Sense and Sensibility- Spring 2023

Cleveland’s Classic Company at the Hanna Theatre presents

February 10 – March 5, 2023

WELCOME

Dear Friends,

On behalf of our artists, staff and Board of Trustees, welcome to the second half of Great Lakes Theater’s 61st season!

Our mission, “to bring the pleasure, power and relevance of classic theater to the widest possible audience,” guides our mainstage productions and our educational programming. We believe theater holds the capacity to illuminate truth and enduring values, celebrate and challenge human nature and actions, and provide our student audiences a glimpse of a broader world and the wellspring of learning made possible through the arts.

We move into the second half of our season by bringing you the delightfully Austen-tatious romantic comedy, Sense and Sensibility. After the tremendous response to our 2018 production of Pride and Prejudice, we are incredibly excited to bring another Jane Austen masterpiece to the Hanna stage. This exuberant, inventive adaptation shares humorous insight and bold theatricality flawlessly executed by the skilled hands of Co-Directors, GLT Associate Artistic Director Sara Bruner and GLT Resident Artist and Interim Production Manager Jaclyn Miller. We are deeply grateful to John and Barbara Schubert for their generous support of our production of Sense and Sensibility.

Our spring Shakespeare production, As You Like It, is one of our favorites. This enchanting comedy brings us back to the fertile Forest of Arden, where a charming adventure ensues with some of Shakespeare’s most beloved characters. Then, after long last, we cannot wait to present the jazzy musical celebration of Fats Waller, Ain’t Misbehavin’, as a fitting finale to the season.

We sincerely hope you will join us for the remaining productions in our 61st season! We encourage you to read your program and look around the theater tonight to see the names of many friends, partners, corporations and foundations whose support make all of this possible. We encourage you to join these donors by becoming a Great Lakes Theater family member with your gift. We extend our sincere gratitude to all of our sponsors and Annual Fund Donor Members, with continued appreciation to our partners of over 40 years at Playhouse Square, and the tireless efforts of our Board of Trustees, dedicated administrative staff, gifted artists and the tremendous generosity of this community.

We hope to see you in our audience again soon.

Charles Fee

Producing Artistic Director

Bob Taylor Executive Director

ABOUT GREAT LAKES THEATER

The mission of Great Lakes Theater (GLT), through its mainstage productions and its education programs, is to bring the pleasure, power and relevance of classic theater to the widest possible audience.

Since the company’s inception in 1962, programming has been rooted in Shakespeare, but GLT’s commitment to great plays spans the breadth of all cultures, forms of theater and time periods –– including the 20th century –– and provides for the occasional mounting of new works that complement the classical repertoire.

Classic theater holds the capacity to illuminate truth and enduring values, celebrate and challenge human nature and actions, revel in eloquent language, preserve the traditions of diverse cultures and generate communal spirit. On its mainstage and through its education programs, GLT seeks to create visceral, immediate experiences for participants, asserting theater’s historic role as a vehicle for advancing the common good and helping people make joyful and meaningful connections between classic plays and their own lives.

The company’s commitment to classic theater is magnified in the educational programming surrounding its productions. Since its inception, GLT has had a strong presence in area schools, bringing students to the theater for matinee performances and sending specially trained actor-teachers to the schools for weeklong residencies developed to explore classic drama from a theatrical point of view. GLT is equally dedicated to enhancing the theater experience for adult audiences. To this end, GLT regularly serves as the catalyst for community events and programs in the arts and humanities that illuminate the plays on its stage.

Great Lakes Theater is one of only a handful of American theaters that have stayed the course as a classic theater. As GLT celebrates more than a decade in its permanent home at the Hanna Theatre, the company reaffirms its belief in the power of partnership, its determination to make this community a better place in which to live, and its commitment to ensure the legacy of classic theater in Cleveland.

BY

Charles Fee Producing Artistic Director

With generous support from:

Presents

KATE HAMILL

BASED ON THE NOVEL BY JANE AUSTEN

DIRECTED BY SARA BRUNER AND JACLYN MILLER

Laura Welsh Berg*

Maggie Kettering*

Vilma Silva*

Scenic Designer

Courtney O’Neill

Composer and Sound Designer

Company

Nick Steen* M.A. Taylor*

Costume Designer

Mieka van der Ploeg

Paul James Prendergast Wig and Hair Designer

Iran Micheal Leon

Ángela Utrera*

Hanako Walrath*

Joe Wegner*

Lighting Designer

Erica Lauren Maholmes

Dialect Coach

Lynn Robert Berg

Production Stage Manager

Sarah Kelso*

Assistant Stage Managers

Nicki Cathro* and Imani Sade*

*Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States SENSE AND SENSIBILTY is presented by special arrangements with Dramatists Play Service, Inc., New York.

The world premiere of SENSE AND SENSIBILTY was produced by Bedlam (Eric Tucker, Artistic Director; Andrus Nichols, Producing Director)

Great Lakes Theater student subscriptions are subsidized by a generous gift from Eaton. There will be one fifteen-minute intermission.

The videotaping or other video or audio recording of this production is strictly prohibited.

CAST OF CHARACTERS

Elinor Dashwood Maggie Kettering*

Marianne Dashwood ................................................................................. Ángela Utrera*

Edward Ferrars/Mrs. Jennings ....................................................................... Joe Wegner*

Gossip 1/Margaret/Lucy Steele Hanako Walrath*

Gossip 2/Lady Middleton/Anne Steele/Mrs. Dashwood .................................... Vilma Silva*

Gossip 3/Colonel Brandon/Robert Ferrars/Thomas/Mrs. Ferrars Nick Steen*

Gossip 4/Fanny/Willoughby.................................................................. Laura Welsh Berg*

Gossip 5/John Dashwood/Sir John Middleton/Doctor M.A. Taylor*

Dance Captain Jillian Kates*

*Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States

Design by: Stacy Mallardi-StajcaR, Casual Images Graphic Design

A Conversation between Co-Directors

SB: Sara Bruner | JM: Jaclyn Miller

SB: Alright. What is the thing that you like most about this story when you’re ruminating on it?

JM: To me, I feel like this is truly a love story between two sisters and that, to me, is the most beautiful thing about this entire piece. Sure, there’s the relationships, the family dynamic, the social structure, the manners — all of it. But at the heart of it, it is the love between those two sisters.

SB: Yeah, and two sisters that literally could not be any more different as human beings.

JM: Oh, polar-opposites, and yet, also completely complimentary. And what’s amazing is that they both have things to learn from one another, right? They each need a little bit of the other one’s qualities.

SB: How would you characterize them? Like snapshot: Marianne is this. Elinor is this.

JM: I think that Elinor is “duty” and Marianne is “abandon.” Those would be my words for them. What would be yours?

SB: Chaos and order?

JM: (laughs) Yeah.

SB: Marianne is “chaos.” Elinor is “order.”

JM: Yeah, that’s a good way to put it. So, I just want to note that today, December 16, happens to be Jane Austen’s birthday. We are having this conversation on Jane Austen’s birthday which I just like the — what’s the word — the kismet of it all.

SB: I know! That was a great surprise …

JM: It was a great surprise.

SB: … that we decided to have that conversation today. I have to admit, this play to me is daunting. I mean, every play feels daunting to me in some way, and it’s like “Well, what brand of daunting is this play?” This play is daunting to me because there are so many people who know this story better than I do — who grew up with it, who have

loved it, read it multiple times. It’s folded into their consciousness so much more than mine. In many ways, I was a person who just assumed that I would reject Jane Austen because I thought, “She’s not in alignment, not my kind of writer, not my kind of girl,” right?

JM: Sure.

SB: That was so wrong, and I just had to come to her when I did and in the way that I did. Now, my admiration and sort of disbelief that this human being ever existed — ever wrote these stories — I’m like how, How did you do this?

JM: She’s an absolute pioneer. Trailblazer. Extraordinary human.

SB: I know.

JM: The fact that it was such a short, concentrated amount of time that her work was written and published. She was published anonymously — and only posthumously, her brother insisted that she get the recognition and stated who she was aloud. Talk about someone who marched to the beat of their own drum.

SB: And created paths — was creating things beyond these characters. She was creating forms, ideas. She’s so feminist for her time — which is extraordinary.

JM: So feminist.

SB: How intellectually sophisticated she was. How

Sara Bruner

Jaclyn Miller

emotionally intelligent she was in her writing. I mean, so, ya know — Happy Birthday, Jane Austen. Thank you.

JM: Happy Birthday, Jane!

SB: And sorry it took me so long! My first little bit of “Wait a minute, I might like this,” was when I saw the original production of this adaptation that Bedlam did in New York City. I knew the playwright, Kate Hamill. I knew one of the stars, Jason O’Connell. I’d been hearing about this production. It was one of those plays that it’s like, “Who’s this company and what are they doing”? People flocked and it was a total critical success. I went and saw that thing by myself, sat in the audience and had one of those theater experiences — that you only have, as far as I can tell — you have maybe a handful of times in your life. And by handful, I mean like three to five. It was partially about the story. It was partially about that ensemble of actors. It was about the theater language that I saw exhibited that I’d never seen exhibited before. It was a lot about the spirit with which they were approaching it — which was this irreverent, wild, utterly intelligent and sophisticated but free world that you stepped into, and I will never ever forget it. It was awesome.

JM: I was not fortunate enough to see it. This is my second time working on this show, and I absolutely love this adaptation. I’ve worked on Austen pieces with a more standard approach to the story, and there is so much that is beautiful about that approach. But what I admire and love about Kate Hamill’s adaptation is that it’s exactly what you just identified. Even without having seen it on the page, you can tell.

SB: It’s in the writing. JM: It’s in the writing: the wildness, the abandon, the connection, the collective, the ensemble feel. It stems from an extraordinary love, respect and admiration for Austen — lifting her up in a new way. To use one of Kate’s statements: to be in conversation with the audience now as opposed to the way that it’s, sort of, traditionally done. I think that that’s really remarkable about this adaptation.

SB: Yeah, I agree with you, and that’s why I’m excited to work on it because so much of the aesthetic that Kate builds into the script is one that I

have found myself chasing now for many years and trying to hone and share … I think it’s a huge gift to an audience to take a classic [and] love the classic, but to “yes, and” the classic and go, “Yeah this thing has existed. Let’s examine why it’s important. Let’s keep it in the here and now. Let’s make it vibrant” and not be re-creationists. We are not here to re-create things. We’re here to provide a modern lens and show why these things are classics and make them belong to all of us now, which [Kate] talks about in her notes in a way that’s very eloquent. To whoever is reading this, I hope you’ve gone back and read Kate’s notes because they’re …

JM: Awesome. SB: …awesome.

JM: Let me just do a final, button-up, question.

SB: OK.

JM: I feel that part of our job and responsibility — when you’re approaching whatever piece you’re about to direct — is to say, “Why here? Why now? How is this relevant?” Often with the classics, there are things that are similar but different. There are always things that existed in the past that are still similar and relevant to the way that they exist today. So, what can you identify — themes, ideas, anything that you feel? This is really a “we” question but I’m gonna give it to you: What we’re identifying as the how/why it’s relevant and what are the carry-throughs over the generations?

SB: I mean, I’m just gonna make it super simple because it’s something that I find myself thinking about a lot lately — which is, there’s no single narrative in here. This thing is awesome because it’s about a lot of different things.

JM: Yep.

SB: Why now? For me, it’s about love. And it’s about different versions of love. It’s about love winning and us finding our paths even when it’s heartbreaking, it’s hard, it seems like it’s not gonna happen. You know we have a story that starts with a death and ends where it ends, right? And I want that in my life right now. I don’t want to ruminate so much on the tougher things, and the hopeless or the ugly things so much [as] about being alive. I know they’re there and I do want to examine those stories sometimes, but right now, Love? Yeah.

They high five

From the playwright by

Kate Hamill

As a playwright, returning to one of your early plays is an odd, somewhat removed, feeling. If you’ve written a play correctly, it’s an unintentional snapshot of who you were when you wrote it, and the issues that were crowding your subconscious at the time. As Hemingway once said, “There is nothing to writing — all you do is sit down at a typewriter and bleed.” When I think about why I adapted Sense and Sensibility, and why it contains so much of my DNA from 2013 when I wrote it, I have to go back to its origin story.

I first wrote this show out of an odd combination of love and frustration.

First, the love (you always have to start with the love). To be perfectly clear, I am still in deeply, truly, madly, embarrassingly hearts-and-starsand-googly-eyes love with the theater. I love that unlike film, it’s ephemeral — changing from night to night, from show to show. It’s like a sand mandala – more precious because it’s temporary and only about the present moment. As any theater maker can tell you, no two performances are exactly the same: Perhaps there’s an especially boisterous laugh in the audience, and everyone’s energy is lifted. Perhaps an actor fumbles a line (as we all sometimes do), and the resultant jolt of adrenaline makes everyone listen a little bit closer. Perhaps a moment hits a bit harder, and everyone’s breath is taken away. It’s stuff like this that made humanity invent the craft! I love the people gathering to enact an old, old ritual: The audience and actors all feeling and breathing and achieving some kind of catharsis and community together. I love the theater for its potential — for the empathy it can awaken. Nothing makes me feel more connected to others than when I experience a truly amazing play or musical, whether from onstage or off — when I find myself laughing and crying for the lives of imaginary human beings. Nothing cures me of loneliness like seeing the secrets of others’ hearts onstage.

So, that’s the love.

Now the frustration.

When I first wrote this play, I was feeling deep, deep irritation and ambivalence about my sometimes-seemingly-contradictory identity as a femi-

nist and a theater maker. At the time, I wasn’t always proud of the work I was hired to do, or the auditions I had taken. I sometimes felt as if I was performing a cardboard cut-out of identity.

Working as an actor in New York City, I so often was particularly frustrated by a dearth of complex, female-centered characters and storylines. And it wasn’t just me. I had so many friends — talented, trained, passionate artists — who were dropping out of the business because of a lack of opportunity. For millennia, women working in the theater (when they were allowed onstage at all) were largely relegated to playing tertiary characters in male narratives — the girlfriend, the wife, the prostitute. This is particularly true, of course, in the classics. (There are three female roles for every 16 male roles in Shakespeare, for example.) Now, there are some great roles for girlfriends, wives and prostitutes, but I was tired of non-male artists losing the chance to lead the stories (and thus losing out on career opportunities). I wanted to open doors that had been shut for too many for too long. I wanted to create new feminist classics.

I started with adaptation because I believe that the classics present an incredible opportunity to reshape and refocus narratives. To kick down doors and let all the people in. They’re so often cultural touchstones for us — we teach them in schools, and pass them down from gen-

eration to generation. They shape who we think of as protagonists — and what we view as a protagonist’s journey. I come at adaptation with a new play lens — which is to say, I think of it as a collaboration between myself and the original author (who is sometimes, like Jane Austen, currently dead). And I knew that when I started adapting classics, I wanted to create plays that were in conversation with the original, but not copy-and-paste recreations. I wanted to make highly theatrical, inclusive, irreverent, ensemble-based work that embraces the here-and-now, the moment we’re all in together — as opposed to retracing old patterns.

In an ever-evolving art like the theater, it’s important that we not try to freeze texts in some cold marble tomb, never to be disturbed. We need to let these narratives run around, living raucously in the daylight — getting dirty, starting trouble and having some fun along the way.

Thus, my first draft was written.

Fortunately, some things have changed for the better since 2014, when this play was first produced. More and more artists are breaking through closed doors, and creating bold new narratives (as well as more just and equitable workspaces). I’m tremendously excited by the work I see being created in the American theater, and the ways in which old beliefs are being chal-

lenged. I firmly believe that reshaping stories can help reshape culture. When we ensure that narratives of all types can take center stage, we know that we can all be protagonists, no matter our gender identity or background or circumstance. We can be heroes — or heroines — of our own stories.

I’m thrilled to have the fantastic duo of Sara Bruner and Jaclyn Miller direct this piece, leading so many great artists in collaboration on Sense and Sensibility to find new ways in which this play can evolve. I wrote Sense and Sensibility because I believe so deeply that the theater belongs to everyone and that this work can evolve and change to meet the times and improve upon itself in every iteration. I may have originally written this play out of love and frustration, but it belongs to this ensemble now. It belongs to these audiences and performers and to this ephemeral room, where you’ll experience it together. It may contain snapshots of the past, but what I love about the theater is how deeply it is rooted in the present moment.

Returning to one of your early plays is an odd, somewhat removed, feeling, but I believe the oddness comes because I know it’s not just my play anymore. The moment you all gather together in the old theatrical ritual, this story is no longer just mine or just Jane Austen’s. It’s yours.

Jane Austen’s writing table in Chawton cottage

“I come at adaptation with a new play lens — which is to say, I think of it as a collaboration between myself and the original author...”

– Kate Hamill

about Jane austen

by David Hansen

sense and sensibility

ane Austen was born in 1775 in a parsonage in Steventon, Hampshire, England. The daughter of Rev. George and Cassandra Leigh Austen, Jane was the seventh child in a family of eight and one of only two girls.

Jane Austen’s extended family encompassed many of the socioeconomic conditions she depicted with such specificity in her novels. Her father’s people were wealthy wool merchants, but his particular family branch had fallen a few notches. The Leighs, her mother’s family, were landed gentry. But since land and money were rarely passed down through the mother, the Austens participated in the Leigh lifestyle as visitors.

While her brothers made their way in the world, Jane and her sister stayed at home. But theirs was not a life of unruffled domesticity. Rev. Austen tutored boarding students in his home. Since space was needed for paying customers, Jane was shipped out from time to time to boarding schools or wealthy relatives.

The parents and daughters downsized to rented rooms in the resort town of Bath when Rev. Austen retired in 1801. After his death, the widowed mother and her daughters rotated among various relatives for several years. Experiences of financial insecurity and dependency permeate Jane Austen’s novels. Jane never married.

Financial concerns did not prevent Jane Austen’s family from nurturing her as a writer. Rev. Austen had a library of 500 books and pro-

vided his daughters with pen, paper and literary subscriptions. Amateur theatricals at Leigh family gatherings also introduced Richard Brinsley Sheridan’s The School for Scandal and other witty comedies of the day. Writing clever prologues and epilogues for such gatherings was a family sport.

Jane joined the fray at an early age. Three volumes of “juvenilia” survive and include a play based on Samuel Richardson’s The History of Sir Charles Grandison and a History of England in Oliver Goldsmith’s lively style. As widely as young Jane read, a subscription in June 1796 to Fanny Burney’s Camilla, a comic tale of misunderstanding in love, seems to have spurred her to greater ambition. While visiting her brother in Kent from October 1796 to August 1797, she drafted a book called First Impressions, later retitled Pride and Prejudice. Jane Austen’s father sent First Impressions to a publisher in 1797, but it was rejected. An early version of Northanger Abbey received a more encouraging response in 1803, but didn’t see print.

Sense and Sensibility, attributed anonymously to “a lady,” was the first of Jane Austen’s works to be published, in 1811. Pride and Prejudice followed in 1813, Mansfield Park in 1814 and Emma in 1815. Jane’s brother Henry revealed his sister’s name to the public for the first time when he published Persuasion and Northanger Abbey after her death in 1817.

Steventon parsonage, as depicted in A Memoir of Jane Austen

Sense and Sensibility was first published anonymously.

Sense and Sensibility from page to stage

Scenic designer Courtney

O’Neill’s rendering sets the stage for this playful and frenetic production. The stage floor features an ever-present, allseeing eye as a center medallion, while the Toile de Jouy wallpaper matches the actors’ base costumes, allowing them to blend into the background, all the while observing and commenting on the action.

Austen’s novels center famously on the strictures of propriety and behavior in polite English society. Through her play adaptation, Kate Hamill explodes the interior life of the characters in Sense and Sensibility, as a small ensemble of performers manically race about to inhabit the Dashwood family and the entire community they encounter.

The scenic design and costumes in the Great Lakes Theater production not only highlight but are a necessary component in telling this story. Mieka van der Ploeg’s costumes must be functional, as actors and backstage dressers have numerous quick changes throughout the performance. But the costumes also communicate the playful uniqueness of Hamill’s adaptation. Black and white base costumes are period-inspired (though, as designer van der Ploeg said, “not strictly period-accurate”) then layered over with anachronistically bright and colorful silhouette pieces for individual characters.

These fantastic creations are set against Courtney O’Neill’s funhouse of a set, a representa-

Mieka van der Ploeg’s costume design enables the acting company to change characters quickly and sometimes in full view of the audience. The quick changes are made possible by utilizing the black and white Toile de Jouy base costume and layering other costume pieces as necessary.

tion of a parlor and a garden, with a variety of doorways for farcically timed comings and goings. A great eye feature in the floor suggests the constant observation participants in Georgian society found themselves under, which is not so different from ours today. — David Hansen

THE ARTISTIC COMPANY

Acting Company

Laura Welsh Berg*

Gossip 4/Fanny/Willoughby

Seventeen seasons with Great Lakes Theater

Credits with GLT include, most recently, Beatrice in Much Ado About Nothing, Hamlet, Julius Caesar (Cassius), Pride and Prejudice (Lizzie), Mamma Mia! (Rosie), Love’s Labour’s Lost (Rosaline), And Then There Were None (Vera), Macbeth (Witch) and The Merry Wives of Windsor (Mistress Ford). She has a BA in theater from Baldwin Wallace University, and an MFA in acting from the theater school at DePaul. She is currently an assistant professor of acting and directing in the music theater program at Baldwin Wallace University, and a proud member of Actors’ Equity Association.

Lynn Robert Berg* Understudy

Twenty-one seasons with Great Lakes Theater

Seven seasons as Scrooge (A Christmas Carol), Brutus (Julius Caesar), the title roles of Macbeth and Richard III, Friar John (Romeo and Juliet), Don Pedro (Much Ado About Nothing), Charlie Cowell (The Music Man), The Ghost and Player King (Hamlet), Zoltan Karpathy (My Fair Lady), Gremio (The Taming of the Shrew), Malvolio (Twelfth Night) and Frank Ford (The Merry Wives of Windsor). Other credits include Bill Austin (Mamma Mia!), Don Armado (Love’s Labour’s Lost ), Watson ( The Hound of the Baskervilles), and Complete Works of William Shakespeare (abridged) at Lake Tahoe Shakespeare Festival; Hucklebee (The Fantasticks), Mayhew (Witness for the Prosecution), Friar Laurence (Romeo and Juliet), Jonas Fogg (Sweeney Todd) and Polixenes (The Winter’s Tale) at Idaho Shakespeare Festival; and Short Shakespeare MacBeth, Romeo and Juliet and Twelfth Night at Chicago Shakespeare Theater.

Jillian Kates*

Understudy

Nine seasons with Great Lakes Theater

Select previous GLT roles include Stephano in The Tempest, Marian in The Music Man, Portia in Julius Caesar, Donna in Mamma Mia!, Jane in Pride and Prejudice, Titania in A Midsummer Night’s Dream, Eliza Doolittle in My Fair Lady and Texas/Sally understudy in Cabaret. She also appeared in the ensemble of the Broadway National Tour of Wicked and covered the roles of Glinda and Nessarose. Proud graduate of Baldwin Wallace Conservatory of Music. Oklahoma raised, Brooklyn based. So much love to the supremely talented creative team, cast, crew and office staff members that make up this magical place. @smallfirevintage

Maggie Kettering*

Elinor Dashwood

Six seasons with Great Lakes Theater

Previous shows include The 39 Steps, Romeo and Juliet, Taming of the Shrew, A Christmas Carol, Love’s Labour’s Lost, And Then There Were None, Blithe Spirit and Much Ado about Nothing. Additionally, she has worked with Peninsula Players (Miss Holmes, Outside Mullingar, Lend Me a Tenor), Milwaukee Repertory Theatre (Holmes and Watson), House Theatre (Season on the Line – Joseph Jefferson nomination), Shakespeare Theatre Company (Henry IV, parts 1 and 2), TimeLine Theatre (My Kind of Town) and Northlight Theatre (Season’s Greetings – Jack Springer Award). Maggie is a resident of Chicago, an Ironman finisher and a believer in Snuffleupaguses.

Vilma Silva*

Gossip 2/Lady Middleton/ Anne Steele/Mrs. Dashwood

Debut season with Great Lakes Theater

Most recently, Vilma

appeared as Old Jo and Scrooge alternate in the McCarter Theatre’s production of A Christmas Carol. Vilma has been a company member of the Oregon Shakespeare Festival for 25 seasons, most recently in King John, an all-female and non-binary OSF production in collaboration with the Upstart Crow Collective, as King Philip of France and Lord Salisbury. Some of her favorites at OSF include Destiny of Desire, Mojada, The River Bride, Water By The Spoonful, King Lear, Henry VIII, A View From The Bridge, The Taming of the Shrew, Gibraltar, Pericles, Two Sisters and a Piano, The Three Musketeers and The Magic Fire (OSF/Kennedy Center). Other theaters include Steppenwolf Theatre, TheatreWorks, Actors Theatre of Louisville, Dallas Theater Center, American Conservatory Theater and El Teatro Campesino.

Nick Steen*

Gossip 3/Colonel Brandon/ Robert Ferrars/Thomas/ Mrs. Ferrars

Ten seasons with Great Lakes Theater

Previous roles include Mark Antony in Julius Caesar, Mr. Darcy in Pride and Prejudice, Macduff in Macbeth, Caliban in The Tempest, Laertes in Hamlet, Bob Cratchit in A Christmas Carol, Lombard in And Then There Were None, Orestes in Elektra and Clifford in Deathtrap. Nick holds a Bachelor of Fine Arts degree from the University of Evansville, and a Master of Fine Arts degree from the American Conservatory Theater. He’s also a voice actor whose work can be heard on Hulu, Spotify and social media. He has endless gratitude for his family and for the love of his life, Nicki. NickSteen.com

M.A. Taylor*

Gossip 5/John Dashwood/ Sir John Middleton/Doctor

Eighteen seasons with Great Lakes Theater

A proud new resident of Ohio who was previously seen in Romeo and Juliet, Peter; Much Ado About Nothing, Verges; A Christmas Carol, Charity Man, Old Joe; Julius Caesar,

Calphurnius; Macbeth, Murderer; and The Fantasticks, Old Actor. Favorite roles include Doolittle: My Fair Lady, Puck: A Midsummer Night’s Dream, Carter/Dr. Wyatt: Witness for the Prosecution, Third Actor: Complete Works of William Shakespeare, Count Dracula: Dracula. Other companies include Resident Ensemble Theater, Boise Contemporary Theater and Pennsylvania Shakespeare Festival. He holds an MFA from the University of Delaware/Professional Theater Training Program. Special thanks to his Families (genetic and professional). Forever to Dougfred and Kathryn.

Ángela Utrera*

Marianne Dashwood

Two seasons with Great Lakes Theater

From Asturias, Spain, Ángela was last seen on GLT’s stage as Juliet in Romeo and Juliet, Ghost of Christmas Past/ Ensemble in A Christmas Carol and Miranda in The Tempest, and is so excited to come back this spring! She has assistant-directed City of Altar and Teen Dad at the Sin Muros play festival at Stages Theatre in Houston. Ángela earned her acting/directing BFA from Sam Houston State University.

Hanako Walrath*

Gossip 1/Margaret/ Lucy Steele

Two seasons with Great Lakes Theater

Previous GLT credits include A Christmas Carol (Elizabeth/Martha/Fan), The 39 Steps (Pamela/Margaret/Anabella understudy), Romeo and Juliet (understudy) and Much Ado About Nothing (understudy). Other recent theater credits include The Sound of Music (Liesl) and South Pacific with the Cleveland Orchestra, Lizzie, Kinky Boots and Spring Awakening. Hanako is a senior music theater major at Baldwin Wallace University, and is thrilled to be graduating with a Bachelor of Music in the spring! Lots of love to Mom, Dad, Maiko and her puppy Romeo.

Joe Wegner* Edward Ferrars/ Mrs. Jennings

Three seasons with Great Lakes Theater

Off-Broadway: Judgement Day (world premiere) (Park Avenue Armory). Regional theater: Romeo & Juliet, The 39 Steps, Much Ado about Nothing, The Tempest, The Taming of the Shrew (GLT, Idaho Shakespeare Festival, Lake Tahoe Shakespeare), Archduke (world premiere) (Center Theater Group), Guys and Dolls, A Wrinkle in Time (world premiere), A Midsummer Night’s Dream, The Taming of the Shrew, Very Merry Wives of Winsor Iowa, Secret Love in Peach Blossom Land, Romeo and Juliet (Oregon Shakespeare Festival), Guys and Dolls (Wallis Annenberg Center), The School for Lies (Arkansas Repertory Theatre), In the Blood (Mixed Blood Theatre). TV/Film: Tales of the City (Netflix).

Education: BFA, Southern Oregon University. www.joewegner.net

Understudies

Dario Alvarez, Lynn Robert Berg*, Jillian Kates*, Jaedynn Latter, Zoe Lewis, Grace McVey, Maddi O’Connell

Directors and Playwright

Sara Bruner Director

Seventeen seasons with Great Lakes Theater

Directing credits include Oregon Shakespeare Festival Alice in Wonderland; Repertory Theatre of St. Louis The Cake; Arizona Theatre Company Cabaret; Great Lakes Theater/Idaho Shakespeare Festival Romeo and Juliet, The Tempest, Julius Caesar, The Taming of the Shrew and A Christmas Carol (four years); At Idaho Shakespeare Festival, directed/adapted educational tours of Macbeth, Romeo and Juliet, Othello, Much Ado about Nothing, A Midsummer Night’s Dream, Julius Caesar, Twelfth Night and The Taming of the Shrew. Other theaters include Lake Tahoe Shakespeare Festival, Baltimore Center Stage, Drop Dance Collective, Baldwin Wallace University. Acting credits

include Norma McCorvey in Roe (world premiere) at Arena Stage and Berkeley Repertory Theatre; Mercutio in Romeo and Juliet, Viola and Sebastian in Twelfth Night, Sue Trinder in Fingersmith (world premiere), LeFou in Disney’s Beauty and the Beast and Charles Wallace in A Wrinkle in Time (world premiere) at Oregon Shakespeare Festival; company member at Great Lakes Theater for 10 years, Idaho Shakespeare Festival 19 years, Oregon Shakespeare Festival five years. Education: Executive MBA, Boise State University. Awards: 2018 Princess Grace Award for directing.

Jaclyn Miller Director

Five seasons with Great Lakes Theater

Director credit for GLT: The 39 Steps. Choreography/Movement credit for GLT: Romeo and Juliet, Little Shop of Horrors, Much Ado About Nothing, The Tempest, The Music Man, Julius Caesar, Mamma Mia!, The Taming of the Shrew, Pride and Prejudice and The Hunchback of Notre Dame. Regional credits include Oregon Shakespeare Festival: It’s Christmas, Carol!, Hairspray, Alice in Wonderland, Book of Will, Shakespeare in Love, Twelfth Night, The Yeoman of the Guard, Fingersmith (world premiere), The Cocoanuts and My Fair Lady; South Coast Rep: She Loves Me; Arizona Theatre Company: Cabaret and The Music Man; Guthrie Theatre: The Cocoanuts; and Baltimore Center Stage: Fun Home Additionally, Jaclyn has worked as an associate director and/or choreographer around the country at theaters that include Arena Stage, Kirk Douglas Theater, Ogunquit Playhouse, Portland Opera and Lyric Theatre of Oklahoma.

Charles Fee

Producing Artistic Director

Twenty-one seasons with Great Lakes Theater

Directing credits at GLT: Much Ado About Nothing, Sleuth, Witness for the Prosecution, A Christmas Carol, Misery , Macbeth , Hamlet, And Then There Were None, Dial “M” for Murder, Deathtrap, Blithe Spirit, Romeo and Juliet, The Two Gentlemen of

Verona, A Midsummer Night’s Dream, Twelfth Night, The Comedy of Errors, Macbeth, All’s Well That Ends Well, Hay Fever, The Importance of Being Earnest, Arms and the Man and The Complete Works of William Shakespeare (abridged). Charles holds a unique position in the American theater as producing artistic director of three independently operated, professional theater companies: Great Lakes Theater in Cleveland, Ohio (since 2002), Idaho Shakespeare Festival in Boise, Idaho (since 1991) and Lake Tahoe Shakespeare Festival in Incline Village, Nevada (since 2010). His appointments have resulted in a dynamic and groundbreaking producing model for the companies, in which more than 60 plays have been shared since 2002. In 2009, Charles was honored to receive recognition for his leadership by the Cleveland Arts Prize as a recipient of the Martha Joseph Award. Other awards include The Mayor’s and Governor’s awards for Excellence in the Arts, Idaho. From 1988 to 1992, he held the position of artistic

director at the Sierra Repertory Theatre in California. He has also worked with The Old Globe, La Jolla Playhouse, the Milwaukee and Missouri repertory theaters, Actor’s Theatre of Phoenix and the Los Angeles Shakespeare Festival. In addition to his work with the companies in Ohio, Idaho and Nevada, Charles is active within the community. He has served as a member of the strategic planning committee for the Morrison Center, as producer of the FUNDSY Award Gala (’96, ’98 and 2000), and as producer of the 1996 Idaho Governor’s Awards in the Arts. Charles has served on the board of the Boise Metro Chamber of Commerce and as a member of the Downtown Rotary Club. He received his BA from the University of the Pacific and Master of Fine Arts from the University of California, San Diego. Along with his wife, Lidia and daughter, Alexa, Charles resides in Boise, Cleveland and Lake Tahoe — a feat that is only possible because of the incredible love and support of his family, and the generous communities he serves!

By William Shakespeare

Directed by Charles Fee

Conceived by Richard Maltby, Jr. and Murray Horwitz / Created and Originally Directed by Richard Maltby, Jr. Original Choreography and Musical Staging by Arthur Faria / Musical Adaptations, Orchestrations and Arrangements by Luther Henderson

Vocal and Musical Concepts by Jeffrey Gutcheon / Musical Arrangements by Jeffrey Gutcheon and William Elliott

Directed by Gerry McIntyre

Kate Hamill Playwright

Kate Hamill is an actor/playwright who was named Wall Street Journal ’s Playwright of the Year, 2017. Her work includes her play Sense and Sensibility (in which she originated the role of Marianne) and was the winner of the Off-Broadway Alliance Award 2016, Drama League Award nominee; and was performed more than 265 times offBroadway. Other plays include Vanity Fair at the Pearl Theatre (in which she originated the role of Becky Sharp; and was an OffBroadway Alliance Award nominee 2017), Pride and Prejudice at Primary Stages and Hudson Valley Shakespeare Festival (in which she originated the role of Lizzy Bennet and was an Off-Broadway Alliance Award nominee). Her plays have been produced off-Broadway, at A.R.T., Oregon Shakespeare Festival, the Guthrie, Seattle Rep, Dallas Theater Center, PlayMaker’s Rep, Folger Theatre (receiving eight Helen Hayes Award nominations and was the S&S winner of Best Production), Arvada Center and others. Upcoming work includes productions at Shakespeare Theatre of DC, A.C.T., Trinity Rep, Portland Center Stage, Syracuse Stage, Pittsburgh Public, Kansas City Rep and Dorset Theatre Festival. Upcoming world premieres include Little Women at the Jungle Theater and Primary Stages and Mansfield Park at Northlight Theatre. She is currently working on new adaptations of The Odyssey and The Scarlet Letter, as well as several new original plays (Prostitute Play, In the Mines, Love Poem). Kate was one of the Top 20 most-produced playwrights in the country this season. kate-hamill.com

Artistic Staff and Designers

Iran Micheal Leon

Wig and Hair Designer

Two seasons with Great Lakes Theater

He has designed shows throughout the West Coast as a hair/wig designer and costume designer. Previous work includes wig master and interim key hair stylist for the Oregon Shakespeare Festival. Other theaters include Cleveland Play House, Great Lakes Theater, Celebration Theater, Pasadena Playhouse, Hollywood Bowl, A

Noise Within, Azusa Pacific University and Askew Theatre Company. Instagram: iml_ design_elements

Erica Lauren Maholmes

Lighting Designer

Two seasons with Great Lakes Theater

Previous design credits include Matt & Ben (Penobscot Theatre Company), Amerikin (Alley Theatre), The Cake (Omaha Community Playhouse) and The Fairy Doll (Kansas Ballet Company). Previous assistant credits include Bald Sisters (Steppenwolf Theatre Company), The Notebook: A New Musical (Chicago Shakespeare Theatre), The 39 Steps (Great Lakes Theater), The Gradient (Repertory Theatre of St. Louis) and Pipeline (Cleveland Play House). Erica is an alum of the Stagecraft Institute of Las Vegas (2016, 2021), West Chester University (BA), and Illinois State University (MFA). She is a proud member of Black Theatre Network and Design Action.

Courtney O’Neill

Scenic Designer

Two seasons with Great Lakes Theater

Courtney returns to Cleveland after designing last year’s The 39 Steps. Her designs have been seen at Cleveland Play House, Goodman Theatre, Steppenwolf Theatre Company, Denver Center, Baltimore Center Stage, Apollo Theater, Court Theatre, Idaho Shakespeare Festival, Lookingglass Theatre Company, Victory Gardens, Writers Theatre, Mosaic Theater Company, Dallas Theatre Center, Children’s Theatre Company, Kansas City Repertory Theatre, Marin Theatre Company, Round House Theatre, South Coast Repertory and Milwaukee Repertory Theater, among others. Courtney teaches at DePaul University and Northwestern University, and has received multiple awards, including a Joseph Jefferson Award and the Michael Maggio Emerging Designer Award. courtneyoneill.com

Mieka van der Ploeg

Costume Designer

Debut season with Great Lakes Theater

Credits include designs with Goodman Theatre, Chicago Shakespeare Theater,

Steppenwolf Theatre Company, Milwaukee Repertory Theater, American Players Theatre, Court Theatre, Writers Theatre, Lyric Opera of Chicago (Lyric Unlimited), Lookingglass Theatre, Paramount Theatre, Marriott Theatre, Remy Bumppo Theatre Company, Second City, Redmoon Theater, The Hypocrites, Chicago Children’s Theatre, Children’s Theatre of Charlotte, About Face Theatre, Steep Theatre, Theater Wit, Albany Park Theater Project, Manual Cinema and the Under the Radar Festival at The Public Theater. She won a Joseph Jefferson Award in 2020 for First Love is the Revolution at Steep Theatre. She is proud to be a member of USA829.

Paul James Prendergast

Composer and Sound Designer

Two seasons with Great Lakes Theater

Previous credits at GLT include Peter Pan and The Imaginary Invalid. Broadway credits include All The Way, The Great Society and Julius Caesar. Select regional credits include Oregon Shakespeare Festival (25 productions), Guthrie, Seattle Rep, Arena Stage, Mark Taper Forum, South Coast Rep, Long Wharf, Geffen, Hartford Stage, Cal Shakes, Berkeley Rep, American Conservatory, American Repertory, La Jolla Playhouse, Alley, Alliance, Kennedy Center, Cincinnati Playhouse and Baltimore Center Stage. Commercial work includes extensive theme park and museum installations. Accolades include Grammy and Drama Desk nominations; Broadway World, Ovation, Drama-Logue, Garland, Gregory, Footlight and Gypsy awards. Paul’s work as a singer/ songwriter has appeared in films, on recordings and in music venues nationwide.

Stage Management

Sarah Kelso*

Production Stage Manager

Six seasons with Great Lakes Theater

Previous shows include Romeo and Juliet, Much Ado About Nothing, The 39 Steps, Sleuth, Million Dollar Quartet, Beehive the

’60s Musical and A Christmas Carol. Twelve seasons with Idaho Shakespeare Festival include Ain’t Misbehavin’, The 39 Steps, Sleuth, The Complete Works of William Shakespeare (abridged), Million Dollar Quartet, Beehive the 60s Musical, The Hound of the Baskervilles, Forever Plaid, The Fantasticks and Steel Magnolias. Ten seasons with Boise Contemporary Theater include The Wolves, With Love and a Major Organ, Good Bitch Goes Down, Hedwig and the Angry Inch and A Skull in Connemara. Sarah is a graduate of Boise State University’s Department of Theatre Arts.

Nicki Cathro*

Assistant Stage Manager

Seven seasons with Great Lakes Theater

Previously served as production stage manager for Much Ado About Nothing, Romeo and Juliet, A Christmas Carol, The Tempest and Julius Caesar. Assistant stage manager for Little Shop of Horrors, Sleuth, The Music Man, Witness for the Prosecution, Misery, Macbeth and Pride and Prejudice. Production assistant for Hamlet, The Hunchback of Notre Dame and A Midsummer Night’s Dream. Other theater work includes ASM for Every Brilliant Thing at Actors Theatre of Louisville. Nicki earned her BFA in radio, television and film from the University of North Texas and is a member of AEA. She is overjoyed to be back in the theater with her husband and friends.

Imani Sade*

Assistant Stage Manager

Three seasons with Great Lakes Theater

Imani is so excited to be back at The Hanna for her third season! Previous GLT credits include The Music Man and The 39 Steps. Other credits are LIZZIE (The Beck Center), Into the Woods (Baldwin Wallace University), Jersey Boys Streaming (Playhouse Square), Greenwood: An American Dream Destroyed (Karamu House) and If/Then (Lakeland Civic Theatre). Imani would like to thank her family and friends for their love and support.

DONOR APPRECIATION

The trustees, staff, and artistic company of Great Lakes Theater express our deepest gratitude to the hundreds of supporters of Cleveland’s Classic Company. The donors listed below and on the following pages made generous gifts to our Annual Fund between July 1, 2021 and June 30, 2022. “I can no other answer make but thanks.” Twelfth Night, Act III, Scene iii

Help Make a Difference

Great Lakes Theater serves more than 100,000 students, adults, and artists annually through our Hanna and Mimi Ohio Theatre mainstage productions and education programs throughout Northeast Ohio. Please consider joining the Great Lakes Theater family by making a gift today!

To learn more about Donor Membership and other gift-giving opportunities, visit us online at GreatLakesTheater.org/Support, or contact Jeremy Lewis, Development & Donor Relations Manager at (216) 453-4457 or jlewis@greatlakestheater.org.

$100,000 and above

The George Gund Foundation

John P. Murphy Foundation

$50,000 to $99,999

David and Inez Myers Foundation, a supporting foundation of the Jewish Federation of Cleveland

John & Barbara Schubert

$25,000 to $49,999

Arthur L. Thomas

“Intermission” Ticket Donors

Over 800 patrons generously donated the value of their tickets back to support Great Lakes Theater during pandemic-related disruptions during our 2019-20, 2020-21, and 2021-22 seasons. This vital “intermission” support has enabled us to raise our curtain once again. We are truly grateful! Check out the full list of donors online.

Cuyahoga Arts & Culture Ohio Arts Council

The Kelvin and Eleanor Smith Foundation

The Cleveland Foundation

The Community Foundation of Lorain County Kulas Foundation

The Reinberger Foundation

THE LEGACY SOCIETY

Great Lakes Theater’s Legacy Society honors individuals, families, foundations and other generous donors that make gifts to Great Lakes Theater’s Endowment Fund or have made a provision for Great Lakes Theater through their estate plans.

Please consider becoming a member of the growing list of generous Great Lakes Theater Legacy Society supporters and help ensure that classic theater endures for future generations in northeast Ohio by designating Great Lakes Theater a beneficiary in your will, trust or other estate plans.

“Evermore thanks.” Richard II, Act II, Scene ii

Judie & Bruce Amsel

Mrs. Al A. Archambault°

Kathleen L. Barber°

Marilyn° & Paul° Brentlinger

Willard & Donna Carmel

Mary° & Leigh Carter

Natalie & Morton° Epstein

Gerald Freedman°

GAR Foundation

Edward S. Godleski

Tom Hanks & Rita Wilson

Mary Jane Davis Hartwell°

Samuel S. Hartwell

The Hershey Foundation

Jack° & Mary Ann Katzenmeyer

Thomas° & Margaret° Lynch

Charitable Trust

Mary Anne° & Jack McGrath

Janet & Bob° Neary

James A. Nelson°

Donald F. & Anne T. Palmer

Jean Z.° & John S.° Piety

Tim & Lynn Pistell

Ron° & Nancy° Pottorff

Professor Alan Miles Ruben & Judge Betty Willis Ruben

The John Sherwin Family

George° & Marjorie° Springer

Thomas G. & Ruth M. Stafford

Arthur L. Thomas

Audrey° & Dick° Watts

Ms. Margaret E. Zellmer°

A gift to the Great Lakes Theater Endowment Fund was received from the following donor between July 1, 2022 and January 11, 2023. Edward S. Godleski

°Deceased: The legacy of these generous donors lives on for future generations.

For more information regarding planned gifts, please contact Todd Krispinsky, Managing Director. (216) 453-4449 | tkrispinsky@greatlakestheater.org

THE SHAKESPEARE SOCIETY

Annual Fund donors of $1,000 and above are members of Great Lakes Theater’s “Shakespeare Society” and are entitled to exclusive benefits, including access to special services, events, and opportunities to connect deeply with Cleveland’s Classic Company. To learn more, contact Jeremy Lewis at (216) 453-4457.

$10,000 to $24,999

The Eva L. and Joseph M. Bruening Foundation

Gail Cudak

Carol Dolan & Greggory Hill

Eaton

Fifth Third Bank

Martha Holden Jennings Foundation

Robert° & Janet E. Neary

The Nord Family Foundation

Nordson Corporation Foundation

Donald F. & Anne T. Palmer

Georgianna T. Roberts

Ms. Ana G. Rodriguez

The Shubert Foundation

Thomas G. & Ruth M. Stafford

The Stocker Foundation

The Family of Jill Hearey

The Treu-Mart Fund, a supporting organization of the The Cleveland Foundation and the Jewish Federation of Cleveland

U.S. Bank

The Thomas H. White Foundation, a KeyBank Trust

Robert C. & Emily C. Williams

$5,000 to $9,999

Dalia & Robert Baker

Carol A. Barnak

Fred & Mary Behm

Mr. Todd M. Burger & Ms. Kristie Beck

Bill & Judie Caster

Evelyn Dolejs°

Natalie Epstein

Elizabeth Grove & Rich Bedell

The Harry K. and Emma R. Fox Foundation

Mr. & Mrs. Samuel Hartwell

Diane K. Hupp

Paul R. Keen & Denise Horstman Keen

Donna M. Koler

Rita & Charles Maimbourg

Thomas A. Piraino & Barbara C. McWilliams

Tim & Lynn Pistell

Greg Pribulsky & Donna Heinz

A.J. & Nancy Stokes

$2,500 to $4,999

Anonymous

Chuck & Bonnie Abbey

Beth A. Adams

Michelle R. Arendt

Walt & Laura Avdey

Kim & Bart Bixenstine

Mitch & Liz Blair

Glenn R. & Jeanette G. Brown

Homer Chisholm° & Gertrude Kalnow

Chisholm Fund

George A. M. & Heather Currall

Timothy J. Downing & Ken Press

Charles, Lidia & Alexa Fee

Dianne V. Foley

Lynn M. Gattozzi & Glenn Myers

Mr. & Mrs. Arthur C. Hall III

Katie Kennedy & Doug White

Faisal Khan & Angela DiCorleto

Ms. Catherine M. Kilbane & Mr. Donald H. Bullock

Mr. & Mrs. John J. Lane, Jr.

The Laub Foundation

Victor C. Laughlin, M.D. Memorial Foundation Trust

Susan & John Lebold

David & Denise Maiorana

Mr. & Mrs. Donald J. Mayer

Jack E. McGrath

Karen Nemec

The NRP Group LLC

Mr. & Mrs. Patrick W. O’Connor

Dr. Scott & Mrs. Judy Pendergast

Michael & Barbara Peterman

Rick & Paula Reed

Kim Sherwin°

Sally J. Staley

Geoff & Catherine Tanner

Kris & George Tesar

Mr. & Mrs. Paul L. Wellener IV

$1,000 to $2,499

Anonymous

The Alvah Stone & Adele Corning

Chisholm Memorial Fund

Gary D. Benz & Betsy A. Karetnick

John & Laura Bertsch

Kip T. & Catherine Bollin

Joanne R. Bratush

Jack & Janice Campbell

Donald & Annamarie Chick

Christopher & Nancy Coburn

Mrs. Anthea Daniels & Mr. Matthew Burke

Mr. Mark Davis

Rebecca Dunn

Dr. Howard Epstein

The Giant Eagle Foundation

James Graham & David Dusek

Rich & Barbara Gray

The Gries Family Foundation

Drs. Thomas & Cynthia Gustaferro

Geoffrey Michael Heller Memorial Fund

Mary Elizabeth Huber

Hyster-Yale Materials Handling, Inc.

James & Rosemary Koehler

Jim & Paula Lang

Eva & Rudolf Linnebach

Ken & Mary Loparo

Mr. & Mrs. John S. Lupo

Mr. & Mrs. William E. MacDonald III

Katie McVoy & Justin Cernansky

Jennifer & Peter Meckes

Roy & Cindy Moore

Mr. & Mrs. John C. Morley

Deborah L. Neale

Michael Novak

M.B. Perkins Donor Advised Fund

Mr. & Mrs. Wilmer M. Piper

John & Norine Prim

Linda Schlageter

Katherine Stokes-Shafer

Anita Stoll & Pete Clapham

Diana & Eugene Stromberg

Mr. Frederick & Mrs. Elizabeth G. Stueber

James L. Wagner

Nancy-Anne Wargo

Mary C. Warren

Mr. & Mrs. Harold L. Williams

Welcome! The following individuals made their first gift, returned as active donors, or increased their gift to Great Lakes Theater’s Annual Fund during the period of July 1, 2022 through December 14, 2022. The Great Lakes Theater family is grateful for their support!

Anonymous (5)

Walt & Laura Avdey

Mary S. Baker

Ms. Lisa Bennett

Pam & Scott Benson

Kim & Bart Bixenstine

Bernice A. Bolek

Kip T. & Catherine Bollin

Mr. William Bost

H.F.° & J.C. Burkhardt

Robert Carlyon

The Alvah Stone & Adele Corning

Chisholm Memorial Fund

Mr. Edward A. Chuhna

Patricia Brownell & James Collins

Gail Cudak

Mr. Mark DiDonato

John & Maryann Doucette

Rebecca Dunn

Bob & Kay Eikenburg

Katharine Elek

Evans Charitable Foundation

Gene & Patricia Ewald

Mr. Joseph Ferritto

$750 to $999

Robyn & David Barrie

Gary & Joanna Graeff

Mr. & Mrs. Brian Lawler

Jeff & Nancy Reinhart

Otmar & Rota Sackerlotzky

Randall & Sara Shaner

Dr. & Mrs. Lynn A. Smith

Christopher & Gail Steward

$500 to $749

Ms. Carol Arbaczewski

Mr. & Mrs. Paul Baehr

Mary S. Baker

Gary & Kay Bluhm

Julia & Ben Brouhard

Eileen Kennedy & Greg Cloyd

Jim & Berni Cockey

Audrey DeClement

Barry & Suzanne Doggett

Jennifer Dowdell Armstrong

Michael Dunn

Evans Charitable Foundation

Dr. & Mrs. Robert L. Fairchild

Mr. Joseph Ferritto

Deborah A. Geier

Janet & Patricia Glaeser

Mrs. Edith Hirsch

Mr. & Mrs. Fishwick

Dianne V. Foley

The Char and Chuck Fowler Family Foundation

Michael Frank & Pat Snyder°

Carla & Jim Gallagher

Larry & Jean Gilbert

Dr. Sidney Goldstein

The George Gund Foundation

Mr. & Mrs. Daniel Hahn

Meredith Hester

Carrie Hujarski

Susan K. Jagoda

Drucilla Knutsen

The Lehman Family

Mr. and Mrs. Charles Letts

Ms. Cathy Lincoln

Eva & Rudolf Linnebach

The Lubrizol Foundation

Andrea & Michael Lyons

Rita & Charles Maimbourg

Mr. & Mrs. Steve McMahon

Medical Mutual of Ohio

Glenn & Susan Morley

Gary Nemeth & Gail Jones-Nemeth

Thomas Jorgensen & Jocelyn Ruf

Bernie & Nancy Karr

Dr. & Mrs. Robert L. Katz

Larry & Joy Kent

Ursula Korneitchouk

Stephen & Carolyn Kuerbitz

Chris & Laura Larson

Barbara & Mark Mazzone

Helen & Harry Mercer

David & Leslee Miraldi

Toni & Linda Moore

The Music and Drama Club

Barbara B. O’Connor

Mr. John Rampe

Tom L. & Helen Rathburn

Mrs. Sharon L. Rogers

Jacob Scholl & Charlotte A. Estafen

Dina & Richard° Schoonmaker

Mr. & Mrs. Andrew Scoggin

Jack & Terry Southworth

Rex & Judy Stanforth

Karl & Carol Theil

Jeanette H. Thomas

Mary W. Trevor

Chris & Mary Weaver

Brian Wynne & Patrick Cozzens

The Music and Drama Club

Nordson Corporation Foundation

David Oldham

Mr. & Mrs. James M. Petras

Tom L. & Helen Rathburn

Reinhold & Ginny Roedig

Mr. & Mrs. Todd Rustad

Sarah & Bryan Salisbury, a Donor

Advised Fund of Renaissance

Charitable Foundation

Doris A. & Richard E. Schultz

Alan & Debbie Shubert

Jack & Terry Southworth

Christopher & Gail Steward

Sean & Tabitha Swick

Lori Trehan

Lance Whitson & Terry Juhn

Mr. & Mrs. Harold L. Williams

Mr. Warren I. Williamson & Ms. Lael A. Kilpatrick

Thomas & Suann Winczek

Thomas M. & Barbara A. Wladyka

Gerry & Jeanne Wojciechowicz

Mr. Bruce Zake

Mr. Lee C. Zeiszler

John & Jane Zuzek

$250 to $499

Anonymous

The Thomas and Joann Adler

Family Donor Advised Fund of the Jewish Federation of Cleveland

Judie & Bruce Amsel

Joel & Teresa Andreani

Mr. & Mrs. Benham S. Bates

Mrs. Kathryn Berkshire

John & Jeannene Bertosa

Mr. & Mrs. Patrick Beyer

Mike & Carole Brown

V. Elizabeth Brown

Cindy & Tim Carr

Rollin & Anne Conway

Dr. & Mrs. Kevin D. Cooper

Gilbert & Lisa Corwin

Pete & Margaret Dobbins

Mr. Theodore Elrick

Jon & Mary Fancher

Bill & Terri Frey

Carla & Jim Gallagher

Elizabeth Hecht & Peter Savoy

Doug & Suzanne Hicks

Mr. Herbert J. Hoppe, Jr.

Robert & Linda Jenkins

Stephen L. Kadish

Deb & Gar Kaminski

Charles King & Catherine Keating

Bob° & Nanci Kirkpatrick

Michael & Lynn Kleinman

Ronald G. Kollar

Mr. & Mrs. Mark D. Kozel

Robert & Jennifer Larson

Daniel Leschnik

Kenneth E. & Anne R. Love

The Mersol Family

Bill & Marilyn Miller

Steve Z. & Mary Gibbs Mitchell

Glenn & Susan Morley

Ms. Barbara H. Nahra

Mr. & Mrs. Robert J. Patalon

Ms. Diane L. Pauley

Frederick Perry

Ms. Lori Riga

Dr. Edward J. Rockwood

Sarah Sessions Reid

Mr. James Sonday

Frank & Vicki Titas

Martha C. Tomb

Lori Trehan

Ken Vinciquerra & Louise Acheson

Mr. & Mrs. James L. Wamsley III

Dr. & Mrs. Gregory A. Watts

Jerry & Carolyn Webb

Ms. Jean Wingate

Juliet Zavesky

Zilber Family Foundation, a supporting foundation of the Jewish Federation of Cleveland

$125 to $249

Anonymous (5)

Cheryl Barnes

Pam & Scott Benson

Mr. & Mrs. Thomas W. Berges

Roger Bielefeld

Mr. & Mrs. David R. Blackman

Susan Bobey

John Bolton

Larry & Andi Carlini

Robert Carlyon

Gary Ciolli

John & Donna Clifford

David & Gayle Cratty

Ronald Cross

Daniel Divis

John & Maryann Doucette

Bob & Kay Eikenburg

Mr. & Mrs. L. William Erb

Clyde & Janice Evans

Gene & Patricia Ewald

Mr. & Mrs. Fishwick

David V. Foos

Ms. Gay Maire Goden

Ms. Linda Grau

John Greene

Jean E. Gubbins

Richard & Jo Anne Harris

Curt & Karen Henkle

Thomas Higgason

Lynn & Mark Hofflund

Ms. Marie Ivkanec

James & Gale Jacobsohn

Mr. & Mrs. Robert L. Janson

Marilyn & Howard Karfeld

Lauren Kawentel

William & Marion Kettering

Mr. & Mrs. David R. Knowles

Mike Kupiec & Pat Murphy

Ms. Leslie Lahr

Jeremy Lewis & Daniel

Napolitano

Gregory & Vickie Leyes

Brian & Renee Lowery

Antoinette Miller

Tim Miller

Tom & Mary Neff

Ms. Brenda Norton

Mr. Gerald Norton

Joan M. Oravec

Brian Perry & Ka Pi Hoh

Mr. David Porter

Bette Prendergast

James & Susan Prince

John & Betsy Quinn

Dr. James E. Racic

Frank Rausche

Ms. Jacqueline Y. Rhodes

Robinson Family Philanthropic

Fund of the Jewish Federation of Cleveland

Mr. & Mrs. Andrew Rosen

Doris A. & Richard E. Schultz

Mr. Richard Shirey

William E. Spatz

Susan St. John

Mr. Glenn S. Steffens

Sean & Tabitha Swick

Jeffrey Tasse

Mr. & Mrs. Edward J. Tatman

The Edward & Katherine Thomas

Family

Dr. & Mrs. Ken Tomecki

Dr. Joanne M. Uniatowski

Mary Velotta

Christine & Daniel Vento

Kimberly Vivolo

Mr. & Ms. Michael Wagner

Ms. Kathleen Waits

Mr. David Wildermuth

Thomas M. & Barbara A.

Wladyka

James & Sandra Wood

John & Dianne Young

$75 to $124

Anonymous (2)

Lori Adler

Thomas & Joan Baker

Ms. Carol Barasha

Ms. Kimberley Barton

Mr. Thomas D. Basco

Tom & Dorothy Bier

Amelia & Heather Blonsky

Dr. & Mrs. Dieter F. Bloser

Mr. & Mrs. Charles P. Bolton

Richard & Mary Ann Brockett

Kathy Caldwell

Ms. Patricia Campbell

Mr. & Mrs. Frank Cercone

Mr. & Mrs. Robert B. Charlick

Mr. Edward A. Chuhna

David & Carol Consolo

Dr. & Mrs. Dale H. Cowan

Ms. Linda Cowie

George & Mary Crehore

Judith Darus

Mr. Brad Dawson

Chris & Mary Ann Deibel

Mr. Alex Derkaschenko

Mrs. Mary Helen Doherty

The Eldridge Family

Dr. J. Robert & Carol A. Fowler

Kurt & Barbara Fretthold

Mr. Gregory Fritz

Mr. & Mrs. Timothy Gabb

Jeffrey M. Gamso

Ms. Pamela S. Goetsch

Virginia T. Goetz

Marian Hancy

Iris & Tom Harvie

Debra & Tom Hayes

Jean Heller

Mr. Steven M. Izen & Mrs. Susannah Muskovitz

Ron & Mary Ann Janke

Dr. Kalish R. Kedia

Ms. Kerry King

Albert & Karen Kirby

Bill & Susan Kirchner

Benjamin R. Kirkpatrick

Ms. Amanda Kost

Richard B. Kotila

Ms. Margaret K. Krall

Jacob Kronenberg & Barbara Belovich

Charles Kruger

James & Tayna Lewan

Timothy Liston

David & Cheryl Lundgren

Susan E. Lust

Robert MacDougall

Kenneth & Joan MacGillivray

Paul S. Malchesky

Ms. Anne Martin

Ms. Shari Mathisen

Ms. Constance May

Lynda & Charlie Mayer

Mr. John A. Mazzella

Cathy J. McCall

Ms. Allison E. McCallum

Mr. & Mrs. Robert E. McDonald

Jeanette McGovern

Jean McQuillan

Elizabeth Meister

Ms. Cheryl A. Moskwa

Mr. John M. Moss & Mrs. Karen J. Moss

Mr. & Mrs. Oliver° & Mary Emerson

Joseph M. & Meribeth A. Pannitto

Lou M. Papes

Christa Petryszyn

Mr. & Mrs. Harold I. Pittaway III

Chandana A. Reddy

Judy & Clifford Reeves

Kathryn & Heath Reinhardt

Mr. & Mrs. Gerald P. Rencehausen

William Robak

Carolyn Rufo

Stephen Ruscher

Bryan Salisbury

Cindie Carroll-Pankhurst & Mark Salling

Schaum Family

Ms. Meredith M. & Mr. Oliver E. Seikel

Donna Sheridan

Dr. Dave & Faye Sholiton

Mr. & Mrs. Vernon C. Sponseller

Todd & Patty Standen

Betsy Sullivan

Laura Lee Sutera

Ian & Kara Suzelis

Marcia J. Terstage

Ms. Leslie N. Thomas

Anne Unverzagt & Richard Goddard

Natalie & James Vloedman

Thomas Wagner & Malinda Smyth

Rev. & Mrs. David M. Walker

William Wallis

Mr. Raymond Washio

Lance Whitson & Terry Juhn

Thomas & Suann Winczek

Dr. Thomas Zarlingo

Patrick M. Zohn

Endowment Fund

Gifts to the Great Lakes Theater Endowment Fund were received from the following donors between July 1, 2021 and June 30, 2022.

Edward Godleski

Gifts were received in honor of:

Melanie Bordelois by:

Sylvia Bordelois

Jack & Janice Campbell by: Holly Tomasch

Carol Dolan by: Mary Dolan & David Haracz

Great Lakes Shakespeare Festival Interns 1977-78 (A Merry Band of Players) by: Mary Beidler Gearen

Natalie G. Epstein by: Marilyn Bedol

Chad & Andrea Deal

Mr. Gene DiVincenzo

Dr. Lauren Goldman

Mr. & Mrs. Henry Goodman

Rabbi Eddie & Dr. Roxanne Sukol

Wulf & Moira Utian

Mr. David I. & Mrs. Ann K. Warren

Mr. & Mrs. Philip Wasserstrom

Mr. Adam Weinsein

Mr. & Mrs. Steven Wiesenberger

Denise Horstman Keen by: George Leggiero

Catherine Tanner by: Christie Lucco & Michael Devlin

Bob Taylor by: Mitch & Liz Blair

Charles, Lidia & Alexa Fee

Gifts were received in memory of:

Charles “Chuck” Dickson by: Georgianna T. Roberts

Elsie Glassford by: Angela Kovacs

Bob Kirkpatrick by:

Mr. & Mrs. Richard L. Chernus

Carole Nicolosi by:

Ms. Joyce L. Adams

Dr. James Sheridan by: Donna Sheridan

James Weiss by: Holly McTernan

William W. Jacobs by:

Ms. Deborah Glosserman

Samantha Jacobs & Aubrey Wynne

Matching Gift Corporations

Many companies, like the ones listed below, match all or a portion of their employees’ charitable giving. Is your employer a matching gift company? Find out by contacting your employer or the Great Lakes Theater Development Office at (216) 453-4457.

The Albert M. Higley Co. Dominion Foundation

Eaton

GlaxoSmithKline Foundation

The Lubrizol Foundation

Nordson Corporation Foundation

The Perkins Charitable Foundation

PNC Foundation

Progressive Insurance Foundation

Schneider Electric North America Foundation

The Women’s Committee

Formed in 1961, the committee is Great Lakes Theater’s longest standing volunteer support group. Members act as hosts for our actors, provide support in our administrative office and at events, and cheer us on throughout the season. If you would like to become a member, call Joanne Hulec at (216) 2528717 for more information.

Officers

Janice Campbell, President Barbara Chernus, Recording Secretary

Bernice Bolek, Corresponding Secretary

Nanci Kirkpatrick, Treasurer

Thank you to our donors! Every effort is made to ensure that our donor records are current and correct. Please contact the Great Lakes Theater Development Office at (216) 453-4457 to share an update or request a revision.

°Deceased: The legacy of these generous donors lives on for future generations.

play’s the thing

Great Lakes Theater Camp is a summer drama camp with musical theater elements that immerses students in interactive and educational theater-based activities. Theater Camp is a unique opportunity for students to work with and learn from Great Lakes Theater’s professional teaching artists in a fun, safe and supportive environment.

a summer camp for students ages 5-18

For more info: GreatLakesTheater.org/camp

Chair

Samuel Hartwell*

President

Kim Bixenstine*

Secretary

Elizabeth A. Grove*

Treasurer

Kathleen Kennedy*

Trustees

Beth A. Adams

Michelle Arendt

Jennifer Dowdell

Armstrong*

Walter Avdey*

Dalia Baker

Gary D. Benz

Kip T. Bollin

Todd M. Burger*

William Caster*

Gail L. Cudak

George A. M. Currall

Anthea Daniels

Christopher Dean

Carolyn Dickson†

Barry Doggett†

Carol Dolan*

Timothy J. Downing*

Dr. Howard G. Epstein*

Natalie Epstein†

Dianne V. Foley*

Lynn M. Gattozzi

Arthur C. Hall III*

TRUSTEES STRATEGIC ALLIANCE

David M. Hopkins

Mary Elizabeth Huber

Diane Kathleen Hupp

Faisal A. Khan*

John W. Lebold*

Andrea S. Lyons

William MacDonald III†

Charles Maimbourg*

David M. Maiorana

Ellen Stirn Mavec†

John E. McGrath†

Katie McVoy*

Ingrid A. Minott*

Janet E. Neary†

Michael Novak

Michael J. Peterman†

Timothy K. Pistell†

David P. Porter†

Gregory Pribulsky*

Uma M. Rajeshwar

Georgianna T. Roberts†

John D. Schubert†

Peter Shimrak†

Thomas G. Stafford*†

Sally J. Staley

Diana W. Stromberg

Catherine Tanner*

Kristine M. Tesar*

Arthur L. Thomas

Nancy Wellener

* Executive Committee

† Life Trustee

In 2002, Great Lakes Theater (Cleveland, Ohio) and Idaho Shakespeare Festival (Boise, Idaho) conceived a unique, strategic producing alliance designed to maximize return on organizational investments, increase production efficiencies, create long-term work opportunities for artists and share best practices. In 2010, Lake Tahoe Shakespeare Festival (Incline Village, Nevada) joined the collaborative — further contributing to the momentum of the producing prototype’s success. The long-term results have been remarkable. The alliance’s three independent, 501c3 regional theaters have shared over 60 jointly-created productions — each featuring long-term, multi-city employment opportunities for artistic company members. This revolutionary producing model has realized its vision and exceeded expectations while simultaneously resulting in notable audience growth for each company.

STAFF

Leadership

Charles Fee, Producing Artistic Director

Bob Taylor, Executive Director

Management Team

Associate Artistic Director ........................ Sara Bruner

Director of Educational Services ................Kelly Schaffer Florian

Managing Director Todd Krispinsky

Resident Artist & Interim Production Manager Jaclyn Miller

Director of Educational Programming..... Lisa Ortenzi

Director of Administration...................Stephanie Reed

Director of Marketing & Communications Kacey Shapiro

Development

Development & Donor Relations Manager .................................................. Jeremy Lewis

Patron Services Coordinator Marilyn Niksa

Marketing

Audience Cultivation Coordinator.............. Amy Essick

Education

Education Outreach Associate David Hansen

School Residency Program

Actor-Teachers Noelle Elise Crites, Kelly Elliott, Gabe Heffernan, Tim Keo, Amaya Kiyomi, Olivia Morey, Avery LaMar Pope, A’Rhyan Samford, Asia Sharp-Berry

Production

Assistant Production Manager Lindsay Mandela

Company Manager Lauren Tidmore

Technical Director ...................................... Mark Cytron

Assistant Technical Director ............ Richard Haberlen

Assistant Scenic Designer Joy Ahn

Master Carpenter Lindsay Loar

Carpenters Val Kozlenko, Bill Langenhop, Ralph Melari, Gary Zsigrai

Properties Master ............................ Bernadine Cockey

Assistant Properties Master Gina Meluso

Charge Scenic Artist Ruth Lohse

Assistant Scenic Artist ................................James Todd

Scenic Artist Intern ......................................Dylan Todd

Costume Director ........................... Esther M. Haberlen

Assistant Costume Shop Manager/Tailor .....Leah Loar

Crafts Artisan/Milliner ........................... Zachary Hickle

Crafts Assistant ........................................Joseph Bruch

Draper......................................................... Diana Sidley

Lead First Hand .........................................Tina Spencer

Junior First Hand ..................................... Eleanor Dobry

Stitchers ..................Jen Goldstein, Serenity-Grace Tate

Design Assistant & Wardrobe Supervisor........................ Cheyenne Moore

Wardrobe Crew........... Joseph Bruch, Arianna Smedley

Resident Hair & Wig Supervisor ..... Iran Micheal Leon

Master Electrician ................................... Tammy Taylor

Audio Supervisor ................................... Josh Brinkman

Production Assistant ................................... Imani Sade

Run Crew ............................. Ralph Melari, Gary Zsigrai

Hanna Theatre Crew ............................. Thomas Boddy, Shaun Milligan, Lester Parker Jr., Nathan Tulenson

Health & Safety Team .......... Jaclyn Miller, Amy Essick, Lindsay Mandela, Lauren Tidmore

Special Thanks

Great Lakes Theater is a member of the League of Resident Theaters (LORT) and operates under agreements with LORT, Actors’ Equity Association, American Federation of Musicians, the International Alliance of Theatrical Stage Employees, the Society of Stage Directors and Choreographers, and the United Scenic Artists, which are unions representing professional actors, stage managers, musicians, stagehands, directors, choreographers, and designers, respectively, in the United States.

F:

W:

Playbill Editor: Linda Feagler

For advertising information, please contact Matthew Kraniske: 216-377-3681

GUEST SERVICES AT PLAYHOUSE SQUARE

Guest Assistance

For questions or service that may provide a quality, entertaining experience, please see the House Manager on duty. A RedCoat usher can direct you to their office location.

Smoking Policy

Smoking, including electronic smoking or “vaping,” is not permitted indoors at Playhouse Square.

We Love Hearing From Our Guests

Your feedback is important. For matters that are not immediate or for additional questions you may have, please access our online comment form at playhousesquare.org/contact-us. We read and share all comments with the staff and meet often to discuss how we can improve upon your experience at Playhouse Square.

Follow Us!

Follow Playhouse Square on Facebook, Instagram, Twitter and TikTok.

Thank You

Beware of Ticket Scalpers

Buy your tickets ONLY from the Playhouse Square Ticket Office, at playhousesquare.org, by phone at 216-241-6000 or your licensed group/travel leader. (We cannot guarantee validity or admittance for tickets purchased elsewhere, nor can we issue replacement tickets if they are lost or stolen). Help us keep ticket prices affordable and fair for everyone.

Camera Policy

Cameras, including cameras on cell phones and other personal handheld devices, audio/video recorders and flash photography are strictly prohibited.

Cell Phones

The experience of a live performance can be ruined by the interruption of ringtones, vibrating phones or conversation. The magic of a darkened theater can be disrupted by the light of someone text messaging as well. Please be considerate to others and remember to turn off your cell phone for the duration of the show.

Playhouse Square gratefully acknowledges the people of Cuyahoga County for their historical support to theater restoration, upkeep and programming, as well as through their ongoing contributions through Cuyahoga Arts and Culture.

at Playhouse Square

FEB./MAR. AT PLAYHOUSE SQUARE

OUTCALT/ HELEN/

MIMI CONNOR KEYBANK US BANK WESTFIELD ALLEN ALLEN ALLEN HANNA KENNEDY’S OHIO PALACE STATE PLAZA STUDIO

Hadestown

I’m Back Now Sense & Sensibility

Nat Geo Live - Wild Hope

I’m Back Now Sense & Sensibility

The Skin of Our Teeth

Sense & Sensibility

The Skin of Our Teeth Riverdance

The Gruffalo

Disney’s Aladdin PAW Patrol Live!:

Heroes Unite

CSU Spring Dance Concert 2023

Alonzo King LINES

Ballet

Taylor Tomlinson ABBApalooza

As You Like It

FEBRUARY MARCH

Sensibility

The Skin of Our Teeth R.E.S.P.E.C.T.

Sense & Sensibility Sense & Sensibility

The Skin of Our Teeth

Disney’s Aladdin Disney’s Aladdin DRUSKI: Coulda, Woulda, Shoulda Tour

HITS! The Musical MercyMe

The Simon & Garfunkel Story

Hadestown Flanagan’s Wake CIFF’s Get Shorty

As You Like It

I’m Back Now Sense & Sensibility

The Skin of Our Teeth

Flanagan’s Wake Sense & Sensibility

The Skin of Our Teeth

Fortune Feimster Riverdance

Flanagan’s Wake

Disney’s Aladdin

PAW Patrol Live!

CSU Spring Dance Concert 2023

Flanagan’s Wake Blues Is Alright Tour

I’m Back Now Sense & Sensibility

The Skin of Our Teeth

Jump Back BallA Night on the High Seas

Flanagan’s Wake Sense & Sensibility

The Skin of Our Teeth Riverdance

The Gruffalo

Flanagan’s Wake

Disney’s Aladdin

PAW Patrol Live!

CSU Spring Dance Concert 2023

Alonzo King LINES Ballet

Flanagan’s Wake

Taylor Tomlinson ABBApalooza

Flanagan’s Wake As You Like It

The Irish Tenors 25th Anniversary Tour

Flanagan’s Wake

Flanagan’s Wake As You Like It

SETTING THE STAGE

for Success

We believe that all Cleveland youth should have access to high-quality arts education. Through the generosity of our donors, we are investing to scale up neighborhoodbased programs that now serve 3,000 youth year-round in music, dance, theater, photography, literary arts and curatorial mastery. That’s setting the stage for success. Find your passion, and partner with the Cleveland Foundation to make your greatest charitable impact.

(877) 554-5054

www.ClevelandFoundation.org/Success