#bmoreeveryman
EVERYMAN THEATRE
Vincent M. Lancisi, Founder, Artistic Director
presents
QUEENS GIRL IN THE WORLD
QUEENS GIRL IN AFRICA
Playwright CALEEN SINNETTE JENNINGS Director PAIGE HERNANDEZ
Playwright CALEEN SINNETTE JENNINGS Director PAIGE HERNANDEZ
Performed By DAWN URSULA*
Performed By ERIKA ROSE*
Setting: Summer of 1962. Queens, New York.
Setting: The mid-1960s. Nigeria, Africa.
This production will be performed in two acts with one intermission.
This production will be performed in two acts with one intermission.
Set Design
PAIGE HATHAWAY Projection Design
SARAH TUNDERMANN Dramaturgy
ROBYN QUICK
Lighting Design
NANCY SCHERTLER Sound Design
DAVID LAMONT WILSON Props Master
JILLIAN MATHEWS
Costume Design
IVANIA STACK Dialects
KIM JAMES BEY Stage Management
AMANDA M. HALL* CAT WALLIS*
SPONSORS DR. E. LEE & BEA ROBBINS
PLEASE TURN OFF ALL CELL PHONES. NO TEXTING. NO EATING IN THE THEATRE.
Queens Girl in the World and Queens Girl in Africa are presented by special arrangement with the author. 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. *M ember of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States
QUEENS GIRL REPERTORY | 1
A NOTE FROM ARTISTIC DIRECTOR, A NOTEVINCENT FROM M. LANCISI VINCENT M. LANCISI FOUNDER, ARTISTIC DIRECTOR
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A special thank you goes out to the dynamic elcome. women of Queens Girl—actress and It brings me great joy to Resident Company Member Dawn Ursula introduce you to the plays who originated the role of Jacqueline in Queens Girl in the World and Queens Queens Girl in the World at Theatre J back in Girl in Africa, affectionately known here 2015, actress Erika Rose who picked up the at Everyman as The Queens Girl Rep. mantle and played Jacqueline in the second Playwright extraordinaire Caleen Sinnette play in the trilogy Queens Girl in Africa at Jennings has given us the dynamic, Mosaic Theater, of course the playwright endearing, and absolutely original Caleen Sinnette Jennings for writing these character of Jacqueline Marie Butler. incredible plays, I say that because and new Resident I’m not aware of THE PLAYS ARE CAPTIVATING, Company Member another character EYE OPENING, AND Paige Hernandez who quite like her in the FILLED WITH HUMANITY... has been involved American canon of from the start with plays throughout Caleen on the Queens Girl plays, she has history. She’s young, whip-smart, and been a supreme collaborator with the wide-eyed as she makes discovery after playwright and actors directorially and discovery about life in general and growing dramaturgically all along. Paige makes her up as a young black girl in America and directorial debut at Everyman with the later a young black African American Queens Girl Rep. This quartet of playwright, woman in Africa in the 1950’s and 1960’s. actors, and director have envisioned, This series of coming-of-age stories is so created, staged, and breathed life into these uniquely Caleen’s. The plays are semiimportant plays for our world to see. autobiographical but at the same time so universal in terms of themes and issues Next season is filled with exciting firsts and black women have faced and still face in an expanded set of plays for our subscribers the world. The plays are captivating, eye and patrons to experience. I’m thrilled to opening, and filled with humanity even announce the addition of a new theatre amongst the inhumane events happening upstairs. We are building a dynamic theatre throughout the world and all around space with an intimate three-quarter thrust Jacqueline. stage that will seat 210 patrons. We will EVERYMAN THEATRE | 2
Debuting March 2020, Everyman’s new Upstairs theatre is a 210-seat, general admission house. It features a thrust stage, stadium seating, incredibly comfortable seats, and perfect sightlines—with no seat more than 6 rows from the stage.
open that space in the spring with a New Voices Festival celebrating three playwrights who are writing exceptional new plays that we feel you should know. This year, all three plays are written by women. Downstairs we will offer five plays. Four are famous stories or plays that will be wonderful to revisit or discover anew. The fifth is a new play that audiences are sure to love. Subscribers can sign up for all eight plays if they don’t want to miss a thing. Or they can subscribe to the five downstairs or the three upstairs. There are choices and options right off the bat this year for people to subscribe. The plays are all dynamic and compelling stories. There’s the new stage adaptation of Agatha Christie’s Murder On The Orient Express by playwright Ken Ludwig. We are reviving the play Proof by David Auburn which we performed 16 years ago with company member Megan Anderson playing the young protagonist Catherine. This time Megan will also appear but as Catherine’s older sister Claire. We’ll produce August Wilson’s Radio Golf, the final play in The American Century cycle. We will offer the Baltimore premiere of Be Here Now, a marvelous play about what we’re willing to do for love and happiness. Be Here Now will be directed by the playwright herself, Deborah Zoe Laufer. We will close the season with Clifford Odet’s American
Classic Awake and Sing! directed by Noah Himmelstein. This amazing family drama about three generations of Jewish immigrants living in a crowded apartment in the Bronx during the depression is considered Clifford Odet’s finest work. Upstairs we will offer three dynamic new works. Mollie Smith Metzler’s Cry It Out is a very funny comedy/drama about the absurdities of being at home with a baby and the dilemma of going back to work. Angelica Chéri’s Berta, Berta is a riveting story about a black man who committed an unforgivable crime and is granted one wish, to make amends with his long lost lover Berta. And the third play is the final installment of the Queens Girl trilogy. As you watch Queens Girl in the World and Queens Girl in Africa, Caleen is writing the final play Queens Girl: Black in the Green Mountains. It will have its world premiere right here at Everyman Theatre in our new theatre as part of the inaugural New Voices Series. Please join us. Subscribe to all 8 plays or choose the package that best suits you, but I encourage you to not miss a play at Everyman next year. They are all brilliant works that are sure to shine brightly on our stage. Enjoy Queens Girl. QUEENS GIRL REPERTORY | 3
A CONVERSATION WITH THE PLAYWRIGHT By Robyn Quick
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laywright Caleen Sinnette Jennings talks with dramaturg Robyn Quick about the Queens Girl Repertory.
RQ: You have a long history of writing plays drawn from your imagination and from other people’s stories. The Queens Girl plays are based upon events in your life. What led you to write your own story? CSJ: I had the great fortune to meet and work with Philip Rose, the producer who brought A Raisin in the Sun to Broadway. He had just published the story of how he came to produce the play, entitled You Can’t Do That on Broadway. He invited me to suggest the subject of a second book and as we worked on it together, we became friends. Over the years, he nagged me about writing my autobiography. I told him firmly that I didn’t write prose and that nobody would be interested in my life. But Phil was a pit bull when he had an idea. In 2005, I got a grant to go to my first-ever writer’s retreat. I decided I’d prove to Philip that I couldn’t write an autobiography. I discovered that I could, and even more surprisingly, I discovered that my narrative could be theatricalized into a one-woman show. Over EVERYMAN THEATRE | 4
the next 10 years, I wrote various drafts of what was then titled Cream Soda and Crème de Menthe. I directed it and performed excerpts from it myself at various venues. A Theater J board member happened to attend one of these informal readings and contacted Artistic Director Ari Roth. That led to a name change and first production of Queens Girl in the World. For years I had taught my play writing students to beware of writing autobiographical plays. The biggest danger is that you create a passive protagonist. In real life, things happen to you. You react. How then to create a protagonist who drives the action—who doesn’t just react, but ACTS! I had a brilliant team working on the Theatre J script. With each successive draft, Producer Ari Roth, Director Eleanor Holdridge, Dramaturg Shirley Serotsky and actor Dawn Ursula kept asking me, “But what did YOU DO, Caleen? How did YOU FEEL?” It was a difficult, sometimes painful, sometimes joyful process that required me to go back into my memory and figure out what I did and how I felt at age 12. Thanks to the team, the play was born. It had the honor of being part of the first Women’s
Photo: Jonathan K Waller
Voices Theatre Festival. I set out to prove that I couldn’t write an autobiography, but I did. I set out confident that nobody would care about what happened in my early my life, but they did. I was surprised and moved by audience response to the play and how they connected to a thinly disguised me in the form of Jacqueline Marie Butler. It was overwhelming. It was satisfying. I was DONE. RQ: Or so you thought... CSJ: Yes. But then everywhere I went, people asked me, “What happens next to Jacqueline Marie Butler?” I’d thank them for their interest, laugh, and change the subject. Then, in spring of 2017, I made the mistake of having breakfast with Ari Roth. He persuaded me that audiences were genuinely interested in Jackie’s story and that I couldn’t leave them hanging. I protested, I demurred until he very cleverly hit my weak spot. “You’re an educator, right? How much did you learn from the process of writing your play? Wouldn’t it be awesome to apply everything you learned in writing the first play to writing the second play?” That challenge, coupled with the fact
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that I would be honored to receive Mosaic Theater’s very first commission, convinced me to write Queens Girl in Africa. Ari wanted to make this play Mosaic Theater’s entry in the second Women’s Voices Theatre Festival in 2018. Whereas I had 10 years to develop Queens Girl in the World, given the Festival timetable, I had only 5 months to write Queens Girl in Africa. My first draft was 160 pages. The audience would have to bring food and cots to the theatre! Luckily, I had another incredible artistic team. Ari the producer, Paige Hernandez the director, Faedra Carpenter the dramaturg, and Erika Rose the actor. With their help, I excised and enhanced, trimmed and polished. Once again, I assumed that nobody would be interested in and connect with my idiosyncratic experiences in Nigeria. Once again I was surprised and deeply gratified by the audience response to the play. Particularly rewarding were comments from people who had visited Africa, or worked in the Peace Corps. Twenty- and thirty-somethings who were second generation Americans of African descent told me how much they appreciated learning part of the history of QUEENS GIRL REPERTORY | 5
Nigeria through such a personal lens. Awesome. I was grateful. I was DONE. RQ: But once again, that turned out not to be the case. CSJ: Then, Paige introduced me to Vinny Lancisi... RQ: And now Everyman audiences will see the two plays in repertory, fourteen years after you first took up the challenge to write your story. Your coming of age was deeply intertwined with major cultural and political dynamics of the 1960s. What do you see as the most compelling connections between those experiences in the play and our own historical moment? CSJ: For Queens Girl in Africa, Paige asked me to write a poem in the voice of the 18-yearold Jacqueline Marie Butler. I spend a lot of time meditating quietly. Taking myself back to my bedroom at 8 Laird Place, Ibadan, Nigeria in spring 1968. In my short lifetime, I had experienced the assassinations of Malcolm X, John F. Kennedy, Martin Luther King Jr., and Robert F. Kennedy and countless African leaders. I remember feeling as if the earth was spinning. I felt surrounded by death, destruction, and corruption. Racism, tribalism, xenophobia, poverty, and violence made me feel frightened and powerless. Yet I was 18. I had the natural arrogance and confidence of youth. I believed that I had a long life ahead of me. That I had brains and courage and I could find my way and make a difference in the world. I had hope. If you had told me then that the world would be as crazy (if not crazier) 50 years in the future, I don’t think I would have made it! We must have hope. And, now, at 68, on my better days, I tell myself the same thing. We must have hope. RQ: In particular, how do you think Jackie’s efforts to navigate the inequities of her world relate to the struggles of our young people today? CSJ: While young people have it easier EVERYMAN THEATRE | 6
than my generation did, they also have it harder. I was one of the boomers who rode the first wave of integration at a time when racism was very overt and clear. Over the years, and certainly once President Obama took office, our society imagined itself free of racism. Many patted themselves on the back. Our country had passed laws about voting and access and leveling playing fields. But, look at where we’ve landed in 2019! My generation did not have the blessing and curse of 24-7 access to global news. My generation did not have the degree of anxiety, depression, bodyshaming, competitiveness, sleep deprivation, alienation, FOMO that young people have today. Oh, these conditions have always existed, but not on this magnitude, not as on-view for all to see. Today’s young people have tremendous access to information and to people all over the world via the internet. However, they have far fewer occasions for live, face-to-face, in person, meaningful human interaction. To share spaces. To learn how to meet strangers, how to interact with people who have different cultures and values. Their experiences are mediated by screens. I’m no psychologist, but I have taught a tremendous number of highly intelligent and incredibly talented 15-22 year olds who struggle with personal issues that are far more complex than my generation had. At 18, I was confident that I’d be able to pay off my debt, be healthy (I didn’t know what health insurance was), find a loving partner. I believed that I’d always be able to support myself. Are there 18 year olds who can afford to be that confident now? RQ: One specific connection that resonated for me is what we now call “code-switching.” CSJ: Yes, that’s exactly what I was doing starting at age 12. Only thing is, we didn’t have a term for it and nobody talked about it. I just thought something was wrong with me. I beat myself up for thinking I should have one authentic self and behave in one authentic way with everyone in all situations. God bless technology for giving
Photo: Jonathan K Waller
us a term for the basic biological imperative of adaptive behavior. “Code-switching” does not automatically mean that you are a “wanna be”, “a poseur”, or a “sell out”. It simply means that you adapt your behavior to negotiate your surroundings and interact effectively. It makes me incredibly happy to see this generation empowered to label it, talk about it, and on some level, accept code-switching. At the time of this writing Alexandria Ocasio-Cortez was vilified in the right-wing press for code-switching in front of a black audience. She tweeted, with characteristic clarity and confidence:
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Photo: Jonathan K Waller
“Folks talking about my voice can step right off… Any kid who grew up in a distinct linguistic culture & had to learn to navigate class enviros at school/work knows what’s up… As much as the right wants to distort & deflect, I am from the Bronx. I act & talk like it, *especially* when I’m fired up and especially when I’m home.” RQ: Next season, Everyman audiences will learn how Jackie’s story continues after Queens Girl in Africa. CSJ: I’ll be seeing both of these plays while working on Queens Girl: Black in the Green Mountains. I’m blown away by the chance to discover what all of it means. I have no words that can thank Vinny, Paige, and the Everyman team enough for this opportunity. What theatre does this kind of rep? What playwright gets this kind of gift???!!
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CSJ: It’s in progress, so there’s no guarantee of what will finally appear, but Jackie will continue to navigate her sense of self through relationships with a range of individuals offering diverse views of the world as well as the upheavals on Bennington’s campus and in the country. The Vietnam War, the emergence of the SDS and Weatherman, the killings at Kent State, and the wave of campus uprisings, shake the ground beneath everyone.
Photo: Jonathan K Waller
RQ: Can you give us a peek at what to expect from the final play in the Queens Girl trilogy?
D PAGE 4: Paige Hernandez, Caleen Sinnette Jennings, Erika Rose, & Dawn Ursula at the What's Next?: New Works in Progress Salon performance. A. Caleen Sinnette Jennings B. Paige Hernandez C. Caleen Sinnette Jennings D. Erika Rose & Dawn Ursula QUEENS GIRL REPERTORY | 7
CAST BIOGRAPHIES ERIKA ROSE (Jacqueline Marie Butler, Queens Girl in Africa): Everyman Theatre: The Soul Collector (Saul/Nozomi), Stick Fly (Taylor Bradley Scott) Regional: Theatre Alliance: The Bluest Eye (Claudia); African Continuum Theatre Company: The Oracle, Pretty Fire (Charalayne, Helen Hayes Nomination— Outstanding Lead Actress); The Kennedy Center: Oliverio (Nancy, World Premiere), The Brand New Kid (Ellie), As You Like It (Rosalind), Knuffle Bunny: A Cautionary Musical (Mom), Barrio Girrrl! (Odette); Theater J: Falling Out of Time (Woman), In Darfur (Hawa, Helen Hayes Award— Outstanding Lead Actress); Mosaic Theater Company: Queens Girl in Africa (Jacqueline Marie Butler, World Premiere, Helen Hayes Nomination—Outstanding Lead Actress), The Shakespeare Theatre: Much Ado About Nothing (Margaret), The Taming of the Shrew (Curtis/Widow); Studio Theater: The Father (Woman); Woolly Mammoth Theater Company: (Company Member) An Octoroon (Dido), Mr. Burns: A Post-Electric Play (Quincy/Bart), Lenny and Lou (Sabrina), The Mineola Twins (Agent) and more. Education: University of Maryland, College Park, B.A., Theater and Performance. DAWN URSULA (Jacqueline Marie Butler, Queens Girl in the World) Everyman Theatre (Resident Company Member): Sweat (Cynthia), Intimate Apparel (Esther), Dot (Shelly), Death of a Salesman (The Woman), A Streetcar Named Desire (Eunice), Ruined (Mama Nadi, City Paper Best Actress Award), By The Way, Meet Vera Stark (Vera Stark), A Raisin in the Sun (Ruth Younger, City Paper Best Actress Award), Doubt (Mrs. Muller), Gem of the Ocean (Black Mary, City Paper Best Actress Award), Yellowman (Alma), and others. Regional: Olney Theatre Center: Proof (Catherine); Round House Theatre & Olney Theatre Center: Angels in America I & II (Angel); Round House Theatre: Stage Kiss , Next Fall , Wrinkle In Time; The HUB Theatre: EVERYMAN THEATRE | 8
Redder Blood; Woolly Mammoth (Resident Company Member): Zombie: The American (Helen Hayes Nomination), We are Proud to Present… (Helen Hayes Nomination), The Convert (Helen Hayes Award), Clybourne Park (Helen Hayes Nomination), and others; Theater J: Queen’s Girl in The World (solo piece, Helen Hayes Award); Washington National Opera: Lost in the Stars; Arena Stage: A Raisin in the Sun (Ruth Younger), Love in Afghanistan; Hangar Theatre: Piano Lesson; The Kennedy Center: Shear Madness, Unleashed…, Mermaids…; African Continuum Theatre: Joe Turner’s Come and Gone; Rep Stage: Butterfingers Angel…, Anna Lucasta; Imagination Stage: Charlotte’s Web. TV/Film: HBO: The Wire, VEEP; PBS: Prince Among Slaves. Education: MFA, STC’s (GWU), BA University of Virginia. Private Coach Vera Katz. dawnursula.com.
DIRECTOR AND DESIGNER BIOGRAPHIES KIM JAMES BEY (Dialects) Everyman Theatre: Brothers Size, Raisin in the Sun. Select Regional Credits include: Arena Stage: Turn Me Loose, Ruined, The Piano Lesson, et. al; Mosaic Theater: Queens Girl in Africa (World Premiere), Blood Knot, A Human Being Died That Night, Unexplored Interiors; Woolly Mammoth: The Octoroon, The Convert; Signature Theatre: The Scottsboro Boys; Studio Theatre: Invisible Man, Passing Strange, In the Red and Brown Water. Kim is a Certified Associate Teacher for Fitzmaurice Voicework. She is a Professor of Theatre Arts at Howard University. AMANDA M. HALL (Stage Manager) Everyman Theatre (Resident Stage Manager): over 75 productions, including Dinner with Friends, Sweat, The Book of Joseph, Long Day’s Journey Into Night, Intimate Apparel, Los Otros, Dot, Wait Until Dark, Death of a Salesman, A Streetcar Named Desire, Outside Mullingar, An Inspector Calls, Blithe Spirit, Deathtrap, The Understudy, Tribes, The Dresser, Red, August: Osage County, Time Stands Still, You Can’t Take It With You, The Brothers Size, A Raisin in the Sun, All My Sons, Our Town, The Mystery of
Irma Vep, Art, Sight Unseen, Betrayal, Opus, The Last Five Years, Uncle Vanya, The Pavilion, Fences, Glass Menagerie; Regional: MD Stage Company, The Guthrie Theatre, Rep Stage. PAIGE HATHAWAY (Set Design) Regional: Arden Theatre Co: A Midsummer Night’s Dream; Asolo Repertory Theatre: Sweat; Bristol Riverside Theatre: The Christians; Folger Theater: A Midsummer Night’s Dream, Rosencrantz and Guildenstern are Dead; Imagination Stage: Cinderella; Kennedy Center: Me… Jane; The Muny: Jerome Robbins’ Broadway, A Chorus Line; Olney Theatre Center: South Pacific, Every Brilliant Thing, Thurgood, Godspell; Round House Theatre: How I Learned to Drive, The Book of Will, Or,; Signature Theatre: Ain’t Misbehavin’, John ; The Gulf (world premiere); Theater J: Talley’s Folly, Trayf (world premiere), Becoming Dr. Ruth, Everything is Illuminated, The How and the Why, Another Way Home; Woolly Mammoth: Familiar. PAIGE HERNANDEZ (Director) Everyman Theatre (Resident Company Member): The Importance of Being Earnest (Cecily), DOT (Averie), The Children’s Hour (Mary Tilford), School for Scandal (Mariah); Regional Theatre: Rep Stage: Twilight: Los Angeles 1992 (Director); The Kennedy Center: She a Gem (Director), American Scrapbook (Ensemble), ALL THE WAY LIVE (Herself); Mermaids, Monsters… (Marta Elena); University of MD: Clove (Director); Glimmerglass Festival: Stomping Grounds (Director); Mosaic Theater: Queens Girl in Africa (Director); Theatre Alliance: Brownsville Song (Director); Forum Theatre: How We Got On (Director); Theatre J: Queens Girl in the World (Associate Director); 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); Cleveland’s Playhouse Square: HAVANA HOP (Yeila), Atlanta’s 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: Theatre and Broadcast Journalism, University of Maryland & the Baltimore School for the Arts. CALEEN SINNETTE JENNINGS (Playwright) is an actor, director, playwright, and a founding member of The Welders, a D.C. Playwrights’ Collective. Dramatic Publishing Company has published eight of her plays, and her work has appeared in seven play anthologies. In 2015, she was commissioned by the Kennedy Center to write a stage adaptation of Walter Dean Myers’ novel, Darius & Twig, which was produced at the Kennedy Center Family Theatre and did a national tour in 2017. Her play, Queens Girl in the World, did an extended run at Theater J. in 2015. She was commissioned to write part 2, Queens Girl in Africa, for Mosaic Theater as part of the D.C. Women’s Voices Theatre Festival in 2018. In May/June 2019, the two plays will run in repertory at Everyman Theatre in Baltimore, Maryland. Everyman has also commissioned Caleen to write part 3 of the Queens Girl Trilogy, entitled, Queens Girl: Black in the Green Mountains, which will debut in 2020. Caleen was commissioned to write Hear. Eye. Stand for Roundhouse Theatre’s Teen Performing Company, which will debut in March 2019. Her work has also been produced by The African Continuum Theatre, Imagination Stage, The Folger, and The National Museum of Women in the Arts, Horizons Theatre and The Source Theatre Company. Caleen has received five nominations for outstanding new play from the Helen Hayes Awards and play writing awards from the Kennedy Center and The Actor’s Theatre of Louisville. She is a Professor of Theatre in the Department of Performing Arts at American University in Washington, D.C. where she joined the faculty in 1989. Jennings teaches Acting, Directing, Playwriting, Voice & Speech, Acting Shakespeare, Theatre History, Children’s Theatre and 6 different courses in General Education. She also directs for main stage including productions of Othello, Richard III, Much Ado About Nothing, Measure for Measure, and A Midsummer Night’s Dream. In 2003, she received A.U.’s Scholar/Teacher of the Year Award and in 1997 she received A.U.’s award for Outstanding Scholarship, Research and QUEENS GIRL REPERTORY | 9
other Professional Activities. She has been a faculty member of the Folger Shakespeare Library’s Teaching Shakespeare Institute since 1994 and she was Project Manager on an NEH grant to the Folger entitled Crosstalk: D.C. Reflects on Identity and Difference. Jennings graduated from Bennington College with a B.A. in Drama, and received her M.F.A. in Acting from NYU Tisch School of the Arts. VINCENT M. LANCISI (Founder, Artistic Director) founded Everyman Theatre in October of 1990 and has directed over 35 productions including Dinner with Friends, 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. ROBYN QUICK (Dramaturgy) Everyman Theatre: Everything is Wonderful, The Revolutionists. Robyn Quick is a professor and chair of the Department of Theatre Arts at Towson University, where she teaches theatre history and dramaturgy. EVERYMAN THEATRE | 10
She has presented at numerous national and international conferences, and has been published in American Theatre, The New England Journal of Theatre, and the Routledge Companion to Dramaturgy, among others. Her work as a dramaturg has been recognized by the Literary Managers and Dramaturgs of the Americas with the Elliot Hayes Award for Excellence in Dramaturgy and by the Kennedy Center American College Theatre Festival with the Gold Medallion. While serving as a Senior Fulbright Scholar in Russia, she taught at the Russian State University for the Humanities and directed at the Playwright and Director Center in Moscow. Robyn Quick holds a Ph.D. in theatre from the University of Michigan. NANCY SCHERTLER (Lighting Design) Everyman Theatre: Los Otros, Fences, Red. Broadway: Bill Irwin’s Fool Moon and Largely New York (Tony nomination). Off-Broadway: Hilda, Texts for Nothing, The Regard Evening. Regional: American Conservatory Theatre (San Francisco): A Christmas Carol, After the War, The Colossus of Rhodes, The Difficulty of Crossing a Field; Arena Stage: The Great Society, Tom Walker, Lovers and Executioners, Before it Hits Home (orig production) ; Children’s Theatre in Minneapolis: The Hobbit, The Jungle Book ; Cincinnati Playhouse in the Park: Miss Bennett: Christmas at Pemberly, Erma Bombeck: At Wit’s End; Cleveland Play House: Sherwood: The Adventures of Robin Hood; Constellation Theatre: Zorro; Milwaukee Repertory: Moby Dick; Seattle Repertory: The Sisters Matsumoto; Olney Theatre Center: The Crucible, Fickle: A Fancy French Farce (world premiere); Shakespeare Theatre Company: The Panties, The Partner, and The Profit: Scenes from the Heroic Life of the Middle Class; The Studio Theatre: Skeleton Crew; Theater J: Roz and Ray, Queens Girl in the World (original production); World premiere opera productions include Shadowboxer, Clara and Later the Same Evening, all commissioned by the University of Maryland Opera Studio. Nancy is a recipient of the 2018 Anderson-Hopkins Award for Excellence In The Theatre Arts in Washington DC. IVANIA STACK (Costume Design) Everyman Theatre: Aubergine, Under the Skin, Grounded,
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410.261.5090 • firstfloorgraphics.com GRAPHIC DESIGN • EXHIBITS • WAYFINDING • FINE ART REPRODUCTIONS • INSTALLATION QUEENS GIRL REPERTORY | 11
Tribes, God of Carnage, Heroes, Fifty Words. Regional: Seattle Repertory Theatre: Two Trains Running; Arena Stage: The Heiress, The Price, and Intelligence; Philadelphia Theatre Company: How To Catch Creation; Center Stage: Stones in His Pockets; Contemporary American Theatre Festival: Lidless and Breadcrumbs. DC Area credits include: Olney Theatre Center (Artistic Associate), Woolly Mammoth Theatre Company (Company Member), Round House Theatre (Resident Artist), Signature Theatre; Studio Theatre, Studio Theatre 2nd Stage, Theater J, The Second City; The Kennedy Center, Imagination Stage; GALA Hispanic Theatre, Synetic Theater, MetroStage, and Forum Theatre. Education: MFA in Design Program, University of Maryland. SARAH TUNDERMANN (Projection Design) Everyman Theatre: Debut. Regional: Adventure Theatre MTC: Oliver, The Wonderful Wizard of Oz; Children’s Theatre of Charlotte: In This Corner: Cassius Clay, The Snowy Day, School House Rock Live; Imagination Stage: Escape from Peligro Island; Kennedy Center: Watsons Go To Birmingham, All the Way LIVE; Mosaic Theater: Paper Dolls, Queens Girl in Africa (original production); Olney Theatre Center: Elf the musical; REP Stage: Twilight Los Angeles: 1992, All She Must Possess, The Other Place, Antigone Project; Theatre J: Becoming Dr. Ruth; Sarah holds an MFA in lighting design from the University of Maryland and lives in Baltimore with her dog, Jinx Monsoon. www.sarahtundermann.com CAT WALLIS (Stage Manager) Everyman Theatre (Resident Stage Manager): Everything is Wonderful, The Importance of Being Earnest, 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 Threepenny Opera, Hamlet, The Skin of EVERYMAN THEATRE | 12
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; The Missouri Theatre: Babes in Arms; Nebraska Repertory Theatre: The Little Prince, Jakes Women, Dinner with Friends, You’re a Good Man Charlie Brown; Olney Theatre Center: Ken Ludwig’s A Comedy of Tenors, Aubergine; Seattle Children’s Theatre: The Borrowers, Lyle the Crocodile; Snowy Range Summer Theatre: Headset (premiere), Kosher Lutherans (premiere). Education: BFA–University of Nebraska, MFA–PTTP University of Delaware. DAVID LAMONT WILSON (Sound Design) Everyman Theatre: Fences. Regional: Alliance Theatre (Atlanta): Goodnight Tyler (World Premiere), The C.A. Lyons Project (Best Sound Design in a Play nomination, Suzi Bass Award; American University: Dead Man Walking; Charter Theatre: Am I Black Enough Yet?; Geva Theatre: The Agitators; Theatre J: Queens Girl in the World (World Premiere); Mosaic Theater: The Agitators, Queens Girl in Africa (World Premiere); Studio Theatre: Wig Out; Washington Shakespeare Theatre: Titus; The Welders Playwright’s Collective: Not Enuf Lifetimes; Other designs include shows at Arena Stage, Georgetown University, Imagination State, The Kennedy Center. 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. 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.
QUEENS GIRL REPERTORY | 13
JOURNALISM
MATTERS today more than ever.
Baltimore Sun Media Group is a proud sponsor of 2018/19 Everyman Theatre Season For more than 180 years, we have been dedicated to shining a light on the issues that affect, engage, benefit and empower our local community.
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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
QUEENS GIRL REPERTORY | 15
FUN & FABULOUS
Classes that You Create Whether it’s just a get together for friends or a workshop for your organization let CCBC design a class to meet your needs. Perfect for • Book clubs • Couples night out • Church groups • Team building Topics Include • Arts & Jewelry Making • Cooking • Wellness • Your idea
For more information email: mmccallum@ccbcmd.edu
UMBrella Group
proudly supports UMB Roundtable on Empowerment in Leadership and Leveraging Aspirations
SALON SERIES: WOMEN’S VOICES and the empowerment of women in the workplace and in society.
Jay A. Perman, MD, President
umaryland.edu Changing the Future Today
DONOR SPOTLIGHT: DR. E. LEE & BEA ROBBINS
D
and successfully celebrated its Grand r. Lee and Bea Robbins have been Opening on Fayette Street. Lee continues fixtures in the Everyman family to be an active member of the Board of for more than 15 years now. They Directors. first got to know Everyman when it was a small, storefront theatre on Charles Street, When asked last summer to sponsor the and they immediately felt an attachment Queens Girl Rep, both Bea and Lee said it to the organization. After attending a few was a quick and enthusiastic “yes!” productions, the couple became more “We were both drawn to the idea of a and more interested and invested in the rotating repertory and seeing these two company. They began attending special events, such as a reading of “Love Letters” at amazing actors bring to life the story of this one young girl,” Bea and Lee said. “The the Peabody Court in 2005 and the annual story is absolutely universal. Everyone can Galas. find a way into Jackie’s life. It doesn’t matter After Bea’s retirement, she decided to your age, race, gender, where you grew become Everyman’s “Resident Volunteer.” up—there’s something that is truly relatable For nearly 10 years now, she has come in for everyone.” every Tuesday and Thursday morning to help the administrative staff with everything Both Bea and Lee also have a deep interest in supporting new works and new voices from filing and shredding documents, to in the American theatre. “We think that it’s printing and stuffing programs with flyers, to becoming the staff’s confidant and friend, important to honor the playwrights of the always checking in on how everyone is doing past while also giving space for the new voices who are creating important new and asking what she can do to help out that works, such as Queens Girl,” they said. day. Just as Everyman began exploring the possibilities of a move into a new building, then Managing Director Sara Rutstein asked Lee to join the Board of Directors. Lee later went onto become the President of the Board. Under Lee’s leadership, the theatre completed an aggressive capital campaign
Bea and Lee have always been drawn to Everyman because of the true feeling of family that is felt within its walls. “There’s a real feeling of respect and appreciation at Everyman; it really is a family and we’re proud to be members of it!”
QUEENS GIRL REPERTORY | 17
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 April 16, 2019.
GOVERNMENT, FOUNDATIONS, FUNDS AND CORPORATIONS VISIONARY $50,000+ Paul M. Angell Family Foundation Maryland State Arts Council The Shubert Foundation Saul Zaentz 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 Eddie C. and C. Sylvia Brown Family Foundation Helen S. And Merrill L. Bank Foundation J.S. Plank & D.M. Dicarlo Family Foundation Forno Restaurant & Wine Bar Phyllis and Joe Johnson Foundation David and Barbara B Hirschhorn Foundation
EVERYMAN THEATRE | 18
Legg Mason Charitable Foundation Nora Roberts Foundation John J. Leidy Foundation Lord Baltimore Capital Corporation 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 Lois and Philip Macht Family Philanthropic Fund McCormick & Co. Howard C. Muller & Marguerite E. Muller Charitable Foundation, Inc. Whole Foods Market ASSOCIATE PRODUCER $1,000 - $2,499 Anonymous Herbert Bearman Foundation Biddle Street Catering and Events Breakthru Beverages Campbell Foundation Carefirst, Bluecross Blueshield Hecht-Levi Foundation Harvey M. Meyerhoff Fund Inc. International Monetary Fund M. Sigmund and Barbara K. Shapiro Philanthropic Fund 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 The Helmand 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 Jane W. Daniels Mark and Sandy Laken Stan and Laurie Miller David and Betsy Nelson Bryan and Jennifer Rakes E. Lee and Bea Robbins Lawrence Yumkas and Miriam Fisher EXECUTIVE PRODUCER $5,000 - $9,999 Anonymous Brenda K. Ashworth and Donald F. Welch Pat and David Bernstein William and Pat Bettridge Jean Waller Brune Mary Catherine Bunting Dr. Larry and Nancy Fishel Richard Friedler Shirley T. Hollander Bridget and John Horner, Jr. Phyllis and Joe Johnson Mark and Kelley Keener Ronnie Kleiman Mark Paul Lehman and Kurt Davis David and Nancy Paige Dorothy H. Powe in memory of Ethel J. Holliday 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 Kaylie Kassap George and Adam George Marci Gordon and Andrew Barnstein Sandra and Thomas Hess Paul Konka and Susan Dugan-Konka Francine and Allan Krumholz James MacNicholl and Sara Lombardo
Elizabeth K. Moser Diane and Pete Nachtwey Brian and Eileen O'Rourke John and Sarah S. Robinson Robert Russell in memory of Lelia Russell Carol Sandler Wil Love and Carl Schurr Fred and Joan Steffens Karen and Jim Trennepohl ASSOCIATE PRODUCER $1,000 - $2,499 Anonymous (3) George and Frances Alderson David and Suzanne Alexander Robert and Dorothy Bair++ Gayle Barney and Jean Savina Bruce and Polly Behrens Bunny Bernstein David and Liz Block 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+ Betty and Stephen Cooper Harlan and Jean Cramer Walter B. Doggett III and Joanne Doggett Ross and Michele Donehower Paul and Martha Dougherty Gwen DuBois and Terry Fitzgerald Ms. Susan Sachs Fleishman Robert and Elborg Forster Jason and Laurie Frank Debra and Maurice Furchgott Barbara Glynn Herbert and Harriet Goldman Catherine Hammond June and George Higgins Alan and Trisha Hoff 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 Ernest and Donna Kovacs Barry Kropf Diane Leonard and Alan Williams Bernard and Steffi Liberman Kenneth C. and Elizabeth M. Lundeen Linda Matheson John Messmore
Joseph and Jane Meyer Lee and Claire Miller in honor of Stan and Laurie Miller Charlie and Marcia Moylan Tim Nehl and Joy Mandel Ruth Nolan Faye E. Pines Mike Plaisted and Maggie Webbert Reid Reininger Harriet Roberts Zelig and Linda Robinson Grant and Elissa Roch Rona and Arthur Rosenbaum Jamie and Sarah Ryan Sue Shaner and John Roberts Burdette and Judi Short Ronnie and Rachelle Silverstein Bob and Jackie Smelkinson Susan and John Spencer Joaneath A. Spicer Robert E. and Susan I. Spieth Ruth and Chuck Spivak Martha P. Stein Steve and Sue Sternheimer Louis B. Thalheimer and Juliet A. Eurich Barry Mersky and Elizabeth Trexler Meadow Lark Washington Laurence and Angela Wilson Peter Ayers Wimbrow, III in honor of Judith Ann Whalen Joanie Young Dr. Laurie S. Zabin DIRECTOR $500 - $999 Anonymous (2) 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. and Mrs. Mordecai Blaustein Patty Bond Mr. and Mrs. A. Stanley Brager, Jr. Jason and Mindy Brandt Lewis and Victoria Bringman Livio and Diane Broccolino David Brown Randy Brown Arnold D and Joyce Ann Bruckner 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 QUEENS GIRL REPERTORY | 19
Samuel Cohen and Joan Piven Peter Cohen and Ann Watson in honor of Laurie and Stan Miller Barbara Coleman White Janice Collins and James Storey Judy Shub-Condliffe and Jack Condliffe in memory of Vivienne Shub Joseph Coons and Victoria Bradley Fund Ken Davies Natalie Davis in memory of Jack Davis Dr. Albert F. DeLoskey and Lawrie Deering Rosemary Eck Dr. Frank Eisenberg and Ms. Catherine Blake Lon and Jennifer Engel Carol and Tim Evans Susie and Bob Fetter John and Fran Flanigan Brian Flowers and Eliza Gould Donna Flynn Charlton G. C. Friedberg Kenneth Roy Furchgott Sandra Levi Gerstung Susan Gillette Martha and Tad Glenn 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 Charles Henck and Karen Malloy Samuel and Barbara Himmelrich Greg Huff and Pamela Pasqualini Dave and Katherine Hurst Ruth B Hurwitz Ann H. Kahan Joan G. Klein Nina Knoche Ann and David Koch Rudy Koffler Larry Koppelman and Liz Ritter Harriet and Jay Kramer Vincent Lancisi and Robin Vanscoy Judy and Hersch Langenthal 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 Colleen Martin-Lauer Dennis G. McGough Phyllis McIntosh James and Martha Millford Barry Narlines in honor of Dr. Ronald Pototsky 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 Margaret Palmer Margaret Palmer Linda Hambleton Pantiz Justine and Ken Parezo Fred and Grazina Pearson 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 Mark and Lorraine Schapiro Norman A. and Leonora D. Sensinger Betsy and Carlton Sexton Stephen and Gail Shawe Shale D. Stiller and Ellen M. Heller Damie and Diane Stillman Lynne Stuart Doris Styche Sweet JoAnn Tracey Elizabeth Trimble Kathleen Vanderhorst Lorraine and Steve Walker Mrs. Karen W. Wallace Dr. Peter and Rosemary Warschawski Maria Wawer Stan and Martha Weiman Peggy Widman Carol and Chris Yoder Marvin Zelkowitz PLAYWRIGHT $250 - $499 Anonymous (4) Edward Adkins Ellie Allen Dr. Sania Amr Suzanne Antisdel Millicent Audain William and Dale Balfour in memory of Elspeth Udvarheyli Taunya L. Banks Bruce and Toni Berger Family Fund
Lisa Blue Jody Brown Susan and Michael Brown Rebecca and Mitchel Brown Hank Bullwinkel and Teri Majewski Dr. Elizabeth Burin and Dr. Avishai Ben-David Ms. Linda Canestraro Dale Cantone and Doug MacLean Barbara Cohen in honor of Sandy and Mark Laken Dr. and Mrs. Ronald J. Cohen Will and Carol Cooke Greg and Martha Cukor Gwen Davidson Alan Deanehan and Margaret Boeckmann Anne Efron Bill Eggbeer Neil and Deborah Eisenberg Barry and Susan Eisenberg Dr. Mary Anne Facciolo and Dr. Michael Repka Tony and Jaymee Farinacci John and Dorothy Foellmer Joseph and Teresa Freed Rhona and Sonny Freiman Cantler Fulwiler Family Fund Claire Galed Mark and Patti Gillen Sonny and Laurie Glassner Elliot Zulver and Sally Gold Judith A. Gottlieb Grace Blood LLC Bob Greenfield Louise A. Hager John and Susan Hailman Thomas and Rebecca Hamer Gary C. Harn Heidi and Bill Henson Patrick and Elizabeth Hervy Suzanne Hill James J. Hill, Jr. Robert and Sandra Hillman Ken and Ellen Himmelstein in honor of The Book of Joseph Creative Team Michael Hirschhorn and Jimena Martinez in honor of Gina Hirschhorn Terry Hogan Harriet Iglehart Judith Iliff in memory of Jacques Fein Jencks Family Fund Elizabeth Kahn Townsend and Bob Kent Joan G. Klein Lee Kolakowski Ron and Marianne Kreitner
EVERYMAN’S 2018/19 SEASON IS MADE POSSIBLE WITH THE SUPPORT OF OUR GENEROUS DONORS Sponsors listed as of April 16, 2019
SEASON MEDIA SPONSORS
QUEENS GIRL REPERTORY SPONSORS
DR. E. LEE & BEA ROBBINS GOVERNMENT SUPPORT FROM
Charles Kuning Robert and Barbara Landau Linda F. and Julian L. Lapides Jonna and Fred Lazarus Kenneth B. and Bonny M. Lewis Curt Lind and Linda Ettinger Joan Locke Margaret Long Joanne Mandato Michael & Lois Mannes Charles and Nancy Mannion Richard Marriott Jeanne E. Marsh 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 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 Patricia Palmer The Patz Family
Lucie Pelgrim in memory of Jim Robert and Judith Pierce Dr. and Mrs. Paul Rao Robert and Ellen Rosen Wendy S. Rosen Dr. and Mrs. Alfred Rosenstein in memory Sheila E. Pakula 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 Beth Schwartz Thomas M. Scott, III in honor of Vinny Lancisi Robert Sears Temmie B Shade Stephen and Gail Shawe Joan and Edward Sills Albert and Elizabeth Simon Lisa Simonson Dr. and Mrs. Harvey and Deborah Singer
Edward Sledge and Patricia Thompson Susan Smith Scott Sokol and Judy Harris Deborah Steinig and Jason Eisner William and Ellen Stifler James Stofan and William Law Harriet Stulman Carol Summerfield William and Adrienne Taylor Ann Teaff and Donald P. McPherson, III in honor of Susan Flanigan John and Mary Lou Walker Joanne and Ed Wallach Sylvia Wehr Robert and Shifra Weinberg Laurie A. Whisman Mark I. Whitman Sandra Wighton 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. QUEENS GIRL REPERTORY | 21
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
A CHAMPAGNE BRUNCH:
CELEBRATING THE WOMEN BEHIND THE QUEENS GIRL REP SUNDAY, JUNE 9, 2019 | 10:30AM – 12:30PM Pop the bubbly and join us for an intimate, artistic, and sure-to-be hilarious conversation with the Queens Girl creative team of director Paige Hernandez (Everyman Resident Company Member) and playwright Caleen Sinnette Jennings.
TICKETS: $100 SPONSORSHIPS STARTING AT: $500 LEARN MORE AT EVERYMANTHEATRE.ORG/CHAMPAGNE EVERYMAN THEATRE G R EAT STO R I ES, WELL TOLD.
EVERYMAN THEATRE | 22
RESIDENT COMPANY MEMBERS
RESIDENT ARTISTS Daniel Ettinger, Scenic Designer David Burdick, Costume Designer Harold F. Burgess II, 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. QUEENS GIRL REPERTORY | 23
STAFF
Vincent M. Lancisi, Founder, Artistic Director
ADMINISTRATION
Noah Himmelstein, Associate Artistic Director
Katie Hileman, Jonathan Jacobs, Jamil Johnson, Thom Purdy, Matthew Schleigh, Rachel Miranda Swan, Box Office Associates Kate Appiah-Kubi, Kamesha Brinson, Candice Christmas, Kendall Harnsberger, Juliannah Harrison, Jonathan Jacobs, Jamil Johnson, Ben Michaels, Derrell Owens, Emily Padden, Nickole Scroggins, House Managers Kate Appiah-Kubi Volunteer Coordinator
DEVELOPMENT
MARKETING
Deirdra McBride, Director of Finance & Operations Mike Watson, Operations Manager Laura Weiss, Special Asst. to Artistic Director Shammah Moore, Porter Pat Brent, Bookkeeper
ARTISTIC
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 Genna Styles, Education Program Manager Brenna Horner, Lead Teaching Artist Jesse Miller, Community Engagement Assistant Karim Darwish, Education Apprentice Laurie Ascoli, Sandra Atkinson, Wychkam Avery, Abigail Cady, Zach Campion, Tara Cariaso, Reenie Codelka, Amanda Forstrom, Liz Galuardi, Danny Gavigan, Kelsey Hall, Deborah Hazlett, Emma Hebert, Tyler Herman, Donald Hicken, Beth Hylton, Rachel Hynes, Rob Jansen, Caleen Jennings, Jenny Male, Joe Mallon, Brandon McCoy, Mary Naden, Bruce Randolph Nelson, Jack Novak, Matthew Pauli, 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
Corey Frier, Director of Patron Experience Alex Tolle, Ticket and Subscriptions Manager Candice Christmas, Sharea Harris, Veronese Harris, Juliannah Harrison, Jonathan Jacobs, Ally Kocerhan, Elizabeth Malvo, Ben Michaels, Emily Padden, Faith Savill, Matthew Schleigh, Bartenders Will Brewington, James Fulwiler, Emily Hall, Veronese Harris, Kendall Harnsberger, EVERYMAN THEATRE | 24
Jonathan K. Waller, Director of Brand & Marketing Jenny Kessler Klump, Marketing & Media Relations Manager Chris Giese, Digital Content Manager Mel Prather, Graphic Designer 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 Amanda M. Hall, Cat Wallis, Stage Managers Kayla Whisman, Assistant Stage Manager Matthew Smith, Wardrobe Supervisor Juan Juarez, Ryan Whiteman, Light Board Operators Kayla Whisman, Sound Board Operator Kelsey Schneider, Captioning Operator Alex Roberts, Lighting Programmer Jeremy McCord, Sound Programmer Sarah Blocher, Josh Cookson, Sierra Ho, James LaDow, Rhianne Lowe, Rachel Martino, Jacob Zabawa, Carpenters Parker Damm, Jesse Herche, Brandon Ingle, James LaDow, Alex Roberts, Alexis Sheeks, Electricians Audio Description provided by VIA Services