WEAA AD
FOR THE CULTURE
with Farajii
monday-Friday 5-7pm
EVERYMAN THEATRE
Vincent M. Lancisi, Founder, Artistic Director
presents
AUGUST WILSON'S
RADIO GOLF
Playwright AUGUST WILSON Director CARL COFIELD Mame Wilks........................................................................................... DAWN URSULA* Harmond Wilks.............................................................................JAMIL A.C. MANGAN* Roosevelt Hicks............................................................................ JASON B. Mc INTOSH* Sterling Johnson......................................................................................ANTON FLOYD* Elder Joseph Barlow........................................................................... CHARLES DUMAS* Set Design
CHRISTOPHER SWADER & JUSTIN SWADER Sound Design
KATHY RUVUNA
Lighting Design
HAROLD F. BURGESS II Dramaturgy
LINDSEY R. BARR
Stage Managers
CAT WALLIS*, AMANDA M. HALL*
Costume Design
DAVID BURDICK Props Master
MICHAEL RASINKSI
New York Casting
McCORKLE CASTING, LTD
Setting: The Hill District, Pittsburgh, Pennsylvania, 1997. The office of Bedford Hills Redevelopment, Inc., in a storefront on Centre Avenue. This production will be performed in two acts with one intermission.
PRODUCTION SPONSORS
SEASON SPONSORS
PLEASE TURN OFF ALL CELL PHONES. NO TEXTING. NO EATING IN THE THEATRE.
August Wilson's Radio Golf is presented by special arrangement with Samuel French, Inc., a Concord Theatricals Company. 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
RADIO GOLF | 1
ADULT CLASSES ON THE HORIZON
EMPOWER:
LAB:
AN ARTISTIC BUSINESS
CHARACTER CREATION
PROFESSIONAL DEVELOPMENT MONDAYS | $165 JAN 13 & JAN 20, 6:45pm-9:45pm
ACTOR EXPERIMENTATION TUESDAYS | $215 OCT 29-DEC 10, 6:45-8:45pm
Interested in learning more about how to make a living as an actor? These two classes offer information sharing around the complexity of making a living in the arts. With a focus on the business of acting, this chock-full two-day workshop will offer you an essential snapshot of important realities.
How do you create and sustain believable characterizations onstage? Focus on cultivating the actor's tools and the power of transformation.
CRAFT:
In order to practice the craft of acting, you must get the role. This class utilizes a variety of audition formats to teach the tenets of professionalism. Unique to this class is a focus on the ways an actor can make a living in the arts onstage and off.
ACTOR TRAINING
TOOLS MONDAYS | $235 JAN 27-FEB 24, 6:45-8:45pm This five week class invites students to isolate, explore, and integrate each fundamental tool in the actor’s instrument to create dynamic characters. Activate the body, exercise the voice, engage the mind and release your imagination.
PERSPECTIVES: NEW POINTS OF VIEW
AUDITION TECHNIQUE MONDAYS | $215 OCT 28-DEC 9, 6:45-8:45pm
THE ACTOR'S VOICE TUESDAYS | $185 JAN 28-MAR 3, 6:45-8:45pm Hone your vocal instrument. Explore the variety of ways an actor connects to breath, articulation, and resonation. Access your voice in new ways as you build confidence. Apply these princples to orignal material.
PLAY CLUB EVERY OTHER SATURDAY, STARTING SEPT 12 10am-1pm Join our Play Club where each play will be read aloud, discussed, and an inside look into the creative process for that production is shared. Special access to guests from the production team throughout with tips on how to read dramatic literature.
LEARN MORE & REGISTER: everymantheatre.org/classes EVERYMAN THEATRE | 2
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A NOTE FROM VINCENT M. LANCISI A NOTE FROM FOUNDER, ARTISTIC DIRECTOR ARTISTIC DIRECTOR, VINCENT M. LANCISI elcome,
When I revisited the script of August Wilson’s Radio Golf, I was immediately struck by how intensely relevant and timely the play is to Baltimore in this very moment. It’s as if Mr. Wilson wrote it today, right now, here in Baltimore instead of in Pittsburgh in 2000. The themes of urban renewal, gentrification, and honoring our past while paving the way towards the future are critical at this juncture in our city.
In the immediate neighborhood where Everyman Theatre stands there are several development projects in various stages of planning and execution that could change the face of this neighborhood in profound ways. Lexington Market is very near to breaking ground on a new building, a new market to replace the old one. God knows it needs changing but it also serves many purposes for a lot people who rely on it as an important food market and the only affordable resource for fresh produce and groceries for miles around. How will the new market improve everyone’s experience living and working downtown? How will it honor the past? What about the local vendors and the mom and pop shops? Is the community engaged in the process? I know that’s the intent of the thoughtful developers. The old abandoned Drover’s Bank Building, on the corner of Fayette and Eutaw just to the left as you leave Everyman Theatre, has already broken ground and the entire block will be developed as a hotel on the corner
to serve families of patients at University of Maryland Medical Center. There will be retail on the first floor of the rest of the block of Fayette street from Eutaw to Paca Streets with apartments above for graduate students at the University of Maryland Baltimore and for young professionals in the area. The lead character in the play, Harmond Wilks, is a real estate developer who is running for mayor. He might as well be a candidate running for mayor in Baltimore. As you watch the play, you can’t help but think about this city and its future. Baltimore has so much to offer and we are hungry for a Mayor with a strong moral compass who can celebrate our strengths and move us forward lifting up all the people of this great city. Radio Golf is one of those wonderful moments when a great playwright writes about a specific moment in time and in the process we find how universal our stories are and how much these issues matter in our own back yard. I am excited for the future of this neighborhood. There’s much to look forward to. Many people and businesses alongside anchor institutions are working hard to preserve what’s good about this part of downtown and improve on what isn’t. Our investments are deep and are starting to take hold. Thank you for coming and enjoy the show.
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THE BUILDING BOOM: BALTIMORE AND BEYOND By Lindsey R. Barr
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n March 2019, The Baltimore Sun published an article with findings from a recent study claiming, “Baltimore is among seven U.S. cities that accounted for nearly half the country’s gentrification between 2000 and 2013.” Other coastal cities experiencing this gentrification boom include New York, San Diego, and Philadelphia.
As defined by the Merriam-Webster Dictionary, gentrification can largely be understood as, “the process of repairing and rebuilding homes and businesses in a deteriorating area (such as an urban neighborhood) accompanied by an influx of middle-class or affluent people and that often results in the displacement of earlier, usually poorer residents.” Though touted by many investors as an opportunity for financial, educational, and personal advancement, gentrification may be met with an array of responses, from residents who welcome the change to hostile community members disinterested in the development. Often cited for its racial displacement, gentrification is a topic of discussion in local and national politics as the cost of living continues to outpace wage growth. EVERYMAN THEATRE | 4
On average, the redevelopment of cities in the interest of economic gain, displaced 135,000 Black or Hispanic residents between 2000 and 2013. What makes Baltimore’s gentrification process unique, however, is the relative lack of racial displacement as compared to other cities. Although Baltimore saw some displacement of minority residents as a result of gentrification, unlike the other areas studied, the city also experienced some displacement of white residents. That trend was particularly evident in East Baltimore, where the Hispanic population grew as residents’ incomes, home values and education levels also increased, said Jason Richardson, the study’s lead author. Most of the gentrification occurring in Baltimore were in neighborhoods that were already heavily occupied by white residents, namely around the Inner Harbor and along the I-83 corridor. According to Carol Ott, tenant advocacy director for the Fair Housing Action Center of Maryland, “Baltimore’s leaders have exacerbated the problem of gentrification by acting to attract wealthy residents to neighborhoods rather than making areas better for residents who live there.”
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B LEFT: Postcard of Lexington Market. A. Rendering of the exterior of the new Lexington Market. Credit, BCT Architects. B. Rendering of the interior of the new Lexington Market. Credit, BCT Architects.
One potential solution Ott proposes is to encourage the city to build more community centers and affordable housing for residents whose annual income falls below the city’s median. A central critique of gentrification presented is that gentrification seeks to improve the neighborhood for those who will live there a decade from now, instead of focusing on improving resources for the residents who currently reside in the neighborhood. Indeed, there are major building projects happening just down the street from Everyman Theatre. Seawall Development Co., a socially conscious company responsible for many remodels in Baltimore City including Remington’s food hall, R. House, recently released plans for the renovation of Lexington Market, which includes an outdoor promenade for concerts and a farmers market. Funding
will come from public and private sources and New Markets Tax Credits and the Baltimore Development Corporation said they are likely to break ground as early as January 2020. Though Lexington Market is just up the street from Everyman, a project that has already broken ground, helmed by Focus Development, is even closer. The transformation of the former Drovers and Mechanics National Bank building at 100 N. Eutaw St. and the former Sons of Italy center at 410 W. Fayette St. is set to include retail, residential, and hotel space. The University Lofts will be a mixed-use development focused on housing graduate students from the University of Maryland, Baltimore. The site, which will span an entire city block, will feature the 180-room apartment project, the 155-room hotel, and up to 8,000 square feet of retail space. RADIO GOLF | 5
THE LEGACY OF AUGUST WILSON By Lindsey R. Barr
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of Pittsburgh. For Wilson, the Carnegie y many, August Wilson is considered one of the greats who left us too Library was more than a place to simply soon. Wilson succumbed to cancer check out books, but was truly the place in 2005 at the age of 60. Though his years of his education. At the age of 15, Wilson may have been short, his contributions to wrote a report for school on Napoleon. the American theatre are numerous, and His teacher, believing it to have been the legacy he leaves behind can be seen plagiarized, threw out the report and failed on our professional stages, in classrooms him. Wilson left school and never returned. throughout the country, and in the very Rather than admit what communities he had happened, Wilson wrote about in his THOUGH HIS YEARS MAY HAVE spent his days at the work. BEEN SHORT, HIS CONTRIBUTIONS library where he created Born Frederick TO THE AMERICAN THEATRE ARE his own curriculum. To August Kittel on NUMEROUS... this day, Wilson remains April 27, 1945, he the only person to have was the son of Daisy been awarded a high school diploma by Wilson and Frederick Kittel, a German the Carnegie Library. baker largely absent from Wilson’s life and Utilizing his skills in writing, Wilson would upbringing. Due to this absence, August shed his father’s name at the age of twenty, charge his sister to write her term papers for her. Using this money, Wilson was taking on his mother’s maiden name in able to purchase his first typewriter at honor of her sacrifice and determination the age of 20 and declared himself a poet. throughout his life. Connecting with other young Black writers, Wilson’s mother taught him to read at Wilson co-founded the Black Theatre age 4, and he quickly fell in love with Horizon in Pittsburgh with Rob Penney. literature, devouring as many books as Though he began writing plays at this time, he was able. He became a regular at the he did not seriously commit himself to Hill District Branch of the Carnegie Library EVERYMAN THEATRE | 6
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LEFT: August Wilson; Photo by David Cooper. A. Alan Bomar Jones and Jason B. McIntosh in Everyman's 2015 production of August Wilson's Fences. Photo by Stan Barouh. B. Tonya Pickins and Harry Lennix in the original Broadway production of August Wilson's Radio Golf. Photo by Sara Krulwich.
drama until the 1970s when he moved to St. Paul, Minnesota and wrote the original one-act version of his play, Jitney. With the massive success of this work both in St. Paul and the subsequent Pittsburgh production, Wilson’s playwriting career began in earnest. In 1983, Wilson submitted his first fulllength play, Ma Rainey’s Black Bottom, to the Eugene O’Neill Theatre Center, a prominent professional regional theatre dedicated to the advancement of new work. His play was accepted and championed by many in the rehearsal process, purchasing the rights and producing the play at the Yale Repertory Theatre. The play then transferred to Broadway in 1984, placing Wilson in the national spotlight. Shortly thereafter, Wilson won his first Pulitzer Prize for Drama and Tony Award for Best Play with Fences. In the midst of this success, Wilson moved to Seattle and continued writing plays that would ultimately complete his Century Cycle. Working with his long time producer, Ben Mordecai, Wilson was able to use professional regional theatre across
the country as a testing ground for his new work. Theatres such as Huntington Repertory Company, Seattle Repertory Theatre, Chicago’s Goodman Theatre, and the Pittsburgh Public Theatre would premiere his work. These plays would take on a life of their own, moving from city to city while Wilson continually edited and updated the scripts. Success followed success and, one by one, Wilson told the stories of each decade of the 20th century. He won his second Pulitzer Prize for The Piano Lesson in 1990. When Radio Golf opened in 2005 at Yale Rep, it marked the completion of a great life’s work, but Wilson already knew he was not long for this world. After the Yale production and subsequent production in Los Angeles, Wilson secluded himself in Seattle to complete his revisions on the play. After a short hospitalization, Wilson died on October 2, 2005, standing atop a theatrical mountain that he had both conceived and scaled.
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SETTING THE SCENE: PITTSBURGH'S HILL DISTRICT By Lindsey R. Barr
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ittsburgh’s Hill District may be a familiar name to those who have seen August Wilson’s work—all but one of his plays take place in his hometown neighborhood.
A short walk from Downtown Pittsburgh, The Hill District is comprised of three distinct areas: the Upper Hill, the Middle Hill, and the Lower Hill. Originally land designated for agriculture, it became a residential area for wealthy Pittsburgh residents in the 1840s. Between 1870 and 1890, Pittsburgh, along with many other major cities in the United States, experienced a surge of European immigrants. The Hill District quickly became home to large numbers of Jews, Italians, Syrians, and Greeks. In the midst of this European migration, Pittsburgh experienced its own industrial boom. This industrial boom, and the promise of well-paying, secure jobs alongside it, encouraged immigrants to make their way to Pittsburgh in the hopes of gainful employment in the steel and railroad industries. Though this European migration helped increase the population of The Hill, it wasn’t until the Great Migration of African Americans from the southern United States in the early 20th century that this neighborhood became a cultural and artistic hub. Often referred to as EVERYMAN THEATRE | 8
a “city within a city,” The Hill was rich with diversity in ethnicity, religion, and race. Indeed, during the height of the Harlem Renaissance, The Hill itself was being referred to as “Little Harlem” for its contributions to the African American experience in Pittsburgh. Well known for its vibrant nightlife (including famed locations such as the Savoy Ballroom), The Hill attracted notable African American artists to perform, including Duke Ellington himself. After World War II, The Hill District slowly declined. In 1955, the Lower Hill was slated for redevelopment by the federal government, with plans to build a civic arena and cultural center. The construction of this new facility displaced families, forcing them to quickly find affordable housing, with many of them moving to residences with poor living conditions. Construction for the cultural center never began, leaving tensions between the residents of The Hill and the government at an all time high. Following the assassination of Dr. Martin Luther King, Jr., residents rioted, leading to hundreds of arrests and displacements. To this day, there is a clear and marked delineation between The Hill District and surrounding Pittsburgh communities.
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
CAST BIOGRAPHIES CHARLES DUMAS (Elder Joseph Barlow) is delighted to make his Everyman debut. In the Baltimore/DC area he was last seen in Paradise Lost at Centre Stage; Pygmalion at Arena; Anthony and Cleopatra at The Shakespeare Company (DC). Favorite roles include Troy in Fences, Othello, King Lear, Sam in Master Harold. B.T. Washington in Boogie Woogie and Booker T. He received a Hollywood/ Beverly Hills NAACP for best featured actor for B.C. Historia. He was a member of the McCarter Company, The Folger Shakespeare Company, LAF Theatre, Free DSouthern Theatre and the Negro Ensemble Company where he appeared in District Line, and the five play WE series. On TV he was a regular on Law and Order, 100 Centre Street, Ed. He has appeared in several films including Jumping Jack Flash, Copland, Die Hard With a Vengeance, Peacemaker, New Jack City, Deep Impact, Ashbury Park. He received an ensemble Emmy Award for Separate But Equal. Dumas is a professor emeritus from Penn State University and has taught at Temple University and SUNY at New Paltz. ANTON FLOYD (Sterling Johnson) Everyman Theatre: Debut. Regional: Actors Theatre of Louisville: Skeleton Crew; Coulter Productions: Passing Strange; Luna Stage: Carnaval; Theatre Squared: Skeleton Crew; Education: Alabama State University. JAMIL A. C. MANGAN (Harmond Wilks) Everyman Theatre: Debut. Off Broadway: Classic Stage Company: Mother Courage & her children; Cherry Lane Theater: Crooked Parts; Pearl Theater: Martin Luther On Trial. Regional: Arden Theater Co.: My Lord, What A Morning; Contemporary American Theater Festival: North Of The Boulevard; Gulfshore Playhouse: The Mountaintop; Luna Stage Company: Man In Room 306, Master Harold & the boys; Majestic Theater: The Mountaintop; Orlando EVERYMAN THEATRE | 10
Shakespeare Co.: To Kill A Mockingbird, Merry Wives Of Windsor; Perseverance Theatre: Othello, A Raisin In The Sun; Philadelphia Theater Co.: Ruined; Portland Stage Co.: Lost Boy Found In Whole Foods; Premiere Stages: Water By The Spoonful, Lost Boy Found In Whole Foods; Theaterworks Hartford: The Mountaintop. TV/Film: ABC: Quantico; CBS: Blue Bloods; FOX: Gotham, The Following; Netflix: It's Bruno, The Good Cop; NBC: Manifest; PBS: August Wilson : The Ground On Which I Stand. Education: University Of The Arts (Philadelphia). www.JamilMangan.com JASON B. Mc INTOSH (Roosevelt Hicks) Everyman Theatre: Sweat, Fences (Bono), Ruined (Christian). Regional: Mosaic Theater: When January Feels Like Summer (Joe), Chesapeake Shakespeare Company: Othello (Othello); Imagination Stage: Robin Hood (Littlejohn/Will Scarlett); Studio Theatre: Superior Donuts (Joe), Jerry Springer: The Opera (Steve); 1st Stage: Ma Raineys Black Bottom (Slow Drag); Ford’s Theater: 12 Angry Men (Juror 6) Film: Nevernight, Killing Kennedy, Moving Day. Education: Shakespeare Theatre Company’s Academy For Classical Acting at George Washington University and Studio Theatre Acting Conservatory. Jason B. McIntosh is a proud member of Actors Equity Association. jasonbmcintosh.com DAWN URSULA (Mame Wilks) Everyman Theatre (Resident Company Member): Queen's Girl Rep (Baltimore City Paper Best Of), Sweat, The Revolutionists, Intimate Apparel, Streetcar/ Salesman Rep, Dot, Ruined (BCPBO), By the Way Meet Vera Stark, A Raisin in the Sun, Doubt, Gem of the Ocean, Much Ado about Nothing, Two Rooms, Yellowman, Light up the Sky. Regional: African Continuum Theatre: Joe Turner's Come and Gone; Arena Stage: A Raisin int the Sun, Love in Afghanistan (World Premiere); Hangar Theatre: The Piano Lesson; Imagination Stage: Charlotte's Web (and others); Olney: Proof; Rep Stage: The Butterfingers Angel...., Anna Lucasta; Round House: Angels in American I & II co-pro with
Olney Theatre, Stage Kiss, A Wrinkle in Time, Next Fall; Theatre J: Queen's Girl in the World (World Premiere/Helen Hayes Award); The Hub: Redder Blood; Washington National Opera: Lost in the Stars; Woolly Mammoth (Resident Company Member): Botticelli in the Fire, Zombie: The American (Helen Hayes Nom), Marie Antoinette, The Totalitarians, We are Proud to Present...(Helen Hayes Nom), The Convert (Helen Hayes Award), Clybourne Park (Helen Hayes Nom), Eclipsed, The Unmentionables, The Velvet Sky, Starving; TV/ Film: VEEP, HBO's The Wire, PBS Prince Among Slaves. Teaching: freelance coach and guest teaching artist. Directing: Everyman's Salon Series. Education: BA UVA, MFA GWU/STC.
DIRECTOR AND DESIGNER BIOGRAPHIES LINDSEY R. BARR (Dramaturgy) Everyman Theatre: Proof, Dinner with Friends, The Importance of Being Earnest, Sweat, Dancing at Lughnasa; Single Carrot Theatre: A Beginner’s Guide to Deicide; Fell’s Point Corner Theatre: Stop, Kiss; Capital Fringe Festival: Sweet Painted Lady; WordBRIDGE Playwright’s Laboratory: Caleb’s Moon, Tall Skinny Cruel, Cruel Boys. Towson University: MacBeth, Kaspar, What Once We Felt, The Misanthrope. Education Program Content Writer: Regional: Everyman Theatre: Grounded, Deathtrap, Ruined, Ghosts, An Inspector Calls, Fences, Outside Mullingar, Under the Skin; Directing: Regional: Baltimore Center Stage Play Lab (AD): Handle It, To the Flame; Goethe Institute (AD): The Privacy Project; Interrobang Theatre Company (staged reading): Her Devices; Script Evaluator: Studio Theatre. Education: BS Towson University, MS University of Baltimore, PhD (in progress) University of Maryland, College Park. DAVID BURDICK (Costume Design) Everyman Theatre (Resident Costume Designer): Proof, Dinner with Friends, The Importance of Being Earnest, Sweat, Dancing at Lughnasa, The Book of Joseph, Long Day’s Journey Into Night, The
Revolutionists, Intimate Apparel, Los Otros, Great Expectations, Death of A Salesman, A Streetcar Named Desire, August Wilson’s Fences, An Inspector Calls, Blithe Spirit, Ghosts, Ruined, By The Way, Meet Vera Stark, Red, The Beaux’ Stratagem, August: Osage County, You Can’t Take It With You, Private Lives, All My Sons, The Mystery of Irma Vep. Regional: Baltimore Center Stage: A Wonder in My Soul, Looking Glass 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. HAROLD F. BURGESS II (Lighting Design) Everyman Theatre (Resident Lighting Designer): Dinner With Friends, The Importance of Being Earnest, Sweat, Aubergine, Dot, Death of A Salesman, A Streetcar Named Desire, Ghosts, Grounded, By The Way, Meet Vera Stark, The Dresser, Heroes, The Brothers Size, The School for Scandal. Regional: Studio Theatre: Breath Boom, My Children! My Africa!; Round House Theatre: A Doll’s House, Pt. 2, A Year With Frog and Toad (co-design); Adventure Theatre: Big River; Olney Theatre Center: Aubergine, Thurgood, Grounded, Monster, Having Our Say; Theatre J: Trayf, Broken Glass, Another Way Home, The Sisters Rosensweig, The Hampton Years; Mosaic Theatre Company: Unexplored Interior. Additional design credits include Rep Stage, Imagination Stage, Northern Stage (VT), American University, George Washington University, Georgetown University, and the University of Maryland. Teaching: Director, College Park Scholars Arts program, University of Maryland College Park. Education: MFA, University of Maryland.
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CARL COFIELD (Director) is a New York based theatre director and actor. He is the Associate Artistic Director of the Classical Theatre of Harlem. He directed the award-winning world premiere of One Night in Miami (Huffington Post best of L.A. 2013, N.A.A.C.P. Drama Critics Circle and others) for Rogue Machine Theater and the Denver Center Theatre, for which he received the Los Angeles N.A.A.C.P. award for Best Director. Regional credits: Twelfth Night for Yale Rep, A Raisin In the Sun for Two River Theater Company, Henry IV Part 2 for the Oregon Shakespeare Festival, Disgraced for Denver Center, The Montaintop for Cleveland Play House. NYC directing credits: The Bacchae, Antigone, the 50th anniversary of Dutchman (AUDELCO nomination for Best Director), The Tempest, Macbeth for Classical Theatre of Harlem (AUDELCO nomination for Best Director). Associate Director of the world premiere of The White Card by Claudia Rankine, directed by Diane Paulus at American Reparatory Theater. Teaching: Columbia and NYU. AMANDA M. HALL (Stage Manager) Everyman Theatre: over 75 productions, including Queens Girl in Africa, 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. 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 EVERYMAN THEATRE | 12
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. McCORKLE CASTING, LTD (Casting Contributor) Over 55 Broadway productions including On the Town and Amazing Grace. Other casts include the Tony nominated, Broadway production, End of the Rainbow and highly acclaimed off Broadway plays; Tribes and Our Town both directed by David Cromer. A partial list of other Broadway casts include; High, The Lieutenant Of Inishmore, The Glass Menagerie, Cat On A Hot Tin Roof, One Flew Over The Cuckoo’s Nest, The Ride Down Mt. Morgan, Amadeus, She Loves Me, Blood Brothers, A Few Good Men. Notable Off-Broadway projects include; Clever Little Lies, Falling, Freud’s Last Session, Almost Maine, Ears On A Beatle, Down The Garden Paths, Killer Joe, Mrs. Klein, Driving Miss Daisy. Over 50 Feature Films include; Premium Rush, Junction, Ghost Town, Bereft, Secret Window, Basic, The Thomas Crown Affair, The 13th Warrior, Madeline, Die Hard with a Vengeance, School Ties, Splash, End of the Line, Brenda Star, My Man is a Loser, Junction, etc. and 60 projects for television and New media; Twisted (ABC Family pilot),
Sesame Street, 27 East, Electric Company, Californication, (Emmy nomination), Hack (CBS), Education of Max Bickford (CBS), 3Lbs (CBS), Barbershop, Chapelle’s Show, Remember Wenn, among many others. The feature film, Senior Moment starring William Shatner. KATHY RUVUNA (Sound Design) Everyman Theatre: Debut. Regional: Yale Repertory Theatre: Good Faith. Other: Yale School of Drama: Much Ado About Nothing, Pentecost, Tent Revival, Locusts. Education: B.F.A. in Sound Design - The Conservatory of Theatre Arts at Webster University, M.F.A. in Sound Design - Yale School of Drama. CHRISTOPHER & JUSTIN SWADER (Set Design) Everyman Theatre: Debut. Selected New York: The New Victory: Ajijaak on Turtle Island; The Flea: The Invention of Tragedy; Classical Theatre of Harlem: The Bacchae, Antigone, The Three Musketeers, Macbeth, The Tempest; Lincoln Center Education: Campfire; Working Theatre: Dropping Gumballs on Luke Wilson; York Theatre Company: Midnight at the Never Get. Regional: Two River Theatre: A Raisin the Sun; Miami New Drama: One Night in Miami, Fake, Confessions of a Cocaine Cowboy; Dorset Theater Festival: Dig; SpeakEasy Stage Company: The Curious Incident of the Dog in the Night-time, Significant Other; ArtsEmerson: An Octoroon. Collaborations with A$AP Rocky, Sotheby’s, Big Apple Circus, National Geographic. Henry Hewes nominations, 2019 Prague Quadrennial Exhibition, AUDELCO Award, IRNE Award, Carbonell Award. Graduates of Ball State University. www.cjswaderdesign.com. CAT WALLIS (Stage Manager) Everyman Theatre (Resident Stage Manager): Proof, Queens Girl in the World, The Importance of Being Earnest, Everything is Wonderful, Dancing at Lughnasa, Aubergine, The Revolutionists, M. Butterfly, Noises Off, Great Expectations, The Roommate, Grounded. Regional: Olney Theatre Center: A Comedy of Tenors, Aubergine; Northern Stage: Grounded; Delaware REP: Wit, Faust, The Mousetrap, Hamlet, The Threepenny Opera, Anything to
Declare, The Weir, Night of the Iguana, Our Country's Good, The Skin of Our Teeth, The Cripple of Inishmaan; The Contemporary American Theatre Festival: Uncanny Valley, Heartless, A Discourse on the Wonders of the Invisble World, Gidion's Knot, From Prague, Inana (ASM); Snowy Range Summer Theatre: The Last Five Years, The Underpants, I am My Own Wife, Kosher Lutherans, Headset (a view from the lightbooth); Seattle Childrens Theatre: The Borrowers, Lyle the Crocodile; Missouri Theatre: Babes in Arms; Nebraska Rep: The Little Prince, Dinner with Friends, Jakes Women; Tour: Wizard of Oz. Teaching: KCACTF stage management workshops. Education: BFA University of Nebraska; MFA - University of Delaware PTTP. AUGUST WILSON (Playwright) (April 27, 1945-October 2, 2005) authored Gem of the Ocean, Joe Turner's Come and Gone, Ma Rainey's Black Bottom, The Piano Lesson, Seven Guitars, Fences, Two Trains Running, Jitney, King Hedley II, and Radio Golf. These works explore the heritage and experience of African-Americans, decade-by-decade, over the course of the twentieth century. His plays have been produced at regional theaters across the country and all over the world, as well as on Broadway. In 2003, Mr. Wilson made his professional stage debut in his one-man show, How I Learned What I Learned. Mr. Wilson's works garnered many awards including Pulitzer Prizes for Fences (1987); and for The Piano Lesson (1990); a Tony Award for Fences; Great Britain's Olivier Award for Jitney; as well as eight New York Drama Critics Circle Awards for Ma Rainey's Black Bottom, Fences, Joe Turner's Come and Gone, The Piano Lesson, Two Trains Running, Seven Guitars, Jitney, and Radio Golf. Additionally, the cast recording of Ma Rainey's Black Bottom received a 1985 Grammy Award, and Mr. Wilson received a 1995 Emmy Award nomination for his screenplay adaptation of The Piano Lesson. Mr. Wilson's early works included the oneact plays The Janitor, Recycle, The Coldest Day of the Year, Malcolm X, The Homecoming and the musical satire Black Bart and the Sacred Hills. RADIO GOLF | 13
Mr. Wilson received many fellowships and awards, including Rockefeller and Guggenheim Fellowships in Playwrighting, the Whiting Writers Award, 2003 Heinz Award, was awarded a 1999 National Humanities Medal by the President of the United States, and received numerous honorary degrees from colleges and universities, as well as the only high school diploma ever issued by the Carnegie Library of Pittsburgh. He was an alumnus of New Dramatists, a member of the American Academy of Arts and Sciences, a 1995 inductee into the American Academy of Arts and Letters, and on October 16, 2005, Broadway renamed the theater located at 245 West 52nd Street-The August Wilson Theatre. Additionally, Mr. Wilson was posthumously inducted into the Theater Hall of Fame in 2007. Mr. Wilson was born and raised in the Hill District of Pittsburgh, Pennsylvania and lived in Seattle, Washington at the time of his death. He is immediately survived by his two daughters, Sakina Ansari and Azula Carmen Wilson, and his wife, costume designer Constanza Romero.
“ONE OF THE BEST PERFORMANCES I HEARD THIS YEAR.” —The Baltimore Sun
SUNDAYS @ 5:30PM GET YOUR TICKETS TODAY! JERUSALEM QUARTET Works by Haydn, Shostakovich, Brahms Oct 20
ALBAN GERHARDT CELLO CECILE LICAD PIANO Works by Bach, Beethoven, Debussy, Franck Nov 10
AMERICAN BRASS QUINTET Works by Josquin, Monteverdi, Holborne, Nina C. Young
Actors’ Equity Association was founded in 1913 to protect Actors from severe mistreatment that permeated the industry at the time. The 40,000 member association consists of distinguished stars and other professional actors and stage managers who work nationwide, from New York’s Broadway to Los Angeles, from Minneapolis to Miami Beach, in regional, stock and dinner theatre, and in theatre for young audiences which build audiences for tomorrow. The actors and stage managers are committed to working in the theatre as a profession, not an avocation, and bring to you the finest professional training and experience. By presenting Equity productions, this theatre offers to you, our audience, the best entertainment presented by the finest quality actors and stage managers that your admission dollars can buy.
The lighting designer is represented by United Scenic Artists, Local USA-829 of the IATSE.
MIDORI VIOLIN JEAN-YVES THIBAUDET PIANO All-Beethoven Jan 26
LAWRENCE BROWNLEE TENOR MYRA HUANG PIANO Works by Schumann, Tyshawn Sorey Feb 23
TABEA ZIMMERMANN VIOLA JAVIER PERIANES PIANO
2019–20 SEASON
The Director is represented by Stage Directors and Choreographers Society.
Dec 8
Works by Schubert, Brahms, Falla, Albéniz, Villa-Lobos, Piazzolla Mar 15
INON BARNATAN PIANO Works by Mendelssohn, Thomas Adès, Gershwin, Gershwin/Wild, Schubert May 3
GET YOUR TICKETS TODAY! SHRIVERCONCERTS.ORG 410.516.7164
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 29 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 29th 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 RADIO GOLF | 15
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 June 1, 2018 and September 30, 2019.
GOVERNMENT, FOUNDATIONS, FUNDS AND CORPORATIONS VISIONARY $50,000+ Maryland State Arts Council The Shubert Foundation Saul Zaentz Foundation SEASON PRODUCER $25,000 - $49,999 Paul M. Angell Family Foundation 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 Helen Pumphrey Denit Trust Galanthus Foundation Goldsmith Family Foundation Joseph and Harvey Meyerhoff Family Charitable Funds LifeBridge Health Lord Baltimore Hotel National Endowment for the Arts PNC Bank Henry and Ruth Blaustein Rosenberg Foundation The Shelter Foundation T. Rowe Price Foundation Talcott-Gran Charitable Trust Mary Jean and Oliver Travers Foundation Lockhart Vaughan Foundation Venable Foundation University of Maryland, Baltimore EXECUTIVE PRODUCER $5,000 - $9,999 Anonymous Mayor Bernanrd C. "Jack" Young 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
EVERYMAN THEATRE | 16
Forno Restaurant & Wine Bar Phyllis and Joe Johnson Foundation David and Barbara B Hirschhorn Foundation Legg Mason Charitable Foundation Nora Roberts Foundation John J. Leidy Foundation Lord Baltimore Capital Corporation Earle and Annette Shawe Family Foundation SunTrust 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. ASSOCIATE PRODUCER $1,000 - $2,499 Anonymous Herbert Bearman Foundation Breakthru Beverages Campbell Foundation Hecht-Levi Foundation Harvey M. Meyerhoff Fund Inc. International Monetary Fund Sinsky-Kresser-Racusin Memorial Foundation The Wolman Family Foundation DIRECTOR $500 - $999 Actors’ Equity Foundation Taylor Foundation Inc. Young Audiences of Maryland, Inc. MATCHING GIFT COMPANIES Abell Foundation Inc. American Trading and Production Corporation Bank of America Black & Decker Exelon Foundation IBM Corporation International Monetary Fund McCormick & Co. Network for Good Norfolk Southern Sun Trust Bank T. Rowe Price Designate The Everyman Theatre, Inc. as your charity and go to smile.amazon.com every time you shop online.
JOURNALISM JOURNALISM JOURNALISM JOURNALISM
MATTERS MATTERS MATTERS MATTERS today today more more than than ever. ever. today more than ever. today more than ever.
Baltimore Baltimore SunMedia Media Group GroupGroup Baltimore Sun Media Baltimore SunSun Media Group isaaproud proud sponsor sponsor of of is a proud of is a is proud sponsor ofsponsor 2018/19 2018/19 Everyman Everyman Theatre Theatre Season Season 2018/19 Everyman Theatre Season 2018/19 Everyman Theatre Season
For Formore more than 180 years, years, we wehave have been been dedicated to to Forthan more than 180have years, we havededicated been to dedicated to For more than 180 180 years, we been dedicated shining shining aalight light on the theissues issues thataffect, affect, engage, engage, benefit benefit shining aon light on the that issues that affect, engage, bene shining a light on the issues that affect, engage, benefit andempower empower our ourlocal local community. community. andour empower our local community. and and empower local community.
We Wedeliver deliver ititevery everyday. day. We deliver it every day. We deliver it every day.
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A NIGHT OF SPIRITS! TUESDAY, OCTOBER 29, 2019 6:30-9:30PM TELL A GHOST STORY, HEAR A GHOST STORY, AND GET TO KNOW OUR GHOSTS! Join members of Everyman Theatre's Resident Company for supernatural festivities and a thrilling reading of The Turn of the Screw adapted by Jeffrey Hatcher, from the story by Henry James featuring Megan Anderson and Bruce Randolph Nelson.
TICKETS: $25 PURCHASE AT
everymantheatre.org/ghostly-gathering | 410.752.2208
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 Anonymous Jane W. Daniels Dr. Larry and Nancy Fishel Mark and Sandy Laken Stan and Laurie Miller David and Betsy Nelson Bryan and Jennifer Rakes Dr. E. Lee and Bea Robbins Eugene+ and Alice Schreiber Lawrence J. Yumkas and Miriam Fisher EXECUTIVE PRODUCER $5,000 - $9,999 Anonymous Brenda K. Ashworth and Donald F. Welch William and Pat Bettridge Jean Waller Brune Mary Catherine Bunting Chris DiPietro and Tom Burkhart Richard Friedler Shirley T. Hollander Bridget and John Horner, Jr. Phyllis and Joe Johnson Mark and Kelley Keener Ronnie Kleiman Peter Leffman Mark Paul Lehman and Kurt Davis Robert E. Meyerhoff and Rheda Becker Dr. and Mrs. David and Nancy Paige Dorothy H. Powe in memory of Ethel J. Holliday John and Marsha Ramsay Frank and Ann Rosenberg Burdette and Judi Short PRODUCER $2,500 - $4,999 Anonymous Stan and Edie Brown Shaun Carrick and Ronald Griffin Paul and Kathleen Casey Kaylie Kassap George and Adam George Barbara Glynn
Marci Gordon and Andrew Barnstein Lisa Harris Jones and Sean Malone Paul Konka and Susan Dugan-Konka Francine and Allan Krumholz Wil Love and Carl Schurr Colleen Martin-Lauer and Mark Lauer Brian and Eileen O'Rourke Dr. Steven J. Ralston and W. Robert Hair Nina and Stuart Rosenzwog Robert Russell in memory of Lelia Russell Fred and Joan Steffens Laurence and Angela Wilson ASSOCIATE PRODUCER $1,000 - $2,499 Anonymous (2) George and Frances Alderson Gayle Barney and Jean Savina Bruce and Polly Behrens Emile A. Bendit and Diane Abeloff David and Liz Block Bruce Blum Winnie and Neal Borden Michael Borowitz and Barbara Crain Mr. and Mrs. A. Stanley Brager, Jr. Jason and Mindy Brandt Livio and Diane Broccolino Dr. and Mrs. Donald Brown Diane E. Cho and David W. Benn Susan Chomicz Bowman in memory of Eunice E. Chomicz Joseph Coons and Victoria Bradley 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 Debra and Maurice Furchgott Herbert and Harriet Goldman Catherine Hammond Charles Henck and Karen Malloy Sandra and Thomas Hess June and George Higgins Alan and Trisha Hoff Lois and Joseph Johnson, Jr. Shirley A. Kaufman Ernest and Donna Kovacs Barry Kropf
Diane Leonard and Alan Williams Gayle Levy Bernard and Steffi Liberman Kenneth C. and Elizabeth M. Lundeen James MacNicholl and Sara Lombardo William Marshall and Camille Wheeler Linda Matheson John Messmore Joseph and Jane Meyer Lee and Claire Miller in honor of Stan and Laurie Miller Tim Nehl and Joy Mandel Ruth Nolan Faye E. Pines Mike Plaisted and Maggie Webbert Reid Reininger Harriet Roberts Sue Shaner and John Roberts John and Sarah S. Robinson Zelig and Linda Robinson Grant and Elissa Roch Jamie and Sarah Ryan Norm and Lee Sensinger Ronnie Silverstein Bob and Jackie Smelkinson Arnold Soltz and Rachel Oberai-Soltz in honor of Dan Shub Susan and John Spencer Joaneath A. Spicer Robert E. and Susan I. Spieth Ruth and Chuck Spivak Martha P. Stein Louis B. Thalheimer and Juliet A. Eurich JoAnn Tracey Meadow Lark Washington Peter Ayers Wimbrow, III in honor of Judith Ann Whalen Dr. Laurie S. Zabin DIRECTOR $500 - $999 Anonymous (4) James and Ellen Adajian Mark and Susan Adams David and Suzanne Alexander Brad and Lindsay Alger Joel Balsham Ray and Day Bank Dr. Frank Eisenberg and Ms. Catherine Blake Dr. and Mrs. Mordecai Blaustein Lewis and Victoria Bringman David Brown Arnold D and Joyce Ann Bruckner RADIO GOLF | 19
Hank Bullwinkel and Teri Majewski Jan Caughlan Joseph and Barbara Cirelli Ann Clapp Chuck Cohen and Ann Amernick Peter Cohen and Ann Watson in honor of Laurie & Stan Miller Joan Coley and Lee Rice Janice Collins and James Storey Margaret O. Cromwell Family Fund Rosalee and Richard Davison Jerry and Carol Doctrow Rosemary Eck Bill Eggbeer Lon and Jennifer Engel Carol and Tim Evans Anna and Alan Fagan John and Fran Flanigan Brian Flowers and Eliza Gould Charlton G. C. Friedberg Sandra Levi Gerstung Susan Gillette Wayne Gioioso, Alex Stern c/o Mid-Atlantic Properties in memory of Joseph Werner Jr. Martha and Tad Glenn Judith A. Gottlieb Hannah and Thorne Gould Donald M. and Dorothy W. Gundlach Robert and Cheryl Guth Richard Manichello and Margo Halle/Ram Films Inc Fritzi K. and Robert J. Hallock Barbara L. Hecht Suzanne Hill in honor of James J. Hill, Jr. Greg Huff and Pamela Pasqualini Dave and Katherine Hurst Ruth B Hurwitz Idy and Jennie Iglehart Ann H. Kahan Helmand Restaurant Joan G. Klein Nina Knoche Ann and David Koch Rudy Koffler Harriet and Jay Kramer Vincent Lancisi and Robin Vanscoy Judy and Hersch Langenthal Amy and Gary Lebo Gregory Lehne Peter Levy and Diane Krejsa Sam and Suzie Macfarlane Dennis G. McGough Phyllis McIntosh James and Martha Millford Barry Narlines
Linda Nevaldine Andrew and Sharon Nickol Lewis and Dee Noonberg Steve and Sherri O'Donnell Jerry and Gail Oppel Ed and Jo Orser Margaret Palmer Linda Hambleton Pantiz Justine and Ken Parezo Fred and Grazina Pearson Dale and Dorothy Piper Gary and Leslie Plotnick Mark and Joanne Pollak Scott and Gwyneth Radloff Tom and Betty Robinson Leslie and Jay Rosenthal Jim and Laura Rossman Robert Sears Stephen and Gail Shawe Steve and Sue Sternheimer Shale D. Stiller and Honorable Ellen M. Heller Damie and Diane Stillman Lynne Stuart Doris Styche Sweet Sheldon and Victoria Switzer Karen and Jim Trennepohl Elizabeth Trimble Kathleen Vander Horst Lorraine and Steve Walker Mrs. Karen W. Wallace Donald and Jerriann Wilson Marvin and Sheila Zelkowitz PLAYWRIGHT $250 - $499 Anonymous (3) Ronald and Baiba Abrams Edward Adkins Ellie Allen Dr. Sania Amr Suzanne Antisdel in honor of Ken Skrzesz Millicent Audain Dale Balfour in memory of Elspeth Udvarheyli Taunya L. Banks Greg Baranoski and Lucio Gama Bruce and Toni Berger Family Fund Elizabeth B. Blue Zoe Bouchelle Peter and Eileen Broido Susan and Michael Brown Charles Browne, III and Rod Cooke Courtney Bruno Dr. Elizabeth Burin and Dr. Avishai Ben-David Robert and Rina Campbell Ms. Linda Canestraro Dale Cantone and
EVERYMAN THEATRE | 20
Doug MacLean Barbara Carter David and Elizabeth Champney Barbara Cohen in honor of Sandy and Mark Laken Will and Carol Cooke Kate Creamer Jodi Dunn Anne Efron Barry and Susan Eisenberg Neil and Deborah Eisenberg in memory of Molly Eisenberg Curt Lind and Linda Ettinger Dr. Mary Anne Facciolo and Dr. Michael Repka Tony and Jaymee Farinacci Michael and Carmel Fisher John and Dorothy Foellmer Jason and Laurie Frank Cantler Fulwiler Family Fund Claire Galed Ron Geagley Mark and Patti Gillen Norma Snow-Goldberg Patrick and Catherine Goles Sydell Gould Grace Blood LLC Bob Greenfield Louise A. Hager Terry Halle and Wendy McAllister Thomas and Rebecca Hamer Gary C. Harn James F. Hart Margot Heller Heidi and Bill Henson Patrick and Elizabeth Hervy Donald Hicken Robert and Sandra Hillman Samuel and Barbara Himmelrich Michael Hirschhorn and Jimena Martinez in honor of Gina Hirschhorn Don and Janice Hobart Harriet Iglehart Judith Iliff in memory of Jacques Fein Jencks Family Fund Derek Joost and Patricia Foster Townsend and Bob Kent, Jr. Robert and Joyce Knodell Lee Kolakowski Ron and Marianne Kreitner Alice Kurs Anne Langley Linda F. and Julian L. Lapides Moira and Paul Larsen Jonna and Fred Lazarus Mary and Ron Leach Judith Letcher Kenneth B. and Bonny M. Lewis Barry Linkner
EVERYMAN’S 2019/20 SEASON IS MADE POSSIBLE WITH THE SUPPORT OF OUR GENEROUS DONORS Sponsors listed as of September 30, 2019
RADIO GOLF PRODUCTION SPONSORS
SEASON MEDIA SPONSORS
MAJOR SUPPORT FROM
Linda and Jim Loesch Michael and Lois Mannes Charles and Nancy Mannion Jeanne E. Marsh Dr. Wendy Matt Judy and David Mauriello Hans and Judy Mayer J. A. McAlpine Irma Jean McNelia Kathleen Howard Meredith Stephanie F. Miller in memory of Carl E. Hecht Tracy Miller and Paul Arnest Stephanie Moore and Dr. Lindsay Johnson Annette Nagler Alex and Janet Ober Robert and Patricia Orr Dr. Lawrence C. Pakula in memory of Sheila E. Pakula Patricia Palmer Robert and Judith Pierce Dr. and Mrs. Paul Rao Robert and Ellen Rosen
Wendy S. Rosen Dr. and Mrs. Alfred Rosenstein in memory of Claire Beissinger Gary Rosner and Naomi Goldstick W.J. Lederer & Jennie Rothschild Al Russell Arnold and Monica Sagner Richard and Kayleen Saucier Gloria Savadow Dr. Alan Schwartz and Dr. Carla Rosenthal Beth Schwartz Thomas M. Scott III Betsy and Carlton Sexton Temmie and Ronald Shade Dr. Carl Shanholtz and Dr. Ruth Horowitz Joan and Edward Sills
Albert and Elizabeth Simon Harvey and Debbie Singer Patricia Smeton Eric W. Snyder and Lana M. Wiester Deborah Steinig and Jason Eisner James Stofan and William Law Harriet Stulman Ann Teaff and Donald P. McPherson III in honor of Susan Flanigan Joanne and Ed Wallach Maria Wawer Peggy Widman Sandra Wighton Beverly Winter Carol and Chris Yoder Miriam and Robert Zadek
We make every effort to provide accurate recognition of our donors. To advise us of corrections please call Katie Garber: kgarber@everymantheatre.org, 443.615.7055 x7122. RADIO GOLF | 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
BOARD OF DIRECTORS
Vic Romita, President Mark Paul Lehman, Vice President Dr. Stanley Miller, Vice President W. Bryan Rakes, Vice President Marci I. Gordon, Secretary Eileen M. O’Rourke, Treasurer
Allyson Black Jean Waller Brune Chris DiPietro Susan W. Flanigan Kaylie Kassap George W. Robert Hair Gina Hirschhorn Lisa Harris Jones
Mark P. Keener Martha M. Kirkland Sandy Laken Vincent M. Lancisi Colleen Martin-Lauer John McLean Neil Meltzer Susan Nehra
CONTACT INFORMATION Box Office 410.752.2208 Administration 443.615.7055 Email boxoffice@everymantheatre.org Address 315 W. Fayette St. Baltimore, MD 21201 EVERYMAN THEATRE | 22
E. Lee Robbins, M.D. Frank Rosenberg Nina Rosenzwog James Ryan 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.
RESIDENT COMPANY MEMBERS
Megan Anderson
Eric Berryman
Danny Gavigan
Deborah Hazlett
Paige Hernandez
Beth Hylton
Hannah Kelly
Katie Kleiger
Wil Love
Tony Nam
Bruce Randolph Nelson
Kyle Prue
Jefferson A. Russell
Carl Schurr
Dawn Ursula
Stan Weiman
RESIDENT ARTISTS
Yaegel T. Welch
Daniel Ettinger, Scenic Designer David Burdick, Costume Designer Harold F. Burgess II, Lighting Designer Gary Logan, Dialects Lewis Shaw, Fights & Intimacy Cat Wallis, Stage Manager
RADIO GOLF | 23
STAFF
Vincent M. Lancisi, Founder, Artistic Director
ADMINISTRATION
Kyle Prue, Producing Director Deirdra McBride, Director of Finance & Operations Mike Watson, Operations Manager Alex Tolle, Special Asst. to Artistic Director Shammah Moore, Porter Pat Brent, Bookkeeper
ARTISTIC
Noah Himmelstein, Associate Artistic Director Megan Anderson, Resident Company Liason Bruce Randolph Nelson, Resident Company Liason
DEVELOPMENT
Stephanie Moore, Director of Development Elliott Kashner, Institutional Giving Manager Katie Garber, Individual Giving Manager Alex Tolle, Development Coordinator
EDUCATION & COMMUNITY ENGAGEMENT
Brianna McCoy, Director of Education & Community Engagement Genna Styles-Lyas, Education & Engagement Program Manager Brenna Horner, Lead Teaching Artist Sean Laraway, Education Apprentice Laurie Ascoli, Sandra Atkinson, Wychkam Avery, Jennie Bissell, Abigail Cady, Zach Campion, Tara Cariaso, Reenie Codelka, Liz Daingerfield, Karim Darwish, Amanda Forstrom, Liz Galuardi, Danny Gavigan, Briana Gibson-Reeves, Kelsey Hall, Deborah Hazlett, Emma Hebert, Tyler Herman, Donald Hicken, Beth Hylton, Rachel Hynes, Lauren Erica Jackson, Rob Jansen, Caleen Jennings, Katie Keddell, Anna Kurtz, Jenny Male, Joe Mallon, Brandon McCoy, Jesse Miller, Mary Naden, Bruce Randolph Nelson, Jack Novak, Matthew Pauli, Steve Polites, Fatima Quander, Dawn Thomas Reidy, Melodia Rinaldi, Joseph W. Ritsch, KenYatta Rogers, Steven Satta, Stephanie Shade, Lewis Shaw, Jake Sheffer, Quae Simpson, Andy Stoffel, Teaching Artists
FRONT OF HOUSE
Corey Frier, Director of Patron Experience Kyla Tacopina, 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
Special thanks to Huntington Theatre Company.
EVERYMAN THEATRE | 24
Will Brewington, James Fulwiler, Emily Hall, Veronese Harris, Kendall Harnsberger, 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
MARKETING
Amy Lebo, Director of Marketing & Strategic Communications Jenny Kessler Klump, Marketing & Media Relations Manager Chris Giese, Digital Content Manager Mel Prather, Graphic Designer
PRODUCTION
Amanda M. Hall, Director of Production Bill Jamieson, Technical Director Rick Gerriets, Asst. Technical Director Andrew Gaylin, Audio Engineer Juan Juarez, Master Electrician Michael Rasinski, Properties Master Trevor Wilhelms, Scene Shop Foreman Joseph Martin, Master Carpenter Sierra Ho, Michael Rasinski, House Carpenters Amy Kellett, Scenic Charge Christa Landy, Scenic Artist Amanda M. Hall, Cat Wallis, Stage Managers Dante Fields, Kayla Whisman, Assistant Stage Managers Julia Junghans, Deck Chief Matthew Smith, Costume Supervisor Juan Juarez, Jeremy McCord, Light Board Operators Kelsey Schneider, Captioning Operator Sarah Blocher, Josh Cookson, Julia Junghans, James LaDow, Rhianne Lowe, Caelan Levine Northrup, Christopher Rutherford, J.R. Schroyer, Charles Whittington, Carpenters Jesse Herche, Faryn Kelly, Jeremy McCord, Alex Roberts, Ryan Whiteman, Electricians John Polles, Assistant Costume Designer Ed Dawson, Tailor Ellouise Davis, First Hand Wil Crowther, Crafts Audio Description provided by VIA Services
located next door to EVERYMAN THEATRE voted
baltimore’s best italian baltimore magazine reader’s poll call 443.873.9427 for reservations or go online
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Celebrating the spectrum of artists who have redefined abstraction The Baltimore Museum of Art
September 29, 2019 – January 19, 2020 Tickets at artbma.org/generations
This exhibition is presented by The Helis Foundation and organized by The Baltimore Museum of Art and the Ogden Museum of Southern Art. Contributing sponsorship is provided by The Lambent Foundation and The Holt Family Foundation. The presentation in Baltimore is generously sponsored by The Alvin and Fanny B. Thalheimer Exhibition Endowment Fund, The Ford Foundation, Suzanne F. Cohen Exhibition Fund, The Dorman/Mazaroff Contemporary Endowment Fund, Bank of America, and CareFirst BlueCross BlueShield. Shinique Smith. Black, Blue, Green, Yellow, Orange, Red, Pink (Detail). 2015. The Joyner/Giuffrida Collection. Š Shinique Smith, Courtesy David Castillo Gallery. Photography by John Schweikert