a play on memory

Oct 9–Nov 17, 2013 By Marcus GardleyDirected by Kwame Kwei-Armah

SEASoN51Theater for The Heart

Animal Crackers

dance of the holy ghosts: a play on memory

A Civil War Christmas

Stones in His Pockets

Twelfth Night

The Liquid Plain

Wild with Happy

dance of the holy ghosts | a

An Introduction to the World of the Play

“dance of the holy ghosts is a beautiful, haunting melody.”

—Director Kwame Kwei-Armah

In a season focused on the spirit and the heart, dance of the holy ghosts embodies both—through its story of love, family, and forgiveness, and the poetry of its language.

The award-winning playwright, Marcus Gardley, manages to pair the poetic and the everyday in his lyrical family drama. When crafting this semi-autobiographical play, Gardley delved into his childhood memories, as well as his mother’s stories of her own youth. Paired with these recollections are the poetry and passion of Gardley’s real-life grandfather’s daily love letters to his estranged wife. (Find a gallery of these letters online at www.centerstage.org/dance/digital-dramaturgy.)

Moving through the life of Blues musician Oscar Clifton, dance of the holy ghosts is at once a play on memory and on music. As Oscar drifts between the present and his memory of the past, he relives the moments of love and loss that shaped his choices and shook his family. Haunting each of those moments are his wife and daughter, and the echoes of their presence that reverberate still. When his grandson, Marcus, comes looking for him, Oscar must confront the truth of his past and its consequence in his present.

Gardley’s work tackles history, spirit, memory, and manhood, and he has frequently been hailed by critics as an inheritor of the legacy of August Wilson. “We use August as a marker of excellence, as a marker of someone who was able to not trade truth for access,” says Artistic Director Kwame Kwei-Armah. “Marcus sits in that family—he can be true to the community that he’s writing out of and be poetic.”

Bringing all of these stories together is the spirit of the Blues— a “chronicle of personal catastrophe expressed lyrically… they at once express both the agony of life and the possibility of conquering it through sheer toughness of spirit” (Ralph Ellison). As this story moves backwards and forwards through time, the play itself becomes a riff on the Blues, and a commentary on who— and how—we love.

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dance of the holy ghostsa play on memory

By Marcus GardleyDirected by Kwame Kwei-Armah

CENTERSTAGE is funded by an operating grant from the Maryland State Arts Council,

an agency dedicated to cultivating a vibrant cultural community where the arts thrive.

THE CAsT (in alphabetical order)

Sheldon Best* Marcus

Denise Burse* Viola

Jasmine Carmichael* Tanisha

Doug Eskew* Willie/Father Michael/Bluesy Tux

Michael Genet* Oscar

chandra thomas* Darlene

Laura Smith* stage Manager

* Member of Actors’ Equity Association

THE ARTIsTIC TEAM Marcus Gardley Playwright

Kwame Kwei-Armah Director

Neil Patel scenic Design

David Burdick Costume Designer

Michelle Habeck Lighting Designer

Rob Milburn and Michael Bodeen sound Design & Music Arrangements

Catherine María Rodríguez Production Dramaturg

Stephanie Klapper Casting Director

Dan Pruksarnukul Additional Casting

songs by Marcus Gardley and scott Davenport Richards

There will be one 15-minute intermission.

Oct 9–Nov 17, 2013

2 The setting

3 Meet the Playwright

4 sweet Release

6 Wrestling with the Blues spirit

8 Bios: The Cast

10 Bios: The Artistic Team

12 Bios: The staff

13 Q&A with Kwame & stephen

15 Audience services

16 supporting the Annual Fund

19 Preview: Up Next & Off stage

20 Center stage staff

CAStTABLE OF

CONTENTs

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SEttiNgPLACE AND TIME

Pl aceOakland, California & Monroe, LouisianaThe majority of dance of the holy ghosts is set in Oakland, California. Just west of san Francisco, Oakland is one of the country’s most ethnically diverse cities and a center of Northern California’s African American community. With successive waves of African Americans migrating to the area beginning in the 1940s, Oakland grew to be a center of Blues and Jazz on the West Coast. seventh street became the Blues scene in Oakland, home to such popular juke joints as slim Jenkins’ Place and Esther’s Orbit Room. Thanks to its reputation as a cultural hub, Oakland came to be known as “Baby Harlem.”

The majority of the southern migrants who settled in Oakland during the second Great Migration (see p. 6) were from Louisiana. They were more likely to come from rural places like Monroe, a small city in northern Louisiana, than big cities like New Orleans. Drawn to the lure of the urban music scene, as their agricultural counterparts were to industrial jobs, countless aspiring Bluesmen left small towns like Monroe to follow their dreams west.

Clockwise, from upper-left: Monroe street corner, 1947; slim Jenkins’ Place, Oakland, 1950; Open-air chess match, Oakland, 2010; Bluesman “Little Walter,” circa 1960s

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MEEtTHE PLAyWRIGHT

TimeAct IThe Present Oakland, CA: A Wolf without a Pack

1987 San Quentin, CA: Jail-bird Blues

1948 Monroe, LA: The Black Queen

The Present Oakland, CA: Heart Failure

1959 Oakland, CA: sing Me a Dream

1989 Oakland, CA: Going through a storm

1948 and 1989 Oakland, CA: Itching Fingers; Or, I Can Fix Us

The Present akland, CA: The Leaves Are Changing

1976 Oakland, CA: Will you Walk with Me?

The Present Oakland, CA: A Blown-out Moon

Act IIThe Present Oakland, CA: No Music without the Muse

1959 San Francisco, CA: Howl the Blues

The Present Oakland, CA: Walking around Wounded

1959 Oakland, CA: The Gig Is Up

1989 Oakland, CA: she’s My Mind

The Present Oakland, CA: The Missing Piece

Playwright Marcus Gardley Marcus Gardley grew up in the 1980s in Oakland, surrounded by a tight-knit community and raised by parents and grandparents from the south. He recalls, “Growing up in Oakland was really magical. I have family that all lived in the same vicinity; it was a huge community. I grew up in a political environment, but also a spiritual and diverse one. It had a huge effect on me.”

Gardley spent his sundays listening to his father preach, and the Black Church has informed and inspired some of his finest work. Though he started out as a poet, Gardley became captivated by playwriting during his college years at san Francisco state. He went on to yale school of Drama, where he studied under celebrated playwright Lynn Nottage.

since then, Gardley has had productions at major theaters across the United states, and his work has garnered accolades for its soulful sincerity and lyricism. He currently splits his time between New york City and Providence, Rhode Island, where he teaches playwriting at Brown University. He makes a mean dish of Brussels sprouts and thoroughly enjoys mint juleps.

dance of the holy ghosts | 3

Playwright Marcus Gardley shares some of his inspiration for dance of the holy ghostsCatherine María Rodríguez: How did you start writing dance of the holy ghosts?

Marcus Gardley: I decided I was going to write a play for fun. I started writing about my childhood. The very first scene, oddly enough, was with my grandfather. My only memory of him was me breaking his gumball machine and him hitting me; he died soon after that. I felt that I needed to know more about this man so that I could have other memories that were positive. [But] when I started asking people things about him, there were no positive memories. [Laughs] Then my brother shared this great memory he had with my grandfather, who used to make him mayonnaise and sugar sandwiches. The way my brother described it, I thought, “There was more to this guy. I think a lot of people missed it.” The play became an homage to him.

Was writing it also an exercise in exorcising something that was haunting you?

yeah. I think why I wrote about my grandfather was that I didn’t have enough

male figures in my life that influenced me, and I wanted that. Now my dad has been a great influence, but it’s really been just him. I’ve always looked for other father figures in my life. Through that, I really tried to talk about Oscar honestly, to make him multidimensional so I can see the love that I think he had. Through letters that I found that he wrote my grandmother, you knew that he was a romantic; he had to possess love for his children and his wife.

What were the letters?

When my grandmother died, we were going through all of her belongings, and we found these letters hidden in a prized box. We all thought she hated him, but the fact that she kept them all proved that, indeed, she must have had some love for him. she died very soon after him, of a broken heart. [In the letters,] he begged her constantly to come back, but she wouldn’t. Their love was so deep and so powerful, and we don’t know the extent of it.

What other memories does the play draw on?

There’s a fusion of family members’ memories, my brother’s memories, stories that I heard, and then my own memories—because I was taught when you tell a story

you add your own thread to it, so that you own part of it. It’s your stake in the story. My grandmother says that stories change over time; there’s no one way to tell anything because people forget, people lie, and people lie on accident. so, if you’re going to tell a story, your job is to add your own piece to it.

Can you speak to storytelling and the spirit in preaching, poetry, playwriting— and the Blues?

My father’s a pastor. But this is my ministry, theater. All the men in our family—on both sides—are preachers in some way. That’s what we grew up with. And when the family gathers, the matriarchs tell stories. We all tell stories. My brother’s a poet, and my sister writes novels. so we’re all writers, all storytellers. [And] spirit is central to storytelling. What we call “catharsis” in theater, in the Blues is called “sweet release.” Lorca called it duende. It’s all the same thing. What it means is the storytelling or the theatrical event that you’re experiencing overwhelms you to the point where you have an emotional response that cannot be explained with everyday language, only through emotion, which makes it both, which makes it spiritual. I don’t write anything that doesn’t have or evoke the

sweetre l e a s e

Interview by Catherine María Rodríguez, Production Dramaturg

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spirit. It’s just releasing something in you—you can relate or empathize on some level with the people in the play that makes you love the story, that makes you want to be a better person, or that makes you want to change the world.

What’s your own relationship to words and to music and to soul?

I started out as a poet, but found plays the medium in which I could be more represented. But I think the Blues and poetry are present in my work because I believe in a heightened form of reality, and they’re the only way to get there. It’s too real if it’s just realism, that’s my theory. But magical realism, which I use by heightening poetry, allows us to get at a very particular truth and feels more real than realism. Magic is real. And the only way to really explain magic is through poetry. Because a play to me is a spell, and if it’s done right you will enchant and heal.

In Blues lore, Robert Johnson made a deal with the devil at the crossroads—but here’s a Bluesman, Oscar, who’s made a deal with God. Can you speak to that just a little bit?

I’m so glad you brought that up because that was my entry into Blues. I wanted to pay homage to that story, but I wanted to

do it very loosely. I flipped it because it’s easy for him to sell his soul to the devil to get this gift. But here if it’s God, then we have to look at it a different way, and it’s not so easy. Oscar has a gift, and God actually wants him to use his gift. But it’s subversive because God wants him to play the Blues, not sing the Gospel. I love that this character won’t do God’s work, which is the Blues, because he wants God to give his dead wife back.

For you has this play been a “sweet release”?

This has been the hardest play of my career to write, because it’s hard to see yourself, first of all, and then it’s hard to write about things that are personal. But I needed it. It’s been eight years since the [first] production of this play, and it almost went to Broadway twice. It’s had quite a journey. I’m so glad it’s at Center stage because I feel like it’s in the hands of a creative team, a theater, and an artistic director that both get me and get the importance of the work—but are also really interested in the deeper bone marrow of what I’m trying to do. Because I’ve now had those eight years, it feels like a sweet release. It took that long for me to do this rewrite. Plays are living things; sometimes they take a long time.

Finally, if you could only listen to one bit of Blues for the rest of your life, what or who would it be?

It would actually be… Bessie smith. There’s a song that she sings where she describes her genitalia as being “so good it makes a man sick for it.” Lovesick for it. It’s so genius because she does it in a way that at first you go, “Oh my God”—and then you realize how beautiful it is. Then it goes even deeper than that because it’s so poetic: she’s actually talking about her own confidence. I like it because Bessie smith lived at a time when women were low on the totem pole, and she empowered herself. she’s a champion to me. I know when people think of the Blues they think of these men. Oscar’s a man, but for me this play is—the women are gods.

The women are gods.

The women are gods. And I feel that way about the Blues, too.

For the full interview please visit www.centerstage.com/2013-14season/danceoftheholyghosts.

A play to me is a spell, and if it’s done right you will enchant and heal.[ [

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I got the key to the highway, and I’m billed out and bound to go I’m gonna leave here runnin’, ‘cause walkin’ is most too slow I’m goin’ down on the border, now where I’m better known

‘Cause woman you don’t do nothin’, but drive a good man ‘way from home Now when the moon creeps over the mountain, I’ll be on my way

Now I’m gonna walk this old highway, until the break of day.

–Big Bill Broonzy “Key to the Highway” (1941)

“You get a heck of a sound from the church. Can’t you

hear it in my voice?” –Muddy Waters

Wrestling with the Blues Spirit, from Deep South to West Coast By Catherine María Rodríguez, Production Dramaturg

“I’m gonna preach these blues.”—Son House

The Blues is the song, spirit, and memory of exile from native soil, from church, and from love. With lyrics that paint scenes of endless wandering, haunting vocals that invoke sweet and sorrowful memories, and legends that tell of soul-selling pacts, the Blues transcends mere genre and is, for many, a way of life and a means of navigating through this trying world.

Initially described as “the weirdest music ever heard” upon its discovery in 1903, the Blues proved its soul and sincerity during a historic moment of unrest some decades later. Displaced by newfangled machines in agricultural fields and motivated by new work opportunities in war-time industries during World War II, African American populations moved out of the rural south and on to faraway cities.

The second Great Migration outnumbered its better-known predecessor in both scope and duration, with a whopping five million people moving cross-country from 1940 through 1970. As Blacks resettled, they brought with them sounds and sights of the home they’d left behind. From storefront churches and juke joints to southern cooking and the Blues, the cultural landscape of America—not just its demographics—changed dramatically during these years.

From the Mississippi Delta region, Bluesmen too scattered far and wide: to Chicago, New york City, Detroit. some of the most restless journeyed as far as Oakland. Along the way, they remembered a range of experiences through their music, singing of great troubles and joys, of newfound passion and lost love and moving on. Themes of self-empowerment, self-reliance,

and lustful longing distinguished the Blues from the more “godly” Gospel tunes.

Bluesmen, though, served their audiences as preachers did their parishioners: while each region developed its own distinctive style, the Blues united whole communities and kept the spirit of hope alive through soulfully responding to experiences common to this new diaspora. As singer Furry Lewis put it, “the Blues come from a woman wanting to see her man, and a man wanting to see his woman.” The Blues remembers the good with the bad and rejoices in the ability to pick up and go—always honoring, reveling in, and yearning for things lost or otherwise left behind.

Quite simply, Bluesmen lived what their souls sang, and their messages reverberated powerfully with other migratory folk.

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still, Bluesmen experienced pushback everywhere, from preachers who labeled them devilish to a music industry obsessed with guarding its racial privilege. Midway through the second Great Migration, when many first-generation Blues artists were still living and performing, their reception varied greatly—often within a single lifetime or career. Whereas the legendary son House, for example, was rediscovered before his passing, other profoundly talented contributors like J.B. Lenoir and Juke Boy Bonner were unable to support themselves by their music and died young while working minimum-wage jobs. For every rediscovered Bluesman who makes headlines, there are dozens more whose music has fallen on deaf ears, forgotten by the record-buying public.

And yet, despite all odds, Bluesmen and their music have persisted, demanding respect even in the face of waning attention.

Cultural anthropologist Peter R. Aschoff asserts that the Blues “celebrates freedom, even freedom in the imperfect, through the symbolism of travel and the ability to resolve problems by distancing oneself from them.” As Aschoff explains, “The Bluesman put the truth out there regardless of the mainstream’s reaction to it and was granted harsh respect for his insistence on living life on his own terms. Living in a society structured by design to deny personhood to members of the Blues culture, the Bluesman’s uncompromising claim to it is nothing less than revolutionary.”

The pang of the Blues is the pang of resilience and hope, the song of the spirit. From the Deep south to the West Coast, the Bluesman marches on, beating out the music of exile and endurance.

“Blues is a natural fact, is something that a fellow lives. If you don’t live it you don’t have it. young people have forgotten to cry the Blues. Now they talk and get lawyers and things.”

–Big Bill Broonzy

If I had possession over Judgment Day If I had possession over Judgment Day

Lord, the little woman I’m lovin’ wouldn’t have no right to pray And I went to the mountain lookin’ far as my eyes could see And I went to the mountain lookin’ far as my eye could see

Some other man got my woman and the alonesome blues got me.

–Robert Johnson “If I Had Possession Over Judgment Day” (1937)

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Sheldon Best*—Marcus. Center stage: debut. Off Broadway/New york— Classical Theatre of Harlem: A Midsummer Night’s Dream (Puck); 59E59 & Penguin Rep: Freed (John Newton

Templeton); LAByrinth: Paradox of the Urban Cliché; Ma-yi & Vampire Cowboys: Soul Samurai; Vampire Cowboys: Geek!, Alice in Slasherland; 59E59 & scripts Up: Years of Sky. Regional— studio Theatre of DC: Sucker Punch (Leon); Denver Center: Superior Donuts (Franco); Geva Theatre: A Midsummer Night’s Dream (Lysander); NC shakespeare Festival: Romeo and Juliet (Romeo); Cleveland Play House: The Life of Galileo (Andrea sarti); Underground Railway: Harriet Jacobs (Tom); Actors’ shakespeare Project: Much Ado About Nothing (Claudio); speakEasy stage: The History Boys; Berkshire Theatre: One Flew Over the Cuckoo’s Nest. TV—CBs: Person of Interest. Education—BA, Brandeis University.

Denise Burse*—Viola. Center stage: Fences (Rose, dir. Donald Douglas), Radio Golf (Mame, dir. Kenny Leon). Broadway/Lincoln Center—Wendy Wasserstein’s An American Daughter (dir. Daniel

sullivan). Off Broadway—Ohio Theatre: Eisa Davis’ Angela’s Mixtape; Classical stage Company: Don Juan of Seville; American Place Theatre: Ground People (Theatre World Award, Audelco Nom.); Cherry Lane Theatre: Harriet’s Return; Negro Ensemble Company: Hannah Davis; New Federal Theatre: Bill Harris’ Robert Johnson: Trick the Devil (Audelco/Best Actress Award). Tours—Radio Golf (Pre-Broadway, Center stage, Mark Taper Forum, seattle Rep). Regional—The Kennedy Center: Pearl Cleage’s Flyin’ West w/ Ruby Dee; Cincinnati Playhouse, Geva: Charles Randolph Wright’s Blue; Illusion Theater: Miss Evers’ Boys; Cleveland Playhouse: African Company Presents Richard III; seattle Rep: The Piano Lesson (dir. Lloyd Richards); True Colors Theatre Company/NBAF: James Baldwin’s The Amen Corner; True Colors Theatre Company: Fences (dir. Kenny Leon). Alliance Theatre: The Piano Lesson, Seven Guitars (dir. Kenny Leon). Workshop—New york stage and Film/Powerhouse: Marcus Gardley’s The House That Will Not Stand (dir. Marion McClinton). Film/TV—Claretha Jenkins on Tyler Perry’s House of Payne (2011 NAACP Award recipient for Outstanding Comedy series); Peace, Love, and Misunderstanding (dir. Bruce Beresford); Preaching to the Choir;

Funny Valentines (BET/sTARZ); All the Law and Orders; Third Watch; 100 Centre Street. This show is dedicated to my late Aunt Viola.

Jasmine Carmichael*—Tanisha Taylor. Center stage: debut. Film/TV—Romeo and Juliet in Harlem, The Following, Law and Order: SVU, Unforgettable, NYC 22. Education—Mason Gross

school of the Arts, Rutgers University. For Mommy, thank you for your love and unwavering support. I dedicate this and every performance to you.

Doug Eskew*— Father Michael, Bluesy Tux, Police Officer, Willie. Center stage: Ain’t Misbehavin’. Broadway—The Color Purple (Rev. Avery), Five Guys Named Moe (Big Moe), Truly Blessed.

Off Broadway—Thunder Knocking on the Door, Josephine Song. National Tours—The Color Purple, Five Guys Named Moe (NAACP nomination and LA Ovation Award), CATS, Dreamgirls, Ain’t Misbehavin’. Regional Theater—Caroline, or Change (salt Award nom); Chasin Dem’ Blues; Crowns (Barrymore Award nom); Dreamgirls; Thunder Knocking on the Door (Helen Hayes nom); Ain’t Misbehavin’ (Helen Hayes nom); Ma Rainey’s Black Bottom; Polk County and Golden Boy. TV—One Life To Live, The Oprah Winfrey Show, Late Night with David Letterman, The Tonight Show, Good Morning America,The Tony Awards Show (1992 & 2005).

Michael Genet*—Oscar. Broadway—A Few Good Men, Hamlet, Northeast Local, Lestat; Off Broadway—A Soldier’s Play, The Colored Museum, Resurrection, Earth and Sky, Seven Guitars, The

Oedipus Plays, Joe Turner’s Come and Gone. Film/TV—One Fine Day, Wall Street: Money Never Sleeps, She Hate Me, Booty Call, 25th Hour, Simple Justice, Hallelujah, Deadline, Ugly Betty, Law & Order, Tyler Perry’s House of Payne, All My Children, As the World Turns, Law & Order: CSI, New York Undercover, One Life To Live. Writing Credits—Hallelujah, She Hate Me, Talk to Me, The Cape, Island Affair, They Must Not Know Who I Think I Am: Lessons In Defiant Resilience™. Awards—sundance screenwriter selectee, Eugene O’Neill Playwright’s

Conference selectee for New American Plays, Pork Pie) in a Motion Picture (Talk to Me).

chandra thomas*—Darlene/Nurse. Center stage: debut. Off Broadway/New york— New york Theatre Workshop: Coney Island Avenue; Classical Theatre of Harlem: The Cherry Orchard

(AUDELCO nom); Public Theater: 365 Days/365 Plays; Women’s Project Theatre: Boy Meets Girl; Cherry Lane Theatre: Wordsworth; P.s. 122: Picking Up Baby; Access Theatre: Obama Drama; Barrow Group Theatre: a rhyme for the UNDERground. Regional— Guthrie: Crowns; Pittsburgh Public Theater: Clybourne Park; Delaware Theatre Company: No Child... (Barrymore Award nom); Philadelphia Theatre Company: Ruined; Alliance Theatre: False Creeds. Film/TV—Labor Day, The Good Wife, Too Big to Fail, Law & Order: CI, Sweet Lorraine. Writer/producer—Standing At... (Heideman Award Finalist), a rhyme for the UNDERground, Complete Sentences?, Forgive to Forget; Co-Founder, viBe Theater Experience (award-winning non-profit organization empowering NyC teenage girls through the performing arts). Education—MFA, Columbia University. www.chandrathomas.com / @truechandra.

BioSTHE CAsT

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dance of the holy ghosts | 9

BioSTHE ARTIsTIC TEAM

Marcus Gardley—Playwright—is a poet-playwright who is the recent 2012 James Baldwin Fellow. He is also the 2011 PEN Laura Pels award winner for Mid-Career Playwright and a Mellon Foundation Playwright in Residence Grantee with Victory Gardens in Chicago. The New Yorker describes Gardley as “the heir to Garciá Lorca, Pirandello and Tennessee Williams.” His most recent production, Every Tongue Confess premiered at Arena stage starring Phylicia Rashad and directed by Kenny Leon. It was nominated for the steinberg New Play Award, the Charles MacArthur Award for Best Play and was the recipient of the Edgerton New Play Award. His musical On The Levee premiered last summer at Lincoln Center and was nominated for 11 Audelco Awards including outstanding playwright. Last spring, his critically acclaimed epic And Jesus moonwalks the Mississippi was produced at the Cutting Ball Theater and received the sF Bay Area Theater Critics Circle Award had two sold-out extensions. His Bay Area plays: This World in a Woman’s Hands (October 2009) and Love is a Dream House in Lorin (March 2007) have been hailed as the best in Bay Area theater. The latter was nominated for the National Critics steinberg New Play Award. He has had six plays produced including: dance of the holy ghosts at yale Repertory Theatre, (L)imitations of Life at the Empty space in seattle, and like sun fallin’ in the mouth at the National Black Theatre Festival. He is the recipient of the 2011 Aetna New Voice Fellowship at Hartford stage, the Hellen Merrill Award, a Kellsering Honor, the Gerbode Emerging Playwright Award, the National Alliance for Musical Theatre Award, a Mid-Atlantic Arts Foundation Grant, a NEA/TCG Playwriting Participant Residency, the Eugene O’Neill Memorial scholarship and the AsCAP Cole Porter Prize. He holds an MFA in Playwriting from the yale Drama school and is a member of The Dramatists Guild and the Lark Play Development Center. Gardley is a

professor of Theater and Performance studies at Brown University.

Kwame Kwei-Armah OBE—Director. (see page 12)

Neil Patel—Scenic Designer. Center stage: Animal Crackers, Mud Blue Sky, The Mountaintop, The Whipping Man, American Buffalo, Working it Out, Joe Turner’s Come and Gone, Once on This Island, Elmina’s Kitchen, Ain’t Misbehavin’, The Hostage, As You Like It, many others. Broadway—Soul Doctor; Oleanna; Wonderland; [title of show]; Ring of Fire; ’night, Mother; Sideman (also West End & Kennedy Center). Off Broadway—signature Theatre: stop.reset, My Children! My Africa!; second stage: By the way, Meet Vera Stark, Gruesome Playground Injuries, Peter & Jerry, Living Out; Roundabout: McReele, Hurrah at Last; Vineyard: Now.Here.This., The Long Christmas Ride Home; MTC: Between Us, Glimmer Glimmer and Shine; MCC: The Mercy Seat; NyTW: The Beard of Avon, Lydie Breeze, Resident Alien, A Question of Mercy, Bob, Quills, Slavs!; Playwrights Horizons: Lobster Alice, On the Mountain; Public/NysF: Dirty Tricks, Othello. Regional—includes Guthrie, steppenwolf, La Jolla, McCarter, Alley, Long Wharf, Mark Taper. Opera—Chicago Lyric Opera: Anna Bolena; Houston Grand Opera: Mary Stuart; spoleto: Le Villi and Mese Mariano; NyCO: Alcina; santa Fe: Carmen, Salome, Madame Mao; Minnesota: Madame Butterfly; st. Louis: Cavalleria Rusticana, Suor Angelica, Gloriana; Nikikai: Cosi Fan Tutte, Le Nozze di Figaro, Don Giovanni; FGO: Anna Karenina. Film—Some Velvet Morning (TriBeCa) Television—In Treatment (HBO). Awards—Obie Award (2), Helen Hayes Award, Eddy Award, Hewes nom (5), Drama Desk nom (3).

David Burdick—Costume Designer. Center stage: Animal Crackers, …Edgar Allan Poe; The Mountaintop; An Enemy of the People;The Whipping Man; A Skull in Connemara; The Rivals; Snow Falling on Cedars; Working it Out; Cyrano; Caroline, or Change; Hearts; Things of Dry Hours; Crumbs from the Table of Joy; Elmina’s Kitchen; Picnic; a.m. Sunday; The Rainmaker; Blithe Spirit; many others. Regional—Everyman Theatre: The Beaux’ Stratagem, August: Osage County, You Can’t Take It with You, Private Lives, All My Sons, The Mystery of Irma Vep; Walnut street/Totem Pole: The Last Night of Ballyhoo, Moon Over Buffalo. Opera—Cincinnati: Don Giovanni; Boston Lyric: I Puritani; Tulsa: Tosca, The Barber of Seville, Carmen, Fidelio. Dance—BAM: FLY: Five First Ladies of Dance; Dayton Contemporary: Lyric Fire (world premiere, dir./choreographer Dianne McIntyre). Miscellaneous—Baltimore symphony Orchestra: Holiday Spectacular.

Michelle Habeck—Lighting Designer. Center stage: An Enemy of the People, The Whipping Man, A Skull in Connemara, Let There Be Love, Things of Dry Hours, Elmina’s Kitchen. Broadway—slide Artist: Thoroughly Modern Millie (also London and tour); Associate Lighting Designer: The Boy from Oz, King Hedley II; Assistant Lighting Designer: Movin’ Out, Thoroughly Modern Millie, King Hedley II. Opera—Associate Lighting Designer: Julie Taymor’s Grendel. Off Broadway—Fifty Words. Regional—American Music Theatre Project: WAS (dir. Tina Landau), Dangerous Beauty (dir. sheryl Kaller); Guthrie: A Raisin in the Sun, Gem of the Ocean. steppenwolf: Love Song, The Chosen, Ten Percent of Molly Snyder. Michelle has also designed for The Goodman, Alliance, Kansas City Repertory, Penumbra, Arizona Theatre Company, Writer’s Theatre, Lookingglass, and others. Awards—NEATCG Career Development Grant for Design, The University of Texas Faculty Fine Arts Award.

David Burdick, Costume Designer, shares his vision at First Rehearsal. Scenic Design model by Neil Patel.

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Rob Milburn & Michael Bodeen—Original Music and Sound Design. Center stage: Gleam, Who’s Afraid of Virginia Woolf?, These Shining Lives, A Raisin in the Sun, Dinah Was, Jitney. Broadway—Music & sound: Breakfast at Tiffany›s, The Miracle Worker, One Flew Over the Cuckoo’s Nest, The Speed of Darkness; Music: My Thing of Love; sound: steppenwolf’s Who’s Afraid of Virginia Woolf, Superior Donuts, reasons to be pretty, A Year with Frog and Toad, Ma Rainey’s Black Bottom, Hollywood Arms, King Hedley II, Buried Child, The Rise and Fall of Little Voice, The Song of Jacob Zulu, The Grapes of Wrath. International— London: Comedy Theatre, Barbican, National Theatre of Great Britain; Tel Aviv: Cameri Theater; Japan: subaru Acting Co.; Toronto; Dublin; Galway; Perth; sydney. Off Broadway—Vineyard, MTC, MCC, second stage, Public, NysF, Playwrights Horizon’s. Regional—steppenwolf, Alley, Chicago shakespeare, Berkeley Rep, Huntington, Guthrie, Mark Taper, McCarter, Alliance, shakespeare (DC), Arena, Kennedy Center.

Laura Smith*—Stage Manager. Center stage: Resident stage Manager; Clybourne Park, Beneatha’s Place, Bus Stop, An Enemy of the People; The Whipping Man, Gleam; The Rivals; Snow Falling on Cedars; Cyrano; Working it Out; Fabulation or, The Re-Education of Undine; Who’s Afraid of Virginia Woolf?; Joe Turner’s Come and Gone. Regional—Everyman: Pygmalion, Shipwrecked, The Exonerated, Rabbit Hole, Doubt, Gem of the Ocean, And a Nightingale Sang, The School for Scandal, A Number, Someone Who’ll Watch Over Me, Yellowman; Woolly Mammoth: Gruesome Playground Injuries, House of Gold, The Unmentionables, Vigils, After Ashley; Folger: Measure for Measure, The Comedy of Errors (AsM); Olney Theatre: Stuff Happens; Theater Alliance: Headsman’s Holiday, Pangea, [sic]; Catalyst: Cloud 9; Longacre Lea: Man with Bags.

Catherine María Rodríguez—Production Dramaturg—is a New Orleans native making her Center stage debut with dance of the holy ghosts. Catherine is the dramaturg and archivist for Un Encuentro: Theater from the Borderlands, a new transnational collaboration between Borderlands Theater (Tucson) and El Círculo Teatral (Mexico City). Notable past credits include production dramaturgy for The NOLA Project’s Much Ado about Nothing with the New Orleans Museum of Art and Bruja at Borderlands; assisting on the National New Play Network rolling world premiere of Guapa; administrative and producing work at steppenwolf; and performance studies research at Northwestern. Catherine holds

a BFA in Dramaturgy and a BA in Hispanic studies from Carnegie Mellon. In 2013, she received the LMDA & Kennedy Center Regional student Dramaturgy Award and debuted as a Dramaturgy Panelist at the Association for Theatre in Higher Education national conference. Saludos a todos and laissez les bons temps rouler!

Stephanie Klapper—Casting Director. Center stage—Mud Blue Sky, …Edgar Allan Poe, The Whipping Man, A Skull in Connemara. Her work has been seen on Broadway, Off Broadway, regionally, internationally, on television, internet and film. selected Recent Broadway and Off Broadway—A Christmas Story, The Musical (2012 Tony nominations); Dividing the Estate (2009 Tony nomination); Emotional Creature (Eve Ensler);Harbor; Bronx Bombers; The Model Apartment; You Never Can Tell; Stop the Virgins!; Cactus Flower; The Temperamentals; Bells are Ringing; Dinner with Friends; an oak tree Ny/LA(Artios award winner); Indoor Outdoor. National Tour—A Christmas Story, The Musical. Resident casting director for Primary stages, New york Classical Theatre, and the Pearl Theatre Company. Regional credits include Adirondack Theatre Festival, The Alley Theatre, Actors Theatre of Louisville, Arena stage, Asolo Repertory Theatre, Center stage, Berkeley Repertory Theatre, Capital Repertory Theatre, Commonwealth Theatre Company, Delaware Theatre Company, Hartford stage, Indiana Repertory Theatre, Kansas City Repertory Theatre, Milwaukee Repertory Theater, The New Theatre, The Old Globe, Round House Theatre and Westport Country Playhouse. Her select film and television credits include Alice Jacobs is Dead, Feast of the Goat, Roberta, Sidewalk Stories and for TV, Lazytown. Ms. Klapper is a member of the Casting society of America and the League of Professional Theatre Women.

PBS DocumentaryA Raisin In The Sun Revisited: The Raisin Cycle at Center Stage Fri, Oct 25, 9 pm ET

On October 25, PBs presents a new, one-hour documentary—filmed right here at Center stage.

A Raisin in the Sun Revisited: The Raisin Cycle at Center Stage explores the history and legacy of Lorraine Hansberry’s groundbreaking 1959 drama through the staging of two contemporary plays it inspired: Bruce Norris’s Clybourne Park and Beneatha’s Place by Kwame Kwei-Armah, Center stage Artistic Director.

Center stage mounted both plays in repertory as last spring. Filmmakers captured the drama and cultural significance of simultaneously running these two issue-driven plays. With two opening nights looming, rehearsals, meetings, and costume fittings are paired with footage of Center stage’s performances, the 1961 film, and insights from theater historians.

The program premieres Friday, October 25, 9 pm ET on PBs.

Raisin Revisited is made possible by The Eddie C. Brown Family Foundation and Brown Capital with additional support from The Charlesmead Foundation, Ellen and Ed Bernard, and the Estate of Katherine Vaughns.

dance of the holy ghosts | 11

BioSThe staff

Artistic DirectorKwame Kwei-Armah OBE, an award-winning British playwright, director, actor, and broadcaster, is in his third season as Artistic Director of Center stage in

Baltimore, Maryland. At Center stage he has directed The Mountaintop; An Enemy of the People; The Whipping Man (one of City Paper’s Top Ten Productions of 2012), for which he was named Best Director; and Naomi Wallace’s Things of Dry Hours. Among his works as playwright are Elmina’s Kitchen and Let There Be Love—which had their American debuts at Center stage—as well as A Bitter Herb, Statement of Regret, and Seize the Day. His latest play, Beneatha’s Place, debuted at Center stage in 2013 as part of the ground-breaking Raisin Cycle. His other directorial credits include Let There be Love and Seize the Day at the Tricycle Theatre, the World Premiere of Detroit ’67 at The Public Theatre, and the World Premiere of The Liquid Plain at Oregon shakespeare Festival. Kwame has served on the boards of The National Theatre and The Tricycle Theatre, both in London. He served as Artistic Director for the World Arts Festival in senegal, a month-long World Festival of Black Arts and Culture, which featured more than two thousand artists from 52 countries participating in 16 different arts disciplines. He was named the Chancellor of the University of the Arts London, and in 2012 was named an Officer of the Most Excellent Order of the British Empire.

Managing DirectorStephen Richard, a leader on the national arts scene for more than 30 years, is the Managing Director of Center stage in Baltimore, Maryland.

stephen most recently worked as Vice President, External Relations, for the new National Children’s Museum. Previously, he served 18 years as Executive Director of Arena stage, where he planned and managed the theater’s $125 million capital campaign for the Mead Center for American Theater. Also a professor of Arts Management at Georgetown University, he has served on the boards and committees of some of the nation’s most prestigious arts organizations, including the National Endowment for the Arts, American Arts Alliance, the League of Resident Theatres, and the Theatre Communications Group, and currently serves on the Advocacy Committee of the Greater Baltimore Cultural Alliance and on the board of directors of the Maryland Citizens for the Arts.

Associate Artistic Director/Director of Dramaturgy Gavin Witt came to Center stage in 2003 as Resident Dramaturg, having served in that role previously at

several Chicago theaters. As a dramaturg, he has worked on well over 60 plays, from classics to new commissions—including play development workshops and freelance dramaturgy for TCG, The Playwrights Center, The New Harmony Project, The Old Globe, Bay Area Playwrights Festival, CATF, The Kennedy Center, and others. A graduate of yale and the University of Chicago, he was active in Chicago theater for more than a decade as an actor, director, dramaturg, translator, and teacher, not to mention co-founder of greasy joan & co. theater, while serving as a regional Vice President of LMDA, the national association of dramaturgs. He has been on the faculty of the University of Chicago and DePaul University, and locally at Towson University.

Above: Cast members sheldon Best, Doug Eskew, Michael Genet, chandra thomas, and Jasmine Carmichael join Dramaturgs Catherine María Rodríguez and Gavin Witt in a discussion on the play with Center stage Board of Trustee members.

12

There is a lot of music in this show. What is your favorite style of music or what musicians inspire you?

Kwame Kwei-Armah: I like music of the soul, however one wishes to define that. For me it’s Blues, Gospel, music that combines the spirit and the mind, artists such as stevie Wonder. It is music of the African diaspora in all of its manifestations. And of course, I love the Blues—they are one of the major investigators and articulators at the heart of the African American experience.

Stephen Richard: I grew up as a teenager in a working class neighborhood in Houston, and one of the places I hung out was in the alley behind a honky-tonk/roadhouse where Lightnin’ Hopkins played. And so I would sit there hearing him—somewhat muffled because between me and the stage was the kitchen. But that’s where I started listening to Blues, from that club, from Lightnin’ Hopkins.

Can you share a memory linked to music?

KKA: I saw stevie Wonder in concert when I was 16 or 15. I remember very clearly being moved to the point of distraction, and understanding that some people can be so extraordinarily blessed that they can connect us to things that hitherto you could not be connected to. Marion McClinton says that the artist is God’s Christmas present to herself. And I like that very much. I remember seeing stevie Wonder and going, “Oh, I can feel something extraordinary,” something outside of the earth, something outside of the here and the now in the vibrations that came off the stage.

SR: sticking with stories about growing up in Houston…One summer I worked road construction in very hot Harris County, Texas. This would have been in 1972. The crew was completely racially segregated. There was a Hispanic crew that did the steel, tying steel rods to form the base of the road. There was an African American crew who were mud slingers—the concrete would pour out of the truck and these guys moved it around. And the supervisors and surveyors were white; I drove the stakes for one of the surveyors. The only thing these people had in common—including language—was music. And stevie Wonder was on the radio.

KKA: stephen, that is a beautiful, beautiful story.

What was your first experience with Marcus Gardley’s work?

KKA: I came to America in 2005 and was doing a residency at New Dramatists. An actress friend of mine who was doing an early reading of dance of the holy ghosts at yale Rep caught me and said, “you must read this.” I read it and was like, “Oh, this is serious.” A few years later, Marcus was at The Playwrights’ Center, and he was asked what director or establishment he would like to “dance” with. He asked for me and I flew out for another reading. I just fell in love with it.

SR: I actually encountered Marcus a number of years ago at Arena stage. We commissioned a play from him—we were very excited about working with him early in his career. That play turned out to be every tongue confess [which premiered at Arena stage in 2012].

What moves you about his writing?

KKA: I find that, in his quest to explore the soul of the communities that he writes about, he does so with great verve, spirit, and poetry. As a writer myself, I love playwrights who write from a different side of the brain than I do. To use an old-fashioned boxing analogy, working with poetic playwrights like Naomi Wallace, Dominique Morisseau, and Marcus, I feel like they are Muhammad Ali to my George Foreman. We fight out of different places. I’m always in awe of the playwright who can combine poetry and dramatic action.

A conversation with Artistic Director Kwame Kwei-Armah and Managing Director stephen Richard.

Q & Awith Kwame &

stephen

dance of the holy ghosts | 13

for making a mark in Baltimore.

PNC is proud to be a part of CENTERSTAGE. Because we know a community that works together thrives together.

pnc.com

©2013 The PNC Financial Services Group, Inc. All rights reserved. PNC Bank, National Association. Member FDIC

for making a mark in Baltimore.

PNC is proud to be a part of CENTERSTAGE. Because we know a community that works together thrives together.

pnc.com

©2013 The PNC Financial Services Group, Inc. All rights reserved. PNC Bank, National Association. Member FDIC

for making a mark in Baltimore.

PNC is proud to be a part of CENTERSTAGE. Because we know a community that works together thrives together.

pnc.com

©2013 The PNC Financial Services Group, Inc. All rights reserved. PNC Bank, National Association. Member FDIC

14

DININGsascha’s Express, our pre-performance dinner service, is located up the lobby stairs in our Mezzanine café. service begins two hours before each performance. DRINKSyou are welcome to take beverages with lids to your seats! But please, no food. PHONESPlease silence all phones and electronic devices before the show and after intermission.RECORDINGPhotography and both audio and video recording are strictly forbidden.ON-STAGE SMOKINGWe use tobacco-free herbal imitations for on-stage smoking and do everything possible to minimize the impact and amount of smoke that drifts into the audience. Let our Box Office or front of house personnel know if you’re smoke sensitive.ACCESSIBILITyWheelchair-accessible seating is available for every performance.We offer free assistive listening devices, braille programs, and magnifying glasses upon request. An Open Captioned performance* is available one sunday performance of each production. several performances also feature Audio Description*.

PARKINGIf you are parking in the Baltimore sun Garage (diagonally across from the theater at Monument & Calvert) you can pay via credit card at the pay station in the garage lobby or at the in-lane pay station as you exit. If you have a pre-paid voucher, proceed directly to your vehicle and enter your voucher after inserting the parking ticket you received upon entering the garage, in the machine as you leave. We are unable to validate parking tickets.

FEEDBACKWe hope you have an enjoyable, stress-free experience! your feedback and suggestions are always welcomed: info@centerstage.org.

*For dance of the holy ghosts: Sunday Nov 3. Audio Description at both 2 pm and 7:30 pm, Open Captioning at 7:30 pm.

AudiENCEsERVICEs

dance of the holy ghosts | 15

The following list includes gifts of $250 or more made to the Center stage Annual Fund between March 9, 2012 and september 10, 2013. Although space limitations make it impossible for us to list everyone who helps fund our artistic, education, and community programs, we are enormously grateful to each person who contributes to Center stage.

We couldn’t do it without you!

Support The Annual Fund at Center Stage (March 9, 2012 through september 10, 2013.)

INDIVIDUALS & FOUNDATIONSThe Center stage society represents donors who, with their annual contributions of $2,500 or more, provide special opportunities for our artists and audiences. society members are actively involved through special events, theater-related travel, and behind-the-scenes conversations with theater artists.

IndIvIdual SeaSon SponSorSEllen and Ed Bernardstephanie and Ashton CarterLynn and Tony DeeringJane and Larry DroppaJudy and scott PharesMr. and Mrs. Philip RauchJay and sharon smithMs. Barbara Voss and Charles E. Noell, III

preSIdentS’ CIrCle($40,000+)

William G. Baker, Jr. Memorial Fund, creator of the Baker Artist Awards The Annie E. Casey FoundationThe Charlesmead FoundationThe shubert Foundation, Inc.Ms. Katherine L. Vaughns+Harold and Mimi steinberg Charitable Trust

artIStS’ CIrCle($25,000-$39,999)

The Miriam and Jay Wurtz Andrus Trust Penny BankJames and Janet ClausonEdgerton Foundation New American Play AwardsKathleen HyleJI FoundationKenneth C. and Elizabeth M. LundeenMarilyn MeyerhoffTerry H. Morgenthaler and Patrick Kerins

produCerS’ CIrCle($10,000- $24,999)

The William L. and Victorine Q. Adams Foundation and The Rodgers Family FundPeter and Millicent BainThe Jacob and Hilda Blaustein Foundation, Inc.James T. and Francine G. BradyThe Bunting Family FoundationMr. and Mrs. George L. BuntingThe Nathan & suzanne Cohen FoundationThe Helen P. Denit Charitable Trust

Ms. Nancy Dorman and Mr. stanley MazaroffDaniel P. GahaganJohn Gerdy and E. Follin smithThe Goldsmith Family FoundationThe Laverna Hahn Charitable TrustFrancie and John KeenanMr. and Mrs. E. Robert Kent, Jr.The Andrew W. Mellon FoundationJoseph & Harvey Meyerhoff Family Charitable FundsMr. J. William MurrayGeorge RocheMr. and Mrs. George M. shermanMr. Louis B. Thalheimer and Ms. Juliet A. Eurich

playwrIghtS’ CIrCle($5,000- $9,999)

Ms. Katharine C. BlakesleeHenry and Ruth Blaustein Rosenberg Foundationsylvia and Eddie BrownMary Catherine BuntingThe Cordish FamilyThe Jane and Worth B. Daniels, Jr. Fund of the Baltimore Community FoundationBrian and Denise EakesDick and Maria GamperDr. and Mrs. Neil D. GoldbergFredye and Adam GrossMartha HeadMr. and Mrs. Martin HillMurray KappelmanKwame and Michelle Kwei-ArmahThe John J. Leidy Foundation, Inc.The Macht Philanthropic FundRobert E. Meyerhoff and Rheda BeckerJohn and susan Nehrastephen Richard and Mame HuntThe Jim & Patty Rouse Charitable FoundationMr. Gilbert H. stewart and Ms. Joyce L. UlrichDr. Edgar and Betty sweren, in honor of Center stage’s 50th AnniversaryMr. and Mrs. J.W. Thompson WebbMs. Linda Woolf

dIreCtorS’ CIrCle($2,500- $4,999)

AnonymousThe Lois and Irving Blum FoundationDrs. Joanna and Harry BrandtAugust and Melissa ChiaseraGene DeJackome and Kim GingrasThe Mary & Dan Dent Fund of the Baltimore Community FoundationMr. and Mrs. Walter B. Doggett, IIIMr. and Mrs. Michael FalconeMs. suzan GarabedianThe Harry L. Gladding Foundation/Winnie and Neal BordenGoldseker Foundation/Ana GoldsekerRobert and Cheryl GuthThe Hecht-Levi Foundation, Inc.David and Elizabeth JH HurwitzMr. and Mrs. stephen ImmeltJonna and Fred LazarusMr. and Mrs. Earl & Darielle Linehan/Linehan Family FoundationMrs. Diane MarkmanLinda and John McClearyMr. and Mrs. John L. MessmoreJim and Mary MillerJeannie MurphyThe Israel & Mollie Myers FoundationDr. and Mrs. Lawrence C. PakulaMarjorie Rodgers Cheshire and Mark CheshireLainy Lebow sachs and Leonard sachsMonica and Arnold sagnerscott and Mimi somervillescot T. spencerMr. Michael styerMr. and Mrs. Donald and Mariana ThomsTrexler Foundation, Inc. - Jeff Abarbanel and David GoldnerMr. and Mrs. Loren and Judy WesternTed and Mary Jo WieseCheryl Hudgins Williams and Alonza Williamssydney and Ron WilnerDrs. Nadia and Elias Zerhouni

Robert W. Smith, Jr., PresidentEdward C. Bernard, Vice PresidentJuliet Eurich, Vice PresidentTerry H. Morgenthaler, Vice PresidentE. Follin Smith, TreasurerJ.W. Thompson Webb, secretary

Penny BankKatharine C. Blakeslee*James T. BradyC. sylvia Brown*stephanie CarterAugust J. ChiaseraJanet ClausonLynn DeeringJed DietzWalter B. Doggett, IIIJane W.I. DroppaBrian EakesBeth W. FalconeDaniel GahaganC. Richard Gamper, Jr.suzan GarabedianCarole GoldbergAdam GrossCheryl O'Donnell GuthMartha Head*Elizabeth J. Himelfarb HurwitzKathleen W. HyleTed E. ImesMurray M. Kappelman, MD*John J. KeenanE. Robert Kent, Jr.Joseph M. Langmead*Kenneth C. Lundeen*Marilyn Meyerhoff*Hugh MohlerJ. William MurrayCharles E. NoellEsther Pearlstone*Judy M. PharesJill PrattPhilip J. RauchHarold RojasMonica sagner*Renee C. samuelsTodd schubertCharles schwabeGeorge M. sherman*scott somervillescot T. spencerMichael B. styerHarry ThomasianDonald ThomsKatherine Vaughns+Cheryl Hudgins WilliamsLinda s. Woolf

* Trustee Emeriti+ Center stage honors the legacy of

Katherine Vaughns and her many contributions as a Trustee, patron, donor, and friend of our theater.

BOARD OF TRUSTEES

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aSSoCIateS($1,000-$2,499)AnonymousMs. Taunya BanksMr. and Mrs. Marc BlumJohn and Carolyn BoitnottJan BoyceDr. and Mrs. Donald D. Brownsandra and Thomas BrushartMeredith and Joseph CallananThe Campbell Foundation, Inc.Caplan Family Foundation, Inc.sally and Jerry CaseyJohn ChesterAnn K. ClappConstantinides Family FoundationMs. Gwen DavidsonThe Richard & Rosalee C. Davison

FoundationJames DeGraffenreidt and

Mychelle FarmerAlbert F. DeLoskey and

Lawrie DeeringRosetta and Matt DeVitoMr. Jed Dietz and Dr. Julia McMillanMr. and Mrs. Eric DottJack and Nancy DwyerMs. Nicole EppMr. and Mrs. Matthew FreedmanFrank and Jane GaborJose and Ginger GalvezPamela and Jonathan Genn,

in honor of Cindi Monahan and Beth Falcone

Richard and sharon Gentile, in honor of the Center stage Costume shop

Ms. sandra Levi GerstungMr. and Mrs. Benjamin H. Griswold, IVAnnie Groeber, in memory of

Dr. John E. AdamsH.R. LaBar Family Foundation

Fund of The Greater Cincinnati Foundation

F. Barton Harvey, III and Janet Marie smith

Bill and scootsie Hattersandra and Thomas HessDrs. Dahlia Hirsch and Barry WohlLen and Betsy HomerThe A. C. and Penney Hubbard

FoundationJoseph J. JaffaMax JordanMr. and Mrs. Mark JosephFrancine and Allan Krumholzsandy and Mark LakenAndie Laporte, in honor of

Philip and Lynn RauchDr. and Mrs. George Lentz, Jr.Joseph and Jane MeyerJohn and Beverly MichelTom and Cindi MonahanMs. stacey Morrison and

Mr. Brian MoralesThe Honorable Diana and Fred Motz,

in memory of Nancy RocheRoger F. Nordquist and Joyce WardIrene E. NortonMr. and Mrs. Lee OgburnMs. Jo-Ann Mayer OrlinskyDr. Bodil Ottesen

Mr. and Mrs. stanley Panitz Fund of the Baltimore Community Foundation, in honor of Peter Culman

Jill and Darren PrattMs. Kathleen C. Ridder,

in honor of Peter CulmanThe James and Gail Riepe

Family FoundationNathan and Michelle RobertsonDr. David A. RobinsonThe Rollins-Luetkemeyer

FoundationKurt and Patricia schmokeMr. and Mrs. Todd schubertGail B. schulhoffCharles and Leslie schwabeThe Tim and Barbara schweizer

Foundation, Inc.Barbara and sig shapiroThe Ida & Joseph shapiro

FoundationThe Earle & Annette shawe

Family FoundationDr. Barbara sheltonDana and Matthew slaterMr. and Mrs. Robert N. smelkinsonJudith R. and Turner B. smithMr. and Mrs. scott smithDr. and Mrs. John strahanMr. and Mrs. Ronald W. TaylorJohn A. UlatowskiKathryn and Mark VaselkivCarolyn and Robert WallaceNanny and Jack Warren,

in honor of Lynn DeeringJanna P. WehrleMr. Todd M. Wilson and

Mr. Edward DeLaplaineAnn Wolfe and Dick MeadJohn W. WoodDr. Laurie s. ZabinMr. Calman Zamoiski, Jr.,

in honor of Terry Morgenthaler

ColleagueS($500-$999) AnonymousMs. Diane Abeloff,

in memory of Martin AbeloffThe Alsop Family FoundationMrs. Alexander ArmstrongMr. Robert and Dorothy BairMayer and Will Baker, in honor of

Terry MorgenthalerMr. and Mrs. Raymond Bank

Family Fund of the Baltimore Community Foundation

Amy and Bruce BarnettCharles and Patti BaumJaye and Dr. Ted Bayless

Fund of the Baltimore Community Foundation

Judge Robert Bells. Woods and Cathy L. Bennettsteve and Teri BennettHarriet and Bruce BlumCindy CandeloriMr. and Mrs. Carl F. ChristJoan Develin Coley and M. Lee RiceBarbara Crain and

Michael BorowitzRichard and Lynda DavisRobert and Janice Davis

The Honorable and Mrs. E. stephen Derby

Lynne Durbin and John-Francis Mergen

Dave and Joyce EdingtonPatricia Egan and Peter Hegeman,

in honor of Peter CulmanPatricia yevics-Eisenberg and

stewart EisenbergThe Eliasberg Family FoundationBuddy and sue Emerson, in

appreciation of Ken and Elizabeth Lundeen

Donald and Margaret EngvallFaith and Edgar Feingold,

in memory of sally W. Feingoldsandra and John FerriterMs. Nancy FreymanDr. Joseph Gall and Dr. Diane DwyerFrank and Tara GallagherMary and Richard Gormanstuart and Linda GrossmanLouise A. HagerTerry Halle and Wendy McAllisterDonald and sybil HebbLee M. Hendler,

in honor of Peter CulmanBetsy and George HessMrs. Heidi HoffmanMr. and Mrs. James HormuthDr. and Mrs. J. Woodford HowardRalph and Claire HrubanMr. James HughesMr. Edward HuntMs. Harriet F. IglehartMr. and Mrs. Theodore ImesRichard Jacobs and Patricia LasherMs. Mary Claire JeskeJames M. and Julie B. JohnstoneBJ and Candy JonesKirk and Debbie JoyDr. and Mrs. Juan M. JuanteguyMs. shirley KaufmanB. KellerJudith Phair King and Roland KingMr. George W. Kingstewart and Carol KoehlerMr. John Lanasa,

in honor of Peter CulmanJoseph M. and Judy K. LangmeadClaus Leitherer and Irina FedorovaDr. and Mrs. Ronald LesserMarilyn LeutholdKenneth and Christine LoboDr. and Mrs. Thomas J. LynchThe Dr. Frank C. Marino

Foundation, Inc.Maryland Charity CampaignMs. Mary L. McGeadyDr. Carole MillerMr. Jeston I. Millerstephanie F. Miller, in honor of

The Lee s. Miller Jr. FamilyGeorge and Beth MurnaghanRex and Lettie MyersMichael and Phyllis PanopoulosChris and Deborah PenningtonMr. and Mrs. James and

Mimi Piper Fund of the Baltimore Community Foundation

Bonnie Pitt

Dave and Chris PowellRobert E. and Anne L. PrinceRichard and Kay RadmerRonald and Carol RecklingMrs. Peggy L. RiceMs. Jane RodbellMr. and Mrs. Harold RojasDorothy L. and

Henry A. Rosenberg, Jr.Kevin and Judy RossiterMrs. Bette RothmanMr. Al Russellsheila and steve sachsMs. Renee C. samuelsEugene and Alice schreiber

Philanthropic FundThe sinksy-Kresser-Racusin

Memorial Foundationsusan somerville-Hawes, in honor

of The Encounter ProgramGeorgia and George stamasstation North Arts and

Entertainment Districtsanford and Karen TeplitzkyMr. and Mrs. Barbara and

Paul Timm-Brocksharon and David TufaroUnited Way of Central Maryland

CampaignMr. and Mrs. George and

Beth Van DykeIn memory of sally WessnerMr. Michael T. WhartonDr. and Mrs. Frank R. WitterEric and Pam youngMr. Norman youskauskasMr. Paul Zugates

advoCateS($250-$499)AnonymousWalter and Rita AbelMr. and Mrs. Delbert L. AdamsBradley and Lindsay AlgerMs. Donna ArbogastMr. Alan M. Arrowsmith, IIMichael BakerMr. and Mrs. Martin BeerMr. and Mrs. Alfred and

Muriel BerkeleyRachel and steven Bloom,

in honor of Beth FalconeMr. Chad Bolton,

in honor of Peter CulmanMr. and Mrs. Charles BryanDr. and Mrs. Arthur Burnett IIMs. Deborah W. CallardThe Jim and Anne Cantler

Memorial Fund of the Baltimore Community Foundation

Mr. and Mrs. David CarterMr. Andrew J. CaryMr. and Mrs. James CaseMs. Cynthia Cindricstanton CollinsCombined Federal CampaignComprehensive Car Care/

Robert WagnerDavid and sara CookeB.J. and Bill CowieMr. and Mrs. Richard D. Crafton

Mr. and Mrs. David and Gloria Crockett

Ms. Alice M. Dibbensally Digges and James ArnoldDeborah and Philip EnglishMs. Rhea Feikin,

in memory of Colgate salsburyMs. Jeannette E. FestaBob and susie FetterGenine and Josh Fidler,

in honor of Ellen and Ed BernardDr. and Mrs. Robert P. FleishmanMr. and Mrs. George FlickingerDonna FlynnJoan and David ForesterDr. Neal M. Friedlander and Dr.

Virginia K. AdamsMark and Patti GillenHal and Pat GilreathHerbert and Harriet GoldmanMr. Bruce GoldmanMr. Howard GradetJoseph GriffinThomas and Barbara GuarnieriJane Halpern and James PettitAda HamoshDr. and Dr. James and Vicki HandaMelanie and Donald HeacockIn Memory of Eric R. HeadAaron HeinsmanWilliam and Monica Hendersonsue HessMrs. James J. Hill, Jr.,

in memory of James J. Hill, Jr.Mr. Donald H. Hooker, Jr.Ms. Irene HornickMs. sarah IssacsMr. William JacobJames and Hillary Aidus JacobsA.H. Janoski, M.D.,

in honor of Jane stewart JanoskiMr. and Mrs. Peter KaplanRichard and Judith KatzDr. and Mrs. Myron Kellnersteve and Laurie Kelly,

in memory of Rodney stieffDonald Knox and Mary Towery,

in memory of Carolyn Knox and Gene Towery

David and Ann KochGina KotowskiEdward KuhlDrs. Don and Pat LangenbergMr. Richard M. LansburghMr. and Mrs. William LarsonDrs. Ronald and Mary LeachLeadership—Baltimore Countysara W. LeviMarty Lidston and Jill LeukhardtDr. and Mrs. John LionCheryl Londonscott and Ellen LutreyNancy Magnuson and Jay Harrell,

in honor of Betty and Edgar sweren

Ms. Karen MalloyMr. Elvis MarksJoan and Terry MarshallDon MartinEleanor McMillanMary and Barry Menne

dance of the holy ghosts | 17

Bruce MentzerMs. Darlene MillerMinds Eye CinemaThe Montag Family Fund of

The Community Foundation for Greater Atlanta, in honor of Beth Falcone

James W. and shirley A. Moore

Dr. and Mrs. Clayton Moravec

Ms. Cassie Motz, in memory of Nancy Roche

Dr. and Mrs. C.H. Murphystephen and Terry NeedelIn memory of Nelson

NeumanClaire D. O’NeillMr. Thomas OwenThe P.R.F.B. Charitable

Foundation, in memory of shirley Feinstein Blum

Justine and Ken ParezoGeorge Edward Parrish, Jr.Fred and Grazina PearsonLinda and Gordon PeltzMr. William PhillipsRon and Pat PillingThea PinskeyMr. Mike Plaisted and

Ms. Maggie WebbertMr. Rex Rehfeld and

Ms. Ellen O’BrienCyndy Renoff and George

TalerDr. Michael Repka and

Dr. Mary Anne FaccioloNatasha and Keenan RiceLiz Ritter and Larry

KoppelmanIda and Jack RoadhouseMr. Wilfred RoeslerLouis and Luanne Rusksteven and Lee sachsDr. Chris schultzMr. steve schwartzmanClair Zamoiski segal,

in honor of Judy Witt Phares

Leslie shepardMrs. Kimberly shorterMr. and Mrs. L. siemsDr. and Mrs. Donald J.

slowinskiRosie and Jim smithMs. Jill stemplerMrs. Clare H. stewart,

in honor of Bill GeenenRenee straber,

in memory of Joan Marilyn Kappelman

Ms. Joann stricklandMr. and Mrs. James R.and

Gail swanbeckMr. Joseph Terino, in memory

of Joan Marilyn KappelmanCindy and Fredrick

ThompsonMr. Martin Toner, in memory

of Joan Marilyn KappelmanLaura and Neil Tucker,

in honor of Beth FalconeMillie Tyssowski

April Duncan WallMs. Magda WesterhoustMr. and Mrs. Barry and

Linda WilliamsBrian and Patricia WinterDeborah King-young and

Daniel youngHarold and Joan youngMr. William Zerhouni

SpeCIal grantS & gIftS:The Leading National Theatres Program, a joint initiative of the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation

government grantSCenter stage is funded by an operating grant from the Maryland state Arts Council, an agency dedicated to cultivating a vibrant cultural community where the arts thrive. Funding for the Maryland state Arts Council is also provided by the National Endowment for the Arts, a federal agency.

Center stage’s catalog of Education Programs has been selected by the President’s Committee on the Arts and Humanities as a 2011 National Arts and Humanities youth Program Award Finalist.

Baltimore County Executive, County Council, & Commission on Arts and sciences

Carroll County Government

Howard County Arts Council through a grant from Howard County Government

gIftS In-KIndThe Afro AmericanAkbar RestaurantAtwater’sThe Baltimore sunBerger CookiesBlimpieThe Brewer’s ArtCakes by Pamela GCasa di PastaThe Classic Catering PeopleThe Charles TheaterChipotleThe City PaperEddie’s on saint PaulEdible ArrangementsEggspectationsExpress VendingFisherman’s Friend/ Pez

Candy, Inc.The Fractured PruneGertrude’s RestaurantGianni’s Italian BistroGreg’s BagelsGT PizzaHoneyBaked Ham Co.The HelmandHotel Monaco

Iggie’sThe Jewish TimesMamottMars super MarketsMaryland Office InteriorsMaryland Public TelevisionMichele’s GranolaMitchell Kurtz Architect, PCMount Vernon stable and

saloonNew system BakeryOriole’s Pizza and subPizza Boli’sPizza HutPlanit AgencyPromoWorksRepublic National

Distributing Companysabatino’sshugoll ResearchThe signmanstyle MagazinesubwayUrbaniteUtz Quality FoodsVillage square CaféA Vintner’s selectionWawaWegman’sWhitmore Print & ImagingWyPR Radiowww.thecheckshop.us

matChIng gIft CompanIeS The Abell Foundation, Inc.Bank of AmericaBGEThe Annie E. Casey

FoundationConstellation EnergyThe Deering Family

FoundationExxon CorporationGE Foundation Illinois Tool Works

FoundationKraft FoodsMAsCO CorporationMcCormick FoundationNorfolk southern

FoundationPNC Bankstanley Black and DeckersunTrust BankT. Rowe Price Group

We make every effort to provide accurate acknowledgement of our contributors. We appreciate your patience and assistance in keeping our lists current. To advise us of corrections, please call 410.986.4026.

playwrIghtS’ CIrCle

Anonymous

American Trading & Production Corporation

The Baltimore Life Companies

Brown Advisory

Chapel Valley Landscape Company

Environmental Reclamation Company

Ernst & Young

FTI Consulting, Inc.

Howard Bank

Lord Baltimore Capital Corporation

McGuireWoods LLP

The P&G Fund of The Greater Cincinnati Foundation

Pessin Katz Law P.A.

PNC Bank

Saul Ewing LLP

Stifel Nicolaus

Venable, LLP

Wells Fargo

Whiteford, Taylor and Preston

Whiting-Turner Contracting Co.

dIreCtorS’ CIrCle

Alexander Design Studio

Baxter, Baker, Sidle, Conn & Jones, P.A.

Bay Imagery

Funk & Bolton, P.A.

Schoenfeld Insurance Associates

Stevenson University

The Zolet Lenet Group at Morgan Stanley Smith Barney

aSSoCIateS

Ayers Saint Gross, Incorporated

Chesapeake Plywood, LLC

CORPORATIONS

produCerS’ CIrCle

SeaSon 51 preSentIng SponSor

artIStS’ CIrCle

preSIdentS’ CIrCle

T. Rowe Price Foundation, Inc.

Support

18

HANNAH: Jessa, Jessa—there are bells here! We haven’t heard bells in some time.

About 50 miles and 150 years from here and now, we wander into a holiday tale that is more complex and more stirring than many others.

Traditional carols and period folksongs accent the stark events of our nation’s past to warm the hearts of soldiers, slaves, presidents, and children. This expansive account of one transformative Christmas Eve deftly handles the burdens of power, the fog of war, the diversity of experience, and the beauty of shared humanity during a turning point in history.

Bringing together an all-star creative team including Pulitzer-Prize winning playwright Paula Vogel, critically acclaimed director Rebecca Taichman, and MacArthur Genius Award-winning choreographer Liz Lehrman, A Civil War Christmas is a vivid portrait of a nation at a war and uplifting story of common destiny.

Pulitzer Prize-winning playwright Paula Vogel spins a musical tale of hope and forgiveness. It’s a bitterly cold Christmas Eve in 1864 and all along the Potomac, from the White House to the battlefields, friends and foes alike find their lives strangely and poetically intertwined. Weaving together carols and folk songs, this “beautifully stitched tapestry of American lives” (The New York Times) is sure to become a new holiday classic for the entire family.

prEviEwUP NExT

IN sEAsON 51

A NEW HOLIDAY CLASSIC

“When the actors’ voices rise together in song… there arises from the dark history being told an

ineffable sense of wonder at the survival of faith and humanity even in hearts ravaged by loss.”

—The New York Times

The Walters Presents Artist Jacob Lawrence

The Walters Art Museum presents Jacob Lawrence’s Genesis Series (1990), eight works describing eight passages from the book of Genesis.

Lawrence, an African American artist, is also known for his Migration Series (1940–41), which depicts The second Great Migration, the movement of African Americans from the rural south to the urban North.

“Jacob Lawrence is one the nation’s most celebrated 20th century artists and a key interpreter of the African American experience,” said Jacqueline Copeland, Deputy Director for Audience Engagement at The Walters.

The Genesis Series reflects Lawrence’s youthful memories of passionate sermons about The Creation given by ministers at the Abyssinian Baptist Church in Harlem where he was baptized in 1932. This series, on loan from Eddie and sylvia Brown’s Baltimore collection, features the same unity, colorful imagery, and visual eloquence of his earlier series.

The Genesis series has been generously loaned from Eddie and Sylvia Brown’s private collection in Baltimore.

Jacob Lawrence, Genesis Series (1990), The Creation was done and all was well.© 2013 The Jacob and Gwendolyn Lawrence Foundation, seattle / Artists Rights society (ARs), New york

HANNAH: Jessa, Jessa—there are bells here! We haven’t heard bells in some time.

Nov 19–Dec 22By Paula Vogel

Directed by Rebecca Taichman

dance of the holy ghosts | 19

Kwame Kwei-Armah OBE–Artistic Director | Stephen Richard–Managing Director

AdministrationAssociate Managing Director–Del W. RisbergExecutive Assistant–Kacy ArmstrongManagement Fellow–Kevin MaroneyYale Management Fellow–Molly Hennighausen

Artistic & DramaturgyAssociate Artistic Director/Director of Dramaturgy–

Gavin WittArtistic Producer–Susanna GellertArtistic and Dramaturgy Intern–Catherine RodríguezThe Lynn and Tony Deering Artistic Intern–

Samantha GodfreySummer Intern- Alexis KocerhanHot Desk Resident Playwright–Miranda Rose HallPlaywrights under Commission–de'Adre Aziza, Ken

Greller, James Magruder, Daniel Reitz, KJ Sanchez

Audience RelationsBox Office Manager–Mandy BenedixAssistant Box Office Manager/Subscriptions Manager–

Jerrilyn KeeneAssistant Box Office Manager–Blane WycheSenior Patron Services Associate–Lindsey BarrPatron Services Associates–Zerica Anderson, Samrawit

Belai, Tiana Bias, Shaquille Carbon, Maura Dwyer, Caitlin Joseph, Froilan Mate, Quincy Price, Kristina Szilagyi, Paul Wissman, Orealle Whye

Bar Manager–Sean Van CleveAudience Relations Intern–Laura BakerAudio Description–Ralph Welsh &

Maryland Arts AccessFront of House|Volunteer Coordinator–Alec Lawson

AudioSupervisor–Amy WedelInterim Sound Supervisor–Patrick CalhounThe Jane and Larry Droppa Audio Intern–

Daniel Hogan

Community Programs & EducationDirector–Rosiland CauthenCommunity Programs & Education Fellow–

Dustin MorrisCommunity Programs & Education Fellow–

Kristina SzilagyiCommunity Programs and Education Intern–

Joshua ThomasTeaching Artists–The 5th L; Oran Sandel; Jerry Miles, Jr.;

CJay Philip; Wambui Richardson

CostumesCostumer–David BurdickCraftsperson–Wil CrowtherTailor–Edward DawsonFirst Hand–Jessica RietzlerThe Judy and Scott Phares Costumes Intern–

Eileen ChafferWardrobe Intern–Lucy Wakeland

DevelopmentDirector–Cindi MonahanAnnual Fund Manager–Katelyn WhiteGrants Manager–Debbie Joy

Events Manager–Brad NorrisDevelopment Associate–Julia OstroffDevelopment Assistant–Christopher LewisAuction Coordinator–Sydney WilnerAuction Assistant–Norma CohenThe Edward and Ellen Bernard Development Intern–

Astoria Avilés

FinanceDirector–Susan RoseberyBusiness Manager–Kathy NolanAssociate–Carla Moose

GraphicsArt Director–Bill GeenenProduction Photographer–Richard AndersonMarketing Multimedia Fellow–Leslie DatsisGraphics Intern–Callan Silver

Information TechnologiesDirector–Joe LongSystems Administrator–Mark Slaughter

ElectricsLighting Director–Lesley BoeckmanMaster Electrician–Bevin MiyakeStaff Electrician–Anthony ReedThe Gilbert H. Stewart and

Ms. Joyce L. Ulrich Lighting Intern–Carly ShinerMultimedia Intern–Gregory Towle

Marketing & CommunicationsDirector–Tony HeaphyMarketing Manager–Madeline Long Public Relations Manager–Heather C. JacksonPublications Manager–Maggie BeetzMarketing Associate/Group Sales–Tia AbnerDigital Content Associate–Emily SalinasThe Jay and Sharon Smith Marketing and

Public Relations Intern–Sarah Bichsel

OperationsOperations Manager–Shawn WhitenackBuilding Engineer–Dan PearceCustodial Services–MultiCorp. Grady HughesSecurity Supervisor–James Williams

Production ManagementProduction Manager–Mike SchleiferCompany Manager–Sara GroveAssociate Production Manager–Caitlin PowersProduction and Stage Management Intern–

Quincy PriceCompany Management Intern–Te’ La Williams

PropertiesManager–Jennifer StearnsAssistant Manager– Nathan ScheifeleArtisan–Samantha KuczynskiThe Kenneth C. and Elizabeth M. Lundeen

Properties Intern–Elizabeth Chapman

SceneryTechnical Director–Tom RuppAssistant Technical Director–Laura P. HillikerShop Supervisor–Trevor GohrCarpenters–Mike Kulha, Hunter Montgomery,

Scott RichardsonScene Shop Intern–Amber ChaneyScenic ArtScenic Artist–Stephanie NimickIntern–Roxanne Miftahittin

Stage ManagementResident Stage Managers–Captain Kate Murphy,

Laura SmithProduction Assistant–Lindsay EberlyThe Peter and Millicent Bain

Stage Management Intern–Chandalae Nyswonger

Stage OperationsStage Carpenter–Eric BurtonWardrobe Supervisor–Linda Cavell

The following individuals and organizations contributed to this production of

dance of the holy ghosts—Assistant Director–Samantha GodfreyAssistant Lighting Director–Rachel Atkinson Carpenters–Jessica Cowan, Jake Epp, Chris Insley,

Nathan Scheifele, Michael SteinerDraper–Sue MacCorkleElectricians–Jake Epp, Aaron Haag, Joey WallsHair/Wigs–Linda Cavell

Children’s vocals sung by students at the Baltimore School for the Arts

Thanks to Jess Cowan, Jeanne Marie Hanan, Lisi Stoessel for Props work on Animal Crackers

Center Stage operates under an agreement between LORT and Actors’ Equity Association, the union of professional actors and stage managers in the United States.

The Director and Choreographer are members of the Society of Stage Directors and Choreographers, Inc., an independent national labor union.

The scenic, costume, lighting, and sound designers in LORT theaters are represented by United Scenic Artists, Local USA-829 of the IATSE.

Musicians engaged by Center Stage perform under the terms of an agreement between Center Stage and Local 40-543, American Federation of Musicians.

Center Stage is a constituent of Theatre Communications Group (TCG), the national organization for the nonprofit professional theater, and is a member of the League of Resident Theatres (LORT), the national collective bargaining organization of professional regional theaters.

The Center Stage Program is published by:Center Stage Associates, Inc. 700 North Calvert Street Baltimore, Maryland 21202

Editor Maggie BeetzArt Direction/Design Bill GeenenAssociate Editor Heather Jackson Advertising Sales ads@centerstage.org

CONTACT INFORMATIONBox Office Phone 410.332.0033 Box Office Fax 410.727.2522 Administration 410.986.4000www.centerstage.org info@centerstage.org

Material in the Center stage performance program is made available free of charge for legitimate educational and research purposes only. selective use has been made of previously published information and images whose inclusion here does not constitute license for any further re-use of any kind. All other material is the property of Center stage, and no copies or reproductions of this material should be made for further distribution, other than for educational purposes, without express permission from the authors and Center stage.

StAff

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