Triad Stage's Rebellious by Mike Wiley

BY MIKE WILEY

Sarah Hankins Artistic Director

REBELLIOUS

Mitchel Sommers

Interim Executive Director

by Mike Wiley

Directed by Donna Baldwin-Bradby

Scenic Design by David Tidwell

Sound Design by G. Clausen

Dramaturg Netaniah Fasion

Costume Design by Gregory J. Horton

Movement/Choreographer Tina Yarborough Liggins

Stage Manager David J. McGraw*

Lighting Design by Kathy A. Perkins

Voice/Dialect Xulee Vanecia J

Assistant Stage Manager Bruce Price*

Commissioned by Triad Stage, Greensboro, North Carolina

Actors’ Equity Association (“Equity”), founded in 1913, is the U.S. labor union that represents more than 51,000 professional Actors and Stage Managers. Equity fosters the art of live theatre as an essential component of society and advances the careers of its members by negotiating wages, improving working conditions and providing a wide range of benefits, including health and pension plans. Actors’ Equity is a member of the AFL-CIO and is affiliated with FIA, an international organization of performing arts unions. #EquityWorks

Guide/Dr.

Male

Female

Male

Understudy Berta/Spicy

Understudy Geneva/Gloria

Understudy Black Male

Understudy White Female

SETTING

Pittman-Morris*

Cecilia Safi Doby

Celeste Samira Doby

Jada Wesley

Jordan Hankerson

Corin Davis

Hilda Willis*

Donald Elise Watkins*

Kimple*

Brian Mullins*

Jadyn McCoy

Zahira Johnson

Jerry Byers

Alyssa Bryan

OTHER

CAST

Victoria Pittman-Morris* – she/her/hers - (Berta) Victoria is so excited to be making her debut at Triad Stage in Rebellious! She graduated from UNCG with a BFA in Acting and a minor in Musical Theatre. Some of her favorite credits include Emmie Thibodeaux from Caroline, Or Change, Maria/Lisa Simpson from Mr. Burns, a Post-Electric Play and Wanda in Beehive: A 60’s Musical. She is so excited to be back in Greensboro doing what she loves. She wants to thank her husband, Ryan, for being her constant throughout this crazy thing called life, her family (Pittman and Morris) for their never-ending love and support, and Jesus for being her rock at all times.

Jada Wesley – she/her/hers - (Geneva) Jada Wesley is a junior Professional Theater major with a concentration in Acting from Houston, Texas, attending North Carolina Agricultural and Technical State University. She has starred in productions such as Pretty Fire as Charlayne Woodard, a writer in The Lesser Of Two Evils, and a featured dancer in Ma Rainey’s Black Bottoms. This is Ms. Wesley’s first professional debut at Triad Stage and is very excited to be playing Geneva and hopes to make every Bennett Belle proud. Words can’t express how grateful Ms.Wesley is for this opportunity. She would like to thank her mom for being her number one supporter along with her family and friends for the unconditional love and support. She would also like to thank those at Triad Stage for their work ethic, hard work, and dedication to this production. “Give thanks in all circumstances; for this is the will of God in Christ Jesus for you” 1 Thessalonians 5:18. Be fearless in the pursuit of what sets your soul on fire and Ms.Wesley hopes you enjoy the show Rebellious.

Jordan Hankerson – she/her/hers - (Gloria) Jordan Hankerson is an actress, singer, dancer, and choreographer. Born and raised in Durham, North Carolina, she has always been a performer! Jordan recently graduated from North Carolina A & T State University with a B.F.A in Professional Theatre and a Minor in Mass Media Productions in May. She has played roles such as Dorothy in The Wiz, Young Nettie from The Color Purple: The Musical, and Yolanda from Crowns. Jordan made her choreography debut in Groovin’ at The Barn Dinner Theatre. Jordan recently starred in Pretty Fire at the National Black Theatre Festival. Jordan strives to be an actress on Broadway, in TV, and Film.

Actors’ Equity Association (“Equity”), founded in 1913, is the U.S. labor union that represents more than 51,000 professional Actors and Stage Managers. Equity fosters the art of live theatre as an essential component of society and advances the careers of its members by negotiating wages, improving working conditions and providing a wide range of benefits, including health and pension plans. Actors’ Equity is a member of the AFL-CIO and is affiliated with FIA, an international organization of performing arts unions. #EquityWorks

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

Corin Davis – she/her/hers - (Spicy) Corin Davis is an actress and singer from Greensboro, North Carolina. She is currently a senior at North Caro lina A&T where she is studying Professional Theatre with a concentration in Acting. She recently starred in Pretty Fire by Charlayne Woodard at the Black Theatre Network conference in Detroit and The National Black Theatre Festival in Winston-Salem. Corin is honored to debut as a profes sional actor in this world premier play. Upon graduating she desires to be in film and on Broadway.

Hilda Willis* – she/her/hers - (Tour Guide/Dr. Willa Player) Hilda knew at the age of eleven when cast in her first role for The Children’s Theater Company in Roanoke Virginia that this is what she would do for a living. She has performed and directed on some of the most well-known stages in New York and other Regional Theaters, including The Apollo, The Cotton Club, The Baby Grand, Sweet Waters, National Black Theater, The Mint, The Trilogy, Billie Holiday Theater, Lime Kiln, Mill Mountain Theater, 7 Stages, Jomandi Theater, 14th Street Playhouse The Great Bay Plaza (Antil les), Ebony Rep, The Beacon Theater, Madison Square Garden, Touring Theater of North Carolina, North Carolina Black Repertory Theater, The Cleveland Playhouse and is proud to add Triad Stage to that list.

Some of her favorite professional roles include Lady Capulet (Romeo and Juliet), Dr. Charlotte (Falset tos), Amy (Stone Wall Country), Ancestor (The Legacy), Mother (Breath Boom), Clorine (Glory Bound), and Nell Carter (Ain’t Misbehavin’).

She is currently the Creative Director for recording artist India Arie, and the Tupac Amaru Shakur Foundation as well as Artistic Director in Residence at Mind-Builders Creative Arts Center, a multi-dis ciplinary cultural arts organization in New York.

Donald E. Watkins* – he/him/his - (Black Male Roles) Donald Elise Watkins is making his Triad Stage debut. As a Greensboro native, he received his BA from Greensboro College and MFA from Louisiana State University. He can currently be seen in the Amazon Studios/Temple Hill feature film EMERGENCY. His prior credits include Blumhouse’s feature Black Box, STX feature film Free State of Jones and the Amazon series The Underground Railroad directed by Barry Jenkins. Watkins is repped by UTA and Robyn Bluestone Management.

Actors’ Equity Association (“Equity”), founded in 1913, is the U.S. labor union that represents more than 51,000 professional Actors and Stage Managers. Equity fosters the art of live theatre as an essential component of society and advances the careers of its members by negotiating wages, improving working conditions and providing a wide range of benefits, including health and pension plans. Actors’ Equity is a member of the AFL-CIO and is affiliated with FIA, an international organization of performing arts unions. #EquityWorks

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

Elise Kimple* – she/her/hers - (White Female Roles) Triad Stage debut. Regional: The Wolves (Sonorous Road Repertory Company); King Charles III, Pentecost (Burning Coal Theatre Company); Diary Play (Mouth of Babes Theatre). Educational: Antigone, Cloud 9, Reckless, From Up Here, Pride and Prejudice. Education: BFA in Acting, UNC Greensboro.

Brian Mullins* – he/him/his - (White Male Roles) Triad Stage: Dracula, Angel Street. NC Black Rep: Succession, The Chevalier. High Point University: (Guest Artist) Periphery, The Grapes Of Wrath, The Drowsy Chaperone. Paper Lantern Theatre: Gruesome Playground Injuries, The Little Matador. The Barn Dinner Theatre: Uh, Oh, Here Comes Christmas. The Broach Theatre: Leading Ladies. Brian has an MFA in acting from UNCG.

Jadyn McCoy – she/her/hers - (Understudy Berta/Spicy) Jadyn McCoy is a sophomore Professional Theatre major with a concentration in Acting at North Carolina Agricultural and Technical State University. She starred in numerous high school productions but, her favorite was her role as ‘Puck’ in A Midsummer Night’s Dream. Jadyn was also a part of North Carolina Conservatory’s production of Matilda as ‘Adult Ensemble’. Recently, she was in NC A&T’s production of Ma Rainey’s Black Bottom as a featured dancer. She is excited to get to work with and learn from such a talented group of individuals.

Zahira Johnson – she/her/hers - (Understudy Geneva/Gloria) Zahira Johnson is a senior theatre major at North Carolina A&T State University. She has performed in shows at A&T, like Oedipus the Queen and The Soul of Christmas; she has also performed at the Barn Dinner Theatre, singing and dancing in Groovin’. This is her first show at Triad Stage and she is very thankful for the opportunity and excited for what’s to come.

Actors’ Equity Association (“Equity”), founded in 1913, is the U.S. labor union that represents more than 51,000 professional Actors and Stage Managers. Equity fosters the art of live theatre as an essential component of society and advances the careers of its members by negotiating wages, improving working conditions and providing a wide range of benefits, including health and pension plans. Actors’ Equity is a member of the AFL-CIO and is affiliated with FIA, an international organization of performing arts unions. #EquityWorks

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

Jerry Byers – he/him/his - (Understudy Black Male Roles) Jerry is excited to join the cast of Rebellious. This is his debut with Triad Stage. Previous productions consist of Ragtime (Piedmont Oprea), The Color Purple (Barn Dinner Theater), Black Nativity (Barn Dinner Theater) and many more.

Alyssa Bryan – she/her/hers - (Understudy White Female Roles) Alyssa is a Senior Professional Theatre Major at North Carolina A&T State University and is making her professional debut in Rebellious. She was last seen in NCAT’s The Soul of Christmas as Noel. She also toured as stage manager for Pretty Fire this summer to Detroit and Winston Salem with members of the Rebellious cast. She has recently done work at The Barn Dinner Theater and Touring Theater of NC. You can find Alyssa on Insta gram @alyssa.s.artistry @lys.ncat and alyssasartistry.com.

Cecilia Safi Doby (Child) Cecilia Safi Doby is 7 years old. This marks her debut performance at Triad Stage. She is a 1st grader at Triad Math and Science Academy. Cecilia was affectionately given the nickname Saucy the Boss by her Dad because she takes great care of her siblings. She is one of her teachers’ helpers in class. Cecilia is a self-taught gymnast and contortionist. Some of her hobbies include riding her bike, singing, and dancing.

Celeste Samira Doby (Child) Celeste Samira Doby affectionately called Pooh Bear is 6 years old. She attends Triad Math and Science Academy. At the tender age of 3 her family noticed her LOVE for dancing. Celeste has proclaimed daily that she is a dancer and one day hopes to be a Ballerina. She also is a great singer and can make up songs on the spot. Some of Celeste’s hobbies include improving her dance moves, practicing her comedic faces, and playing musical chairs. She wants to be a dance teacher when she grows up. This is her debut performance at Triad Stage.

Actors’ Equity Association (“Equity”), founded in 1913, is the U.S. labor union that represents more than 51,000 professional Actors and Stage Managers. Equity fosters the art of live theatre as an essential component of society and advances the careers of its members by negotiating wages, improving working conditions and providing a wide range of benefits, including health and pension plans. Actors’ Equity is a member of the AFL-CIO and is affiliated with FIA, an international organization of performing arts unions. #EquityWorks

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

ABOUT THE PLAYWRIGHT

Mike Wiley – he/him/his - Mike Wiley is a North Carolina-based actor, playwright and director of multiple one-man documen tary dramas and full-cast ensemble plays, including Leaving Eden, The Parchman Hour, Downrange: Stories from the Home front, Dar He: The Story of Emmett Till, the theatrical adaptation of Blood Done Sign My Name and more. The film adaptation of Wiley’s Dar He, in which he portrayed 30+ roles, received more than 40 major film festival awards around the globe.

A gifted and visionary artist and communi cator, Wiley’s overriding goal is expanding cultural awareness for audiences of all ages through dynamic portrayals based on pivotal moments in African-American history and, in doing so, helping to unveil a richer picture

of the total American experience. Wiley is recipient of the University of North Caroli na’s Distinguished Alumni Award in 2017. Wiley’s ensemble cast original plays are available for licensed productions by theatres worldwide, and Wiley himself tours eight original one-person plays for student and adult audiences throughout North America, in addition to offering virtual streamed adapta tions for educational systems and presenting theatres nationwide.

In 2020, Mike Wiley received the Ann Atwa ter Award presented by Manbites Dog Theater Fund to recognize Triangle theater artists and companies whose body of work reflects and honors Durham activist Ann Atwater’s lifelong commitment to social justice. He is also recipient of the NC Theatre Conference Constance Welsh Award for Theatre for Youth. Wiley currently leads the online series “Higher Ground Conversations” with national civil rights and social justice leaders. Wiley is proud to be the Artist-in-Residence for the Kenan Institute for Ethics at Duke University.

Actors’ Equity Association (“Equity”), founded in 1913, is the U.S. labor union that represents more than 51,000 professional Actors and Stage Managers. Equity fosters the art of live theatre as an essential component of society and advances the careers of its members by negotiating wages, improving working conditions and providing a wide range of benefits, including health and pension plans. Actors’ Equity is a member of the AFL-CIO and is affiliated with FIA, an international organization of performing arts unions. #EquityWorks

CREATIVE TEAM

Donna Baldwin-Bradby – she/ her/hers - (Director) Donna Bald win-Bradby is an Adjunct Professor and Director of Marketing and Publicity for the Theatre Arts Program at North Carolina A&T State University. Donna earned a BFA in Profes sional Theatre from NC A&T and an MFA in Arts Management from Virginia Tech. She has directed, choreographed, and performed for professional, community and educational theatres locally and regionally. As a performer, Donna has appeared in productions of Crowns, Anton in Show Bizness, Once On This Island and Ain’t Misbehavin’, and has also directed The Color Purple, Five Guys Named Moe, A Raisin in the Sun, The Old Settler, Fences, and many more. She has taught Arts Administration, Stage Management, Acting and Musical Theatre at Bennett College, Virginia Tech, and Elon University. She is the Executive Director of Touring Theatre of North Carolina; Senior Marketing Coordinator for the Maya Angelou Center for Health Equity at Wake Forest University School of Medicine and her consultant company REAL Arts Consulting has worked with artists and arts organizations across the country.

David Tidwell (Scenic Design) attended California State University, Long Beach and received his MFA in Professional Design from The University of Missouri, Kansas City under the mentoring of Broadway and Regional Theater Designer John Ezell. David has taught at The College of Wooster, Ashland University, SUNY Fredonia, University of Nebraska at Kearney, Daytona Beach College and Kansas State. He is a United Scenic Artist Local 829 Scenic Design member And IATSE member and has had the opportunity to design for everything from regional and children’s theater, commercial television, independent films, and major corporate trade shows as well as overseas with Hong Kong International School. David is currently an Associate Professor of Scenic Design at NC A&T State University. He is thrilled to have the opportu nity to work with the talented and dedicated artists and professionals at Triad Stage on this important production. He is supported by a loving wife of 30 years who shares his passion for theater and is an accomplished Lighting Designer and Technical Director, a son in New York City and a daughter who is a JAG Captain stationed in Seattle Washington.

Actors’ Equity Association (“Equity”), founded in 1913, is the U.S. labor union that represents more than 51,000 professional Actors and Stage Managers. Equity fosters the art of live theatre as an essential component of society and advances the careers of its members by negotiating wages, improving working conditions and providing a wide range of benefits, including health and pension plans. Actors’ Equity is a member of the AFL-CIO and is affiliated with FIA, an international organization of performing arts unions. #EquityWorks

Gregory J. Horton – he/him/his - (Costume Design) Gregory J. Horton is an Associate Professor and Interim Director of Theatre and Executive Director of the Paul Robeson Theater, whose areas of concentration are Costume Design and Directing. Horton is on faculty a North Carolina A&T State University in the Department of Visual and Performing Arts/Theatre. Before his position at NCAT he was tenured and taught at Saint Louis University for seven years. At NCAT he has been the Co-Chair of the Lyceum Series 2006-2018, University Committee for tenure and promotions. College of Arts and Sciences Tenure and Promotions Committee two terms, (Chair) 2013-2014, served on numerous search committees, Chair of recruitment for the Department of Visual and Performing Arts and is Associate Chair for VPA (201213/2014-15) He has designed such productions as Simply Simone, Respect, Trav’lin, Gee’s Bend, Sweet Charity, Guess Who’s Coming to Dinner, The Visit, A Woman from the Town, Something’s Afoot, A Mid Summer Night’s Dream, A Company of Wayward Saints, The Crucible, The Heiress, The Glass Menagerie, Dreamgirls, Foreigner, The Wiz, The Colored Museum, Crowns, Fences, Tartuffe’, Waiting to be Invited and My Fair Lady, Macbeth, Seven Guitars, Ma Rainey’s Black Bottom, Gem of the Ocean, Joe Turners Come and Gone, Radio Golf. Mr. Horton has directed such plays as, The Soul Of Christmas (Dec. 2019 and 2021), Lady Day at Emerson’s Bar and Grill (Oct. 2020), Crowns, Pretty Fire, Dream girls, A Funny Thing Happened on the way to the Forum, Nunsense, Ain’t Misbehaving, Tambourines To Glory, Jesus Christ Super Star, Black Nativity and Godspell. In 2019 Horton Conceived and Directed a new holiday musical entitled, The Soul of Christmas. Courses Greg

has taught in the department include Costume Construction, Costume Design, Advanced Costume Design, Costume History and Decor, Make Up, Approaching the Arts, Introduction to Drama, Children’s Theatre, Contemporary Black Theatre, Theatre History I. and Acting for Non-Majors. When Greg is not working in the department you can find him, designing all over the country. Greg has worked profes sionally around the country as Guest Director and Costume Designer in such theatres as, Utah Shakespeare Festival, The University of Wisconsin Milwaukee, Columbia Basin College/ Pasco WA, Western Washington University/Bell ingham, Hampton University, Hampton VA, The Ensemble, Houston TX, The Colorado Shake speare Festival, Colorado, Penumbra Theatre, Min. Minnesota, Swine Palace, Louisiana, Utah Shakespeare Festival, and Play House on the Square, Memphis Black Repertory, Memphis TN, Kuntu Repertory, Pittsburgh PA, and the St. Louis Black Repertory Company, St. Louis MO, most recently Kalamazoo College, Kalamazoo MI. He is a member and holds national offices in two national theatre organizations Black Theatre Network (BTN) and United States Institute of Theatre Technology (USITT). Currently Greg is a Past Director at Large for USITT (1996-99) and (2003-2006) and a Past President of Black Theatre Network. (2003-2006) Treasurer of Black Theatre Network (2012-2015)/ Presently a BTN Consultant. Horton just recently received on July 31, 2017, Outstanding Achievement in Costume Design Award, from the National Black Theatre Festival. Horton is also a Hillside High School Alumni Class of 1982. Education: BS in Home Economics, Minor in Theatre North Carolina Central University MFA in Theatre concentration, Costume Design, Michigan State University.

Actors’ Equity Association (“Equity”), founded in 1913, is the U.S. labor union that represents more than 51,000 professional Actors and Stage Managers. Equity fosters the art of live theatre as an essential component of society and advances the careers of its members by negotiating wages, improving working conditions and providing a wide range of benefits, including health and pension plans. Actors’ Equity is a member of the AFL-CIO and is affiliated with FIA, an international organization of performing arts unions. #EquityWorks

Kathy A. Perkins – she/her/hers - (Light ing Designer) Kathy (Triad Stage debut) has designed lighting for Broadway (Trouble in Mind), Off-Broadway, and regional theatres such as American Conservatory Theatre, Arena Stage, Berkeley Repertory, Seattle Repertory, St. Louis Black Repertory, Alliance, Goodman, Steppenwolf, Baltimore Center Stage, Alabama Shakespeare Festival, New Federal Theatre, Mark Taper, Two River, Yale Repertory, Actors Theatre of Louisville, People’s Light, and Playmakers Repertory.

As a scholar, she is the editor of seven anthologies focusing on women both nationally and interna tionally, including Selected Plays: Alice Childress. She is a senior editor of the Routledge Companion to African American Theatre and Performance.

Kathy has traveled to nearly fifty countries as both designer and lecturer and is the recipient of numerous research and design awards, including Ford Foundation, Fulbright, National Endowment for the Humanities (NEH), and an NAACP Image Award. She received the 2021 United States Institute for Theatre Technology (USITT) Distinguished Achievement Award for both Education and Lighting Design.

In 1995, Kathy co-curated ONSTAGE: A Century of African American Stage Design at New York’s Lincoln Center. In 2016 she served as theatre consultant for the Smithsonian National Museum of African American History and Culture inaugural exhibition Taking the Stage.

In 2007 she was inducted into the College of Fellows of the American Theatre. She received her BFA from Howard University and her M.F.A. from the University of Michigan. Kathy is faculty Emerita at the University of

Illinois at Urbana-Champaign and the University of North Carolina at Chapel Hill.

G. Clausen – he/him/his - (Sound Designer) G. Clausen’s theatrical credits include Triad Stage: The 39 Steps, Member of the Wedding, Dirty Blonde, Fences, Don Juan, The Mystery of Irma Vep, And Then There Were None, A Christmas Carol and Two Wolves and a Lamb. Playmakers Repertory: How I Learned What I Learned, Native Son, Skeleton Crew. Studio Theatre: PYG or The Misedumacation of Dorian Belle (World Premier). Victory Gardens Theater: Queen of the Night (World Premier). Children’s Theatre of Charlotte: My Wonderful Birthday Suit, The Snowy Day and Other Stories by Ezra Jack Keats. Cape Fear Regional Theatre: Baskerville: A Sherlock Holmes Mystery. Pyramid Theatre Company: The Last Supper, Too Heavy For Your Pocket, How I Learned What I Learned, Inti mate Apparel, A Raisin in the Sun and Hooded, or Being Black for Dummies. Paper Lantern: Dembe, Born Bad, and Time Stands Still. River side Theatre: Sonnets for an Old Century, How I Learned What I Learned. Perceptions Theatre and Black Lives Black Words; Call For the Wail ing Women. Rites and Reason Theatre: Tripping Over Roots.

Tina Yarborough Liggins – she/her/hers(Movement/Choreographer) Tina is the founder of TLine Danz, is trained in Jazz, Modern, Liturgical and African dance styles. She earned a BFA in Dance from the UNC Greensboro and a MFA in Arts Management from Virginia Tech. In addition to performing, Liggins is an Assistant Teaching Professor at Wake Forest University. She has also taught at North Carolina A&T State University, UNC Greensboro, Winston-Salem State University, Greensboro College and at the University of North Carolina School of the Arts

Actors’ Equity Association (“Equity”), founded in 1913, is the U.S. labor union that represents more than 51,000 professional Actors and Stage Managers. Equity fosters the art of live theatre as an essential component of society and advances the careers of its members by negotiating wages, improving working conditions and providing a wide range of benefits, including health and pension plans. Actors’ Equity is a member of the AFL-CIO and is affiliated with FIA, an international organization of performing arts unions. #EquityWorks

Summer Intensive Program. She has danced professionally with Chuck Davis African American Dance Ensemble and John Gamble/ Jan Van Dyke Modern Dance Company. She has also served as Artistic Director and Chore ographer for Otésha Creative Arts Ensemble and Co-Director and Instructor for Arts Evan gelica Christian Arts School. Her choreography credits include The Color Purple, Cats, Ain’t Misbehavin’, Chicago, Sweet Charity, Smokey Joe’s Cafe, The Wiz and Once On This Island to name a few.

Xulee Vanecia J – (Voice and Dialect) Vanecia “Xulee” Iris-Rose, MFA, is a Playwright, Actress, and Activist originally from Greens boro, North Carolina. Vanecia is a professor of voice & movement at NC A&T SU and UNCG. She been teaching voice & dialects for the last 10 years starting her working with UNLV. She is trained in the voice work of Kristin Linklator, Joan Melton, The Expressive Actor and the dialect work of Paul Meier. She recently did voice coaching for the Richard B Harrison Players: A Night at The Museum and Dearly Departed. She is excited to add Rebellious to her credits and is so excited to be working with the Triad Stage in their Reopening Premier.

Netaniah Fasion Osborne – she/her/hers(Dramaturg) Netaniah F.O. is a senior at North Carolina A&T. This is her first project as a dramaturg and she has thoroughly enjoyed the work. She hopes to pursue more work in all of the different aspect of theatre as she continues to grow. Enjoy the show!!

David J. McGraw* – he/him/his - (Stage Manager) is thrilled to be part of the re-open ing of Triad Stage, having stage managed

Pride & Prejudice, the final show in rehearsal before the pandemic closure. A proud member of Actors’ Equity Association, Mr. McGraw has stage managed for over a dozen theatres in his 27-year career, including resident production stage manager positions at Capital Repertory Theatre and Geva Theatre Center, and has twice served on the national board for the Stage Managers’ Asso ciation. He is a professor and serves as the Coor dinator for Elon University’s Arts Administration program. Research includes the Stage Manager Survey and the SM2030 Project, a longitudinal study of early career stage managers (www.smsur vey.info). He has authored chapters in 20Under40: Re-Inventing the Arts and Arts Education for the 21st Century and Off Headset: Essays on Stage Management Work, Life, and Career; produced the training film, “Standby Cue 101: An Introduction to Calling Live Performances,” and wrote the “Stage Manager’s Kit” blog for Stage Directions. Mr. McGraw is working with the South African State Theatre on a Fulbright Specialist Grant to bring FREEDOM: The Musical to the United States once international tours resume!

Bruce Price* – he/him/his - (AEA Assistant Stage Manger) Mr. Price is a recent transplant to Greensboro and is very happy to be join the Triad Stage Company. Mr. Price has worked as a Stage Manager, Production Manager, Director, Designer and Actor in over 100 productions. He was with Florida Studio Theatre for 20 years and now that he is a resident of Greensboro, he hopes this will be the first of many collaborations to come.

Actors’ Equity Association (“Equity”), founded in 1913, is the U.S. labor union that represents more than 51,000 professional Actors and Stage Managers. Equity fosters the art of live theatre as an essential component of society and advances the careers of its members by negotiating wages, improving working conditions and providing a wide range of benefits, including health and pension plans. Actors’ Equity is a member of the AFL-CIO and is affiliated with FIA, an international organization of performing arts unions. #EquityWorks

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

FOR TENNILLE FOUST

On Monday, September 12, Bennett’s beloved theater professor Tennille Foust passed away from an illness bravely and quietly fought. Her passing shocked and saddened her college family, the theater community, and the many people who loved, admired, and respected her in the community beyond.

Tennille’s career at Bennett began in 2007, after she had graduated from the Professional Theatre program at North Carolina A&T State University and earned a Master of Fine Arts degree from the University of Nevada Las Vegas. She made her way back to Greens boro and served on faculty at Bennett for 15 years, where she was recently named the Sheila C. Johnson Endowed Associate Professor of Theatre.

Over the years, hundreds of students laughed and learned with her in classes on acting, directing, and stage management. She helped students find their voices in Speech and Improvisation. She brought Black history to life through African American theater. She helped her students find their voices and sing their songs. She reminded them (and all of us) that we could be whomever we dreamed of being.

And she showed us how. She took the stage in dozens of plays—Color Purple, Black Nativity, Ain’t Misbehaving, Mad at Miles: A Black Woman’s Guide to Truth, Crowns, The Piano Lesson and so many others. Whether she was playing a Colored Girl or wise elder Miss Mary, a Steel Magnolia or the Black Madonna, she gave everything to her roles. She delighted and moved audiences in perfor mances at the Barn Dinner Theatre, Touring Theatre of North Carolina, Triad Stage, and other venues. But she also performed at churches, schools, and community organizations with the same enthusiasm–and brought the same joy to staging Brer Rabbit or Cinderella for preschool children as she brought to any theater stage.

Professor Foust became Official Director and Producer of all Bennett College ceremonies and events, bringing a “show must go on” attitude and being responsible for ensuring that every event went smoothly. Her light heart edness could not belie how seriously she insisted that her shows were rehearsed, well staged, and on time.

When you were under her direction, you knew we were being guided well. In addition to directing plays and

other performances, she managed bands and performers, (including her beloved “Boys,” who became Bennett favorites) seeking opportunities for them that would advance their dreams.

She didn’t serve Bennett only in the theater department; she played many important roles on campus. She was elected Faculty Senator for the Department of Human ities and served as the parliamentarian for the Faculty Senate. She was the chair of the Tenure & Promotion Committee and the Nominations committee and was a member of the QEP General Education Curriculum committee and SACS sub-committee. She advised students in the Alpha Psi Omega Theater Honor Society and the campus modeling troupe.

This spring, Tennille saw a grand vision come to fruition. She helped form and found the Greater Greensboro Theatre Consortium, a collective of theater departments from seven local colleges and universities, with a mission to educate and promote equity through theater. In January, Bennett received a $20,000 grant from the National Endowment for the Arts to support this work. In April, the collective presented the inaugural Amplify Black Voices Festival—a series of performances focused on the African-American experience and history. It was a triumph for her and for the community. She told a reporter, “Hopefully this is something we will do for years to come.”

And for all her accomplishments as a professor and a professional theater person, it was the woman behind the roles who touched our lives so deeply. Students knew that a desperate call in the wee hours would not go unanswered. She was an unfailing advocate and a fierce promoter of their dreams. Colleagues knew that she would speak up for what was right and just, with an eye to the welfare of the college. Tennille Foust will be long remembered for her youthful spirit, her infectious laugh, her unshakeable faith, and her belief in the best of people.

She cared so deeply, and yet she appeared the very personification of the term “unbothered.” Her catch phrase–that she adopted from The Lion King and used on every possible occasion–was “hakuna matata.” “No worries,” she reminded us–until the very end.

Her last act, like much of her work, played out behind the

scenes. It was also her last demonstration of how much she cared for us. It was just like her, wasn’t it? She put her own suffering backstage, so that all we saw, until the last, was her exuberant embrace of life. She wouldn’t have wanted us to worry, but to remember her joy. And we will, though our own hearts are broken by our loss of her.

Her impact in this area and across the country as a black female theater artist was tremendous. For her generation and the generation behind her, she was a trailblazer.

She also managed three performance groups: the band Staxx, singing artist Candi Sugarfoot Herbin and her Miss Mary shows.

In the Black community, she had a strong connection to churches and faith-based organizations through her shows “Miss Mary and the Boys” and “Miss Mary Goes Gospel.

Triad Stage is dedicating the run of “Rebellious” to Tennille and North Carolina A&T State University’s Theatre Arts Program is dedicating its season to her and will create a student award and scholarship in her honor.

Foust’s family said in a statement that they were “heart broken by the loss of our amazing daughter and sister.”

“But we are equally overwhelmed by the love and adora tion for Tennille from this great community that we call home,” their statement read. “Our family enjoyed sharing her with everyone, and although our hearts are heavy during this extremely difficult time, we are grateful that so many people embraced someone we loved so dearly.”

How can we do justice to her memory and to our grief? Perhaps, when we see a curtain go up–if we can bear to look at a stage without her–we won’t think of her as the missing thespian. We’ll remember that she was the beam of light.

Perhaps they are not stars, but rather openings in heaven where the love of our lost ones pours through and shines down upon us to let us know they are happy. – Proverb

She also toured with her show, “Miss Mary and the Boys.”

Her impact in this area as a black female theater artist was tremendous. For her generation and the generation behind her, she was a trailblazer. She also managed three performance groups: the band Staxx, singing artist Candi Sugarfoot Herbin and her Miss Mary shows.

In the Black community, she had a strong connection

to churches and faith-based organizations through her shows “Miss Mary and the Boys” and “Miss Mary Goes Gospel.

Triad Stage is dedicating the run of “Rebellious” to Tennille and North Carolina A&T State University’s Theatre Arts Program is dedicating its season to her and will create a student award and scholarship in her honor.

Foust’s family said in a statement on Wednesday that they were “heartbroken by the loss of our amazing daughter and sister.”

“But we are equally overwhelmed by the love and adoration for Tennille from this great community that we call home,” their statement read. “Our family enjoyed sharing her with everyone, and although our hearts are heavy during this extremely difficult time, we are grateful that so many people embraced someone we loved so dearly.”

CREATIVE TEAM

Sarah Hankins – she/her/hers - (Artistic Director) Sarah Hankins is honored to usher in our 20th Season, celebrating our renewed vision and commitment to amplifying diverse voices. Sarah joined the Triad Stage staff as Associate Artistic Director in 2017 and added Learning Director to her duties in August 2020. At Triad Stage she has directed White Lightning, Pride and Prejudice, and four seasons of A Christmas Carol, as well as appeared in The Passion of Teresa Rae King. Sarah worked in NYC for eight years as a freelance actor, director, and teaching artist with a thriving downtown career. Sarah is the former Artistic Director of the NYC eco-the atre Green Theatre Collective. Sarah was an Associate Artist at Orlando Shakespeare Theatre, where she performed, directed, and taught for six years. Regional credits include: Virginia Shakespeare, Georgia Shakespeare, Shakespeare & Company, Bristol Riverside, Virginia Shakespeare, Depot Theatre, and Burning Coal. Sarah has taught or directed at The College of St. Elizabeth in NJ, UNCSA, Greensboro College, GTCC, UNCG, and Guilford College. She is a proud Appalachian, the daughter of a newspaper editor and quilter, and graduate of Davidson College and the UNCG MFA Directing Program. When not at the theater, you can find Sarah keeping bees in Montgom ery County, creating cocktail infusions, and hanging with her ginger cat Toby. www.sarahhankins.com

Mitchel Sommers – he/him/his- (Interim Executive Director) What an absolute delight and honor to be asked to serve as Triad Stage’s Interim Executive Director as we reopen with an exciting 20th season, a renewed vision and Rebellious! My life’s journey has been a blast with 27 years as CTG’s Executive Director, 13 years as an adjunct acting professor at Elon University and 30 years as Temple Emanuel’s Cantorial Soloist. Add to that, incredible adventures from the Galapagos to Morocco to Peru to Borneo to Israel to Russia to the UAE and all points in between. Blessed with incred ible children and loving friends and a career doing what I love to do, what more can a man ask for? How about chicken parmigiana with spaghetti, garlic bread, Caesar salad, chocolate cake with mint chocolate chip ice cream and a diet coke! Enjoy life! This is not a dress rehearsal!!

Gitana Havner – she/her/hers - (Production Manager for REBELLIOUS)

She is a graduate from the University of North Carolina at Greensboro with a Bachelors of Fine Arts in Drama with a concentration in design and technical production with an emphasis in stage management. Her previous credits include stage manager for Lexington Live’s Into the Woods and the Rebellious Workshop for Triad Stage; assistant stage manager for Greensboro Opera’s Porgy and Bess, and Dracula, Man of La Mancha and A Midsummer Night’s Dream for Triad Stage. She has entered into the role as Production Manager for Triad Stage’s Rebellious and is grateful for the opportunity to be a part of this production. Let us all be Rebellious!

HOUSE RULES AND OTHER HELPFUL INFORMATION

• Food and beverages purchased at the lobby bar are allowed inside the theatre, but we ask that you are respectful of your fellow audience members and enjoy them quietly.

• Smoking/vaping is strictly prohibited throughout the building.

• Latecomers are seated at the discretion of the House Manager.

• Personal electronic devices, including cellular phones, must be turned off prior to the performance.

• Listening assistance devices are available at the Box Office.

• Photographic or sound recording of the performance is expressly prohibited by law. So, no cameras or recorders, please. Your cooperation is appreciated.

• For the enjoyment of all audience members, every attendee must have a ticket and sit in their own seat (no “babes in arms” or children in laps).

Thank you for respecting all Triad Stage facilities. If you have any questions, please ask the bartender, House Manager, or a Box Office Associate for clarification.

Face Masks: REQUIRED

Masks covering the mouth and nose are required to always be worn in our building, regardless of vaccination status. Masks may be removed only when actively eating or drinking and should be worn between bites and sips. If you arrive at the theater without your mask, just ask and we will provide one for you. These requirements are to help us remain compliant with the contracts we hold with Actors’ Equity Association and other theatrical unions.

Proof of Vaccination or Negative Test: NOT REQUIRED

We have relaxed our vaccination/ negative test requirements for Triad Stage audience members, guests, and visitors. Proof of vaccination or a recent negative test for COVID-19 is not required to enter our building, however vaccination against COVID-19 and all eligible boosters are strongly encouraged in alignment with the CDC’s guidance.

Social Distancing: HIGHLY RECOMMENDED

To care for yourself and protect others, please DO NOT ATTEND if you are experiencing COVID-19 symptoms or have been exposed to the virus in the past 14 days. If you are unable to attend a performance due to COVID-19 symptoms, the Box Office is happy to help arrange new seats at a future performance.

Lobby Bar: OPEN!

Beverages and snacks purchased from the Lobby Bar are allowed into the theater space during performances. We ask that you remain masked while not actively eating or drinking.

Programs: DIGITAL!

QR codes linking to our online playbill will be posted throughout the Lobby for easy, digital access. We also recommend downloading the program prior to arriving by visiting www.triadstage.org and selecting VIEW PLAYBILL on the show’s information page.

Watch this space for future updates to Triad Stage’s COVID-19 protections. Our website will always have the most up-to-date information on our policies. Changes and updates will also be included in performance reminder emails.

Why are we still wearing masks at Triad Stage when Broadway has stopped masking?

Great question!

It all hinges on the contract that we have with the professional actor and stage managers’ union, known as Actors’ Equity Association (AEA).

The short answer is that the AEA contracts for Broadway and touring shows have different rules for masking than our contract. In addition, some touring shows are non-union productions and do not operate under union protections.

The longer explanation is that Actors’ Equity Association asks each organization to sign a Memorandum of Understanding with the union agreeing to certain protocols based on their organization and theater structure. Our current COVID19 Compliance guidelines require that audiences mask because of the intimate nature of our theater space. While this allows us to provide audiences with a more personal experience, the proximity to the audience necessitates the use of masks to comply with our AEA agreement.

There are productions in NYC that also have the performers in quite close in proximity to the audience, but those productions operate under a different agreement than regional theaters.

What if I have a drink?

You can pull down your mask to eat or drink, but we ask you to re-mask when you are not actively eating or drinking.

How long will Actors’ Equity Association (AEA) require masking at Triad Stage?

We do not know when the requirements will change for our contract and organization. AEA updates the requirements periodically but are slow to make changes due to the risky nature of in-person performances in enclosed spaces. As many of you have likely read, swings and understudies are making frequent appearances on Broadway and in touring productions. Unfortunately, regional theaters do not have the same funding and resources to have such a large understudy base and therefore are more at risk to suffer detrimental financial loss — or even closure — due to cancelled performances or productions. AEA is safeguarding regional theaters and local actors by requiring more stringent protections for these contracts.

How will I know when the requirements change?

We will always keep you updated on the requirements in our show reminder emails, on our website, and in our lobby!

Thank you for your support and enjoy the show!

ABOUT TRIAD STAGE

Since opening in 2002, Triad Stage has produced over 140 Mainstage productions (including 20 World Premieres), 20 holiday shows (including 3 World Premieres), 10 UpStage Cabaret produc tions and numerous special events, and has sold over 610,000 tickets. Triad Stage has built a case for support that includes close to 2,500 Season Passholders (42% of our capacity) and more than 800 annual donors. Triad Stage is known for ground-breaking productions in our downtown Greensboro facility that includes a 300-seat thrust theater and an 80-seat cabaret space.

After 20 years of productions, in the past year, Triad Stage has reemerged as a professional regional theater that celebrates diverse voices, perspectives, and lived experiences through artistic expressions that inspire deep and palpa ble questions that face our community, selves, and world.

Our organizational culture is shaped by our expanded Diversity, Equity, Inclusion and Access (DEIA), Anti-Racism, zero-tolerances harass ment policies, and by community standards. Triad Stage is an arts hub for our community, facilitating conversation and inspiring creativity. We celebrate new work, amplify diverse voices, share the stories of our changing region, and provide opportunities for fostering the arts in the Triad, including a Creativity Lab. We value community partnerships which include other arts organizations, university partners, and local businesses. We create learning environments that spark imagination and we commit to mento ring the next generation of arts workers.

With the purpose of increasing access and diversifying participation through powerful and inspiring theatrical experiences, Triad Stage increases impact through expanded networks and durable relationships, celebrates our many communities in ways that reflect the unique and vibrant Triad region, and is building a thriv ing arts enterprise that is healthy, adaptive, and accountable.

Triad Stage is a barrier-breaking, inclusive, and accessible artistic hub with a focus on building community partnerships, sparking conversation about issues that face our world, and fostering the arts in our state. Triad Stage commits to the responsibility of providing and maintaining brave and healthy working and learning environments and to action steps to improve the creative spaces for all who engage with Triad Stage. Core to our mission are locally-focused arts and engagement through powerful professional productions and programs.

Triad Stage is guided by the Core Values of Adventure (we explore new territory, artisti cally, and other, to achieve greater impact), Collaboration (we work together to achieve our goals; we aren’t siloed), Diversity (we build an organization that is reflective of our greater community), Excellence (we value a consistently high level of work, both artisti cally and organizationally), Inclusiveness (we incorporate historically marginalized voices in programs, decisions, and direction setting), and Stewardship (we take seriously the invest ment the community makes in us and are prudent managers of those resources).

DRAMATURGY

Visit our dramaturgy page for insight into the real life inspirations of Rebellious! North Carolina A&T student and Rebellious drama turg Netaniah Fashion Osborne collected and curated this information for our cast and creative team.

View Dramaturgy

TRIAD STAGE’S NEW PLAY INITIATIVE

As we embark on our next 20 years, we are committing to developing new work through the New Play Initiative. We are investing in the Tennessee Williams and Lorraine Hansberry’s of tomorrow by supporting their work today with workshops, premieres, and – most importantly – time to be creative and take risks. We are proud to kick off this initiative with the World Premiere of Rebellious, which was commissioned in 2017 by Triad Stage with the support of the National Endowment for the Arts and a private donor. Throughout our closure we cultivated the play with virtual developmental workshops designed to provide playwright Mike Wiley with opportunities to explore ideas, hear the script, and have the space and time to build the story.

In addition to our World Premiere in Season 20, we will also hold a developmental workshop of NYC playwright Patricia Lynn’s Jekyll, a contemporary adaptation of the gothic novella Strange Case of Dr Jekyll and Mr Hyde. Jekyll will have a week of rehearsal followed by four workshop readings, giving the playwright time for feedback, reflection, and adjustments. As she considers what she has learned in the workshop readings, Patricia Lynn will have a year to hone the script for a full production.

The New Play Initiative will give playwrights the support to develop new work at Triad Stage with the ultimate goal of a world premiere production included in every season. Your support of the New Play Initiative can make a big impact on the classics of tomorrow!

Upgrade your Triad Stage experience by applying the value of your REBELLIOUS single tickets toward a 3-Play Season Pass.

See the Box Office for more information or to become a Season Passholder today!

UPGRADE YOUR REBELLIOUS TICKETS TO A SEASON PASS!

Stop by the Box Office to apply the value of your REBELLIOUS single tickets to the purchase of a season pass for all three SEASON 20 MainStage productions! Season Passholder benefits include:

Great Savings

Season Passholders save over single ticket prices. For the best savings, see all 3 MainStage shows and save significantly over the cost of single tickets.

Exclusive Discounts

25% discount on additional single ticket purchases to any SEASON 20 MainStage production through May 2023. Give them as gifts or bring friends, family, neighbors, clients, and co-workers.

Renewal & Upgrade Priority

Passholders get the first chance to confirm or request changes to their seats for our 2023-2024 season.

SERIES

Guaranteed Priority Seating

Best available seats in the house!

Easy Exchanges

We can accommodate most exchange requests throughout the season, so no need to worry about being locked in if your schedule changes later.

Educator & Military Discounts

Season Passes for educators and active-duty military are available at half price! Please consult with the Box Office for exact pricing.

On average, Season Passholders save at least 30% on the cost to see all 3 MainStage shows.

PRICE LEVEL

NEW PLAY INITIATIVE

Script is in development for a future World Premiere at Triad Stage.

Men are being murdered by a mysterious shadow in the night and the body count keeps growing. Jane isn’t sure who is to blame but is worried about the sudden disappearances of her friend Jekyll. What if Jekyll’s experiments in rage management have gotten out of her control? Jane must find out the truth in a desperate race against the police investigation that threatens to expose everything.

At lest that's the plot today. With a developmental process things can change! Actors will present the play with scripts in hand as the playwright sees and hears her story come to life. She will have a chance to make rewrites to the script between each public reading!

Rated PG: Discussions of murder, descriptions of violence, references to sexual impropriety.

INSTITUTIONAL SUPPORTERS

Triad Stage wishes to thank the following corporations and organizations that have generously contributed.

Season Sponsors

Rebellious Sponsors

Media Partners

Triad Stage is a proud member of the following organizations

Bennett College North Carolina Agricultural and Technical State University Piedmont Natural Gas Quaintance Weaver Restaurants and Hotels Volvo Group North America Carolina Peacemaker News & Record/Go Triad Triad City Beat Yes! Weekly Arts North Carolina

North Carolina Theatre Conference Southeastern Theatre Conference Greensboro Chamber of Commerce Winston-Salem Chamber High Point Chamber of Commerce Triad Theatre League

Thank

to all our donors who have generously given to make the 20th season a reality.

For a complete list of our donors and supporters visit www.triadstage.org/support.

We are grateful for your continued support and look forward to many more years of serving the Triad.

BOARD AND STAFF

Board of Trustees Officers

Deborah Hayes (she/her/hers), Board Co-Chair

Sarah M. Saint (she/her, they/them), Board Co-Chair

Cassandra Lowe Williams, Board Co-Chair

David Allen, Treasurer

Brandon Bensley, Secretary

Members at Large

Margaret Arbuckle (she/her/hers), Donna Baldwin-Bradby (she/her/hers), Jewell Cooper, Ron Lawrence (he/him/his), Terri Relos, Brooke Wingate (she/her/hers)

Special Thanks:

Destiny Jackson at Compass Healthcare and Rehab

Cameron Pipkin Jordan Tate Kelvin Register

Jodi Wiley Coleman Wiley Jordan Wiley Stephen Barefoot Melody Ivins Timothy B. Tyson

Special thanks to Sarah Hankins, Donna Bradby, and the entire original workshop cast: Kyma Lassiter, Lakeisha Coffey, Rasool Jahan, Denise Stewart, Aurelia Bellfield, Hilda Willis, David Zum Brunnen, Thaddaeus Allen Edwards.

Triad Stage Staff

Sarah Hankins, Artistic Director

Mitchel Sommers, Interim Executive Director

Tabitha Davis, Bookkeeper/Office Manager

Mary K. Reading, Box Office Manager

Daniel Morrison, House Manager and Volunteer Coordinator

Martha Latta, Box Office Associate

Yassin Nur, Box Office Associate

Vance Routh, Box Office Associate Catheryn Wright, Box Office Associate Graphic Design by Neidy Perdomo

For REBELLIOUS

Josh Bothwell (he/him/his), Technical Director

Vyvian Figueredo (he/him/his), Lead Carpenter

TJ Scott, Carpenter

David Rawlins, Scenic Charge Kiahana Perez, Head Electrician Taylor Dankovich (she/her/hers), Sound Supervisor

Sara Beth Corriher, Costume Shop Manager

Christopher Fields, Props Supervisor Charli Cruz (he/ him, they/ them), Sound Board Operator Cai Cook (he/him, they/them), Light Board Operator

Madison L.D Parrish (she/her, they/them), Wardrobe Supervisor Taylor Parrish (she/her/hers), Dresser Francy Rawls (she/her/hers), Karin Powell (she/her/hers), Aryana Brown, Run Crew Kyle Grimsley (he/him/his), Over-hire Extraordinaire