the mountaintop program

Jan 9–Feb 24

By Katori HallDirected by Kwame Kwei-Armah

An Enemy of the People

The Completely Fictional— Utterly True—Final Strange Tale of Edgar Allan Poe

Bus Stop

The Mountaintop

Mud Blue Sky

Clybourne Park

Beneatha’s Place

2012–13 season

The Raisin Cycle

Hall

An Introduction to the World of the Play

“This isn’t the ‘I Have a Dream’ King. This is King, the man; not the myth. I want people to see that this extraordinary man—who is actually quite ordinary—achieved something so great that he actually created a fundamental shift in how we, as a people, interact with each other. That’s a beautiful thing.”—Katori Hall, Playwright

As Katori Hall points out, The Mountaintop is about Martin Luther King, Jr. the man. It’s not a biography and it strives neither to glorify nor to demonize him. Here he is not just a figure of legend; he is a husband, father, leader, and man, who could inspire many and yet doubt himself.

At the same time, Hall also explores her own, more personal story. Memphis natives, Hall’s mother and grandmother were looking forward to hearing Dr. King speak during his 1968 visit to address a sanitation workers’ strike. But when word spread of a planned bombing, they stayed home. Missing the speech became a lifelong regret for Hall’s mother, Carrie Mae. Here Carrie Mae becomes the character Camae, the hotel maid who spends a few of those fateful final hours with Dr. King. In The Mountaintop, Hall gives her mother the chance encounter she never got and in doing so, offers a fantastical, imaginative reflection on King’s Memphis visit.

In the speech that Dr. King gave in Carrie Mae’s absence, King imagines himself gazing like Moses into a Promised Land he may never reach, but peaceful and happy to have led the way there. When he was killed the following evening, the prophetic became prescient.

About the StrikeOn February 1, 1968, two Memphis garbage collectors were killed by a malfunctioning truck. After nearly two weeks of struggle with the city, Memphis workers went on strike. Over the next two months, events escalated through sit-ins and boycotts that pitted the workers and supporters against police and Mayor Henry Loeb. On March 28, Dr. King led a peaceful citywide march that broke out in violence—prompting an aggressive police response that left one young man dead. On April 3, Dr. King returned to Memphis and delivered his historic address. The next evening he was assassinated. Four days later his wife led more than 40,000 people on a peaceful memorial march through downtown Memphis in tribute to Dr. King and in support of the strike. The following week, an agreement ended the strike.

Kwame Kwei-Armah Director

Neil Patel Scenic Designer

David Burdick Costume Designer

Scott Zielinski Lighting Designer

Victoria Delorio Original Music & Sound Designer

Kate Freer Projections Designer

Alex Koch Projections Designer

Gavin Witt Production Dramaturg

Pat McCorkel Casting Director

Time: April 3, 1968.

Place: Room 306. Lorraine Motel. Memphis, Tennessee

Shawn Hamilton* Dr. King

Myxolydia Tyler* Camae

Captain Kate Murphy* Stage Manager

Laura Smith* Assistant Stage Manager

*Member of Actors’ Equity Association

The CasT (in order of appearance)

The seTTing

The arTisTiC Team

The Mountaintop is presented by special arrangement with Dramatists Play Service, Inc., New York.

PLeASe turn Off Or SiLenCe ALL eLeCtrOniC DeviCeS.

in CASe Of eMergenCy (during performances only) 410.986.4080

The MounTainTop iS MADe POSSibLe with SuPPOrt frOM

PreSenting PArtner

SeASOn SPOnSOrSEllen and Ed BernardStephanie and Ashton CarterJames and Janet ClausonLynn and Tony Deering and

The Charlesmead FoundationJane and Larry DroppaTerry H. Morgenthaler and Patrick KerinsJudy and Scott PharesPhil and Lynn RauchJay and Sharon SmithBarbara Voss and Charles E. Noell, III

ASSOCiAte SeASOn SPOnSOrKathleen HyleKenneth C. and Elizabeth M. Lundeen

SeASOn PArtnerS

T. Rowe Price Foundation

MeDiA PArtnerS

The MountaintopBy Katori Hall • Directed by Kwame Kwei-Armah

Jan 9–Feb 24, 2013

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.

We all knoW the monument, the larger-than-life legend.

2 | CENTERSTAGE

What about the man behind the myth?

The Mountaintop | 3

The Nobel Peace Prize for 1964 was awarded Today To The rev. dr. MarTiN luTher KiNg, Jr.Oslo, Norway, Oct. 14The prize honors acts "for the furtherance of brotherhood among men and to the abolishment or reduction of standing armies and for the extension of these purposes."In a broadcast from Atlanta, Ga., Dr. King said that he was deeply moved by the honor. "I am glad people of other nations are concerned with our problems here," he said. He added that he regarded the prize as a sign that world public opinion was on the side of those struggling for freedom and dignity. He also said he saw no political implications in the award. "I am a minister of the gospel, not a political leader," he said.

The Memphis Commercial AppealMarch 18, 1968

Martin Luther King did nothing to hasten the settlement of the Memphis

sanitation strike in his Monday night speech at Mason Temple. But he saw how many Negroes were aroused and

quickly decided to attach himself to the local issue. He'll return to Memphis

Friday to lead a march, which is usually good for a spot on the evening

television broadcasts. The sanitation strike gave him a handy starting place to make his pitch for bigger things.

I came across your r

ecent

statement calling my

present

activities "unwise a

nd untimely."

I cannot sit idly by

in Atlanta

and not be concerned

about what

happens in Birmingha

m. Injustice

anywhere is a threat

to justice

everywhere. We are c

aught in an

inescapable network

of mutuality,

tied in a single gar

ment of

destiny. Whatever af

fects one

directly affects all

indirectly.

-Martin Luther King,

Jr.

"Letter from the Bir

mingham Jail."

Few can explain the extraordinary King mystique. Yet he has an indescribable capacity for empathy that is the touchstone of leadership. By deed and by preachment, he has stirred in his people a Christian forbearance that nourishes hope and smothers injustice. Says Atlanta's…Ralph D. Abernathy…: "The people make Dr. King great. He articulates the longings, the hopes, the aspirations of his people in a most earnest and profound manner. He is a humble man, down to earth, honest. He has proved his commitment to Judaeo-Christian ideals. He seeks to save the nation and its soul, not just the Negro."

—“America’s Ghandi,” Time Magazine 1963 Man of the Year

there is the loud clamor of mlk the public figure…

Man of Faith“In order to understand Martin Luther King you must start with the fact that he was a minister. That is the key to who Martin Luther King Jr. was. If you try to take him as a, quote, civil rights leader, or a political leader, you will miss the real King. He was first and foremost a minister.”

—William Gray, King family friend

“In New York, a few months before his death, we had lunch…and King turned philosophical about the limits of political change. It was a leisurely and convivial lunch. The restaurant had been alerted that the famous Dr. King was coming, and the waiter assumed that the white man in the clerical collar must be he, and so throughout the lunch addressed me as Dr. King. It both astonished and amused that one of the most famous people in the world was not recognized, and King enjoyed it immensely, taking the opportunity to smoke cigarettes throughout lunch, a regular habit that he usually indulged only in private. Among many other things, we talked about the abiding wisdom of Reinhold Niebuhr and the need to recognize the distinction between the morally imperative and the historically possible, agreeing also on the moral imperative to press the historically possible. It was the last time I saw him.”

—Father Richard John Neuhaus

“Faith in the dawn arises from the faith that God is good and just. When one believes this, he knows that the contradictions of life are neither final nor ultimate. He can walk through the dark night with the radiant conviction that all things work together for good for those that love God. Even the most starless midnight may herald the dawn of some great fulfillment.”

—Dr. King, “Knock at Midnight,” in Strength To Love

Family Man“I used to love to be at their home. He had a game he played with each child. They had a kiss mark. One child had a forehead and one had a cheek, the other had the other cheek and the other one had the chin. And what he would do sometimes he’d grab ’em and to give a kiss and he’d pretend like he's going to the wrong side. ‘No, no, no, Daddy, that’s my side. That's my side.’ And he was doing that just to add some jocular moments to the setting.”

—Xernona Clayton, SCLC Secretary

and there is the quiet reflection of a private person.

The Mountaintop | 5

“If a man is called to be a street sweeper, he should sweep streets even as Michelangelo painted, or Beethoven composed music, or Shakespeare wrote poetry. He should sweep streets so well that all the hosts of heaven and earth will pause to say, here lived a great street sweeper who did his job well.”

—Dr. Martin Luther King, Jr.

“I was a young guy and I’ve always been one of those

people that’s going somewhere else. I want to see

it from a different angle. I wanted to see MLK up

close and personal so I walked over to the door and

just as I walked to the door, this white Cadillac pulls

up and he gets out and I open the door for him.

Well this is no big thing because he wasn’t the same

person then as he has come to be known, so wasn’t

no big event but I opened the door and he thanked

me. I never will forget that. I looked back and

went, ‘Whoa,’ because I really got to see somebody.

We didn’t hug or kiss but he did say, ‘Thank you young

man,’ and he and his people walked up to the podium.

King [said]: ‘We gonna shut this city down’ and then

says the magic words to me, ‘Ain’t gonna be no school

in Memphis on Friday‘ and I perked up and I look over

at God, who’s my daddy, and say, ‘Is that right? You

mean to tell me I ain’t got to go to school?’ So

I’m signed on. If this man got the power to say

I ain’t got to go to school on Friday, I’m going with

him. That was how I felt. I was like, ‘I think I just

became a fan.’ I pledged that I was gonna do my

part. ‘Whatever y’all need, I’m willing to do.’ That

was really the jumping off point, not just for me—

I think after that, that’s when it really became

an issue.”

—Memphis native Aaron Lewis remembers the sanitation strike.

There was this stretch of the highway on the outskirts of Montgomery, which is like motel row—the Ramada Inn, Holiday Inn—a whole row of them. So the rain has finally stopped and all the maids are out there in front with their mops and their carts and their pails and stuff, and they're just looking. And they're looking, and right behind them are their managers. The maids are all Black, the managers are all white. And they're looking at us, and they look at their manager, and they look at us, and they look at their manager, and they look at us, and some of them, they drop their mops and join the march.

—Interview with a civil rights activist

on the streets, there Were the triumphs of neW challenges met,

the promise of the poor people’s campaign, and the neW battles of the 1968 sanitation

Workers’ strike in memphis.

6 | CENTERSTAGE

XERNONA CLAYTON: I was home this particular day, January 15. They were at the church planning a, a march and they called me and said, “You know, we’re concerned about Doc,…we haven’t seen his laughter in a long time and we need to see that old spark again, and we think you can help us get that spark back. So will you come over to the church and we’re going to celebrate his birthday. We’re going to take a break around four or five o’clock and we’re going to celebrate and give him a little surprise.”…Usually the staff would give him a suit for his birthday and this time, Andrew Young and Abernathy and Jesse Jackson and the people around him said, “Let’s don’t give him a suit, let’s give him some laughter. Let’s make him laugh.” And so that was my assignment to come over and make him laugh.

JUANITA ABERNATHY: Well, that evening we were supposed to go out to dinner and, um, he called and said to me... “Juan, I don’t want to go out to dinner. Um, I want to come to your house. If I get some fish, Ralph and I bring the fish, would you cook it?” I said, “Yes.” So they came over with the fish and, um, we cooked fish and the news was on and Martin was very sensitive about violence. And I had never seen him with the kind of spirit he had that night. He was just sad. He looked like he was burdened down. And we tried to make small talk, light talk. But every time we would lift the conversation to something lighter you could see him just sink. He was more distraught that night than I have ever seen him in my life….

ANDREW YOUNG: He was exhausted, he had a slight fever. …When I came in the room he said, “Where have you been?” And he threw a pillow at me. And I was trying to tell him, you know, that I’d been in court all day. And he said, “Don’t you know you can’t stay in court? You supposed to report to me. You supposed to let me know what’s going on. I’ve been worried all day long.” And he kept throwing pillows at us so I started throwing ’em back at him. And the next thing you know they had all jumped on me and, and put me down between these two beds and piled the pillows on top of me and it was, you know, it was just childish play.

CHARLEY COBB: The eyes were tired. I’ll stop short of saying “defeated.” He was smoking and, and he looked something short of disheveled. Looking at him, there’s a sense of…being alone. Not, or at least being uncertain as to who your allies are.

—Above recollections from the PBS documentary, Citizen King

But behind closed doors, there were also moments of quiet doubt,

of exhaustion—or of laughter.

The Mountaintop | 7

As we mark our 75th year in Baltimore, we join CENTERSTAGE

in celebrating its own milestone anniversary—50 years of

artistic excellence provided through thought-provoking theater

for this great community. That’s no small act.

We’re proud to be a long-time supporter of this remarkable

cultural institution, which enriches our city’s quality of life.

As loyal fans, we say, Bravo!

Applause.

ThE MouNTAiNTop

Shawn Hamilton*— Dr. Martin Luther King, Jr. CENTERSTAGE: debut. National Tour—Little House on the Prairie The Musical. Regional—Guthrie Theater:

Appomattox, Little House on the Prairie The Musical, Pericles, Twelfth Night, Othello, Hamlet, His Girl Friday, The Skin of Our Teeth, The Tempest, The Illusion, Troilus and Cressida, Gross Indecency, Many Colors Make the Thunder King, Marat/Sade, Mother Courage, A Midsummer Night’s Dream; California Shakespeare Theater: Pericles, Titus Andronicus; Yale Repertory Theater: Troilus and Cressida, Hamletmachine, Pill Hill; Trinity Rep: The Illusion; Dallas Theatre Center: The Ups and Down Of Theophilus Maitland, All the King’s Men; Penumbra Theatre: Black Nativity, Seven Guitars, Blue, Stage Directions, Get Ready; Children’s Theater: The Beggar’s Strike, Antigone, Lost Boys of The Sudan. Film—Jingle All the Way, Blue Steel. Education/Training—University of North Texas, Circle in the Square, Yale School Of Drama.

Myxolydia Tyler*—Camae. CENTERSTAGE: debut. Off Broadway— The Signature: A Season To Unravel (Narrator). National Tour—Seattle

Children’s Theatre and American Girl Inc.: Addy: An American Girl Story (Addy). International Tour—German Theatre Abroad: Start- Up (Liz). Regional—Arkansas Rep: A Raisin in the Sun (Beneatha); The Acting Co./ Guthrie Theatre: Romeo and Juliet (Rosaline/Peter); Syracuse Stage: Commission of self-written play Dreamprints: A Conversation with Harriet Tubman (Harriet Tubman); Trinity Rep: The Winter’s Tale (Hermione), A Christmas Carol (Belle/Lucy). Education/Training—MFA, Brown/Trinity program. Thank you, Glenn.


Biographies The Cast

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To learn more about opportunities to include CENTERSTAGE in your estate plans, please contact the

Director of Development, Cindi Monahan at 410.986.4020.

The Mountaintop | 9

Katori Hall—Playwright—is a playwright and performer from Memphis, Tennessee. Her award-winning play Hoodoo Love premiered at Cherry Lane Theatre, was developed under Lynn Nottage as part of the theatre’s 2006 Mentor Project, and received three AUDELCO nominations. Plays—Remembrance, Hurt Village, Saturday Night/Sunday Morning, The Mountaintop, On the Chitlin’ Circuit, and Freedom Train (KCACTF 10-minute play national finalist). Her work has been developed and presented at: ART, Kennedy Center, Cherry Lane, Classical Theatre of Harlem, Schomburg Center, BRICLab, Women’s Project, World Financial Center, Lark Play Development Center, New Professional Theatre, The O’Neill, Juilliard School, Stanford University, and Columbia University. Awards—Lecompte du Nouy Prize, North Manhattan Arts Alliance Fellowship, New York State Council on the Arts Commission Grant, New Professional Theatre’s Writers’ Festival award, Fellowship of Southern Writers Bryan Family Award in Drama, New York Foundation of the Arts Fellowship in Playwriting and Screenwriting, Royal Court Theatre Residency, and the Lorraine Hansberry Playwriting Award. She has also been a Kennedy Center Playwriting Fellow. Actor—Law & Order: SVU; The President’s Puppets (The Public); Growing Up a Slave and Incident in the Life of a Slave Girl (American Place); Amerika (world premiere, Theatre de la Jeune Lune/ART); Spring Awakening (Moscow Art Theatre School); Ain’t Supposed to Die a Natural Death (Classical Theatre of Harlem); Schooled (WOW Café); and Black Girl (Sande Shurin). Journalist—The Boston Globe, Essence, Newsweek, The Commercial Appeal. Education—Columbia University, African-American Studies and Creative Writing; ART Institute for Advanced Theatre Training at Harvard University, MFA in Acting; currently in Juilliard School’s Lila Acheson Wallace American Playwrights Program. She is a proud member of the Women’s Project Playwrights’ Lab, the Lark Playwrights’ Workshop, and the Dramatists Guild. www.katorihall.com

Kwame Kwei-Armah—Director. See page 15.

Neil Patel—Scenic Designer. CENTERSTAGE: 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—Oleanna; Wonderland; [title of show]; Ring of Fire; ’night, Mother; Sideman (also West End & Kennedy Center). Off Broadway—Signature Theatre: 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, NYCO: Alcina; Santa Fe: Carmen, Salome, Madame Mao; Minnesota: Madame Butterfly; St. Louis: Cavalleria Rusticana, Suor Angelica, Gloriana; Nikikai: Le Nozze di Figaro, Don Giovanni; FGO: Anna Karenina. Television—In Treatment (HBO). Awards—Obie Award (2), Helen Hayes Award, Eddy Award, Hewes nom (5), Drama Desk nom (3).

David Burdick—Costume Designer. CENTERSTAGE: …Edgar Allan Poe; 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: 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

Biographies The Artistic Team

The Mountaintop | 11

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.

Scott Zielinski—Lighting Designer. CENTERSTAGE: Intimate Apparel, Fall. Broadway—Topdog/Underdog. New York—Atlantic Theater, Classic Stage Company, Public Theater, Lincoln Center Festival, Manhattan Theatre Club, New York Theatre Workshop, Playwrights Horizons, Signature Theatre, Theatre for a New Audience, others. International—Productions in Adelaide, Amsterdam, Avignon, Berlin, Bregenz, Edinburgh, Fukuoka, Gennevilliers, Hamburg, Hong Kong, Istanbul, Linz, London, Lyon, Melbourne, Orleans, Oslo, Ottawa, Paris, Reykjavik, Rotterdam, Rouen, St. Gallen, Singapore, Stockholm, Stuttgart, Tokyo, Toronto, Vienna, Vilnius, Zurich, others. Regional—Most theaters throughout the U.S. Dance—American Ballet Theatre, American Dance Festival, Houston Ballet, Joyce, San Francisco Ballet, Stuttgart Ballet, others. Opera—Brooklyn Academy of Music, Canadian Opera, English National Opera, Houston Grand Opera, Lithuanian National Opera, Nederlandse Opera, New York City Opera, Opera de Rouen, Royal Opera House London, San Francisco Opera, Spoleto Festival, others. scottzielinski.com

Victoria (Toy) DeIorio— Original Music & Sound Designer. CENTERSTAGE: Working It Out. Off Broadway—Joe’s Pub at the Public Theater: Cassie’s Chimera; Steppenwolf at The Duke: The Bluest Eye; NYMTF: Arnie the Doughnut; NYC Fringe Festival at The Connelly: Ophelia. National Tour—LA Theatre Works: Private Lives. Regional—Oregon Shakespeare; The Goodman Theatre; Steppenwolf Theatre; Victory Gardens Theater; Syracuse Stage, Cleveland Playhouse; Maltz Jupiter; Delaware Theatre Company; Chautauqua Theater Company; Indiana Repertory;

Biographies The Artistic Team [cont]

12 | CENTERSTAGE

Milwaukee Shakespeare; Northlight Theatre; Writers’ Theatre; Peninsula Players; and many other theaters in and around Chicago, NY, and LA. Awards—Nominated for 10 and winning six Joseph Jefferson Awards, and two After Dark Awards. Professional—Head of Sound Design for The Theatre School at DePaul University in Chicago.

Kate Freer, IMA—Projections Designer. CENTERSTAGE: debut. Off Broadway and other New York—La Mama: Cry for Peace, Voices from the Congo (Undesirable Element Festival); New World Stages: Bullet for Adolph; HERE Arts Center: Chimera (Under the Radar 2012); 3LD: Václav Havel's Hunt For the Pig (Ice Factory Festival 2011); National Black Theater: Seed. Regional — Syracuse Stage: The Clean House; Oregon Ballet Theater: Holiday Review. Katherine's installation work has been exhibited at the National Building Museum, The Hammond Museum, 3LD, Front Room Gallery, and the World Wide Words Festival (Denmark). Current productions in development include Healing Wars (dir. Liz Lerman) to premiere at Arena Stage in Spring of 2014 and Love Machine (dir. Andrew Scoville) to premiere at Incubator in May of 2013. Kate is a founding member of Imaginary Media Artists, a design studio for media in theater. www.imaginarymediadesigns.com

Alex Koch—Projections Designer. CENTERSTAGE: An Enemy of the People, ReEntry (also Round House, Actors Theater of Louisville). Broadway—Walter Kerr: Irena’s Vow. Off Broadway and other New York—Waterwell: Goodbar (Under the Radar 2012); TerraNOVA Collective: Feeder; Repertorio Espanol: En el Tiempo de las Mariposas, La Casa de los Espiritus; Urban Stages: ReEntry, The Oxford Roof Climber's Rebellion; Ensemble Studio Theatre: Lenin's Embalmers. International—Mori Theater, Chile: La Casa de los Espiritus. Regional— Court Theatre in Chicago: The Invisible Man (also Studio Theater in Washington, DC); Director's Company, Theater MITU, Electric Pear, Shalimar, SummerStage, Little Opera Theater, The New Ensemble. Other professional—Technical design

for New Georges at 3LD and Big Art Group's Dead Set II & III. Alex is a founding member of Imaginary Media, a design studio for media in theater. www.imaginarymediadesigns.com

Captain Kate Murphy*—Stage Manager. CENTERSTAGE: Resident Stage Manager; Stage Manager for …Edgar Allan Poe, A Skull in Connemara, American Buffalo, Crime & Punishment, Let There Be Love, The Santaland Diaries; Assistant Stage Manager for The Importance of Being Earnest, Things of Dry Hours, Trouble in Mind, Three Sisters, Radio Golf, The Murder of Isaac, Once on this Island, King Lear, Assistant Production Manager 2008–09. Regional—Trinity Rep: Boeing-Boeing; Actors Theatre of Louisville: All Hail Hurricane Gordo*, The Clean House, Moot the Messenger*, Dracula, The Ruby Sunrise*, Tall Grass Gothic*, The Drawer Boy, Amadeus, As You Like It (*premieres at the Humana Festival of New American Plays); Contemporary American Theater Festival: The Overwhelming, Pig Farm; Totem Pole Playhouse: Over 70 productions through 12 summer stock seasons. Film/TV—Route 30, Route 30 Too!, Next Food Network Star. Proud Actors Equity and ASCAP Member.

Laura Smith*—Assistant Stage Manager. CENTERSTAGE: Resident Stage Manager; Stage Manager: 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.

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Gavin Witt—Production Dramaturg. See page 15.

Pat McCorkle—Casting Director. CENTERSTAGE: Gleam. Pat McCorkle (C.S.A.) and associate, Joe Lopick, cast the critically acclaimed Tribes and Our Town for Barrrow Street Theatre in New York. Memorable Broadway casts include End of the Rainbow, The Lieutenant Of Inishmore, The Glass Menagerie, Cat On A Hot Tin Roof, One Flew Over The cuckoo’s Nest, The Ride Down Mt. Morgan, Amadeus, She Loves Me, Blood Brothers, A Few Good Men, among many others. Notable Off-Broadway projects include Almost Maine, Ears on a Beatle, Down the Garden Paths, Killer Joe, Mrs. Klein, Driving Miss Daisy. A partial list of feature film projects include Premium Rush, Ghost Town, Secret Window, Basic, Tony and Tina’s Wedding, The Thomas Crown Affair, The 13th Warrior, Madeline, Die Hard with a Vengeance, School Ties, etc. and for television, humans for Sesame Street, Californication (Emmy nomination), Hack, Strangers with Candy, Barbershop, Chapelle’s Show, among several others.


Biographies The Artistic Team [cont]

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The Raisin cycleWorld Premiere

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14 | CENTERSTAGE

Artistic Director Kwame Kwei-Armah OBE, an award-winning British playwright, director, actor, and broadcaster, is in his second season as Artistic

Director. At CENTERSTAGE he has directed An Enemy of the People, last season’s The Whipping Man (one of City Paper’s Top Ten Productions of 2012) for which he was named Best Director, and previously 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 CENTERSTAGE—as well as A Bitter Herb, Statement of Regret, and Seize the Day. His latest play, Beneatha’s Place, will debut this season as part of The Raisin Cycle. 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 serves as the Chancellor of the University of the Arts London, and in 2012 was named as an Officer of the Most Excellent Order of the British Empire.

Managing Director Stephen Richard, a leader on the national arts scene for more than 30 years, joined CENTERSTAGE in January

2012. Stephen comes most recently from a position 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, League of Resident Theatres, and the Theatre Communications Group. twitter: @sjrcenterstage

Associate Artistic Director/Director of Dramaturgy Gavin Witt came to CENTERSTAGE 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.

Biographies The Staff

Hear the Peabody Symphony Orchestra perform Brahms’ Symphony No. 4 in E minor with guest conductor Leon Fleisher on Tuesday, Feb. 26, at 8:00 pm in Miriam A. Friedberg Hall

To purchase tickets, call the Peabody Box Office at 410-234-4800

Visit www.peabody.jhu.edu/events for Audio Program Notes and the complete 2012-2013 Peabody Concert Calendar

AUDIOPROGRAM

Without craftsmanship,

inspiration is a mere reed shaken in

the wind.

A place where Edgar Allan Poe and Baltimore are celebrated

on a daily basis.

Reservations suggested601 South Clinton Street

Baltimore, MD 21224 410.522.2929

www.annabelleetavern.com


for making an impact.

pnc.com

©2012 The PNC Financial Services Group, Inc. All rights reserved. PNC Bank, National Association. Member FDIC

Inspiring. Thought Provoking. PNC is proud to sponsor

CENTERSTAGE. Because we appreciate all that goes into your work.

16 | CENTERSTAGE

Focus Welcome to the Civic Conversation…

Embracing our designation as the State Theater of Maryland, CENTERSTAGE proudly represents one of the strongest

statewide arts and cultural sectors in the country. As we celebrate a half-century of world-class theater in Baltimore, and begin to imagine the next five decades, our raison d'être remains all about the art. Even so, the theater’s leading role in the development of the state’s creative economy also inspires pride—and optimism for the future.

As Maryland Department of Business and Economic Development’s (DBED) data consistently reveals, strategic, long-term public investment in creative industries produces substantial fiscal returns. Here’s the “elevator speech” summary of DBED’s latest figures: Maryland’s nonprofit arts sector has a $1 billion impact on the state’s economy and supports more than 11,000 jobs. (www.msac.org/economicimpact) Throughout our history, CENTERSTAGE’s capacity to help fuel this powerful economic growth has continued to expand thanks to the visionary participation of local, state, and federal sources.

The scope of our governmental partnerships extends beyond traditional grant funding and fiscal outcomes. In cooperation with public agencies, CENTERSTAGE frequently provides civic engagement opportunities for our audiences. Just a few recent examples:

» Last spring, in conjunction with our production of The Whipping Man, a Maryland Humanities Council- sponsored grant project gathered academic and faith leaders from African American and Jewish communities to guide audiences’ explorations of the play.

» To launch our 50th Anniversary Season in September, CENTERSTAGE worked with Baltimore Office of Promotion and the Arts to produce 50 Fest as part of the Baltimore Book Festival, offering a full weekend of free theater and music performances on indoor and outdoor stages, showcasing a long list of local talent.

» CENTERSTAGE and Enoch Pratt Free Library teamed up to participate in the National Endowment for the Arts’ (NEA) flagship literary initiative, The Big Read. The project encouraged Baltimore readers to explore the work of local icon Edgar Allan Poe. The NEA grant also provided over a thousand free copies of Poe’s collected works to participants, along with comprehensive study guides and classroom learning resources for hundreds of teachers and students.

» This season’s upcoming Raisin Cycle has received an NEA “Art Works” grant that will bring together academic experts and other leaders to help audiences wrestle with Hansberry’s legacy through the voices of celebrated playwrights Kwame Kwei-Armah and Bruce Norris.

We often hear from audiences how important CENTERSTAGE’s work is to them personally, and to the health and vibrancy of our communities. Sharing that message directly with elected officials can have tremendous impact. visit www.mdarts.org and www.artsusa.org to learn how you can help. ö

By Sean Beatie, Grants Manager

Kevin Morrow, Johnny Ramey, and Michael Micalizzi. Photo by Richard Anderson.


18 | CENTERSTAGE

An Enemy of the People

Kwame Kwei-Armah • I’m very proud of Enemy. I set out this season to start conversation and I certainly did that. I was very pleased with it being programmed where it was, with the run up to the election. The audience enjoyed hearing the debates between Kennedy and Nixon at the beginning, and hearing the similarities between the debates that were happening around them. I was also pleased because I stretched myself: ambitiously, in terms of trying to update this classic, and in trying to include multi-media in a way that I hadn’t done before.

Stephen Richard • One of the things that is interesting is that by the time it was mid-run, it was really a spectacular show. We didn’t have quite enough rehearsal time to be at that point earlier in the run. So as we look at the future, we need to ask ourselves what other kinds of resources we need to be sure we are as far as it’s going to go from day one.

KKA • I think that’s absolutely right. To be candid, one of the things you want is for it to hit home the moment the audience is in. And it didn’t. That means that the people who saw it the first two weeks are going, “Hrmmm,” and the people who saw it the second two weeks are going, “Yeah!” And all I can hear in my ears are the people going “Hrmmm,” which is relatively painful.

SR • But then the Washington Post review compared it very favorably against the highly touted, very expensive, very starred up New York production.

KKA • That, at the end of the day, made one feel really good about it.

The Completely Fictional—Utterly True—Final Strange Tale of Edgar Allan Poe

KKA • Poe was interesting, because as an AD, particularly in your first season, you want hit after hit after hit. Poe was one that was a hit in some corners and a damn big miss in others, splitting the audience right down the center. How do I feel about it? I think that the play could have been 10 minutes shorter and we would have avoided some of the criticism that we got for it. But it did fantastically in terms of audience numbers. I feel that when we do new plays, that we have to be ready for them to be hits or misses. But the actual reward is that we are doing new plays.

SR • One of the things that was wonderful was how many students saw it. It probably had as many students as have seen anything here. And students got it and loved it. The show didn’t have much of a clear structure and for a lot of folks, that’s a challenge. But for 13-year-olds and 18-year-olds, they just ate it up. And it was a great show locally—with a local hero, starring a local star.

Bus Stop

KKA • Bus Stop is one of those plays that remains a hit—I fell in love with this play when I first read it. It was really satisfying to have a play that was warming people’s hearts during the onset of winter. I think the production was lovely, and it’s nice to have a hit under ones belt.

SR • I need to give attribution to my wife for this observation—and to David Schweizer who says it in the program notes—but by treating it more like a fairy tale than like a slice of life, it seems to me that it opens this play up and makes it much more compelling than if it were done as a soap opera. I think David did a terrific job.

The Mountaintop

KKA • I’m really excited to be directing the work of one of America’s exciting new young playwrights, Katori Hall. I fell in love with it when I saw it in London. It’s a challenging play in that it takes a martyr and it shows another side of his personality in order to say, “He was a man, and if he, just as an ordinary men like all of us, can achieve things and can challenge, so can you.” But it’s more Camea’s play, and I enjoyed the idea of investigating that.

Mud Blue Sky

KKA • I’m going to be honest…I’m a bit nervous. Because my first foray into the new play business was Poe, which split our audience in half. It made me a bit nervous about whether I have measured this audience right when it comes to what kind of new plays they will like. But I love this play, and I think that many, particularly women over the age of 40, are going to relate to the characters. Seventy percent of the people who come to the theater are women, and very few of their stories are told.

SR • I agree 100 percent. It’s a woman’s story, from a woman’s point of view, and even a woman’s dramatic style. I think that’s very compelling.

The Raisin Cycle

KKA • Clybourne park will be great. It has been great, wherever it’s been. The director [Derrick Sanders] has a wonderful facility for this language, for the gutsiness…I’m really excited for what he’s going to do with Clybourne. Then we go into Beneatha’s place, which I think will be an interesting conversation piece. There’s a little pressure…but I’ve enjoyed investigating the conversation between these two plays, and I’m hoping our audience will enjoy that conversation as well. ö

Our leaders’ reflections on the 2012–13 Season thus far and what is still to come.

conversations with Kwame and Stephen

We encourage you to join the conversation!You can find us on Facebook, Twitter, or just email [email protected] with your questions for Kwame and Stephen.

centerstagemd @centerstage_md


PARKED IN THE GARAGE? WE cAN HElP!The Chesapeake Garage diagonally across from the theater at Monument and Calvert has come under new management this season and we want to make sure you completely understand the options available to you.

hOw DO i PAy?1. At the ticket machine in the garage lobby, first place the parking receipt you

received when entering the garage in the designated slot. The machine will hold that receipt until the next step.

2. Place your "payment" in the designated slot. The payment may be a credit card or cash with exact bills. The machine will then return your original receipt as validated, which you can then use as you exit the garage at the gate.

Or

3. If the lobby is crowded and you are using a credit card, you may go directly to your car and pay with your credit card at the machine at the exit gate as you leave the garage. PLeASe nOte: these machines will not take cash! Follow the steps above at the exit gate machine to make your payment.

i hAve A Pre-PAiD vOuCher, whAt DO i DO? If you pre-paid for parking with your membership and have your yellow Pre-Paid Vouchers, please bypass the machine in the elevator lobby and proceed directly to your car. Enter the parking receipt you received upon entry to the garage followed immediately by the yellow Pre-Paid Voucher.

Remember that you’ll need your parking ticket to exit whether you’ve pre-paid, or are paying at the pay station or at the machine when you exit.

Unfortunately, CENTERSTAGE cannot validate parking, nor are vouchers from previous seasons able to be honored. Pre-paid vouchers are issued by the garage owner/operator and CENTERSTAGE in unable to replace lost or forgotten vouchers. We apologize for the inconvenience.

FYi Audience Services

On-StAge SMOKingWhen a play requires on-stage smoking, we use tobacco-free herbal imitations and do everything possible to minimize the amount of smoke that drifts into the audience. If you’re smoke-sensitive, be sure to let our Box Office know.

Pre-ShOw Dining Visit Sascha’s Express, our pre-performance dinner service located just up the lobby stairs in our Mezzanine Café. Featuring delicious prix fixe dining, service begins two hours before each performance.

ACCeSSibiLity PrOgrAMSWheelchair-accessible seating is available for every performance. For patrons who are hearing impaired, we offer assistive listening devices at no charge. An Open Captioned performance is available for one Sunday performance of each Classic Series production for deaf and hearing impaired patrons. Several performances also feature Audio Description, and Braille programs or magnifying glasses are available upon request.

PhOtOgrAPhy & reCOrDing PrOhibiteDBecause of copyright and union regulations, photography or recording of performances—both audio and video—is strictly forbidden.

be COurteOuSPlease silence your cell phone, pager, or other electronic devices both before the show starts and after intermission. And, while you’re welcome to take beverages with lids to your seat, eating is never allowed inside the theater.

Anything eLSe we CAn DO?CENTERSTAGE wants every patron to have an enjoyable, stress-free experience. Your feedback and suggestions are always welcomed: [email protected].

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20 | CENTERSTAGE

As we move through our landmark anniversary season, we invite you to help us celebrate our past. For videos, audio interviews, and memories of our history, visit www.centerstage.org/anniversary.

1992–2002The 1991–92 Season saw the beginning of Irene Lewis’ tenure as Artistic Director and an era of explosive growth for CENTERSTAGE. Recognizing that the audience is the final collaborator, and that a resident theater in Baltimore should respond to and reflect its various communities, Lewis made diversity on stage, in the staff, and in the audience a central institutional priority. An essential part of her mission was to devote a significant and consistent portion of each season to plays dealing with the African American experience. Works by playwrights such as Lorraine Hansberry, Jerome Hairston, Ntozake Shange, Keith Glover, Marion McClinton, Alice Childress, and August Wilson became a feature in every season. The corresponding transformation of the theater’s audience was profound, and this diversity has become a stand- out trademark of CENTERSTAGE among peer institutions.

In 1993, CENTERSTAGE received a $1.4 million grant from the Lila Wallace-Reader’s Digest Regional Theater Initiative, aimed at increasing the attendance of 14-to-30 year olds. With this funding, CENTERSTAGE created Theater for a New Generation, a program focused on making theater an extraordinary event for the imagination and a regular occurrence in the lives of young Baltimoreans.

CENTERSTAGE continued its dedication to developing new works, from staged readings and workshops to commissions by new playwrights and world premiere productions, like Marion McClinton’s Police Boys and Paula Vogel’s The Baltimore Waltz. CENTERSTAGE’s own James Magruder, Resident Dramaturg from 1993–99, translated Marivaux’s The Triumph of Love for the 1993–94

Season, and later wrote the book for the musical version that premiered in the 1996–97 Season—which went on to Broadway later that year, where it was nominated for a Best New Musical Tony Award.

Strong contributed support—the loyal investment of many individual, foundation, and government partners— has played a vital role in this growth since CENTERSTAGE’s beginning. Benefactors are too numerous to list, but a few names will be especially familiar to audiences from the unique spaces dedicated in their honor: The Pearlstone and Head Theaters, Meyerhoff Mezzanine, Deering Lobby, Andrus Rehearsal Hall, Betsy’s Bar, and The Nancy Roche Chapel Bar.

Two extraordinary leaders behind CENTERSTAGE’s success are Baltimore patrons of the arts and nationally recognized arts advocates, former CENTERSTAGE trustee, Nancy Roche, and former CENTERSTAGE Managing Director, Peter Culman. Roche served as a CENTERSTAGE trustee for nearly 20 years, as Board President for seven years, and even stepped in as Interim Managing Director. Peter Culman served as Managing Director of CENTERSTAGE for 32 years, and presided over the development of the Calvert Street location, oversaw building expansions, and helped to lead a successful $13 million capital campaign. In the 2009 at the TCG Conference held in Baltimore, Culman chaired the Conference Honorary Committee, where he was recognized for a lifetime of passionately supporting the arts.

The leadership and commitment of these individuals and scores of other contributors helped CENTERSTAGE to achieve financial stability throughout the 1990s and into the 21st Century.

Visit www.centerstage.org/anniversary for a more in-depth look at our history— and keep an eye on the programs throughout the season as we chronicle each era of CENTERSTAGE’s growth in the Baltimore community.

50th anniversarY The Fourth Decade: Developing diverse audiences, growing national role, and achieving financial stability

top to bottom: Irene Lewis; Jefferson Mays, Kristine Nielsen, and Jarleth Conroy in The Triumph of Love (1993–94). Photos by Richard Anderson.


1700 Edmonsdson Ave, Ist FloorBaltimore, Maryland [email protected]

www.blacktiecaterers.com

By Kellie Mecleary, Dramaturgy Senior Fellow

preview: Mud Blue SkyBy Marisa Wegrzyn • Directed by Susanna Gellert • Mar 6–Apr 14, 2013

Three flight attendants and a teenager on his prom night meet in a hotel room. Over the course of the night, what began as a brief transaction evolves into something much deeper.

Beth, in Chicago overnight on layover, just wants to rest her aching back, but her co-worker Sam won’t allow it. When Sam knocks on Beth’s hotel room door with a bottle of cognac and an old mutual friend, Angie, they discover they aren’t the only visitors: Beth has been joined by Jonathan, a teen in a tux who showed up straight from his senior prom. Once introductions are made, the unlikely group settles in for an evening of wry wit, revealing encounters, and surprising connections.

This will be CENTERSTAGE’s second encounter with a Marisa Wegrzyn play: her piece Killing Women was presented as a part of our First Look series in 2005. Mud Blue Sky, more overtly than her past work, is directly connected to the playwright’s personal history: Wegryzn grew up around Chicago, and her mother was a flight attendant. All the more fitting that Mud had its first reading as a part of Steppenwolf’s First Look Series.

Though young, Ms. Wegrzyn has had an impressive career so far. She has been produced at Second Stage in New York City and Actors Theatre of Louisville’s Humana Festival, among other theaters. Mud Blue Sky is a bit of departure for the playwright—while her past works fiddled with farce and the macabre, Mud takes a more naturalistic approach.

Still, there is one similarity that connects this piece to Wegrzyn’s earlier plays: its wit. Wegrzyn’s humor is reminiscent of the best of Indie Rom-coms, tonally comparable to films like Little Miss Sunshine, Juno, and the breakout HBO hit, Girls. It explores the everyday with snappy language and a refreshingly contemporary sensibility. Through this style, Wegrzyn explores the lives of three women sitting not so comfortably in middle age, at a moment when job security is dissolving before their eyes. It’s rare that working women, much less middle-aged working women, are the focal point in mainstream theaters: when featured, their stories often revolve primarily around the men in their lives. In Mud, we see what these women on their own, when they aren’t performing for anyone.

The opportunity to feature these kinds of stories and perspectives fuels our commitment to developing new work for the theater. The inclusion of Mud Blue Sky in our season continues our commitment to presenting new works that respond to the world we live in. We are thrilled to include Mud Blue Sky in our endeavor to cultivate new voices and contribute new stories to the local, national, and international field. We hope you will join us on this next venture into the strange, funny, breathtaking moments that make up our everyday lives.

Œ

ANGIE: I should have done something.BETH: You did do something.

ANGIE: What?BETH: You were the person who was there.


supporting the Annual Fund @ centerstageJuly 1, 2011– December 4, 2012

The following list includes gifts of $250 or more—individual, corporate, foundation, and government contributions—made to the CENTERSTAGE Annual Fund between July 1, 2011 and December 4, 2012. 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 CENTERSTAGE.

We couldn’t do it without you!

the CenterStAge 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.

ArtiStS CirCLe ($25,000+)

The William L. and Victorine Q. Adams Foundation and The Rodgers Family Fund

The Miriam and Jay Wurtz Andrus TrustEllen and Ed BernardStephanie and Ashton CarterThe Annie E. Casey FoundationThe Charlesmead FoundationJames and Janet ClausonLynn and Tony DeeringEdgerton Foundation New American

Play AwardsKathleen HyleKenneth C. and Elizabeth M. LundeenMarilyn MeyerhoffTerry H. Morgenthaler and Patrick KerinsJudy and Scott PharesMr. and Mrs. Philip RauchGeorge RocheMr. and Mrs. George M. ShermanThe Shubert Foundation, Inc.Mr. and Mrs. Robert W. Smith, Jr.Harold and Mimi Steinberg

Charitable TrustMs. Barbara Voss and Charles E. Noell, III

PrODuCerS CirCLe ($10,000–$24,999)

Peter and Millicent BainThe William G. Baker, Jr. Memorial FundPenny BankThe Jacob and Hilda Blaustein

Foundation, Inc.

The Bunting Family FoundationMr. and Mrs. George L. BuntingThe Helen P. Denit Charitable TrustMs. Nancy Dorman and

Mr. Stanley MazaroffMr. and Mrs. Larry D. DroppaJohn Gerdy and E. Follin SmithThe Goldsmith Family FoundationThe Laverna Hahn Charitable TrustMartha HeadJ.I. FoundationMr. and Mrs. E. Robert Kent, Jr.Mr. and Mrs. Samuel G. MacfarlaneMr. and Mrs. J. William MurrayMr. Louis B. Thalheimer and

Ms. Juliet A. EurichMs. Katherine L. Vaughns

PLAywrightS CirCLe ($5,000–$9,999)AnonymousMs. Katharine C. BlakesleeHenry and Ruth Blaustein Rosenberg

FoundationJames T. and Francine G. BradySylvia and Eddie BrownThe Nathan & Suzanne Cohen

FoundationThe Cordish FamilyThe Jane and Worth B. Daniels, Jr.

Fund of the Baltimore Community Foundation

Brian and Denise EakesFascitelli Family FoundationDr. and Mrs. Neil D. Goldberg

Donald and Sybil HebbMr. and Mrs. Martin HillMurray and Joan KappelmanFrancie and John KeenanKwame 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

FoundationDr. Edgar and Betty Sweren, in honor

of Kwame Kwei-Armah and his OBE award recognition

Mr. and Mrs. J.W. Thompson WebbMs. Linda Woolf

DireCtOrS CirCLe ($2,500–$4,999)

AnonymousThe Lois and Irving Blum Foundation, Inc.Drs. Joanna and Harry BrandtMary Catherine BuntingAugust and Melissa ChiaseraThe Mary & Dan Dent Fund of the

Baltimore Community FoundationMr. and Mrs. Walter B. Doggett, IIIMr. and Mrs. Michael FalconeDick and Maria GamperMs. Suzan GarabedianThe Harry L. Gladding Foundation/

Winnie and Neal BordenGoldseker Foundation/Ana Goldseker

Fredye and Adam GrossRobert and Cheryl GuthF. Barton Harvey, III and Janet Marie

Smith, in honor of Peter CulmanThe Hecht-Levi Foundation, Inc.Dr. and Mrs. J. Woodford HowardThe Harley W. Howell Charitable

FoundationMs. Sherrilyn A. IfillMr. and Mrs. Stephen ImmeltJonna and Fred LazarusMrs. 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

CheshireMonica and Arnold SagnerScot T. SpencerMr. Michael StyerMr. and Mrs. Donald and Mariana ThomsTrexler Foundation, Inc. - Jeff Abarbanel

and David GoldnerKathryn and Mark VaselkivMr. and Mrs. Loren and Judy WesternScott and Mary WielerTed and Mary Jo WieseCheryl Hudgins Williams and Alonza

WilliamsSydney and Ron Wilner

INDIVIDUALS & FOUNDATIONS

50 th ANNIVERSARY SEASONPreSenting SPOnSOr

SeASOn SPOnSOrSEllen and Ed BernardStephanie and Ashton CarterJames and Janet ClausonLynn and Tony Deering and

The Charlesmead FoundationJane and Larry DroppaTerry H. Morgenthaler and Patrick KerinsJudy and Scott PharesPhil and Lynn RauchJay and Sharon SmithBarbara Voss and Charles E. Noell, III

COrPOrAte SPOnSOrS

T. Rowe Price Foundation

ASSOCiAte SeASOn SPOnSOrSKathleen HyleKenneth C. and Elizabeth M. Lundeen

MeDiA PArtnerS

24 | CENTERSTAGE

INDIVIDUALS & FOUNDATIONS (continued)ASSOCiAteS ($1,000–$2,499)AnonymousMr. and Mrs. Raymond Bank

Family Fund of the Baltimore Community Foundation

Ms. Taunya BanksDonald BartlingMr. and Mrs. Marc BlumJohn and Carolyn BoitnottJan BoyceDr. and Mrs. Donald D. BrownSandra and Thomas BrushartMaureen and Kevin ByrnesMeredith and Joseph CallananThe Campbell Foundation, Inc.Caplan Family Foundation, Inc.Sally and Jerry CaseyJohn ChesterAnn K. ClappDr. Joan Develin Coley and Mr.

Lee RiceConstantinides Family

FoundationMs. Gwen DavidsonRobert and Janice DavisThe Richard & Rosalee C.

Davison FoundationMr. James H. DeGraffenreidt, Jr.

and Dr. Mychelle Y. FarmerAlbert F. DeLoskey and Lawrie

DeeringRosetta and Matt DeVitoMr. Jed Dietz and Dr. Julia

McMillanMr. and Mrs. Eric DottMs. Lynne Durbin and John-

Francis MergenJack and Nancy DwyerPatricia Yevics-Eisenberg and

Stewart EisenbergBuddy and Sue Emerson, in

appreciation of Ken and Elizabeth Lundeen

Mr. and Mrs. Matthew Freedman

Frank and Jane GaborJose and Ginger GalvezJonathan and Pamela Genn, in

honor of Cindi Monahan and Beth Falcone

Ms. Sandra Levi GerstungJanet and John GilbertAnnie Groeber, in memory of

Dr. John E. AdamsStuart and Linda GrossmanBill and Scootsie HatterSandra and Thomas HessDrs. Dahlia Hirsch and Barry

Wohl, in honor of Carole Goldberg

Mr. and Mrs. Leonard HomerMr. and Mrs. James HormuthThe A. C. and Penney Hubbard

FoundationMr. and Mrs. Theodore ImesJoseph J. JaffaMr. and Mrs. Mark JosephFrancine and Allan KrumholzH.R. LaBar Family Foundation

Fund of The Greater Cincinnati Foundation

Mr. and Mrs. Mark and Sandra Laken

Joseph M. and Judy K. Langmead

Dr. and Mrs. George Lentz, Jr.Marty Lidston and Jill

LeukhardtMr. and Mrs. Earl & Darielle

Linehan/Linehan Family Foundation

Maryland Charity CampaignMichelle McKenna-DoyleJoseph and Jane MeyerTom and Cindi Monahan

Ms. Stacey Morrison and Mr. Brian Morales

Mr. and Mrs. Lee OgburnMs. Jo-Ann Mayer OrlinskyMr. and Mrs. Stanley Panitz

Fund of the Baltimore Community Foundation, in honor of Peter Culman

Ms. Beth PerlmanRonald and Carol RecklingMs. Kathleen C. Ridder, in

honor of Peter CulmanThe James and Gail Riepe

Family FoundationNathan and Michelle

RobertsonDr. David A. RobinsonMr. Grant RochThe Rollins-Luetkemeyer

FoundationMr. and Mrs. Todd SchubertMrs. Gail SchulhoffCharles and Leslie SchwabeThe Tim and Barbara Schweizer

Foundation, Inc.Bayinnah Shabazz, M.D.The Ida & Joseph Shapiro

FoundationBarbara and Sig ShapiroThe Earle & Annette Shawe

Family FoundationDr. Barbara SheltonDana and Matthew SlaterMr. and Mrs. Robert N.

SmelkinsonMr. and Mrs. Scott SmithJudith R. and Turner B. SmithScott and Mimi SomervilleMr. Gilbert H. Stewart and Ms.

Joyce UlrichDr. and Mrs. John StrahanSusan and Brian SullamMr. and Mrs. Ronald W. TaylorSanford and Karen TeplitzkyJohn A. UlatowskiCarolyn and Robert WallaceNanny and Jack Warren, in

honor of Lynn DeeringJanna P. WehrleAnn Wolfe and Dick MeadJohn W. WoodDr. Laurie S. ZabinMr. Calman Zamoiski, Jr., in

honor of Terry MorgenthalerDrs. Nadia and Elias ZerhouniZiger/Snead ArchitectsMr. E. Zuspan

COLLeAgueS ($500–$999)AnonymousLindsay and Bradley AlgerThe Alsop Family FoundationMrs. Alexander ArmstrongArt Seminar GroupMr. Robert and Dorothy BairMayer and Will Baker, in honor

of Terry MorgenthalerAmy and Bruce BarnettCharles and Patti BaumMs. Jane Baum RodbellJaye and Dr. Ted Bayless FundMrs. Catherine L. BennettMr. and Mrs. Bruce Blum, in

memory of Shirley Feinstein Blum

Rose CarpenterMr. and Mrs. Carl F. ChristRichard and Lynda DavisThe Deering Family FoundationGene DeJackome and Kim

GingrasThe Honorable and Mrs. E.

Stephen DerbyDave and Joyce Edington

Patricia Egan and Peter Hegeman, in honor of Peter Culman

The Eliasberg Family Foundation, Inc.

Donald and Margaret EngvallMr. and Mrs. Edgar and Faith

Feingold, in memory of Sally W. Feingold

Sandra and John FerriterAndrea and Samuel FineDennis and Patty FlynnMs. Nancy FreymanDr. Joseph Gall and Dr. Diane

DwyerHal & Pat GilreathMary and Richard GormanLouise A. HagerTerry Halle and Wendy

McAllisterMelanie and Donald HeacockLee M. Hendler, in honor of

Peter CulmanRebecca Henry and Harry

GrunerBetsy and George HessMrs. Heidi HoffmanRalph and Claire HrubanMr. Edward HuntMs. Harriet F. IglehartRichard Jacobs and Patricia

LasherMs. Mary Claire JeskeBJ and Candy JonesMax JordanDr. and Mrs. Juan M. JuanteguyPeter and Kay KaplanMs. Shirley KaufmanMr. and Mrs. Padraic Kennedy,

in honor of Ken LundeenJudith Phair King and Roland

KingStewart KoehlerMr. John Lanasa, in honor of

Peter CulmanMr. Claus Leitherer and Mrs.

Irina FedorovaDr. and Mrs. Ronald LesserMarilyn LeutholdDr. and Mrs. John LionKenneth and Christine LoboMs. Karen MalloyThe Dr. Frank C. Marino

Foundation, Inc.Dr. Carole MillerMr. Jeston I. MillerStephanie F. Miller, in honor of

The Lee S. Miller Jr. FamilyThe Montag Family Fund of The

Community Foundation for Greater Atlanta, in honor of Beth Falcone

George and Beth MurnaghanLettie MyersJudith Needham and Warren

KilmerRoger F. Nordquist and Joyce

WardMr. and Mrs. James and Mimi

Piper Fund of the Baltimore Community Foundation

Bonnie PittMr. Mike Plaisted and Ms.

Maggie WebbertDave and Chris PowellJill PrattRobert E. and Anne L. PrinceMr. and Mrs. Richard RadmerMrs. Peggy L. RiceMr. and Mrs. Harold RojasDorothy L. and Henry A.

Rosenberg, Jr.Kevin and Judy RossiterMrs. Bette RothmanMr. Al RussellSheila and Steve Sachs

Ms. Renee C. SamuelsKurt and Patricia SchmokeMs. Sherry SchnepfeMr. and Mrs. Eugene H.

SchreiberScott Sherman and Julie

RothmanThe Sinksy-Kresser-Racusin

Memorial FoundationSusan Somerville-Hawes, in

honor of EncounterGeorgia and George StamasStation North Arts and

Entertainment DistrictRobert and Patricia TarolaDiana and Ken TroutSharon and David TufaroMr. and Mrs. George and Beth

Van DykeIn memory of Sally WessnerMr. Michael T. WhartonDr. and Mrs. Frank R. WitterEric and Pam Young

ADvOCAteS ($250–$499)AnonymousMr. Alan M. Arrowsmith, IIMr. and Mrs. Jon Baker, in

honor of Terry MorgenthalerMichael BakerDrs. Lewis and Diane BeckerJudge Robert BellRachel and Steven Bloom, in

honor of Beth FalconeMr. Chad Bolton, in honor of

Peter CulmanPerry and Aurelia BoltonChiChi and Peter BosworthBetty Jo BowmanBeth and Dale BradyMr. and Mrs. Charles BryanMr. David BundyDr. and Mrs. Arthur Burnett IIMs. Deborah W. CallardCindy CandeloriThe Jim and Anne Cantler

Memorial Fund of the Baltimore Community Foundation

Mr. and Mrs. David CarterMr. Andrew J. CaryMr. and Mrs. James CaseDonna and Tony ClareStanton CollinsCombined Federal CampaignDavid and Sara CookeMr. and Mrs. Richard D. CraftonMs. Barbara CrainMr. Thomas Crusse and Mr.

David Imre, in honor of Stephanie and Ash Carter

Sally Digges and James ArnoldMr. and Mrs. Ivor EdmondsDeborah and Philip EnglishMr. Dennis EppsMs. 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 FlickingerJoan and David ForesterDr. Neal M. Friedlander and Dr.

Virginia K. AdamsConstance A. GetzovMark and Patti GillenHerbert and Harriet GoldmanMr. Bruce GoldmanMr. Howard GradetRon and Andrea GriesmarThomas and Barbara Guarnieri

Robert W. Smith, Jr., PresidentEdward C. Bernard, Vice PresidentJuliet Eurich, Vice PresidentTerry H. Morgenthaler, Vice PresidentE. Follin Smith, TreasurerKatherine L. Vaughns, Secretary

Katharine C. Blakeslee+James T. Brady+C. Sylvia Brown+Stephanie CarterAugust J. ChiaseraMarjorie Rodgers CheshireJanet ClausonLynn DeeringJed DietzWalter B. Doggett, IIIJane W.I. DroppaBrian EakesBeth W. FalconeC. Richard Gamper, Jr.Suzan GarabedianCarole GoldbergAna GoldsekerAdam GrossCheryl O’Donnell GuthMartha HeadKathleen W. HyleTed E. ImesMurray M. Kappelman, MD+John J. KeenanE. Robert Kent, Jr.Joseph M. Langmead+Jonna Gane LazarusKenneth C. LundeenMichelle McKenna-DoyleMarilyn Meyerhoff+J. William MurrayCharles E. NoellEsther Pearlstone+Judy M. PharesJill PrattPhilip J. RauchHarold RojasMonica Sagner+Renee C. SamuelsTodd SchubertGeorge M. Sherman+Scott SomervilleScot T. SpencerMichael B. StyerRonald W. TaylorDonald ThomsJ.W. Thompson WebbRonald M. WilnerCheryl Hudgins WilliamsLinda S. Woolf

+ Trustees Emeriti

BOARD OF TRUSTEES


Ms. Doris M. GugelMr. David GuyJane Halpern and James PettitMs. Paulette HammondDr. and Dr. James and Vicki

HandaMr. and Mrs. Richard HawesIn Memory of Eric R. HeadAaron HeinsmanSue HessMr. Donald H. Hooker, Jr.Mr. Jonathan HornbeckMs. Irene HornickMr. and Mrs. Martin HorowitzMs. Sarah IssacsMr. William JacobMr. and Mrs. James S. and

Hillary Aidus JacobsA.H. Janoski, M.D., in honor of

Jane JanoskiJames M. and Julie B. JohnstoneRichard and Judith KatzB. KellerDr. & Mrs. Myron KellnerMr. and Mrs. Stephen J. KellyDonald Knox and Mary Towery,

in memory of Carolyn Knox and Gene Towery

David and Ann KochDr. and Mrs. Randi L. KohnGina KotowskiMr. and Mrs. Robert A. LagasDrs. Don and Pat LangenbergMr. Richard M. LansburghMr. and Mrs. William LarsonDrs. Ronald and Mary LeachLeadership--Baltimore CountyTerry Lorch and Tom LiebelScott and Ellen LutreyPaul and Anne MaddenNancy Magnuson and Jay

Harrell, in honor of Betty and Edgar Sweren

Mr. Elvis MarksDon MartinMs. Michael McMullanMary and Barry MenneCarolyn and Michael MeredithPeniel and Julia S. MoedMr. and Mrs. James and Shirley

MooreDr. and Mrs. Clayton MoravecThe Honorable Diana and Fred

Motz, in memory of Nancy Roche

Mr. and Mrs. William H. MullinDr. Patrick Murphy and Dr.

Genevieve A. LosonskyStephen and Terry NeedelIn memory of Nelson NeumanMs. Nina NobleMs. Irene Norton and Heather

MillarThe P.R.F.B. Charitable

Foundation, in memory of Shirley Feinstein Blum

Michael and Phyllis PanopoulosJustine and Ken ParezoFred and Grazina PearsonLinda and Gordon PeltzChris and Deborah PenningtonMr. William PhillipsRonald and Patricia PillingMrs. Kathy PivenLeslie and Gary PlotnickDr. Albert J. Polito and Dr.

Redonda G. MillerConnie and Roger PumphreyMr. Rex Rehfeld and Ms. Ellen

O'BrienCyndy Renoff and George TalerDr. Michael Repka and Dr. Mary

Anne FaccioloNatasha and Keenan RiceAlison and Arnold RichmanRichard and Sheila RiggsRichard and Mary Rimkunas

Ms. Elizabeth Ritter and Mr. Lawrence Koppelman

Ida and Jack RoadhouseMr. and Mrs. Domingo and

Karen Rodriguez, in honor of Emma Grace Barnes

Mr. and Mrs. Jerry RoeslerLouis and Luanne RuskSteven and Lee SachsFrank and Michelle SampleMs. Gloria SavadowFrederica and William Saxon, Jr.Mr. Steve SchwartzmanClair Zamoiski Segal, in honor

of Judy Witt PharesMs. Minnie ShorterMr. and Mrs. L. SiemsMr. Howard Sigler and Ms.

Deborah HyltonDr. and Mrs. Donald J. SlowinskiRosie and Jim SmithSolomon and Elaine SnyderMs. Jill StemplerJoseph SterneMrs. Clare H. Stewart, in honor

of Peter CulmanBrenda and Dan StoneMs. Joann StricklandMr. and Mrs. James R.and Gail

SwanbeckTed and Lynda ThillyCindy and Fredrick ThompsonLaura and Neil Tucker, in honor

of Beth FalconeRobin and Harold TuckerComprehensive Car Care/

Robert WagnerDonald and Darlene WakefieldMs. Magda WesterhoustMs. Camille Wheeler and Mr.

William MarshallHarold and Joan YoungMr. Norman YouskauskasMr. Paul Zugates

SPeCiAL grAntS & giftSThe Leading National Theatres Program, a joint initiative of the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation

gOvernMent grAntSCENTERSTAGE 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.

CENTERSTAGE’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.

CENTERSTAGE participates annually in Free Fall Baltimore, a program of the Baltimore Office of Promotion and the Arts.

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 RestaurantDean AlexanderArt Litho

Au Bon PainThe Baltimore SunBlimpieThe Brewer's ArtCalvert Wine & SpiritsCasa di PastaCharcoal GrillCima Model ManagementThe Classic Catering People ChipotleThe City PaperEggspectationsFisherman’s Friend/PEZ Candy,

Inc.Gertrude's RestaurantGreg's BagelsGT PizzaGutierrez Studios Haute DogHoneyBaked Ham Co.The HelmandHotel MonacoIggie'sThe Jewish TimesMarriott Minato Mitchell Kurtz Architect, PCMount Vernon Stable and

SaloonNew System BakeryNo Worries CosmeticsOriole's Pizza and SubPazoPizza Boli'sPizza HutPromoWorksRepublic National Distributing

CompanyRoly Poly Romano’s Macaroni GrillSabatino'sSenovvaShugoll ResearchThe SignmanStyle MagazineSunlight LLC, in honor of Kacy

ArmstrongUrbaniteA Vintner's SelectionWawaWegman'sWhitmore Print & ImagingWYPR Radiowww.thecheckshop.us

MAtChing gift COMPAnieS The Abell Foundation, Inc.Bank of AmericaThe Annie E. Casey

FoundationConstellation EnergyThe Deering Family

FoundationExxon CorporationFrance-Merrick FoundationGE FoundationGoldseker FoundationIBM CorporationMcCormick & Co. Inc.Norfolk Southern FoundationOpen Society Institute PNC BankStanley Black & Decker SunTrust 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 CirCLeAnonymousAccentureAmerican Trading &

Production CorporationThe Baltimore Life

CompaniesBaxter, Baker, Sidle, Conn

& Jones, P.A.Brown AdvisoryEnvironmental

Reclamation CompanyFTI ConsultingHoward BankLord Baltimore Capital

CorporationMcGuireWoods LLPPNC BankProcter & GambleStifel NicolausTransamerica Financial

Solutions GroupVenable, LLPWhiteford, Taylor &

Preston LLPWhiting-Turner

Contracting Co.

DireCtOrS CirCLeAlexander Design StudioBay ImageryE*Trade Financial

CorporationFunk & Bolton, P.A.Offit | Kurman, Attorneys

at LawPessin Katz Law P.A.PricewaterhouseCoopers

LLPSchoenfeld Insurance

AssociatesStevenson UniversityThe Zolet Lenet Group at

Morgan Stanley Smith Barney

ASSOCiAteSAyers Saint Gross,

IncorporatedChesapeake Plywood, LLCCorporate Office

Properties TrustErnst & Young LLP

CORPORATIONS

PrODuCerS CirCLe

ArtiStS CirCLe

ADvOCAteS continued

T. Rowe Price Foundation, Inc.

26 | CENTERSTAGE

THE VALUE OF Recognizing

Achievements.

Congratulations to CENTERSTAGE

for reaching new heights and

new narratives.

THE VALUE OF PeRFoRmAnce.

www.nor thropgrumman.com

©2012 N

orthrop G

rumman

Corporation


Kwame Kwei-Armah OBE–Artistic Director Stephen Richard–Managing Director AdministrationAssociate Managing Director–Del W. RisbergExecutive Assistant–Kacy ArmstrongThe Ellen and Ed Bernard Management Intern–

Batya Feldman

ArtisticAssociate Artistic Director–Gavin WittArtistic Producer–Susanna GellertArtistic Senior Fellow–Kellie MeclearyThe Lynn and Tony Deering Artistic Intern–

Samantha Godfrey

Audience relationsBox Office Manager–Mandy BenedixAssistant Manager/Subscriptions Manager–

Jerrilyn KeeneAssistant Manager–Blane WycheFull-time Assistants–Lindsey Barr, Ashley Fain,

Rachel Holmes, Alana Kolb, Christopher LewisPart-Time Assistant–Froilan MateBar Manager–Sean Van CleveHouse Manager & Volunteer Coordinator–

Bertinarea CramptonAssistant House Managers–Cedric Gum,

Alec Lawson, Faith SavillAudience Relations Intern–Quincy PriceAudience Relations Apprentice–Tiana BiasAudio Description–Ralph Welsh &

Maryland Arts Access

AudioSupervisor–Amy WedelEngineer–Eric LottThe Jane and Larry Droppa Audio Intern–

Andrew Graves

Community Programs & educationDirector–Julianne FranzEducation Coordinator–Rosiland CauthenCommunity Programs & Education Intern–

Dustin MorrisThe James and Janet Clauson Community Programs

& Education Intern–Kristina SzilagyiTeaching Artists–The 5th L; Oran Bandel; Jerry Miles, Jr.;

CJay Philip; Wambui Richardson; Joan Weber

CostumesCostumer–David BurdickTailor–Edward DawsonCraftsperson–William E. CrowtherStitcher–Jessica RietzlerThe Terry H. Morgenthaler and Patrick Kerins Costumes

Intern– Elizabeth ChapmanThe Judy and Scott Phares Costumes Intern–

Anna Tringali

DevelopmentDirector–Cindi MonahanGrants Manager–Sean BeattieAnnual Fund Manager–Katelyn WhiteEvents Coordinator–Brad NorrisDevelopment Assistant–Julia OstroffAssistant–Christopher LewisAuction Coordinator–Sydney WilnerAuction Assistant–Norma Cohen

DramaturgyDirector–Gavin WittDramaturgy Senior Fellow–Kellie MeclearyApprentices–Izaak Collins, Roisin Dowling,

Christine Prevas, Kate Ramsdell, Bennett Remsberg, Matthew Buckley Smith, Lucy Walker

financeDirector–Susan RoseberyBusiness Manager–Kathy NolanAssociate–Carla Moose

graphicsArt Director–Bill GeenenSenior Graphic Designer–Jason GembickiProduction Photographer–Richard AndersonGraphics Intern–Michelle FlemingThe Stephanie and Ashton Carter Digital Media Intern–

Leslie Datsis

information technologiesDirector–Joe LongSystems Administrator–Mark Slaughter

LightingLighting Director–Lesley BoeckmanMaster Electrician–Lily BradfordMultimedia Coordinator–Stew IvesStaff Electrician–Bevin MiyakeThe Barbara Capalbo Electrics Intern–Scot Gianelli

Marketing & CommunicationsDirector–Tony Heaphy Public Relations Manager–Heather C. JacksonMarketing Manager–Timmy MetznerDigital Media Associate–Timothy GellesMarketing Associate–Tia AbnerThe Jay and Sharon Smith Marketing and

Public Relations Fellow–Kiirstn PaganMedia Services–Planit

OperationsDirector–Harry DeLairOperations Assistant–Kali KeeneyHousekeeper–Jacqueline StewartSecurity Guards–Crown Security

Production ManagementProduction Manager–Mike SchleiferAssistant Production Manager– Caitlin PowersCompany Manager–Sara GroveProduction/Stage Management Intern–Ashley RiesterThe Phil and Lynn Rauch Company Management

Intern–Matt Shea

PropertiesManager–Jennifer StearnsAssistant Manager– Nathan ScheifeleArtisan–Jeanne-Marie BurdetteThe Kenneth C. and Elizabeth M. Lundeen Properties

Intern–Kimberly Townsend

SceneryTechnical Director–Tom RuppAssistant Technical Director–Laura P. MerolaShop Supervisor–Trevor GohrCarpenters–Joey Bromfield, Mike Kulha,

Scott RichardsonScene Shop Intern–Ryan Cole

Scenic ArtScenic Artist–Stephanie NimickIntern–Lauren Crabtree

Stage ManagementResident Stage Managers–Captain Kate Murphy,

Laura SmithThe Peter and Millicent Bain

Stage Management Intern–Brent BeaversThe Barbara Voss and Charles Noell

Stage Management Intern–Lindsay Eberly

Stage OperationsStage Carpenter–Eric Burton

The following .designers, artisans, and assistants contributed to this production of

The Mountaintop—Assistant Director–Samantha GodfreyAssistant Lighting Designer–Scot GianelliCarpenters–Bernard Bender, Mark Eisendrath,

Seth Foster, J.R. FritschLighting–Cartland Berge, Alison Burris, John Elder,

Jake Epp, Aaron Haag, Alexander Keen, Jen Reiser, Jon Rubin, Natahsa Tylea

Projections–Mallorie OrtegaWig Design–Linda Cavell

CENTERSTAGE 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 CENTERSTAGE perform under the terms of an agreement between CENTERSTAGE and Local 40-543, American Federation of Musicians.

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

editor Heather C. JacksonAssistant editor Kiirstn PaganArt Direction/Design Bill Geenen Design Jason Gembicki

Advertising Sales [email protected]

COntACt infOrMAtiOnbox Office Phone 410.332.0033 box Office fax 410.727.2522 Administration 410.986.4000www.centerstage.org [email protected]

Material in the CENTERSTAGE 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 CENTERSTAGE, 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 CENTERSTAGE.

staff

28 | CENTERSTAGE

410-243-5700TDD: 1-800-735-2258

www.rolandparkplace.org

830 West 40th StreetBaltimore, MD 21211

Life is Simply Better Here!Roland Park Place is a unique continuing care retirement

community in the heart of northern Baltimore City.

mtb.com ©2012 M&T Bank. Member FDIC.

At M&T Bank, we know how important it is to support artists of all kinds. To

enhance the quality of life in our communities. That’s why we offer both our time

and resources, and encourage others to do the same.

When the arts succeed, we all succeed.

M&T is proud to support CENTERSTAGE.

the mountaintop program

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