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The American Century Theater presents The American Century Theater presents About The American Century Theater The American Century Theater was founded in 1994. We are a professional nonprofit theater company dedicated to presenting great, important, and worthy American plays of the twentieth century—what Henry Luce called “the American Century.” March 22–April 13, 2013 The company’s mission is one of rediscovery, enlightenment, and perspective, Gunston Theatre Two, 2700 South Lang Street, Arlington not nostalgia or preservation. Americans must not lose the extraordinary vision and wisdom of past playwrights, nor can we afford to surrender the moorings to our shared cultural heritage. Director Assistant Directors Stage Manager Kathleen Akerley Tyler Herman and Lindsey E. Moore Our mission is also driven by a conviction that communities need theater, Annalisa Dias-Mandoly and theater needs audiences. To those ends, this company is committed to producing plays that challenge and move all Americans, of all ages, origins, Set and Costume Design Lighting Design Sound Design and points of view. In particular, we strive to create theatrical experiences Kathleen Akerley Jason Aufdem-Brinke Frank DiSalvo, Jr. that entire families can watch, enjoy, and discuss long afterward. Costumer Assistant Set Designer Technical Consultant Laura Aspen Dean Leong Michael P. deBlois Board of Directors Chair Louis George Scene Synopsis Vice-Chair Wes MacAdam 1 /Duncan’s command tent on the other side of the valley/ Secretary Ann Marie Plubell The battlefield Treasurer Wendy Kenney 2 The center of the valley, no time later Board Paige Gold, Gabe Goldberg, Vivian Kallen, 3 Dunsinane, the next day Jack Marshall, Kevin McIntyre 4 Dunsinane, after the moon has gone down Staff 5 Dunsinane, the next morning Jack Marshall Artistic Director 6 On watch in the valley on the road east to Scone and Fife, two days later Paige Gold Managing Director 7 War council in Dunsinane, two days later Rip Claassen Steven Scott Mazzola 8 The road south from ’s camp to ’s, that night Brian Crane Lindsey E. Moore 9 Dunsinane, an hour later Ellen Dempsey Emily Morrison Kate Dorrell Ed Moser 10 The center of the valley, the next day Tom Fuller Joli Provost 11 Fife, two days later Rhonda Hill Ginny Tarris 12 England, two weeks later 13 Dunsinane, two weeks after that This program is supported in part by Arlington County through 14 Southwest of the valley near Birnam Wood, the next morning the Arlington Commission for the Arts and Arlington Cultural Affairs, a division of Arlington Economic Development; the Virginia Commission for the Arts; 15 Dunsinane, two days later the National Endowment for the Arts; and many generous donors. 16 Birnam Wood, the same day 17 Dunsinane

There will be a fifteen-minute intermission between Scenes 6 and 7.

Please—Turn off cell phones and other distracting devices. The use of recording equipment and taking of photographs Cover photo by City Eyes Photography (Kyle Telechan Photography) during the performance are strictly prohibited. Cast Banquo...... Frank Britton Macbeth...... Joseph Carlson The (1936), Lennox...... Keegan Cassady Siward...... Evan Crump by , adaptation by ...... Matt Dewberry Few American theatrical productions are as famous or important as Porter ...... Cyle Durkee The Voodoo Macbeth, which premiered in (not on Broadway but ...... Christopher Dwyer at the Lafayette Theatre on Seventh Avenue near 131st Street) on April ...... James Finley 14, 1936. A showcase production of ’s Negro Unit of the Mondor...... Nick Hagy Federal Theater Project, the 19-year-old Orson Welles’ creation (which ...... William Hayes was formally titled just Macbeth) electrified audiences with its heavily Ross...... James Miller edited version of the Shakespeare classic painted in cultural tones that ...... Ryan Sellers couldn’t have seemed more alien to the already venerable Shakespeare Duncan...... Theodore M. Snead classic. The young, audacious genius had not only adapted the play but designed its every feature, reimagining it as a dark story of death, spells, blood, and zombies performed by a cast and crew of over one hundred, Production staff with an entirely black cast. (Light-skinned performers were required to Director ...... Kathleen Akerley wear darker makeup.) Assistant Directors...... Tyler Herman and Annalisa Dias-Mandoly The production is now legendary and, like all legendary productions, Stage Manager...... Lindsey E. Moore impossible to reproduce. Thus a theatrical work that fits The American Set and Costume Design...... Kathleen Akerley Century Theater’s mission perfectly comes with a momentous problem. Lighting Design...... Jason Aufdem-Brinke Though the company is dedicated to allowing present-day audiences to Sound Design...... Frank DiSalvo, Jr. experience great 20th century American stage works that seldom are Assistant Set Designer...... Dean Leong allowed to grace a stage anymore, what those thrilled audiences Costumer...... Laura Aspen experienced in 1936 wouldn’t thrill anyone 77 years after Welles’ play has Gruoch’s Ritual Cloak Design .. Laura Aspen and Annalisa Dias-Mandoly worked its magic on the cultural scene. In 1936, and voodoo Technical Consultant...... Michael P. deBlois established a new framework for drama, black productions of stage Master Carpenter ...... Nick Hagy classics were rare, and radical re-imaginings of Macbeth were revolutionary. Assistant Stage Manager ...... Mollie Welborn In 2013, zombies roam our TV dramas, the stage is so thoroughly integrated Sound Board Operator...... Jorge A. Silva that even the all-black Hello, Dolly! would seem anachronistic, and a Fight Choreography, Makeup/Gore Effects...... Casey Kaleba traditional Macbeth would be shocking, with re-edits and re-imaginings Wardrobe Assistant ...... Mollie Welborn of Shakespeare—in great part thanks to Welles’ Voodoo Macbeth and his Publicist...... Emily Morrison later Brown Shirt Julius —now almost too commonplace. Production Photography...... Johannes Markus Anyone who has followed this company knows that Orson Welles’ too Program Design...... Michael Sherman short theatrical career lies close to our heart. Our successful revival of his Moby Dick Rehearsed put the company on the map. TACT’s recreation of the antic opening night of The garnered its first Helen Special thanks to— Hayes nomination for best musical production, and reviving Welles’ The Catholic University of America Irakli Kavsadze production of was one of the company’s most ambitious Jared Davis Lindsey E. Moore undertakings. As Artistic Director, I felt that it was critical to present the Matt Dewberry show that began Welles’ amazing attack on theatrical complacency. But how to do so without misrepresenting his work by allowing what was has been forced into the sometimes-constraining clothing of a cultural- surprising, exciting, and original seem to be what Orson Welles hated temporal conceit (Nazis! Pirates! Pirate Nazis from Space! who happen to most—predictable? call each other “Thane!”). But my job with this project was to find a way My solution was to take Welles’ script—his copy of Macbeth with cuts, to make Welles’ play “work,” the same way it’s my job to solve any other scribbles, and notations—and to entrust it to the local director who I play I’m lucky enough to get hired to direct (and if you’re looking for a knew shared his love of Macbeth, his horror of audiences that know what frame-by-frame re-creation of the as the best and is coming, and most of all, his fearlessness. What would Orson Welles most humble way I might have achieved that: a. No, and b. I point you to like to see you do with his script, I queried, now that everyone knows 1. his 104-person cast of largely untrained actors who represented a 2. The Voodoo Macbeth’s tricks? He would want to see you make a Macbeth subset of the population that far too many people considered to be less that was his in spirit, a roller coaster ride telling Shakespeare’s too familiar than fully human enacting 3. a form of magic meant to genuinely shock story in a new, gripping, and terrifying way. To Orson, theater was never an audience inured to the sing-song impotence of witches presumably about the text or even the playwright’s intent: It was about making much more menacing to King James than to Franklin Roosevelt and that theater that would race your heartbeat and stick in your mind. would scare us now only if I actually put snakes on the stage.) And solving this text meant working with the fairly aggressive text changes Welles “Does it have to be all black?” she asked. “Does it have to take place in made, while also working to make the Welles/Shakespeare structure a Haiti, or have snakes and chicken blood?” No, no, and no, I said. Make us sturdy one, navigable by actors who understand their right to demand feel Orson Welles’ Macbeth; that’s what would honor his vision and honor coherent given circumstances and playable beat changes. his achievement. That’s what would help audiences understand what it was like to see The Voodoo Macbeth in 1936. Don’t try to copy it. Surprise #1 is easy: Hire fewer of them. #2 is trickier: Many –isms plague us still, but us. Surprise everyone. Surprise him. I believed it was necessary to capture Welles’ choice by finding the group that is systemically viewed as having less than full humanity, whatever And so she has. group is dismissed before they even open their collective mouths: not —Jack Marshall a group that still has to defend itself against racists and sexists but the Artistic Director, The American Century Theater group that no one but its own members would defend. And I believe that group to be Conservative Christians, famously called out for “clinging” to their guns and religion. Since it’s a play that starts and ends with war, I put my group in the American military, and #3 solves itself: A generation that decided to produce not one, not two, but seven Saw movies obviously is Dai Uy. working something out about self-mutilation, which dovetails neatly with That’s a Vietnamese term for Captain. It’s also a term that American flesh mortification rituals both of faith and military hardihood. soldiers took to calling their own superiors during the Vietnam War, It remained only to integrate my army in Scotland. After all this one of many terms from the local language that migrated into the daily explication, I won’t lay out the storyline I created for the actors about conversation of English speakers. And it’s the word that occurred to the collapsing European economies and the American response to both me when I was trying to solve the problem of why people who are not Russia’s opportunism and its energy independence: I leave you to have Scottish would call a man “the Thane.” your own fun with it. It’s 2033 and we’ve been in Scotland since 2022. It’s a problem that, by all accounts, Orson Welles either didn’t solve The Army is no longer in touch with home: They’ve had to make Scotland or didn’t view as a problem. He famously moved the action of the home, some uneasily, some wholeheartedly, some having even started play to Haiti but without changing national references (there is short families. They’re carrying on the war on both flanks. They’re bolstering up video evidence that he, at least on some lines, let actors whiff on the holes in their faith with indigenous spiritual practices. And instead of Dai geography: obviously that’s easier to do with “Hail King of Scotland” than Uy, they call their commander “King.” “Stands Scotland where it did?”). He kept the Scottish titles. I grant, this —Kathleen Akerley is no longer isolated to Welles: By now every one of Shakespeare’s plays Director, Voodoo Macbeth Matt Dewberry (Gruoch) first appeared with The American Century Theater as Father Barry in On the Waterfront last season. He has appeared Frank Britton (Banquo) returns to The American Century Theater where in You for Me for You in New York (Ma-Yi Theater) and locally (Woolly he appeared in last season’s Marathon ‘33. Recent appearances include Mammoth Theatre). Other local work includes The Habit of Art (Helen The Minotaur (World Premiere at Rorschach Theatre), Shape (DC World Hayes Nomination, Best Ensemble), Bloody Bloody Andrew Jackson, and Premiere and NYC Premiere with force/collision at La MaMa ETC), and The Mojo (Studio Theatre), Birds of a Feather (Helen Hayes Nomination, Best Bacchae and Les Justes (WSC Avant Bard). He has also appeared locally Ensemble, Hub Theatre), Italian American Reconciliation, By Jeeves, Fuddy with Arena Stage, Round House Theatre, Synetic Theater, Theater Alliance, Meers, and Humble Boy (1st Stage), Laughter on the 23rd Floor (The Keegan Scena Theatre, Constellation Theatre Company, Forum Theatre, and Theatre), Mulan (Imagination Stage), Spot’s Birthday Party and Go, Dog, Spooky Action Theater and regionally with Virginia Shakespeare Festival Go! (Adventure Theatre), Peace (WSC Avant Bard), and Macbeth (Push Pull and Baltimore Shakespeare Festival. Upcoming: No Man’s Land (WSC Theater). Upcoming: The Full Monty (The Keegan Theatre) and Peter and Avant Bard). Wendy (Imagination Stage). Joseph Carlson (Macbeth) has appeared as Orsino in Cyle Durkee (Porter) returns to The American Century Theater where he (Perchance To Dream Theatre), Sarge in Home of the Soldier and Demon appeared in On the Waterfront. Other credits include Tooth of Crime (WSC in Genesis Reboot (Synetic Theater), Himmlisch and Leopold in Mein Avant Bard), Who’s Your Baghdaddy? (Musical Theater Foundation, Best Kampf (Scena Theatre), in Is He Dead? and Tom Joad in Grapes of Production in the Capital Fringe Festival), Improbable Frequency (Solas Wrath (Virginia Repertory Theatre), Pistol in Henry V, Laertes in , Nua), and Mondo Andronicus (Molotov Theatre), as well as productions Puck in A Midsummer Night’s Dream, and Pistol and Wart in Henry IV with Studio Theatre, The Hope Operas, Washington Revels, Landless Part 2 (Richmond Shakespeare), Mercutio in Bootleg Theatre, and many others. and Achilles in Bootleg Troilus and Cressida (Henley Street Theater), and Christopher Dwyer (Macduff) is making his American Century Theater Dennis in This Is Our Youth and Jack in Boys’ Life (Firehouse Theatre). He is debut. A recent graduate of The Catholic University of America’s graduate a teaching artist with Synetic Theater and a board member and artistic acting program, Chris has been seen on stage with the Shakespeare associate with The Conciliation Project. Theatre Company, Studio Theatre, Maryland Shakespeare Festival, and Keegan Cassady (Lennox) is an actor, director, teacher, and the Kennedy Center Theater for Young Audiences. He has performed videographer. He performs and instructs with Educational Theatre regionally at the Barter Theatre, North Carolina Shakespeare Festival, Company, has been Technical Director for Lopez Studios for three years, Kentucky Shakespeare Festival, Parkway Playhouse, and on various tours. and is Company Director for Avalanche Theatre Company. DC credits James Finley (Fleance) returns for his fourth American Century Theater include Marcus Skippio in Ecce and Grumio in Shrewing of the Tamed production. He has previously been seen with TACT as Alfred in Little (Capital Fringe), Swing in Atheist’s Paradise and Old Man u/s in The Magic Murders, Dunbar in Stalag 17, and Bronk in Will Success Spoil Rock Hunter? Paintbrush (Synetic Family Theater), and Producer for Every Night I Die and Other area credits include The Bacchae, Poins in Henry (I)V, Indian Joe in Santa’s Helper (Capital Fringe). Gnädiges Fräulein, Brackenbury in Richard III, Schwarz/Jack in Lulu, Armand Evan Crump (Siward) has performed with The American Century in Camille, and Bill in Small Craft Warnings (WSC Avant Bard) as well as Theater as Joe in The Show-Off, Richard Miller in Ah, Wilderness!, and Jefferson in 1776 and Pedro in Man of La Mancha (The Keegan Theatre), Jan Erlone in Native Son, among other roles. He has also been seen as various in Naked Boys Singing! (Ganymede Arts), and Sailor in Sink the Talbott in The Other Room (Kennedy Center), Bernard in Don’t Dress for Belgrano! (Scena Theatre). Dinner (First Stage), Caligula’s Shadow in Caligula, Yepikhodov in The Nick Hagy (Mondor) is appearing for the first time with The American Cherry Orchard, and Lord Rivers in Richard III (WSC Avant Bard), Jason in Century Theater. Previous roles include Mohammad in The B Team, Poss False Romance (The Keegan Theatre), Giovanni in ‘Tis She‘s a Whore in Hoya Saxa, Burly Handsome Man in Klecksography: The Apocalypse (Georgetown Theatre Company), Fabian in Twelfth Night and Carbon Party, The Professor in The Lesson, Heracles/John Belushi in Frogz, and in Cyrano (Chesapeake Shakespeare Company), and Vigo Jansen in The The Cardinal in The Duchess of Malfi. He studied theatre at The Catholic Resurrectionist King and Francis Crick in Photograph 51 (Active Cultures University of America. Theater). His theater company, Unstrung Harpist Productions, won Best Drama honors at the 2010 Capital Fringe Festival for Genesis. William Hayes (Hecate) last appeared with The American Century Theater in On the Waterfront. He has also appeared in House of Gold (Woolly Mammoth Theatre Company), Goldfish Thinking (Longacre Lea), Tooth of Kathleen Akerley (Director) ) has directed On The Waterfront and Beyond Crime, The Mystorical Hystery of Henry (I)V, and Hotel Fuck (WSC Avant Bard), and The Room the Play (Wiseau Films), as well as with Imagination Stage, the Horizon for The American Century Theater, The Tooth of Crime and Impossible Theater Company, and Landless Theatre Company. Jumpers for WSC Avant Bard, The Small Things and Everything Between Us for Solas Nua, The Winter’s Tale for Baltimore Shakespeare Festival, Ubu Roi for James Miller (Ross), an actor and a teaching artist, has recently moved Rorschach Theatre, [sic] for Theater Alliance, shkspr prjct for Catalyst Theater, to DC. Regional credits include Ensemble, Twelfth Night (Baltimore The Graduate for The Keegan Theatre, Writer’s Cramp for Scena Theatre, and Shakespeare Festival), G.I. Joe in God’s Ear, Prince in Romeo and Juliet, the Guare and Shange pieces in Love’s Fire for Studio Secondstage. Her acting Nikos in Big Love, George in Our Town, and Trofimov in The Cherry Orchard credits include work at Olney Theatre (Night Must Fall), Studio Theatre (The (Schwartz Center for the Performing Arts), Ariel in The Pillowman (Risley Desk Set), Theater Alliance (Five Flights), Catalyst Theater (Crumble), and WSC Theatre), and Malvolio in Twelfth Night (Perchance To Dream Theatre). Avant Bard (Hapgood, Caligula, Hedda Gabler, Every Young Woman’s Desire, Upcoming: Laertes in Hamlet (Baltimore Shakespeare Factory). and the roles of and Hecate in Jose Carasquillo’s production Ryan Sellers (Malcolm) has appeared as Petruchio in The Taming of the of Macbeth). Playwriting credits include Something Past in Front of the Light, Shrew, in A Midsummer Night’s Dream (Helen Hayes Award for Outstanding Goldfish Thinking, and Theories of the Sun, which received its midwest Ensemble), in Romeo and Juliet (Helen Hayes Award for Outstanding premiere with Sideshow Theatre in Chicago in 2010, as well as three Hope Ensemble), and seven other productions with Synetic Theater. He has Operas (The Long Weight, Unnatural, and Law & Ordure) and short plays for also appeared in Bloody Bloody Andrew Jackson (Studio Theatre), Anime SourceFest, Rorschach’s Myth Appropriation Series, Theater J’s 5x5 reading Momotaro (Imagination Stage), PhotoOp (Urban Arias), You Can’t Get a series, Round House’s Heyday Players, and eXtreme eXchange. Kathleen Decent Margarita at the North Pole (Grain of Sand Theatre), P.S. Your Cat is is Artistic Director of Longacre Lea where she has directed Rosencrantz & Dead! (Black Box Theater Company), and Cowardly Christopher (which he Guildenstern are Dead (Helen Hayes nomination for Outstanding Ensemble), also conceived and directed, for Synetic Family Theater). Film includes Cat’s Cradle, The Hothouse, The Power of the Dog, Man With Bags, Energumen, Damascus Road and Hamilton Carver: Zombie P.I. Upcoming: Frontier at the and Artist Descending a Staircase. She has been a teaching artist with NCDA, Source Festival. Catholic University, Shakespeare Theatre, Round House Theatre, ETC, and Theodore M. Snead (Duncan) has appeared previously at The American Charles Hart Middle School. MFA in Acting from CUA; graduate of the Studio Century Theater in MacBird! and Serenading Louie. His regional stage Theatre Conservatory; recipient of the Theatre Lobby Award for acting and credits include Holiday (1st Stage), 4.48 Psychosis (Factory 449), The directing; member of the playwriting collective Lizard Claw. Tempest (u/s) and The School for Scandal (Folger Theatre), American Laura Aspen (Costumer, Co-Designer of Gruoch’s Ritual Cloak) is working Scrapbook (Kennedy Center Theater for Young Audiences), The Sand with The American Century Theater for the first time. She will receive Storm (MetroStage), Master Harold… and the boys (Quotidian Theatre), Richard III (Shakespeare Theatre Company), Marcus; or The Secret of Sweet her BA in Drama from The Catholic University of America in May 2013. (u/s–performed) and Breath, Boom (Studio Theatre), The Fall of the House Previous credits include assistant costume designing for The Catholic of Usher (Synetic Theater), Jesus Hopped the ‘A’ Train (Theatre IV), and University of America’s production of Cymbeline, as well as costume The Bacchae and Hapgood (WSC Avant Bard). His television/film credits designing productions of Down the Road and Cloud 9. Recent acting include The Wire (HBO), Prince among Slaves (PBS), Dog (Integral Arts/ credits include Irma Ingram in the world premiere of #crazypants. KoldCast TV), and Gwendolyn Dangerous and the Great Space Rescue Jason Aufdem-Brinke (Lighting Design) previously designed lighting for (Integral Arts). The American Century Theater production of Will Success Spoil Rock Hunter? Recent designs include the Intersections Festival at the Atlas Performing Arts Center, Stargazing and The 50’s Front with alight dance theater, Six Characters in Search of an Author (WSC Avant Bard), and the Maryland Download the podcast. Artistic Director Jack Marshall discusses The Symphony Orchestra’s Holiday Concert. Upcoming: Stargazing and The 50’s American Century Theater’s production of Voodoo Macbeth, adapted by Orson Welles, including the history of the play, TACT’s history with Front with alight dance theater at Dance Place, with We Happy Welles, and Director Kathleen Akerley’s take on the project. Few, Little Monsters with Imagination Stage, and Biography with TACT. Michael P. deBlois (Technical Consultant) designed sets for The American Century Theater productions of Danny and Sylvia, Moby Dick Rehearsed, and U.S.A., as well as several of TACT’s “Rescues” series offerings. He also Thank you to the many generous donors who provided support from built the complex 1933 dance hall world of TACT’s Marathon ’33. March 15, 2012–March 15, 2013. Annalisa Dias-Mandoly (Assistant Director, Co-Designer of Gruoch’s Group Theater Goers ($5,000+) Ritual Cloak) was Dramaturg Assistant for The Conference of the Birds Arlington Commission for the Arts Estate of Suzy Platt (Folger Shakespeare Theater) and Original Dramaturg for #crazypants at Wendy and Bob Kenney Virginia Commission for the Arts The Catholic University of America. She is also serving as Director for an Provincetown Players ($2,500–$4,999) international documentary film, The Salima Project, about theatre and Kevin and Jennifer McIntyre community health in rural Africa. Theater Guilders ($1,000–$2,499) Frank DiSalvo, Jr. (Sound Design) is a sound designer and playwright Anonymous (2) Wes MacAdam in the DC area. Past sound design credits include Down the Road, The Boeing Company Peri N. Mahaley Seth Carus and Noreen Hynes Jacqueline and Tom Manger #crazypants, Alien Invader, and The Tempest (Catholic University) and Rebecca and Gene Christy Constance McAdam Inferno (Washington Stage Guild). His play, Suicide Apparition, will be Steven R. Cohen and Mary McGowan Andrew McElwaine shown at the Fifteen-Minute Play Festival in April. Dennis Deloria and Suzanne Thouvenelle Ann Marie Plubell Ellen Dempsey and Lou George Victor Shargai Tyler Herman (Assistant Director) was last seen at The American Century Vivian and Arthur Kallen Sheldon and Marilyn Wallerstein Theater in On the Waterfront. He has been onstage with Shakespeare Mercury Theater Backers ($500–$999) Theatre Company, Round House Theatre, Imagination Stage, Adventure Robert DuBois IBM International Foundation Theatre-MTC, Longacre Lea Productions, Faction of Fools, and others. Alan Herman and Irene Szopo Tyler directs, writes, teaches, and produces theatre around DC. He is a Living Theater Lovers ($250–$499) private acting coach, Treasurer of the Actors’ Center, and on staff with John A. Acton Marjorie Mayer Faction of Fools Theatre Company. Upcoming: Assistant Director for Donald Adams and Ellen Maland Dr. Donn B. Murphy The Lady Becomes Him (Faction of Fools) and Boy in Cat in the Hat James Bertine Carl and Undine Nash (Adventure Theatre-MTC). Rosemarie Bowie Susan and B. Oglesby Marvin and Ellen Cantor Bill and Connie Scruggs Dean Leong (Assistant Set Designer), when not designing, is the Kate Dorrell Susan and Ralph Shepard Assistant Technical Director and Master Electrician of Hartke Theatre Footlights David and Willa Siegel at The Catholic University of America. This is his first show with The Jean F. Getlein Diane M. and Bradford L. Smith, Jr. Christine and Frederick Hill Robin Suppe-Blaney and John Blaney American Century Theatre. Kathryn and Robert Krubsack Frontis Wiggins Lindsey E. Moore (Stage Manager) is in her fifth production with The Players ($100–$249) The American Century Theater, where she has been Stage Manager AARP Joe Cronin for The Show-Off, Stage Door, and Marathon ‘33 and manages properties William H. Allen Judy Davis and set storage. She worked in stage management in Roanoke VA for shows Cheryl Bailey and Michael deBlois William M. McClenahan, Jr. Alison Drucker and Tom Holzman including Antigone, The Laramie Project, and The Good Woman of Setzuan. Jean and Richard Barton Gloria M. Dugan Ron Bass and Linda Allen Timothy Edwards Sally Beth Berger Dr. Coralie Farlee David and Janet Bond Senator Barbara Favola and Douglas Weik David W. Briggs and John Benton Alison and Craig Fields Jean Cantrell Hon. Jay Fisette Hon. Dorothy H. Clarke and Marian Flynn Become a fan of The American Century Theater on Facebook. Frederic B. Clarke, III Edwin Fountain Keep up with shows, auditions, volunteer opportunities, podcasts, Ray Converse Tom and Kathy Fuller videos, and more. www.AmericanCentury.org Daniel and Nancy Cooper Barbara Gallagher The Players ($100–$249) continued The Federal Theater Funders ($10–$99) continued James and Maria Gentle Angus and Sharon MacInnes Carmen Medina Nancy Snyder Larry George and Lory Manning Margaret Miller Paul and Linda Steinmetz Brenda A. Pommerenke Alexandra McElwaine Margaret Mulcahy Ginny Tarris Kimberly Ginn David and Judi McGarvey David Ochroch Sharon Theodore Gabe Goldberg and Kim Rendelson Richard and Dorothy Miller Ricardo Parra Marjorie Townsend Robert Gronenberg Andy Reynolds Ruth and Charles Perry Martha Trunk Jean Handsberry Donna Reynolds Jane Petkofsky Gordon and Mary Tubbs Art Hauptman and Maureen McLaughlin John Seal Gerda Picco William Turner Rhonda Hill Carole Shifrin Katherine Powers George and Kay Wagner Roger and Katharine Hood Rob and Shayla Simmons Thomas Ratliff Cherie Wasoff Thomas W. Hoya Gene Smith Greg Renz Clifford Whitham Angela Hughes Jean and Cliff Smith Kathryn Richmond Ed Wilde The Isidore Grossman Foundation Marcia Neuhaus Speck Francis Roche Bonnie Williams and Bob Skelly (in memory of Bill Grossman) John and Alison Steadman Sharon Schoumacher Carol and Henry Wolinsky Laurence A Jarvik Barbara Stearns Bertha Shostak Mary Ann Wren Norma Kaplan Margaret Sullivan Pat Spencer Smith Jeanette Wurster Margaret E. Kenna Kathryn and Robert Tatko Charles S. and Ellen Kennedy David Tannous Donors-in-kind Robert Kimmins Professor Heathcote W. Wales Rebecca Christy, Brian Crane, Dennis Deloria, Ellen Dempsey, Kate Dorrell, Alan King Andrea Walker Vic and Dale Gold, Bill Gordon, Vivian Kallen, Wendy Kenney, Loren Platzman Paul Klingenberg Barbara Washburn Charles and Jill Lady Douglas and Evelyn Watson Mary Ann Lawler and Neal Signom Marilynn Wilson Mark Longo Michael Wyckoff Gudrun Luchsinger Annette Zimin The Federal Theater Funders ($10–$99) Martha E. Alliston Charles Feingersh Elizabeth and Tom Anderson Donna Feirtag Barbara Bear Renee Fischman Tom and Loretta Beaumont Tracy Fisher Debra Berry Beth and Marshall Green J. Breck Blalock Chris and Adriana Hardy Elizabeth Borgen Rachel Hecht Ron Brandt Steve Hornstein Pamela Brodie Nancy Jarvis Charles Butts Howard and Myrna Kaplan Bryant Centofanti William and Joanne Kelleher Gerald Chapman Dana Koch Boris and Earlene Cherney Robert Kraft Sherry Chriss Jo Ursini and Ken Krantz Susan Wise Clay David Lamdin Ronald Cogan Dr. and Mrs. Lloyd Landa Bruce Collins Karen T. Lazarus Karen Darner Mark and Sarah Linton Mary Kay Davis Margaret Lorenz Donna Denney Elaine Lynch Robert Draba Winnie MacFarlan Tracy Eastman David Marlin William Erdmann Phebe K. Masson Janet and Marty Fadden Milan and Evelyn Matey to “test drive” a subscription to The American Century Theater.

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Biography by S. N. Behrman June 7–29, 2013 Directed by Steven Scott Mazzola

I Do! I Do! Book and lyrics by Tom Jones, music by Harvey Schmidt Based on the Jan de Hartog play, The Fourposter July 19–August 17, 2013 Directed by Jack Marshall, with Musical Direction by Tom Fuller

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