By Bonnie Lee Moss Rattner Based on the novel

Their Eyes Were Watching God by Zora Neale Hurston

State Theater of Maryland

Directed by Marion McClinton

The Pearlstone Theater

January 4–February 5 | 2011–12 season

Letter from the PlaywrightIn the mid-’70s, I was in grad school. Having been given an assignment to find an out-of-print novel and research its critical and publishing history, I was in the fiction stacks of the graduate library, pushing books to the side, and a paperback fell on the floor. I picked it up. It was titled Their Eyes Were Watching God. I thought it was an intriguing title. Also, the author’s name was unfamiliar: Zora Neale Hurston.

Seduced by the title and the lyrical name of the author, I distinctly remember I felt I had to immediately read this book. So, I sat down on the worn carpeted floor and read the novel in two hours. At that point in time, I did not realize the direction of my life had changed forever.

Indeed, the novel was out of print, as was most of Hurston’s earlier published work. In recent years, Hurston’s work has been discovered in many places, including the Library of Congress.

Sitting on that floor, I was overwhelmed by the beauty of Hurston’s language, the arrangement of the words, and the story of Janie and her daring search for a meaningful life. To me, she was the American Shakespeare. After that first reading of Their Eyes Were Watching God, I knew I had to bring the novel to the public’s attention.

After months of consulting with theatrical producers, professors, my graduate advisor—Professor Todd Duncan—and my own attorney husband, the late Lawrence Rattner, I decided I would adapt the novel for the stage. That first version, titled Eatonville, took a year to write. Every word was precious, every sentence was discussed and evaluated. Along with a critical introduction, and a large appendix of the changes made for the adaptation, Eatonville completed the requirements for essay section of the Master of Arts degree in American Literature in the English Department in the College of Liberal Arts at my alma mater, Wayne State University.

The story of the development of the play is more than 30 years long, and still growing. Please know I am so proud of this production of Gleam. I sincerely hope you will be amazed and captivated by the beauty of Janie’s quest.

My best regards,

—Bonnie Lee Moss Rattner, Playwright

I would like to dedicate this work to the memories of Lawrence Rattner, Seth Schapiro, and Michael Frazier.

Photo by Nina Hauser.

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.

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MEDIA PARTNER

Marion McClinton Director

David Gallo Scenic Designer

ESosa Costume Designer

Michael Wangen Lighting Designer

Rob Milburn & Michael Bodeen Original Music & Sound Designers

Gavin Witt Production Dramaturg

Lewis Shaw Fight Choreographer

Evamarii Johnson Dialect Consultant

Pat McCorkle Casting Director

Axel Avin, Jr* Jody Starks/Ed Dockerty

Stephanie Berry* Pheoby Watson

Brooks Edward Brantly* Tea Cake

Thomas Jefferson Byrd* Logan Killicks/Sam Watson

Christiana Clark* Janie

Erik LaRay Harvey* Hezekiah/Sop-de-Bottom

Tonia M. Jackson* Lulu Moss/Nanny

Celeste Jones* Daisy Blunt/Nunkie

Gavin Lawrence* Amos Hicks/Lias/Johnny Taylor

Jaime Lincoln Smith* Lige Moss/Bootny

Laura Smith* Stage Manager

Raine Bode* Assistant Stage Manager

Captain Kate Murphy* Assistant Stage Manager

*Member of Actors’ Equity Association

GleamBy Bonnie Lee Moss Rattner

Based on Their Eyes Were Watching God By Zora Neale Hurston

Directed by Marion McClinton

The Pearlstone TheaterJan 4–Feb 5

The CasT (in alphabetical order)The arTisTiC Team

The CENTErSTAgE Program is published by:

Center Stage Associates, Inc. 700 North Calvert Street Baltimore, Maryland 21202

Editor Heather C. Jackson

Art Direction/Design Bill Geenen

Design Jason Gembicki

Contributors Kellie Mecleary, Gavin Witt

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

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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.

CONTENTSMyth-maker & Ground Breaker 2Sunshine & Speculation 4Bonnie Lee Moss Rattner and the Long, Strange Saga of Gleam 6Biographies: The Cast 7Biographies: Artistic Team 9FYI: Audience Services 14Biographies: Staff 14Preview: A Skull in Connemara 15Supporting the Annual Fund 16Board of Trustees 18CENTERSTAGE Staff 20

seTTiNG:Place: Florida

Time: 1903–28

I Takes Mah Time is performed with permission from Wynton Marsalis.

There will be one 15-minute intermission. PLEASE TurN OFF Or SILENCE ALL ELECTrONIC DEvICES.

Myth-maker & Ground-breakerIn the manner of many another writer, the greatest fiction of her career may have been the story of her life. Whether as told in her autobiography, Dust Tracks on a Road, or as related in the anecdotes she steadily doled out, the bits and pieces she rendered into her literary work, or even the details she provided for official documents, it can be tricky at best to separate fact from fiction in the construct we know as Zora Neale Hurston.

By Gavin Witt, Production Dramaturg

2 | CENTERSTAGE

To go with a minor name change (from Zora Neal Lee Hurston as recorded in the family Bible), Hurston shaved some 10 years from her life by fudging her birth date—

and not always consistently. It may have begun when she went to enroll in high school here in Baltimore; at about 26, and so ineligible for free tuition, she took advantage of looking young for her age and dropped a decade. But the revisionism continued in other forms, some more official (like marriage licenses) and others less. And of course, she always claimed Eatonville, Florida as her place of birth—though she was actually born in Alabama and only moved with her parents to Eatonville as a child.

Then again, artists and authors have been constructing and reconstructing their public identities for eons. George Eliot and George Sand had everyone fooled once. N. Richard Nash started out Nate Nussbaum from South Philly, and Philip Barry was no Mainline WASP. Chloe Anthony Wofford of Lorain, ohio became Toni Morrison, Nobel Laureate. Some, like Alice Childress, invent names and dates; others, like oscar Wilde, spin out of whole cloth anything they can’t refine or revise. you needn’t have seen Anonymous to know of the speculation surrounding the Son of Stratford, and Molière and Plautus and Voltaire were all pseudonyms.

It seems only too appropriate for this eminent folklorist— who elevated the study and compilation of African American tale-telling into an art and a science—to be herself a form of folklore.

However, leaving aside ages and instead following dates, one can outline a somewhat more certain shape to Hurston’s life—though relying on her own accounts, especially her autobiographical narratives, remains dodgy. As some have noted, her fiction was always deeply autobiographical, and her autobiography bears all the hallmarks of creative license.

Whether born in 1891 (likely) or 1901 (less so), the two most common candidates, Hurston certainly found herself growing up in the nation’s first incorporated all-Black township, Eatonville. There her father, John Hurston—a carpenter, preacher, and eventually mayor—and her schoolteacher mother, Lucy Potts Hurston, resettled and began to raise their eight children. Having fled rough plantation sharecropping and the harsh world of Jim Crow Alabama, they adjusted to life in an all-Black enclave, which Zora later recalled as rather idyllic.

continues on page 4 »Gleam | 3

In 1887, when it appears that our heroine Janie was born, another auspicious beginning took place: the town of Eatonville was founded, and shortly after became home to Zora Neale Hurston and her family. Florida at that time was a fairly empty and inhospitable expanse of scrubland, swamps, and Seminole territory. It was bordered by thousands of square miles of decent but underused coastline. By 1928, when Janie’s story draws to a close, the Sunshine State had witnessed a massive real estate boom (and bust), a mammoth population explosion, landscape-changing public works projects, and some epically bad weather. All of which evidently imprinted itself on at least one youthful imagination.

There had been a steady, gradual influx over the decades of Reconstruction following the Civil War—which devastation Florida had escaped. But this was little more than a trickle; the change didn’t really take off until the 1920s, when a real estate bubble got going. Banks and speculators spread the propaganda of easy riches; folks came by the hundreds of thousands, while thousands more bought up land without ever setting foot there. Massive building projects followed. Towns and even cities sprang up like it was California, 1849. The boom was so vast and complete it changed the entire scope and nature of the state. Even the Everglades got dredged and developed.

Sustaining all this work were thousands of migrant workers, including many from across the Deep South and the West

It was an idyll that would end far too soon, in 1906, when her mother died at 39. Miserable at home under the hostile regime of her father’s new wife, then equally unhappy as an unpaid drudge for a brother’s family, by 1915 Zora had slipped away as wardrobe girl for a troupe of Gilbert and Sullivan performers. Eighteen months of relative delight with the eclectic band of travelling players landed her in Baltimore, where she inveigled and impressed her way into prestigious Morgan Academy.

Already an avid, capable student, widely read and enamored of literature, Hurston parlayed desire and ambition—along with a series of happy accidents, assorted odd jobs, and more self-reinvention—into lofty Howard University, and then on to Barnard in New york. In her own indirect way, she had joined the characteristic journey of the Great Migration, the flow of African Americans from a post-plantation South to the beckoning North.

She arrived in Manhattan in 1925, where she soon became part of the heady Harlem Renaissance—though initially as a public

persona more than as a contributing artist. Reinventing herself yet again, adjusting with apparent ease to the hustle and jostle of this urbane, cosmopolitan world, Hurston eventually began to spin tales. In them, she turned back to the world, the characters, the stories, the vernacular of the “folk” she had known growing up. Time and again, she returned in her tales to Eatonville. At the same time, she studied anthropology with the legendary Franz Boas at Barnard, then merged her literary and ethnographic interests. Sponsored by a wealthy socialite known for her patronage of Harlem artists, Hurston set out in 1927 for five years of field work, research, observation, and adventure. Riding around in a jalopy, often armed, sometimes disguised, she spanned the Deep South and the West Indies to produce both an anthropological study and her first novel.

Then, in 1937, apparently looking to recover from another in a series of failed romances (which eventually included two husbands), Hurston took a Guggenheim-sponsored trip to study folklore in Haiti. There, in a mere seven weeks (by her account),

Sunshine & Speculation By Gavin Witt, Production Dramaturg

« continued from page 3

4 | CENTERSTAGE

Indies. Like those before them who built the railroads and the Panama Canal, they worked for meager wages in often horrid conditions, and lived in crudely constructed communities with few, if any, amenities. Many of these migrants were the same itinerant laborers who helped support the explosion in farming as well—especially along Lake okeechobee, often called “the Muck Bowl” for its marshy terrain. These are the people of the Muck whom Hurston introduces in her story.

By 1925, however, Boom became Bust. Land prices rose to such heights that, almost overnight, the market for Florida land plummeted, prices with it, and the whole house of cards collapsed.

Almost on top of this bursting bubble, two terrible hurricanes hit South Florida within two years of each other, in 1926 and 1928. Both hit the migrant communities especially hard. Thousands died. More than 13,000 homes were destroyed. Entire communities lay in ruins, many not to recover for another decade at least. The only consolation was that when the Great Depression hit in 1929, there was no further for most of these communities to fall. 5

she produced Their Eyes Were Watching God. Whatever doubts may cling to other elements of her narrative, no shred of uncertainty clouds the stunning achievement of this work. Richly textured and dense with observation, recollection, and distillation of Hurston’s own rural past, Eyes manages to be at once a nostalgic and a revolutionary work: the entirely original bildungsroman of a vital, self-actualizing Black woman before such a form had even been imagined.

More writing followed, including an autobiography in 1942, which not only proved her most successful commercial venture but arguably represented her deftest navigation of story-spinning, melding imagination and reality into the enduring character of Zora Neale Hurston as the world would know her. Somehow, though, success and recognition failed to follow. Harried by disapproving colleagues like Richard Wright, who chastened her for a lack of anger in her writing, she then had to retreat from a trumped-up charge of child molestation and fled back south. From 1949 to 1959, often living almost hand-to-mouth,

Hurston wrote and published sporadically. Forced to move into a Welfare Home in 1959, she died only a few months later, in January 1960, and was buried in a pauper’s grave.

Having built a careful construct of herself in life, she nearly disappeared in death—her grave unmarked and overlooked; only her stories and her writing enduring, in small pockets of awareness, fading further into obscurity. So it went until 1973, when novelist Alice Walker fell in love with Their Eyes Were Watching God and famously made a pilgrimage to recover and celebrate Hurston’s grave, memory, and reputation. It worked. The embers that had flickered and nearly died came roaring back more fiercely than ever, a writer and innovator far ahead of her time finally embraced by those she had lovingly championed, and by so many others. All of us, in some ways, part of her broad, humane, empathetic fictional embrace. By inventing so lavishly, in life and on paper, she created enough Zora to go around. 5

For more, visit www.centerstage.org/gleam.

Gleam | 5

Bonnie Lee Moss Rattner earned a B.A. in English Education from Michigan’s Wayne State University in 1962, then studied briefly at The Sorbonne in Paris and the University of Michigan before beginning a career as a secondary school English teacher and mother. She returned to Wayne State University in 1965 to undertake graduate studies, which culminated in 1979 with her earning a Master of Arts degree in English.

It was at Wayne State in 1978 that Rattner discovered Their Eyes Were Watching God, an encounter that she has described as life-changing. She decided to adapt the novel for the stage as her Master’s thesis under the guidance of Professor L. Todd Duncan—a play initially titled Eatonville. She then spent the next several years in a long, involved, and arduous quest to obtain the stage rights from Hurston’s estate and longtime publishers. The piece, now retitled To Gleam It Around, To Show My Shine, had its first performance at Wayne State’s Hilberry Graduate Theatre in 1983.

Rattner devoted herself to convincing producers across the country to stage the play, which she referred to as her “second child.” Readings followed at many leading regional theaters. Then the play received an award from the Kennedy Center Fund for New American Plays in 1987, followed by its professional premiere in a production at New Jersey’s Crossroads Theater in 1988. Under the direction of Crossroads’ Artistic

Director Rick Kahn, and featuring Denise Nicholas and Novella Nelson, the play won universal plaudits—including from Alvin Klein of The New York Times, who wrote of its “stage worthy dialogue that is so pure and lyrical, it positively stings and pierces the heart.”

Subsequently, another series of readings and workshops followed through the late ’80s and on through the ’90s, as several theaters and producers pursued the play. over the years, a host of luminaries—including Samuel L. Jackson, Morgan Freeman, Leslie Uggams, Alfre Woodward, and others—were drawn to the play as it continued to evolve. Wynton Marsalis composed a score, and a series of almost-weres and near-misses had it just missing financing or suffering from cutbacks at various venues.

Meanwhile, Rattner co-wrote an adaptation of Langston Hughes’ Not Without Laughter. She also became

co-producer of Asinamali, a musical that opened on Broadway in 1987; and she sought wider recognition for the work of Phillip Hayes Dean, whose plays Robeson and Freedman obtained international success. In the ’90s, Rattner and Duncan joined forces again for a book on the life of former Michigan Supreme Court Justice otis M. Smith, the state’s first Black Supreme Court Justice. All the while, she continued to work on and believe in her adaptation. Finally, fast forward to August 2011, when CENTERSTAGE came calling. Now, today, the play will enjoy its third production and first revival in nearly 25 years. 5

Bonnie Lee Moss Rattner & the Long, Strange Saga

of GleamBy Gavin Witt, Production Dramaturg

“stage worthy dialogue that is so pure and lyrical, it positively

stings and pierces the heart.”

6 | CENTERSTAGE

Biogr aphies The Cast

Axel Avin, Jr.*—Jody Starks/Ed Dockerty. CENTERSTAGE: debut. off Broadway— MTC: Ruined; Roundabout: Streamers. Regional—

Virginia Stage Co: A Raisin in the Sun; Lorraine Hansberry Theatre: Fences; A.C.T.: A Christmas Carol. International—London: The old Vic; Nassau, Bahamas: Shakespeare in Paradise Festival. Web Series—Splinter Cell: Extinction; Shitty Fabulous Lives. other Professional—Director: Poetic Theater, The Movement Theatre Company, Columbia University, The Subjective Theatre Company, Horse Trade Theater Group, 2011 24 Hour Musicals. Education—M.F.A. American Conservatory Theater.

Stephanie Berry*— Pheoby Watson. CENTERSTAGE: debut. Broadway—Drowning Crow. off Broadway— credits include her one-

woman show, The Shaneequa Chronicles: The Making of a Black Woman in New York (obie Award, two Audelco Awards); Classical Theatre of Harlem: Henry V (King of France/Hostess); Woodie King’s New Federal Theatre: Cool Blues; National Black Theatre: Macbeth. Regional—Some of her credits include Studio Theatre: Marcus and the Secret of Sweet; Milwaukee Rep: Trouble in Mind, Gem of the Ocean; Mark Taper Forum: Distracted; Philadelphia Theatre Company: Intimate Apparel; Delaware Theatre: Spunk; Portland Center Stage: King Lear; oberlin: Hamlet. Film/TV—Invasion, No Reservations, Finding Forrester, Blue Bloods, Louie, all of the Law & Order programs. Awards— 2009–10 recipient of the TCG/Fox Foundation Resident Actor Fellowship as a Distinguished Artist. other Professional—Founding member of Blackberry Productions Theater Company, a Harlem-based organization that develops new works and brings theater to underserved populations throughout New york. She is currently touring Iced-Out, Shackled and Chained in schools and festivals.

Brooks Edward Brantly*—Tea Cake. CENTERSTAGE: debut. Regional— Guthrie Theater: Macando; Capital Rep: Superior Donuts; Fly-By

Theatre: Celestial Gifts; Connecticut Rep: Othello, The Exonerated, Hair, Pericles the Prince of Tyre, The Comedy of Errors, A Flea in Her Ear, Urinetown, Galileo; Baldwin Burroughs Theatre: Blues for an Alabama Sky, Ray and Sons. First recipient of the Kenny Leon Directing Fellowship (Alliance Theatre). Education— University of Connecticut M.F.A. acting program, Morehouse College graduate. He thanks all his friends and family for their unwavering love, faith, and support. It has been an exciting journey.

Thomas Jefferson Byrd*— Logan Killicks/Sam Watson. CENTERSTAGE: Ma Rainey’s Black Bottom (Toledo), Trouble in Mind (Sheldon

Forrester), Elmina’s Kitchen (Digger). Broadway—Ma Rainey’s Black Bottom (Toledo, Theatre World Award/Tony nom). Regional—yale Rep: Death of a Salesman; True Colors: The Amen Corner; Arizona Theatre Co./ATL/Portland Center Stage: Crowns; ATL: Gem of the Ocean; San Diego Rep: Spunk; Indiana Rep: Two Trains Running, The Piano Lesson, Flyin’ West, Hamlet, Miss Evers’ Boys; A.C.T.: Good Boys (Thomas, dir. Jon Jory); oregon Shakespeare: The Darker Face of the Earth; Alliance Theatre; San Jose Rep; San Diego Rep. Film/TV—Ray, Bamboozled, Bulworth, Clockers (dir. Spike Lee), Get on the Bus (dir. Spike Lee), He Got Game, Set It Off, MacArthur Park (Sundance nom), Lackawanna Blues (HBo), Living Single, Mama Flora’s Family, Passing Glory, Boycott, Law & Order: Criminal Intent. Education—MFA, California Institute of the Arts. Mr. Byrd is thrilled to be back at CENTERSTAGE, where he previously appeared in the American premiere of Kwame Kwei-Armah’s Elmina’s Kitchen and in Alice Childress’ Trouble in Mind (dir. Irene Lewis).

Christiana Clark*—Janie. CENTERSTAGE: debut. off Broadway—59E59: Pure Confidence. Regional—Goodman: The Trinity River Plays (world premiere,

dir. Ethan McSweeny); Guthrie/Pillsbury House: In the Red and Brown Water (dir. Marion McClinton), Bulrusher (title role); Ten Thousand Things: IL Campiello, Othello, Endgame (dir. Marion McClinton); Park Square: Constant Star; Penumbra Theatre: Blue (dir. Lou Bellamy), A Raisin in the Sun. Film—Stuck Between Stations. Awards— Ivey Award ’06 Emerging Actress of the Twin Cities, ’09 CityPages Best Actress (Twin Cities). Education—The American Academy of Dramatic Arts West.

Erik LaRay Harvey*— Hezekiah/Sop-de-Bottom. CENTERSTAGE: debut. off Broadway—White Chocolate; The Exonerated; The Culture Project: Where’s My Money;

MTC: Streetcar Named Desire; NyTW: Othello; Shakespeare in the Park: Unrequited Love, Fear Itself. Regional—Fences; Playmaker’s Rep: Intimate Apparel; oregon Shakespeare Festival: Moot the Messenger; Humana Festival: My Children...My Africa; yale Rep: 7 Guitars; Alliance: The Piano Lessons; San Jose Rep: Ooh Blah Dee; Sundance Theatre Lab: Home; NJPAC: A Few Good Men; Syracuse Stage: Spunk; Fulton opera House: Film/TV—The 22, Boardwalk Empire, Brotherhood, Everyday People, Marci X, Rounders, Caveman’s Valentine, Twister, Proud, K-Pax, Max and Grace, Law & Order, L&O: SVU, L&O: CI, NYPD Blue, Third Watch, Now and Again, The Clubhouse, The Jury, Another World. Education—NyU. For my peeps.

Gleam | 7

Tonia M. Jackson*— Lulu Moss/ Nanny. CENTERSTAGE: debut. off Broadway—Pan Asian Rep: Monster. Regional—American Stage: Frankie and

Johnny; Alliance Theatre Co: Gem of the Ocean, Radio Golf, The Nacirema Society Requests; Horizon Theatre Co: And Her Hair Went With Her, Shakin’ the Mess Outta Misery; Penumbra Theatre Co: company member for 15 years, The Piano Lesson, Joe Turner’s Come and Gone, King Hedley II, Waiting in Vain, Flying West, for colored girls…, Seven Guitars; Guthrie Theatre; Steppenwolf; Magic Theatre; Lorraine Hansberry Theatre; Pillsbury House; Mixed Blood Theatre; Theatrical outfit; True Colors Theatre Co. Film/TV— Zero Street, A Chance of Snow, Tyler Perry’s Meet the Browns and House of Payne. To God be the Glory.

Celeste Jones*— Daisy Blunt/Nunkie. CENTERSTAGE: debut. Regional—Pillsbury House Theatre/Guthrie: In the Red and Brown Water (Nia, dir.

Marion McClinton); Ten Thousand Things: Life’s A Dream (Estrella), Once on this Island (TiMoune); Mixed Blood Theatre: Ruined (Sophie); Frank Theatre: Puntila and His Hired Man Matti (Cook/operator); Children’s Theatre Company: Seussical the Musical (Bird Girl), The BFG (Mary/Meatdripper). Education—Howard University, British American Drama Academy.

Gavin Lawrence*—Amos Hicks/Johnny Taylor/Lias. CENTERSTAGE: debut. off Broadway—59E59 Theaters: Pure Confidence (dir. Marion McClinton). Regional—

Goodman: Dartmoor Prison, The Good Negro; Guthrie: King Lear, Blood Wedding, A Christmas Carol, Julius Caesar, Black no More, In the Red and Brown Water, Dream on Monkey Mountain, Many Colors Make the Thunder-King; ETC: Thurgood; Arena Stage: Ma Rainey’s Black Bottom, Black No More; Mixed Blood Theatre: Flags, Boy,

Biogr aphies The Cast continued

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Biogr aphies The Artistic Team

Birth of the Boom, Pure Confidence, Ruined, Fires in the Mirror, Salt Fish and Bakes; Cincinnati Playhouse: Pure Confidence; Kennedy Center: Project Liberty; City Theatre: Spunk, Birth of the Boom; Kansas City Rep: Blood Wedding; CTC: The Beggar’s Strike, Anon(ymous); Penumbra: The Mighty Gents, The Mojo and the Sayso, Three Ways Home, On the Open Road, Black Nativity, Everlasting Arms, Two Trains Running, Waiting in Vain, Buffalo Hair; Alabama Shakespeare Festival: Pure Confidence; Denver Center Theatre Company: Pure Confidence; Florida Studio Theatre: Pure Confidence. Film/TV—The Promise, Justice, Joe Somebody, Listen, Wine in the Wilderness, Macbeth. Awards—2009 Audelco for outstanding Performance by a Lead Actor; Lorraine Hansberry Award for Best Writing of a Play by Black Theatre Alliance; outstanding Alumnus, Howard University.

Jaime Lincoln Smith*— Lige Moss/Bootny. CENTERSTAGE: debut. off Broadway—MTC: Ruined (original production); National Black Theatre:

Seed; 45 Bleecker Street: Lights Rise on Grace; Billie Holiday Theatre: Birthright. Regional—City Theatre, Pittsburgh: Marcus: or the Secret of Sweet; McCarter/Public Theater: The Brother/Sister Plays (workshop). Film/TV—Lectern; Shades of Brooklyn, Vol. 1; Remember the Titans; 14085; Amazon Women; The 2-2; Titans of G.E.F.A. (Pilot); Law & Order; The Knights of Prosperity; As the World Turns; MTV’s Human Giant. Awards—Talkin’ Broadway.com 2007 Summer Theatre Festival’s Best Male Actor for “Large” in Lights Rise on Grace. Education—M.F.A. Rutgers University, B.A. Clark Atlanta University. Jaime would like to thank God for all the blessings he has received and dedicate each performance in loving memory of Lennox Lincoln Smith.

Bonnie Lee Moss Rattner (Playwright) was born and raised in Detroit. She attended the University of Michigan and the Sorbonne, and received her degrees from Wayne State University. After teaching high school English for several years, she returned to graduate school, where she was assigned to work with an out of print novel, and discovered Their Eyes Were Watching God. Ms. Rattner adapted the novel for the stage, titled To Gleam it Around, To Show My Shine. originally produced at the Hilbery Theatre at Wayne State University in June 1983, To Gleam was given staged readings by the Alliance Theatre for the Atlanta New Play Project, the Richard Allen Center in New york, Long Wharf Theatre, and received an award from the John F. Kennedy Center for the Performing Arts’ Fund for New American Plays. Ms. Rattner has worked with Shep Morgan of Past America, Inc. to develop projects for television and film. She was commissioned to write the libretto for a children’s opera, The Cadillac’s Great Lakes Experience for the Detroit opera House. She has written numerous articles for the University of Michigan’s Michigan Alumnus magazine, and received the Arts Achievement Award by her alma mater, Wayne State University.

Marion McClinton—Director. CENTERSTAGE: Associate Artist, Elmina’s Kitchen, A Raisin in the Sun, Les Blancs, Jitney, Seven Guitars, Two Trains Running, Splash Hatch on the E Going Down, Day of Absence, Thunder Knocking on the Door, Police Boys (also author), readings of Drowning Crow for Vivat! and Intimate Apparel for First Look. Broadway—credits include Drowning Crow; Ma Rainey’s Black Bottom; King Hedley II (Tony nomination). off Broadway—credits include Jitney (obie and Lortel Awards); Roar; Talk; Breath, Boom. International— Royal National Theatre, London: Jitney (olivier Award, Best Play). Regional—Goodman Theatre/Mark Taper Forum: Gem of the Ocean (world premiere). Playwright— Police Boys, Walkers, Stones and Bones, Who Causes the Darkness? Mr. McClinton is an Associate Artist at CENTERSTAGE as well as at Mark Taper Forum, Playwrights Horizons,

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Gleam | 9

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oregon Shakespeare Festival: American Night; Geva Theatre: Fences; Berkeley Rep: The Blue Door; Bay Street Theatre: Turandot: The Rumble for the Ring, Ain’t Misbehavin’, Pippin, Once on this Island. Awards— include the 2006 TDF/Irene Sharaff young Master Award and the 2003 Audelco Award. Mr. Sosa is also a Project Runway Season 7 Finalist.

Michael Wangen—Lighting Designer. CENTERSTAGE: debut. off Broadway—59E59: Pure Confidence. Regional—Guthrie: In the Red and Brown Water, Fences, The Darker Face of Earth, Blackbird; Trinity Rep: Yellowman, Grandchildren of the Buffalo Soldiers; Children’s Theatre Co.: Bud, Not Buddy; Alabama Shakespeare Festival: The Fula from America; Spoleto Festival USA: The Fula from America. Film—Stage lighting supervisor for A Prairie Home Companion (dir. Robert Altman). other—Lighting designer for Garrison Keillor’s A Prairie Home Companion radio show. Resident designer with the Fitzgerald Theater in St. Paul, MN; 30 years of design experience in the Minneapolis/St. Paul area.

Rob Milburn & Michael Bodeen—Original Music and Sound Design. CENTERSTAGE: Who’s Afraid of Virginia Woolf?, These Shining Lives, A Raisin in the Sun, Dinah Was, Jitney. Broadway—Music & Sound: The Miracle Worker, One Flew Over the Cuckoo’s Nest, The Speed of Darkness; Music: My Thing of Love; Sound: 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; Tel Aviv: Cameri Theater; Japan: Subaru Acting Co.; Toronto; Dublin; Galway; Perth; Sydney. off Broadway—Playwrights Horizons; Vineyard; MTC; MCC; Union Square; Second Stage; Public; NySF; Minetta Lane. Regional—Steppenwolf; Goodman; Alley; Alliance; Chicago Shakespeare; Guthrie; A.C.T. (S. F.); South Coast Rep; Mark Taper; McCarter; Papermill; Huntington;

and Pillsbury House Theatre, and is an alumnus of New Dramatists.

David Gallo—Scenic Designer. CENTERSTAGE: a.m. Sunday, Jitney, Les Blancs. Broadway—credits include Stick Fly; The Mountaintop; Colin Quinn: Long Story Short; High; Memphis; reasons to be pretty; Xanadu; Radio Golf (Tony nom); Company; The Drowsy Chaperone (Tony, Drama Desk and outer Critics Circle Awards); Gem of the Ocean (Tony nom); Ma Rainey’s Black Bottom; Thoroughly Modern Millie (also London); King Hedley II; You’re a Good Man, Charlie Brown; A View from the Bridge; Jackie: An American Life (also London); Hughie. off Broadway—credits include The Third Story; Evil Dead; The Wild Party; Jitney (also London); Wonder of the World; A New Brain; Bunny Bunny; Blue Man Group. International—credits include Tears of Heaven (Seoul); Ich War Noch Niemals in New York (Vienna, Hamburg, Stuttgart); Der Schuh des Manitu (Berlin); Cinderella (Manila); Beauty and the Beast (Rome, Milan, Amsterdam, Madrid). Regional—includes The Kennedy Center: August Wilson’s Twentieth Century. Awards—Drama Desk, American Theatre Wing, Lucille Lortel, Hewes, outer Critics Circle, ovation, AUDELCo, Barrymore, Acclaim, obie and Eddy Awards. Represented American Set Design at The Cooper-Hewitt Design Triennial. The Smithsonian National Archive.

ESosa—Costume Designer. CENTERSTAGE: Once on this Island. Broadway—Porgy and Bess, Topdog/Underdog (also London and various regional theaters). off Broadway—Second Stage: By the Way, Meet Vera Stark; MCC: Break of Noon (Geffen Playhouse); Delacorte: The Capeman; Public Theater: Juan and John, Father Comes Home from the Wars, Romeo and Juliet, The Story, Radiant Baby; Theatre for a New Audience: Oroonoko, Ohio State Murders; NyTW: The Misanthrope, All That I Will Ever Be, The Seven, Eyewitness Blues; Second Stage Theatre: Trust, Crowns, Birdie Blue, Living Out. Regional—Arena Stage: Ruined, Cuttin’ Up, Señor Discretion Himself; Alliance: Twist; A.R.T.: Best of Both Worlds;

Biogr aphies The Artistic Team continued

Gleam | 11

Hartford Stage; Long Wharf; Shakespeare (DC); Kennedy Center.

Evamarii A. Johnson—Dialect Consultant. CENTERSTAGE: debut. Regional—oregon Shakespeare Festival: Eight seasons, credits include To Kill a Mockingbird, She Loves Me, Ruined, Death and the King’s Horseman, Dead Man’s Cell Phone, Gem of the Ocean, Tracy’s Tiger, Intimate Apparel, Bus Stop, Ma Rainey’s Black Bottom, Napoli Milionaria!, A Raisin in the Sun, Force of Nature, Crumbs from the Table of Joy; Dell’Arte International Theatre: Paradise Lost, The Iliad, Peer Gynt: The Liar/Logneren (in cooperation with Denmark’s Jomfru Ane Teatret); Illinois Shakespeare Festival: Henry V, Cymbeline, She Stoops to Conquer, Measure for Measure, The Merry Wives of Windsor, King Lear. other professional— Co-author of Page to Stage: Julius Caesar, which won the 1991 Wilbur Schramm Award for outstanding Instructional Television Series. Teaching—Cal Arts, California State Summer School for the Arts, Dell’Arte International School of Physical Theatre, School of Physical Theatre, Cornell University, Illinois State University, Northwestern University, Semester at Sea (The Institute for Shipboard Education). Member— AEA, SAG, Canadian AEA, VASTA. Education— BFA, Howard University; post-graduate work, New york University; PhD, University of Washington.

Lewis Shaw—Fight Director. CENTERSTAGE: Crime & Punishment, Snow Falling on Cedars. Fight Direction—Everyman Theatre: All My Sons, Mystery of Irma Vep, Filthy Rich, Much Ado About Nothing; Baltimore opera: Romeo et Juliette, Otello, Elektra, Aida; Studio Theatre: Frozen, Mojo; Rep Stage: Bach at Leipzig, Lonesome West, Swan; Globe Theatre, London (Workshop Season); Shakespeare Theatre: Taming of the Shrew; over 40 episodes of America’s Most Wanted. other Professional—Weapons and Specialty Prop Design: Broadway: Addams Family, Life in Theatre, Shrek, Pirate Queen, Aida, Scarlet Pimpernel, Tarzan; West End: Royal Family. Regional: Ben-Hur Live, Metropolitan opera,

Biogr aphies The Artistic Team continued

Planned gifts offer you creative ways to share your passion for the theater with generations to come. Fifty percent of Americans are living without a will. Their life savings may be spent in ways they never intended. Make sure that does not happen to you. Live smart. When you name CENTERSTAGE as a benefi ciary, you can trust that your money will be spent wisely by a non-profi t organization you already know and trust.

your foresight is our future… and your peace of mind.

Master Your Own Legacy… Join the Heritage Circle at CENTERSTAGE

“What you leave behind

is not what is engraved

in stone monuments,

but what is woven into

the lives of others.”

Pericles (c. 495-429 BCE)

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

Director of Development, Cindi Monahan at 410.986.4020.

12 | CENTERSTAGE

Baltimore opera, Washington opera, Folger Theatre, Shakespeare Theatre. Film/TV: Killer Joe, Death Games. Teaching—Certified Teacher with the Society of American Fight Directors and on faculty for the opera Studio at University of Maryland, College Park.

Laura Smith*—Stage Manager. CENTERSTAGE: 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.

Raine Bode*—Assistant Stage Manager. CENTERSTAGE: American Buffalo, Snow Falling on Cedars, The Homecoming; Assistant Production Manager 2009-Present. New york Credits—Stage Manager, La MaMa: Seven, Nicky Paraiso’s HOUSE/BOY, Dionysus Filius Dei, Draupadi, Seven Against Thebes, Three Valises. International Tour—Stage Manager, Seven Against Thebes (Great Jones Repertory Company). Local—Baltimore Shakespeare Festival: Stage Manager, Merry Wives of Windsor, Julius Caesar. other professional—Baltimore Shakespeare Festival Production Manager (2007–09).

Captain Kate Murphy*—Assistant Stage Manager. CENTERSTAGE: Stage Manager for 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, The Boys From Syracuse, The Three Sisters, Radio Golf, The Murder of Isaac, Once on this Island, King Lear; Assistant Production Manager

2008–09. Regional—Actors Theater 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; Contemporary American Theater Festival: The Overwhelming, Pig Farm; Totem Pole Playhouse: over 60 productions through ten seasons. Film/TV—Route 30, Route 30 Too! (dir. John Putch), The Next Food Network Star. Tremendous thanks and applause to Katie Ambrose.

Gavin Witt—Production Dramaturg (see page 14).

Pat McCorkle—Casting Director. Pat McCorkle (C.S.A.) and associates are currently providing casting for the Broadway productions of High with Kathleen Turner and Three Tall Women by Edward Albee. They have, most notably, cast Broadway productions of: 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, A Doll’s House, She Loves Me, Blood Brothers, A Few Good Men. off Broadway credits include: The Toxic Avenger, Our Town, Adding Machine, Almost Maine, Address Unknown, Ears on a Beatle, Down the Garden Paths, Killer Joe, Visiting Mr. Green, Mrs. Klein, Driving Miss Daisy. Casting for feature films are represented by projects such as Ghost Town, War Eagle, Bereft, Secret Window, Basic, The Thomas Crown Affair, The 13th Warrior, Madeline, Die Hard with a Vengeance, School Ties, etc. A few television highlights include The Electric Company, Californication (Emmy nom), Human Giant, 3 lbs., Barbershop, Chappelle’s Show, among many others. Premium Rush, a feature film for Sony Pictures, is scheduled for summer 2011 release.

Gleam | 13

Biogr aphies Staff

Artistic Director Kwame Kwei-Armah, an award-winning British playwright, director, actor, and broadcaster, is well-known to Baltimore audiences

through his plays Elmina’s Kitchen and Let There Be Love—which had their American debuts at CENTERSTAGE—as well as his work as director of Naomi Wallace’s Things of Dry Hours. He has served on the boards of The National Theatre and The Tricycle Theatre, both in London. He most recently served as Artistic Director for the World Arts Festival in Senegal, a month-long festival of Black arts and culture, which featured more than two thousand artists from 52 countries participating in 16 different arts disciplines. He was recently named the Chancellor of the University of the Arts London.

Gavin Witt—Associate Artistic Director/Director of Dramaturgy—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 currently teaches at Towson University.

F YiAudience Services

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. You’ll find the current menu at www.centerstage.org/saschas.

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.

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.

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: info@centerstage.org.

14 | CENTERSTAGE

PREVIEW: A Skull in Connemara

Directed by BJ Jones

Jan 25–Mar 4, 2012

In a flyspeck of a town in Ireland’s fabled West, four lonely, lovable misfits dig for the truth—and get so much more. It’s been seven years since Mick Dowd buried his wife, and the town’s still talking about it: was it a drunk-driving accident or a whack on the head over sloppy scrambled eggs? Since Martin McDonagh’s Connemara is a place where violence is as expected as the weekly Bingo game, both options are plausible. Mick’s job is to exhume the gravesites of those seven years dead to make room for the newly deceased; now the time has come to dig up his wife, and buried with her could be the answer to one of the town’s juiciest mysteries.

In 1994, at the age of 24, Martin McDonagh sat down at a desk with a pen and notebook. He emerged nine months later with drafts of seven plays: two sets of trilogies and an early version of the Tony Award-winning drama The Pillowman. Just three years later, McDonagh had achieved national attention, with four of his plays produced on the London stage at once. Nearly all of McDonagh’s works have since been produced in the US to major acclaim and numerous awards. He has gone on to write and produce two films, including the cult sensation In Bruges, staring Colin Farrell and Brendan Gleeson.

A Skull in Connemara, the second in McDonagh’s Leenane trilogy, premiered in 1997 at the Town Hall Theatre in Galway as a co-production between The Druid Theatre and the Royal Court, moving quickly to London soon after. In Skull, McDonagh actively works to de-romanticize the mythic Ireland of lore. Anyone expecting sweeping landscapes and charming lasses might find the setting of Skull shabby and grim and its characters petty and coarse. At the same time though, they are complex. They are human. A Skull in Connemara can surprise you with unexpectedly poignant moments—kernels of love, loss, and hope amidst brash humor and bloody indifference.

McDonagh draws on such familiar Irish sources as Synge, Joyce, and Beckett for tone and tenor, fusing them with other, more contemporary styles that employ rhythmic specificity and rough humor. He combines Gaelic syntax with English words to create a playful, musical style—steeped in Ireland’s past, but imbued with a modern pace and sensibility. With a gift for satirical storytelling and the keen ability to stay one step ahead of his audiences, McDonagh’s plays are deliciously entertaining, filled with side-splitting hilarity and intriguing uncertainty. you won’t want to miss this macabre mystery packed with merriment, mayhem, and might-be murder. e

Haunting Hilarity By Kellie Mecleary, Dramaturgy Fellow

“Oh Leenane, Leenane: that inbred, claustrophobic world in which…

nothing is held sacred—including matricide, patricide, fratricide, and suicide—if it livens things up a bit.”

—Ben Brantley, The New York Times, 2001

“Connemara confirms McDonagh as a force to be reckoned with— a playwright both ‘pre-modern

and post-modern…’ with an acute ear for Irish wordplay, and

a gene-deep sense of irony.” —Misha Brown, The Seattle Times, 2000

Explore the remaining 2011–12 season or buy tickets!

Gleam | 15

PrODuCErS CIrCLE

ArTISTS CIrCLE

COrPOrATIONS

T. rowe PriceAssociates Foundation, Inc.

supporTiNG The Annual Fund

The following list includes gifts of $250 or more—individual, corporate, foundation, and government contributions—made to the CENTERSTAGE Annual Fund between July 1, 2010 and November 28, 2011. 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!

● ArTISTS CIrCLE ($25,000+)

The Miriam and Jay Wurtz Andrus TrustEllen and Ed BernardStephanie and Ashton CarterJames and Janet ClausonLynn and Tony DeeringMarilyn MeyerhoffMr. and Mrs. George M. ShermanThe Shubert Foundation, Inc.Mr. and Mrs. Robert W. Smith, Jr.The Witt/Hoey Foundation

● PrODuCErS CIrCLE ($10,000–$24,999)

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

The William G. Baker, Jr. Memorial FundBaltimore Community FoundationPenny BankThe Jacob and Hilda Blaustein

Foundation, Inc.The Bunting Family FoundationThe Helen P. Denit Charitable TrustMs. Nancy Dorman and Mr. Stanley

MazaroffMr. and Mrs. Larry D. DroppaThe Goldsmith Family FoundationJohn Gerdy and E. Follin SmithThe Laverna Hahn Charitable TrustMs. Kathleen HyleJ.I. FOUNDATIONKenneth C. and Elizabeth M. LundeenMr. and Mrs. Samuel G. MacfarlaneTerry H. Morgenthaler and Patrick KerinsMr. and Mrs. J. William MurrayLynn and Phil RauchGeorge RocheMr. Louis B. Thalheimer and Ms. Juliet

A. EurichMs. Barbara Voss and Charles E. Noell, III

● PLAyWrIgHTS CIrCLE ($5,000–$9,999)

Denise and Philip AndrewsPeter and Millicent BainJames T. and Francine G. BradyThe Charlesmead FoundationThe Nathan & Suzanne Cohen

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

Fund of the Baltimore Community Foundation

Fascitelli Family FoundationDick and Maria GamperThe Harry L. Gladding Foundation/

Winnie and Neal BordenDr. and Mrs. Neil D. GoldbergFredye and Adam GrossThe Hecht-Levi Foundation, Inc.Martha HeadDr. and Mrs. Freeman A. Hrabowski, IIIMurray and Joan KappelmanFrancie and John KeenanMr. and Mrs. E. Robert Kent, Jr.

● PLAyWrIgHTS CIrCLE

Anonymous

Accenture

American Trading & ProductionCorporation

The Baltimore Life Companies

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

Brown Advisory

Environmental Reclamation Company

Ernst & Young LLP

FTI Consulting

Hodes, Pessin & Katz, P.A.

Howard Bank

Lord Baltimore Capital Corporation

McCormick & Co. Inc.

McGuireWoods LLP

PNC Bank

PricewaterhouseCoopers LLP

Procter & Gamble

SunTrust Bank

Stifel Nicolaus

Transamerica Financial Solutions Group

Venable, LLP

Whiteford, Taylor & Preston LLP

The Whiting-Turner ContractingCompany

● DIrECTOrS CIrCLE

Alexander Design Studio

Bay Imagery, Inc.

Funk & Bolton, P.A.

Schoenfeld Insurance Associates

Stevenson University

● ASSOCIATES

Ayers Saint Gross

Chesapeake Plywood, LLC

Corporate Office Properties Trust

Goldberg, Besche & Banks, P.C.

J.J. Haines & Company, Inc.

● COLLEAguES

RSM McGladrey, Inc.

Thomson Remodeling

● ADvOCATES

Anonymous

Fireline Corporation

The John J. Leidy Foundation, Inc.The Macht Philanthropic FundMrs. Diane MarkmanJoseph & Harvey Meyerhoff Family

Charitable FundsRobert E. Meyerhoff and Rheda BeckerJohn and Susan NehraThe Jim & Patty Rouse Charitable

Foundation, Inc.The Estate of Loretta M. TaymansMs. Katherine L. VaughnsMs. Linda Woolf

● DIrECTOrS CIrCLE ($2,500–$4,999)

AnonymousThe Lois and Irving Blum Foundation,

Inc.Drs. Joanna and Harry BrandtSylvia and Eddie BrownMary Catherine BuntingThe Annie E. Casey FoundationMarjorie Rodgers Cheshire and Mark

CheshireAugust and Melissa ChiaseraDr. Joan Develin Coley and Mr. Lee RiceThe Mary & Dan Dent Fund of the

Baltimore Community FoundationMr. and Mrs. Walter B. Doggett, IIIPatricia Yevics-Eisenberg and Stewart

EisenbergJudith and Steven B. FaderMr. and Mrs. Michael FalconeMs. Suzan GarabedianRobert and Cheryl GuthDr. and Mrs. J. Woodford HowardMr. and Mrs. Stephen ImmeltJonna and Fred LazarusLinda and John McClearyMr. and Mrs. John L. MessmoreJeannie MurphyThe Israel & Mollie Myers Foundation/

Mr. and Mrs. Jonathan Myers/ Mr. and Mrs. Herschel Langenthal

Dr. and Mrs. Lawrence C. PakulaThe James and Gail Riepe Family

FoundationMonica and Arnold SagnerMr. and Mrs. Scott SomervilleScot T. SpencerThe Estate of George H. SteeleMr. Michael StyerTrexler Foundation, Inc.—

Jeff Abarbanel and David GoldnerKathryn and Mark VaselkivMr. and Mrs. Loren and Judy WesternScott and Mary WielerTed and Mary Jo WieseMs. Cheryl Hudgins Williams and

Alonza WilliamsSydney and Ron Wilner

INDIvIDuALS & FOuNDATIONSThe 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.

16 | CENTERSTAGE

● ASSOCIATES ($1,000–$2,499)

AnonymousMr. and Mrs. Raymond

Bank Family Fund of the Baltimore Community Foundation

Ms. Taunya BanksAmy and Bruce BarnettMr. Donald L. BartlingBob and Maureen BlackMr. and Mrs. Marc BlumJohn and Carolyn

BoitnottMr. and Mrs. John Bond,

Jr.Jan 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. ClappRobert and Janice DavisThe Richard & Rosalee C.

Davison FoundationMr. James H.

DeGraffenreidt, Jr. and Dr. Mychelle y. Farmer, M.D.

Rosetta and Matt DeVitoMr. Jed Dietz and Dr. Julia

McMillan, MDThe Dramatists Guild

Fund, Inc.Jack and Nancy DwyerMr. and Mrs. Matthew

FreedmanFrank and Jane GaborJose and Ginger GalvezJonathan and Pamela

Genn, in honor of Beth Falcone and Cindi Monahan

Janet and John GilbertMs. Ana GoldsekerGoldseker FoundationH.R. LaBar Family

Foundation Fund of The Greater Cincinnati Foundation

James and Vicki HandaF. Barton Harvey, III and

Janet Marie SmithBill and Scootsie HatterDonald and Sybil HebbSandra and Thomas HessMr. and Mrs. Leonard

HomerThe Harley W. Howell

Charitable FoundationThe A. C. and Penney

Hubbard FoundationMs. Sherrilyn A. IfillMr. and Mrs. Theodore

ImesJoseph J. JaffaMr. and Mrs. Mark JosephThe Abraham & Ruth

Krieger Family Foundation, Inc.

Francine and Allan Krumholz

Dr. and Mrs. George Lentz, Jr.

Mr. and Mrs. Earl & Darielle Linehan/Linehan Family Foundation

Maryland Charity Campaign

Ms. Mary L. McGeadyJim and Mary MillerTom and Cindi MonahanMs. Stacey Morrison and

Mr. Brian MoralesMr. and Mrs. Lee ogburnBodil ottesenMs. Beth PerlmanRonald and Carol RecklingNathan and Michelle

RobertsonDavid A. RobinsonThe Rollins-Luetkemeyer

FoundationBen and Esther

Rosenbloom Foundation

Mrs. Bette RothmanLainy Lebow Sachs and

Leonard SachsMr. and Mrs. Todd

SchubertMrs. Gail SchulhoffMr. Steve SchwartzmanThe Tim and Barbara

Schweizer Foundation, Inc.

Bayinnah Shabazz, M.D.Barbara and Sig ShapiroThe Earle & Annette

Shawe Family Foundation

Mr. and Mrs. Robert N. Smelkinson

Judith R. and Turner B. Smith

Mr. and Mrs. Scott SmithMr. and Mrs. Robert and

Terri SmithDr. and Mrs. John StrahanSusan and Brian SullamBecky and Andrew

SwanstonDr. and Mrs. Edgar

Sweren, in honor of Kwame Kwei-Armah

Mr. and Mrs. Ronald W. Taylor

Sanford and Karen Teplitzky

The David and Adena Testa Fund

Mr. and Mrs. Donald and Mariana Thoms

John A. UlatowskiDr. and Mrs. John VadenMr. and Mrs. George and

Beth Van DykeMr. and Mrs. J.W.

ThompsonJanna P. WehrleMs. yvonne L. WilliamsJohn W. WoodMs. Jean WymanEric and Pam youngDrs. Nadia and Elias

ZerhouniMr. E. Zuspan

● COLLEAguES ($500–$999)

AnonymousMs. Diane Abeloff, in

memory of Martin Abeloff

Stephen and Madeleine Adams

The Alsop Family Foundation

Elizabeth and Kenneth S. Aneckstein

Mr. AppelMrs. Alexander

ArmstrongMr. Robert and Dorothy

BairMayer and Will Baker,

in honor of Terry Morgenthaler

Charles and Patti BaumJaye and Dr. Ted Bayless

FundS. Woods and Catherine

L. BennettMr. and Mrs. Bruce Blum,

in memory of Shirley Feinstein Blum

Beth and Dale BradyRichard F. BraggCindy CandeloriMs. Sue Lin ChongMr. and Mrs. Carl F. ChristCombined Charity

CampaignMs. Barbara CrainGwen Davidson and

Nancy HaraganRichard and Lynda DavisThe Deering Family

FoundationThe Ethel M. Looram

Foundation, Inc.Gene DeJackome and Kim

GingrasAlbert F. DeLoskey and

Lawrie DeeringThe Honorable and Mrs.

E. Stephen DerbyMr. and Mrs. Eric DottMs. Lynne Durbin and

John-Francis MergenDave and Joyce EdingtonThe Eliasberg Family

Foundation, Inc.Buddy and Sue Emerson,

in appreciation for Elizabeth and Ken Lundeen

Margaret and Donald Engvall

Mr. and Mrs. Faith and Edgar Feingold, in memory of Sally W. Feingold

Sandra and John FerriterBob and Susie FetterAndrea and Samuel FineDr. and Mrs. Robert P.

FleishmanDennis and Patty FlynnElborg and Robert ForsterMs. Nancy FreymanMr. and Mrs. Francis X.

Gallagher, Jr.Sandra Levi GerstungHal and Pat GilreathAlma Hays and John

GinovskyAnn and Jim GordonMary and Richard

GormanThe Joseph Mullan

Company, in care of Peggy Greenman

Louise A. HagerKevin and Angie HallTerry Halle and Wendy

McAllisterMichael and Ann HankinRebecca Henry and Harry

GrunerAllan and Heidi HoffmanMs. Irene HornickHenry P. Hornung, Jr., in

memory of Trude MarxMr. James HughesDr. and Mrs. Barry

Hurwitz

Ms. Harriet F. IglehartDr. Richard J. JohnsDr. and Mrs. Juan M.

JuanteguyMichael and Jennifer

KaganPeter and Kay KaplanMr. and Mrs. Padraic

Kennedy, in honor of Ken Lundeen

Roland and Judy Phair King

Donald Knox and Mary Towery, in memory of Carolyn Knox and Gene Towery

The Kyle Family Foundation, in honor of Guy and Sue Parr

Joseph M. and Judy K. Langmead

Mr. and Mrs. John Leahy, Jr.

Dr. and Mrs. yuan C. LeeMr. Claus Leitherer and

Mrs. Irina FedorovaMarilyn LeutholdMarty Lidston and Jill

LeukhardtKenneth and Christine

LoboRuth R. MarderMr. Elvis MarksJean and Chris MellottJoseph and Jane MeyerMs. Mary Page Michel

and Mr. Michael Morrill, in honor of Lynn and Tony Deering

Jeston I. MillerStephanie Miller, in

memory of Joan DennyThe Montag Family Fund

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

Cliff and Courtney MullerGeorge and Beth

MurnaghanLettie MyersJudith Needham and

Warren KilmerRoger F. Nordquist and

Joyce WardMimi o'Donnell, in

memory of Helen o'Donnell

Carolyn and Kevin o'Keefe

Claire D. o'NeillMs. Jo-Ann Mayer

orlinskyKevin and Joyce ParksMr. Michael A. PlaistedDave and Chris PowellMr. and Mrs. Richard

RadmerMrs. Peggy L. RiceMr. and Mrs. Domingo

and Karen RodriguezMr. and Mrs. Jerry RoeslerMr. and Mrs. Harold RojasMr. and Mrs. Henry A.

Rosenberg, Jr.Mr. Michael RossKevin and Judy RossiterMr. Al RussellSheila and Steve SachsMs. Renee C. SamuelsLinda G. Schneider and

S.T. CrookMs. Sherry SchnepfeMr. and Mrs. Eugene H.

SchreiberKathy Levin-Shapiro and

Sandy Shapiro

Ruth Shaw, Inc.Barbara Payne SheltonJulie Rothman and Scott

Sherman, in memory of Donald Rothman

Alan and Lisa ShustermanRonnie and Rachelle

Silverstein, in memory of Louis and Sarah Silverstein and Jacob and Rena Kramer

The Sinksy-Kresser-Racusin Memorial Foundation

The Ida & Joseph Shapiro Foundation

Dana and Matthew SlaterSusan Somerville-Hawes,

in honor of EncounterGeorgia and George

StamasMr. and Mrs. Joe and

Robin StocksRobert and Patricia TarolaUnited Way of Central

Maryland CampaignJudy VandeverCarolyn and Robert

WallaceNanny and Jack Warren,

in honor of Lynn Deering

The Toby and Melvin Weinman Foundation

Michael T. WhartonMrs. Edna WinikPaul Wittemann/

Greenspring Energy LLCDr. and Mrs. Frank R.

WitterDrs. Dahlia Hirsch and

Barry WohlAnn Wolfe and Dick

MeadDr. Laurie S. ZabinMr. and Mrs. Barry Zirkin

● ADvOCATES ($250–$499)

AnonymousMr. Alan Arrowsmith, IIMr. and Mrs. Jon Baker,

in honor of Terry Morgenthaler

Susan and Craig BancroftMs. Jane Baum RodbellDrs. Lewis and Diane

BeckerThe P.R.F.B. Charitable

Foundation, in memory of Shirley Feinstein Blum

ChiChi and Peter Bosworth

Betty J. BowmanMr. Walter BudkoDr. and Mrs. Robert

BurchardMs. Kathleen CahillThe Jim and Anne Cantler

Memorial Fund of the Baltimore Community Foundation

Mr. and Mrs. David CarterMr. and Mrs. James CaseMr. John ClasterStanton CollinsDavid and Sara CookeMr. and Mrs. Richard D.

CraftonMr. Thomas Crusse and

Mr. David Imre, in honor of Stephanie and Ash Carter

Ms. Sarah CurnolesDiane and Donald D'Agati

SPECIAL grANTS & gIFTS

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

● gOvErNMENT grANTS

This project is supported in part by an award from the National Endowment for the Arts.

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. 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

SEASON PArTNErS

Gleam | 17

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 GarabedianJohn R. GilbertCarole GoldbergAna GoldsekerAdam GrossCheryl o’Donnell GuthMartha HeadKathleen W. HyleTed E. ImesMurray M. Kappelman, MD+John J. KeenanE. Robert Kent, Jr.Joseph M. LangmeadJonna Gane LazarusKenneth C. LundeenJohn MessmoreMarilyn Meyerhoff+J. William MurrayCharles E. NoellEsther Pearlstone+Beth S. PerlmanPhilip J. RauchCarol RecklingHarold RojasMonica Sagner+Renee C. SamuelsTodd SchubertSteve SchwartzmanGeorge M. Sherman+Scott SomervilleScot T. SpencerMichael B. StyerRonald W. TaylorDonald ThomsRobert L. WallaceJ.W. Thompson WebbRonald M. WilnerCheryl Hudgins WilliamsJudy M. WittLinda S. Woolf

+ Trustees Emeriti

centerstage Board of Trustees

Mr. and Mrs. Ivor Edmonds

Deborah and Philip English

Ms. Rhea FeikinDonna FlynnDavid and Joan ForesterScott and Amy FrewDr. Neal M. Friedlander

and Virginia K. AdamsDonna Lee and Dick

FrischG. Foss Consulting, LLCDr. Joseph Gall and Dr.

Diane DwyerConstance A. GetzovMark and Patti GillenBruce GoldmanHerbert and Harriet

GoldmanStuart and Linda

GrossmanThomas and Barbara

GuarnieriMary and James

HackmanJane Halpern and James

PettitMs. Paulette HammondMark and Stephanie

HarrisonBarbie HartMelanie and Donald

HeacockJohn and Cynthia HellerLee M. HendlerSue HessBetsy and George HessJohn and Kate

HetheringtonMr. Donald H. Hooker, Jr.Mr. and Mrs. Martin

HorowitzJames S. and Hillary Aidus

JacobsRichard Jacobs and

Patricia LasherA.H. Janoski, M.D.Ms. Mary Claire JeskeJames and Julie

JohnstoneMax JordanAnn H. KahanHenry Kahn and Marlene

TrestmanLee Kappelman and John

RybockRichard and Judith KatzMs. Shirley KaufmanDavid and Ann KochHenry KoetherGina KotowskiEsther KrasevacEdward KuhlMr. Thomas LalleyDrs. Don and Pat

LangenbergMr. Richard M. LansburghDrs. Ronald and Mary

LeachLeadership--Baltimore

CountyMr. Samuel LeggSara W. LeviLeon B. LevyDr. and Mrs. John LionCarol Macht and Sheldon

Lerman

The Dr. Frank C. Marino Foundation, Inc.

Mr. and Mrs. Terrell Marshall

J. A. McAlpineMs. Michael McMullanFaith and Ted MillspaughMr. and Mrs. James and

Shirley MooreDavid G. MorrisonJames D. MorrisonThe Honorable Diana and

Fred Motz, in memory of Nancy Roche

Mr. and Mrs. William H. Mullin

Dr. Patrick Murphy and Dr. Genevieve A. Losonsky

Stephen and Terry NeedelNina NobleMs. Irene Norton and

Heather MillarJudy osterFronda Cohen

ottenheimer and Richard L. ottenheimer

Michael and Phyllis Panopoulos

Justine and Ken ParezoSteve Parker and Ginny

LarsenMs. Nancy Patz BlausteinFred and Grazina PearsonLinda and Gordon PeltzPatsy and Tony PerlmanMr. William PhillipsRonald and Patricia PillingMr. and Mrs. James and

Mimi Piper Fund of the Baltimore Community Foundation

Ms. Tamara PlantLeslie and Gary PlotnickDr. Albert J. Polito and Dr.

Redonda G. MillerMr. Joseph PressRobert E. and Anne L.

PrinceMr. Robert ProuttMs. Sharon Proutt Dr. Jonas RappeportMr. Rex Rehfeld and Ms.

Ellen o'BrienDr. Michael Repka and Dr.

Mary Anne FaccioloNatasha and Keenan RiceAlison and Arnold

RichmanMs. Elizabeth Ritter

and Mr. Lawrence Koppelman

Ida and Jack RoadhouseDavid S. RobertsMr. Steven SachsMs. Gloria SavadowFrederica and William

Saxon, Jr.Mr. and Mrs. Samuel and

Thea SchnydmanDr. Chris SchultzThomas H. Segal and

Clair Zamoiski SegalLeslie ShepardMs. Minnie ShorterDr. and Mrs. Donald J.

SlowinskiJim and Rosie SmithMr. and Mrs. Lee and

Gloryann Snyder

Solomon and Elaine Snyder

The Wilner-Stack Family, in appreciation of Sydney and Ron Wilner

Mr. and Mrs. Rodney and Dorothea S. Stieff

Subway SandwichesDr. James SwanbeckFredrick and Cindy

ThompsonDonald and Darlene

WakefieldMary A. Walsh and

Richard F. RoyMr. and Mrs. David

WarshawskyMs. Camille Wheeler and

Mr. William MarshallMr. Tappan WilderAnn Williams Baldwin

Memorial Fund, in memory of Harry L. Smith

Mr. and Mrs. Ronald Wilson

Mr. Paul WolmanCrickett and Brad

WolosonMrs. Edith Wolpoff-Davis,

in memory of Alvin S. Wolpoff

Mr. Raymond WorleyMr. Calman Zamoiski, Jr.Ziger/Snead ArchitectsDrs. Eva and James

ZinreichMr. Paul Zugates

● gIFTS IN-KINDThe Afro AmericanAkbar RestaurantDean AlexanderArt LithoAu Bon PainThe Baltimore SunBlimpieThe Brewer's ArtCalvert Wine & SpiritsCasa di PastaCharcoal GrillCima Model

ManagementThe Classic Catering

People ChipotleThe City PaperEggspectationsFisherman's Friend/

PEZ Candy, IncGertrude's RestaurantGreg's BagelsGT PizzaGutierrez Studios Haute DogHeavenly HamThe 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 Company

Roly 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.Ace Charitable

FoundationBank of AmericaThe Annie E. Casey

FoundationConstellation EnergyThe Deering Family

FoundationExxon CorporationFrance-Merrick

FoundationGE FoundationGoldseker FoundationGraduate Management

Admission CouncilIBM CorporationJohnson Controls

FoundationMcCormick & Co. Inc.Merrill Lynch & Co.

FoundationMicrosoft Matching GiftsNorfolk Southern

FoundationPNC Financial Services

GroupStanley Black & Decker SunTrust BankT. Rowe Price GroupThe Washington PostVerizon

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.

supporTiNG The Annual Fund

18 | CENTERSTAGE

BALTIMOREINNER HARBOR

AT CAMDEN Y ARDS

Gleam | 19

sTaff

Kwame Kwei-Armah–Artistic Director

AdministrationAssociate Managing Director–Del W. RisbergManagement Fellow–Kacy Armstrong

ArtisticAssociate Artistic Director–Gavin WittArtistic Administrator–Katie ByrnesCompany Manager–Sara GroveCompany Management Senior Intern–

Tricia Hofacker

Audience relationsBox Office Manager–Mandy BenedixAssistant Box Office Manager/

Subscriptions Manager–Jerrilyn KeeneAssistant Box Office Manager–Blane WycheBox Office/Group Sales Associate–Alana KolbFull-time Assistants–Whitney Cunningham,

Ashley Fain, Courtney Proctor, Christopher Lewis

Part-Time Assistants–Janna Small, Froilan Mate, Susie Martinez

Bar Manager–Sean Van CleveHouse Manager & Volunteer Coordinator–

Bertinarea CramptonAssistant House Managers–Linda Cavell,

Rachel Garmon, Tricia Hofacker, Faith SavillAudience Relations Intern–Cedric GumAudio Description–Ralph Welsh &

Maryland Arts Access

AudioEngineer–Amy WedelAssistant–Eric LottMultimedia Fellow–Stewart IvesThe Jane and Larry Droppa Audio Intern–

Dan Cassin

Community Programs & EducationDirector–Julianne FranzEducation Coordinator–Rosiland CauthenCommunity Programs Fellow–Jay GilmanThe James and Janet Clauson Education Intern–

Shayna SmallTeaching Artists–Wambui Richardson,

Oran Sandel, Joan Weber

CostumesCostumer–David BurdickTailor–Edward DawsonCraftsperson–William E. CrowtherStitcher–Jessica RietzlerThe Judy Witt Costumes Intern–

Maggie Masson

DevelopmentDirector–Cindi MonahanGrants Manager–Sean BeattieAnnual Fund Manager–Katelyn RumbaughEvents Coordinator–Brad NorrisEvents Assistant–Julia OstroffAssistant–Christopher LewisAuction Coordinator–Sydney WilnerAuction Assistant–Norma CohenThe Ed and Ellen Bernard Development Intern–

Marie Roth

DramaturgyDirector–Gavin WittThe Lynn and Tony Deering Dramaturgy

Fellow–Kellie MeclearyApprentices–Alesia Etinoff, Janice Rattigan,

Jenna Rossman, Kate WickerElectricsMaster Electrician–Lesley BoeckmanAssistant–Cartland BergeLight Board Operator–Patience HaskellThe Barbara Capalbo Electrics Intern–

Meghan O’Rourke

FinanceDirector–Susan RoseberyBusiness Manager–Kathy NolanAssociate–Carla Moose

graphicsArt Director–Bill GeenenGraphic Designer–Jason GembickiGraphics Intern–Dan RaderProduction Photographer–Richard Anderson

Information TechnologiesDirector–Joe LongSystems Administrator–Mark Slaughter

Marketing & CommunicationsDirector–David Henderson Promotions Director–Charisse Nichols Public Relations Manager–Heather C. JacksonDigital Media Associate–Timothy GellesAssistant–Courtney ProctorThe Phil and Lynn Rauch Public Relations &

Communications Senior Fellow–Lily BrownMarketing Intern–Kiirstn PaganMedia Services–Planit

OperationsDirector–Harry DeLairOperations Assistant–Len DozierHousekeeper–Kali Keeney, Jacqueline StewartSecurity Guards–Crown Security

Production ManagementProduction Manager–Mike SchleiferAssistant Production Manager–Raine BodeProduction/Stage Management Intern–

Caitlin Powers

PropertiesManager–Nathan ScheifeleArtisan–Jeanne-Marie BurdetteCarpenter–Victoria K. SchillingThe Kenneth C. and Elizabeth M. Lundeen

Properties Intern–Samantha KuczynskiSceneryTechnical Director–Tom RuppAssistant Technical Director–Laura P. MerolaShop Supervisor–Michael “Slippy” LavrichMaster Carpenter–Trevor GohrCarpenters–Joey Bromfield, Scott RichardsonScene Shop Intern–Stephanie Waaser

Scenic ArtScenic Artist–Ruth BarberThe Freeman and Jacqueline Hrabowski Scenic

Art Intern–Johanna Josephian

Stage ManagementProduction Assistant–Kathryn AmbroseThe Peter and Millicent Bain

Stage Management Intern–Becky ReedStage OperationsStage Carpenter–Eric BurtonWardrobe Supervisor–Lisa AllenWardrobe Intern–Lizzy Trawick

TelemarketingManager–Janet McMannisCallers–Maureen Bass, Wanda Bradley,

Whitney Cunningham, Jasmine Davis, Tamar Fleishman, Cory Frier, Paulette Hammond, Bruce Jenkins, Rena Lomax, Jason R. Trimmer, Michael Wright

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

Gleam—Assistant to the Director–Dominic GladdenAssociate Set Design–Caite HevnerAssociate Costume Designer–Ashley FarraAssistant Lighting Designer–Phil Kong Design Studio Manager–Sarah ZeitlerElectrics–John Elder, Sarah Elliott, Jake Epp,

Brian Mendel, Jen ReiserFirst Hand–Sue HolmesHair/Wigs–Linda CavellProperties–Lynn TwiningScenery–Bernard Bender, Kyle Charles,

Jake Epp, Seth Foster, Brian MandelScenic Art–Maureen Bass, Anne Boisvert,

Katie Fry, Jamie KumpfSet Design Intern–Sheryl LiuSpecial thanks to the TDF Costume Collection

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.

20 | 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.

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