2014 The Mountaintop - House Programme

#tcMountaintop

Canadian Premiere

THE MOUNTAINTOP

By Katori Hall March 25 - April 20, 2014

2013-14

introducing

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WELCOME This past January 20th was Martin Luther King, Jr. Day—a day set aside to honour a remarkable man who made a significant contribution to human rights and who helped to shape how we as human beings interact with each other. That night, I looked on Facebook and I noticed this astonishing picture of young Wilson, my friend Lesley’s boy. Wilson lives in northwest Calgary. As parents we choose books for our children that inspire, delight and encourage. We all love to read stories about heroes, adventurers and larger-than-life figures that we all aspire to emulate. That night a young boy discovered a book about Martin Luther King. The book told the whole story— the struggles, the violence, and his tragic end. It told the story of a hero. This photo captivates me as it beautifully matches the idea and intention behind Katori Hall’s play The Mountaintop: the hope that King’s Photo by Lesley Carruthers good work lives on.

There has been a great deal of excitement throughout our season leading up to this Canadian premiere production. The idea of being in the presence of Martin Luther King, Jr. is a wonderful notion. We will transport ourselves back in time together, through this imaginative play, to that infamous motel room for an evening with a great man in history.

My wish is that this play, like Wilson’s storybook, contributes to the celebration and inspiration of having a dream, and igniting its possibilities.

DENNIS GARNHUM Artistic Director

the mountaintop DIRECTOR'S NOTES From the earliest recorded history, mankind has believed that Gods walk among us. From the ancient Greeks and Egyptians through the modern era, there has ensued a belief in many cultures that certain mortal men are capable of ascending to the Divine. Even today, we have a tendency to raise our great spiritual and social leaders to such heights that we see them as God-like, without human flaws and frailties. I’m a person of faith, yet this perception troubles me. I believe that to regard our greatest spiritual leaders as anything other than human perpetuates a sense of human unworthiness, restraining us from recognizing the Divine within ourselves and reserving that coveted quality only for those whom we deify. I believe that to revere history’s greatest spiritual leaders, complete with all their human frailties, doubts, and occasional sins is a service to humanity. For they have demonstrated that we can all choose a life of greatness and unconditional love toward each other.

Dr. Martin Luther King, Jr. was tirelessly committed to the doctrine of unconditional love. He educated leagues of black Americans in the strategy of nonviolent protest, arming them with what he believed to be the greatest weapon against an evil system of racism. Under his leadership, the civil rights movement succeeded in changing the law of the land from segregation and repression to equality and opportunity. Since his death, America has fortunately made considerable progress toward his vision, but King has unfortunately become somewhat deified. In The Mountaintop, playwright Katori Hall deliberately takes him off that lofty pedestal and gives us an entirely human model. In her words, “It was important to see the humanity in this hero so we can see the humanity in ourselves.” This is an idea to which I gravitate. In showing us King’s human frailty she empowers us to emulate his strength. She shows us that in every saint there is a sinner and in every sinner there is a saint. The Mountaintop is an irreverent, bold, humorous, magical and heartbreaking imagining of the last night of Martin Luther King’s life. It challenges us to consider both imperfection and beauty within the same great soul and calls us to meet our own beautiful potential despite our imperfection.

photo by david cooper

JAN ALEXANDRA SMITH Director

UP NEXT Supercalifragilisticexpialidocious! The most famous nanny in the world, Mary Poppins, flies in to enchant our theatre. Fall in love with your whole family like never before.

“The ultimate measure of a man is not where he stands in moments of comfort and convenience, but where he stands at times of challenge and controversy.”

- Martin Luther King, Jr. 3

C O M I N G I N M ay The Theatre Calgary Production of Disney’s and Cameron Mackintosh’s

MARY POPPINS THE PR ACTICALLY PERFECT MUSICAL A Musical based on the stories of P.L. Travers and the Walt Disney Film • Original Music and Lyrics by Richard M. Sherman and Robert B. Sherman • Book by Julian Fellowes • New Songs and Additional Music and Lyrics by George Stiles and Anthony Drewe • Co-Created by Cameron Mackintosh • Directed by Michael Shamata • A Co-Production with the Citadel Theatre

Things haven’t been going well for the Banks family. The children are out of control and a new nanny is required to put things in order.

When a mysterious young woman appears on their doorstep, the family finds that she’s the answer to their prayers, but in the most peculiar way. A Broadway musical spectacular for the whole family.

This brand new Theatre Calgary production of the much-loved classic will burst onto our stage.

Rediscover the gorgeous songs, loveable children and that magical woman. As Mary would say: It’s practically perfect! – Dennis

SOMe PeRFORMANCeS ALReADy SOLD OuT CALL NOW FOR The BeST SeATS AT The BeST PRICe

“Supercalifragilisticexpialidocious!”

MAy 6 to JuNe 15, 2014 403-294-7447

theatrecalgary.com

Max Bell Theatre in the EPCOR Centre for the Performing Arts dennis garnhum, artistic director

THEATRE CALGARY presents

general information

The Canadian Premiere

THE MOUNTAINTOP

cameras and audio / visual recording devices are not permitted in the theatre. The videotaping or other video or audio recording of this production is strictly prohibited.

By Katori Hall

beeping cellular phones, pagers and watches intrude on other patrons’ enjoyment of the play. Please ensure that these items cannot sound during a performance. Alternatively, you may leave them with our staff at the coat check.

T HE CAS T

good theatre etiquette benefits everyone. Please do not talk or unwrap candies during the performance. At the end of the performance, remain in your seat until the curtain call is finished and the house lights have been turned on. babies are not permitted in the theatre. assistive listening devices for the hard of hearing are available at the coat check of the Max Bell Theatre.

For first aid assistance, see the house manager or the nearest usher.

Theatre Calgary is a professional non-profit company that performs in the Max Bell Theatre. It is a member of the Professional Association of Canadian Theatres, and operates within the jurisdiction of The Canadian Theatre Agreement. Theatre Calgary employs technicians under a collective agreement with the I.A.T.S.E.

Dr. Martin Luther King, Jr. KEVIN HANCHARD Camae BERYL BAIN

S E T T I NG 3 April 1968.

Room 306 of the Lorraine Motel, Memphis, Tennessee.

Director Set & Costume Design Lighting Design Projection Design Sound Design Vocal Coach

JAN ALEXANDRA SMITH DOUGLAS PARASCHUK KEVIN FRASER SEAN NIEUWENHUIS DAVE CLARKE JANE MACFARLANE

Stage Manager AILSA BIRNIE Assistant Stage Manager PATTI NEICE Head of Lighting Head of Sound Wig & Hairstylist, Wardrobe Master Head Stage Carpenter Stage Hand Stage Hand

CATHARINE CRUMB BEVANS CHRIS JACKO RON SIEGMUND BEN WILSON TRISHA HERBERT BEN CORNER

THE MOUNTAINTOP is performed without an intermission.

Theatre Calgary gratefully acknowledges the support provided from the Alberta Lottery Fund, by the Government of Alberta through The Alberta Foundation for the Arts, the City of Calgary through Calgary Arts Development, the Community Spirit Donation Grant Program, the Government of Canada through the Canada Council and Canadian Heritage and all corporate and private contributors.

Advertising Enquiries, please call: Savage Publishing, (403) 305-8597, savagepublishing@telus.net Front cover photo by David Cooper.

Original Broadway production produced by Jean Doumanian, Sonia Friedman Productions, Ambassador Theater Group, Raise the Roof 7, Ted Snowdon, Alhadeff Productions/Lauren Doll, B Square + 4 Productions/Broadway Across America, Jacki Barlia Florin/Cooper Federman, Ronnie Planalp/Moellenberg Taylor and Marla Rubin Productions/Blumenthal Performing Arts, in association with Scott Delman.

THE MOUNTAINTOP was developed at the Lark Play Development Center, New York City, and was first produced by Theatre 503 in June 2009 and further produced at Trafalgar Studio One in July 2009

by Sonia Friedman Productions and Jean Doumanian, Tali Pelman for Ambassador Theatre Group, Bob Bartner, Freddy DeMann, Jerry Frankel, Ted Snowdon and Maria Rubin Productions Ltd. THE MOUNTAINTOP was developed at the 2008 Bay Area Playwrights Festival, a program of the Playwrights Foundation (Amy L. Mueller, Artistic Director).

THE MOUNTAINTOP is presented by special arrangement with Dramatists Play Service, Inc., New York.

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Finalist for the Governor General’s Award for Drama and winner of the Canadian Authors Association’s Carol Bolt Prize

APRIL 29 - MAY 17, 2014

Tickets: 403-294-7402 EPCOR CENTRE Box Office: 403-294-9494

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ATPlive.com

the company

KEVIN HANCHARD

D O U G L A S PA R A S C H U K

Dr. Martin Luther King, Jr.

Set & Costume Design

Theatre Calgary debut. elsewhere: His Girl Friday, The Millionairess, The President, Shaw; Topdog/ Underdog, Obsidian/Shaw; Macbeth, Julius Caesar, Palmer Park, Fuente Ovejuna, Stratford; Intimate Apparel, Obsidian/Citadel/Neptune; Blue/Orange, Canadian Stage/Neptune; Riot, The Gospel at Colonus, The Member of the Wedding, Neptune; The Comedy of Errors, Angels in America, A Midsummer Night’s Dream, Canadian Stage. film/television: Detective Art Bell in Orphan Black, Suits, Saving Hope, Lucky 7, The Listener, Blue Mountain State, Missing Four Brothers, Take the Lead, Savage Planet, Jasper Texas. awards: Two Dora Award nominations – Outstanding Performance Male – Miss Julie: Freedom Summer and Topdog/Underdog. Canadian Screen Award Nomination - Best Actor in a Supporting Role: Drama – Orphan Black. Kevin appears in the soon-to-be released films Guidance and Apple Mortgage Cake.

BERYL BAIN Camae Theatre Calgary debut. elsewhere: dirty butterfly, Bound to Create Theatre/Obsidian; Awake, Expect Theatre/Spark Collective; Race, Theatre Yes; I, Marcus Garvey, Theatre Archipelago; The Women, One Touch of Venus, Brief Encounters, Born Yesterday, After the Dance, The Stepmother, Shaw. film/ television: The Firm, Warehouse 13. awards: Critics Pick, NOW Magazine for dirty butterfly. Beryl is in the process of building her company, Best Light Creative Productions, as a home for her personal artistic projects.

JAN ALEXANDRA SMITH Director for theatre calgary: Director – God of Carnage. Actor – Anne of Green Gables – The Musical, Lost – A Memoir, Betrayal, An Ideal Husband. elsewhere: Director – The Mousetrap, Capitol Theatre; Dangerous Corner, Murder on the Nile, Vertigo. Director and Choreographer – Nunsense II, Thousand Islands Playhouse; Fascinating Ladies, Lunchbox; The Buddy Holly Story, Stage West; Gentlemen Prefer Blondes, Mayfield Inn. Actor (selected) – Bloodless, Theatre 20; Forests, Tarragon; How Do I Love Thee?, Tyland, Falsettos, How I Learned to Drive, ATP; An Inspector Calls, Spider’s Web, Vertigo; An Ideal Husband, Mrs. Warren’s Profession, You Never Can Tell, Gentlemen Prefer Blondes, The Seagull, Shaw; Shakespeare’s Will, Cat On A Hot Tin Roof, Popcorn, Beauty Queen of Leenane, My Fair Lady, Citadel; One For the Pot, Les Miserables, Royal Alexandra Theatre. awards: Betty Mitchell Award – An Ideal Husband; Elizabeth Sterling Haynes Award – Popcorn, Dora Award nomination for Bloodless.

“We’ve got some difficult days ahead.

But it really doesn’t matter with me now, because I’ve been to the mountaintop.”

for theatre calgary: Camelot. elsewhere: Hay Fever, Man of La Mancha, Romeo and Juliet (twice), Three Musketeers, The Merchant of Venice, Evita, West Side Story, Cabaret, My One and Only, South Pacific, Crazy for You, The Measure of Love, Ruth Draper on Tour, As You Like It, Patience, Macbeth, The Importance of Being Earnest, Collected Stories, Dracula, The Prime of Miss Jean Brodie, In the Ring and Waiting for Godot, during 22 years as design coordinator at Stratford. Director of Design – 2014 Calgary Stampede Grandstand show; opening and closing ceremonies for Arab Games in Doha, Qatar; David Atkins Enterprises; 2010 Vancouver Winter Olympics opening, medals, and closing ceremonies. Design Coordinator – opening and closing ceremonies for Asian Games in Doha, Qatar. Over the past 30 years Doug has designed for television, theatre, film and touring productions and has created hundreds of productions in regional theatres across Canada, the United States, and Europe.

KEVIN FRASER Lighting Design for theatre calgary: Jake and the Kid. elsewhere: Romeo and Juliet, Richard III, Evita, Peter Pan, West Side Story, Stratford; A Funny Thing Happened On The Way To The Forum, Mirvish; Shakespeare’s Will, Globe; Sweeney Todd, Neptune; Cirque Ambiente, Canada’s Wonderland. awards: Five Dora Award nominations, Jessie Richardson Award nomination.

Kevin is a member of Associated Designers of Canada and a graduate of Ryerson Theatre School.

- Martin Luther King, Jr.

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Great-West Life and the key design are trademarks of The Great-West Life Assurance Company. London Life and design are trademarks of London Life Insurance Company. ™Canada Life and design are trademarks of The Canada Life Assurance Company. ™ is a trademark of The Great-West Life Assurance Company.

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WHERE ENERGY MEETS TALENT

2014-02-25 14:38:03

We understand the importance of art and the impact it has on our communities.

Enbridge is proud to be a partner of the National Theatre School. The school provides talented students a chance to explore their creativity, hone their craft, and showcase their talents. The experience is one of the very best in Canada, and propels many students toward flourishing careers.

Enbridge delivers more than the energy you count on. We deliver on our promise to make communities better places to live. It’s part of the reason we were named one of the Global 100 Most Sustainable Corporations in the World.

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8 CREATIVE

0836988_AD_NTS_TheatreCalgary_7.375x4.9375.indd 1 ART COPY PROD STUDIO STUDIO

ACCOUNT

SPELL

12-10-16 8:50 AM PROOF

SEAN NIEUWENHUIS

K AT O R I H A L L

Projection Design

Playwright

for theatre calgary: Fire. elsewhere: The Who's Tommy, Wanderlust, Evita, Cabaret, Stratford; A Word or Two, Ahmanson/Stratford; Jesus Christ Superstar, Broadway/La Jolla/Stratford; The Handmaid’s Tale, RWB; Faust, Metropolitan Opera; Nixon In China, SFO/Kansas City/ Vancouver Opera, Wide Open Opera (Dublin); Macbeth, Minnesota Opera; Romeo and Juliet, MTC; Anne of Green Gables, Confederation Centre; The Magic Flute, Lillian Alling, Vancouver Opera; Mythbusters - Behind The Myths, Alton Brown Live, Larry King Standing Up, Kids In The Hall, Touring. film/television: 2010 Vancouver Paralympic Games Opening and Closing Ceremonies, 100th Grey Cup Halftime Show, Michael Bublé 3rd Annual Christmas Special.

J A N E M A C FA R L A N E Vocal Coach for theatre calgary: Over 30 productions in the past 13 years, including: The Great Gatsby, The Kite Runner, Pride and Prejudice, Enron, To Kill a Mockingbird, Much Ado About Nothing, One Flew Over the Cuckoo’s Nest, 7 Stories, Ideal Husband, Miracle Worker and 13 years of A Christmas Carol. elsewhere: The Motherf*cker With the Hat, Toad of Toad Hall, That Elusive Spark, Treasure Island, Vincent in Brixton, Syringa Tree, ATP; Filth, Trainspotting, Sage; Submarine, Lunchbox. Recently, Jane directed James and the Giant Peach for Storybook Theatre.

She has taught Voice for the Actor & Acting in the Department of Theatre, Speech & Music at MRU for 13 years. Jane is the resident Voice Coach for Theatre Calgary.

DAVE CLARKE

Katori Hall is a playwright/performer from Memphis, TN. Hall’s plays include: The Mountaintop (2010 Olivier Award for Best New Play), which ran on Broadway at the Bernard Jacobs Theatre starring Angela Bassett and Samuel L. Jackson, Hurt Village (2011 Susan Smith Blackburn Prize, Signature Theatre), Children of Killers (National Theatre, UK and Castillo Theatre, NYC), Hoodoo Love (Cherry Lane Theatre), Remembrance (Women’s Project), Saturday Night/Sunday Morning, WHADDABLOODCLOT!!!

(Williamstown Theatre Festival), Our Lady of Kibeho and Pussy Valley. Her awards include the Lark Play Development Center Playwrights of New York (PONY) Fellowship, the Arena Stage American Voices New Play Residency, the Kate Neal Kinley Fellowship, two Lecomte du Nouy Prizes from Lincoln Center, the Fellowship of Southern Writers Bryan Family Award in Drama, a NYFA Fellowship, the Lorraine Hansberry Playwriting Award and the Otis Guernsey New Voices Playwriting Award. Hall’s journalism has appeared in the New York Times, the Boston Globe, the Guardian, Essence and the Commercial Appeal, including contributing reporting for Newsweek. The Mountaintop and Katori Hall: Plays One is published

by Methuen Drama. Hall is an alumna of the Lark Playwrights’ Workshop, where she developed The Mountaintop, and a graduate of Columbia University, the A.R.T. at Harvard University, and the Juilliard School. She is a proud member of the Ron Brown Scholar Program, the Coca-Cola Scholar Program, the Dramatists Guild, and the Fellowship of Southern Writers. She is currently a member of the Residency Five at Signature Theatre Company in New York City.

Sound Design for theatre calgary: Sound Design/Composer/ Actor – A Christmas Carol, Hamlet, Henceforward, A Midsummer Night’s Dream. elsewhere: 6.0 How Heap & Pebble Took On the World and Won, Northern Light/Lunchbox; Elephant Song, Green Fools; Kill Me Now, Workshop West; Craniatrium, Firefly; King Lear, Free Will Shakespeare; Let the Light of Day Through, Theatre Network. film/television: Composer – The Pharmacist. awards: Elizabeth Sterling Hayes Awards – Outstanding Score of a Play or Musical – 6.0 How Heap & Pebble Took On the World and Won, Dog, Vimy, Shakespeare’s Will. Dave's next project is a family musical about a profoundly deaf mother with a hearing son based on his own experience entitled Songs My Mother Never Sang Me. He is the sound guy for CBC Radio's The Irrelevant Show.

“I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character.”

- Martin Luther King, Jr.

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Canadian Natural Resources Limited Canadian Natural is proud to support Theatre Calgary and its presentation of The Mountaintop.

Canadian Natural conducts all its operations in a way that identifies, minimizes and mitigates harm to the health and safety of employees, contractors, the public and the environment. As part of our mission statement, we are committed to ‘doing it right’. w w w. c nrl . c o m

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C R E AT E D

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AILSA BIRNIE Stage Manager for theatre calgary: Stage Manager – Pride and Prejudice (NAC co-pro), One Flew Over the Cuckoo’s Nest (MTC co-pro), Betrayal, Jake and the Kid. Assistant Stage Manager – The Great Gatsby, God of Carnage, Shirley Valentine, Tosca Cafe (Vancouver Playhouse co-pro), The Drowsy Chaperone (MTC copro), Dirty Rotten Scoundrels, An Ideal Husband, Beauty and the Beast (Citadel co-pro), Timothy Findley’s The Wars (Vancouver Playhouse co-pro), The Cripple of Inishmaan, Glorious! (Canadian Stage copro), Guys & Dolls (Citadel/MTC co-pro), Wingfield’s Inferno, Sherlock Holmes. elsewhere: Stage Manager – Red, ATP; Huron Bride, Gaslight, When Girls Collide, Vertigo; Passion Play (2008 – 2013), Canadian Badlands Passion Play Society; With Bells On, Under the Bright Sun, This is a Play, Lunchbox; Gilgamesh La-Z-Boy, Doing Leonard Cohen, Sylvia Plath Must Not Die, OYR. Ailsa would like to thank TC for all the amazing adventures over the years that they have invited her to be a part of.

WITH THE PHILOSOPHY

THAT EVERYDAY

IS WORTH CELEBRATING.

Theatre Calgary Theatre Calgary @theatrecalgary

#tcMountaintop

Our preshow favourite. This refreshingly lightly sparkling white wine is a happy hour favourite in Venice. Rustico is fresh, sparkling, elegant with lively fruit and extraordinary effervescence. Available by the glass here or at your favourite restaurant or winestore.

1=5

PAT T I N E I C E Assistant Stage Manager for theatre calgary: Anne of Green Gables – The Musical, A Christmas Carol (2012 – 13), To Kill a Mockingbird. elsewhere: Stage Manager – The Surrogate, Shopaholic Wedding Bells, Whimsy State, Lunchbox; The Very Hungry Caterpillar and Other Eric Carle Favorites, Mermaid Theatre tours of Canada/USA/Ireland/South Korea & Singapore; Lillibet, The Mystery of Maddy Heisler, The Net, Shatter, Ship's Company; How it Works, Mulgrave Road. Assistant Stage Manager – Dust, The Valley, Intimate Apparel, Drama: Pilot Episode, Thinking of Yu, ATP; Dirty Rotten Scoundrels, Crazy for You, How the Other Half Loves, Drayton; Marion Bridge, The Company Theatre.

Every $1 donated allows us to distribute $5 worth of food.

Proud partner of Theatre Calgary

BE PART OF THE CHANGE

www.CalgaryFoodBank.com

vendemmia.ca 11

suBsCrIBers see fIve PLaYs fOr THe PrICe Of fOur – IT’s LIKe GeTTInG One PLaY free!

403-294-7447

THeaTreCaLGarY.COM a christmas carol and the comedy of errors are not part of the 5-plaY subscription package.

One Man, TwO GuvnOrs

“You got to concentrate ain’t Ya, with two jobs.”

sept e m ber 2 to 28

By Richard Bean, based on The Servant of Two Masters

by Carlo Goldoni, Director Dean Paul Gibson

LIBeraTIOn DaYs

“we thought everYthing would go back to normal. but it didn’t.” october 14 to Nov e m ber 9

By David van Belle, Director Daryl Cloran, in collaboration with Western Canada Theatre

a CHrIsTMas CarOL 28 Years of spirited tradition

Nov e m ber 27 to dece m ber 24

By Charles Dickens, Adaptor and Director Dennis Garnhum, Associate Director Simon Mallett, Starring Stephen Hair as Ebenezer Scrooge theatre calgarY presents the shaw festival production of

THe PHILaDeLPHIa sTOrY

“the time to make up Your mind about people, is never.”

JaNuary 27 to February 22

By Philip Barry, Director Dennis Garnhum

KInG Lear

“o, that waY madness lies.” ma rc h 10 to a pr i l 5

By William Shakespeare, Director Dennis Garnhum, in collaboration with Bard on the Beach Shakespeare Festival

Dear JOHnnY Deere

“everY Year’s dreams, a hundred bushels to an acre.”

a pr i l 28 to m ay 31

By Ken Cameron, based on the songs and lyrics of Fred Eaglesmith, with additional music and lyrics by David Archibald, Director Eric Coates no performances maY 19 to 24 to accommodate the children’s festival

shakespeare in the park

THe COMeDY Of errOrs

“Your town is troubled with unrulY boYs.”

By William Shakespeare R et u R n i ng to PR i nce’s isl a n d Pa R k J u n e 26 to augus t 9, 2014

in the wings

By Zach Moull, Assistant Dramaturg

MARTIN LUTHER KING, JR. Martin Luther King, Jr. was born Michael King on January 15, 1929, in Atlanta, Georgia. He changed his name as a boy, at the same time as his father, a Baptist minister who was a tremendous influence in teaching King the “social gospel” tradition of Christianity—that Christian ethics can be a progressive force for social justice.

As a young preacher, King played a leading role in organizing the 1955-56 bus boycott in Montgomery, Alabama, after activist Rosa Parks was arrested for refusing to give up her seat to a white person on a segregated bus. Spurred to action by religious leaders such as King, Montgomery’s black community avoided the city’s buses for more than a year, until the Supreme Court finally ruled that bus segregation was unconstitutional.

Dr. Martin Luther King Jr. in 1964.

Source: Nobelprize.org

King’s position as the leading spokesperson for the boycott made him a target for violence, including the bombing of his house. Inspired by the principles of Mahatma Gandhi, King refused to meet violence with violence. He began a lifelong commitment to direct action through nonviolent civil disobedience: “Nonviolence is a powerful and just weapon. It is a weapon unique in history, which cuts without wounding and ennobles the man who wields it. It is a sword that heals.”

As leader of the Southern Christian Leadership Conference, King organized nonviolent civil rights protests across the American South. Following the high-profile success of the SCLC’s 1963 campaign for the desegregation of Birmingham, Alabama, King took part in the March on Washington for Jobs and Freedom. Addressing the crowd of 200,000 on the Washington Mall, King delivered the famous “I Have a Dream” speech that inspired a nation. The Civil Rights Act was passed in 1964, and King was awarded the Nobel Peace Prize.

wave of activists, such as Malcolm X and the Black Panther Party, would steer the movement away from nonviolent principles, and his very public stance against the Vietnam War alienated many Americans, including some fellow members of the SCLC. By the time he arrived in Memphis in 1968, the stresses of King’s life at the forefront of the civil rights movement—as well as his inveterate (but secret) smoking habit— had taken a toll on his health and happiness. The doctors who performed King’s autopsy found that, although he was only 39 years old, he had the heart of a 60-year-old man.

I AM A MAN: THE MEMPHIS SANITATION STRIKE Like Katori Hall’s The Mountaintop, the Memphis Sanitation Strike of 1968 began in the rain. On a cold, rainy February 1st, garbage collectors Echol Cole and Robert Walker took shelter in the compression unit of their truck. This was a common practice, since the city provided no other way for workers to stay dry. As the aging truck made its last trip of the day to the dump, an electrical short-circuit activated the compressor and crushed the two men to death.

This accident was the tipping point in a racially charged labour battle. Most of Memphis’s garbage collectors and sewer workers were black, while their supervisors—and most local politicians—were white. The sanitation workers had long been victims of atrocious working conditions: aside from the unsafe equipment, they faced rampant discrimination and could be sent home without pay or even fired without pretext. Wages were so low that many of the workers qualified for welfare, even while working a six-day week.

Seven hundred members of the sanitation workers’ union voted to strike on February 11th, demanding a living wage and a fair process for addressing grievances. As 10,000 tons of trash piled in the streets, Mayor Henry Loeb refused Striking members of Memphis Local 1733 hold signs whose slogan symbolized the sanitation workers' 1968 campaign. to recognize the union, let alone Photo Credit: Richard L. Copely negotiate with it. The union But King was not able to revel in his received tremendous support from public successes. He was shaken by the Memphis’s black community. Strikers and their supporters deaths of four schoolgirls in a Birmingham church bombing marched daily through the streets carrying signs that read “I shortly after the March on Washington. When John F. Kennedy am a man”—a demand for basic human dignity. As the strike was assassinated later the same year, King told his wife Coretta gained national attention, Martin Luther King, Jr. made his first that “this is what is going to happen to me also.” He was visit to Memphis on March 18th. Speaking to a large rally at scrutinized heavily by the FBI, which sought to undermine him Mason Temple, he praised the community’s solidarity and called by suggesting that he had communist sympathies and was for a city-wide work stoppage: “You are demonstrating that we unfaithful to his wife. He grew increasingly fearful that a new are all tied in a single garment of destiny, and that if one black 14

person suffers, if one black person is down, we are all down.”

King vowed to come back to Memphis to lead a protest on March 22nd, but a snowstorm forced him to reschedule to March 28th. The march that day was large and chaotic. King intended for the protest to be nonviolent, but to his Martin Luther King, Jr.’s aide Bernard Lee escorts King (left) and Ralph horror, some marchers Abernathy to safety after violence breaks out during the Memphis began breaking protest, March 28, 1968. Photo Credit: Sam Melhorn windows and looting shops. Police attacked the crowd with nightsticks, tear gas, and even gunfire. Sixty protestors were injured and a high-school student, Larry Payne, was killed.

Against the advice of his colleagues who feared for his safety, the distraught King returned to Memphis to lead a nonviolent march. He arrived on April 3rd, after a long delay caused by a bomb threat to his plane. Exhausted, King sent Ralph Abernathy to speak on his behalf at the Mason Temple that night. But Abernathy realized that the crowd had braved the evening’s thunderstorm to hear King, and insisted that his friend appear. King’s speech was largely spontaneous. He meditated on his own mortality and told his audience that he had “been to the mountaintop,” evoking the story of Moses, who led his people to the Promised Land but was not permitted to enter. King was killed by a single bullet at 6:01pm the next day, as he stood on his balcony at the Lorraine Motel.

Four days later, his wife Coretta Scott King led more than 40,000 people on a silent march through the streets of Memphis, in mourning for King and in protest of the city government’s refusal to negotiate. Faced with a national outcry and pressure from the White House, Mayor Loeb finally came to terms on April 16th. The deal, which ended the strike, officially recognized the sanitation workers’ union and guaranteed a modest wage increase.

LARRY PAYNE Sixteen-year-old Larry Payne was one of thousands of Memphis high-school students who skipped class on March 28, 1968, to march in the protest led by Martin Luther King, Jr. During the rioting that ensued, police officers chased a group of teens back to the housing complex where Payne lived with his mother. Payne was shot to death at point-blank range as he emerged from a basement under police orders. Eyewitnesses said he came out with his hands in the air, pleading for his life, while the official police account stated that he was Larry Payne brandishing a large knife. The officer who fired the shot was never charged. King was disturbed by Payne’s death and had arranged a meeting with Payne’s mother, but he was assassinated before it could take place, overshadowing the death of the young teen.

GET IN ON THE ACT AT THEATRE CALGARY TALKBACK TUESDAYS Meet members of the cast after the performance for an intimate and lively Q&A session about the play, the theatre and the acting process. This is a great opportunity to share your questions and get a behind-the-scenes perspective on the performance.

Talkback Tuesdays will take place during The Mountaintop on April 1, 8 and 15.

TALK THEATRE THURSDAYS Get an insider’s perspective on the process of making theatre. Before the performance, join an artist from the production’s creative team in conversation with a member of Theatre Calgary’s artistic staff.

Talk Theatre Thursdays during The Mountaintop will take place on March 27 and April 3.

*NEW* SPOTLIGHT SATURDAY

OPEN TO ALL Dig deeper into the ideas. Join us after a matinee performance for a special guest speaker, lively panel discussion, or interactive experience inspired by the themes of our subscription plays.

Spotlight Saturday for The Mountaintop will take place on April 19.

GET ONLINE Behind-the-scenes videos, photos, play guides and more about all of our upcoming productions can be found at www.theatrecalgary.com. Follow us on Facebook or on Twitter: @theatrecalgary #tcMountaintop

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“I’VE BEEN TO THE MOUNTAINTOP” At the end of his speech on the night of April 3rd, 1968, Martin Luther King, Jr.’s thoughts turned towards his own mortality. He recalled an assassination attempt in 1958, when he was stabbed in the chest at a book signing. The tip of the knife touched his aorta, and the New York Times reported that if King had sneezed, he would have died.

But there was another letter that came from a little girl, a young girl who was a student at the White Plains High School.

And I looked at that letter and I'll never forget it. It said simply, "Dear Dr. King: I am a ninth-grade student at the White Plains High School." She said, "While it should not matter, I would like to mention that I'm a white girl. I read in the paper of your misfortune and of your suffering. And I read that if you had sneezed, you would have died. And I'm simply writing you to say that I'm so happy that you didn't sneeze."

And I want to say tonight, I want to say tonight that I, too, am happy that I didn't sneeze. Because if I had sneezed, I wouldn't have been around here in 1960, when students all over the South started sitting-in at lunch counters. And I knew that as they were sitting in, they were really standing up for the best in the American dream and taking the whole nation back to those great wells of democracy, which were dug deep by the founding fathers in the Declaration of Independence and the Constitution.

And they were telling me, now it doesn't matter now. It really doesn't matter what happens now. I left Atlanta this morning, and as we got started on the plane—there were six of us—the pilot said over the public address system: "We are sorry for the delay, but we have Dr. Martin Luther King on the plane. And to be sure that all of the bags were checked, and to be sure that nothing would be wrong on the plane, we had to check out everything carefully. And we've had the plane protected and guarded all night."

And then I got into Memphis. And some began to say the threats, or talk about the threats that were out, or what would happen to me from some of our sick white brothers.

Well, I don't know what will happen now. We've got some difficult days ahead. But it really doesn't matter with me now, because I've been to the mountaintop. And I don't mind. Like anybody, I would like to live a long life—longevity has its place.

But I'm not concerned about that now. I just want to do God's will. And He's allowed me to go up to the mountain. And I've looked over, and I've seen the Promised Land. I may not get there with you. But I want you to know tonight, that we, as a people, will get to the Promised Land. And so I'm happy tonight.

I'm not worried about anything. I'm not fearing any man. Mine eyes have seen the glory of the coming of the Lord!

If I had sneezed, I wouldn't have been around here in 1961, when we decided to take a ride for freedom and ended segregation in interstate travel.

If I had sneezed, I wouldn't have been around here in 1962, when Negroes in Albany, Georgia, decided to straighten their backs up. And whenever men and women straighten their backs up, they are going somewhere, because a man can't ride your back unless it is bent.

If I had sneezed, if I had sneezed, I wouldn't have been here in 1963, when the black people of Birmingham, Alabama, aroused the conscience of this nation and brought into being the Civil Rights Bill.

If I had sneezed, I wouldn't have had a chance later that year, in August, to try to tell America about a dream that I had had.

If I had sneezed, I wouldn't have been down in Selma, Alabama, to see the great movement there.

If I had sneezed, I wouldn't have been in Memphis to see a community rally around those brothers and sisters who are suffering. I'm so happy that I didn't sneeze.

16

Ralph Abernathy (right) applauds Martin Luther King, Jr. as he delivers the "Mountaintop" speech at Memphis's Mason Temple, April 3, 1968. Photo Credit: Ernest C. Withers

Sources Richard L. Copely, “I AM a Man,” I Am A Man, accessed March 6, 2014, http://dlxs.lib.wayne.edu/iamaman/ items/show/179.

Michael Eric Dyson , April 4, 1968 (New York: Basic Civitas, 2008).

Michael K. Honey, Going Down Jericho Road: The Memphis Strike: Martin Luther King's Last Campaign (New York: W.W. Norton, 2011), accessed March 6, 2014, http://web.commercialappeal.com/newgo/ mlk/28payne.shtml John Semien, “Family still mourning sole victim after 1968 King March,” The Commercial Appeal (March 28, 1998) Thomas Siebold, ed., Martin Luther King, Jr. (San Diego: Greenhaven, 2000).

Ernest C. Withers, “Mountaintop,” I Am A Man, accessed March 6, 2014, http://dlxs.lib.wayne.edu/ iamaman/items/show/189.

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Spur Calgary April 25–27, 2014 Signal vs. Noise

SPECIAL POST-PERFORMANCE EVENT Theatre Calgary and Spur Festival are proud to host a conversation with the Honorable A. Anne McLellan following the performance of The Mountaintop on Wednesday, April 9th.

Admission is free and open to all.

Upper lobby, Max Bell Theatre, 9:15pm.

What is the personal price of taking on a public role? Is it possible to balance living in the public eye with leading a private life? The Honorable A. Anne McLellan, P.C., O.C. has led a distinguished career in federal politics, law, and community service, including four terms as a Liberal Member of Parliament and serving as Deputy Prime Minister of Canada. In July 2009, Ms. McLellan was appointed an Officer of the Order of Canada, recognized “for her leadership and dedication as a politician and law professor, and for her contributions as a community volunteer.”

UPCOMING: Visit theatrecalgary.com for up-to-date information about Spotlight Saturday on April 19th, featuring another special guest in partnership with Spur.

Join us for these events and other exciting conversations, readings and performances at Spur Calgary, April 25-27.

Visit spurfestival.ca for information and tickets.

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theatre calgary staff TOM McCABE President

COMMUNICATIONS & MARKETING

DENNIS GARNHUM Artistic Director

NANCY CAMERON Director of Marketing

ADMINISTRATION & FINANCE

CHRISTOPHER LOACH Director of Communications

KRISTEN DION Director of Finance and Administration BRENT FALK Accountant TAMMIE RIZZO Accountant CHRISTINA SPIESS Receptionist ARTISTIC LESLEY MACMILLAN Producer SHARI WATTLING Artistic Associate New Play Development SUSAN McNAIR REID Company Manager ZACH MOULL Assistant Dramaturg & Assistant to the Artistic Director JANE MACFARLANE Resident Voice Coach

JENNIFER KINCH Communications & Marketing Associate DEVELOPMENT TERRY ROBERTS Director of Development SHIRLEY YURCHI-WEBER Manager Individual & Planned Giving JENNIFER GARDEN Development Associate RONALD PETERS Business Development

PRODUCTION

SALES

AARON NEWBERT Production Manager

KATE BECK Director of Sales

TEGAN HERRON Assistant Technical Director

VIRGINIA REMPEL Customer Service Supervisor

ALEXANDRA SHEWAN Production Assistant

TERISA KLASSEN Group Sales Coordinator

LOUIS BEAUDOIN Head Scenic Artist CATHARINE CRUMB BEVANS Head of Lighting CHRIS JACKO Head of Sound MICHELLE LATTA Head of Wardrobe LILLIAN MESSER Head of Props STEVE PILON & ANDREW RAFUSE Co-Head Scenic Carpenters

MELISSA MANZONE Development Assistant

RON SIEGMUND Wardrobe Master, Resident Hair & Wig Stylist

CIANI RUSSELL Development Assistant

BEN WILSON Head Stage Carpenter

ROSEMARIE JOHNSTON Bingo Volunteer Coordinator

FRONT OF HOUSE STAFF

BUILDERS FOR THE MOUNTAINTOP

LEE BOOTH Front of House Manager

FOR THEATRE CALGARY

JASON KINGSLEY Assistant Front of House Manager

SET STEVE PILON & ANDREW RAFUSE Co-Head Scenic Carpenters

NORMAN COOK Front of House Volunteer & Guest Services Coordinator

CLARE PROSSER Scenic Carpenter

KAYE BOOTH Sales & Customer Service Associate

BARBARA BOOTH

LILLIAN MESSER Head of Props

JAMIE ROBINSON Sales & Customer Service Associate

NORMA HANSEN JULIA MEEDGER

PAINTERS

MAEVE ORLADY Sales & Customer Service Associate

MITZI METZGER

LOUIS BEAUDOIN Head Scenic Artist

TRYPHENA FRIC Sales & Student Education Coordinator

EMILY PARKHOUSE Box Office Customer Service Associate EV BELL Box Office Customer Service Associate

SHIRLEY COSTLEY PAT FRENCH

TAMSIN MILES KIM SIMMONS

PROPERTIES

CELINA BAHARALLY Props Builder

DAWNA MARK Scenic Artist

DEBORAH SYDORCHUK WARDROBE MICHELLE LATTA Head of Wardrobe ELIZABETH SUTHERLAND Cutter CATHLEEN GASCA Seamstress LICHEN ‘LISA’ RAO Stitcher

21

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theatre calgary board of directors BOARD EXECUTIVE MARK THOMPSON, Chair Senior Director of Information Technology, Enbridge Inc. CHAD NEWCOMBE, Vice Chair Kahane Law Office ELLANOR VALLANCE-NUTIK, CMA Vice President Audit & Finance Senior Manager, Financial Reporting, ATCO Group MARY E. COMEAU, Board Secretary Partner, Norton Rose Fulbright ELLEN CHIDLEY, Past Chair Consultant MAGGIE SCHOFIELD, Chair HR Committee Executive Director, Calgary Downtown Association JIM McLEOD, Co-Chair Fundraising Committee Lead Building Management, Nexen Energy ULC GORD HARRIS, Co-Chair Fundraising Committee MARGO RANDLES, Chair Artistic Committee Active Community Volunteer

THEATRE CALGARY ENDOWMENT FOUNDATION BOARD OF DIRECTORS

RIAZ MAMDANI CEO, Strategic Group BRENDA MASON Senior Vice President, Canada Branch, Mizuho Bank, Ltd.

BOARD EXECUTIVE ELLEN CHIDLEY, Chair Consultant

IAN MCAULEY President & CEO, Continuum Health Care

BRIAN HOOK, Vice Chair Investment Advisor, BMO Nesbitt Burns

ALEX A. OSTEN

ELLANOR VALLANCE-NUTIK, CMA Vice President Audit & Finance Senior Manager, Financial Reporting, ATCO Group

PAUL POLSON Vice President, Stuart Olson Construction DR. NORMAN SCHACHAR, M.D. University of Calgary, Department of Surgery

MARY E. COMEAU, Board Secretary Partner, Norton Rose Fulbright

CRAIG D. SENYK Director of Portfolio Management, Mawer Investment Management Ltd.

BOARD MEMBERS IAN BEDDIS Former Director & Branch Manager (Retired) Scotia McLeod Inc.

MICHAEL TUMBACK, CA Executive Vice President & Chief Operating Officer, Strike Group, Inc.

GORD HARRIS ALAN MOON President, Crescent Enterprises Inc.

EDITH WENZEL President, International Results Group

CHAD NEWCOMBE Kahane Law Office

touch

BOARD MEMBERS JOY ALFORD, Chair Board Engagement Committee Consultant MICHELE BEITEL President & CEO, The Skoop DR. DAVID DOCHERTY President, Mount Royal University GREGORY S. DRAPER VP - Valuations, Forensics, & Litigation Support; MNP LLP

Forte Musical Theatre Guild Presents:

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Songs for a (dis)Connected Age

JIM FLOYD President, PowerOn Ltd. ANDREA GOERTZ Senior Vice President, Chief Communications & Sustainability Officer, TELUS BRUCE GRAHAM President & CEO, Calgary Economic Development KATHRYN HEATH GUY HUNTINGFORD CEO, Urban Development Institute DEBRA JOHNSTONE, CMC, CHRP Partner, Cenera Inc. BARRY R. KENLEY Director, Business Development, Vision 2000 Travel Group CHRIS LEE Managing Partner, Alberta, Deloitte

New works by Joe slabe and musical theatre writers from across canada directed by JP Thibodeau April 15th to April 26th, 2014 at the Joyce Doolittle Theatre Tickets: 403-263-0079

DR. LLOYD MAYBAUM MD Calgary and Area Medical Staff Society - CAMSS www.fortemusical.ca

23

H

Here’s Your Cue

Shari Wattling, Artistic Associate – New Play Development Photo by Kristian Jones.

Q

Q: How long have you worked for Theatre Calgary (TC) and in what capacity?

A: I’m in my 7th season with the theatre.

I was originally hired as Literary and Education Manager, and my role has now been reshaped as Artistic Associate, New Play Development.

The main focus of my role does continue to be finding and developing scripts.

Q: Would you describe the FUSE program for us?

Q: What is the significance of the FUSE program for TC?

A: FUSE allows us to become a vital part of the creation of new plays and ideas. It allows us to premiere exciting new works for our audience that will hopefully move from our stage, to theatres across the country, and beyond. Theatre Calgary is not just a presenter of plays, but part of the creative ecology of our community.

Q: What is the importance of the FUSE program to the artists/playwrights?

A: FUSE allows playwrights to think big and be ambitious. The opportunity to create on a TC scale is a rare one. It also allows them access to amazing actors and directors to participate in the creation of new work.

Q: Is there any benefit to the community in general that comes from the FUSE program?

A: Programs like FUSE make this city a destination and home for Canada’s finest theatre artists. Calgary is gaining a reputation as truly one of Canada’s cultural capitals, in no small part because of the great creative work coming from our theatres.

Q: How is the program funded?

A: FUSE: The Enbridge New Play Development Program is where we explore and develop new, often unproduced plays: both original scripts and new adaptations that hold potential to premiere on our stage. It allows us to bring playwrights and a team of artists together to dive into a play that has often never even been read out loud before.

A: Enbridge has generously supported the FUSE program for several years. Without their support, we simply couldn’t do it. We hope to expand our FUSE activity in years to come, allowing for more plays and larger projects to come through the program. In order to do this, we will need more funding resources.

Q: How does what you do fit into the

Q: Are there plays that we’ve seen on

FUSE program?

A: I seek out & select the work we develop.

Once a play is selected, I coordinate a development process with the playwright.

That can mean everything from providing my ongoing feedback to the playwright (as they work through various drafts), to organizing a workshop with actors, a director, a dramaturg or other artists as required. It can also involve presenting and hosting a public reading of the work to gain feedback for both TC and the playwright.

Q & A WITH SHARI WATTLING

Be a part of FUSE: The Enbridge New Play Development Program FUSE is a vital part of our vision and success. It allows us to embrace our role as leaders in the artistic community, by exploring the “new” – new voices, new stories, new creative directions and new perspective.

Your support can provide our playwrights with actors, directors, dramaturgs, technical elements, and musical requirements to help give their work the best launch pad possible.

To support FUSE and our playwrights contact:

403-294-7440 ext.1002 or donations@theatrecalgary.com For more information about our FUSE program please check our website at:

www.theatrecalgary.com FUSE 2014 will be on line soon!

Our sincerest thanks to Enbridge for their ongoing support of our FUSE program.

the Theatre Calgary stage that have come through the FUSE program?

Q: How can the general public get involved with the FUSE workshops?

A: The general public is a huge part of the development process. A play isn’t really a play until an audience has experienced it. A regular part of the program is presenting public readings of the scripts in development. We invite anyone to attend and to give us feedback. That feedback helps the playwright develop the next draft of the play.

P178935

A: Absolutely! Since 2006, Theatre Calgary has premiered seven plays that were developed through the FUSE program including Timothy Findley's The Wars, Skydive, Jake and the Kid, Beyond Eden, Lost: A Memoir, Pride and Prejudice, and our most recent adaptation of A Christmas Carol.

Many of these have been produced at other theatres in Canada and the United States since. Lost: A Memoir was nominated for a Governor General’s Literary Award for Drama.

One of the plays in next season’s line-up, Liberation Days, was part of last year’s FUSE program.

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SENATORS William R. Blain, Q.C. Don Boyes Derek Bridges Martha Cohen Joyce Doolittle Kay Grieve David Haigh Harry Hartley Margaret Hess, Q.C. Les Kimber Jan McCaghren Victor Mitchell Barbara Morin Gerry Nichol Fred Scott Lynne J. Thornton Derek Warren Nomi Whalen For more information on donating to Theatre Calgary, contact Shirley Yurchi-Weber at 403-294-7440 ext 1002 or donations@theatrecalgary.com

sponsors & partners

the mountaintop the mountaintop sponsors presentation partners

corporate sponsors

media partners

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For details call Terry Roberts at 403-294-7419.

pay-what-you-can sponsor

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fuse sponsor

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fuel / shakespeare in the park sponsors

seniors’ saturday sponsor

night with the stars sponsors

the mountaintop opening night sponsors community partners

27

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