About The American Century TheaterThe American Century Theater was founded in 1994. We are a professional nonprofit theater company dedicated to presenting great, important, and worthy American plays of the twentieth century—what Henry Luce called “the American Century.”

The company’s mission is one of rediscovery, enlightenment, and perspective, not nostalgia or preservation. Americans must not lose the extraordinary vision and wisdom of past playwrights, nor can we afford to surrender the moorings to our shared cultural heritage.

Our mission is also driven by a conviction that communities need theater, and theater needs audiences. To those ends, this company is committed to producing plays that challenge and move all Americans, of all ages, origins, and points of view. In particular, we strive to create theatrical experiences that entire families can watch, enjoy, and discuss long afterward.

This program is supported in part by Arlington County throughthe Arlington Commission for the Arts and Arlington Cultural Affairs, a division

of Arlington Economic Development; the Virginia Commission for the Arts;the National Endowment for the Arts; and many generous donors.

Board of Directors Louis GeorgeWes Macadam Wendy KenneyGabe Goldberg, Madi Green, Vivian Kallen, Wes Macadam, Jack Marshall, Kevin McIntyre

Chair Vice-Chair Treasurer Board

Staff Jack Marshall Artistic Director

Rip ClaassenBrian CraneEllen DempseyKate Dorrell

Tom FullerRhonda HillSteven Scott MazzolaLindsey E. Moore

Emily Morrison Ed MoserJoli Provost Ginny Tarris

The American Century Theater presents

There will be one fifteen-minute intermission.

Please—Turn off cell phones and other distracting devices.The use of recording equipment and taking of photographs

during the performance are strictly prohibited.

American Century’sBroadway Hit Parade

Conceived by Jack Marshall and Jacqueline Manger Compiled by Tom Fuller

The production is brought to you as part of theRobert M. McElwaine Reflections Series.

Gunston Theatre Two2700 South Lang Street, Arlington

March 19–22, 2015

Artistic Director Jack Marshall

DirectorJacqueline Manger

Musical DirectorTom Fuller

Production ManagerEd Moser

Associate Production ManagerLindsey E. Moore

Lighting DesignMarc Allan Wright

Stage ManagerKate Kilbane*

Production TeamConceived by . . . . . . . . . . . . . . . . . . . . . . . Jack Marshall and Jacqueline MangerCompiled by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tom FullerDirector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jacqueline MangerMusical Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tom FullerProduction Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ed MoserAssociate Production Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . Lindsey E. MooreStage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kate Kilbane*Lighting Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Marc Allan WrightSpot Operator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Catherine Casino

OnstageSteve LebensChanukah Jane LilburneRachel M. LooseJacqueline MangerTom MangerJack MarshallBuzz Mauro*John Tremain MayCraig MillerEmily MorrisonJane PetkofskyKarin RosnizeckAlvin Smithson, Pianist

Terrence BennettVanessa BradchulisBrian Childers*Esther Covington*Andrea CreelEvan CrumpIlona Dulaski*Eileen FarrellTina GrandchilarDan HerrelPatricia Hurley*Maureen Kerrigan*Larry Kolp

Special ThanksPablo MarquezNatalie RogersMichael SalmiLia TampubolonYorktown High School Transition Program

* Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers.

American Century’s Broadway Hit Parade Song List

Act OneLady in the DarkThe Greatest Show on Earth/The Best Years of His Life Liza: Maureen Kerrigan Ringmaster: Brian Childers Charlie: Buzz Mauro Randy: Tom Manger Kendall: Craig Miller EnsembleTchaikowsky Ringmaster: Brian ChildersThe Saga of Jenny Liza: Maureen Kerrigan* Ensemble Call Me Mister (2006) The Face on the Dime George: Larry Kolp Call Me Mister Johnny: Evan Crump Floorwalker: Chanukah Jane Lilburne Ensemble

Hollywood Pinafore (2000)When I Was a Lad Joe Porter: Jack Marshall Ensemble

Danny and Sylvia (2001)What Will We Say? Danny: Brian Childers Sylvia: Esther Covington

Dear World (2003)I Don’t Want to Know Countess: Ilona DulaskiThe Spring of Next Year President: Buzz Mauro Prospector: Evan Crump Lawyer: Esther CovingtonTea Party Trio Countess: Ilona Dulaski Constance: Jacqueline Manger Gabrielle: Emily Morrison

An American Century Christmas (2009)90-second Christmas Carol Terrence Bennett, Vanessa Bradchulis, Evan Crump, Larry Kolp, Chanukah Jane Lilburne, Tom Manger, Craig Miller, Jane Petkofsky

The Cradle Will Rock (1999)Nickel under the Foot Moll: Jacqueline MangerThe Cradle Will Rock Larry Foreman: Buzz Mauro Ensemble

Act twOarchy & mehitabel (1999)The Actor Cat Tyrone: John Tremain May

If Only in My Dreams (2004)Boogie Woogie Bugle Boy Patty: Patricia Hurley Maxene: Andrea Creel LaVerne: Rachel M. Loose

The Robber Bridegroom (2003)Steal With Style Jamie: Brian Childers Violin: Esther Covington Ensemble

I Do! I Do! (2013)What Is a Woman? Chris: Terrence Bennett Christie: Jane PetkofskyMy Cup Runneth Over Chris: Terrence Bennett Christie: Rachel M. Loose Leslie: Steve Lebens Leslie: Esther Covington Ensemble

Babes in Arms (2010)The Lady Is a Tramp Billie Smith: Tina Ghandchilar

Hellzapoppin’ (2007)A Pretty Girl Is Like a Melody Singer: Steve Lebens Women: Vanessa Bradchulis, Esther Covington, Andrea Creel, Tina Ghandchilar, Patricia Hurley, Chanukah Jane Lilburne, Rachel M. Loose, Karin Rosnizeck

One Touch of Venus (2005)I’m a Stranger Here Myself Venus: Maureen KerriganSpeak Low Venus: Patricia Hurley Rodney Hatch: Dan Herrel

The Golden AppleThe Big Spree Ensemble

One Night with Fanny Brice (2010)My Man Fanny Brice: Esther Covington

Dear World (2003)Dear World Ensemble

encOreMinnie the Moocher Danny Kaye: Brian Childers Company

American Century Theater and American MusicalsIf The American Century Theater mission of performing only 20th century stage works that other companies neglect, avoid, forget about, or run in terror at the thought of producing was audacious, applying that mission to musicals was insane, and potentially suicidal.

While some small cast musicals have been successful on Broadway, the genre is mostly made up of very large casts, expensive musicians, complex set requirements, and lots of costumes, as well as expensive licensing agreements. This means great expense, and great expense means, for a small company like ours, that every time we took on a musical, we were betting the company on black as the roulette wheel of audience whims and critical tastes spun away. Musicals are always gambles, and, in this theater, with limited seating and no way to extend a hit, they were reckless ones.

It is especially rash to invest large resources in a show that audiences may not want to see—if they wanted to see it, presumably theaters would produce it—and optimistic projections assume that the production will be a good one. Musicals are unforgiving at the professional level (at the amateur level, audiences are often pleased just to hear the songs and impressed at the effort), and not many companies are reliable at pulling them off.

TACT had some added problems. The black box, in its intimacy, is marvelous for plays, but cramped for musicals. Make the stage big enough, and there aren’t enough seats to break even. With no flys or wings, elaborate set changes—and many musicals cannot be done well without them— are either going to be ruinously long or impossible. There is almost no backstage space, either, to store and move wagons or set pieces. Painted backdrops, which rely on lighting and distance to be effective (if they are painted well) look fake as fake can be in a black box theater if they are intended to convey realistic scenes.

Then there is the costume problem. When TACT started performing at Gunston Theatre Two, and for its first six years of existence, there were no dressing rooms. Everyone changed in empty offices vacated by Arlington County staff. With big casts, the conditions weren’t merely unprofessional, they were frightening, prompting thoughts of the Black Hole of Calcutta. Modesty was out, of course, but so was orderly hanging of clothes and a modicum of organization. One of our leads was so distraught by the chaos that I thought we would lose her to a breakdown.

And, of course, TACT’s limitations made reviews a minefield. What leads most modern critics to appreciate musical theater—familiar songs, lots of dancing, elaborate sets, big names, and Sondheim—was almost entirely absent from TACT musicals, and, with rare exceptions, decent reviews by reviewers who understood and supported what we were doing were rare as well.

Despite all of this and all of the risks and portents of doom, the intrepid American Century Theater staff and artists gave local audiences an opportunity to see sixteen ambitious musicals and musical revues, beginning in its third season. Among them were the most honored and audacious of TACT achievements, recreations of lost scripts and scores, and the most recent, and perhaps the last, revivals of bona fide theatrical legends that had not been seen anywhere in decades.

One musical made TACT the most profit of any production its twenty-year run; another was nominated as the area’s Best Production of a Musical in the good old days when Helen Hayes allowed the small theaters to compete with the big ones; another drew the largest audiences in our history; and, yes, one lost more money than any TACT show ever.

If we had been reasonable, we never should have produced any musicals at all. Theater, however, is unreasonable by nature. These sixteen shows represent much of the company’s finest work, its most lasting contributions to American theater, its most impressive achievements, and most of all, great adventures—for us and for you.

Hit or misfire, we don’t regret a moment of any of them.

—Jack Marshall, Artistic Director, The American Century Theater

About the Robert M. McElwaine Reflections SeriesAmerican Century’s Broadway Hit Parade is the fifteenth production presented as part of the Robert M. McElwaine Reflections Series, an American Century Theater initiative designed to inspire and produce new and original stage works that complement the company’s repertoire of important American plays and musicals from the 20th century. RMM Reflections includes new revues, plays, and musicals that bring to life the remarkable personalities, events and movements of “the American Century.”

continued, inside back cover

Terrence Bennett was last seen at The American Century Theater in Marathon ‘33 and Abe Lincoln in Illinois (staged reading). Recent credits: Rum Tum Tugger in Cats (Compass Rose Theater), Dreamgirls (Toby’s Dinner Theatre). Tours: Bessie & Bill: Black Wings in Flight (Discovery Theater); The Yojo Show (Bromley Productions); Gaylord National Harbor; Busch Gardens; Six Flags. TV: The 700 Club; Keepers of the Flame. Recently hosted Chessie Jam, the largest children’s music festival on the East Coast.

Cast

In late 1987, I saw an audition notice for Lady in the Dark, to be produced by The American Century Theater. I had recently relocated from New York to work for an investment firm in DC having moved on from a career as a professional actress. A lifelong lover of musical theater, I actually knew about the musical and decided I had to do it. Luckily, Director Jack Marshall and Musical Director Tom Fuller agreed. During rehearsals, I became smitten with the man who would become my husband and found an artistic home.

As much as I thought I knew about musical theater, I soon realized it was nothing compared to what Marshall and Fuller knew! archy & mehitabel . . . what? . . . I thought when Jack asked me to assist on the show, which led to further collaborations. So I jumped at the chance to direct this one last one. As we met to cast and compile Broadway Hit Parade I realized the amazing breadth of talent that has graced the TACT stage. I am very grateful to everyone who agreed to perform in this review and to every person who has lent their talents over the years to this theater. I want to especially thank Tom Fuller who has done tremendous work gathering the music and helping us remember our old parts or learn new ones.

I also must thank you, The Audience. Whether you are here as a lovers of musical theater, subscribers, former TACT actors, or friends of performers, we would not have a show without you. In the spirit of TACT’s Reflections series, this is a script-in-hand, minimally staged singing of highlights from past productions. So in addition to singing actors, a pianist, lights, a few props, and a small crew and conductor, we have your imaginations. Theater is a collaborative art and the audience is as much a participant as the creative artists. So please enjoy and please remember. After this show all we will have left of the TACT musical will be our memories.

—Jacqueline Manger, Director American Century’s Broadway Hit Parade

Vaness Bradchulis is proud to return to The American Century Theater where she made her professional debut as Alma in The Eccentricities of a Nightingale, her favorite TACT show. She also loved appearing at TACT in Judgment at Nuremberg, The Country Girl, and Serenading Louie. Some local credits include The Love of the Nightingale, Scapin, and Zorro (Constellation Theatre Company); Macbeth (Annapolis Shakespeare Company); and Qualities of Starlight and Running in Circles Screaming (Source Festival).

Brian Childers received the 2002 Helen Hayes Award for Outstanding Leading Actor in a Musical and the Mary Goldwater Award for his performance as Danny Kaye in Danny and Sylvia: A Musical Love Story with The American Century Theater. He has been involved in six shows with TACT: The Boys in the Band (Emory), The Second Man (Austin Lowe), The Robber Bridegroom (Jamie Lockhart), Detective Story (Arthur Kindred), Danny and Sylvia (Danny Kaye), and Hollywood Pinafore (Ralph Rackstraw), and his one-man show, An Evening with Danny Kaye. Thank you to Jack Marshall for all the years of laughter.

Esther Covington Although playing Fanny in One Night with Fanny Brice was an honor and one of her most challenging roles, Esther’s favorite American Century Theater role was Winifred in Hellzapoppin’, the mousy librarian who could not remember the lyrics to “Eleanor Rigby.” Something about forgetting such iconic words in such a stupid way was weirdly rewarding. Truth be told, though, she has enjoyed all her roles in TACT shows, including I Do! I Do! and Babes in Arms.

Andrea Creel has previously appeared with The American Century Theater in The Robber Bridegroom, Machinal, One Touch of Venus, and Hellzapoppin’. She is thrilled to be performing on the TACT stage one last time.

Evan Crump has performed in over a hundred jillion American Century Theater shows, including leading roles in Ah, Wilderness!, Bang the Drum Slowly, and Jack Marshall’s dreams. His 2007 performance as Man with Plant in Hellzapoppin’ was nominated for a Tony Award but lost out to Mark Rylance in Boeing Boeing, in what is widely considered the greatest travesty in the modern playgoing era.

Ilona Dulaski is excited to be revisiting Dear World (Countess) for The American Century Theater. Other credits include: A Little Night Music, Sweeney Todd, and Shear Madness (Kennedy Center); Turandot (Washington Opera); Witches of Eastwick, Follies, and 110 in the Shade (Signature Theatre); and A Prayer for Owen Meany and Wintertime (Round House Theatre). Ilona just closed Master Class (CATCO, Columbus OH), where she played Maria Callas to rave reviews. www.IlonaDulaski.com

Eileen Farrell has appeared with The American Century Theater in Cops and The Seven Year Itch. She has played a variety of roles in area community theaters over the years.

Tina Ghandchilar is excited and honored to be back at The American Century Theater working with this cast and crew. She was last seen with TACT as Billy in Babes in Arms (staged reading). Other favorite credits include Christmas in Washington and the Kennedy Center Honors with The Joyce Garrett Gospel Choir. Upcoming: Martha in The Secret Garden (Theatre Lab).

Dan Herrel appeared in The American Century Theater’s If Only in My Dreams, One Touch of Venus (Rodney), and Stunt Girl (Arthur Brisbane). At Signature Theatre, Dan was Bauman in Mack and Mabel and understudy for Follies, Urinetown (Cladwell/Old Man Strong) and Assassins (Guiteau). TV: Tom Wolfe in The Right Stuff (TLC); Anthem (PBS).

Patricia Hurley is honored to have appeared with The American Century Theater in If Only in My Dreams, U.S.A., and Stunt Girl (staged reading). Regional: Hypatia in Misalliance, Leonide in Triumph of Love, Sr. James in Doubt, Guinevere in Camelot, Wendy in Peter Pan, and Tzeitel in Fiddler on the Roof (Olney Theatre); Percy in The Spitfire Grill (Fulton Theatre, PA); Lady Stutfield in Lady Windermere’s Fan (Shakespeare Theatre Company). “The curtain descends too soon, too soon.” Love to my daughters and husband.

Maureen Kerrigan is honored to be reprising her favorite Helen Hayes Award–nominated role, Liza in Lady in the Dark. Other TACT performances: Man in the Moon Marigolds and Things That Go Bump in the Night. Maureen is an Emmy Award–winning actress whose credits include The Accidental Tourist, South Pacific (Arena), To Kill a Mockingbird (Ford’s Theatre), and House of Cards.

Larry Kolp had the most fun with The American Century Theater with the organized fake chaos beginning The Cradle Will Rock: Supposedly locked out of their theater, cast had to gather costumes and props from their audience. As Reverend Salvation, Larry borrowed crosses from the necks of the devout and dark sweaters and tweed jackets from many. He took glasses from a critic, left a guy shirtless, and best of all, horrified Jack by getting one lady’s mink coat.

Steve Lebens Favorite American Century Theater shows include Will Success Spoil Rock Hunter?, Stalag 17, I Do! I Do!, and Judgment at Nuremberg. Steve can currently be seen in Seasons One and Three of House of Cards and is playing Albany in a film version of King Lear now in production in Washington.

Chanukah Jane Lilburne is happy and sad about her very last production with The American Century Theater. Her very first role with TACT was Dolores in Babes in Arms (staged reading). She has also performed and worked behind the scenes in other shows with TACT over the past few years.

Rachel M. Loose is thrilled to be back at The American Century Theater where she performed in The Seven Year Itch, Babes in Arms (staged reading), and her favorite role, Ida/Angel in Marathon ‘33. Other credits: Shining City (Capital City Players), Sex on the Brain (Forum Theatre), A Christmas Carol (Silver Spring Stage), 7 Lessons on Suicide, The Foley Artist, and The Frustrations of Stoker Pratt (Zero Hour Theater Company). By day, Rachel is Audience Services Manager at Woolly Mammoth Theatre Company.

Jacqueline Manger See production staff bios

Tom Manger first performed in front of a TACT audience nearly twenty years ago. He is thrilled to be reprising his role of Randy Curtis with so many of his former (and new) talented cast mates. Tom is honored to be a small part of the TACT legacy!

Jack Marshall See production staff bios

Buzz Mauro appeared as Charlie Johnson in the wonderful American Century Theater production of Lady in the Dark. He has performed at Signature, specializing in Sondheim roles (notably Bobby and John Wilkes Booth) and Ford’s (both 1776-es), among many other theaters, and is one of the founders and Co-Directors of The Theatre Lab School of the Dramatic Arts. Buzz would like to congratulate everyone at TACT for their unique and lasting contributions to theater in the Washington area

Jack Marshall (Master of Ceremony and Co-Conceiver/Playwright) is the co-founder (with Tim Lynch) and the founding artistic director of The American Century Theater. He directed Lady in the Dark, The Cradle Will Rock, Hellzapoppin’, Danny and Sylvia, and all but four of the musicals and revues featured in this retrospective. If you’re upset about TACT exiting after this season, blame him: It’s all his fault.

Jacqueline Manger (Director, Co-Conceiver, and Performer) first performed for The American Century Theater as Sutton in Lady in the Dark and is thrilled that some of the original cast is back for this review.

Production Staff

John Tremain May appeared as the Actor Cat in The American Century Theater production of archy & mehitabel. In the “American Century,” he studied for many years with John Bullock and performed with local groups including the Arlington Players, Georgetown Gilbert & Sullivan Society, British Embassy Players, Hexagon, and the Music Lobby. He dedicates this performance to his friend Bill Karukas, the real Actor Cat.

Craig Miller made his original American Century Theater performance as Charlie in Seascape and went on to perform in seven other TACT productions. He has performed in many DC area theatres and will next be seen in TACT’s final production, Twelve Angry Men.

Emily Morrison has performed in three previous American Century Theater productions: Stage Door, Little Murders, and her favorite, The Seven Year Itch. She also has been the publicity and marketing department-of-one for TACT since 2011. Thanks TACT colleagues—both casts and crews—for the fun years and the honor of working with you! emilylovemorrison.com

Jane Petkofsky has previously appeared with The American Century Theater in Marathon ’33 (Evie), Stage Door (Mrs. Orcutt), and Beyond the Horizon (Kate Mayo). She’s also worked with The Keegan Theatre (where she is a company member), Pallas Theatre Collective, Charter Theatre, The Washington Rogues, and Signature Theatre, among others. She is a graduate of the Honors Acting Conservatory at the Theatre Lab School of Dramatic Arts. Upcoming: Major Barbara with Pallas Theatre Collective.

Karin Rosnizeck made her first American Century Theater appearance in Marathon ‘33 as Magdalena Sanger, an aging Hollywood diva with a drinking (and singing) problem trying to revive her fame in low-paying gigs like dance marathons. Then came the Marlene Dietrich part—Frau Bertolt, Nazi widow in Judgment at Nuremberg, trying to keep her dignity in a destroyed Berlin at “Zero Hour”. Upcoming: Jarry Inside Out (Spooky Action) and Tamora in Titus Andronicus (Chesapeake Shakespeare Company).

Other musical TACT roles: Moll in The Cradle Will Rock and Constance in Dear World. As TACT’s past Associate Artistic Director, she worked on many productions, including most of the musicals presented here tonight. Her favorite—and finest—productions: her son Jack, with whom she was pregnant while choreographing Danny and Sylvia, and daughter Jesse, with whom she was nine months pregnant while Director and Choreographer for If Only in My Dreams.

Tom Fuller (Musical Director) has been the musical director for The American Century Theater productions of Lady in the Dark, archy & mehitabel, The Cradle Will Rock, Hollywood Pinafore, Danny and Sylvia, Laughter at Ten O’ Clock, If Only in My Dreams (which he co-authored), One Touch of Venus, Call Me Mister, Hellzapoppin’, Marathon ’33, and I Do! I Do!. He adapted Uncle Tom’s Cabin, created (with Jack Marshall) An American Century Christmas, appeared onstage in the most recent production of Moby Dick Rehearsed, and is the general musical supervisor for all TACT shows.

Kate Kilbane (Stage Manager) is excited to be working for the first time with The American Century Theater on this musical send off. Kate was Assistant Stage Manager for Violet at Ford’s Theatre, where she has worked since 2006. She recently worked on The Intelligent Homosexual’s Guide at Theater J, where she has stage managed since 2007. Other credits include assisting at The Kennedy Center on First You Dream, Follies, The Lisbon Traviata, and Ragtime.

Lindsey E. Moore (Associate Production Manager) has been with The American Century Theater for three years, involved in one way or another with every production during that time. Her favorite role was Stage Manager—for Crime and Punishment in America (Cops and Hello

The Picture of Dorian Grayby Oscar WildeSee highlights from Wilde’s only novel about a haunting portrait that ages with each debaucherous vice that young Dorian entertains.Sunday September 29, 7:00 pm

Warehouse Theater DC645 New York Ave NW WDC 20001BY METRO: MT. VERNON SQ. (Green/Yellow Lines) GALLERY PLACE – Chinatown Exit (Red/Green/Yellow Lines)

INTERNATIONAL. SENSATIONAL. THEATER.

Tickets: scenatheater.org

Out There), An Evening with Danny Kaye, Judgment at Nuremberg, Bang the Drum Slowly, I Do! I Do!, Marathon ’33, and Stage Door.

Ed Moser (Production Manager) has produced The American Century Theater’s Come Blow Your Horn, Bang the Drum Slowly, Oh Dad, Poor Dad . . . , Judgment at Nuremberg, An Evening with Danny Kaye, The Seven Year Itch, and Crime and Punishment in America (Cops and Hello Out There). He is a regional audio-production veteran whose favorite sound designs for TACT include Native Son, Treadwell: Bright and Dark, Visit to a Small Planet, The Country Girl, Little Murders, and Marathon ’33.

Marc Allan Wright (Lighting Design) has almost thirty years’ experience as a production manager, lighting designer, educator, and arts administrator in the DC area. With The American Century Theater, Marc most recently designed Judgment at Nuremberg. Favorite past designs for TACT: Danny and Sylvia, Machinal, Mister Roberts, and If Only in My Dreams. His first design for TACT was for Thirst by Eugene O’Neil, and he will design lights for the final show, Twelve Angry Men. Marc is Director of Operations at the BlackRock Center for the Arts.

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Coming soon—Blossom Secrets Stroll | Cherry Tree

Walk with Casey TreesMost Haunted | Capitol Hauntings

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AARPRose Kobylinski and Rick AlbaniElizabeth and Tom AndersonAnonymousSally Beth BergerWilliam S. BerlinBill Grossman Fund of The Isidore Grossman FoundationDavid and Janet BondElizabeth BorgenNancy BrandonKay CasstevensSherry ChrissKenneth ClineRichard DowellGloria M. DuganState Senator Barbara FavolaJay Fisette

Carl FrettsJames and Maria GentleBrenda Pommerenke and Larry GeorgeMadi GreenRobert GronenbergEdward and Shelley GrossmanJean HandsberryPat and Bruce HarrisonRoxanne Hoare, in memory of Sean R. HoareRoger and Katharine HoodThomas HoyaCarla HubnerPaul J. KlingenbergRobert KraftJo Ursini and Ken KrantzDavid LamdinRichard and Karen Lazarus

The Players ($100–$249)

Richard and Jean BartonRon and Dorothy BrandtDavid W. BriggsDaniel and Nancy CooperTracy FisherMarian FlynnBarbara A. GallagherIrene Szopo and Alan HermanIBM International FoundationEileen KennaRobert KimminsRaymond KogutWinnie Macfarlan

Peri MahaleyJacqueline and Thomas MangerBuzz MauroHarriet McGuire and the Troy FoundationRichard and Dorothy MillerMarie Milnes-vasquezDennis NolletteJennifer Sosin and Adam PosenRalph and Susan ShepardDavid and Willa SiegelFrontis WigginsAudrey and Michael Wyatt

Living Theater Lovers ($250–$499)

Thank you to the many generous donors who provided support from March 1, 2014 –March 18, 2015

Ellen Maland and Donald AdamsAnonymous

Wendy and Bob KenneyKevin and Jennifer McIntyre

Provincetown Players ($2,500–$4,999)

Noreen A. Hynes and W. Seth CarusMary McGowan and Steven CohenSuzanne Thouvenelle and Dennis DeloriaVivian and Arthur KallenWes Macadam

Andrew McElwaineMichael McMurphy, in memory of Patrick Michael McMurphyThe Boeing CompanySheldon and Marilyn Wallerstein

Theater Guilders ($1,000–$2,499)

Robert and Margaret DuboisEdwin FountainEllen Dempsey and Louis George

Constance McAdamCarl and Undine Nash

Mercury Theater Backers ($500–$999)

AnonymousSusan BarrettBarbara A. BearAllida BlackMichael and Sue BoorsteinKaren BoppPatricia BragdonSusan BrooksPeter CaressAnne CaywoodBoris and Earlene CherneyRobert ClarkRonald CoganAndrea CreelArthur DaoulasKaren DarnerJudy DavisPam DiramioWalter and Susan DukaWilliam ErdmannLaura FarrandDonna FeirtagJohn FosterLawrence FranksMartin L GandersonJean GetleinClare GibsonJudith GillspieAron GolbergLawrence GordonGerald GreenwaldChristine GregoryBill HannayArt HauptmanRachel HechtJonathan HelwigGeorge S. HobartDaniel HodesAlison Drucker and Thomas HolzmanPhilip John

Marilyn JohnsonHerschel KanterBarbara KeishPhil and Mary Jane KlingelhoferKathryn and Robert KrubsackCiel LagumenDianne LevineMargaret LorenzChris LynchDee Brown and Glen MacdonaldOzzi MaskMilan and Evelyn MateyMarjorie MayerElizabeth McDanielElliott McEnteeD. Joy MeyerRuth MitchellEmily MorrisonToni MullerCharles and Ruth PerryGerda PiccoDonna ReynoldsPatrick RileyFrancis RocheSharon SchoumacherBarbara SchraderMarianne SoponisJohn SpoorJoann TalbottThe Marilyn Johnson Sewing Design StudioMarjorie TownsendRenate WallenbergBarbara WashburnCherie WasoffClifford WhithamTammy WilesBob Skelly and Bonnie WilliamsRaymond WolfeCarol and Henry WolinskyDennis Wright

The Federal Theater Funders ($10–$99)

Donors-in-kind Peter Caress, Brian Crane, Dennis Deloria, Ellen Dempsey, Kate Dorrell, Bill Gordon, Vivian Kallen, Wendy Kenney, Loren Platzman, and Bridget Serchak

Gudrun LuchsingerGrace Bowen MarshallAlexandra McElwaineJudith McGarveyGary and Christine MooreMargaret MulcahyFranklin ReederGabriel Goldberg and Kim RendelsonJames T. RorkeRobin RothrockDiane Schroth

Carole ShifrinJennifer ShoupAlan and Sarah-Mai SimonJean SmithPatricia Spencer SmithJohn M. and Alison SteadmanDaniel and Margaret SullivanDavid TannousDoug and Evelyn WatsonPatrick and Linda Wesley

The Players ($100–$249)

About the Robert M. McElwaine Reflections Seriescontinued from page 7

The Reflections Series began in 1999 with a staged reading of Jason Sherman’s It’s All True, which dramatized the circumstances surrounding Orson Welles’s production of The Cradle Will Rock. This was the first American presentation of the play, which later had many full productions in New York and other cities.

Next was the original TACT one-man show, I Cry Aloud—The Clarence Darrow Story (currently performed as A Passion for Justice), created by TACT Artistic Director Jack Marshall, in collaboration with director Terry Kester and star Paul Morella, who continues to perform the show around the U.S. Robert Benchley’s grandson, actor Nat Benchley, premiered his one man salute to his grandfather’s career in the next year’s Reflections entry, Benchley Despite Himself. Reflections then presented TACT’s most popular and most produced show, the original musical Danny and Sylvia, by Bob McElwaine and Bob Bain, dramatizing the show business marriage of Danny Kaye and his wife, songwriter Sylvia Fine. It won a Helen Hayes Award for its star, Brian Childers, as well as a nomination for his co-star, Janine Gulisano.

Other Reflections entries included: Laughter at Ten O’Clock, which recreated memorable skits from TV’s The Carol Burnett Show; If Only in My Dreams, combining actual letters from WWII servicemen with music from the period to evoke the bittersweet Christmases at home during the war; and Drama Under the Influence, a collection of seven plays by female playwrights of the Prohibition and Depression eras, assembled and crafted by director Steven Mazzola to create a coherent dramatic experience.

The 2007–2008 Reflections project was a full production of Bob McElwaine’s dramatic recreation of the Cuban Missile crisis, The Titans, which had been presented as a staged reading at the Kennedy Center’s “From Page to Stage” event in 2003.

The 2008 Christmas season brought another Reflections production, An American Century Christmas, recreating highlights from TV Christmas specials through the years. Stunt Girl, a new musical about investigative reporter Nelly Bly, received a staged reading in 2009 as a combined “Rescues” and Reflections production. Its lyrics and book were by Tony nominee Peter Kellogg. In 2010, Allyson Currin’s one woman drama Treadwell—Bright and Dark, reintroduced audiences to a female trailblazer of the American stage, Sophie Treadwell.

The following season, another one-woman show, this time a musical, celebrated the life and legacy of “funny girl” Fanny Brice, in a lovingly rendered script by Chip Defaa. Then came the most ambitious Reflections production of all: a complete re-imagining of June Havoc’s recreation of her harrowing experiences in the horrific dance marathons of the Depression years, 2012’s Marathon ’33. Our 2014 Reflections show was Brian Childers’ production of An Evening with Danny Kaye.

From investigative journalism to epic trials to classic TV memories, the Robert M. McElwaine Reflections Series brings to life the events, images, and vivid personalities of the past that make this nation’s culture the rich and varied tapestry that it is today.