The American Century Theater presents JUDGMENT AT NUREMBERG WRITTEN BY: ABBY MANN

YOUR HONOR, THE CASE IS UNUSUAL IN THAT THE DEFENDANTS ARE CHARGED WITH CRIMES COMMITTED IN THE NAME OF THE LAW. THESE MEN, TOGETHER WITH THEIR DECEASED OR FUGITIVE COLLEAGUES, ARE THE EMBODIMENT OF WHAT PASSED FOR JUDGMENT IN THE THIRD REICH. AS JUDGES ON THE BENCH YOU WILL BE SITTING IN JUDGMENT OF JUDGES IN THE DOCK. THIS IS AS IT SHOULD BE. FOR ONLY A JUDGE KNOWS HOW MUCH MORE A COURT IS THAN A COURTROOM. IT IS A PROCESS AND A SPIRIT. IT IS THE HOUSE OF LAW. THE DE FENDANTS KNEW THIS TOO. THEY KNEW COURTROOMS WELL. THEY SAT IN THEIR BLACK ROBES. AND THEY DISTORTED AND THEY PERVERTED AND THEY DESTROYED JUSTICE AND LAW IN GERMANY. THEY ARE, PERHAPS MORE THAN OTHERS, GUILT Y OF COMPLICITY IN MURDERS, TORTURES, ATROCITIES – THE MOST CRUEL AND DEVASTATING THIS WORLD HAS EVER SEEN. THEIR MINDS WERE NOT WARPED AT AN EARLY AGE. THEY HAD ATTAINED MATURITY LONG BEFORE HITLER’S RISE TO POWER. THEY EMBRACED THE IDEOLOGIES OF THE THIRD REICH AS EDUCATED ADULTS. THEY, MOST OF ALL, SHOULD HAVE VALUED JUSTICE. HERE THEY WILL RECEIVE THE JUSTICE TH EY DENIED OTHERS. THEY WILL BE JUDGED ACCORDING TO THE EVIDENCE PRESENTED IN THIS COURTROOM. THE PROSECUTION ASKS NOTHING MORE. MAY IT PLEASE THE TRIBUNAL. IT IS NOT ONLY A GREAT HONOR BUT ALSO A GREAT CHALLENGE FOR AND ADVOCATE TO AID THIS TRIBUNAL IN ITS TASK. THE AVOWED PURPOSE OF THIS TRIBUNAL IS TO FIND A CODE OF JUSTICE THE WHOLE WORLD WILL BE RESPONSIBLE TO. HOW WILL THIS CODE BE ESTABLISHED? IT WILL BE ESTABLISHED IN A CLEAR, HONEST EVALUATION OF THE RESPONSIBILITY FOR THE CRIMES IN THE INDICTMENT STATED BY THE PROSECUTION. IN THE WORDS OF GREAT AMERICAN JURIST OLIVER WENDELL HOLMES, “THE RESPONSIBILITY WILL NOT BE FOUND ONLY IN DOCUMENTS. IT WILL BE FOUND, MOST OF ALL, IN THE CHARACTER OF MEN.” WHAT IS THE CHARACTER OF ERNST JANNING? LET US EXAMINE HIS LIFE FOR A MOMENT. FOLLOWING WORLD WAR ONE, HE BECAME ONE OF THE LEADERS OF THE WEIMAR REPUBLIC AND WAS ONE OF THE FRAMERS OF ITS DEMOCRATIC CONSTITUTION. HE BECAME MINISTER OF JUSTICE IN GERMANY IN 1935. A POSITION THE EQUIVALENT OF THE ATTORNEY GENERAL OF THE UNITED STATES. FINALLY, IN A REICHSTAG SPEECH OF 26 APRIL 1942, HITLER ATTACKED JANNING AND FORCED HIM TO RESIGN. IF ERNST JANNING IS TO BE FOUND GUILTY, CERTAIN IMPLICATIONS MUST ARISE. A JUDGE DOES NOT MAKE TH LAW. HE CARRIES OUT THE LAWS OF HIS COUNTRY, BE IT A DEMOCRACY OR A DICTATORSHIP. THE STATEMENT, “MY COUNTRY RIGHT OR WRONG,” WAS EXPRESSES BY A GREAT N PATOT. IT IS NO LESS TRUE FOR A GERMAN PATRIOT. SHOULD ERNST JANNING HAVE CARRIED OUT THE LAWS OF HIS COUNTRY? OR SHOULD HE HAVE REFUSED TO CARRY THEM OUT AND BECOME A TRAITOR? THE DEFENSE IS DEDICATED TO FINDING RESPONSIBILITY AS IS THE PROSECUTION. FOR IT IS NOT ONLY ERNST JANNING WHO IS ON TRIAL HERE. IT IS THE GERMAN PEOPLE.

RESPONSIBILITY IS NOT A CUT-AND-DRIED THING

DIRECTED BY: JOE BANNO 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.” The company’s mission is one of rediscovery, enlightenment, and perspective, not nostalgia or preservation. Americans must not lose the extraordinary vision and wisdom of past playwrights, nor can we afford to surrender the moorings to our shared cultural heritage. May 30–June 28, 2014 Our mission is also driven by a conviction that communities need theater, and theater needs audiences. To those ends, this company is committed to Gunston Theatre Two producing plays that challenge and move all Americans, of all ages, origins, 2700 South Lang Street, Arlington and points of view. In particular, we strive to create theatrical experiences that entire families can watch, enjoy, and discuss long afterward. Production Manager Director Stage Manager Board of Directors Ed Moser Joe Banno Lindsey E. Moore Chair Louis George Vice-Chair Wes MacAdam Set Design/ Costume Design Properties Design Treasurer Wendy Kenney Projections Design Rip Claassen Hannah Schneider Board Gabe Goldberg, Madi Green, Vivian Kallen, Patrick Lord Jack Marshall, Kevin McIntyre Staff Lighting Design Sound Design Marc Allan Wright Sean Allan Doyle Jack Marshall Artistic Director Rip Claassen Steven Scott Mazzola Brian Crane Lindsey E. Moore Setting Ellen Dempsey Emily Morrison Kate Dorrell Ed Moser Nuremberg, Germany—1947 Tom Fuller Joli Provost Rhonda Hill Ginny Tarris Bill Gordon There will be one ten-minute intermission.

This program is supported in part by Arlington County through Please—Silence and stow all electronic devices. the Arlington Commission for the Arts and Arlington Cultural Affairs, a division The video and/or audio recording of this performance by any of Arlington Economic Development; the Virginia Commission for the Arts; means whatsoever is strictly prohibited. the National Endowment for the Arts; Arlington Community Foundation; and many generous donors. Judgment at Nuremberg is produced by special arrangement with Samuel French, Inc.

This production’s increased community outreach and education efforts, including pre- and post-show discussions conducted by community leaders and an expanded Audience Guide, are supported by a generous grant from the Arlington Community Foundation. Cast Colonel Lawson...... Bruce Alan Rauscher General Merrin...... Lyle Blake Smythers Judgment at Nuremberg, by Abby Mann (2001) Judge Haywood...... Craig Miller Captain Byers...... Jorge A. Silva The late Bart Whiteman, founder of the Source Theatre and a major figure in Judge Ives...... Tel Monks the development of the vibrant theater community in the Washington D.C. Judge Norris...... Paul J. Klingenberg area, made the statement that turned out to be the catalyst for the creation Emil Hahn ...... Kim Curtis of The American Century Theater. Frederick Hoffstetter...... Tom Fuller Werner Lammpe...... Victor Gold It was 1993, and Bart had just played Juror #3 in a professional production Ernst Janning...... Michael Replogle of Twelve Angry Men that I had directed on commission from the American Oscar Rolfe ...... Steve Lebens Trial Lawyers Association. The cast and I were having a blow-out post Dr. Wickert...... Ron Sarro performance dinner after the lone performance, and everyone was a little Mrs. Halbestadt...... Ellie Nicoll drunk. Bart, all 6’6” and 300 pounds of him, could rant like few others and Frau Bertholt...... Karin Rosnizeck suddenly proclaimed the demise of serious theater in America. Rudolph Peterson...... Christopher Henley Dr. Gueter ...... Larry Kolp “This show is about things that matter,” he said. “Big issues—justice, war, Maria Wallner...... Mary Beth Luckenbaugh bigotry, bias, the legal system, fairness, courage. Plays aren’t about big Elsa Lindnow ...... Vanessa Bradchulis issues any more. Now, a drama is a ninety-minute, three-person play about MP Guard ...... Colin Martin roommates coming to terms with being vegetarians. It’s all small, timid Feldenstein ...... Jay Delehanty stuff. Hellman, O’Neill, Reginald Rose (who wrote Twelve Angry Men) . . . they Ensemble ...... Paul Alan Hogan, Jean H. Miller, challenged audiences. Now audiences don’t want to be challenged, or so Lynley Peoples, Gray West theater companies think. Somebody needs to start producing the old plays Production staff that matter.” Director ...... Joe Banno Production Manager...... Ed Moser Tim Lynch, who played Juror #12, had some money at his disposal and Stage Manager ...... Lindsey E. Moore bravely decided to accept Bart’s challenge. He funded the launch of our Set Design/Projections Design ...... Patrick Lord company. A little more than a year later, The American Century Theater Projections Research ...... Shayne Weyker performed its first show, Twelve Angry Men. Two decades later, we are Costume Design...... Rip Claassen producing another legal drama that is about even bigger issues than that Lighting Design ...... Marc Allan Wright first play, as we still carry on the mission Bart Whiteman imagined for us. Sound Design ...... Sean Allan Doyle I wish he could be here to see it. Properties Design...... Hannah Schneider Assistant Stage Manager/Board Operator ...... Chris Beatley As it happens, Abby Mann, the renowned TV writer best known for creating Master Carpenter ...... Michael Salmi Kojak (“Who loves ya, baby?”) was probably expressing the same frustration Scenic Painter ...... Stephanie Chu as Bart around the same time as our fateful dinner. For more than four Assistant Carpenter/Scenic Painting ...... Alex Kellogg decades, Mann had been trying to get his play about the Nuremberg trials, Master Electrician...... Juan Ramirez-Cortes specifically the trial of the Nazi judges, on stage. Broadway producers balked; Wardrobe Assistant...... Catherine Casino they found the Holocaust too grim and the formalities of the trial too static, Publicist ...... Emily Morrison and, if anything, their resistance to a commercial presentation of his play had Photography ...... Johannes Markus only grown, as serious plays increasingly became a rarity. Audiences, after all, Program Design ...... Michael Sherman House Manager ...... Joli Provost want to be entertained. They don’t want to think . . . or so Mann was told. Outreach Coordinator ...... Maia Falconi-Sachs He had been told this in the Fifties, when he tried to get his teleplay of Special thanks to— Judgment at Nuremberg on live TV. Finally, Playhouse 90 took the chance, and it The Actors Center The Georgetown Gilbert and was a critical triumph, one of the highlights of TV’s “Golden Age.” Mann thought Don Barton Sullivan Society that success would lead to a play or a film version, but Hollywood studios Jared Davis The Holocaust Museum thought it was still too soon to be frank about the Holocaust. His project Kathleen Dunn and Vivian Kallen languished for years, until Spencer Tracy used his star power and influence the Dunn Family Teresa Wright to get backing for an all-star movie, directed by Stanley Kramer. Again, audiences demonstrated that they weren’t as shallow and repelled by thoughtful subject matter as Mann had been assured, but even the success Vanessa Bradchulis (Elsa Lindnow) is delighted to return to The American of the film (it was nominated for eleven Oscars) didn’t budge Broadway. Century Theatre after performing in The Country Girl, Serenading Louie, and “Big issues,” especially that big issue, were box office poison. The Eccentricities of a Nightingale. Other local credits include The Love of the It wasn’t until 2002 that Tony Randall’s National Actors Theatre produced Nightingale, Scapin, and Zorro (Constellation Theatre), Myth-Appropriation, No Mann’s stage version of the story that he had passionately told and One Believes Me, and KlecksographyI (Rorschach Theatre), Qualities of Starlight promoted and refined his entire career. By that time, The American Century and Running in Circles Screaming—world premiere (Source Festival). Film: Theater had already had its greatest critical success with a historical RADIO (Venice Biennale Film Festival Official Selection), The Prisoner, Running courtroom drama about many of the same big issues as Abby Mann’s play, in Place, Aveugle Amour, Late-Night Partying, Stagefright, Boxes, Fracture, and with an important historical connection to the Nuremberg trials as well. Saul “Red Light” and “Call Me Crazy” music videos. She is a graduate of The National Levitt’s The Andersonville Trial, the 1959 drama about the 1865 post–Civil Conservatory of Dramatic Arts. War trial of Confederate Captain Henry Wirz for war crimes related to his Kim Curtis (Emil Hahn) is a company member of Scena Theatre and WSC treatment of Union prisoners of war at the prison camp in Andersonville, Avant Bard. Favorite roles in DC: Astrov in Uncle Vanya (Classica Theatre), Lear Georgia, brought the company a 2001 Helen Hayes nomination for (New Old Theatre), the Bishop in The Balcony (Scena), and Pischek in The Cherry Outstanding Production of a Play, and Bruce Rauscher, a nomination Orchard (WSC). He toured America in The Nerd; played Sir Anthony in The Rivals for Outstanding Performance by a Lead Actor in a Play. Wirz’s trial and (Bath Arts Festival, England), Poland in The Princess of Burgundia, and Greece conviction were the sole legal precedent for the Nuremberg trials. as Apollo in Orestes; and danced for the Washington Opera and in the world Wirz’s plight, as framed by Levitt, raised challenging and complex legal, moral, premiere of Goya on Great Performances in America. He is Associate Director and ethical issues. Are war crime trials just disguised exercises in vengeance? of Momentum Dance Theatre. This summer, he plays Argan in The Imaginary Isn’t it hypocrisy for soldiers to condemn other soldiers for following orders, Invalid for Annapolis Shakespeare Theatre. when they might well have done the same themselves? Who decides when Jay Delehanty (Feldenstein) has been involved in area theater for decades leaders, the government, and the law cross the invisible line into “crimes in various capacities. He is a lawyer and this is his first appearance with The against humanity”? Doesn’t U.S. jurisprudence declare the practice of American Century Theater. punishing individuals for conduct that isn’t a crime at the time it takes place per se unjust? What right does one nation have to declare that another nation’s Tom Fuller (Frederick Hoffstetter) appeared on stage in The American moral and ethical culture is wrong? Mann’s Judgment at Nuremberg raises the Century Theater’s most recent production of Moby Dick Rehearsed. He is the same questions and others, in a framework even more disturbing than the general musical director for all TACT shows and has conducted the theater’s prisoner abuse at Andersonville. TACT is bringing Judgment at Nuremberg to productions of Lady in the Dark, archy & mehitabel, The Cradle Will Rock, the D.C. area for the first time, and once again, Bruce Rauscher is playing the Hollywood Pinafore, and many others. With Jack Marshall, he co-authored If prosecutor in a war crimes trial, as he seeks a harsh verdict against the German Only in My Dreams and An American Century Christmas, and he adapted Uncle judges who carried out Hitler’s “Final Solution.” Tom’s Cabin for the theater’s 2002–2003 season. The issues are not neatly resolved in the play, nor will they ever be, perhaps. Victor Gold (Werner Lammpe) is a political journalist and author. He But The American Century Theater is honored to present them again for previously practiced law and served as a municipal judge in Birmingham, AL. consideration and debate by our audiences, who have proven through the Christopher Henley (Rudolph Peterson) returns to Gunston Theatre Two, the years that they agree with us, and with Bart Whiteman, that theater should space he opened in 1990 when he played Cradeau in No Exit with Washington indeed be about “things that matter.” Shakespeare Company. A founding ensemble member at WSC (now WSC Avant Bard), he was its artistic director for more than sixteen years. Favorite —Jack Marshall, Artistic Director roles there include Richard II, Vladimir in Waiting for Godot, and Spooner in The American Century Theater No Man’s Land. Frequent appearances at Scena Theatre (founding company Download the podcast. Listen in as Artistic Director Jack Marshall member) include Wallace Shawn’s solo play The Fever. Most recently, he played discusses The American Century Theater’s upcoming production of Frank Hardy in Faith Healer for Quotidian Theatre Company. Abby Mann’s Judgment at Nuremberg with actors Bruce Alan Rauscher (Col. Lawson), Steve Lebens (Oscar Rolfe), and Karin Rosnizeck (Frau Become a fan of The American Century Theater on Facebook. Bertholt). Produced by Bill Gordon. Keep up with shows, auditions, volunteer opportunities, podcasts, On the web at americancenturytheater.blogspot.com videos, and more. www.AmericanCentury.org Paul J. Klingenberg (Judge Norris) is making his American Century Theater Tel Monks (Judge Ives) is making his first appearance with The American debut. Recent: 40th Anniversary Alumni Revue of the Georgetown Gilbert Century Theater. He has appeared with several local theatres, many of which & Sullivan Society (solo, chorus) and Reverend Crisparkle in The Mystery of are still in business. Sorry about Le Néon, Fountainhead, Classika and Tsunami, Edwin Drood. Favorite roles include the Poet (Kismet), Billy Bigelow (Carousel), but Arena Stage (Orpheus Descending) and the Folger (Much Ado about Pooh-Bah (The Mikado), Sir Roderic (Ruddigore), Sergeant Meryll (Yeomen of Nothing) appear to be going strong in spite of him. Favorite roles: Creon in the Guard), and Captain Corcoran (Pinafore). Opera: Count di Luna (il Trovatore); Antigone, Dysart in Equus, and Father Lewandowski in HBO’s The Wire. Don Alfonso (Cosi fan Tutte); Dr. Bartolo (The Barber of Seville); twenty-five Bruce Alan Rauscher (Colonel Lawson) attended the American Academy productions as a chorus member with the Washington National Opera. of Dramatic Arts in Pasadena. In the DC area, Bruce has worked with The Larry Kolp (Dr. Gueter) appeared with The American Century Theater in its American Century Theater, Washington Shakespeare Company, Signature legendary re-creation of Orson Welles and Marc Blitzstein’s The Cradle Will Rock Theatre, and Source Theatre. Favorite roles include Joseph Merrick in The as the venal preacher and the corrupt college president. Earlier, he sang in the Elephant Man, Alan Strang in Equus, Clark Storey in The Second Man, Alan Noel Coward review, Cowardy Custard. With Signature, he was the onstage Turing in Breaking the Code (ACT award for Best Actor), Edgar in King Lear, piano player of the Kit Kat Klub and played keyboard in Sondheim’s Assassins. Gary/Roger in Noises Off, Reverend Hale in The Crucible, Cradeau in No Exit, Steve Lebens (Oscar Rolfe) has appeared with The American Century Theater title role in Edward III, and Col. N.P. Chipman in The Andersonville Trial (Helen in I Do! I Do!, J.B., Marathon ’33, Will Success Spoil Rock Hunter?, Stalag 17, Visit Hayes nominee for Best Actor). In 2008, Bruce completed a week-long run to a Small Planet, Stage Door, The Country Girl, Hellzapoppin’, Drama under the off-Broadway in The Keegan Theatre’s production of Love, Peace and Robbery Influence. Regional: The Entertainer (The Guthrie Theater). DC area: Cabaret as part of the first Irish Play Festival. Bruce has been honored with a Mary and Passion (Signature Theatre); Hot Fudge, The Virgin Molly, Muzeeka, and A Goldwater Award for acting by The Theater Lobby. Clockwork Orange (Studio SecondStage); The Merchant of Venice, Playing Juliet Michael Replogle (Ernst Janning) has appeared onstage at The American Casting Othello, and Sherlock Holmes and the Case of the Purloined Patience (The Century Theater, The Kennedy Center, Mill Mountain, Mac-Haydn Theatre, Folger); and The Fantasticks (No Rules Theatre Company). Film: Field of Lost Signature, Round House Theatre, and The Keegan Theatre, as well doing two Shoes. TV: House of Cards, VEEP, Law and Order Criminal Intent. national tours and the narration for over thirty recorded books. Film/TV credits: Mary Beth Luckenbaugh (Maria Wallner) returns to The American Century NBC, ABC, TriStar Pictures, Pipeline, and A. Shane Productions. He has directed Theater stage after Bang the Drum Slowly, I Do! I Do! and Marathon ’33. Other DC area credits include Goodnight Moon, Spot’s Birthday Party (Adventure Theatre MTC), The 25th Annual Putnam County Spelling Bee (The Keegan Theatre), James Joyce’s The Dead (Quotidian Theatre), and Flora the Red Menace (1st Stage). Colin Martin (MP Guard) makes his American Century Theater debut. An area native, he has been in productions in Ohio, Peru, and Ireland. Craig Miller (Judge Haywood) is in his ninth production with The American Century Theater, where he was most recently seen as the team manager, Dutch, in Bang the Drum Slowly. Over the years he has performed with many D.C. area theatres. He received his formal theatre training at San Jose State University and the Royal Academy of Dramatic Art in London. He directed and performed for ten years in Europe during the 1970s. Jean H. Miller (Ensemble) is a 30+ year veteran of Washington regional theatre. Favorite roles include Dorothy Day in Candy and Dorothy (Unexpected Stage) and E.M. Ashford in Wit (Bay Theatre). She was seen most recently as the Duchess of York in Richard III (Baltimore Shakespeare Factory). Ellie Nicoll (Mrs. Halbestadt) is very happy to return to The American Century Theater, having last worked with the company on Spoon River Anthology. Favorite roles include Frau Death in Mein Kampf (Scena Theatre), Marilyn Monroe in Cigarettes and Moby Dick (Venus Theatre) and Sharon in Scenes from the Big Picture (Solas Nua, Helen Hayes–nominated for Best Ensemble). Training: Towson University, Woolly Mammoth. some seventy professional and community productions and won the area’s first Jorge A. Silva (Captain Byers) has appeared with The American Century WATCH Award in direction for Richard III. He has spent the last fourteen years as Theater as Bellboy Consuela and Dad in Oh Dad, Poor Dad . . . and as Sid director/program originator for Fairfax County’s Professional Musical Theatre Goldman in Bang the Drum Slowly, and with Discovery Theater in Seasons of Actors Studio where he won honors for Teacher of the Year in 2013–2014. Light. Upcoming: Luv, American Style at the Capital Fringe Festival. Karin Rosnizeck (Frau Bertholt) has appeared as “she” in Happily Ever After Lyle Blake Smythers (General Merrin) has performed at The American (Ambassador Theater), Chorus in Salome, Betty, Vevi, Frau Ehmke in The Century Theater in The Pirate. He performed at the 1992 and 1995 Helen Marriage of Maria Braun (Scena Theatre), Camille Claudel in The Sculptress, Mrs. Hayes Awards ceremonies at the National Theatre, where he was also seen Winsley in Stop Kiss (No Rules Theatre), Countess Geschwitz in Lulu and the title in Jesus Christ Superstar and has appeared in Sweeney Todd and Into the role in Gnaediges Fräulein (both WSC Avant Bard). She is a company member Woods (Signature Theatre), Medea (Studio Theatre), Ten Little Indians (West of force/collision where she performed in the devised work The Nautical Yards, End Dinner Theatre), The Pirates of Penzance and Big River (Lazy Susan Dinner Shape, Trust Me and did the dramaturgy for Jarman—All this maddening beauty; Theatre), and most recently with the tour of Romeo and Juliet (Chesapeake With Factory 449, where she is a company member, she performed in The Shakespeare Company). Ice Child and 4:48 Psychosis. Karin holds an MA in French literature/ romance studies and English literature. She is literary manager for No Rules Theatre Company. She is an accent coach for German and a translator and promoter of German plays. Next: Beatrice in Virus at Heart (Venus Theatre). Joe Banno (Director), a Helen Hayes Award-winning director, has staged over Ron Sarro (Karl Wickert) has appeared at The American Century Theater as 80 productions of theatre and musical theatre with dozens of companies Schlissel in The 10th Man, Nate in Babes in Arms, Capucho in The Pirate, and around the US, with productions of contemporary American plays at LA’s ten characters in Hellzapoppin’. Recent credits include Herr Schultz in Cabaret Mutineer Theatre, NYC’s Blue Heron Theatre, The American Century Theater, and Clarence in It’s a Wonderful Life (Riverside Center), The Rabbi in Fiddler and a number of Washington DC companies. He was artistic director for on the Roof and Barrister Barton in Witness for the Prosecution (Olney Theatre Source Theatre Company (1997–2006). His acclaimed updatings of Shakespeare Center); Smee in Peter Pan and Victor Feldzeig in The Drowsy Chaperone (Rhode have been seen at the Folger Theatre, WSC/Avant Bard, and the American Island’s “Theater by the Sea”). He has appeared at area dinner theaters and Shakespeare Center’s Blackfriars Theatre, among others. Joe has directed over with Chesapeake Fine Arts Theater and The Washington Savoyards, where he thirty opera productions, most recently for Opera Delaware, Wolf Trap Opera, played The Major General in Pirates of Penzance. and the Alba Music Festival in Italy. He has reviewed classical music for the Infinite Jest Presents Washington Post, Washington City Paper, Four romantic comedies and the website TheClassicalReview. you’ll love, love, love! com. He directed his first independent feature film, Sleeping and Waking, in 2008, and is currently in development on two others. In LA, he has directed for Theatre Asylum and Sidewalk Studio Theatre, has begun work on a new web series, and contributes music reviews to the Los Angeles Times.

Rip Claassen (Costume Design) has Directed by Stephen Jarrett directed, produced, and costumed and George Grant for The American Century Theater, 2014 Capital Fringe Festival Natural Theatricals, Howard University, Fort Fringe-Redrum • 612 L Street NW American University, and Bowie State, among other area venues. With TACT, July 13-27 where he is an artistic associate, he has Tickets: capitalfringe.org most recently directed Come Blow Your Info: infinitejesttheatre.org Horn and designed costumes for I Do! Facebook: infinitejesttheatre I Do!, Little Murders, and Marathon ’33. Twitter: @infinitejest3

The Picture of

byDorian Oscar Wilde Gray See highlights from Wilde’s only novel about a haunting portrait that ages with each debaucherous vice that young Dorian entertains. Sunday September 29, 7:00 pm Warehouse Theater DC 645 New York Ave NW WDC 20001 BY METRO: MT. VERNON SQ. (Green/Yellow Lines) GALLERY PLACE – Chinatown Exit (Red/ Green/Yellow Lines)

INTERNATIONAL. SENSATIONAL. THEATER.

Tickets: scenatheater.org Sean Allan Doyle (Sound Design) is a Lighting and Sound Designer and local has been Assistant Stage Manager for Come Blow Your Horn and Oh Dad, stagehand, with over 100 professional designs. Previously a member of IATSE Poor Dad… and Properties Designer for Biography. She worked in stage locals 1, 17, and 200, he has designed regionally for Capital Repertory Theatre management in Roanoke VA for shows including Antigone, An Evening of Comic and New Harmony Theatre, and in New York most notably for Blue Heron Variations by David Ives, The Laramie Project, The Sandbox, The American Dream, Theatre and The Women’s Shakespeare Company. He served as the Technical and The Good Woman of Setzuan. Lindsey is a graduate of Roanoke College Director and Resident Lighting Designer for Touchstone Theatre and as Head with a Bachelor of Arts in Theatre and Design. Audio Engineer and Resident Sound Designer for California State University at Hannah Schneider (Properties Design) is a stage manager for Arcturus Fresno. Sean is a graduate of Lehigh University, and did graduate work at the and Quotidian theater companies. Most recently, she was stage manager University of Iowa and University of Missouri Kansas City. and props master for Potomac Theater Company’s Annie. She earned her Patrick Lord (Set Design/Projections Design) is a scenic and media designer MA in Theatre Arts from Stonybrook and BA in Stage Management from who is excited to be returning for his fifth show at The American Century Muhlenberg College. Theater, where his scenic designs have included I Do! I Do!, Little Murders, The Shayne Weyker (Projections Research) was originally a political scientist, Country Girl, and One Night with Fanny Brice. Other DC/Metro area designs studying human rights, war, and mass media. He has been shooting and include Richard III (Westfield High School), We Fight We Die (Junesong editing event and corporate video and doing software training for almost a Productions), and 2011 Source Festival (Source Theatre). He also served as decade: weykervideo.com. associate designer on The History of Invulnerability (Theater J), The Language Archive (Forum Theatre), and Birds of a Feather (The Hub Theatre). He holds a Marc Allan Wright (Lighting Design) has almost thirty years’ experience as a BFA in scenic design from Emerson College in Boston MA and is pursuing his lighting designer, production manager, educator, and arts administrator in the MFA at the University of Texas at Austin. www.patrickwlord.com. DC area. He is currently Director of Operations at the BlackRock Center for the Arts. Past designs for The American Century Theater include Two Masks, I Cry Lindsey E. Moore (Stage Manager) has been Stage Manager at The American Aloud, Danny and Sylvia, The Andersonville Trial, Home of the Brave, Uncle Tom’s Century Theater for Bang the Drum Slowly, I Do! I Do!, Voodoo Macbeth, The Cabin, Benchley Despite Himself, The Robber Bridegroom, If Only in My Dreams, Mr. Show-Off, Marathon ’33, and Stage Door. Also for American Century she Roberts, A Flag Is Born, Machinal, Drama under the Influence, and Hellzapoppin’. The Players ($100–$249) continued Raymond Kogut Katherine Reinsdorf Thank you to the many generous donors who provided support from May 1, 2013 Jo Ursini and Ken Krantz Bill and Connie Scruggs Charles and Jill Lady Carole Shifrin through May 15, 2014 . David Lamdin Alan and Sarah-Mai Simon Group Theater Goers ($5,000+) Karen and Richard Lazarus Gene Smith Arlington Commission for the Arts Estate of Suzy Platt David Litman Bob and Deb Smith Estate of Rosemarie Bowie Wendy and Bob Kenney Gudrun Luchsinger Daniel and Margaret Sullivan Provincetown Players ($2,500–$4,999) Winnie Macfarlan David Tannous Arlington Community Foundation Virginia Commission for the Arts Grace Bowen Marshall TrueTheatergoer Kevin and Jennifer McIntyre Alexandra McElwaine George and Kay Wagner Theater Guilders ($1,000–$2,499) John and Dana Peterson Pete Wales Anonymous Vivian and Arthur Kallen Ann Marie Plubell Patrick Wesley The Boeing Company Constance McAdam Franklin Reeder Robert Wood Noreen Hynes and Seth Carus Andrew McElwaine The Federal Theater Funders ($10–$99) Mary McGowan and Steven Cohen (in memory of Robert M. McElwaine) Mary Jane Alexander Peri Mahaley Suzanne Thouvenelle and Dennis Deloria Victor Shargai William M. McClenahan, Jr. and Phebe Masson Ellen Dempsey and Louis George Sheldon and Marilyn Wallerstein Cheryl Bailey Milan and Evelyn Matey Mercury Theater Backers ($500–$999) Catherine Banks Elizabeth McDaniel Dr. Coralie Farlee Jaqueline and Thomas Manger Michael and Lissa Barry Margaret Meath Wes MacAdam Richard and Dorothy Miller Susan Sonnesyn Brook Bruce Milton Living Theater Lovers ($250–$499) Edward Caress Peter Misuinas John Acton IBM International Foundation Peter Caress Ruth Mitchell Ellen Maland and Donald Adams Laurence Jarvik Michael Carpenter Margaret Mulcahy Michael Boorstein Kathryn and Robert Krubsack Boris and Earlene Cherney Tecia Murphy John F. Benton and David W. Briggs Angus and Sharon MacInnes Ronald Cogan Pamela Nash Robert Dubois Harriet McGuire Martin Cohen Karen Ostensoe Tracy Fisher Gary and Christine Moore Joseph Cross Eva Pataki Marian Flynn Carl and Undine Nash Karen Darner Chaaron Pearson Barbara Gallagher Ralph and Susan Shepard Judy Davis Charles and Ruth Perry Patti and Mitchell Herman David and Willa Siegel Kate Dorrell Gerda Picco Irene Szopo and Alan Herman John Blaney and Robin Suppe-Blaney Robert Draba Andrew Reynolds Rhonda Hill Frontis Wiggins Walter and Susan Duka Andrew Robinson Roxanne Hoare Audrey and Michael Wyatt William Erdmann Francis Roche (in memory of Sean R. Hoare) Michael Wyckcoff John Foster Leroy Sandoval Joshua Foster Carol Saunders The Players ($100–$249) Carl Fretts AARP Gloria Dugan John Seal Jon Hatfield Rose Kobylinski and Rick Albani Carol Erion Richard Sincere Rachel Hecht Elizabeth and Tom Anderson Janet and Marty Fadden Jerry Stilkind Jonathan Helwig Anonymous Thomas Fuller Martin and Joyce Suydam Christine Hill Jean and Richard Barton Margaret Gaffen Kathryn Tatko Carla Hubner Sally Beth Berger James and Maria Gentle Marjorie Townsend Nancy Jarvis David and Janet Bond Brenda Pommerenke and Larry George Marcy and Thomas Ubois Anthony Johnstone Elizabeth Borgen Gabriel Goldberg and Kim Rendelson Josephine Wagner Phil Klingelhofer Ron Brandt Madi Green Renate Wallenberg Robert Kraft Jennifer Brown Bob Gronenberg Barbara Washburn Terry Lee Michael L. Burke and Carl W. Smith Jack Hahn Doug and Evelyn Watson Dianne Levine Mary Burrelli Jean Handsberry Nancy White Ann Lewis Marvin and Ellen Cantor Alison Drucker and Thomas Holzman Clifford Whitham James Lilly Rebecca and Gene Christy Roger and Katharine Hood Bob Skelly and Bonnie Williams Margaret Lorenz Charlotte Cleary Angela Hughes James Wilson Chris Lynch Wendy Cohen Mary Hynes Carol and Henry Wolinsky Carolyn Lynch Ray and Mary Converse Isidore Grossman Foundation Dennis Wright Sally H. Cooper Hy Juter Donors-in-kind Joe Cronin Robert Kimmins Peter Caress, Brian Crane, Dennis Deloria, Ellen Dempsey, Kate Dorrell,Tracy Fisher, Bill Brandie Detwiler Paul J. Klingenberg Gordon, Vivian Kallen, Wendy Kenney, Microsoft Corporation, and Loren Platzman Merrick Towle Communications is proud to support The American Century Theater.

MTC is a full-service advertising agency that believes in strategically using creativity to make messages come to life. We’re delighted to be able to help TACT in the celebration and promotion of the performing arts.

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