ghosts, The Understudy, By The Way, Meet Vera Stark, Red, The Glass Menagerie, The Beaux’’ Stratagem, August: Osage County, Time Stands Still, You Can’t Take It With You, The Brothers Size, Private Lives, Pygmalion, All My Sons, Shipwrecked! An Entertainment, The Amazing Adventures of Louis de Rougemont (As Told By Himself), I Am My Own Wife, Filthy Rich, Gem of the Ocean, School for Scandal, Proof, Nude With Violin, A Number. Off-Broadway: The Blue Angel Theatre: Pageant; Roundabout Theatre Company: A Man For All Seasons, Room Service; The York Theatre Company: Talley’s Folly, Luv. Regional: Woolly Mammoth: You for Me for You, Eclipsed, Vigils, Recent Tragic Events, Kiki and Herb, Starving, The Mineola Twins; Olney Theatre Company: Annie, Mary Poppins, The Piano Lesson, Bakersfield Mist; Rep Stage: All She Must Posses, Dorian’s Closet, H2O, Venus in Fur, Mrs. Warren’s Profession; Barter Theatre: Thoroughly Modern Millie, She Loves Me, and over 100 other productions. Teaching: Towson University Design Program. VINCENT M. LANCISI (Founder, Artistic Director) founded Everyman Theatre in October of 1990 and has directed over 35 productions including Sweat, Aubergine, M. Butterfly, Noises Off, Dot, Death of A Salesman, Under the Skin, Blithe Spirit, Deathtrap, Tribes, The Glass Menagerie, The 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. As a freelance director, last season he directed True West for Rep Stage in Columbia, MD. 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 sits on the boards for the Bromo Tower Arts & Entertainment District and the Market Center Merchants Association. 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. ROC LEE (Sound Designer and Original Music Composition) Everyman Theatre: Aubergine. DC-based Composer/Sound Designer. Master of Music in Stage Music Composition from The Catholic University of America. Regional: Arena Stage: The Price, The Year of Magical Thinking, Mother Courage; Mosaic Theater Company: CHARM, Hooded: Or Being Black for Dummies, Ulysses On Bottles; Olney Theatre Center: Annie, Thurgood, Fickle: A Fancy French Farce, Dial ‘M’ for Murder; The Welders: Hello My Name Is...; Studio Theatre: Curve of Departure; Forum Theatre: Love & Information; Faction of Fools: Our Town; GALA Hispanic Theater: Seneca El Raton de Biblioteca, In the Heights. https://roclee.net GARY LOGAN (Dialects) Everyman Theatre: (Resident Dialect Coach): Dancing at Lughnasa, The Book of Joseph, Intimate Apparel, Noises Off, Great Expectations, 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: A Raisin in the Sun; Studio Theatre: Moment, Belleville, Tribes, The Real Thing, Venus in Fur, Frozen; Ford’s Theatre: Shenandoah (with Scott Bakula), State of the Union; Folger: Henry V, Othello, Henry VIII, Much Ado About Nothing; Shakespeare Theatre Company: The THE IMPORTANCE OF BEING EARNEST | 13
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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.
IT'S HAPPENING IN THE BROMO VISIT BROMODISTRICT.ORG
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, The Winter’s Tale; Denver Center Theatre Company: Romeo and Juliet, Misalliance, Wit, Valley Song, The Tempest (over 50 others); International: The Royal Shakespeare Company and the Stratford Festival of Canada. He is the Associate Professor of Speech & Dialects, Carnegie Mellon University and author, The Eloquent Shakespeare (University of Chicago Press) DENISE O’BRIEN (Wig Design) Everyman Theatre: Long Days Journey Into Night, Intimate Apparel, Great Expectations, Dot, Streetcar Named Desire, Death of a Salesman, Ghosts. Centerstage: Pride and Prejudice, Amadeus, Animal Crackers, Into The Woods, Matchmaker, Poe; Yale Repertory Theatre: The Moors, Peerless, A Streetcar Named Desire, A Winters Tame, These!Paper!Bullets!, Dear Elizabeth, War, Arcadia, Hamlet, Pop, Notes From Underground, Black Dahlia, Eurydice; Helen Hayes Theatre: The 39 Steps. Hartford Stage: Summer and Smoke, 8 x Tenn; The Long Warf Theatre: Front Page, Private Lives, We Wont Pay, Travesties, Ain’t Misbehavin’; McCarter Theatre: Uncle Vanya, Phaedra Backwards, She Stoops to Conquer, Mrs. Warren’s Profession. The Public: Measure for Measure; Shakespeare Theatre(DC): Hamlet, King Lear. Univ. of DE Rep Theatre: To Kill a Mockingbird, Wait Until Dark, Heartbreak House, Millionaires, The Patsy. Westport Playhouse: She Loves Me; Seattle Opera: Wagner’s Ring Cycle (Eddy Award for Design Excellence Winner); PBS: Un Ballo In Maschera (Daytime Emmy Awards Honoree for contributions to the Emmy Award Winning Achievement for Hairstyling.) Films: PBS: Dolly Madison, America’s First Lady JOSEPH W. RITSCH (Director) Everyman Theatre: Book of Joseph (Choreographer), Dot (Choreographer), The Understudy (Director), The Beaux’’ Stratagem (Associate Director/ Choreographer), You Can’t Take It With You (Associate Director/Choreographer), A Raisin in the Sun (Choreographer), Pygmalion (Choreographer). Regional: Rep Stage
(Producting Artistic Director): Venus in Fur (Director), Sunset Baby (Director), Technicolor Life (Director), The Antigone Project: A Play in 5 Parts (Director), The Other Place (Director), Dorian’s Closet (Director), All She Must Possess (Director), Sweeney Todd: The Demon Barber of Fleet Street (Director), The 39 Steps (*upcoming) (Director); UMBC: Machinal (Director), The Amish Project (Director); Catholic University: Pride & Prejudice (Director); Adventure Theatre: Oliver! (Director, Helen Hayes Award-nominated) Education: MFA, Towson University; BA University of Maine; Graduate Studies, Playwrights Horizons NYC. LEWIS SHAW (Fight Choreography) Everyman Theatre (Resident Fight Choreographer): Sweat, The Revolutionists, M. Butterfly, Noises Off, Wait Until Dark, Death of A Salesman, A Streetcar Named Desire, Blithe Spirit, Ruined, Deathtrap, The Dresser, The Beaux’’ Stratagem, Topdog/Underdog, God of Carnage, August: Osage County, You Can’t Take It With You, Fifty Words, Private Lives, A Raisin in the Sun, Stick Fly, All My Sons, Blackbird, The Mystery of Irma Vep, The Cherry Orchard, The Cripple of Inishmaan, Red Herring, The Lion in Winter, Much Ado About Nothing. Regional: The Shakespeare Theatre, Baltimore Opera, Rep Stage, Studio Theatre; Performances: The Shakespeare Project, The Baltimore Shakespeare Festival. Broadway: Weapons Creator for Addams Family, Shrek, A Life In The Theatre, Aida, Into the Woods, The Scarlet Pimpernel, The Pirate Queen. International: The Globe Theatre, London. TV/Film: America’s Most Wanted. Other: Vulcan’s Forge Fine Dueling Supplies (Owner). CAT WALLIS (Stage Manager) Everyman Theatre (Resident Stage Manager): Dancing at Lughnasa, Aubergine, The Revolutionists, M. Butterfly, Noises Off, Great Expectations, 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 Valley, Heartless, A Discourse on the Wonders of the Invisible World, Gidion’s Knot, From Prague; Northern Stage: Grounded; Delaware REP (selected): Night of the Iguana, THE IMPORTANCE OF BEING EARNEST | 15
The Threepenny Opera, Hamlet, The Skin of Our Teeth, Our Country’s Good, The Cripple of Inishmaan, Noises Off!, I Avm My Own Wife, The Glass Menagerie, Fever (world premiere); Dallas Children’s Theatre: The Boxer; Seattle Children’s Theatre: The Borrowers, Lyle the Crocodile; Nebraska Repertory Theatre: The Little Prince, Jakes Women, Dinner with Friends, You’re a Good Man Charlie Brown; Snowy Range Summer Theatre: Headset (premiere), Kosher Lutherans (premiere); The Missouri Theatre: Babes in Arms. Education: BFA – University of Nebraska, MFA – PTTP University of Delaware.
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 Director is represented by Stage Directors and Choreographers Society.
OSCAR WILDE (Playwright) Born in Dublin on October 16, 1854, Oscar Wilde was educated at Trinity College, Dublin and Magdalen College, Oxford. While at Oxford, he was involved in the aesthetic movement. After he graduated, he moved to London to pursue a literary career.
The Set and Lighting Designers are represented by United Scenic Artists, Local USA 829 of IATSE. The Dramaturg is represented by Literary Managers and Dramaturgs of the Americas.
A first volume of his poetry was published in 1881. He also contributed to publications such as the ‘Pall Mall Gazette’, wrote fairy tales and published a novel ‘The Picture of Dorian Gray’ (1891). It was at this time that he began writing plays, producing a string of extremely popular comedies including ‘Lady Windermere’s Fan’ (1892), ‘An Ideal Husband (1895)’ and ‘The Importance of Being Earnest’ (1895). Drama and tragedy marred Wilde’s private life. He married Constance Lloyd in 1884 and they had two sons, but in 1891 Wilde began an affair with Lord Alfred Douglas. In April 1895, Wilde sued Douglas’ father, the Marquis of Queensberry, for libel (see: Subverting Societal Expectations: The Two Audiences of Wilde’s Work). After details of his private life were revealed during the trial, he was arrested and tried for gross indecency. He was sentenced to two years of hard labour. His wife took their children to Switzerland and adopted the name ‘Holland’. Wilde was released from prison with his health irrevocably damaged and his reputation ruined. He spent the rest of his life in Europe, publishing ‘The Ballad of Reading Gaol’ in 1898. He died in Paris November 30, 1900.
CHILDCARE
MATINEES Take in a Matinee confident that your children are well looked after by Everyman Theatre Education and Community Engagement staff. Perfect for ages 3-12. Registration: $30 DATES: ●
Everything is Wonderful – Feb. 17
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Dinner with Friends – Mar. 31
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Queens Girl in the World– Jun. 9
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Queens Girl in Africa – Jun. 2
Learn more at: everymantheatre.org/childcare EVERYMAN THEATRE | 16
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A HISTORY OF EVERYMAN
E
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 27 years.
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.
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. In January 2013, Everyman celebrated the Grand Opening of its new permanent home on Fayette Street with the record-breaking production of the Pulitzer Prize winning drama, August: Osage County.
The 1994/95 Season marked a series for firsts for Everyman. It was the first year at Everyman celebrated its 25th anniversary 1727 North Charles Street, which would during the 2015/16 Season by producing be Everyman's home for 18 years. It also "The Great American Rep," a feat featuring marked the first multi-production line-up— American classics Death of a Salesman and A starting with Sam Shepard's Buried Child— Streetcar Named Desire performed with the and also offered subscriptions to patrons for same cast in rotating repertory. the first time. Now in its 28th Season, Everyman invites you Throughout the late 1990s and early 2000s, to be a part of its next chapter.
FOUNDING BOARD MEMBERS These extraordinary board members were seminal in the founding and nurturing of Everyman Theatre in its formative 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
THE IMPORTANCE OF BEING EARNEST | 19
DONOR SPOTLIGHT: LAWRENCE J. YUMKAS & MIRIAM FISHER
L
arry Yumkas and Miriam Fisher are longtime fans and supporters of Everyman Theatre. The first show they attended was Fifty Words during the winter of 2012. “We were blown away by the quality of the work,” said Yumkas. “Attending the show allowed me to see the commitment to excellence that is Everyman’s hallmark. Seeing that show also made me want to support Everyman as a board member.” Soon after, Larry became an active member of Everyman’s Board of Directors. He took a leading role in the planning of fundraising events, including co-chairing the 2016 Annual Winter Gala. Larry and Miriam have been instrumental in Everyman’s efforts to develop new works over the past few seasons. In 2017, they supported the development and production of the musical Los Otros. Both Larry and Miriam joined several members of the Everyman artistic team for a trip to New York to see the workshop of the musical before it was produced on the Everyman stage. Last year the couple also sponsored the East Coast premiere of the record-breaking production of The Book of Joseph. “Being involved behind the scenes to help support Vinny’s vision and the supremely
talented Resident Company’s work is very rewarding,” said Yumkas. “Experiencing Everyman as a Board member and patron has provided unique insight into the value the institution brings to the community. Miriam and I feel we get back so much more than we give. I appreciate the opportunity to play even a small role in implementing the mission of Everyman.” Both Miriam and Larry feel Everyman is a gem for Baltimore. “It is the kind of cultural institution that sustains the City, helps to heal its divisions and injustices and educates its youth by exposing them to a world of possibilities and opportunities,” Yumkas shared. Among all of the many memories that Miriam and Larry have of Everyman, their favorite experience is taking first-time guests to shows and introducing them to Everyman. “I’ve never followed up on those evenings with a subscription pitch!” joked Yumkas. “But most of those guests chose on their own to become fellow subscribers based on their great first experience.” Larry and Miriam invite everyone to join them in supporting Everyman and its mission. “This is the arts done well. This is the kind of cultural institution that makes our city great. Cheers to Everyman!” THE IMPORTANCE OF BEING EARNEST | 21
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, 2017 and November 15, 2018.
GOVERNMENT, FOUNDATIONS, FUNDS AND CORPORATIONS VISIONARY $50,000+ Paul M. Angell Family Foundation Maryland State Arts Council The Shubert Foundation SEASON PRODUCER $25,000 - $49,999 William G. Baker, Jr. Memorial Fund, creator of the Baker Artist Awards, www.bakerartistawards.org Jacob and Hilda Blaustein Foundation Inc. RESIDENT COMPANY SPONSOR $10,000 - $24,999 Abell Foundation, Inc. Baltimore County Commission on Arts and Sciences BGE Bunting Family Foundation Downtown Partnership of Baltimore Exelon Foundation Galanthus Foundation Goldsmith Family Foundation Joseph and Harvey Meyerhoff Family Charitable Funds LifeBridge Health Lord Baltimore Hotel PNC Bank The Shelter Foundation T. Rowe Price Foundation Talcott-Gran Charitable Trust Mary Jean and Oliver Travers Foundation Lockhart Vaughan Foundation University of Maryland, Baltimore EXECUTIVE PRODUCER $5,000 - $9,999 Anonymous Mayor Catherine E. Pugh and the Baltimore Office of Promotion and the Arts Bank of America Foundation Helen S. And Merrill L. Bank Foundation J.S. Plank & D.M. Dicarlo Family Foundation Forno Restaurant & Wine Bar David and Barbara B Hirschhorn Foundation Legg Mason Charitable Foundation John J. Leidy Foundation Lord Baltimore Capital Corporation
EVERYMAN THEATRE | 22
Henry and Ruth Blaustein Rosenberg Foundation Earle and Annette Shawe Family Foundation SunTrust Venable Foundation Veolia Energy PRODUCER $2,500 - $4,999 American Trading and Production Corporation Foundation for a Better Tomorrow IBM Corporation Phyllis and Joe Johnson Foundation Lois and Philip Macht Family Philanthropic Fund McCormick & Co. Howard C. Muller & Marguerite E. Muller Charitable Foundation, Inc. Nora Roberts Foundation Whole Foods Market ASSOCIATE PRODUCER $1,000 - $2,499 Anonymous Herbert Bearman Foundation Biddle Street Catering and Events Campbell Foundation Carefirst, Bluecross Blueshield Hecht-Levi Foundation Harvey M. Meyerhoff Fund Inc. M. Sigmund and Barbara K. Shapiro Philanthropic Fund Open Society Institute Sinsky-Kresser-Racusin Memorial Foundation Susan Sachs Fleishman The Wolman Family Foundation DIRECTOR $500 - $999 Actors’ Equity Foundation Mr. and Mrs. Raymond Bank Family Fund Jaye and Dr. Ted Bayless Fund A. Stanley and Dorah Brager Household Doctrow Family Fund Helen M. Hughes Trust Joyce and Robert Knodell Family Charitable Fund Herschel and Judith Langenthal Philanthropic Fund Taylor Foundation Inc. Young Audiences of Maryland, Inc. PLAYWRIGHT $250 - $499 Cantler Fulwiler Family Fund Jencks Family Fund Leap Day Media Margaret O. Cromwell Family Fund Norfolk Southern Ransome-Wilcox Family Fund
INDIVIDUALS VISIONARY $50,000+ Gina and Dan Hirschhorn John and Susan Nehra George Roche SEASON PRODUCER $25,000 - $49,999 Susan W. Flanigan Beth Goldsmith Vic and Nancy Romita RESIDENT COMPANY SPONSOR $10,000 - $24,999 Shirley T. Hollander Bridget and John Horner, Jr. Mark and Sandy Laken Stan and Laurie Miller David and Betsy Nelson Dr. E. Lee and Bea Robbins Lawrence J. Yumkas and Miriam Fisher EXECUTIVE PRODUCER $5,000 - $9,999 Brenda K. Ashworth and Donald F. Welch Pat and David Bernstein William and Pat Bettridge Jean Waller Brune Mary Catherine Bunting Jane W. Daniels Shirley T. Hollander Phyllis and Joe Johnson Mark and Kelley Keener Ronnie Kleiman Mark Paul Lehman and Kurt Davis Dr. David and Nancy Paige Dorothy H. Powe in memory of Ethel J. Holliday Bryan and Jennifer Rakes John and Marsha Ramsay Frank and Ann Rosenberg PRODUCER $2,500 - $4,999 Anonymous Winnie and Neal Borden Shaun Carrick and Ronald Griffin Paul and Kathleen Casey Dr. Larry and Nancy Fishel Kaylie Kassap George and Adam George Marci Gordon and Andrew Barnstein Sandra and Thomas Hess Francine and Allan Krumholz Wil Love and Carl Schurr James MacNicholl and Sara Lombardo Elizabeth K. Moser Diane and Pete Nachtwey Brian and Eileen O’Rourke
John and Sarah S. Robinson Carol Sandler Fred and Joan Steffens Karen and Jim Trennepohl ASSOCIATE PRODUCER $1,000 - $2,499 Anonymous (3) George and Frances Alderson Robert and Dorothy Bair Bruce and Polly Behrens Bunny Bernstein Bruce Blum Michael Borowitz and Barbara Crain Robert Brookland Dr. and Mrs. Donald Brown Stan and Edie Brown Ms. Gina Campbell Diane E. Cho and David W. Benn Suzanne F. Cohen Harlan and Jean Cramer Walter B. Doggett III and Joanne Doggett Ms. Susan Sachs Fleishman Robert and Elborg Forster Jason and Laurie Frank Herbert and Harriet Goldman June and George Higgins Dr. and Mrs. Iredell W. Iglehart III Lois and Joseph Johnson, Jr. Lisa Harris Jones and Sean Malone Shirley A. Kaufman Martha and J.R. Kirkland Paul Konka and Susan Dugan-Konka Ernest and Donna Kovacs Barry Kropf Diane Leonard Bernard and Steffi Liberman Kenneth C. and Elizabeth M. Lundeen Barry Mersky and Elizabeth Trexler Joseph and Jane Meyer Charlie and Marcia Moylan Tim Nehl and Joy Mandel Ruth Nolan Mike Plaisted and Maggie Webbert Reid Reininger Harriet Roberts Zelig and Linda Robinson Grant and Elissa Roch Rona and Arthur Rosenbaum Robert Russell in memory of Lelia Russell Jamie and Sarah Ryan Burdette and Judi Short Ronnie and Rachelle Silverstein
Bob and Jackie Smelkinson Joaneath A. Spicer Robert E. and Susan I. Spieth Ruth and Chuck Spivak Steve and Sue Sternheimer Louis B. Thalheimer and Juliet A. Eurich Meadow Lark Washington Joanie Young Dr. Laurie S. Zabin DIRECTOR $500 - $999 Anonymous (2) Ronald and Baiba Abrams James and Ellen Adajian David and Suzanne Alexander Brad and Lindsay Alger Joel Balsham Bruce and Amy Barnett Emile A. Bendit & Diane Abeloff Dr. and Mrs. Mordecai Blaustein Patty Bond Mr. & Mrs. A. Stanley Brager, Jr. Jason and Mindy Brandt Lewis and Victoria Bringman Livio and Diane Broccolino David Brown Randy Brown Jeffrey Budnitz in honor of Mark Paul Lehman Evelyn Cannon and James Casey Jan Caughlan Susan L. Chomicz Joseph and Barbara Cirelli Chuck Cohen and Ann Amernick Samuel Cohen and Joan Piven Barbara Coleman White Janice Collins and James Storey Judy Shub-Condliffe and Jack Condliffe in memory of Vivienne Shub and Naomi Greenberg Joseph Coons and Victoria Bradley Fund Ken Davies Natalie Davis in memory of Jack Davis Dr. Albert F. DeLoskey and Lawrie Deering Paul and Martha Dougherty Dr. Frank Eisenberg and Ms. Catherine Blake Lon and Jennifer Engel The Carol and Tim Evans Charitable Fund Susie and Bob Fetter John and Fran Flanigan Donna Flynn Kenneth Roy Furchgott Sandra Levi Gerstung Susan Gillette Martha and Tad Glenn
THE IMPORTANCE OF BEING EARNEST | 23
Barbara Glynn Hannah and Thorne Gould Jon Greenberg and Connie Rosemont Donald M. and Dorothy W. Gundlach Robert and Cheryl Guth Fritzi K. and Robert J. Hallock James F. Hart Barbara L. Hecht Shale D. Stiller and Ellen M. Heller Samuel and Barbara Himmelrich Dave and Katherine Hurst Ruth B Hurwitz Ann H. Kahan Nina Knoche Ann and David Koch Rudy Koffler Larry Koppelman and Liz Ritter Harriet and Jay Kramer Greg Lehne Judith Letcher Peter Levy and Diane Krejsa Kathleen Liparini Sam and Suzie Macfarlane Richard Manichello and Margo Halle/Ram Films Inc William Marshall and Camille Wheeler Dennis G. McGough Phyllis McIntosh John and Mary Messmore James and Martha Millford Linda Nevaldine Andrew and Sharon Nickol Drs. Mary O’Connor and Charles King Steve and Sherri O’Donnell Ed and Jo Orser Franchella Pailen-Watkins Justine and Ken Parezo Greg Huff and Pamela Pasqualini Fred and Grazina Pearson Faye E. Pines Dale and Dorothy Piper Gary and Leslie Plotnick Caroline Queale Scott and Gwyneth Radloff Domingo and Karen Rodriguez Jim and Laura Rossman Arnold and Monica Sagner Gayle Barney and Jean Savina Mark and Lorraine Schapiro Norman A. and Leonora D. Sensinger Betsy and Carlton Sexton Susan and John Spencer Damie and Diane Stillman Lynne Stuart
JoAnn Tracey Elizabeth Trimble Kathleen Vanderhorst Mrs. Karen W. Wallace Dr. Peter and Rosemary Warschawski Peter Cohen and Ann Watson in honor of Laurie and Stan Miller Maria Wawer Stan and Martha Weiman Peter Wimbrow Carol and Chris Yoder Marvin Zelkowitz PLAYWRIGHT $250 - $499 Anonymous (2) Edward Adkins Eleanor Allen Dr. Sania Amr Taunya L. Banks Anonymous Bruce and Toni Berger Family Fund Lisa Blue Alan Deanehan and Margaret Boeckmann Jody Brown Rebecca and Mitchel Brown Hank Bullwinkel and Teri Majewski Dr. Elizabeth Burin and Dr. Avishai Ben-David Dr. and Mrs. Ronald J. Cohen Will Cooke Betty and Stephen Cooper Greg and Martha Cukor Gwen Davidson Anne Efron Neil and Deborah Eisenberg Barry and Susan Eisenberg Curt Lind and Linda Ettinger Dr. Mary Anne Facciolo and Dr. Michael Repka Tony and Jaymee Farinacci John and Dorothy Foellmer Joseph and Teresa Freed Rhona and Sonny Freiman Mark and Patti Gillen Sonny and Laurie Glassner Judith A. Gottlieb Bob Greenfield Louise A. Hager John and Susan Hailman Thomas and Rebecca Hamer Catherine Hammond Gary C. Harn Heidi and Bill Henson Patrick and Elizabeth Hervy Ken and Ellen Himmelstein in honor of The Book of Joseph
EVERYMAN THEATRE | 24
Creative Team Michael Hirschhorn and Jimena Martinez Terry Hogan Francis and Harriet Iglehart Judith R. Iliff in memory of Jacques Fein Elizabeth Kahn Townsend and Bob Kent Lee Kolakowski Ron and Marianne Kreitner Charles Kuning Robert and Barbara Landau Linda F. and Julian L. Lapides Jonna and Fred Lazarus Kenneth B. and Bonny M. Lewis Joan Locke Margaret Long Joanne Mandato Charles and Nancy Mannion Richard Marriott Jeanne E. Marsh Linda Matheson Dr. Wendy Matt Judy and David Mauriello J. A. McAlpine John and Shanae McLean Stephanie F. Miller Tracy Miller and Paul Arnest Stephanie Moore and Dr. Lindsay Johnson Rima Namek Barry Narlines Ted Niederman and Ricka Neuman Lewis and Dee Noonberg Jeffrey Nover and Ally Amerson Alex and Janet Ober Jerry and Gail Oppel Robert and Patricia Orr The Patz Family Lucie Pelgrim in memory of Jim Robert and Judith Pierce Dr. and Mrs. Paul Rao Sue Shaner and John Roberts Robert and Ellen Rosen Wendy S. Rosen Dr. and Mrs. Alfred Rosenstein Leslie and Jay Rosenthal W.J. Lederer and Jennie Rothschild Richard and Kayleen Saucier Gloria Savadow Sam and Thea Schnydman Dr. Alan Schwartz and Dr. Carla Rosenthal Thomas M. Scott III in honor of Vinny Lancisi Stephanie Shade and Stacey Shade-Ware in memory of
EVERYMAN’S 2018/19 SEASON IS MADE POSSIBLE WITH THE SUPPORT OF OUR GENEROUS DONORS Sponsors listed as of December 2, 2018
SEASON MEDIA SPONSORS
THE IMPORTANCE OF BEING EARNEST SPONSORS
LAWRENCE J. YUMKAS AND MIRIAM FISHER
GOVERNMENT SUPPORT FROM
Darlene and Jim Braswell Stephen and Gail Shawe Joan and Edward Sills Lisa Simonson Dr. and Mrs. Harvey and Deborah Singer Edward Sledge and Patricia Thompson Susan Smith Scott Sokol William and Ellen Stifler James Stofan and William Law Harriet Stulman
Carol Summerfield Doris Styche Sweet William and Adrienne Taylor John and Mary Lou Walker Joanne and Ed Wallach Sylvia Wehr Robert and Shifra Weinberg Laurie A. Whisman
Mark I. Whitman Margaret Williams Donald and Jerriann Wilson Beverly Winter Patricia Yevics-Eisenberg and Stewart Eisenberg Miriam and Robert Zadek
Please bring any errors or omissions to our attention by contacting Katie Garber: kgarber@everymantheatre.org, 443.615.7055 x7122. THE IMPORTANCE OF BEING EARNEST | 25
RESIDENT COMPANY MEMBERS
RESIDENT ARTISTS Daniel Ettinger, Scenic Designer David Burdick, Costume Designer Gary Logan, Dialects Coach Lewis Shaw, Fight Choreographer Amanda M. Hall, Stage Manager Cat Wallis, Stage Manager
Megan Anderson
Eric Berryman
Danny Gavigan
Tim Getman
Deborah Hazlett
Paige Hernandez
Bruce Randolph Nelson
Carl Schurr
Dawn Ursula
Beth Hylton
Wil Love
Stan Weiman
Yaegel T. Welch
BOARD OF DIRECTORS
Vic Romita, President Dr. Stanley Miller, Vice President Mark Paul Lehman, Vice President Marci I. Gordon, Secretary Eileen M. O’Rourke, Treasurer
Edie Brown Jean Waller Brune Diane Cho Chris DiPietro Susan W. Flanigan Kaylie Kassap George Gina Hirschhorn Bridget M. Horner Lisa Harris Jones
Mark P. Keener Martha M. Kirkland Sandy Laken Vincent M. Lancisi Colleen Martin-Lauer John McLean Neil Meltzer Betsy Nelson W. Bryan Rakes
CONTACT INFORMATION Box Office 410.752.2208 Administration 443.615.7055 Email boxoffice@everymantheatre.org Address 315 W. Fayette St. Baltimore, MD 21201
E. Lee Robbins, M.D. Frank Rosenberg Nina Rosenzwog James Ryan Kelly Keenan Trumpbour Dawn Ursula Meadow Lark Washington Angela G. Wilson Lawrence J. Yumkas Everyman Theatre is a member of the Theatre Communications Group. Everyman Theatre is a member of the Bromo Arts and Entertainment District. THE IMPORTANCE OF BEING EARNEST | 27
STAFF
Vincent M. Lancisi, Founder, Artistic Director
ADMINISTRATION
Deirdra McBride, Director of Finance & Operations Mike Watson, Operations Manager Laura Weiss, Special Asst. to Artistic Director Shammah Moore, Porter Pat Brent, Bookkeeper
Kate Appiah-Kubi, Candice Christmas, James Fulwiler, Juliannah Harrison, Jonathan Jacobs, Jamil Johnson, Derrell Owens, Nickole Scroggins, House Managers Kate Appiah-Kubi Volunteer Coordinator
ARTISTIC
Jonathan K. Waller, Director of Brand & Marketing Jenny Kessler Klump, Marketing & Media Relations Manager Chris Giese, Digital Content Manager Alex Tolle, Group Sales Associate Jeff Rogers, 2018/19 Season Show Art Design
Noah Himmelstein, Associate Artistic Director
DEVELOPMENT
Stephanie Moore, Director of Development Elliott Kashner, Institutional Giving Manager Katie Garber, Individual Giving Manager Laura Weiss, Development Operations Manager
EDUCATION & COMMUNITY ENGAGEMENT Brianna McCoy, Director of Education & Community Engagement Brenna Horner, Lead Teaching Artist Jesse Miller, Community Engagement Assistant Karim Darwish, Education Apprentice Laurie Ascoli Sandra Atkinson, Wyckham Avery, Abigail Cady, Zach Campion, Tara Cariaso, Reenie Codelka, Amanda Forstrom, Liz Galuardi, Kelsey Hall, Deborah Hazlett, Emma Hebert, Tyler Herman, Donald Hicken, Beth Hylton, Rachel Hynes, Rob Jansen, Caleen Jennings, John Johnson, Jenny Male, Joe Mallon, Brandon McCoy, Bruce Randolph Nelson, Jack Novak, Steve Polites, Fatima Quander, Dawn Thomas Reidy, Joseph W. Ritsch, Sim Rivers, KenYatta Rogers, Steven Satta, Scun, Shirley Serotsky, Lewis Shaw, Quae Simpson, Andy Stoffel, Rick Westerkamp, Teaching Artists
FRONT OF HOUSE
Nadine Klatt, Box Office Manager Corey Frier, Audience Services Manager Candice Christmas, Sharea Harris, Veronese Harris, Juliannah Harrison, Jonathan Jacobs, Ally Kocerhan, Elizabeth Malvo Faith Savill, Matthew Schleigh, Bartenders Karim Darwish, James Fulwiler, Jonathan Jacobs, Jamil Johnson, Thom Purdy, Matthew Schleigh, Rachel-Miranda Swan, Benairen Swanson-Tomhave, Box Office Associates EVERYMAN THEATRE | 28
MARKETING
PRODUCTION
Kyle Prue, Director of Production Amanda M. Hall, Associate Director of Production Bill Jamieson, Technical Director Rick Gerriets, Asst. Technical Director Andrew Gaylin, Audio Engineer Juan Juarez, Master Electrician Jillian Mathews, Properties Master Trevor Wilhelms, Scene Shop Foreman Evan McDougall, Resident Carpenter Ren Brault, Joseph Martin, Michael Rasinski, House Carpenters Amy Kellett, Scenic Charge Amanda M. Hall, Cat Wallis, Stage Managers Erica Feidelseit, Kayla Whisman, Assistant Stage Managers Matthew Smith, Wardrobe Supervisor Dante Fields, Juan Juarez, Light Board Operators James LaDow, Sound Board Operator Kelsey Schneider, Captioning Operator Grant D’Agrosa, Running Crew Linda Cavell, Wig Master Franscesca Belastro, Sarah Blocher, Josh Cookson, Grant D’Agrosa, Darrell Hairston, Jr., Sierra Ho, Jacob Zabawa, Carpenters Parker Damm, Jesse Herche, James LaDow, Jeremy McCord, Alex Roberts, Alexis Sheeks, Daniel Weissglass, Electricians Wil Crowther, Ellouise Davis, Susan McCorkle, Ginny McKeever, Matthew Smith, Costume Construction Ben Argenta Kress, Design Assistant, Costumes Audio Description provided by VIA Services
Historical Charm & Modern Refinement in Baltimore’s Leading Historic Hotel 410.539.8400 20 W Baltimore Street, Baltimore, MD 21201 sales@lordbaltimorehotel.com reservations@lordbaltimorehotel.com
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See more than 160 photographs, sculptures, and sound and video works showcasing the iconic artist and filmmaker’s renegade humor and provocative insights.
OCTOBER 7, 2018 — JANUARY 6, 2019 TICKETS AVAILABLE AT ARTBMA.ORG This exhibition is generously supported by The Alvin and Fanny B. Thalheimer Exhibition Endowment Fund, Suzanne F. Cohen, Robert E. Meyerhoff and Rheda Becker, Clair Zamoiski Segal, The Andy Warhol Foundation for the Visual Arts, Constance R. Caplan, The Charlesmead Foundation, Agnes Gund, Martha and Tad Glenn, Amy and Marc Meadows, The Pearlstone Family Fund, Marianne Boesky Gallery, New York, and Sherry and Stuart Christhilf.
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