EVERYMAN THEATRE G R EAT STO RIES, WELL TOLD.
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TWO PLAYS. ONE STAGE. A REPERTORY WORLD PREMIERE.
EVERYMAN THEATRE GREAT STORIES, WELL TOLD.
SUB S TODCRIBE A EVERYM ANTHE Y! ATRE.O R
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EVERYMAN THEATRE
Vincent M. Lancisi, Founder, Artistic Director
presents
DANCING AT LUGHNASA Playwright BRIAN FRIEL Director and Choreographer AMBER PAIGE McGINNIS
Maggie............................................................................................ MEGAN ANDERSON* Gerry...................................................................................................DANNY GAVIGAN* Michael....................................................................................................... TIM GETMAN* Agnes...........................................................................................................ANNIE GRIER* Kate..................................................................................................... BARI HOCHWALD* Chris..........................................................................................................KATIE KLEIGER* Rose...................................................................................................LABHAOISE MAGEE Jack....................................................................................BRUCE RANDOLPH NELSON* Set Design
Lighting Design
YU-HSUAN CHEN
JAY HERZOG
Sound Design & Composition
Dialects
PHILLIP OWEN Dramaturgy
GARY LOGAN Props Master
Costume Design
DAVID BURDICK Wigs
ANNE NESMITH Stage Manager
LINDSEY R. BARR
JILLIAN MATHEWS
CAT WALLIS*
Recorded Irish Music PIGEON KINGS
Dance Captain MEGAN ANDERSON
Understudy - Gerry STEVE POLITES
Setting: County Donegal, Ireland. August 1936. This production will be performed in two acts with one intermission.
PLEASE TURN OFF ALL CELL PHONES. NO TEXTING. NO EATING IN THE THEATRE. Dancing at Lughnasa is presented by special arrangement with Dramatists Play Service, Inc., New York. Originally produced on the New York stage by Noel Pearson in association with Bill Kenwright and Joseph Harris. References to Anything Goes are included by permission of the Cole Porter Musical and Literary Trusts. References to The Ilse of Capri by Wilhelm Grosz and James Kennedy are included by permission of Polygram International Publishing Inc. and Warner Bros., Inc. 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
SPONSORS VIC & NANCY ROMITA DANCING AT LUGHNASA | 1
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A NOTE FROM ARTISTIC DIRECTOR, VINCENT M. LANCISI
W
elcome. Playwright Brian Friel, an intensely private man, delved into the corners of the minds of ordinary people, uncovering the extraordinary individuals from within that are fascinating to see come alive before our very eyes. He recognized the duality in people and the need to find laughter through the tears of struggle. It’s no wonder he was often dubbed the “Irish Chekhov” for the people of his plays are unique and wonderfully contradictory as are the people of life.
Dancing at Lughnasa is a play filled with poetic realism. Mr. Friel tells a tale as a master Irish storyteller would, uncovering a family in a fictional town called Ballybeg. Five unmarried sisters in a countryside filled with beauty yet remote from opportunity live under the cloud of poverty and the code of conduct required by the many rules of Catholicism. The five unmarried sisters are outcasts and they fight the good fight to persevere, cherish what they have, and dare to dream. We root for them all the way. Everyman Theatre loves to work on plays of this caliber. Plays about family and communities are well suited to the family of artists that are our Resident Company. Our actors know each other well and behave like a family and bring to their roles the complexities of relationships that create an authentic, detailed world that is layered and nuanced. Our audiences become family when they become regulars at Everyman, subscribers who return to see what the resident company of actors and designers will do with the next play, the next story, the next community they create on stage.
We at Everyman are blessed with one of the most loyal subscriber audiences in the nation. The Shubert Foundation in New York holds Everyman Theatre up to its peers as an example of an organization that breaks with the national trend of a declining subscription audience. Our subscribers renew each year at higher percentages than our peer theatres and that’s what sustains us—or nearly sustains us. For subscribers commit in advance to seeing all the plays that year which allows us to plan ahead and curate a season of plays. Yet one of the benefits in return for the commitment of seeing all the plays is seeing them at a significant discount. This year we created a new category of subscriber, the Super Subscriber, who not only subscribes at a discount but who makes a contribution to the theatre of $100 or more. The price of a ticket only covers half of the costs of producing professional theatre. If we were a for profit organization ticket prices would be over $100 like on Broadway. Your donation helps ensure the future and our ability to keep theatre affordable to everyone who wishes to come see plays here. It is our Super Subscribers who lift us up with their commitment to our season of plays and their support financially. If you are already a Super Subscriber, thank you. If not, please consider becoming one. The benefits are many and the support is invaluable. To learn more, visit everymantheatre.org or contact the development department by emailing development@everymantheatre.org or calling 443.615.7055 x7500. Thank you for coming and enjoy the show. DANCING AT LUGHNASA | 3
Turf Cutting. Photo courtesy of National Library of Ireland.
EVER-CHANGING IRELAND: NEW STAKES IN THE NEW IRISH STATE By Lindsey R. Barr
D
uring the first half of the 20th century, Ireland was in a set of constantly changing circumstances. A country steeped in their agricultural roots, grappling with industrialization, while fighting to create a new state, the people of Ireland had a lot with which to contend. While many major events occurred prior to 1936, the year the play takes place, their impact had lasting effects on the country for decades to come. was not until 1922, when Ireland separated from England, that they were able to more fully embrace industrialization.
Photograph: George Mahon/Irish Railway Record Society
Industrialization While Ireland’s nearby relatives, England and Scotland, had an abundance of resources available for manufacturing, they were not easily accessible to Ireland. With advances in commercial shipping and railway networks, there was more access to readily available resources. However, Ireland remained largely agricultural due to their important place in the economy of England; much of the Irish land was still owned by English landlords who saw agriculture as a profitable business, and a reliable source of food for the mainland. It
1916 Proclamation
Independence In 1936, Ireland was still emerging from a tumultuous and violent conflict to gain independence. From the 1916 Easter Uprising to the War that garnered Ireland’s independence from 1919 to 1921, Ireland had been witness to violent guerilla warfare between British forces and the Irish Republican Army (IRA). The war ultimately ended with a divided country: Northern Ireland, which remained under British rule,
and the Irish Free State. In 1937, Ireland would ratify a new constitution to unite the two countries.
understanding of society: children born out of wedlock, contraception, dancing, premarital sex, and other “sinful” behavior could ostracize people from their community and family.
Photograph: The Sean Sexton Collection.
Economy Along with many countries, Ireland suffered an economic depression in the 1930s. Although the newly established government was working to create and promote a selfsufficient Ireland, they saw many citizens leave the country for the promise of better work elsewhere. From the 1930s through the 1960s over 400,000 Irish citizens migrated to Britain, allowing the population of Ireland to bottom out in 1961 at 2.6 million residents. This migration, coupled with an economic downturn and rising unemployment rates, sent some families into dire circumstances.
St Macartan’s Cathedral. Photo by David Sleator.
Religion By the 1930s in Ireland, Catholicism was practiced by a majority of the country, impacting the ideals, traditions, and structure of everyday life. While there were still practicing Protestants, in touch with the British mainland, they were quickly becoming a minority. In the 1936 census 93.5% of the Irish population identified as either Catholic or Roman Catholic. The rigidity of the Catholic religion and culture in Ireland allowed little space for outside ideals, rituals, and spiritual experiences. The move toward a more traditional Catholic experience meant a repressive
Protest Sign. Photo courtesy of National Library of Ireland.
Women’s Rights In the 1916 “Proclamation of the Republic”, women were considered equal with the document referencing the, “…allegiance of every Irishman and Irishwoman” and guaranteed “the equal rights and equal opportunities to all its citizens”. Though these ideals were written, they were not practiced in full, and the government through a set of oppressive laws and legislation, sought to confine women to a domestic role. Women were limited in what careers they were able to pursue. In 1925 the Civil Service Regulation Bill limited the rights of women to sit for competitive examinations in the civil service. The 1932 marriage bar required female National School teachers to retire once a woman married; this law eventually extended to the entire civil service. In 1935 the government piloted the Conditions of Employment Bill that gave the Minister for Industry and Commerce authority to limit the number of women employed in any given industry and limit the type of industries that could employ women. Though the government sought to limit the role of women, feminist activism continued. The Joint Committee of Women’s Societies and Social Workers were formed in 1935 to monitor social legislation affecting women and girls. DANCING AT LUGHNASA | 5
Brian Friel. Photo courtesy of RTE Archives.
BRIAN FRIEL: THE IRISH CHEKHOV By Lindsey R. Barr
F
or over 50 years, Brian Friel highlighted the lives of ordinary people by portraying social and societal upheaval in the midst of an emerging Ireland. Generally considered to be Ireland’s most important contemporary playwright, many of Friel’s plays gained critical success and canonical status during his lifetime. Throughout Friel’s plays, the influence of Chekhov is hard to ignore. Indeed, the parallels between their work are numerous: plays evoking or taking place in the past, isolated rural communities, collision with tradition, characters wrestling with changing circumstances, and the focus of characters rather than crowded action. Throughout Friel’s career he translated most of Chekhov’s plays and dramatized many of his short stories, furthering the influence on his work. To understand the impetus for many of Friel’s works and characters, we must look at the experiences Friel had EVERYMAN THEATRE | 6
throughout his childhood and young adult life. Friel, born in 1929, moved to the city of Derry, Ireland at the age of 10. There he went to St. Columb’s College and entertained the idea of becoming a priest. However, the two years he spent at the seminary (which he described as “deeply disturbing”) convinced him otherwise and, following in his father’s path, became a teacher where he spent a decade teaching in a Christian Brothers School. While Friel spent much of his childhood and schooling in the city of Derry, he moved with his wife, Anne, to rural Donegal County in 1960. Donegal County would serve as his home both literally and imaginatively, having set many of his plays in the fictional town of Ballybeg (first seen in Philadelphia, Here I Come!) in Donegal County. Knowing Friel’s extensive and varied experiences, it is not surprising that the bifurcation of identity is a prominent theme throughout Friel’s works.
Brian Friel Photo by Bobbie Hanvey.
Anton Chekhov. Photo by V. Chekhovskii.
“It is not the literal past, the ‘facts’ of history that shape us, but images of the past embodied in language.” —Brian Friel The complexity of family relationships and memory are a recurring theme in Friel’s plays, where identity is often aligned with one’s ability to navigate emotional terrain. In a nod to the influence of Chekhov, Friel’s works are concerned with the personal, interior world of his characters which highlights the fluidity of memory and the ways in which people can misremember events to fit their narrative. In many of Friel’s plays, language is a major factor. Though in Friel’s works, it’s not only what’s said but also what is left unsaid that creates the circumstances of relationships.
solidifies his place as one of the great Irish playwrights. In his lifetime, Friel wrote over 15 plays, not including his many Chekov adaptations, one-act pieces, television scripts, or radio plays. Not one to shy away from pressure, Friel wrote about topics questioning national and religious identity, challenging our perception of what it means to be an “other,” defining his work, and laying the foundation for a generation of Irish playwrights to follow.
The scope of Friel’s work reveals the range and diversity of his canon and DANCING AT LUGHNASA | 7
The wisest mind has something yet to learn. —GEORGE SANTAYANA
M SS A Theatre Piece for Singers, Players and Dancers by Leonard Bernstein Marin Alsop
Samuel Mungo
Leslie Stifelman
Curtis Bannister
Conductor
Music Supervisor
Director
Tenor/Celebrant
Libretto from the liturgy of the Roman Mass with additional texts by Stephen Schwartz and the composer. By arrangement with Boosey & Hawkes, Inc., Sole Agent for Leonard Bernstein Music Publishing LLC, publisher and copyright owner.
FRIDAY, OCTOBER 26 at 7:30 pm at New Psalmist Baptist Church AT
For tickets, call 667-208-6620 or visit peabody.jhu.edu/events. $45 general, $15 with valid student ID
P H 3 0 1 2 9 4 70 47
@ O S H E R . J H U. E D U
CAST BIOGRAPHIES MEGAN ANDERSON (Maggie/Dance Captain) Everyman Theatre (Resident Company Member): The Book of Joseph, Aubergine, The Revolutionists, Noises Off, Dot, Wait Until Dark, Death of a Salesman, A Streetcar Named Desire, Under the Skin, Blithe Spirit, Grounded, Tribes, The Dresser, Crimes of the Heart, The Beaux’ Stratagem, God of Carnage, You Can’t Take It With You, Fifty Words, All My Sons, Blackbird, The Exonerated, Rabbit Hole, The Cherry Orchard, Filthy Rich, Turn of the Screw, Much Ado About Nothing, And a Nightingale Sang, The School for Scandal, The Cripple of Inishmaan, Proof, Taking Sides, My Children! My Africa, The Crucible, The 5th of July, The Last Night of Ballyhoo. Regional: Theater J: After the Revolution; Olney Theatre Center: Our Town, Grounded, Rabbit Hole (Helen Hayes nomination for Outstanding Ensemble); Rep Stage: American Hero, The Whale, The Violet Hour, The Seagull (Helen Hayes nomination); Round House Theatre: Heartbreak House, The Cherry Orchard, Our Town, Problem Child; Woolly Mammoth Theatre Company: The Faculty Room; Totem Pole Playhouse: Proposals, Crimes of the Heart, Proof; LA Theatreworks/Voice of America: Bus Stop. TV/Film: 3 seasons on The Wire (Jennifer Carcetti); Hit and Run (Jane) (Lionsgate/ MGM). Teaching: Everyman Theatre, Page to Stage for Young Actors and the Summer Intensive, Acting I and Auditioning. Directing: Staged readings of Dead and Breathing, The Heidi Chronicles, The Ruby Sunrise for Everyman Theatre’s Salon Series. Other: Audition Coach. DANNY GAVIGAN (Gerry) Everyman Theatre (Resident Company Member): 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). TIM GETMAN (Michael) Everyman Theatre (Resident Company Member): Long Day’s Journey into Night, Outside Mullingar (Anthony), God of Carnage (Alan), All My Sons (George Deever), Two Rooms (Walker Harris), Exonerated. Regional: Arena Stage: Death of a Salesman, View from the Bridge, Christmas Carol: 1941; Baltimore Center Stage: Ah! Wilderness; Folger Elizabethan Theatre: A Midsummer Night’s Dream, Elizabeth the Queen; Ford’s Theatre: The Guard; Olney Theatre Center: Night Must Fall, An Enemy of the People, Somewhere in the Pacific; Rep Stage: True West, A Lie of the Mind, In the Heart of America (Helen Hayes Nomination, Outstanding Ensemble); Round House Theatre: Father Comes Home from the Wars, Rapture, Blister, Burn, Fool for Love, The Retreat from Moscow; Shakespeare Theatre Company: Macbeth, King Charles III, Merchant of Venice, Camino Real; Signature Theatre: … in the absence of spring…, The Lieutenant of Inishmore; Studio Theatre: Hand to God (Helen Hayes Nomination, Best Ensemble), Water by the Spoonful, The Real Thing; Theater J: Copenhagen, I-Ho, Our Class (Helen Hayes Nomination, Best Production), History of Invulnerability, Photograph 51, The Chosen; Woolly Mammoth (Company Member) The Arsonists, Kiss, The Nether, Zombie, Appropriate, Detroit, Gruesome Playground Injuries, The Unmentionables, The Distance from Here. Education: Macalester College, Trinity College, Dublin. DANCING AT LUGHNASA | 9
ANNIE GRIER (Agnes) Everyman Theatre: Tribes, Pygmalion; Theater J: The Christians; The Public Theatre Maine: Under The Skin, A Christmas Carol; Arts Center of Coastal Carolina: The Mousetrap; Passage Theater: Little Rock (Barrymore Award Outstanding Ensemble); Playhouse on Park: The Dining Room; Rep Stage: Las Meninas; Chesapeake Shakespeare Co.: The Tempest; Selected Film: Naz and Maalik (official selections SXSW 2015); B.F.A. Ryerson Theatre School BARI HOCHWALD (Kate) Everyman Theatre: The Book of Joseph. At the Strand Theatre, Bari made her Baltimore acting debut in her one person show Net Worth, and most recently directed Dominique Cieri’s Count Down. At American Repertory Theatre, she worked under direction of Robert Brustein, Anne Bogart, Liviu Ciulei, Andre Serban, and Richard Foreman in productions including: King Stag, Platonov, City of Amateurs. Other regional theatres include GeVa, Syracuse Stage, The Alley, and South Coast Rep. In Los Angeles, she received critics choice awards for performances in King Levine, Fedunn, and Troubled Waters. In television, she guest-starred and recurred on network shows including Star Trek (Voyager, Explorer, Deep Space Nine), C.S.I., Desperate Housewives, Sports Night, and Torchwood. Bari founded Florence International Theatre Company in Italy, where she produced and directed four seasons of bi-lingual productions and events. Upon return to the US, she founded The Global Theatre Project, which brings engagement and activism to social ills and community renewal through replicable theatre processes. She introduced The GTP to Baltimore through a partnership with Immigrant Outreach Service Center in An Explorer’s Desire. Currently developing The GTP Institute to train artist-activists as community leaders: theglobaltheatreproject.org.
KATIE KLEIGER (Chris) Everyman Theatre: debut. Off-Broadway: Ring Twice for Miranda (New York City Center); The Fall (Soho Playhouse). Regional: The Wolves, The Effect (Studio Theatre); The Book of Will, Miss Bennet (Round House Theatre); Home, Again (Kennedy Center); A Christmas Carol (Ford’s Theatre), Juno and the Paycock, Christmas Carol, Blue Stockings (Guthrie Theatre). Training: University of Minnesota/Guthrie BFA Actor Training Program. Upcoming: The Importance of Being Earnest (Everyman Theatre). LABHAOISE MAGEE (Rose) Everyman Theatre: debut. Regional Theatre: The Alley Theatre, Ireland: Shakers (Adele). International Tour: White Horse Theatre: Macbeth (1st Witch/ Malcolm), Theatre of Witness: I Once Knew A Girl (Girl). Film/TV: Wetware with Jerry O’Connel, Six Degrees (BBC). Education: Sarah Lawrence College, Cambridge University, England. Training: Young Actors’ Program: The Lir Theatre, Dublin and The National Youth Film Academy, London. BRUCE RANDOLPH NELSON ( Jack) Everyman Theatre (Resident Company Member): 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, 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: Baltimore 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. STEVE POLITES (Understudy - Gerry) Everyman Theatre: Intimate Apparel, (Understudy: Mr. Marks, performed), Regional: Annapolis Shakespeare Company: Richard III (King Edward IV, Richmond, Archbishop of York), The Tempest (Sebastian); LA Opera: A
Streetcar Named Desire (Stanley’s friend); LA Redcat Theatre: Dog Days (Soldier); Baltimore Shakespeare Festival: Macbeth (Ross). Film/ television: My Crazy Ex (Lifetime Movie Network), Evil Stepmothers (Investigation Discovery), Dementia 13 (Universal Pictures), The Murder Game (Warner Bros.), GhostWatcher 2 (Lions Gate), the lead in China’s unreleased 3D fantasy adventure film, Empires of the Deep. Can be seen next in the film, A Savage Nature and on stage in Everyman Theatre’s Everything is Wonderful. 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.
CHILDCARE MATINEES Take in a Matinee confident that your children are well looked after and supported by Everyman Theatre Education and Community Engagement staff. Perfect for ages 4-12. Registration: $30 DATES: Sweat – Nov. 11 The Importance of Being Earnest – Dec. 23 Everything is Wonderful – Feb. 17 Dinner with Friends – Mar. 31 Queens Girl in the World– Jun. 9 Queens Girl in Africa – Jun. 2 Learn more at: everymantheatre.org/childcare
2018–19 SEASON “THIS WAS SUBLIME MUSIC-MAKING.” —The Baltimore Sun
SUNDAYS @ 5:30PM | SUBSCRIBE TODAY! From pianist Piotr Anderszewski, violinist Pinchas Zukerman, and the Hagen Quartet, to performances of Beethoven’s Diabelli Variations and Mozart’s Quintet for Clarinet and Strings, our new season is not to be missed. Subscribe today for the best seats.
EXPLORE THE FULL SEASON! | SHRIVERCONCERTS.ORG | 410.516.7164
SEASON OPENING CONCERT | OCT. 7
Bach’s Cantata 72: Alles nur nach Gottes Willen Handel’s Concerto Grosso in B flat major, Op. 3, No. 2
A BAROQUE MASTERS MEDLEY FEBRUARY 3, 2019
Bach’s Brandenburg Concerto No. 1, Handel’s Water Music, and Vivaldi’s Les Ambassadeurs
Our boldest and biggest season yet!
BACH-APPELLA! | OCT. 20 | FREE!
CELEBRATION of the PSALMS | MARCH 3, 2019
FALL BACH CONCERT | NOVEMBER 4
A SPRING FÊTE | APRIL 7, 2019
A BAROQUE CHRISTMAS | DECEMBER 2
CHERISHED MUSIC of JOHN RUTTER MAY 5, 2019
A cappella music from ancient through Baroque eras, plus great American choral classics Missa Brevis (Lutheran Mass) in A major Brandenburg Concerto No. 4
Bach’s Christmas Oratorio: Cantata 1, Corelli’s Christmas Concerto, and Vivaldi’s Gloria
Bernstein’s Chichester Psalms and other sacred works with Hazzan Perlman, tenor Bach’s Cantatas 49 and 84 and Handel’s Organ Concerto Op. 4, No. 4
Mass of the Children featuring the Children’s Chorus of Carroll County and Gloria
NEW YEAR’S DAY BAROQUE CELEBRATION! JANUARY 1, 2019 CELEBRATION of VENICE Ring in 2019 with our annual New Year’s concert! JUNE 2, 2019 WINTER FIREWORKS | JANUARY 6, 2019 Bach’s Cantata 171 and Cantata 51 Handel’s Music for the Royal Fireworks
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.
BachinBaltimore.org
For tickets and concert information, visit BachinBaltimore.org or call 410.941.9262
DIRECTOR AND DESIGNER BIOGRAPHIES LINDSEY R. BARR (Dramaturg) Everyman Theatre: debut. 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. DAVID BURDICK (Costume Designer) Everyman Theatre (Resident Costume Designer): 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.
YU-HSUAN CHEN (Set Designer) Everyman Theatre: M. Butterfly, Great Expectations. Yu-Hsuan Chen is a New York based set and production designer, originally born and raised in Taiwan. She received her MFA in Design for Stage and Film at Tisch School of the Arts, NYU. Selected theater credits include: The Homecoming Queen (Atlantic Theater Company, NYC), Agnus (The Lion Theatre, NYC), SKiNFoLK: An American Show (Ars Nova, NYC), Hummm (Dixon Place, NYC), Sister Son/ Ji (Center of Arts and Culture—Bed Stuy, NYC), The Caucasian Chalk Circle (5th Floor Theater, NYC), The Seven Deadly Sins (Shapiro Theater, NYC), A Bright Room Called Day (Shubert Theater, NYC). Visit yuhsuanchendesign.com to check out her work. JAY HERZOG (Lighting Designer) Everyman Theatre: Resident Lighting Designer, 24 years, 55 lighting designs and 3 sound designs completed; Off Broadway: LaMama, Theatre for the New City, Riverwest Theatre, Westbeth Arts Center, 13th Street Playhouse, An Evening with F. Murray Abraham, Carol Hall in Concert. Regional: George Street Playhouse, Woolly Mammoth, Rep Stage. Industrials: Minolta Camera. TV/ Film: Two Front Teeth. Teaching: Lighting and Sound Design, Towson University Department of Theatre Arts. Other: Iago’s Plot (Cairo, Egypt), Norwegian Cruise lines; Electrician: Lincoln Center, Public Theatre, Joyce Theatre, Candlewood Playhouse, Douglas Fairbanks Theatre, Julliard, McCarter Theatre, Guggenheim Museum and many others; Consultant for lighting systems: The Motor House. Special Recognition: Glass Menagerie, Helen Hayes Award Best Production; Helen Hayes award 2000 for Rep Stage in Lighting. Education: Undergraduate, Brooklyn College; MFA, University of Massachusetts/Amherst. Broadway internships: Hughes Moss Casting, Theatre Now Incorporated, Fred Nathan Associates. BRIAN FRIEL (Playwright) Brian Friel wrote The Enemy Within (1962); Philadelphia, Here I Come! (1964); The Loves Of Cass Mcguire (1966); Lovers (1967); Crystal And Fox (1968); The Mundy Scheme (1969); The Gentle Island (1971); The Freedom Of The City (1973); Volunteers (1975); Living Quarters (1977); Aristocrats (1979); Faith DANCING AT LUGHNASA | 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
Healer (1979); Translations (1980); a translation of Three Sisters (1981); The Communication Cord (1982); an adaptation of Turgenev’s Novel Fathers And Sons (1987); Making History (1988); Dancing At Lughnasa (1990); The London Vertigo (1991); an adaptation of A Month In The Country (1992); Wonderful Tennessee (1993); and Molly Sweeney (1994). Dancing At Lughnasa premiered at the Abbey Theatre, transferred to London’s West End, and then went on to Broadway, where it won three 1992 Tony Awards, including Best Play. The play has been performed around the world, including national tours in Ireland, England, and Australia. His plays have been performed extensively in Dublin at the Abbey, Gate, and Olympia theatres, and in many West End theatres in London. Born in Omagh, County Tyrone, in Ireland in 1929, Mr. Friel began writing short stories for The New Yorker in 1959 and subsequently published two collections: “The Saucer of Larks” and “The Gold in the Sea.” His first radio plays were produced by the BBC, Belfast, in 1958. In 1989, BBC Radio devoted a six-play season to his work, the first living playwright to be so distinguished. He cofounded Field Day Theatre Company in Derry, Ireland, where Translations, The Communication Cord and Making History premiered. VINCENT M. LANCISI (Founder, Artistic Director) founded Everyman Theatre in October of 1990 and has directed over 35 productions including 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 is 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. GARY LOGAN (Dialects) ): Everyman Theatre (Resident Dialect Coach): 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 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). AMBER PAIGE McGINNIS (Director and Choreographer) Everyman Theatre: debut. Amber is a Maryland-based theatre and film director. Her local theatre credits include The Welders: Girl in the Red Corner (Helen Hayes Award, Outstanding Original New Play); Constellation Theatre: Equus (Helen Hayes DANCING AT LUGHNASA | 15
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Nomination, Outstanding Production); Forum Theatre: Dry Land (Helen Hayes Nomination, Outstanding Direction); Theatre J: The Last Night of Ballyhoo; Keegan Theatre: Top Girls; National Players Tour: The Great Gatsby; Flying V Theatre: Lobster Alice, The Oregon Trail; Pinky Swear Productions: The Last Burlesque; WSC Avant Bard: Orlando; and collaborations with the Folger Theatre, Olney Theater Center, The Source Festival, Rorschach Theatre, and an upcoming production of How I Learned to Drive at Round House Theatre. Amber holds an MFA in Directing from Baylor University and was the recent recipient of the Richard Bauer Emerging Artist Award. She also runs her own production company, Outskirt Media, and recently self-produced her first feature film, International Falls, starring Rachael Harris, Rob Huebel, and Kevin Nealon. amberdirector.com ANNE NESMITH (Wig Design) Everyman Theatre: The Book of Joseph, M. Butterfly, Outside Mullingar, Fences, An Inspector Calls, Blithe Spirit, Deathtrap, The Dresser, Crimes of the Heart, The Glass Menagerie, The Beaux’ Stratagem, August: Osage County, You Can’t Take It With You, All My Sons, Our Town, The Mystery of Irma Vep, The Cherry Orchard, Gem of the Ocean. International: Saito Kinen Festival, Matsumoto, Japan, Hyogo Performing Arts Center, Nishinomiya, Japan. Regional: Arena Stage, Ford’s Theatre, Shakespeare Theatre Company, Kennedy Center, Signature Theatre, Opera Boston, Annapolis Opera, Opera Philadelphia, Castleton Music Festival, Wolftrap Opera, Washington Ballet, Baltimore Opera Company Resident Wig and Makeup Designer. Wig Construction: Scooby Doo! Live tour, Asian tour of 42nd Street. Other: Ice Cold Killers on Investigation Discovery, The Military Channel’s Great Planes; The Smithsonian National Portrait Gallery’s Cultures in Motion Programs; United States Army—Spirit of America. PHILLIP OWEN (Sound Designer & Composition) Everyman Theatre: Noises Off, Outside Mullingar. Regional: Triad Stage (Greensboro, NC): Anna Christie, Kingdom of Earth, Common Enemy; Alley Theatre (Houston): Alley All New (new play festival); Stages Rep (Houston): I and You, Stupid F^%#ing Bird, The Whipping Man, Dollhouse,
Steel Magnolias; Stonington (Maine): Cymbeline, Antony & Cleopatra, Measure for Measure, A Midsummer Night’s Dream; Yale Rep, La Jolla Playhouse, & Baryshnikov Arts Center, NYC: Notes from Underground; Yale Rep: Rough Crossing; Yale Cabaret: original composition Waking; Broadway: Assistant to the composer on A Steady Rain (Schoenfeld Theatre). He currently serves as Lecturer in Sound Design at Texas State. MFA, Yale School of Drama. phillipowen.com PIGEON KINGS (Recorded Irish Music) A DC/Baltimore based band, arranged and recorded performances of some selections in this production of Dancing at Lughnasa. The musicians are Victor Gangon (fiddle), Ciaran Quinn (guitar, bodhran, bouzouki, tin whistle), and Josef Crosby (fiddle, engineer). For more music please go to pigeonkingsmusic.com. CAT WALLIS (Stage Manager) Everyman Theatre (Resident Stage Manager): 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 Threepenny Opera, Hamlet, The Skin of Our Teeth, Our Country’s Good, The Cripple of Inishmaan, Noises Off!, I am 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. 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.
DANCING AT LUGHNASA | 17
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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 it’s 28th Season, Everyman invites Throughout the late 1990s and early 2000s, you to be a part of its next chapter.
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
DANCING AT LUGHNASA | 19
There are few places we can be transformed, if only for an evening
Everyman Theatre. We thank you. w y p r. o r g
DONOR SPOTLIGHT: VIC & NANCY ROMITA
V
ic and Nancy Romita fell in love with Everyman Theatre during the first season at its former home on Charles Street. They treasured the intimacy of the space, the high quality of the productions and the caliber of the performers. In 1997, Vic joined the Board of Directors currently serves as Board President. The Romitas have been vital to the success of Everyman Theatre. We asked them to share why they support Everyman Theatre. The world is a better place when you are exposed to the arts. That experience is much more intense and valuable when you know the artists as people and neighbors. The perspectives and tremendous work ethic of our Resident Company rubs off on you when you get to know the artists as members of the community. We truly enjoy seeing the company members recreate themselves to deliver a wonderful interpretation of the play; how the directors, designers and artisans create a new world in our space each time; and how the staff makes it easy and enjoyable for Nancy and me to visit the theatre.
“We believe a community without theatre and the arts is not really a community.� Everyman Theatre family consistently create the highest quality theater experiences for our community. We support Everyman Theatre because we believe a community without theater and the arts is not really a community. We are honored to be a small part of Everyman Theatre.
Over the twenty-plus years, it never ceases to amaze us how the members of the DANCING AT LUGHNASA | 21
EVERYMAN’S 2018/19 SEASON IS MADE POSSIBLE WITH THE SUPPORT OF OUR GENEROUS DONORS Sponsors listed as of August 9, 2018
SEASON MEDIA SPONSORS
DANCING AT LUGHNASA SPONSOR
VIC & NANCY ROMITA
CORPORATE PARTNER
MAJOR SUPPORT FROM
PAY-WHAT-YOU-CAN SPONSORS
EVERYMAN THEATRE | 22
DR. E. LEE & BEA ROBBINS
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 August 9, 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. Downtown Partnership of Baltimore LifeBridge Health RESIDENT COMPANY SPONSOR $10,000 - $24,999 Abell Foundation Baltimore County Commission on Arts and Sciences Bank of America Foundation BGE Bunting Family Foundation Exelon Foundation Goldsmith Family Foundation Joseph and Harvey Meyerhoff Family Charitable Funds LifeBridge Health PNC Bank The Shelter Foundation T. Rowe Price Foundation Talcott-Gran Charitable Trust Mary Jean and Oliver Travers Foundation Lockhart Vaughan Foundation
Veolia Energy PRODUCER $2,500 - $4,999 American Trading and Production Corporation IBM Corporation Phyllis and Joe Johnson Foundation Howard C. Muller & Marguerite E. Muller Charitable Foundation, Inc. Nora Roberts Foundation Whole Foods Market ASSOCIATE PRODUCER $1,000 - $2,499 Herbert Bearman Foundation Biddle Street Catering and Events Campbell Foundation Carefirst, Bluecross Blueshield Hecht-Levi Foundation Lois and Philip Macht Family Philanthropic Fund Harvey M. Meyerhoff Fund Inc. Open Society Institute Sinsky-Kresser-Racusin Memorial Foundation Susan Sachs Fleishman Jack Wilen Foundation 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 Ransome-Wilcox Family Fund
EXECUTIVE PRODUCER $5,000 - $9,999 Baltimore Office of Promotion and the Arts 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 Hotel Henry and Ruth Blaustein Rosenberg Foundation Earle and Annette Shawe Family Foundation SunTrust Venable Foundation DANCING AT LUGHNASA | 23
INDIVIDUALS VISIONARY $50,000+ Gina and Dan Hirschhorn John and Susan Nehra George Roche SEASON PRODUCER $25,000 - $49,999 Susan W. Flanigan Vic and Nancy Romita RESIDENT COMPANY SPONSOR $10,000 - $24,999 Bridget and John Horner, Jr. Stan and Laurie Miller David and Betsy Nelson Dr. E. Lee and Bea Robbins Lawrence Yumkas and Miriam Fisher EXECUTIVE PRODUCER $5,000 - $9,999 Donald F. Welch and Brenda K. Ashworth Pat and David Bernstein William and Pat Bettridge Jean Waller Brune Mary Catherine Bunting Jane W. Daniels Beth Goldsmith Shirley T. Hollander Mark and Kelley Keener Ronnie Kleiman Mark and Sandy Laken Mark Paul Lehman and Kurt Davis Dr. David and Nancy Paige Bryan and Jennifer Rakes John and Marsha Ramsay PRODUCER $2,500 - $4,999 Anonymous Shaun Carrick and Ronald Griffin Paul and Kathleen Casey Dr. Larry and Nancy Fishel Marci Gordon and Andrew Barnstein Sandra and Thomas Hess Francine and Allan Krumholz Wil Love and Carl Schurr Elizabeth K. Moser Diane and Pete Nachtwey Brian and Eileen O’Rourke Dorothy H. Powe in memory of Ethel Holliday John and Sarah S. Robinson Carol Sandler Fred and Joan Steffens Karen and Jim Trennepohl
ASSOCIATE PRODUCER $1,000 - $2,499 Anonymous George and Frances Alderson Robert and Dorothy Bair Bruce and Polly Behrens Bunny Bernstein Bruce Blum Winnie and Neal Borden Dr. and Mrs. Donald Brown Stan and Edie Brown Ms. Gina Campbell Suzanne F. Cohen Michael Borowitz and Barbara Crain Harlan and Jean Cramer Walter B. Doggett III and Joanne Doggett Louis B. Thalheimer and Juliet A. Eurich Ms. Susan Sachs Fleishman Robert and Elborg Forster Jason and Laurie Frank June and George Higgins 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 James MacNicholl and Sara Lombardo Kenneth C. and Elizabeth M. Lundeen Tim Nehl and Joy Mandel Joseph and Jane Meyer Charlie and Marcia Moylan Ruth Nolan Mike Plaisted and Maggie Webbert Reid Reininger Harriet Roberts Zelig and Linda Robinson Rona and Arthur Rosenbaum Robert Russell in memory of Lelia Russell Burdette Short Ronnie and Rachelle Silverstein Bob and Jackie Smelkinson Joaneath A. Spicer Ruth and Chuck Spivak Steve and Sue Sternheimer in honor of the Everyman Theatre Resident Company Barry Mersky and Elizabeth Trexler Meadowlark Washington Dr. Laurie S. Zabin
EVERYMAN THEATRE | 24
DIRECTOR $500 - $999 Anonymous Ronald and Baiba Abrams James and Ellen Adajian Brad and Lindsay Alger Joel Balsham Bruce and Amy Barnett Emile A. Bendit and Diane Abeloff Dr. Frank Eisenberg and Ms. Catherine Blake Patty Bond Mr. and Mrs. A. Stanley Brager, Jr. 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 Diane E. Cho and David W. Benn Susan L. Chomicz Joseph and Barbara Cirelli Chuck Cohen and Ann Amernick Samuel Cohen and Joan Piven Barbara Coleman White Janice Collins James Storey Judy Shub-Condliffe and Jack Condliffe in memory of Vivienne Shub Natalie Davis in memory of Jack Davis Dr. Albert F. DeLoskey and Lawrie Deering Lon and Jennifer Engel The Carol and Tim Evans Charitable Fund Susie and Bob Fetter John and Fran Flanigan Donna Flynn Sandra Levi Gerstung Susan Gillette Martha and Tad Glenn Barbara Glynn Herbert and Harriet Goldman Hannah and Thorne Gould Jon Greenberg and Connie Rosemont Donald M. and Dorothy W. Gundlach Richard Manichello and Margo Halle/Ram Films Inc Fritzi K. and Robert J. Hallock James F. Hart Barbara L. Hecht Samuel and Barbara Himmelrich Frank and Ann Hubbard Dave and Katherine Hurst Ruth B Hurwitz Dr. and Mrs. Iredell W. Iglehart III + Deceased
Ann and David Koch Rudy Koffler Larry Koppelman and Liz Ritter Greg Lehne Judith Letcher Peter Levy and Diane Krejsa Kathleen Liparini Sam and Suzie Macfarlane Frank and Joyce Margolis in honor of Jon and Linda Margolis 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 Franchella Pailen-Watkins Justine and Ken Parezo Greg Huff and Pamela Pasqualini Fred and Grazina Pearson Faye E. Pines Gary and Leslie Plotnick Caroline Queale Scott and Gwyneth Radloff Domingo and Karen Rodriguez Jamie and Sarah Ryan 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 Elizabeth Trimble Kathleen Vanderhorst Dr. Peter and Rosemary Warschawski Peter Cohen and Ann Watson Maria Wawer Stan and Martha Weiman William Marshall and Camille Wheeler Carol and Chris Yoder Marvin Zelkowitz in memory of Cindy Zelkowitz PLAYWRIGHT $250 - $499 Anonymous Edward Adkins Eleanor Allen Dr. Sania Amr Dr. and Mrs. Mordecai Blaustein Lisa Blue Alan Deanehan and Margaret Boeckmann
Jody Brown Rebecca and Mitchell Brown Dr. Elizabeth Burin and Dr. Avishai Ben-David Jan Caughlan Dr. and Mrs. Ronald J. Cohen Will Cooke Greg and Martha Cukor Gwen Davidson Paul and Martha Dougherty Barry and Susan Eisenberg Curt Lind and Linda Ettinger Tony and Jaymee Farinacci John and Dorothy Foellmer Joseph and Teresa Freed Rhona and Sonny Freiman Kenneth Roy Furchgott Mark and Patti Gillen Sonny and Laurie Glassner Judith A. Gottlieb Bob Greenfield Louise A. Hager John and Susan Hailman Thomas and Rebecca Hamer James and Catherine Hammond Gary C. Harn Shale D. Stiller and Ellen M. Heller Ken and Ellen Himmelstein in honor of The Book of Joseph Creative Team Michael Hirschhorn and Jimena Martinez Terry Hogan Francis and Harriet Iglehart Lois and Joseph Johnson, Jr. Ann H. Kahan Elizabeth Kahn Townsend and Bob Kent Ron and Marianne Kreitner Charles Kuning Robert and Barbara Landau Linda F. and Julian L. Lapides Diane Leonard 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 Gail Oppel Robert and Patricia Orr The Patz Family 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 Dr. Alan Schwartz and Dr. Carla Rosenthal W.J. Lederer and Jennie Rothschild Richard and Kayleen Saucier Gloria Savadow Sam and Thea Schnydman Thomas M. Scott III in honor of Vinny Lancisi Stephanie Shade and Stacey Shade-Ware in memory of Darlene and Jim Braswell Joan and Edward Sills Lisa Simonson Dr. and Mrs. Harvey and Deborah Singer Susan Smith Scott Sokol William and Ellen Stifler James Stofan and William Law Doris Styche Sweet William and Adrienne Taylor Edward Sledge and Patricia Thompson 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
Please bring any errors or omissions to our attention by contacting Katie Garber: kgarber@everymantheatre.org 443.615.7055 x7122 DANCING AT LUGHNASA | 25
RESIDENT COMPANY MEMBERS
RESIDENT ARTISTS Daniel Ettinger, Scenic Designer David Burdick, Costume Designer Jay A. Herzog, Lighting 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. DANCING AT LUGHNASA | 27
STAFF
Vincent M. Lancisi, Founder, Artistic Director
ADMINISTRATION
Deirdra McBride, Director of Finance and Operations Mike Watson, Operations Manager Laura Weiss, Special Assistant to the Artistic Director Shammah Moore, Porter Pat Brent, Bookkeeper
ARTISTIC
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 Lisa Langston, Education Program Manager Brenna Horner, Lead Teaching Artist Karim Darwish, Education Apprentice Laurie Ascoli Sandra Atkinson, Wychkam Avery, 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, Jenny Male, Joe Mallon, Brandon McCoy, Jesse Miller, Bruce Randolph Nelson, Jack Novak, 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 Abigail Cady, Candice Christmas, Kasey Fields, Sharea Harris, Veronese Harris, Juliannah Harrison, Jonathan Jacobs, Ally Kocerhan, Faith Savill, Matthew Schleigh, Bartenders Abigail Cady, Karim Darwish, James Fulwiler, Jonathan Jacobs, Jamil Johnson, Thom Purdy, Matthew Schleigh, Rachel-Miranda Swan, Benairen Swanson-Tomhave, Box Office Associates EVERYMAN THEATRE | 28
Kate Appiah-Kubi, Candice Christmas, James Fulwiler, Juliannah Harrison, Jonathan Jacobs, Jamil Johnson, Derrell Owens, House Managers Kate Appiah-Kubi Volunteer Coordinator
MARKETING
Jonathan K. Waller, Director of Brand & Marketing Katherine Marmion, Graphic Designer Chris Giese, Digital Content Manager Alex Tolle, Group Sales Associate Jeff Rogers, 2018/19 Season Show Art Design
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 Christa Ladny, Meaghan Toohey, Scenic Painters Amanda M. Hall, Cat Wallis, Stage Managers Kayla Whisman, Assistant Stage Manager J. R. Schroyer, Deck Chief Matthew Smith, Wardrobe Supervisor Dante Fields, Juan Juarez, Light Board Operators James LaDow, Sound Board Operator Kelsey Schneider, Captioning Operator Franscesca Belastro, Aidan Cleary, Darrell Hairston, Jr., Sierra Ho, J.R. Schroyer, Jacob Zabawa, Carpenters Steven Burrall, Jesse Herche, James LaDow, Corey Petenbrink, Alexis Sheeks, Electricians Wil Crowther, Ellouise Davis, Susan McCorkle, Ginny McKeever, Matthew Smith, Costume Construction Steven Burrall, Design Assistant, Lighting Nick Heart, Design Assistant, Sound Audio Description provided by VIA Services
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Take a seat at our theatrical table. Students sample from skill building classes focused on drama, music, dance, and design building connections between the professional process and their unique creative energies. SATURDAYS, SEPT 22-NOV 3
AGES 3-5 CREATIVE MATES Theme: Safari SATURDAYS, SEPT 22-NOV 17
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ACTOR’S LAB SERIES Movement Explorations Tuesdays, Sept 18-Oct 9 Public Speaking Mondays, Oct 15-Nov 12 EMPOWER WORKSHOPS NEW! Irish Dialect Sept 23 The Art of Auditioning: The Monologue Oct 13 The Art of Auditioning: Cold Read and Prepared Sides Dec 2
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