2015 World Builders by Johnna Adams • Everything You Touch by Sheila Callaghan • On Clover Road by Steven Dietz • WE ARE PUSSY RIOT by Barbara

Hammond • The Full Catastrophe by Michael Weller 2014 The Ashes Under Gait City by Christina Anderson • One Night by Charles Fuller • Uncanny

Valley by Thomas Gibbons • North of the Boulevard by Bruce Graham • Dead and Breathing by Chisa Hutchinson 2013 A Discourse on the Wonders of the Invisbile World by Liz Duffy Adams • Modern Terrorism, or They Who Want to Kill Us and How We Learn to Love Them by Jon Kern • H2O by

Jane Martin • Heartless by Sam Shepard • Scott and Hem in the Garden of Allah by Mark St. Germain 2012 Gidion’s Knot by Johnna Adams • The

Exceptionals by Bob Clyman • In a Forest, Dark and Deep by Neil LaBute • Captors by Evan M. Wiener • Barcelona by Bess Wohl 2011 From Prague by

Kyle Bradstreet • Race by David Mamet • Ages of the Moon by Sam Shepard • We Are Here by Tracy Thorne • The Insurgents by Lucy Thurber 2010 The

Eelwax Jesus 3-D Pop Music Show by Max Baker & Lee Sellars • Lidless by Frances Ya-Chu Cowhig • Breadcrumbs by Jennifer Haley • Inana by Michele

Lowe • White People by J.T. Rogers 2009 The History of Light by Eisa Davis • Yankee Tavern by Steven Dietz • Dear Sara Jane by Victor Lodato • Fifty

Words by Michael Weller • Farragut North by Beau Willimon 2008 Stick Fly by Lydia R. Diamond • A View of the Harbor by Richard Dresser • Pig Farm by

Greg Kotis • WRECKS by Neil LaBute • The Overwhelming by J.T. Rogers 2007 Lonesome Hollow by Lee Blessing • My Name is Rachel Corrie from the writings of Rachel Corrie, edited by Alan Rickman and Katharine Viner • The Pursuit of Happiness by contemporaryamericantheaterAT SHEPHERDfestival UNIVERSITY Richard Dresser • 1001 by Jason Grote 2006

Augusta by Richard Dresser 25TH SEASON • JUL 10 - AUG 2, 2015 Jazzland by Keith Glover Mr. Marmalade by Noah Haidle • Sex, Death and the

Beach Baby by Kim Merrill 2005 Sonia Flew by Melinda Lopez • The God of Hell by Sam Shepard • American Tet by Lydia Stryk • Father Joy by

Sheri Wilner 2004 Flag Day by Lee Blessing • Rounding Third by Richard Dresser • Homeland Security by Stuart Flack • The Rose of Corazon by Keith Glover 2003 Whores by Lee Blessing • Bright Ideas by Eric Coble • The Last Schwartz by Deborah Zoe Laufer • Wilder by Erin Cressida

Wilson 2002 Thief River by Lee Blessing • Silence of God by Catherine Filloux • The Late Henry Moss by Sam Shepard • Orange Flower Water by

Craig Wright 2001 Tape by Stephen Belber • The Occupation by Harry Newman • The Ecstasy of Saint Theresa by John Olive • The Pavilion by Craig

Wright 2000 Something in the Air by Richard Dresser • Mary and Myra by Catherine Filloux • Miss Golden Dreams, A Play Cycle by Joyce Carol Oates

Hunger by Sheri Wilner 1999 Coyote on a Fence by Bruce Graham • Compleat Female Stage Beauty by Jeffrey Hatcher • Tatjana in Color by Julia

Jordan • The Water Children by Wendy MacLeod 1998 Gun-Shy by Richard Dresser • Interesting Times by Preston Foerder • Carry the Tiger to the

Mountain by Cherylene Lee • BAFO by Tom Strelich 1997 Lighting Up the Two Year Old by Benjie Aerenson • Below the Belt by Richard Dresser

Demonology by Kelly Stuart • 1996 Tough Choices for the New Century by Jane Anderson • The Nina Variations by Steven Dietz • The Nose by

Elizabeth Egloff • Octopus by Jon Klein • Bad Girls by Joyce Carol Oates 1995 Betty the Yeti by Jon Klein • Maggie’s Riff by Jon Lipsky • Psyche

Was Here by Lynn Martin • Voir Dire by Joe Sutton 1994 What are Tuesdays Like? by Victor Bumbalo • Shooting Simone by Lynne Kaufman • Spike

Heels by Theresa Rebeck • Forgiving Typhoid Mary by Mark St. Germain 1993 A Contemporary Masque by Stephen Bennett • Dream House by Darrah

Cloud • Alabama Rain by Heather McCutchen • Black by Joyce Carol Oates • 1992 The Baby Dance by Jane Anderson • The Swan by Elizabeth

Egloff • Still Waters by Lynn Martin • Static by Ben Siegler 1991 Accelerando by Lisa Loomer • Welcome to the Moon by John Patrick Shanley THANK YOU ACTORS’ EQUITY FOUNDATION The 2015 season is supported, in BB&T part, by the following foundations, THE CLEVELAND FOUNDATION corporations, institutions, and governmental agencies: THE HAROLD AND MIMI STEINBERG CHARITABLE TRUST

IANTHOM FOUNDATION

JEFFERSON SECURITY BANK

LAURENTS/HATCHER FOUNDATION

NATIONAL ENDOWMENT FOR THE ARTS

NATIONAL NEW PLAY NETWORK

THE NORA ROBERTS FOUNDATION

PGPRESENTS, LLC

SHEPHERD UNIVERSITY

SHEPHERD UNIVERSITY FOUNDATION

THE SHUBERT FOUNDATION

THE TED SNOWDON FOUNDATION

THE STATE OF WEST VIRGINIA Proudly affiliated with: Actors’ Equity Association, United Scenic STEPTOE & JOHNSON Artists, Society of Stage Directors and Choreographers, National UNITED WAY OF THE EASTERN PANHANDLE New Play Network, and Theatre THE VENTUROUS THEATER FUND OF Communications Group (TCG). THE TIDES FOUNDATION

THE WEISSBERG FOUNDATION

WEST VIRGINIA COMMISSION ON THE ARTS

WEST VIRGINIA DIVISION OF TOURISM

WEST VIRGINIA HUMANITIES COUNCIL MISSION TO PRODUCE AND DEVELOP NEW AMERICAN THEATER

THE VISION THE ULTIMATE THEATER EXPERIENCE

CORE VALUES FEARLESS ART; DARING AND DIVERSE STORIES; A PROFOUND DYNAMIC AMONG THE AUDIENCE, THE ARTIST, AND THE WORK

FEARLESS25 ART contemporaryamericantheaterAT SHEPHERDfestival UNIVERSITY

ED HERENDEEN TABLE OF CONTENTS Founder & Producing Director

PEGGY MCKOWEN CATF INSTITUTIONAL FUNDERS Inside Front Cover Associate Producing Director LETTER FROM THE PRODUCING DIRECTOR 4 GABRIEL ZUCKER LETTER FROM THE PRESIDENT OF THE BOARD 6 Managing Director BOARD OF TRUSTEES 8 JOSHUA MIDGETT LETTER FROM THE PRESIDENT OF SHEPHERD UNIVERSITY 10 General Manager 2015 CATF COMPANY LIST 12 MAJOR CONTRIBUTORS 14 Contemporary American Theater Festival at SUPPORT CATF 16 Shepherd University THE REPERTORY AND PROGRAM NOTES: P.O. Box 429 WORLD BUILDERS 18 Shepherdstown, WV 25443 EVERYTHING YOU TOUCH 20 ON CLOVER ROAD 22 800-999-CATF www.catf.org WE ARE PUSSY RIOT 24

 CATFatSU THE FULL CATASTROPHE 26  @thinktheater ABOUT THE 2015 COMPANY 38 ART AT THE FESTIVAL 62 LECTURES AND SPECIAL EVENTS 64, 66 IN-KIND SUPPORTERS 68 INTERN PROGRAM 70 2015 WEISSBERG FELLOWSHIP PROGRAM 71 2015 SHIRLEY A. MARINOFF EDUCATION FUND 71 CATF PREFERRED PARTNERS 72, 74 CATF CONTRIBUTORS CONT’D 76 PLAYWRIGHTS 1991-2015 78 ADVERTISERS’ INDEX 79 FESTIVAL SCHEDULE 80

2 pleased

BUSINESS | EMPLOYMENT | ENERGY | LITIGATION www.steptoe-johnson.com Susan S. Brewer, CEO this is an advertisement From the Founder & Producing Director ED HERENDEEN

I want to personally welcome you to our 25th Anniversary Season. We are thrilled that you are here to experience our 2015 Repertory of five compelling, new American plays plucked from over 100 literary agent submissions. I hope that you will immerse yourself in this enhanced repertory experience. Immerse yourself in the power of story and become an active participant in our creative process.

Twenty-five years ago, the Contemporary American Theater Festival presented its very first season. We began that season with a head full of ideas, a heart full of ambitious dreams and a belly full of fire. Those same ideals and our passion for developing and producing new American theater have guided us to this point. For 25 years we have shared this vision with you. We believe that theater, good theater…serious theater ED HERENDEEN — should construct a vision of the human condition that reveals to us a new understanding of ourselves. What can be more important than that? The stage, the live theater experience, illuminates the truth and is absolutely essential for anyone interested in ideas and the power of story.

Twenty-five years ago, the Contemporary American Theater Festival created a home for new American theater outside the glare of the urban spotlight. Our geography is important to us because we have found an artistic home for making contemporary theater in this historic village on the banks of the Potomac River. We love our geography and we love making theater in West Virginia.

We are a work in progress…constantly changing and growing and refining our process and clarifying our vision. We think theater — we talk theater — we make theater — we pioneer and curate ambitious new theater.

On behalf of our extraordinary Board of Trustees and our 2015 playwrights — Johnna Adams, Sheila Callaghan, Steven Dietz, Barbara Hammond, and Michael Weller — I want to personally welcome you to our 25th Anniversary Season. I am counting on your continued support in 2016 when we begin the Contemporary American Theater Festival’s next 25-year journey.

Enjoy!

4 Thank You SUZANNE SHIPLEY For your outstanding leadership and support for the future of the American Theater at Shepherd University.

Ed Herendeen, the CATF Board of Trustees, and the CATF Staff & Company Welcome from the President of the CATF Board of Trustees RB SEEM

“We have to continually be jumping off cliffs and developing our wings on the way down.” —Kurt Vonnegut

WELCOME to the Contemporary American Theater Festival’s 25th Season of Fearless Art. This season is going to be an extraordinary journey of New American Plays and we’re so happy that you have chosen to take that journey with us! For 25 years CATF RB SEEM has been producing America’s newest plays here, in Shepherdstown, West Virginia, on the campus of Shepherd University. My sincere appreciation goes out to the staff, the University, the playwrights, the artists, the designers, our supporters and the Board of Trustees—these people make it happen!

Be prepared to be challenged. This summer is about being part of a community of people that believe that the art doesn’t end when the curtain falls…instead, that it is just the beginning. Be prepared to have conversations you never thought you would have with friends, family, strangers and the artists. Finally, be prepared to be curious. While the art is the main driver of our season, there are several other ways to experience the festival that include lectures, new play readings, interactions with the artists and endless opportunities to immerse yourself within CATF.

YOU ARE WHY WE TAKE RISKS EVERY SEASON.

Your support and continued insistence that we remain bold, fearless and true to our mission is what sustains us year after year. On behalf of the Board of Trustees, I welcome you and I thank you for giving us our wings as we jump off cliffs to produce new, scary, exciting, thrilling and fearless art.

6 “I nearly floated out of the door, feeling sanded, polished smooth, and thoroughly mellowed.” —Wonderful WV Magazine

“...cutting-edge Relax • Renew • Revitalize spa treatments...” — AAA

MASSAGES • FACIALS • PEDICURES “my destiny, at least MANICURES • WHIRLPOOLS for the moment...” — Washington Post SUGAR SCRUBS • MUD WRAPS

STEAM BATHS • REFLEXOLOGY

AROMA STONE MASSAGE

HERBAL STEAM WRAPS • REIKI

Atasia Spa Congratulates WWW.ATASIASPA.COM CATF on its 25th Season

41 CONGRESS STREET • BERKELEY SPRINGS, WV • 304-258-7888 • 877-258-7888 2015 Contemporary American Theater Festival BOARD OF TRUSTEES

RB SEEM MARELLEN AHERNE EX OFFICIO KEVIN STRUTHERS PRESIDENT CHRISTOPHER AMES DOW BENEDICT KIRSTEN TRUMP

JON AMORES MARJORIE WEINGOLD ANN HARKINS HONORARY BOARD VICE PRESIDENT SHARON J. ANDERSON LISA YOUNIS JENNY EWING ALLEN JASON AUFDEM-BRINKE MICHAEL PROFFITT S. ANDREW ARNOLD SECRETARY BETH BATDORF EMERITUS BOARD MARTIN BURKE ROBIN BERRINGTON RONALD JONES KAREN RICE ELLEN CAPPELLANTI ALLISON MARINOFF CARLE SHIRLEY MARINOFF* TREASURER BRIDGET COHEE CARMELA CESARE LINDA RICE* BILL DRENNEN ELENA ECHENIQUE * in memoriam MARY CLARE EROS PAUL GARRARD THOMAS S. FOSTER ED HERENDEEN LILY HILL PETE HOFFMAN CATHERINE IRWIN DIMETRA LEWIN JUDITH KATZ-LEAVY TRIPP LOWE SUSAN KEMNITZER PEGGY MCKOWEN

KAKIE MCMILLAN KATHA KISSMAN

NOAH MEHRKAM STANLEY C. MARINOFF, M.D.

JEANNE MUIR TIA MCMILLAN

PATRICIA RISSLER ANDREW D. MICHAEL

AUDREY ROWE JOYCE CAROL OATES

CHRISTOPHER E. SEDLOCK MICHAEL SANTA BARBARA

SUZANNE SHIPLEY LYNN SHIRLEY

SYLVIA BAILEY SHURBUTT STEPHEN G. SKINNER

SCOTT WIDMEYER MARY HELEN STRAUCH

8 OCT 23-25 & NOV 1, 2015 SHEPHERDSTOWN, WV 30+ FILMS IN 5 VENUES

CONSERVATIONFILM.ORG A Letter from the President of Shepherd University DR. SUZANNE SHIPLEY

On behalf of our outstanding students, faculty, and staff, welcome to Shepherd University—West Virginia’s premier public liberal arts university. The long-standing partnership between Shepherd and the Contemporary American Theater Festival (CATF) enriches our community and our student life with a wide range of opportunities to thrive in the exhilarating world of contemporary theater. The 2015 season demonstrates the vital, collaborative role the arts assume in our university and our community. We welcome you and thank you for extending our reach far beyond these campus borders through your presence here with us.

Leading symbols of that dynamic partnership are the buildings that house these great plays. The Center for Contemporary Arts (CCA) was envisioned as three buildings dedicated to learning and performance. Phase One has DR. SUZANNE SHIPLEY WITH ED HERENDEEN been providing facilities for the arts, housing classrooms, studios, and the offices of the CATF for over eight years. Phase Two of the CCA debuted in the 2014 theater season, housing set and costume shops, the L. Dow Benedict Sculpture Studio, graphic design studios, classrooms, and the beautiful 190-seat Stanley C. and Shirley A. Marinoff Theater. We are so very grateful to the Marinoff family and their gift of a beautiful venue for excellent performances that train our students to build the arts communities in the places they will someday call home. The Phase Three facility grows ever brighter in our imagination and planning as CATF launches its 25th Season and looks ahead to the future.

I hope you will take advantage of all that is offered by CATF, historic Shepherdstown, and Shepherd University during your time with us this summer. As my time with Shepherd draws to a close, please join me in celebrating this dynamic collaboration within the world of contemporary American theater.

Sincerely,

10

2015 Contemporary American Theater Festival COMPANY LIST

ED HERENDEEN DIRECTORS ACTORS PRODUCING DIRECTOR May Adrales*** Helen Anker* Tea Alagic*** Molly Carden* PEGGY MCKOWEN Ed Herendeen*** Tom Coiner* ASSOC. PRODUCING DIRECTOR Nicole A. Watson*** Cary Donaldson* GABRIEL ZUCKER Anne Marie Nest, APPRENTICE COMPANY DIRECTOR* Jerzy Gwiazdowski* MANAGING DIRECTOR Aaron Anderson, FIGHT DIRECTOR Tahsa Lawrence* Lyto Triantafyllidou, ASSISTANT DIRECTOR JOSHUA MIDGETT Libby Matthews* GENERAL MANAGER Sylia Khouri, PLAYWRIGHT ASSISTANT Marianna McClellan* Pat McCorkle, CASTING DIRECTOR Sarah Nealis* TRENT KUGLER Brenna Palughi* PRODUCTION SUPERVISOR DESIGNERS T. Ryder Smith* PATRICK H. WALLACE David M. Barber, SET DESIGN** Lee Sellars* DIRECTOR OF PRODUCTION Robert Klingelhoefer, SET DESIGN** Sam Shunney Peter Ksander, SET DESIGN** Katya Stepanov* Therese Bruck, COSTUME DESIGN Dina Thomas* PLAYWRIGHTS Trevor Bowen, COSTUME DESIGN Mark Thomas* Peggy McKowen, COSTUME DESIGN** Chris Thorn* JOHNNA ADAMS Stephanie Shaw, COSTUME DESIGN Liba Vaynberg* SHEILA CALLAGHAN John Ambrosone, LIGHTING DESIGN** STEVEN DIETZ Tony Galaska, LIGHTING DESIGN APPRENTICES & UNDERSTUDIES BARBARA HAMMOND D.M. Wood, LIGHTING DESIGN** Molly Brown MICHAEL WELLER Elisheba Ittoop, SOUND DESIGN** Allyson Jean Malandra* David Remedios, SOUND DESIGN** Keyla McClure Shawn Duan, PROJECTION DESIGN** Adam H. Phillips Nathan A. Roberts, COMPOSER Brianne Taylor Adam Venham-Carter STAGE MANAGERS Debra A. Acquavella, PRODUCTION STAGE MANAGER* PRODUCTION STAFF Tina Shackleford, STAGE MANAGER* Ryan C. Cole, TECHNICAL DIRECTOR Laura Smith, STAGE MANAGER* Josh Frachiseur, TECHNICAL DIRECTOR Maribeth Chaprnka, STAGE MANAGER* Brian Shaughnessy, TECHNICAL DIRECTOR Lindsay Eberly, ASSISTANT STAGE MANAGER* William D’Eugenio, MASTER ELECTRICIAN Emily Pathman, PRODUCTION ASSISTANT John Newman, MASTER ELECTRICIAN

12 Joshua Taylor, MASTER ELECTRICIAN Matt Schutz, MARKETING AND DEVELOPMENT INTERN Kristen Rosengren, LEAD CARPENTER Eleanor Dohner, ADMINISTRATIVE FELLOW Joe Kurzawa, CARPENTER Sara Patterson, COMPANY MANAGEMENT FELLOW Michael LeBron, CARPENTER Lauren Duckworth, COMPANY MANAGEMENT INTERN Sean McConaughey, CARPENTER Erica Harding, COMPANY MANAGEMENT INTERN Sean Milito, CARPENTER Ashley Simmons, COMPANY MANAGEMENT INTERN Rachael Claxton, FESTIVAL CHARGE ARTIST Sara Barnett, SCENIC INTERN Sami Adamson, SCENIC AND TOUCH UP ARTIST Casey Schweiger, PAINTS INTERN Liv Joyce, SCENIC ARTIST Michael Maranda, PROPS FELLOW Robyn Khan-Cleland, SCENIC ARTIST Blu Lembo, PROPS INTERN Elizabeth Whalen, PROPS SHOP MANAGER Rhi Sanders, PROPS INTERN Katelin Ashcraft, ASST. PROPS SHOP MANAGER Lydia Reed, COSTUMES FELLOW Rebecca Bandy, PROPS CARPENTER Lena Rodriguez, COSTUMES FELLOW Iris Indicott, PROPS SOFT GOODS ARTISAN David McKell, COSTUMES INTERN Stephanie Shaw, COSTUME SHOP MANAGER Jason Via, COSTUMES INTERN Katherine Engelen, WARDROBE Chen Wen, COSTUMES INTERN Tess Gutherz, WARDROBE Jennifer Wallisch, COSTUMES INTERN Barbara Blackwood, STITCHER Serafina Donahue,ELECTRICS FELLOW Jaechelle Johnson, SOUND DEPARTMENT HEAD Juan Juarez, ELECTRICS FELLOW Gaylen Ferstrand, VIDEO DEPARTMENT HEAD Jacob Mueller, ELECTRICS INTERN Hannah Marsh, VIDEO ASSISTANT Elliott Shugoll, ELECTRICS INTERN Megan McKay, SOUND INTERN ADMINISTRATIVE STAFF Taylor Roberts, SOUND INTERN Seth Freeman, COMPANY PHOTOGRAPHER Ian Robertson, SOUND INTERN Gabrielle Tokach, PATRON SERVICES MANAGER Harrison Hayes, VIDEO INTERN Fawn Reid, ASST. PATRON SERVICES MANAGER Clare Tassinari, ASST. PATRON SERVICES MANAGER WEISSBERG FELLOWS Tiffany Thompson, BOX OFFICE Elliott Shugoll Gaby Tokach This Theater operates under an Mitchell Wadja, HOUSE MANAGER agreement between the League Jimmy Bumbera, ASSISTANT HOUSE MANAGER Jacob Mueller Of Resident Theatres and Actors’ Serafina Donahue Equity Association, the Union Samantha Cotton, COMPANY MANAGER of Professional Actors and Stage Managers in the United States. MARINOFF INTERN CANDIDATES GRAPHIC DESIGNERS *Actors’ Equity Association Eden Design/Jen Rolston Lauren Duckworth **United Scenic Artists Michael Maranda ***Stage Directors and Francheska Guerrero Choreographers Society Jimmy Bumbera INTERNS & FELLOWS JEFFERSON SECURITY BANK INTERN Madison St. Amour, STAGE MANAGEMENT INTERN Ryan McDonald, STAGE MANAGEMENT INTERN Mitchell Wadja Séan Swords, STAGE MANAGEMENT INTERN Colleen Murphy, BUSINESS MANAGEMENT INTERN

13 The 2015 Season is Generously Supported by These FESTIVAL FRIENDS

PRODUCER’S CIRCLE Jenny Ewing Allen • Mina Goodrich & Lawrence Dean • Katha Kissman Allison Marinoff-Carle • Patricia Rissler & James Rogers • Henry K. Willard II

PLAYWRIGHT’S CIRCLE Jeanne Muir & Jim Ford • Paul Garrard • Michael Proffitt • Lynn & Delores Shirley Paul & Lisa Welch • Scott Widmeyer

AGENT’S CIRCLE Marellen Aherne • Jon & Linnsey Amores • Andrew Arnold & Carmela Cesare • Beth Batdorf & John Bresland Robin Berrington • Anita Difanis & Richard Krajeck • Elena Echenique & Philip Aguila • Ann Harkins Pete Hoffman • Thomas & Billie Horst • Kakie & Andrew McMillan • Paul Kessler & Elizabeth Nicholas William T. & Karen Rice • R.B. Seem

DIRECTOR’S CIRCLE

Sharon Anderson & Adrienne Haddad • Martin Burke & Barbara Spicher • Fred & Anne D’Alauro Roberta DeBiasi & Mark Cucuzzella • Reginald Govan • Warren Gump • Dimetra & Lucien Lewin Tia & Bob McMillan • Noah Mehrkam • Andrew D. Michael • Helen Moore • Irene Nichols • Audrey Rowe S. Bailey Shurbutt • Stephen Skinner & Jeffrey Gustafson • Peter & Victoria Smith • Angela Sosdian & Bill Senseney Robert & Mary Helen Strauch (via Eastern WV Community Foundation) • Allan & Marjorie Weingold

ARTIST’S CIRCLE

Anonymous • Frederic & Christine Andreae • Benjamin Baker & James Gatz • Eleanor & Richard Bochner Yolanda & Frank Bruno • Eli & Sara Burke • Joan Develin Coley • Erdem & Joan Ergin • Robin & Ray Fidler Jonathan Kelinson • Clara Lovett • Marc Masterson • William & Denise McNeel • Alfred Munzer & Joel Wind Toni A. Ritzenberg • Eugene & Joan Shugoll • Alyse & Steve Steinborn • Kirsten Trump

June 19, 2014 – July 2, 2015 CATF’s contributors list continued on page 76 14 PHOTOS BY CHRIS WEISLER

A Fun Place to Dine Before or After the Show In the Heart of Historic Shepherdstown 304-876-8477 • 112 West German Street • www.bistro112.com SUPPORT CATF

THE ED HERENDEEN FUND FOR CONTEMPORARY THEATER CATF’S OVATION SOCIETY

The Ed Herendeen Fund for Contemporary Theater is an The Contemporary American Theater Festival wishes to endowment dedicated to the long-term sustainability of acknowledge Jenny Ewing Allen, Jeffrey Longhofer & the Contemporary American Theater Festival, specifically Jerry Floersch, and Dr. Stanley C. Marinoff as inaugural for future artistic initiatives and playwright-centered members of its Ovation Society, which recognizes those programming. The following individuals and businesses individuals and families who have provided for CATF in have generously invested in this critical fund, which is their estate plans. Your continued belief in our mission maintained at the Shepherd University Foundation. and work humbles us and your generosity ensures a long future for the artists who call CATF home. Thank you. OUR SINCERE GRATITUDE FOR THE LEADERSHIP AND COMMITMENT FROM: If you are interested in including CATF as beneficiary, please contact Managing Director Gabriel Zucker at Skip Adkins Andrew Michael 304/876-5240. Gifts can be designated and honored in Jenny Ewing Allen Robert Myers any way and fashion you choose. Members of the Ovation John & Joyce Allen in honor of Society will be publicly recognized and invited to attend Catherine Irwin Matthew & Jan Birch private events throughout the year. Lisa M. Poulin Sondra Birch & in honor of Lawrence Hamer Joan Marie & Martin Burke & Normand Poulin THE ANNUAL FUND: FESTIVAL FRIENDS Barbara Spicher Proffitt & Associates Conoco Phillips Architects As a nonprofit arts organization, the Festival does not cover Company Stephen Skinner its costs through ticket sales alone. Rather, CATF depends on a well crafted blend of earned income (tickets), grants, Ann Harkins Robert Stein & and donations from businesses and individuals like you. Margaret & Gina Daddario Fontaine Hooff Kirsten Trump A contribution to CATF is an investment in the future of Gary Horowitz Elizabeth Tyson the American theater. Contributors to CATF’s annual fund Ernest & Joan Johnston in honor of campaign (“Festival Friends”) receive unique opportunities Karen & Douglas Kinnett Catherine Irwin to connect with the art and the artists that make it. MajorGiving.com Mikki Van Wyk in honor of Visit CATF.ORG to learn more about donor benefits and Tia & Robert McMillan Jenny Ewing Allen CATF.ORG/donate to make a tax-deductible contribution.

16 • A GOURMET MARKETPLACE •

THE PRESS ROOM Featuring artisanal cheeses, WV wine and SERVING DINNER WEDNESDAY - MONDAY food, fresh coffee beans, 5PM TO CLOSE local chocolates, linens,

SUNDAY BRUNCH 10:30AM TO 2:30PM bath & body products SUNDAY DINNER 4PM - 8PM and more . . .

10 129 W. GERMAN STREET 304.876.8777 3 W. German Street | 304.876.1106 SETTING & TIME: JOHNS HOPKINS HOSPITAL, BALTIMORE, MD. THE PSYCHIATRIC WING. THE PRESENT.

CAST:

MAX WHITNEY CHRIS THORN BRENNA PALUGHI

SET DESIGN STAGE MANAGER ROBERT KLINGELHOEFER LAURA SMITH

COSTUME DESIGN STAGE MANAGEMENT STEPHANIE SHAW INTERN MADISON ST. AMOUR LIGHTING DESIGN TONY GALASKA CASTING PAT MCCORKLE, CSA SOUND DESIGN ARSHAN GAILUS

TECHNICAL DIRECTOR BRIAN SHAUGHNESSY

Performed with no intermission.

DIRECTED BY NICOLE A. WATSON

18 An Interview with the Playwright

JOHNNA ADAMS by Sharon J. Anderson, CATF Trustee

Where did you get the idea for World bipolar disorder means looking for the get lost in memories or fantasies. What Builders? positive. I know that I wouldn’t have my happens to you? What triggers that? One playwriting career without my illness, so I of the concepts Bachelard explores is the I have a friend with schizoid personality try to embrace it as much as I can. At the effect of immensities and miniatures on disorder, and I have a bipolar disorder same time, I would probably have done poetic ideas. Think of the ocean – the type as do several members of my mother’s some better things in my life if I didn’t of poetry that immensity inspires in the family. I think every writer has a touch have it. Often, it’s a negotiation. The play body. On the other hand, think of a doll of the kind of disorder that the two main is a dramatization of that, of me explor- house – all the miniature furniture or a characters in “World Builders” – Whitney ing that idea. and Max – have. I became very obsessed city built inside a nutshell . . . the type of with this idea of people who can create Do you identify with one character over reverie that triggers is just as strong and their own imaginative worlds. the other – Whitney or Max? intense, but completely different. You have said that you write about what Probably Whitney. Max is a lot more Whitney and Max have different poetics you’re learning rather than about what regimented and trapped by his disorder. that are complementary but are also dia- you know. What did you learn from writing, Whitney is too, but not to the same extent. metrically opposed. The type of feeling World Builders? Whitney likes to create with her world is The two worlds these characters build an expanse in herself. Max is compulsively I had the opportunity to explore schizoid could not be more different. Whitney’s recreating the ideas of control and min- personality disorder. The questions in this is vast and complex and Max’s is small iature and containment. play are: “Is mental illness really so bad?” and dark. “At what point is mental illness productive In your play Gidion’s Knot and now World This play explores the process of poetry or even superior to normal interactions in Builders, you make a fierce case for pro- in the realms of the vast and the minia- the world?” “Who’s allowed to make that tecting the imagination. What’s so impor- ture. Gaston Bachelard is a literary critic judgment call?” “Is the patient allowed to tant about the imagination? who wrote Poetics of Reverie: Childhood, say, ‘I’m not suffering. I’m kind of enjoying Language, and the Cosmos. This work I couldn’t get through my life without it or my mental illness’?” At what point does constantly inspires my writing because it without being able to indulge it. Another it become obviously unhealthy, insane attempts to create a poetics and a logic for idea behind World Builders is this: What behavior? There’s some validity to that essentially a reverie state . . . everything if George R.R. Martin decided one day type of argument. My characters are ex- from the kind of reverie you experience that he wasn’t going to finish his books, ploring that concept. They don’t mind when you’re reading a book and your mind i.e., “My relationship with my wife is suf- their mental illnesses. wanders in between a period and the next fering. It’s not healthy to be so immersed Learning to live with something like a space, to daydreaming – when you flat out continued on page 28

Johnna Adams received a Steinberg/American Theatre Critics Association Citation in 2013 for her play Gidion’s Knot. She is the 2011 recipient of the Princess Grace Award and a 2012 Finalist for the Susan Smith Blackburn Award. Gidion’s Knot was published in the December 2012 edition of American Theatre Magazine. The Contemporary American Theater Festival premiered Gidion’s Knot in 2012 and twelve regional productions were planned around the country in the following 2013-14 season. Flux Theatre Ensemble (New York) produced her play Sans Merci in 2013 and was nominated for a New York Innovative Theatre Award for best play. Gidion’s Knot and Sans Merci are published by Dramatists Play Service, Inc. Johnna received a 2012 MFA in Playwriting from Hunter College with Tina Howe.

19 SETTING & TIME: PRESENT DAY, AND 1974 NEW YORK.

CAST:

VICTOR MODELS JERZY GWIAZDOWSKI MOLLY BROWN ALLYSON JEAN MALANDRA JESS SARAH NEALIS DINA THOMAS ADAM H. PHILLIPS LEWIS KATYA STEPANOV MARK THOMAS LIBA VAYNBERG

ESME LIBBY MATTHEWS

LOUELLA MARIANNA MCCLELLAN

SET DESIGN FIGHT DIRECTOR DAVID M. BARBER AARON ANDERSON

COSTUME DESIGN TECHNICAL DIRECTOR PEGGY MCKOWEN RYAN C. COLE

LIGHTING DESIGN STAGE MANAGER JOHN AMBROSONE TINA SHACKLEFORD

SOUND DESIGN PRODUCTION ASSISTANT DAVID REMEDIOS EMILY PATHMAN

PROJECTION DESIGN STAGE MANAGEMENT INTERN SHAWN DUAN RYAN MCDONALD

COMPOSER CASTING NATHAN A. ROBERTS PAT MCCORKLE, CSA

Performed with one intermission. Contains strobe lighting effect, strong language, adult content. Everything You Touch is an original work commissioned by DIRECTED BY MAY ADRALES True LoveProductions. World Premiere produced in Pasadena California April 2014 by The Theater@Boston Court with Rattlestick Playwright’s Theater. Special thanks to Craig Bartoldson of The Journal, Mindy Cawley of VintageMC, Barbara Blackwood, and Chipotle in Hagerstown. Thank you to company management and everyone who donated time and resources to help make the elaborate costumes possible. 20 An Interview with the Playwright

SHEILA CALLAGHAN by Sharon J. Anderson, CATF Trustee

In the interest of full disclosure, I don’t It’s about family and art and what we com- That last little bit is a little irritating, but know a thing about fashion. A client once promise with one and what we sacrifice I do think that there’s been a shift in asked me if my shoes were Ferragamos. with the other. women’s fashion regarding how people I replied, “No, they’re mine.” Would you view power and femininity. Look at some- TimeOut New York said that Everything recognize a pair of Ferragamos? body like Hillary Clinton who continues to You Touch has a “contagious nausea about “masculate” herself because she wants to No. I’m not a fashion maven. I’m pretty women’s self-hatred.” be either unthreatening or of the same ignorant when it comes to labels. I know Through the character of Jess, we are echelon as her male counterparts. That names, and I kind of stalk people on the coping with our own self-loathing. Jess’s was something in the 80s and 90s for Internet who have a fashion fetish. I’m sort self-loathing is partially brought about by women who wanted positions of power. of a voyeur of people who appreciate such societal expectations of what makes an things, but I am not an active appreciator acceptable female and partially because Nowadays, people like Marissa Mayer, the myself. I don’t own one designer thing. of her upbringing at the hands of a fairly CEO of Yahoo, and other women CEOs The following is from the opening to toxic parent who was suffering. wear designer clothes. They tend to bring Everything You Touch. Victor, a ruthless in their femininity and are not necessar- Your play has been described as “the fashion designer, is addressing a model: ily fearful of being perceived as a threat struggle to find an identity that is more “When the model spits with rage, I want to because in the past, female sexuality and than skin deep.” Have you found your feel that spittle. I want to smell your sweat. female power have been perceived as identity? I want to taste your bile. I want my blood to threatening. But it’s changing. Mayer is boil. And I want to feel too overwhelmed I find one every day. Part of my job is very feminine and has been a very power- after the experience to speak. This, to me, to inhabit the psychic space of different ful model for women who are also mothers is the power of fashion.” Is this the power individuals in order to accurately commu- in the workplace. of fashion? nicate them. I feel like if I’m not doing that The designer Tom Ford has said: “I’m an with a whole heart and clear eyes, then No, it’s the power of art. Throughout the equal opportunity objectifier. I’m just as I’m not necessarily doing my job right. play, Victor sees what he does as a form happy to objectify men. The thing is, you of expression and a way of coping with a Anna Wintour, the editor of Vogue, said, can’t show male nudity in our culture in pretty devastating past rather than actu- “The notion that a contemporary woman the way you can show female nudity. We’re ally building clothes for people to put on must look mannish in order to be taken very comfortable as a culture exploiting their bodies. The play isn’t really about seriously as a seeker of power is frankly women, but not men. But I don’t think of fashion even though fashion is the vehicle dismaying. This is America, not Saudi it as exploitation either way.” through which the play is communicated. Arabia.” continued on page 30

Sheila Callaghan’s plays include That Pretty Pretty; Or, The Rape Play, Roadkill Confidential, Scab, Crawl, Fade to White, Crumble (Lay Me Down, Justin Timberlake), Lascivious Something. Other credits: Soho Rep, Playwright’s Horizons, South Coast Repertory, Clubbed Thumb, The LARK, Actor’s Theatre of Louisville, New Georges, Woolly Mammoth, and Rattlestick Playwright’s Theatre, among others. Sheila was profiled by Marie Claire as one of “18 Successful Women Who Are Changing the World” and also named one of Variety magazine’s “10 Screenwriters to Watch” in 2010. Sheila is the recipient of the Princess Grace Award for emerging artists, a Jerome Fellowship, a MacDowell Residency, a Cherry Lane Mentorship Fellowship, the Susan Smith Blackburn Award, and the prestigious Whiting Award. Sheila is also a resident of New Dramatists.

21 SETTING & TIME: AN ABANDONED MOTEL ON A FORGOTTEN AMERICAN ROAD. THE PRESENT.

CAST:

KATE HUNTER A GIRL TASHA LAWRENCE MOLLY CARDEN MOLLY BROWN STINE LEE SELLARS HARRIS MCCLAIN TOM COINER DIRECTED BY ED HERENDEEN

SET DESIGN STAGE MANAGER DAVID M. BARBER TINA SHACKLEFORD

COSTUME DESIGN PRODUCTION ASSISTANT THERESE BRUCK EMILY PATHMAN

LIGHTING DESIGN STAGE MANAGEMENT JOHN AMBROSONE INTERN SOUND DESIGN RYAN MCDONALD DAVID REMEDIOS CASTING FIGHT DIRECTOR PAT MCCORKLE, CSA AARON ANDERSON TECHNICAL DIRECTOR RYAN C. COLE

Performed with one intermission. Contains violence, strong language, and loud noises from simulated firearms. On Clover Road is being produced as a rolling world premiere by the Contemporary American Theater Festival as part of the National New Play Network’s Continued Life Program.

SPONSORED BY MINA GOODRICH AND LAWRENCE DEAN 22 PAUL AND LISA WELCH An Interview with the Playwright

STEVEN DIETZ by Sharon J. Anderson, CATF Trustee

After I finished reading On Clover Road, I certain thriller conventions? children are made of rubber. That they can wanted to ask you this question: “Do you Stage thrillers that I admire, such as Wait bounce back from anything. But children like the smell of napalm in the morning?” are made of glass. Children shatter.” Until Dark, Dial M for Murder, Veronica’s One thing theater can do is truly surprise Room, and Deathtrap, do have conven- My two kids — both 15 — are slightly us; truly shock us in a way that might be tions. These conventions create the box, younger than the woman who appears in unique to this art form and is different then the box frames the moment in time this play, so certainly some of this is driven from where we’ve come now to expect our and in a location, and then it does what by watching, in particular, my daughter shocks: film or TV or, to a lesser extent, time and location do in all of our plays: It come of age. I’m delighted to say that this the pages of a book from time to time. I puts pressure on the characters. play has nothing to do with the specifics have never, until On Clover Road, attempt- of her life or mine. What I attempted to do in On Clover Road ed to write a play in a classic single-set, is give the story certain parameters of a However, I know the lengths I would go five-character thriller format. It’s really to protect my daughter if she were in damn hard. thriller. Once I had a working architecture, I then contrived to write a drama that danger – that notion is in this play. Until How would you describe the world of On has the emotional resonance of a woman the moment she was born, I never under- Clover Road? trying to reunite with her daughter. Along stood anger. In the past, I would mitigate It’s a dangerous, claustrophobic world the way, I try to deliver some thrills. anger, but as a parent my anger becomes and an invented, artificial world in the very purposeful when I imagine a child of Is this the mother’s play or the daughter’s mine in danger. sense that someone is trapped in a very play? real place and for very real reasons. By That anger shows up in On Clover Road “artificial,” I mean the world that is being I respectfully will not answer that ques- more as obsession. This is a woman who invented by the pressures the characters tion. That answer wouldn’t help me if I hasn’t seen her daughter in four years and put on each other. In some ways, we’re in were directing the play or revising the that thought alone drives her obsession. a bit of a purgatory that is the status quo, play. I would say that it interests me when It may be irrational obsession, but those and it is dangerous and full of portent. people share a story but they are in dif- are the lengths I would go to to get my Plays like this are built to make members ferent plays. The mother is in a reunion daughter back. I don’t walk around think- of the audience certain they know what is play. I’ve tried to put the daughter not in a ing my kids are rubber and can bounce going to happen and instead something reunion play. The cult deprogrammer has back from anything. I walk around hoping wholly different happens. a certain agenda. I don’t want to privilege I can continue to do those small things How does writing a thriller differ from one character’s agenda over another. that keep the world from shattering them. writing other types of plays? Are there Here’s a quote from the play: “People think continued on page 32

Steven Dietz’s thirty-plus plays and adaptations have been produced inregional theatres and internationally have been seen in England, Japan, Germany, France, Australia, Sweden, Austria, Russia, Slovenia, Argentina, Peru, Greece, Singapore, South Korea and South Africa. He received the Kennedy Center Fund for New American Plays Award for FICTION—produced Off-Broadway by the Roundabout Theatre Company; the PEN USA West Award in Drama for Lonely Planet; the Edgar Award for Best Mystery Play for Sherlock Holmes; The Final Adventure; and the Yomiuri Shimbun Award (the Japanese “Tony”) for his adaptation of Shusaku Endo’s novel, Silence. Other widely produced plays include the Pulitzer- nominated Last of the Boys, Inventing Van Gogh, Private Eyes, God’s Country, Halcyon Days, and The Nina Variations which premiered at CATF in 1996. CATF produced his Yankee Tavern in 2008.

23 SETTING: MOTHER RUSSIA, A CONFINED OPEN SPACE.

CAST:

NADYA MALE ENSEMBLE LIBBY MATTHEWS ADAM H. PHILLIPS

MASHA JUDGE/ANNA/ LIBA VAYNBERG FEMALE ENSEMBLE SARAH NEALIS KATYA KATYA STEPANOV FEMALE ENSEMBLE ALLYSON JEAN MALANDRA SERGEY/PUTIN/MALE KEYLA MCCLURE ENSEMBLE BRIANNE TAYLOR T. RYDER SMITH

DEFENSE/GUARD/ MALE ENSEMBLE CARY DONALDSON

SET DESIGN ASSISTANT STAGE PETER KSANDER MANAGER LINDSAY EBERLY COSTUME DESIGN TREVOR BOWEN STAGE MANAGEMENT INTERN LIGHTING DESIGN SÉAN SWORDS D.M. WOOD STAGE MANAGER SOUND DESIGN MARIBETH CHAPRNKA ELISHEBA ITTOOP CASTING TECHNICAL DIRECTOR PAT MCCORKLE, CSA JOSH FRACHISEUR PRODUCTION STAGE MANAGER DEBRA A. ACQUAVELLA

Performed with no intermission.

Contains strobe lighting effect, violence, and strong language.

Supported, in part, by Grants from the Laurents/Hatcher DIRECTED BY TEA ALAGIC Foundation, the National Endowment for the Arts, and the Venturous Theater Fund of the Tides Foundation.

24 An Interview with the Playwright

BARBARA HAMMOND by Sharon J. Anderson, CATF Trustee

Why Pussy Riot? Kathleen Hanna – one of the founders PLAYWRIGHT NOTES of the Riot Grrrl Movement which hap- Pussy Riot hit a nerve, not only in Russia pened in the 90s in the northwest United I decided to write this play after reading but also, maybe even more so, in the West. States and influenced Pussy Riot – said, Katya, Masha and Nadya’s closing state- They are contemporary artists posing as ments before they were sentenced by “Women make natural anarchists and a feminist punk band. One of the brilliant the Russian court to two years in a labor revolutionaries because they’ve always things about Pussy Riot is that they are so camp for “hooliganism motivated by been second-class citizens, having to claw outrageous and kind of “bad” at what they religious hatred.” do – and I mean that as a compliment – no their way out.” It’s true — we have Joan of Virtually all dialogue by the characters one but themselves could have thought of Arc, Mary Magdalene and Malala Yousafzai of Putin, the Patriarch, Madonna and it. The CIA would never have orchestrated . . . people respect and gravitate toward Nadya, Masha and Katya was taken something as original as Pussy Riot. women who speak their minds. These directly from statements they made women often pay a heavy price for that It’s an irony that Pussy Riot is homegrown. that are in the public domain. The dia- attention (like being burnt at the stake logue of the trial is almost exclusively or labeled a whore) but they are often Yes, absolutely. I was also attracted to from transcripts of the Pussy Riot trial them because they are girls. I like calling admired and celebrated. that took place in August, 2012. The them girls. There’s something playful, even Women’s power in their own culture, in prison scenes are derived from Nadya innocent, about their actions, though they and Masha’s letters from prison, all are obviously very intelligent and at least any human culture on earth, has a com- plicated history. Women can make a claim of which were published online. I also two of them are mothers. “Girls” is a good quote from Anna Akhmatova’s poem to be outsiders in their own countries, word that has been taken away from us. Requiem and from Anna Politkovskaya’s since they rarely wrote their founding last interviews before her assassina- They’re like Pippi Longstocking or Scout documents, or fought the wars that deter- tion. Very rarely, I have one character from To Kill A Mockingbird? mined borders, or won the elections that use another character’s words, as when Well, I think they’re in the tradition of determined the nation’s shape and values. Anna Politkovskaya uses language from young women who stand out because I appreciate looking at the world from the Masha’s closing statements. they don’t behave like young women are outside. Outsider status can be a luxury. Sergey Barbarov is based on one of told to behave. continued on page 34 the Bolotnaya Square prisoners, who spent 62 days on hunger strike while Barbara Hammond is a New Dramatists resident playwright (Class in detention awaiting trial, and who is of 2018) and currently under commission from both the Royal still serving his sentence for attempt- Court Theatre and the Contemporary American Theater Festival. ing to stop a young police officer from Awards: 2014 Seven Devils Theatre Conference; the 2012 Helen beating protesters with a truncheon. I Merrill Distinguished Playwright Award; 2010-2014 Yale Playwrights changed his name to protect him from Festival mentor; a 2011 Edward Albee Foundation Fellow; a Tyrone further consequences. Guthrie Centre repeat resident in Annaghmakerrig; finalist at the Nadya and Masha spoke repeatedly Tennessee Williams One-Act Play Festival and the Kerouac Project; about the prisoners of Bolotnaya Special Jury Award, First Irish 2009 Theatre Festival. She is a member of ASCAP and the Square, but their comments were gen- Dramatists Guild, and was named one of the Influential Women of 2011 by the Irish Voice. erally ignored by the Western media – which remained focused on the phe- Film: Directors’ Award, San Francisco International Shorts Festival for June Weddings nomenon of Pussy Riot itself. with Tom Noonan and Elzbieta Czyzewska.

25 CAST:

JEREMY COOK ROBBIE WILSON TOM COINER SAM SHUNNEY

ROY PILLOW EVERYONE ELSE LEE SELLARS T. RYDER SMITH

BETH/PAULA UNDERSTUDY (ROBBIE) HELEN ANKER ADAM VENHAM- CARTER DAN WILSON CARY DONALDSON

SET DESIGN ASSISTANT STAGE PETER KSANDER MANAGER LINDSAY EBERLY COSTUME DESIGN THERESE BRUCK STAGE MANAGEMENT INTERN LIGHTING DESIGN SÉAN SWORDS D.M. WOOD STAGE MANAGER SOUND DESIGN MARIBETH CHAPRNKA ELISHEBA ITTOOP CASTING TECHNICAL DIRECTOR PAT MCCORKLE, CSA JOSH FRACHISEUR PRODUCTION STAGE MANAGER DEBRA A. ACQUAVELLA

Performed with one intermission.

Special thanks to Craig Bartoldson of The Journal, Demi & Lucien Lewin, Broken Watch Theatre Company, The Repertory Theatre of St. Louis, The Berkshire Theatre Group, and The Lark Play Development Company.

DIRECTED BY ED HERENDEEN

26 An Interview with the Playwright

MICHAEL WELLER by Sharon J. Anderson, CATF Trustee

The Full Catastrophe is the middle book in The lovely conceit of the book is that a a comedy if you simply exaggerate what The Jeremy Cook Novels by David Carkeet. crackpot, mysterious researcher called is really the case. Why write a play adapted from this book? Roy Pillow thinks he’s solved the problem I asked the playwright Bruce Graham, who by what turns out to be a linguistic mistake The book was brought to me as a film had a comedy at CATF last year, about of his own: thinking that communication project by the producer Merle Kailas, who Coleridge’s perspective that comedy was means better grammar. It’s of course had seen a play of mine and thought I was “more useable and more relevant to the about something very different, but the very good writing about marriage. The human condition than tragedy.” What do misunderstanding is, for me, one of those novel had had a big life with the Hollywood you think about that? studios when it was first published, but no profoundly brilliant comic conceits that one had been able to figure out how to do yields all sorts of dramatic possibilities. It depends on where you’re sitting and how you’re doing in life. People whose it as a movie. I read the book and realized Roy Pillow, the “crackpot, mysterious re- wives are taken away by invading armies it would make a terrific play. searcher” said in this play: “There is a or who die of horrible diseases or work horror at the heart of every marriage and Why do you write marriage really well? long, long hours every day would feel that it’s the same horror.” Is there a horror at tragedy is a comfortable portrait of their Good question. I’m married, and I notice it. the heart of every marriage? destiny. But a comedic outcome feels far But why write about it? So he says. more real in America, where we tend to go to therapists when we’re on the verge Drama is about conflict and the solution Do you think there is? to the conflict and renewed conflict. Isn’t of some personal catastrophe and they that another way of describing marriage? No, not really. I think that he thinks so and help us talk ourselves out of it. his marriage record certainly bears that It seems like a fairly natural thing to put on One of the lines in this play is “Recognize out. It’s not a horror, but what’s puzzling stage. One of the basic rules of drama is love in time or you’ll lose it.” What’s the about marriage is that we’re so drawn to it pick something everyone knows. Marriage secret to recognizing love in time? is something that everyone knows. and it’s such a source of discomfort when it’s bad and such a source of support and You have to have the courage to risk Jeremy Cook, the main character in The joy when it’s good. And we just can’t figure love at all times. If you hedge your bets Full Catastrophe, is a linguist. So marriage that out, why it can’t be simpler, like an because you think this isn’t right or that is about semantics? ATM machine. Marriage is a total swirl – isn’t right about another person, then That’s the joke, and it’s a wonderful one. call it a “horror” if you want. For me, it’s continued on page 36

Michael Weller is best known for his plays Moonchildren, Loose Ends, Spoils of War and his trilogy including What the Night Is For, Fifty Words (MCC), and Side Effects (MCC). He wrote the book for the musical Doctor Zhivago, from the novel by Boris Pasternak. His films include Hair, Ragtime and Lost Angels and a teleplay of his Broadway drama Spoils of War, starring Kate Nelligan. He was a writer-producer on the critically acclaimed series Once & Again. Awards: Academy Award nomination; N.A.A.C. P. Outstanding Contribution Award; Critics Outer Circle Award; a Rockefeller Foundation Grant; a Kennedy Center Fund for New American Plays Award; and a Helen Merrill Award for playwriting.

27 AN INTERVIEW WITH JOHNNA ADAMS, continued from page 19 in the world of Game of Thrones. I’m just where that kind of medicated dullness is an adult had to fit into her world with her going to stop.” Some psychiatrist might preferable to the alternative. I’m in a good characters. applaud that, but the rest of the world place right now and not on medication, In an interview in 2010, you said, “It takes would want to storm his house like angry but I have been. The medication I was on time to get your playwriting to come from peasants and demolish it. They would be didn’t deaden me completely, but I know your subconscious and for your fingertips furious because that imagined world is so a lot of them do. to understand your plays as well as your important to so many people. I know many bipolar people who worry imagination. Your imagination is inert, How much of American culture – especially that through medication, they may lose but your fingers are agile little workers. with the rise of episodic television — is the benefits of the condition of being Fingers actually do things, fantasies don’t. dominated by fantasy world building and bipolar. I would very much mourn losing Your plays live there, not in your head.” imagination scapes? I, like everyone else, my bipolar edge. I wouldn’t want to lose If I were Max or Whitney, I would sit in a am increasingly dependent on it. World my disorder entirely even though I would room and be perfectly happy just having building fulfills a rich, wonderful need probably have a more productive, health- my plays in my head. But I’m not. I’m a for storytelling. I worry about the kind ier and happy life without it. The feelings playwright and I need my fingers to work. of life I would live in the absence of all you can get in the mania part help me to I need to actually turn on the computer that richness. write and complete my plays. They help and write. I’d be much happier if I could me to come up with the worlds in my plays. You have said, “Stifle the imagination just look in my head and say, “That’s great! and lose one of the greatest assets of You have said, “You can only be defeated That’s lovely!” But I can’t. That’s the big humanity.” by invisible demons if you believe in them trick of writing. Getting a play from your and let them work on you.” head to the page. In order to get there, I stand by it. you need audience feedback. You need to The problem of being afraid of a mental Is a wild imagination better than no imagi- learn how to listen very intently while an condition is worse than the condition itself. nation at all? For example, the writings audience is watching your plays. Once that When I stopped being afraid of potential of James Holmes, the Aurora, Colorado alchemy happens, then you can correctly occurrences of my mania, it made all the theater shooter, are very, very wild. translate what’s in your head. However, it’s difference. Then it was incredibly easily still not a sure thing. I still only hit it once Absolutely, a wild imagination is better managed, but it’s the fear that’s not man- every other play. than no imagination at all. The flatness ageable. I equate fears with demons. of the world and of existence without Your plays are not afraid of the dark... In the play, Whitney tells Max that she imagination is just hard to contemplate. doesn’t like that her drugs are “substitut- The successful ones are dark. I have to Imagination is not a bad thing. I get very ing feelings for other people in place of our keep myself entertained while writing worried when people claim that the imagi- worlds . . . if the pills work, I’ll be someone and something dark and sort of forbidden nations of serial killers or mass murderers without a heart.” keeps me interested. Dark things tend to triggered that type of tragedy. You are be secretive things, they tend to be things looking in the wrong places. Look instead This is a play of extremes. The idea is this: we don’t discuss in public settings, and at a frustrated outlet for feelings they “Is love worth killing two entire worlds that creates a very interesting atmosphere can’t understand and how, over time, it over?” The conclusion of the play is, no, in the theater. Like somebody screaming explodes. it really isn’t. Max and Whitney love these in church or somebody doing something worlds. To them, these worlds are not Are psychotropic drugs bad for the imagi- inappropriate in a courtroom. bizarre or strange or dark and disordered nation? daydreams. They have a reality that we If you simply gather people in a room and I’m not going to fly in the face of modern really don’t understand just watching reconfirm everything they believe, you psychiatry and say these drugs are bad. them. To Whitney, this is absolutely her haven’t created good theater. Theater I’ve had moments with my bipolar disorder life. Every relationship she’s ever had as continued on page 37

28 arnold & bailey We take attorneys at law sides 304-725-2002

arnoldand bailey.com yours s. a ndrew a rnold, e sq. GreG ory a . Bailey, e sq. AN INTERVIEW WITH SHEILA CALLAGHAN, continued from page 21

It’s true. On my Showtime show, a theater being rattled and the next day I think people build white picket fences to “Shameless,” we show male and female asking myself, “What were my limitations keep their hearts protected. genitalia. It’s just rarer than breasts. We in receiving the work?” rather than “What Gertrude Stein said, “Is it worse to be are more comfortable with female nudity were the limitations in the work itself?” A scared than to be bored, that is the ques- because we are more used to seeing it, I work never exists in one acceptable realm. tion.” think. We find the penis shocking because I like to walk away wondering about what we still think of it as a weapon. We have the fuck I just saw and feeling a little angry I would 100 percent rather be scared than the issues of rape in this country. It can be about it. But sometimes I want to feel like bored, but then again you have to be held a dangerous thing. It’s easier to objectify I just ate a giant turkey dinner and all I accountable for what you do when you are a female body because it’s not necessarily have to do is just sit there and digest it scared. There’s an irrationality that comes associated with violence. and it’s gone out of my body the next day. with a fight or flight response. Boredom Most mainstream theatergoers want the allows you a little distance and a soft en- You have said that the theater that most turkey dinner rather than the aggravation velope within which you can make logical people like, including you, “is this thought- because there’s enough aggravation in and measured choices. ful, plodding, plot and plod build of charac- people’s lives. ter and story, until you’re full of the play.” You’ve said, “I’m drawn to anything where The poet John Ashbery said, “Most reck- language comes alive. I don’t want lan- Oh, I love plays like this, but I also think less things are beautiful in some way, and guage to feel strenuous. I like it to feel a lot of people love it to the exclusion recklessness is what makes experimental kind of magical with juxtapositions you of other types of plays. As a theater-go- art beautiful, just as religions are beautiful wouldn’t expect popping out. Language ing culture, we’re not comfortable with because of the strong possibilities they works differently in space, much differ- “outside-the-box” storytelling. We’re just are founded on nothing.” ently than it works on the page.” What do not accustomed to seeing it. I like to be you mean by that? comfortable and amazed in a theater, but To sit down and write art is a reckless I also like to be uncomfortable and pro- impulse. You are trying to capture some- When you are reading poetry, you can voked. There’s less of a tolerance in our thing unspoken, something completely have your own perception of it. You can culture for that. But the more diverse and inarticulate-able; and even when you’ve absorb it, you can think about it, you can different the plays are, the more vibrant done it, it’s probably still incomprehensible digest it, masticate it. You can go away the field is. in some way. There’s that impulse that from it, go back to it, read it over and you can’t necessarily contain with words over and over again. When you’re in a You’ve said that you “like the feeling of or song or poetry or visuals, but you keep theater, you really can’t come and go. It’s having the play race out in front of you trying and trying and trying. That struggle just you and me. It almost has the effect and you have to catch it.” That you like is something that continually feels like of fireworks. The words are exploding in “speedy, flip-flop theater.” trying to cope with a life force versus the your face and then they are gone. I like I do, and I like writing it, too. desire to extinguish oneself to avoid feel- fireworks. ings. That is something that feels human One collaborator said that you have “one versus something that reaffirms what You say that you write plays because, “I foot in the literary theater and the other in we already believe in the world that can must. A yawping, bottomless cavern in my the avant-garde world. It’s really her love pacify us . . . which is also valid. Religion soul compels me thusly” and “because I of both that makes her work so strong.” is a valid way to cope with pain. am waiting for someone to tell me to stop.” It also makes it a challenge. I tend to get Anne Sexton said, “One can’t build picket I was being cheeky when I said that first mixed reviews. People like to walk out of fences to keep nightmares out.” There was part. The second part is what is really true the theater knowing exactly why they a white picket fence around the house in – nobody has told me to stop. I don’t know were there, and there’s nothing wrong “The United States of Tara” – a show you what else to do. I’ve got all this bottomless with that. I prefer spending two hours in wrote for. . . . continued on page 37

30

AN INTERVIEW WITH STEVEN DIETZ, continued from page 23

Is this play about religion or family? The chestnuts are basically the “tried “We already did our play about racism.” The cult is the driving force of the play, and the true” plays; the plays that we’re That’s ridiculously small-minded. All of but it is not what the play is about. It’s all completely familiar with or the plays these topics are an ongoing conversation the circumstance of the play. This girl has that cost us very little to go to. I have in the culture and should be an ongoing been in the cult and we are witnessing some sweet little love story plays that conversation in the theater. I still definitely a deprogramming in a motel room. But I’m completely proud of, but they are not think of that as my mantra. fundamentally, it’s about trying to put a the plays that Ed Herendeen will produce. You’ve said, “playwriting chose me. . . .” Herendeen will wait for me to write On family back together. As it turns out, the I had no theater in my upbringing. I didn’t mother is not the only person in this play Clover Road – something’s that going to stir up trouble. see a play until I was in high school. In trying to put a family back together. the early 80s, I was directing plays at In Going Clear: Scientology, Hollywood When I wrote that essay in American The Playwrights’ Center in Minneapolis and the Prison of Belief, Lawrence Wright Theater (where you found the quote in when August Wilson, Jon Klein, Barbara says, “Religion is always an irrational en- your question), all I saw around me was Field, Lee Blessing, and other terrific terprise, no matter how ennobling it may familiar not so much in terms of narrative, playwrights were there. It’s purely hap- be to the human spirit.” Is religion always but in terms of the traditional white male penstance that I was working with their an irrational enterprise? canon. I think we’ve made some progress. plays during those particular years. By I hope the playwrights in the generation osmosis, I found an avenue for my writing. It’s not my place to say that about any- after me just blow me out of the water. body’s religion. I would say that when a I hope that they are more rigorous and I wish I could give my terrific MFA grad stu- religion manifests itself in a way that is more adventuresome than I’ve been. I dents the naiveté I had early in my career negative to its adherents, then it deserves am hoping to still write plays with that because my students understand the art criticism. kind of fire. form and the business which means they also understand how ridiculously hard it To the mother in On Clover Road, the thing You have said that you have “chosen a that has taken her daughter away from is to get your plays produced. Part of my profession in which it is your mandate to great good fortune is that I had no idea her is absolutely irrational. But this play be an explorer, not a curator of society.” became a better play when the charac- how you got plays done, so I didn’t think You’ve also said, “The driving force in my it was impossible. ters became more complex. There are plays is to get people interested in the no straight-up good characters and no world.” You have said that theater audiences straight-up bad cult characters. should “Demand fun. Demand fury. Getting Fundamentally, this moment hasn’t been Yes, but there are restless and edgy char- your money’s worth is not enough. We written. No one has lived this very day. must get our heart and mind’s worth.” acters. . . . There is something radical about the I like to think of myself as a centered and present moment. Admittedly, the theater I don’t want to have a benign experience rational person, but I also believe as a is not a headline art form. It can’t share its when I go to the theater. I want to laugh dramatist, what I have to do and what I get artistry as quickly as Twitter or Facebook, my ass off or I want to be shocked and to do is write at the edge of the characters. but I do think one of the successes of surprised or I want to be infuriated. There I don’t want to live at the very edge of theater over the last 20 years is how it is enough entertainment in the culture my life. I want to live in the center of my is responding – sometimes quickly — to that is designed to placate me. The plays life. I don’t want my characters to live in popular public events and making you I love are the ones in which I’m trapped the center of their lives. I want them on talk about them. in a room and something happens that disrupts my habitual life. the edge. I would not be alone among writers who You have said that, “The American theater express frustration when audiences or If I am going to share two hours of my life needs fewer chestnuts and more gre- theaters say, “Oh, we already did an Iraq with the actor on stage who is sharing the nades.” play” or “We already did an AIDS play” or continued on page 35

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How does a play, specifically, enlighten the play. Is shouting/singing that in a church ap- story of Pussy Riot in a way a documentary propriate? Describing the lessons of Anna Akhmatova’s or another genre can’t? art, the poet Joseph Brodsky said: “The I don’t think they would have done it if it Each audience member will answer this comprehension of personal drama betters was appropriate -- so no, it was absolutely for themselves after they see this play. one’s chances of weathering the drama inappropriate! Pussy Riot: A Punk Prayer was a great of history.” Have you comprehended the In the documentary, one of the members documentary that reports what happened metaphysics of your personal drama? of Pussy Riot said that talk and com- in Moscow in 2012 and tells its story with You should read my Eva Trilogy. I could promise get you nowhere, only riot and video and images and quotes. In my play, not have written WE ARE PUSSY RIOT revolution. I’m moving beyond the news story -- I’m without having written The Eva Trilogy. I using the story of Pussy Riot to examine I believe whichever member of Pussy Riot heard a war correspondent I know tell a an aspect of our culture. said this was referring to the totalitar- young journalist that the suffering in the ian state in which she lives. Sometimes Are you writing a play about Pussy Riot world won’t make sense to you until you talk and compromise can get you some- the way Pussy Riot would? can access and have compassion for your where. Riot and revolution, too, have own suffering. It’s understandable to run gotten people places. The United States, No. Pussy Riot wouldn’t write a play -- away from it. It is not something where for example, wouldn’t exist if we hadn’t Pussy Riot’s actions are spontaneous, you suddenly go, “Ah-ha! Now I understand had a revolution. public and often get them arrested. my personal drama.” It unfolds through- You want us to be Pussy Riot, don’t you? out one’s life. Flannery O’Connor, a devout Catholic, said, “I have found that violence is strangely The documentary Pussy Riot: A Punk I want you to ask yourselves if you are capable of returning my characters to Prayer opens with this quote from Bertolt or not. reality and preparing them to accept their Brecht: “Art is not a mirror to reflect the moment of grace. Their heads are so hard But the name of your play is, WE ARE world, but a hammer with which to shape that almost nothing else will work.” Is the PUSSY RIOT... It’s not “Are We Pussy Riot?” it.” How does this contrast with this quote “in-your-face” strategy of Pussy Riot a from John Updike: “Art begins with a I would say, and I think they would say, form of verbal violence? wound. Art is an attempt to learn to live we CAN all be Pussy Riot -- and if we’re with the wound.” not, why aren’t we? Are we happy with A cousin who plays piano in a chamber choir watched the Pussy Riot video and af- the status quo? Do we value order and I would word it differently than either one terwards sent me an email: “I’m an atheist, tradition more than self-expression? They and say the purpose of art is to expose but I love choral music and it killed me to are all questions worth asking. One of my the wound. You expose the wound and listen to Pussy Riot destroy Rachmaninoff working titles for the play was, “We Are then it’s up to the participant in the art in a loud ugly punk mash-up. It killed me.” All Pussy Riot.” Another was “Everything whether they are going to live with it or There are many legitimate reactions to is PR.” smash it. I don’t think the artist is holding what Pussy Riot did in that cathedral. the hammer. The audience decides what The acronym PR is perfect for Pussy Riot. Pussy Riot brought attention to the fact they want in their hands. They can have “Public Relations” is just another word for that the head of the Russian Orthodox a scalpel or a hammer - or a tourniquet. Propaganda. Pussy Riot self-consciously Church stated that Putin is a “miracle My job is to expose the wound. made themselves undeniable, first of all, of God” and that believer should vote with their name. If they had called them- During the 48 seconds those members for him. I believe that the girls did not selves “Feminists Against Putin” we would of Pussy Riot performed at the altar in intend to hurt the feelings of believers. never have heard of them. “Everything is Moscow’s Cathedral of Christ the Savior, Maybe they didn’t care about those feel- PR” still might be the best title for this they sang this: “Shit! Shit. It’s God’s shit!” ings, but the message they were sending

34 Barbara Hammond, continued Steven Dietz, continued

was intended as a political statement, not exact same two hours of their life with that hot-house atmosphere that produces a statement against the Orthodox faith. me, the situation is already charged. The exciting work in actors. That it is outside audience in me and the playwright in me the hub of a big city in a retreat setting You said once, “I used to get joy from wants to take that charge and not let it is unique. I can fully immerse myself in freedom, and now I find it in intimacy.” dissipate. Think about how you feel when How would members of Pussy Riot respond my plays in a dynamic way that I can’t in the houselights dim and the theater goes other settings. to this? dark. Think about that amazingly beautiful Barbara Hammond ended a piece she Give them 20 years and see what they say. moment; that moment of engagement when you say to yourself, “Oh my God, wrote entitled, “How to Stay a New York You end a piece you wrote entitled “How here we go!” I try to build my plays from Playwright” with this: “Now close your to Stay a New York Playwright” with this: that moment. eyes again, envision a stage, and watch “Now close your eyes again, envision a What is unique about producing a play someone walk on from stage left. Get that stage, and watch someone walk on from at the Contemporary American Theater pencil and write down what she says.” stage left. Get that pencil and write down Festival? My last question to you: Close your eyes, what she says.” My last question to you: someone is walking on from stage left. It’s a hot house. Ed Herendeen is certainly Close your eyes, someone is walking on What is that person saying? from stage left. What is she saying? unique. They broke the mold on that guy in terms of what he’s built. I also love That person is asking the audience, “Can “Why can’t it always be like this?” ■ that it’s a repertory Festival – this creates you tell me who I am?” ■

Shakespeare was right: “THE PLAY’S THE THING.” Congratulations to CATF on your Silver Anniversary and to our client Barbara Hammond on the World Premiere of WE ARE PUSSY RIOT.

The Susan Gurman Agency, LLC a theatrical literary agency

www.gurmanagency.com

tel 212.749.4618 fax 212.864.5055 AN INTERVIEW WITH MICHAEL WELLER, continued from page 27 you really will misunderstand which part that they want by turns to be completely When you become close to somebody of that complicated feeling toward them known and they want to remain complete- and you truly love them, there’s a part is the important one. ly concealed. There’s a push-pull at the of you that’s sometimes startled by the center of the act of writing that’s inherent. fact that they don’t understand how both So love is worth it? I think it’s cavalier of David to put it that godly and how flawed you are. They don’t I think it is. I just don’t understand an ap- way but I know how he does his business always bring the exactly right amount of proach to life that doesn’t involve trying in a play and that’s a likely statement respect and comfort you expect. That’s to communicate completely with another from him. I just don’t agree with him and a very useful thing because it helps you person - or with a lot of people. Otherwise, on some very fundamental level. He and see that sometimes you’re an arrogant why would I be a playwright? I’m there I are totally opposite human beings in the asshole and you really need to be humbled trying to reach a lot of people because I way we experience the world. a little bit and be glad that somebody’s so willing to remain with you. think feelings inside me that ordinary, day- Do you ever wake up and say, “Who the to-day interchange don’t allow to come This play makes several references to hell is this person next to me?” out easily can be beautifully achieved listening – “We should all listen more on stage. Oh no. I understand and know my wife very carefully.” How has listening helped your well. I do sometimes ask, “Why the hell marriage and your craft? You have said that when you work on a is she like that? Why can’t she see that? play you’re on a journey of some kind. “It’s Listening helps everything. People are This is ridiculous what she’s doing.” But I where I am in the bigger journey of a play amazed when you listen. When you hear know exactly why she’s doing it. At least and what I’m trying to work out in it that beyond what they are trying to say to what matters to me.” What kind of journey are I’ve explained it to myself. they are trying to say underneath, it’s a you on in The Full Catastrophe? I spend a lot of my time observing people. big gift for them. But it’s also a big gift for you. From a writer’s point of view, we’re The Full Catastrophe is a commission, This is the cruel thing about being a writer. You do watch people carefully and you dealing mainly with the visible universe. so my quote doesn’t entirely apply here. We’re reporting what can be observed. But Generally, when I’m working on a play of sometimes come to understand them very well. But I never ask, “Who is this?” It we’re also always trying to suggest the my own, I don’t know why the journey calls shimmer behind it. If you listen carefully would be very, very difficult for my wife me to take it. Once the journey starts, I’m for the little doors that open in a conversa- to completely surprise me. She often sur- following a series of unstated questions tion, doors to what you know someone is prises me in small ways, but if she did inside myself. Not questions like “What’s not telling you, you get better at creating something entirely out of character, I green and has three eyes?” but rather, a world with surfaces that suggests a lot would really be thrown by it. “What can happen in a scene by the time of unstated intention beneath and behind it’s over that I will think is true and will In Who’s Afraid of Virginia Woolf? the the words. Audiences like that. persuade and satisfy me?” Usually it in- character George Washington describes volves something deep inside me that I You have said that the mirror neurons in his relationship to Martha as “Dashed can’t talk about any other way. the brain are more powerfully activated hopes and good intentions: Good, better, by a play than by other media. An October 2008 New York Times review best, bested.” What do you think of that? of your play Fifty Words says that your If you see a photograph of somebody I know Edward Albee a little, and I under- plays are “propelled by a longing to be being killed by another person, it’s shock- stand how he arrives at that idea. That’s alone and a longing to never ever be ing. But if you actually see the person just not my experience. As an outsider alone.” With that in mind, how do you killed, it’s devastating. A live experience to marriage – Albee saw his own parents’ respond to this line from David Hare’s 1985 is inescapable. In film you’re so used to marriage through the eyes of an adopted movie, Wetherby: “If you’re frightened by seeing those images you tend to dismiss it child, and that’s a very specific perspec- loneliness, never get married.” as just another image. But when a person’s tive to bring into the world . . . my experi- in front of you impersonating the emotion That’s very David. The writer’s dilemma is ence of life is not that. and the action – even though you know

36 Michael Weller, continued Sheila Callaghan, continued Johnna Adams, continued they’re faking it – you get completely lost shit in my head. I started teaching yoga seems to work best when something is in their act of doing it because they are recently to get out all that extra energy. slightly inappropriate to the setting. physically in front of you, embodying it. I write to get out all the trauma. You said that the theater that excites you Theater is a tribal act. We’re doing some- You recently tweeted, “Please make sure is “the theater that makes you laugh a lot, thing very primitive during a live perfor- my tombstone reads, “Brilliant but can- and then unexpectedly cry. You can feel mance: We’re tracking game. We watch celled.” the air leave the room for a minute and actors on stage, and we become hunters My impulse is to die before I fizzle. I know the audience holds their breath.” watching characters who don’t know we that sounds really dark, but maybe the can see them. Of course, we know they brighter way of looking at that is that Your primary tool for fixing your plays know, but at the moment we are com- I hope I’m never irrelevant. A common is being an audience member, and being pletely engaged with them, we are stalking art fear is that you stop understanding hyper-aware of how an audience perceives prey, watching every move to see which what makes people interested. I’d rather your play. I get 99 percent of my feedback way they’re going to go. Watching live be brilliant but cancelled than mundane for rewrites by listening to the plays. I put action is very, very primitive. and long running. a lot of pauses in plays for the audience What’s distinctive about producing a play because I like those moments of stillness with CATF? Is there one question I could ask you that you would never answer? where you can feel anyone around you It’s a theater with a real artistic director. coming to the same conclusion about what Ed reads every play. He doesn’t give it to “Do you believe in God?” was just said on stage; we’ve all come to a committee. His taste is so wonderfully Is there one question you’re dying for some mutual understanding none of us eclectic, and he loves theaters and plays. someone to ask you? could articulate if we tried. I listen for a It’s the way the great artistic directors real sense of communion. that I love have operated – Joe Papp, etc. “How do you remain so stunning?” Sounds sacred. They had a theater, they knew what they What’s unique about producing a play loved and didn’t apologize for it. They put with the Contemporary American Theater Yes, there is something to it that’s sacred. it out there and the only common thread Festival? was that there was a strong personality The playwright Barbara Hammond ended making all the choices. I love being a part We have access to Shepherd University, an article she wrote entitled, “How to Stay of the family of choices he makes. so we have many more resources at the a New York Playwright” with this: “Now ready. I’ve never done a show in rep close your eyes again, envision a stage, Barbara Hammond ended a piece she before, so it’s interesting to create this and watch someone walk on from stage wrote entitled, “How to Stay a New York kind of theater community. They’ve also Playwright” with this: “Now close your been very generous with approaching left. Get that pencil and write down what eyes again, envision a stage, and watch artists with whom I might want to work. she says.” My last question to you: Close someone walk on from stage left. Get that your eyes, someone is walking on from pencil and write down what she says.” Barbara Hammond ended a piece she stage left. What is she saying? My last question to you: Close your eyes, wrote entitled, “How to Stay a New York someone is walking on from stage left. Playwright” with this: “Now close your Is this a verbal writing prompt? I don’t What is that person saying? eyes again, envision a stage, and watch have a good character coming in right now someone walk on from stage left. Get that on my mental stage. That’s hard for me, I have no idea. Until there is a context, I pencil and write down what she says.” don’t know where to begin. For me, until finding the right place to invite those char- My last question to you: Close your eyes, acters in. That’s not something I would do there’s a situation, there’s no drama. I someone is walking on from stage left. too lightly. If I’m going to create somebody think the world is a set of conditions into What is that person saying? which you put a disruption and then . . . walking in from stage left, I need to be in you watch. ■ “Oh fuck, wrong door!” ■ a sacred place to do it. ■

37 THE 2015 COMPANY

MAY ADRALES*** NYC); Events with Life’s Leftovers by Alberto Villarreal Diaz Director (Dramafest, Mexico City); and Aliens With Extraordinary Skills by EVERYTHING YOU TOUCH Saviana Stanescu (Women’s Project, NYC). She directed the world premiere of The Brothers Size by Tarell McCraney at The Public May Adrales is a freelance theatre director Theater, NYC, and later productions at The Studio Theatre in based in New York City, working primarily Washington, DC, and The Abbey Theatre in Dublin. Her original with new plays. Her work has been seen devised work includes The Filament Cycle, which performed at at Lincoln Center Theater, Signature La Mama ETC, NYC, the 4+4 Festival in Prague, BAC London, Theatre, The Goodman Theater, Actors Theatre of Louisville, Philadelphia, Colorado, Denver, and Potsdam; and Zero Hour, Portland Center Stage, Cleveland Playhouse, South Coast Rep, about the Balkan War. Other directing work from this period Milwaukee Rep and Two River Theater. She is a Drama League includes Man Have Called Me Mad, One Day in Moscow, Cerebral Directing Fellow, Women’s Project Lab Director, SoHo Rep Writers/ Events and Sam Perspective. She was Associate Artistic Director Directors Lab and NYTW directing fellow, and a recipient of the of the Ensemble Company for the Performing Arts in New Haven, TCG New Generations Grant, Denham Fellowship and Paul Green where she directed Woyzek by George Buchner, Self–Accusation Directing Award. She proudly serves as an Associate Artist at by Peter Handke, Preparadise Sorry Now by Rainer Werner Milwaukee Repertory Theatre. She is a former Director of On-Site Fassbinder, Baal by Berthold Brecht and Zero Hour. Alagic holds Programs at the Lark Play Development Center and Artistic a BFA in acting from The Charles University in Prague and an Associate at The Public Theatre. MFA, Yale School of Drama. She MFA in directing from Yale School of Drama. has directed and taught at NYU, Bard College, Juilliard and Fordham University. She is currently on faculty at the Yale School of Drama and Brown University. www.mayadrales.net JOHN AMBROSONE** Lighting Designer ON CLOVER ROAD / EVERYTHING YOU TOUCH TEA ALAGIC*** CATF: Uncanny Valley, H2O, Barcelona, The Director Exceptionals, We Are Here, Race, Yankee WE ARE PUSSY RIOT Tavern, Farragut North. Broadway: The Old Recent work includes: Rechnitz by Elfriede Neighborhood. Off Broadway: Uncanny Jelinek (Artist in resident at TFANA) Valley at 59E59 St. Theatres, Nocturne at New York Theatre Washeteria by Charise Smith (Soho Rep) Workshop. US Tour: The King Stag. Regional Theatre: American 4,000 Miles by Amy Herzog (Asolo Rep, Repertory Theatre, Alley Theatre, Arena Stage, Brooklyn Academy Sarasota,FL) Romeo and Juliet by William Shakespeare (Classic of Music, Capital Repertory, Clarence Brown Theatre, Coconut Stage Company) Venus in Fur by David Ives (Asolo Rep, Sarasota, Grove Playhouse, Hartford Stage, Long Wharf Theatre, McCarter FL) Jackie by Elfriede Jelinek (Women’s Project,City Center Stage Theatre, Merrimack Repertory, People’s Light & Theatre, II) The Brothers Size by Tarell McCraney (The Old Globe, San Philadelphia Theatre Company, Playmaker’s Repertory Company, Diego) A Light Design by Brandon Jacobs-Jenkins (Baryshnikov Prince Music Theatre, Ridge Theatre, Royal George Theatre of Art Center), Petty Harbour by Martyna Majok (Carlotta Festival) Chicago, Trinity Repertory Company, and Virginia Stage Company. Man Of La Mancha book by Dale Wasserman, lyrics by Joe Darion, International Designs: Sao Paulo, Brazil; Strasbourg, France; music by Mitch Leigh (Burning Coal Theatre Company, Page Berlin, Germany; Tokyo, Japan; London, England; Leon, Mexico; 73,NYC), Waking Up by Cori Thomas (EST, NYC); Anonymous by Singapore; Moscow, Russia; and Taipei, Taiwan. Professional Naomi Iizuka (Hispanic Cultural Center, Albuquerque); The Affiliations: John is a member of the United Scenic Artists Local Marriage Of Maria Braun by Rainer Werner Fassbinder (ZKM, 829, United States Institute for Theatre Technology. Teaching: Croatia); Binibon by Jack Womack and Elliot Sharp (The Kitchen, Head, MFA/BA Lighting Design at Virginia Tech.

38 AARON ANDERSON DEBRA A. ACQUAVELLA* Fight Director Production Stage Manager Aaron Anderson is thrilled to be returning Deb is delighted to be back at CATF for her tenth season. No to CATF. It is his absolute favorite place to stranger to new play festivals, Deb spent fifteen seasons working pretend to beat people up. Otherwise his as the Production Stage Manager of Actors Theatre of Louisville, resume is pretty standard: he’s a former where she stage managed dozens of premieres in the Humana US Army explosive ordinance specialist Festival of New American Plays. Other regional credits include with two terminal degrees and three university appointments (at four seasons at Baltimore’s Center Stage, The Huntington Theatre, Virginia Commonwealth University: Department of Theatre, Trinity Repertory Company, Studio Arena Theatre, The Department of Internal Medicine, and School of Business Executive Shakespeare Theatre Company, Barter Theatre and, most recently, MBA). He is internationally certified as a fight director with the Breath and Imagination by Daniel Beaty at Boston’s Paramount Society of American Fight Directors and the British Academy of Theatre. On Broadway, Deb was PSM of the long-running Stage and Screen Combat and has taught at universities and Metamorphoses at Circle in the Square, Master Harold… and the theaters across the United States and Europe including the Banff boys and Jane Eyre, The Musical. Off-Broadway credits include Center for the Performing Arts, London’s City Literary Institute, Radio Macbeth, directed by Anne Bogart; Falsettos at Playwrights the Denver Center for the Performing Arts, London’s Italia Conti Horizons; The Thing About Men at the Promenade Theatre; and School of Performing Arts, Northwestern University, The Metamorphoses at Second Stage Theatre. In the off-season, Deb University of Illinois, North Carolina School of the Arts, and the is the Head of the Stage & Production Management Program in University of Hawaii. Favorite shows at CATF include H2O, the Performing Arts Department at Emerson College in Boston. Heartless, Modern Terrorism: Or They Who Want to Kill Us and Working professionally at CATF with her students is the best of How We Learn to Love Them, Scott and Hem in the Garden of both worlds! Allah, Barcelona, Captors, Gidion’s Knot, In a Forest Dark and Deep, Ages of The Moon, Lidless, Fifty Words, History of Light, DAVID M. BARBER** Farragut North, The Overwhelming, Stick Fly, and Pig Farm. Set Designer ON CLOVER ROAD / EVERYTHING YOU TOUCH HELEN ANKER* For CATF, In A Forest Dark and Deep, Actor Captors, Modern Terrorism, Scott and Hem THE FULL CATASTROPHE in the Garden of Allah, H2O, North of the Helen is thrilled to be creating the roles Boulevard, One Night. Off-Broadway: ’Tis of Beth and Paula in the World Premiere Pity She’s a Whore, Women Beware Women (Red Bull Theatre of The Full Catastrophe. Past roles and Co.), The Most Deserving (Women’s Project Theater), The Orphans’ shows include Eliza Doolittle in My Fair Home Cycle (Signature Theatre Co.), The Vandal (The Flea), A Lady at The Guthrie Theater Minneapolis, Broadway: Miss Olsen Simple Heart (Classic Co.), TOKIO Confidential (Atlantic Stage in Promises, Promises, Papermill Theater: Medda in Newsies; and 2). Off-Off-Broadway: Rattlestick Playwrights’ Theater, Chashama, Georgia in Curtains, Pioneer Theatre: Cecily Pigeon in The Odd HERE, the Ohio, Rattlestick Theatre, many others. Regional: Couple, Milwaukee Rep: The 39 Steps, West End, London: Mother Denver Center, Hartford Stage, Baltimore CENTERSTAGE, ART, in Parade, Ivy Smith in On the Town, Zelda Fitzgerald in Beautiful Pittsburgh Public Theater, Colorado Shakespeare Festival, and Damned, Girl on the Swing in Contact, Hard Times, Oklahoma!, Fame, Cats, Crazy for You and many other U.K. regional produc- This Theater operates under an agreement between the League Of Resident Theatres and Actors’ Equity tions. Film: Oklahoma!, Disney’s Cinderella, and Ted 2, TV: The Association, the Union of Professional Actors and Stage Managers in the United States. Good Wife, White Collar, Law & Order, and Holby City (BBC). *Actors’ Equity Association **United Scenic Artists ***Stage Directors and Choreographers Society Recordings: Many original musical Theater Albums, and can be seen in the openings of 4 Tony Awards and performed at The Oscars this year! Training: The Royal Ballet School; Bird College of Musical Theatre. www.helenanker.com Twitter: @helenanker

39 Cleveland Public Theater, Alabama Shakespeare Festival, Two MOLLY CARDEN* River Theater Co., Barrington Stage Co., Dorset Theatre Festival, Actor Idaho Shakespeare, Great Lakes Theater, Jacobs Pillow, others. ON CLOVER ROAD Television: E! Entertainment, The TODAY Show, Football Night In New York credits: Cherry Smoke (Working America, (Art Director); Woodstock ‘99, Fashion Mega Warriors Theater), Downtown Race Riot (NYSF/ (Production Designer). Film: It’s All Relative, Day 39, Also Lies, Powerhouse Theater), Emotional Creature Double Header, Soundstage 116 (Production and Costume Designer) (Signature Theatre), Everything Is Ours Other: Ringling Brothers Barnum and Bailey Circus (Art Director); (HERE Arts/Colt Coeur), 52nd to Bowery to Cobble Hill, in Brooklyn Conni’s Avant Garde Restaurant (resident designer / ensemble (EST Marathon, 2015) in addition to many readings and workshops member) Awards: Drama Desk, American Theatre Wing Henry at Ensemble Studio Theatre where she is a member. Regional: Hewes Award, Connecticut Critics Circle Award, Denver Ovation Emotional Creature (Berkeley Repertory Theatre), The Great Award, Denver Critics Circle Award, Westword’s “Best of Denver”, Immensity, (co-production with The Civilians at Kansas City Prague Quadrennial ‘99. www.davidmbarber.com Repertory Theatre) Proof (Temple Theatre in North Carolina), I Capture the Castle (Creede Repertory Theatre). Molly trained at TREVOR BOWEN University of North Carolina School of the Arts. Costume Designer WE ARE PUSSY RIOT THERESE BRUCK Trevor is excited to share in CATF’s 25th Costume Designer season. Contemporary American Theater ON CLOVER ROAD / THE FULL CATASTROPHE Festival credits include: Dead and Breathing Therese is a long time company member, and is delighted to be (World Premiere), Modern Terrorism, The a part of the 25th Anniversary Season having designed last Exceptionals, Race, We Are Here, Inana, The Eelwax Jesus 3-D seasons North of the Boulevard and Uncanny Valley. Therese is Pop Music Show (World Premiere), and The History of Light (World the Costume Director for NYU UGD Tisch, and recently was the Premiere). Regional Credits include Guthrie Theater: Choir Boy, Costume Manager for the internationally renowned Blue Man Pillsbury House Theatre: The Gospel of Lovingkindness, the road Group. New York credits include The Sum of Us (with Tony weeps, the well runs dry. Mixed Blood Theatre: Pussy Valley (World Goldwyn), Demonology (with Marisa Tomei), Arts and Leisure Premiere), HIR, African American, Colossal, Passing Strange. Park (directed by Joanne Akalitis), Down the Road (with Eric Stoltz), Square Theatre: The Color Purple, The House On Mango Street. Veins and Thumbtacks (directed by Ethan Hawke), A Life in the Theatre Latte Da: Our Town, Steerage Song: The Tour. Macalester Theater (with F. Murray Abraham) and The Suffering Colonel College Statements After an Arrest Under the Immorality Act, In (directed by Matthew Broderick). Regional designs include Picnic The Blood. M.F.A. West Virginia University (with Blythe Danner, Jane Krakowski, Gwyneth Paltrow, and Tony Goldwyn) and Moonstone (with James Naughton) both at MOLLY BROWN Williamstown Theater Festival and Always Patsy Cline (with Sally Acting Apprentice Struthers) in Las Vegas. Therese resides in NJ with 2 kids, 2 dogs, and 1 husband (actor Patrick Boll). “It is threads, hundreds EVERYTHING YOU TOUCH / ON CLOVER ROAD of tiny threads, which sew people together through the years.” Molly is absolutely ecstatic to be spending -(Simone Signoret) Thank you to Ed Herendeen and CATF for her summer in historic Sheperdstown, West including me as one of those tiny threads through the years. Virginia. She will start her fourth and final You’ve loomed a beautiful textile in which to work, create and year at the University of Iowa in the fall. play, and I look forward to seeing what CATF sews up next! Happy Some of her favorite past credits include: Jane Hopcroft (Absurd Silver Jubilee! Person Singular), Elizabeth Bennett (Pride and Prejudice), and Rosalind (Moon Over Buffalo). Special thank you to her mom and her dog for the unconditional support.

40 MARIBETH CHAPRNKA* TOM COINER* Stage Manager Actor ON CLOVER ROAD / THE FULL CATASTROPHE ON CLOVER ROAD / THE FULL CATASTROPHE Maribeth is happy to be returning to CATF, Mr. Coiner has performed at Asolo where her previous productions include Repertory Theatre, Playmakers Rep, Geva One Night, North of the Boulevard, H2O, Theatre, the Denver Center, the Cape Cod In a Forest, Dark and Deep and Captors. Playhouse, and the Colorado Shakespeare Other stage management credits include The Kennedy Center: Festival. Television credits include Boardwalk Empire, Person of The Gift of Nothing, Elephant and Piggie’s We Are in a Play!, Jason Interest, and the upcoming HBO mini-series, Crime. Mr. Coiner Invisible, American Scrapbook. Woolly Mammoth Theatre received his B.A. from Kenyon College and his M.F.A. from the Company: Zombie: The American, We Are Proud to Present..., National Theatre Conservatory. www.tomcoiner.com Stupid F##king Bird, Civilization. Everyman Theatre: Ruined, The Glass Menagerie. Round House Theatre: Bengal Tiger at the Baghdad Zoo, Young Robin Hood, Crown of Shadows, Pride and RYAN C. COLE Prejudice, Fahrenheit 451, Hotel Cassiopeia, Redshirts, The Technical Director - Frank Center Director: The Third Act of Elia Kazan, Jon Spelman’s Frankenstein. Ryan is excited to return for his second season with CATF as the Annapolis Opera: Carmen. Summer Opera Theatre Company: The Frank Center Technical Director! Ryan is from Stafford, Virginia Impresario, Suor Angelica, Rigoletto, and Cendrillon. ASM credits and has two brothers. He received his BFA in Theatre Arts at include: The Shakespeare Theatre: As You Like It. Pittsburgh East Carolina University in 2012. Ryan just completed his second Opera: The Barber of Seville, Lucia di Lammermoor, Turandot, year at Florida State University in pursuit of an MFA in Technical Dialogues of the Carmelites. Michigan Opera Theatre: Madame Production. He will be moving to Syracuse, NY this fall to take a Butterfly. She is a graduate of the University of Maryland in project management internship with J.R. Clancy, Inc. He would College Park. like to thank God, his family, and his fiancé, Jennifer Lemcke, for their love and support. Go Pirates!

RACHAEL CLAXTON Festival Charge Artist SAMANTHA COTTON Rachael is happy to be returning to CATF Company Manager for a 6th season. During the year she serves Samantha Cotton is thrilled to lead the Company Management as the Charge Scenic Artist for the team for her first full season at CATF. She is a recent graduate Cleveland Play House, recipient of the 2015 of Ithaca College, where she received a Bachelor of Arts degree Regional Theatre Tony Award. Past credits in Stage Management. Most recently, she worked as a Production include Lookingglass Theatre, Steppenwolf, the House Theatre Assistant on The Visit (Broadway, Lyceum Theatre) Off Broadway of Chicago, Ravenswood Scenic Studio, Harpo Studios, and Chicago credits include Uncanny Valley (CATF in NYC) You Got Older (Page Shakespeare. When not wielding a paint brush Rachael can be 73) Regional credits include On The Town, Scott & Hem in the found working on her flying trapeze skills, cooking, and going on Garden of Allah (Barrington Stage Company) Around the World walks with her Siberian Husky, Shyenne. More examples of her in 80 Days, and Other Desert Cities (Hangar Theatre). work can be found on her website, www.RachaelClaxton.com.

WILLIAM D’EUGENIO Master Electrician – Frank Center William K. D’Eugenio is thrilled to return for a third season at CATF, where his growing passion for new work continues to be fostered. Originally from Connecticut, Billy fell in love with the Baltimore and DC theatre scenes while studying at UMBC. During

41 the rest of the year, Billy works predominantly as a lighting and Winspear, various Chinese tours. Consulting and systems design sound designer in the area. His recent credits include: Circle for numerous installations and corporate events. Mirror Transformation; Venus in Fur (Sound Design, RepStage); Godspell; The Little Mermaid (Asst. Lighting Design, Olney Theatre Center); Driving Miss Daisy (Asst. Lighting Design, Ford’s Theatre). GAYLEN FERSTAND Upcoming projects include: The Baltimore Waltz (Sound Design, Video Department Head RepStage); 2015 National Heritage Awards Concert (Lighting Gaylen Ferstand is beyond ecstatic to be spending her first Design, National Endowment For The Arts). In his spare time he summer at the Contemporary American Theater Festival at can’t seem to stay away from playing and writing music, a passion Shepherd University. She is a graduate of the University of he loves to merge with his sound design work. Hartford and the Hartford Art School , having earned a BFA New Media. She currently resides in Manchester, Connecticut with her supportive boyfriend, neurotic cat, and two very fat rats. Her CARY DONALDSON* previous technical credits include HARTT school of music and Actor dance as a projectionist and media assistant as well as the Ivoryton THE FULL CATASTROPHE / WE ARE PUSSY RIOT Playhouse in Essex, Connecticut last year as a projection techni- Broadway: Mrs. Warren’s Profession. Off- cian. There, Gaylen worked on several of their shows; most notably Broadway: The Winter’s Tale and The the world premiere of Comedy is Hard by Michael Reiss. Before Merchant of Venice (The Public Theater’s heading to the festival, she worked on Ivoryton’s productions of Shakespeare in the Park), Timon of Athens Say Goodnight Gracie and Calendar Girls. Above all else, Gaylen (The Public Theater), The Rivals and Major Barbara (The Pearl would like to thank her supportive boyfriend for his continuous Theatre Company) and The Old Boy (Keen Company). Regionally, support of her decisions regardless of how ill advised; her parents’ Mr. Donaldson has performed at Williamstown Theatre Festival, full support of her dreams no matter how far out there; her older Barrington Stage Company, Contemporary American Theater sister who is always filled with the best advice, and finally her Festival, Cincinnati Playhouse in the Park, St. Louis Repertory friends at the Ivoryton Playhouse for their confidence in her. Theater, Pioneer Theatre Company, and Georgia Shakespeare. Television credits include Blue Bloods and playing Henry Ford in The History Channel’s Men Who Built America. Mr. Donaldson LINDSAY EBERLY* received his B.A. from Wake Forest University and his M.F.A. from Assistant Stage Manager - Marinoff Theater New York University’s Graduate Acting Program. CATF: Dead & Breathing, The Ashes Under Gait City, Modern Terrorism, Scott & Hem in the Garden of Allah, The Insurgents, Ages of the Moon, Inana, and The Eelwax Jesus 3-D Pop Music SHAWN DUAN** Show. Center Stage: 4000 Miles, After the Revolution, It’s a Projection Designer Wonderful Life, Amadeus, Twelfth Night, A Civil War Christmas, EVERYTHING YOU TOUCH Animal Crackers, Beneatha’s Place, Clybourne Park, The Broadway: Chinglish (Longacre). Regional/ Mountaintop, The Completely Fictional...Final Strange Tale of E.A. Off-Broadway: Prima Donna (BAM/NYCO), Poe. Berkshire Theater Festival: A Thousand Clowns, Homestead Comedy of Errors (OSF), Most Happy Fella Crossing. Huntington: Circle Mirror Transformation. Royal Court: (Skirball), Knickerbocker (Public), Tarzan Haunted Child. Love to Mom & Dad, thanks for everything. (North Shore Music Theater), Assassins (2nd Ave Theater), The Who’s Tommy (Abrons Art Center), Benjamin Button the Opera (Symphony Space), The Other Place (VSC), Great Gatsby (VSC), Citizen Ruth the Musical (Minetta Lane). Tours: An Evening with Pacino, Super Why! Live! (2012, 2013 Tour), Yo Gabba Gabba! Live! (2011 Tour), Additional associate design and programming work: Broadway, BAM, The Cosmopolitan Las Vegas, The Alliance, The Geffen, The Kennedy Center, La Jolla Playhouse, The Ohio, The

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Enjoy spectacular views falling away to nearby Virginia, West Virginia and Pennsylvania. bringing you www.antietamoverlook.com • 301-432-4200 Contemporary American crafts JOSH FRACHISEUR ARSHAN GAILUS Technical Director – Marinoff Theater Sound Designer and Original Music Josh is the Professor of Scenic Design at Northern State WORLD BUILDERS University, and is happy to join CATF for a fourth year. Some of Boston area credits include sound design and original music for his recent work includes serving as Technical Director for Idaho Becoming Cuba (Huntington Theatre Company), Phedre, The Shakespeare Festival, the Great Lakes Theatre Festival, and last Cherry Orchard, Romeo and Juliet, Pericles, Macbeth, and Twelfth year’s Uncanny Valley. He has had the pleasure of designing Night (Elliot Norton Award for Outstanding Design) (Actors’ scenery for Idaho Theater for Youth and Shakespeariance tours. Shakespeare Project), Splendor, The Elaborate Entrance of Chad He also served as the scenic designer for Great Lakes Festival’s Deity (Elliot Norton Award for Outstanding Design), 1001, GRIMM, outreach tours Before the Storm and Seeing Red. Other theater after the quake, The Overwhelming, and Voyeurs de Venus credits include technical director for Glyn Maxwell’s premiere of (Company One), Tribes, Clybourne Park, and The Divine Sister Wolfpit and Broken Journey for the Phoenix Theatre Ensemble (SpeakEasy Stage Company), Lungs (New Repertory Theatre), of New York. He also served as touring technical director for and Chinglish, Avenue Q, The Temperamentals, Superior Donuts, Arkansas Repertory Theatre, including the tour of Romeo and The Understudy, Blithe Spirit, and Legacy of Light (Lyric Stage Juliet which was part of the NEA’s Shakespeare in American Company). Arshan teaches Sound Design at Emerson College and Communities initiative. Josh has also served as Professor of serves as the Resident Sound Designer for Emerson Stage. Theatre for West Virginia University and scenic carpenter and Arshan’s other work includes sound design and original music for props artisan for the daytime drama As the World Turns. Josh is independent video games in the Boston area and internationally. blessed by the love and support of his wonderful wife Nicole and Arshan holds a B.S. in Music from MIT. www.arshangailus.com perfect daughter Corina.

JERZY GWIAZDOWSKI* TONY GALASKA Actor Lighting Designer EVERYTHING YOU TOUCH WORLD BUILDERS CATF debut. NYC theater: The Lieutenant Tony Galaska is in his second season with The Contemporary of Inishmore. (Broadway, Lyceum Theatre), American Theatre Festival. Company design credits: World Leave the Balcony Open (New Feet, 3LD), Builders, The Ashes Under Gait City and Dead and Breathing. With Love From, Clocks and Whistles, Tony has worked professionally with companies such as Toy Box Spinning the Times, End of Lines (Origin), Don’t Quit Your Night Theatre Company, The Gallery Players, Wings Theatre Company, Job (Jed Bernstein, ATT) Still Lives (WorkShop), Language of Metropolitan Playhouse, New Perspective Theatre Company, The Angels, We Three (Lincoln Center Institute), Balm in Gilead Shakespeare Theatre of New Jersey (ten seasons) and The Texas (Barefoot). Regional: Soups, Stews, and Casseroles: 1976 (World Shakespeare Festival (five seasons). Tony is currently Associate Premiere, Rep St. Louis), Black Comedy(NRTC/Signature DC), Professor of Lighting Design and Head of Design and Production Much Ado About Nothing (HERE&NOW, VT), The Playboy of the at Florida International University in Miami. He received his MFA Western World, (Pittsburgh Irish and Classical), ...Inishmore in lighting design from Purdue University, a BFA from The (Florida Studio Theatre), The Comedy of Errors (Roanoke Island University of Wisconsin Stevens Point and an A.A. from The Festival). TV/Film: Nurse Jackie, Forever, Girls, L&O: SVU, Guiding University of Wisconsin Waukesha. Tony is also currently the Light, 3 Lbs, Across the Universe, and indie feature Natural Causes. Vice-Chair of Design, Technology and Management for The As a playwright: We Three (LCI), Proximity (Sonnet), Lacy Hoodoo Kennedy Center American College Theatre Festival Region IV. (MUDasMAN), Michael Bay’s America, Part IV, All Over Me (How Does it Feel?), Grievous Circle (CRY HAVOC). In November 2012, All Over Me premiered simultaneously in Norway, Germany, and Australia. Last month, Grievous Circle premiered as part of Lincoln Center Originals. Co-Adapter: the 50th Anniversary version of Take One Step, with original librettist and director Gerald Freedman. Resident Artist: The CRY HAVOC Company. Reigning MVP: World Pun Championships. Training: UNC School of the Arts.

44 maryland great theater deserves great wine! Savor our food and wine, take a tour or just unwind. Our unique environment and unparalleled service allows guests to slow down and celebrate the good life. open everyday 11am-6pm · friday 11am-9pm + music in the vineyards free concert series (every friday night from 6-9pm)

bigcorkvineyards.com 4236 Main Street Rohrersville, MD 21779 (only 20 minutes from CATF) ED HERENDEEN*** honored with the College of Fine Arts Distinguished Alumni Award Producing Director and Director in Theater from Ohio University (from which he received his MA ON CLOVER ROAD / THE FULL CATASTROPHE in Directing) and has served on the Admissions Committee for New Dramatists and as a panelist for the National Endowment Ed Herendeen founded the Contemporary for the Arts. Since 2011, he has served on the board of Theatre American Theater Festival in 1991 in Communications Group (TCG), the national service organization Shepherdstown, West Virginia with the for American theaters. mission to produce and develop new American theater. Through his leadership, and operating under an AEA LORT D contract and an annual budget of over one million ELISHEBA ITTOOP** dollars, the Theater Festival has produced 105 new plays – includ- Sound Designer ing 40 world premieres and nine commissions – and has gained THE FULL CATASTROPHE / WE ARE PUSSY RIOT a reputation as one of America’s most important producers of new work. Hosted on the campus of Shepherd University, CATF Elisheba Ittoop was previously heard in sells over 13,000 tickets to its four-week rotating repertory season last season’s Uncanny Valley. Her designs of five new plays and attracts a national audience from 35 states and original music have been heard at The to the region. Each summer, the Festival generates a local eco- Kennedy Center, Signature Theatre, nomic impact of over $2.1 million dollars to West Virginia’s Eastern National Gallery of Art, Woolly Mammoth, Women’s Project, Panhandle. Centerstage, Arena Stage, Cincinnati Playhouse, Cleveland Playhouse, Perseverance Theatre, Trinity Repertory, Folger Recently, Ed’s directing credits include The Eclectic Society by Theatre, Virginia Stage Company, Children’s Theatre of Charlotte, Eric Conger, a world premiere produced by the Walnut Street Bonnaroo Music Festival, and the Center for Puppetry Arts. Theater in Philadelphia. Among the plays he has directed at the Elisheba was a resident sound designer at the Eugene O’Neill Contemporary American Theater Festival are the following world Theater Center for the 2010 and 2011 National Playwrights premieres: Whores by Lee Blessing; Miss Golden Dreams: A Play Conference, recipient of the Kenan Fellowship at the John F. Cycle and Bad Girls by Joyce Carol Oates; Compleat Female Stage Kennedy Center for the Performing Arts, and winner of the 2008 Beauty by Jeffrey Hatcher (which was commissioned by CATF USITT Rising Star Award. Education: NYU, North Carolina School and later produced as the film Stage Beauty); Carry the Tiger to of the Arts. www.elishebaittoop.com For Alan. the Mountain by Cherylene Lee; Octopus by Jon Klein; Jazzland by Keith Glover; Dear Sara Jane by Victor Lodato; The Ecstasy JAECHELLE JOHNSON of Saint Theresa by John Olive; The Occupation by Harry Newman; Sound Department Head What Are Tuesdays Like? by Victor Bumbalo; From Prague by Kyle Bradstreet; Gidion’s Knot by Johnna Adams; and Still Waters Jaechelle is currently a 4th year under- and Psyche Was Here by Lynn Martin. Other CATF directing graduate student at the University of credits include: Ages of the Moon, The God of Hell, and The Late North Carolina School of the Arts studying Henry Moss by Sam Shepard; Fifty Words by Michael Weller; Race Sound Design for the Theatre. This is her by David Mamet; Farragut North by Beau Willimon; The first summer with CATF and she is very Overwhelming and White People by J.T. Rogers; Mr. Marmalade excited to be a part of their 25th season. by Noah Haidle; In A Forest, Dark and Deep and Wrecks by Neil She has kept busy the last couple summers working with the LaBute; Blessing’s Thief River; and Below the Belt, Gun-Shy, and Weston Playhouse Theatre Company in 2014 and designing for Something in the Air by Richard Dresser. Peppercorn Theatre’s 2013-summer season as well as the Cirkus Theatre Project at UNCSA. Selected sound technician credits Ed has also worked at The Milwaukee Repertory Theatre, The include: Lady Patriot and Searching for Willie Lynch, 2013 National Missouri Repertory Theatre, The Old Globe, The Lyceum Theatre, Black Theatre Festival; Into the Woods, Dying for It, and Misalliance, and the Williamstown Theatre Festival. In 1999, CATF was pre- UNCSA; and Red, Triad Stage. Jaechelle would like to thank her sented with the Governor’s Award for Excellence in the Arts and, amazing mother who is her main supporter and anyone else that in 2012, the Governor’s Award for Leadership in the Arts. Ed was has helped her along the way.

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MERLE DUSKIN KAILAS Maison des Arts de Creteil, The Brooklyn Academy of Music, The Commercial Producer Public Theater, The Chocolate Factory, The Walker Art Center, THE FULL CATASTROPHE Arts at St. Ann’s, La Mama ETC, PS122, HERE Arts Center, The Ontological-Hysteric Theater, The ICA (Boston), Theater for a Merle Duskin Kailas, President of MK Group New Audience, The Portland Experimental Theater Ensemble, Productions, celebrates her debut as a The TBA Festival, and the Under the Radar Festival as well as Producer with over 40 years experience regional theaters around the country. In 2005 Peter was a recipi- in the corporate and non-profit sectors. A ent of the NEA/TCG Career Development Program. In 2006 He lifelong fan of the arts, she has also donated her time to serve joined the curatorial board of the Ontological-Hysteric Incubator as Chair of the Board of the Cherry Lane Theatre and Soho Rep, and served as a curator of new and experimental work. In 2008 Chair of the Development committee on the Board of Directors he won an Obie award for the scenic design of Untitled Mars (this of BAFTA NY, and as Treasurer of New York Women in Film and title may change) and in 2014 he won a Bessie award for the Television. Ms. Kailas holds an M.P.P.M. from the Yale School of visual design of This was the End. He is also a member of the Management. faculty at Reed College.

ROBERT KLINGELHOEFER** TRENT KUGLER Scenic Designer Production Supervisor WORLD BUILDERS Trent Kugler has worked at CATF since 2009. He is a transplant Robert Klingelhoefer is the Associate from Ohio where he earned a B.F.A. in Theater Design/Technology Professor of Scenic Design and Director from Otterbein University. Before moving to the area with his of the Design and Technology Program in wife, Mayme, he was the Assistant Technical Director at Studio the School of Theatre & Dance at West Theatre in Washington, D.C. A photographer and builder of robots Virginia University. He designed 16 productions at CATF in the and other small electronic contraptions, he has served as 2007, 2008, 2009, and 2010 seasons and is very happy to return Technical Director for the departments of art, theater, and music to design World Builders. From 1987 to 2008 he was the Resident at Shepherd University since 2010. Designer at the Fulton Theatre in Lancaster, Pa. working on over 100 productions. Mr. Klingelhoefer has previously been Resident Designer for the Jean Cocteau Repertory Theatre and Pan Asian TASHA LAWRENCE* Repertory Theatre, both in New York City. His work has been Actor seen nationwide for companies including the Walnut Street ON CLOVER ROAD Theatre, Capital Repertory Theatre, the Asolo Theatre, Phoenix BROADWAY: Wilder Wilder Wilder, (dir. Ed Theatre Ensemble, and the New York State Theatre Institute Berkley) Good People, (dir. Daniel Sullivan). among many others. Internationally he has had productions Proof, (nat’l tour, dir. Daniel Sullivan). OFF performed at the International Festival of Experimental Theatre BROADWAY/REGIONAL: Jen Silverman’s in Cairo, Egypt, and the Market Theatre in Johannesburg, South The Roommate (Actors Theatre of Louisville) Sam Hunter’s A Africa. Great Wilderness, (Williamstown Theatre Festival) (dir. Eric Ting) The Few, (dir. Davis Mcallum) The Whale, (Drama Desk Nomination) PETER KSANDER** (dir. Davis McCallum). Lucy Thurber’s Asheville, (dir. Karen Allen) Set Designer Keith Reddin’s Human Error (dir. Tracey Brigden). Daisy Foote’s Bhutan, (dir. Evan Ynoulis). Dangerous Liasons, (dir. Daniel THE FULL CATASTROPHE / WE ARE PUSSY RIOT Goldstein) Betrayal, (dir. Ken Kimmons). Theresa Rebeck’s Bad Peter Ksander is a stage designer and Dates (dir. Alice Jankell). Craig Wright’s The Pavilion, (dir. Lucy theater artist whose work has been pre- Tiberghien). Drama Department’s June Moon, (dir. Mark Nelson) sented at national and international venues FILM/TELEVISION: Hangnail (Slamdance 2011). Pooka (dir. Murray including: The National Theater of Hungary, Loeffler)Romance and Cigarettes, (dir. John Turturro) Unbreakable

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Admissions_CATF2015_3.687x3.687.indd 1 6/9/15 8:05 AM Kimmy Scmidt, Law and Order (classic, Criminal Intent & SVU), performed Regionally at Syracuse Stage (The Vibrator Play), Third Watch (recurring), Deadline, Kevin Hill, Royal Pains, Life of Portland Center Stage (Othello), ATL Humana Festival (The Hour Boys, The Line (ACTRA, Geminii Nominations, Best Actress). of Feeling, Hero Dad, Oh, Gastronomy), Playwrights Theatre of New Jersey (Sedition), among others. TV and Film credits include High Maintenance (HBO), The Blacklist (NBC), L for Leisure ALLYSON JEAN MALANDRA* (International Film Festival Rotterdam 2014), Pre (Action on Film Acting Apprentice Festival) and How to Score Your Life. EVERYTHING YOU TOUCH / WE ARE PUSSY RIOT Allyson is thrilled to be joining the CATF KEYLA MCCLURE family! Regional credits include Chicago Acting Apprentice (Roxie), Aidia (Amneris), and Candide with the Arden Theatre Company. Allyson works WE ARE PUSSY RIOT extensively with new work, and some roles she has originated Keyla McClure is thrilled to be a member include Naomi Iizuka’s Good Kids (Deirdre), Darrah Cloud and of the Apprentice Acting company for this Kim Sherman’s Makeover (Ruth Levine), Crescendo (a devised awesome CATF season. She recently gradu- mask piece), and The Aurora Project (Gatekeeper). BFA – ated from the University of Iowa with her Shenandoah Conservatory. MFA – University of Iowa. Much love MFA in Theatre Arts. to my parents and my sister.

MCCORKLE CASTING, LTD. LIBBY MATTHEWS* Casting Director Actor Pat McCorkle (CSA). She is especially proud to be part of the EVERYTHING YOU TOUCH / WE ARE PUSSY RIOT CATF season once again. Broadway; 55 productions including; New York: Servant of Two Masters (Sonnet Amazing Grace, On the Town, End of the Rainbow, The Lieutenant Repertory Theatre/TeatroLATEA), The of Inishmore, The Glass Menagerie, Cat on a Hot Tin Roof, One Tooth of Crime (ColumbiaStages), The Long Flew Over the Cuckoo’s Nest, Amadeus, She Loves Me, Blood Christmas Dinner (ASO/Lincoln Center). Brothers, A Few Good Men. Off Broadway; over 60 original pro- NYU Grad Acting: The Seagull, Richard III, Blithe Spirit, Footfalls, ductions including; Clever Little Lies, Dr. Ruth, Stalking the The Eggs, As You Like It, Summer and Smoke, Mean Time. Regional: Bogeyman, Freud’s Last Session, Tribes, Our Town, Almost Maine, God’s Ear, RoboPop!, A Cure for Pain (Washington Ensemble Driving Miss Daisy. Regional Theatre: over 55 theatres across Theatre) Film: Pacific Aggression, What Light, Night Stand. the country including Guthrie, George Street Theatre, Baltimore Recipient of the Sylvia Deutscher Kushner Memorial Scholarship Center Stage, Connecticut Rep., Pittsburgh Public. Film: over 60 and a recent graduate of NYU’s Graduate Acting Program at features including; Year by the Sea, Child of Grace, Junction, Tisch. Premium Rush, Ghost Town, Secret Window, Basic, Tony and Tina’s Wedding, The Thomas Crown Affair, The 13thWarrior, Madeline, Die Hard III, School Ties. TV/Web; 45 projects including; Planned MARIANNA MCCLELLAN* Parenthood web series, Saint George, Twisted, humans for Sesame Actor Street, Californication (Emmy nomination.), Max Bickford (CBS), EVERYTHING YOU TOUCH Hack (CBS), Strangers with Candy, Barbershop, Chapelle’s Show. Marianna McClellan is a performer, born and raised in the NYC’s East Village. She recently performed and created #liberated with The Living Room for Ars Nova’s Ant Fest. She has also performed and collaborated with The Clockwork Theatre at Theatre Row (Cherry Smoke, Underground, and Apartment 3A), and Woodshed Collective (ETA). Marianna has

50 Shepherd University Foundation MAGAZINE Proud to support CATF in its 25th season. Celebrating more than 50 years of service to Shepherd University. Ensuring educational the new f word opportunities for deserving Arts | Culture | Events Shepherd students. Enhancing academic excellence free online subcsription : fluent-magazine.com through faculty and program support.

www.ShepherdUniversity Foundation.org PEGGY MCKOWEN** Videotape for the Theater on Film and Tape Archive; The New Associate Producing Director York Times, Back Stage, New York Magazine; Wall Street Journal and Costume Designer and in the texts: The Theater Experience and Theatre: The Lively EVERYTHING YOU TOUCH Art. She is a member of United Scenic Artists 829. Peggy McKowen’s association with the Theater Festival began in 2006, when she JOSHUA MIDGETT designed the costumes for Mr. Marmalade General Manager by Noah Haidle and the world premiere of Keith Glover’s Jazzland. Joshua recently joined the Theater Festival She joined the full-time staff the following year. As designer, her staff after completing his graduate studies work at CATF has included costumes for 1001 by Jason Grote, at American University in Arts H2O by Jane Martin (directed by Jon Jory), and Scott and Hem Administration. During his time in the in the Garden of Allah by Mark St. Germain; sets for From Prague District of Columbia, he worked with a by Kyle Bradstreet, Wrecks by Neil LaBute, and Gidion’s Knot by handful of arts organizations in various capacities, including the Johnna Adams; and sets and costumes for Dear Sara Jane by DeVos Institute of Arts Management (then housed at the Kennedy Victor Lodato and The Insurgents by Lucy Thurber. Her free-lance Center), GALA Hispanic Theatre, Young Playwright’s Theatre, work has been seen in New York with the Phoenix Theatre and American University’s Greenberg Theatre. While at American, Ensemble and Gateway Playhouse, and in California on Libby Joshua studied abroad as a part of the University’s Certificate Larsen’s opera, Every Man Jack. As resident designer for the in International Arts Management program, spending a semester Obie-award-winning Jean Cocteau Repertory, Peggy designed at Victoria University of Wellington studying Tourism Management. the Darius Milhaud-scored version of Brecht’s Mother Courage He also served as the Financial Chair for the Emerging Arts and Her Children, Nobel prize-winning poet Seamus Heany’s The Leaders Symposium, an organization housed within the University Cure at Troy, and several productions directed by the late Eve that is dedicated to inspiring conversation among current and Adamson. Regional theater work has been seen at Arkansas future leaders in the arts about the spectrum of concerns facing Repertory Theatre, Tennessee Repertory Theatre, Texas the industry. Prior to his time in the Mid Atlantic, he worked as Shakespeare Festival, and the Dallas Shakespeare Festival. She a company and residence manager for companies such as the designed Romeo and Juliet, one of six tours of the National Utah Shakespeare Festival, the Glimmerglass Festival, Dorset Endowment for the Arts’ series Shakespeare in the American Theatre Festival, and the Peterborough Players. His theatrical Communities. Peggy’s international design work has been seen management career began, however, at the Trinity Repertory at the B.A.T. Studio Theatre (Berlin), the Teatro Alfa Real (Sao Company, where he served as a management intern. His under- Paulo, Brazil), and for the E.T.A. Hoffmann Theatre in Bamberg graduate studies were at Keene State College in southwest New (Germany). Additionally, she designed the first full-length English Hampshire, where he earned a Bachelor’s of Art in both Directing speaking production of The Tempest performed in Beijing, China. and Economics. Peggy holds an MFA from the University of Texas (Austin), and has taught theater and humanities at Shepherd University; SARAH NEALIS* Dickinson College; Dickinson College/London; and West Virginia Actor University, where she was Chair of the Division of Theater and EVERYTHING YOU TOUCH / Dance for five years. She has been a member of the Shepherdstown WE ARE PUSSY RIOT Rotary Club; directed the intra-state event, Antietam Remembrance Walk; produced Rumsey Radio Hour, the annual fundraiser for Off-Broadway: Bill W. & Dr. Bob at SoHo the Shepherdstown Visitors Center; and currently serves on the Playhouse. Regional: Venus In Fur directed Arts Advisory Council for Hagerstown Community College. In by Tea Alagic‘ at Asolo Rep (Best Actress recognition of her work as both theater designer and administra- Sarasota 2013), world premiere of Theresa Rebeck’s What We’re tor, Peggy has recently been featured in Live Design and Wonderful Up Against at Magic Theater, Vanya and Sonia and Masha and West Virginia magazines. Production work has been captured in Spike at Alley Theatre, The 39 Steps at Cleveland Playhouse/ American Theater magazine; The New York Public Library Syracuse Stage/Indiana Rep, world premiere of Emma at Cleveland

52 Happy 25th Anniversary, CATF!

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www.InnAtMolersCrossroads.com [email protected] Playhouse, and various plays at New Jersey Rep, Denver Center, BRENNA PALUGHI* Actors Theatre of Louisville, Huntington Theatre, Cleveland Actor Playhouse, California Shakespeare Theater, Lake Tahoe WORLD BUILDERS Shakespeare, San Jose Repertory Theatre, Aurora Theatre Broadway: A Time to Kill New York Theater: Company, Napa Valley Repertory Theatre, Center Repertory Scared of Sarah (La MaMa), Naked in a Theater, Word for Word. Film: Keep In Touch (Best Feature Film Fishbowl (Cherry Lane), The Veterans at both Albuquerque Film & Music Experience and CIMMFest Project: Leaving Theater and SCOTTY 2015). BFA: UC Berkeley; studied at ACT in SF, Upright Citizens (Impact Theater).TV/Film/Web: NBC’s Mysteries of Laura, HBO’s Brigade in NYC, and with Caymichael Patton Studio. High Maintenance, Amazon’s Mozart in the Jungle, USA’s Royal Pains, She She, and upcoming, Lily. She has devised work and ANNE MARIE NEST* performed with the dance companies, RUAH INC and Body Collider. Apprentice Company Director Some favorite roles from her time at Yale School of Drama include Anne Marie Nest is so grateful to be return- Phedre in Phedre, Olga in Three Sisters and Queen Elizabeth in ing to CATF – the place that consistently Orlando. Workshop Company member at The Actor’s Center. feeds her artistic soul. At CATF, she has played a wide range of characters, each of ADAM H. PHILLIPS whom will always hold a special place in Acting Apprentice her heart. Some of those roles include: Lucy in Mr. Marmalade, Rachel in My Name is Rachel Corrie, Janet in Yankee Tavern, and EVERYTHING YOU TOUCH / Irene in Barcelona. Other theaters Anne Marie has worked at WE ARE PUSSY RIOT include: Playwrights Horizons, Ensemble Studio Theater, Adam Phillips is a recent graduate of the Philadelphia Theatre Company, Denver Center Theatre Company, University of Iowa Theatre Department Actors Theatre of Louisville, Pennsylvania Shakespeare Festival, and is proud to be starting his post-grad- and Shakespeare Orange County. She has also appeared on uate acting career at CATF. Previous credits include Pvt. Wars, television shows including: Law & Order, Life on Mars, Untitled Hair, She Stoops to Conquer, and numerous new works that made Even and Garth Project, Guiding Light, As the World Turns, and their debut at the U of I. He would like to thank the many wonder- One Life to Live. Anne Marie has devised many new works of ful new collaborators he has met this summer, his parents, and theatre with companies such as Anne Bogart’s SITI Company Ali, for her constant love and support. and The Beggars Group NYC (founding member).

DAVID REMEDIOS** JOHN NEWMAN Sound Designer Master Electrician – Festival and Marinoff Theater ON CLOVER ROAD / EVERYTHING YOU TOUCH John comes from Alabama, almost all of it really. He grew up in David Remedios has designed sound for Florence, studied Theatre and Computer Science at Birmingham- CATF’s North of the Boulevard, One Night…, Southern College, went on for a MFA at The University of Alabama, Scott and Hem in the Garden of Allah, and interned at the Alabama Shakespeare Festival in Montgomery. Modern Terrorism, Captors, In a Forest, He currently resides in Louisville, KY, and spends most of his time Dark and Deep, The Insurgents, We Are Here, Inana, The Eelwax as the Master Electrician at Actors Theatre of Louisville. John Jesus 3-D Pop Music Show, Yankee Tavern, and Farragut North. has also worked as a freelance electrician, lighting designer, Recent credits include Mothers and Sons (SpeakEasy Stage carpenter, scenic designer, adjunct professor, political canvasser, Company); Scenes from an Adultery (New Repertory Theatre); tech support technician, and high school substitute. He is very Ulysses on Bottles (Israeli Stage/ArtsEmerson); Out of the City, pleased to have the opportunity to return to CATF, and to fill his Oceanside, The Best Brothers, and Year Zero (Merrimack summer by helping to make these great new plays. Repertory Theatre); Women in Jeopardy! (Geva Theatre Center); Stop All the Clocks (original dance score, Brandeis Theater

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Established 1844 Congratulations on 25 drama-filled years in Shepherdstown. The Contemporary American Theater Festival is a gem! Pick up this week’s edition of our award-winning local paper at the Shepherdstown Sweet Shop Bakery at 100 W. German St. Company/Susan Dibble Ensemble); Under Milk Wood (The Poets’ Town, The Pillowman, The Subject Was Roses, Twelve Angry Men Theatre); and Twelfth Night (Commonwealth Shakespeare George Street Playhouse, A Few Good Men, The Hollow Alley Company, IRNE Award nomination). David’s work has been heard Theatre, Private Eyes, GunShy, The Pavilion Actors Theatre regionally at Huntington Theatre Company, American Repertory Louisville, Inventing Van Gogh Pittsburgh City Theatre, Arizona Theatre, The Studio Theatre, Portland Stage, Theatre for a New Theatre Co, I Am a Man Goodman Theatre, Arena Stage, The Grey Audience, among many others, and internationally at festivals Zone Long Wharf, Rosencrantz and Guildenstern Are Dead Arden in Bogotá, Paris, Hong Kong and Edinburgh. David has been Theatre, Black Starline Goodman Theatre TV : Unforgettable, honored by the Independent Reviewers of New England, Delocated, Chappelle’s Show, The Sopranos, Lipstick Jungle, The Connecticut Critics’ Circle, and the Boston Theater Critics Black Donnellys, Third Watch, Chicago Hope, The Untouchables Association’s Elliot Norton Award. remediossound.com. (recurring), ER (recurring), Law and Order (recurring) Film: James White, Thanks For Sharing, Tenderness, The Savages, Rocket Science, Watch It, The Curse of the Crimson Mask, Love the Hard NATHAN A. ROBERTS Way, Groundhog Day. Composer EVERYTHING YOU TOUCH TINA SHACKLEFORD* Nathan A. Roberts is a multi-instrumentalist, composer, and sound Stage Manager designer who specializes in creating original music and sound- scapes for plays, often live onstage. Regional: Sense and Sensibility ON CLOVER ROAD / EVERYTHING YOU TOUCH (Dallas Theater Center), In the Next Room (Syracuse Stage), Tina Shackleford is happy to join CATF for the summer. Her re- Accidental Death of an Anarchist (Yale Rep/Berkeley Rep), The gional credits include productions with La Jolla Playhouse, The Widow Lincoln and Our Town (Ford’s Theatre), Twelfth Night and Shakespeare Theatre, Weston Playhouse, Saint Michael’s The Tempest (Hartford Stage), The Servant of Two Masters (Seattle Playhouse, Clarence Brown Theatre, Seattle Group Theatre, Rep, Guthrie Theater, Shakespeare Theatre, Yale Rep), It’s a Quantum Theatre, Zachary Scott Theatre Center, Actors Theatre Wonderful Life (Long Wharf Theatre), Third, On Borrowed Time of Louisville, Riverside Theatre, Dallas Theater Center, and the and The Electric Baby (Two River Theater). New York: MacBeth Shakespeare Festival of Dallas, as well as collaborations with (The Acting Company/Guthrie Theater), Crane Story and Dramatis Theatre de la Jeune Lune and the Latino performance group Personae (Playwright’s Realm/Cherry Lane), Olives and Blood Culture Clash. She was also Production Stage Manager for Iowa (HERE), This is Where We Came In (The Greene Space/WNYC). Summer Repertory and the Illinois Shakespeare Festival. Film Training: MFA, Yale School of Drama. Faculty: Lecturer in Theater credits include Graduation and Love and Bones. Tina teaches Studies, Yale University. Other: designs and builds musical instru- Stage Management and Production at Carnegie Mellon School ments, with a special emphasis on flutes and hurdy-gurdies. of Drama and holds an MFA from the University of California-San Diego. She is a Vice-Commissioner for USITT, heading its Stage Management Mentor Project, and serves on the Executive Board LEE SELLARS* of the Stage Managers’ Association. Actor ON CLOVER ROAD / THE FULL CATASTROPHE Broadway: A Time to Kill, West Side Story BRIAN SHAUGHNESSY (Officer Krupke), Talk Radio CATF: The Technical Director – Studio 112 Eelwax Jesus 3D Pop Music Show, Pig Farm, Brian Shaughnessy is a third year MFA The God of Hell, Flag Day, Rounding Third, Technical Production candidate at Florida Coyote On a Fence, The Pavilion. New York: Iow@, GunShy State University. He is very excited to be Playwrights Horizons, A Small Melodramatic Story LAByrinth working as Technical Director for the Theatre, The Alchemist Classic Stage, Ghost on Fire, Buying Time Studio 112 Theater at the Contemporary Hypothetical Theatre, The Eelwax Jesus 3D Pop Music Show Here American Theater Festival and to be a part of the world premiere Space Regional : Ether Dome LaJolla Playhouse, Hartford Stage, of World Builders. Previously, he worked as an Assistant Technical Huntington Theatre, Tales From Hollywood Guthrie Theatre, Our Director for the Utah Shakespeare Festival’s 2014 summer season.

56 Prior to entering graduate school, Brian worked for three years sports, taping hilarious Vine videos, cutting hair, and running his as a Flying Director with Hall Associates Flying Effects out of fashion business RndmGear.com. Acting credits include: Gidion’s Chicago, IL. As a Flying Director, Brian had the opportunity to be Knot (CATF), Pirates of Penzance and 45 Seconds Off-Topic a part of more than 60 productions across the country -- from (Genesius Players). He currently lives in Leetown, WV with his outdoor theme parks to NBA games, professional to community supportive parents and two lucky dogs but hopes to move some- theatre, and all levels of educational theatre. Brian has also where metropolitan and coastal. worked as an arena rigger for the Northern Illinois University Convocation Center, a freelance stagehand and rigger in the greater Chicago area, and a scenic carpenter for California State LAURA SMITH* University, Sacramento. Stage Manager WORLD BUILDERS Center Stage: Resident Stage Manager: STEPHANIE SHAW 4000 Miles, After the Revolution; It’s a Costume Shop Manager and Costume Designer Wonderful Life: A Live Radio Play, Amadeus, WORLD BUILDERS Wild with Happy; Twelfth Night; Stones in Stephanie Shaw is returning to CATF for her third season as the His Pockets; dance of the holy ghosts; Clybourne Park; Beneatha’s Costume Shop Manager and first season as Costume Designer Place; The Mountaintop; Bus Stop; An Enemy of the People; The for World Builders. She received her BFA in Theater Design and Whipping Man; Gleam; The Rivals; Snow Falling on Cedars; Cyrano; Technology from WVU (Let’s Go Mountaineers!) and her MFA in Working it Out; Fabulation or, The Re-Education of Undine; Who’s Costume Design and Technology from Purdue University. Afraid of Virginia Woolf?; Joe Turner’s Come and Gone. Regional— Stephanie has served as costume shop manager and costume Everyman: Pygmalion, Shipwrecked, The Exonerated, Rabbit Hole, technologist for Purdue University, The University of Maryland, Doubt, Gem of the Ocean, And a Nightingale Sang, The School Weston Playhouse, North Shore Music Theater, Des Moines Metro for Scandal, A Number, Someone Who’ll Watch Over Me, Yellowman; Opera, and most recently also served as the Instructional Assistant Woolly Mammoth: Gruesome Playground Injuries, House of Gold, Professor of Costume Technology for the University of Mississippi, The Unmentionables, Vigils, After Ashley; Folger: Measure for Ole Miss. Some of her costume design credits include The Spitfire Measure, The Comedy of Errors (ASM); Olney Theatre: Stuff Grill (Ole Miss Theater, MS), Hamlet (Reduxion Theater Company, Happens; Theater Alliance: Headsman’s Holiday, Pangea, [sic]; NYC), Blood Brothers (Texas Shakespeare Festival, TX), The Merry Catalyst: Cloud 9; Longacre Lea: Man with Bags. Wives of Windsor (TSF, TX), The Taming of the Shrew (TSF, TX), The Comedy of Errors (Imaginary Beasts, MA), South Pacific (Surflight Theater, NJ), Stuart Little (North Shore Music Theater, T. RYDER SMITH* MA), A Year with Frog and Toad (Weston Playhouse, VT) as well Actor as the puppet design and construction for The Little Shop of THE FULL CATASTROPHE / WE ARE PUSSY RIOT Horrors (Purdue University, IN). Thanks to Peggy and Ed for three T. has appeared on Broadway in War Horse great summers here, and love to family and friends for their and Equus. Off-Broadway work includes support. the premiere productions of Katori Hall’s Our Lady of Kibeho, Christina Masciotti’s Social Security, Sarah Ruhl’s Dead Man’s Cell Phone and Passion SAM SHUNNEY Play, Anne Washburn’s Apparition, David Greenspan’s She Stoops Actor to Comedy, Richard Foreman’s King Cowboy Rufus, and Glen THE FULL CATASTROPHE Berger’s Underneath the Lintel, for which T. received a Drama Sam is very excited to be making his CATF Desk nomination for Outstanding Solo Performer. T. shared a debut this year while working with Ed Drama Desk award for Outstanding Ensemble Cast for the Herendeen, Michael Weller, and an amazing 3-actor/30 character Lebensraum. Regional theatre work includes cast. In addition to his love of comedy, the world premieres of Craig Wright’s Creditors (La Jolla acting, and flair for the dramatic, Sam spends his time playing Playhouse), Tanya Barfield’s Of Equal Measure (Center Theatre),

57 Charles Mee’s Big Love (Humana Festival), and, here at CATF, Prior to graduate school, she was tour manager of Wichita Jeffrey Hatcher’s Compleat Female Stage Beauty. Film and TV Children’s Theatre, touring the Midwest. She is current studying work includes appearances on The Blacklist, Elementary, Blue Fitzmaurice Voicework and will complete certification in 2017. Bloods, Nurse Jackie, The Good Wife and White Collar; the PBS Originally from Kansas, she and her husband will be calling DC series The Abolitionists (as John Brown), and the 80’s horror their home in August. A big thanks to Ed Herendeen for this op- film Brainscan. Vocal work includes many audiobooks, the ani- portunity and to her remarkable husband for his undying support. mated series The Venture Brothers, Sander Cohen in the Bioshock videogames, work with the touring company Theatre of War, and the annual Bloomsday readings of James Joyce’s Ulysses on JOSHUA TAYLOR Pacifica radio. Master Electrician – Studio 112 This is Josh’s first summer with the Contemporary American Theater Festival here in lovely Shepherdstown, West Virginia. KATYA STEPANOV* Josh just finished his M.F.A in Theatrical Lighting Design at West Actor Virginia University. He spent his time in Morgantown West Virginia EVERYTHING YOU TOUCH / designing shows with West Virginia Public Theatre and Morgantown WE ARE PUSSY RIOT Theatre company, as well as earning his Journeyman card with Katya Stepanov is thrilled to be making her IATSE Local 578. He would like to thank his amazing wife Brianne CATF debut in their 25th season. As an for all of her love and support. immigrant from Minsk, Belarus, she is es- pecially thankful to be developing new work dedicated to the DINA THOMAS* struggle for free speech in Russia. Katya is an actress, writer, Actor dancer, designer and musician from New York City. When not performing, she works as a freelance Production Designer for EVERYTHING YOU TOUCH music videos and film. Some of her favorite credits include CATF: Debut. NEW YORK: Off-Broadway: REGIONAL: SLAVS! (Upgopkin/Bonfila) at Carnegie Mellon Barrow Street Theater: Tribes; REGIONAL: University, Ivanov (Sasha) and Our Class (Dora) at Pittsburgh Irish Shakespeare Theatre Company: The & Classical, Mneumonic at Quantum Theater, Pride & Prejudice Metromaniacs (World Premiere); La Jolla (Jane) at Cincinnati Playhouse in the Park, An Enemy of the People Playhouse: Tribes; Barrington Stage: 10x10, See How They Run; (Petra) at Barrington Stage Company, and most recently Crimes Unicorn Theatre: Bad Jews, Distracted, Miss Witherspoon, Hungry of the Heart (Babe) at Triad Stage. Katya received her BFA from (world premiere); Berkshire Playwrights Lab: Release Point; Carnegie Mellon University, with additional training at the Moscow National New Play Network: Green Whales; Cidermill Playhouse: Art Theater, and the Rhodopi International Theater Laboratory Death of a Salesman, Fiddler On The Roof. OTHER: Staged read- (Bulgaria). She is a co-founder of In The Basement Theater Co, an ings for Red Bull Theater, Project Y, Abingdon Theatre Company. ensemble dance-theater collective focused on creating new inter- EDUCATION: MFA from University of Missouri-Kansas City. active myths. For more info: www.inthebasementco.com

MARK THOMAS* BRIANNE TAYLOR Actor Ensemble and Swing U/S EVERYTHING YOU TOUCH WE ARE PUSSY RIOT Mark Thomas is thrilled to be making is Brianne Taylor is enjoying her first summer CATF debut. Recent credits include Bad with CATF. A recent graduate of the West Jews (Unicorn Theatre, Kansas City); As Virginia University Masters Acting program, You Like It (Riverside Theatre, Iowa City); she has recently performed in: Arsenic and and the 10x10 Festival (Barrington Stage, Pittsfield, MA). Mark Old Lace, A Midsummer Nights’s Dream, Seminar, Henry IV Parts earned his MFA from the University of Missouri, Kansas City and 1 & 2, Cabaret, The Cherry Orchard, Carmen, and Blood Wedding. is currently based in Hoboken, NJ with his amazing wife, Dina.

58 CHRIS THORN* LIBA VAYNBERG* Actor Actor WORLD BUILDERS EVERYTHING YOU TOUCH / Chris is excited to be at CATF for the first WE ARE PUSSY RIOT time. Off-Broadway credits: Twelfth Night New York: The Golem of Havana (La MaMa), (Pig Iron Theater Company), As You Like Black Milk and Macbeth (Classic Stage It, Of Mice and Men, Romeo and Juliet, Company), Novaya Zemlya (HERE Arts Henry V and The Spy (The Acting Company). Other New York Center, NY Int’l Fringe), The Cherry Orchard and Uncle Vanya credits include: Miss Lily Gets Boned (Studio 42), The Life and (Columbia Stages). Regional: Ether Dome (La Jolla Playhouse, Death of King John (NY Shakespeare Exchange), The Bird and Hartford Stage, Huntington Theater) dir. Michael Wilson, Camp the Two-Ton Weight (EST), The Most Damaging Wound (NYIT Monster (Williamstown Theatre Festival), Company and The Cradle Award nomination for Outstanding Actor in a Featured role, The Will Rock (Yale). Film: The Examination. Education: BA in Molecular Production Company), Dead Man’s Socks (Ma-Yi), as well as Biology, Yale. MFA, Columbia. Honorary “Daisy” of Miss Porter’s workshops at Lincoln Center, MCC, and Naked Angels. Regional School in Farmington, CT. libavaynberg.com credits: Delaware Theater Company, The Guthrie Theater, The Fulton Theatre Company, Hartford Theaterworks, Speakeasy Stage Company, Lyric Stage Company of Boston, The Nora, ADAM VENHAM-CARTER Gloucester Stage and Boston Playwright’s. Film: Still on the Road, Actor, Understudy (Robbie) and The Sonnet Project. Training: Boston University, LAMDA, THE FULL CATASTROPHE Wynn Handman, and Deborah Hedwall. He is a native of South Adam Venham-Carter is happy to join the Berwick, ME. Contemporary American Theater Festival’s production of The Full Catastrophe as Robbie Wilson. Adam has also appeared in GABRIELLE TOKACH the Charles Town Old Opera House’s 2014 December production Patron Services Manager of A Christmas Story the Musical as Flick, 2014-summer produc- Gabrielle Tokach is an arts management tion of The Wizard of Oz as the Mayor of Munchkins and in 2013 graduate student at George Mason summer production of Charlotte’s Web as the Gander. Adam has University and has recently been elected also previously appeared in Shenandoah University’s 2012-summer to serve on the executive committee of production of Peter Pan as the lost boy, Slightly Soiled and the Graduate Art Management Society at Shenandoah University’s 2014-summer production of The King GMU. Gaby graduated from West Virginia Wesleyan College, where And I as one of the children. Adam has completed courses in she studied both musical theatre and arts administration. She Advanced Tap dancing, Theater dancing and Ballet 6. Adam this has worked on film productions with Arvold Casting and Scrappy spring has advanced to Cadet First Class in fencing. He has Cat Productions and has volunteered with non-profit organiza- performed in many dance recitals with Inwood Dance Company, tions, contributing to their marketing and public relations efforts. Vostrikov Academy of Ballet, and the Shenandoah University Gabrielle was nominated for 2014 Broadway World’s West Virginia Conservatory Arts Academy. Adam has completed 7th grade as Regional Best Actress Award for the By My Side soloist in Scene an all A honor roll student. He has received an Award of Excellence Stealer’s Godspell. from Frederick County Public Schools for finishing first in the Frederick County Science Fair and third in the Shenandoah Valley Regional Science Fair. In the 2014, James Wood Middle School Forensics Competition Adam received second place for his poetry performance.

59 PATRICK H. WALLACE LIZ WHALEN Director of Production Prop Shop Manager Patrick Wallace is a success story of CATF’s Internship Program. Liz Whalen is about to start her third and final year in her gradu- A graduate of Otterbein College, he started with the Festival six ate studies at the University of Alabama, where her focus is years ago as a Stage Management Intern and has returned for scenic and property design. Her past work includes assistant set the last three Seasons as Technical Director. For four years, he dresser on the film Service to Man, Prop designer for the 2014 served as Assistant Technical Director at Indiana Repertory season at Wagon Wheel Theatre, and set and props designer for Theatre in Indianapolis, where he was in charge of Special Effects, Lake Dillon Theatre Company’s Youth Theater Program for the Hydraulic/Pneumatic Systems, and Computerized Show Control. 2013 season. This is her first season with CATF. In January of 2001, he accepted the position of Technical Director for Shepherd University Theater and Music, where he currently manages the technical needs of university productions. D.M. WOOD** Lighting Designer THE FULL CATASTROPHE / WE ARE PUSSY RIOT NICOLE A. WATSON*** Previous Designs for CATF: One Night / Director North of the Boulevard (2014), Heartless WORLD BUILDERS / A Discourse on the Wonders of the Nicole A. Watson is an Artist-in-Residence Invisible World (2013), In a Forest Dark and at the Drama League where she is creating Deep / Captors (2012); Ages of the Moon / The Insurgents (2011); We Sat in the Death House with playwright The Overwhelming / Pig Farm (2008); 1001 / The Pursuit of MJ Kaufman. Selected credits include Happiness (2007); Mr. Marmalade / Sex, Death and the Beach Black Sheep (The Kitchen, DTUF @ HERE, Hollywood Fringe), We Baby (2006). Recent credits include: Don Giovanni (Bergen Play for the Gods (The Women’s Project), Better Homes & Nasjonale Opera - Norway), Norma (Gran Teatre del Liceu - Homelands (The Drama League DirectorFest), Mongo (Working Barcelona, Spain and San Francisco Opera), Anna Bolena (Lyric Theater), Foreign Bodies (Women Center Stage), born bad, Milk Opera of Chicago), Silent Night, Don Bucefalo and Salomé (Wexford Like Sugar, Ti-Jean and His Brothers (NYU-Tisch School of the Festival Opera - Ireland), Euryanthe and Die Liebe der Danae Arts), and the world premiere of the opera Approaching Ali (Bard Summerscape), La Favorite (Oper Graz, Austria), The (Kennedy Center). She was the associate director on The Great Importance of Being Earnest (Northern Ireland Opera), L’Enfant Society, directed by Bill Rauch (Oregon Shakespeare Festival and et les Sortilèges (The Bolshoi), Il trittico (Royal Opera House, Seattle Rep), and she works frequently with Ruben Santiago- Convent Garden), Candide and The Importance of Being Earnest Hudson, including as an associate producer on the August Wilson (Opéra National de Lorraine - Nancy, France), El Chico de Oz Century Cycle for WNYC and on The Piano Lesson (Signature (Teatro Municipal - Lima, Peru), Wild Swans (World Premiere: Theater). Nicole is a co-founder and curator of Working Theater’s Young Vic, London and A.R.T.), Anna Bolena, Werther, Maria annual Directors Salon, a member of the New Georges’ Jam, a Stuarda, Roberto Devereux, Il Barbiere di Siviglia and Il Trovatore 2013 Drama League Fall Fellow, the 2011 recipient of the League (Minnesota Opera), Moskva, Cheremushki and The Sound of A of Professional Theatre Women’s Josephine Abady Award, and Voice | Hotel of Dreams (Long Beach Opera) and the co-design an alum of both the Lincoln Center Directors Lab and the Women’s of the World Premiere of Anna Nicole (Royal Opera House, Covent Project Directors Lab. She also teaches at NYU’s Tisch School of Garden). Ms. Wood received the U.K.’s 2012 Knight of Illumination the Arts. BA, Yale. MA, NYU. Award for her design of Suor Angelica (Royal Opera House, Covent Garden). Ms. Wood’s work in theatre includes designs for Young Vic, American Repertory Theatre (A.R.T.), Primary Stages (NYC), NYSF—The Public Theater, Children’s Theatre Company – Minneapolis, Baltimore Centerstage and Trinity Repertory Company. Upcoming designs include: La bohème (Boston Lyric Opera), Kansas City Choir Boy (A.R.T. and Kirk Douglas Theatre, L.A.) and Maria Stuarda (Seattle Opera).

60 GABRIEL ZUCKER Managing Director Gabriel Zucker has been active in the arts for nearly 25 years. Before joining CATF, he served as the Senior Manager for SMART Marketing, a Chicago-based company that builds audiences through subscription sales and fundraising initiatives. There, he was re- sponsible for the staffing, development and administration of as many as twenty active campaigns with performing arts groups located all over the country. Under his leadership, SMART grew nearly 20% annually, transforming it from a small firm working seasonally, to a nationally-recognized organization operating year-round. Gabriel is also a former Theatre Artist and member of Actors’ Equity. Regional stage appearances include The Shakespeare Theatre and Baltimore’s Center Stage. Additionally, he’s participated in projects for the Discovery and Learning Channels, taught voice and movement and served as a casting associate. Prior to his foray into theatre and film, he had a career in publishing. Gabriel spent several years at the helm of a creative writing program offered through McGraw-Hill’s Continuing Education Center. During his tenure with the company, he devel- oped new assignments for the school, streamlined the curriculum for its Fiction and Non-Fiction writing courses, and helped students successfully market their work through his evaluation of their manuscripts. Gabriel earned his MA in the Performing Arts from Emerson College and holds a BA in English and Philosophy from the College of Wooster. ARTAT THE FESTIVAL

“THE WORLD OF THE WILLING” BY MICHAEL MCKOWEN

A multi-media exhibition featuring paintings, assemblage, sculpture, films, illustrations, and designs. Become a traveler in a world where there are no tour guides or road maps. Experience the possibility of transformation as the found items on display incite the imagination and elicit strong emotions.

ARTIST’S TALK: Friday, July 10, 4:30pm CCA/I Room 113

Michael, a native West Virginian, is a freelance designer and artisan for theater, film, and events across the country. He earned his MFA in scenic and costume design from NYU’s Tisch School of the Arts and his MFA in film and television from SMU’s Meadows School of the Arts. He has additional training in painting and illustration from Parson’s School of Design and The School of Visual Arts(NYC). His work has been seen at the Goodspeed Opera, PBS, The Queen Mary’s Dark Harbor (CA), The Eclipse Theater Company, The Texas Shakespeare Festival, The Dallas Shakespeare Festival, The Jean Cocteau Repertory Theater, The Sierra Repertory Theater and numerous Independent and corporate films, music videos and commercials. Michael was the video designer for the 2014 CATF production of Uncanny Valley in Shepherdstown as well as the Off-Broadway production. As a milliner, he worked on the Broadway productions of Wicked, The Producers, Spamalot and The Boy from Oz. His artwork has been seen in both group and solo exhibitions and his films have been screened in multiple festivals including Vision Fest at the Tribeca Theater in NYC, and The Pittsburgh Cultural Trust’s Gallery Crawl. Michael is also a freelance videographer and certified yoga instructor (RYT).

MICHAEL TIMOTHY DAVIS: BADGERHOUND STUDIO AND GALLERY with Scott Cawood and Emily Vaughn Featuring original paintings and drawings, fine art prints, and sculpture by local artists.

OPENING RECEPTION: Saturday, July 11, 4-7pm 110 W German Street, Shepherdstown 304.263.6028 www.michaeltimothydavis.com www.cawoodart.com www.emilyvaughnfineart.com Michael Timothy Davis

62 “LOCAL COLOR” July 30th - August 2nd

An exhibition of paintings, prints, and turned wood by local artists Susan Carney, Rhonda Smith, and Neil Super. OPENING RECEPTION: Saturday, August 1, 5-9pm Hours: Thur-Fri: 10am-8pm Susan Carney Sat: 9am-9pm • Sun: 9am-5pm The Shepherdstown Community Club 102 E German Street, Shepherdstown www.susancarney.com www.rhonda-smith-ekbn.squarespace.com www.tworiversturnings.com

Rhonda Smith Neil Super

SUMMER EXHIBIT: THE BRIDGE GALLERY with Ed Praybe, Jacob Stilley, Bruce Fransen, Seth Hill, and Evan Boggess

OPENING RECEPTION: Saturday, July 11, 6-8pm ARTIST’S TALK: Sunday, July 19, 1-2pm followed by Jazz with Bruce Fransen and Pete Chauvette 2-4pm 8566 Shepherdstown Pike, Shepherdstown 304.876.2300 www.bridgegalleryandframing.com

Skip Van Houten Michael Bigger

PUBLIC SCULPTURE: SHEPHERD CAMPUS by Michael Bigger and Harold (Skip) Van Houten

Graciously donated by John and Patricia Bain Bachner

Bruce Fransen Evan Boggess

63 talktheater HUMANITIES AT THE FESTIVAL

CATF IN CONTEXT BREAKFAST WITH ED

Take a scholarly approach to the CATF repertory and Join CATF Founder and Producing Director Ed Herendeen delve deeper into the inspiration and context behind the for breakfast to discuss the Season and learn more about work on stage. No charge but reservations are required the inner workings of the Festival. Includes continental through the Box Office. breakfast from Mellow Moods. Seating is limited.

Time: Saturdays at 10am Dates: Thursdays and Sundays at 10am July 12, 16, 19, 23, 26 and August 2 Place: CCA II Room G03 / 62 West Campus Drive Place: CCA II Room G03 / 62 West Campus Drive July 11: CATF DESIGNERS A round table discussion featuring the Tickets: $25 per person. designers behind the many elements of Purchase required in advance. the work seen onstage.

July 18: LINGUISTICS: GENDER STUDY AND STYLE An in-depth exploration of what linguists LUNCH & ART really do and inter-gender communica- tion as it relates to The Full Catastrophe. Enjoy a catered lunch with members of the 2015 CATF company. Learn about their careers, the creative process, July 25: THE PSYCHOLOGY OF DRUG TREATMENT FOR MENTAL WELLNESS and go behind-the-scenes of plays you see on stage. An academic conversation touching on Approximately 60 minutes, catering provided. the themes surrounding World Builders, Dates: July 10, 16, 17, 24, and 31 at 12:30pm including the rush to diagnose and stigmatize mental illness. Place: CCA II Room G03 / 62 West Campus Drive August 1: PRE-PUSSY RIOT RUSSIA A cinematic look at the political climate Tickets: $30 per person. of Russia that led to Pussy Riot. Purchase required in advance.

These projects are presented by CATF with financial assistance from The West Virginia Humanities Council, a state affiliate WEST VIRGINIA of the National Endowment for the Humanities. Any views, findings, conclusions, or recommendations expressed in this HUMANITIES COUNCIL program do not necessarily represent those of the National Endowment for the Humanities.

For 17 years, the Contemporary American Theater Festival has partnered with the West Virginia Humanities Council to bring “context” to the work on stage and the theater arts discipline. CATF thanks the Council for its extraordinary support. Learn more about the great work the West Virginia Humanities Council is doing to celebrate the history and culture of the Mountain State at www.wvhumanities.org.

64 Monday - Saturday 8am-8pm Sunday 9am-4pm talktheater HUMANITIES AT THE FESTIVAL

LECTURES Saturdays at 4:30pm • Reynolds Hall, 109 North King Street (see map on page 6) FREE! No Reservation Required. LECTURE ONE: JULY 11 LECTURE THREE: JULY 25 MEET THE PLAYWRIGHTS PUSSY RIOT: A PUNK PRAYER Panel moderated by Ed Herendeen, Discussion of the HBO Documentary Founder and Producing Director

LECTURE TWO: JULY 18 LECTURE FOUR: AUGUST 2 WOMEN DIRECTORS IN CATF: LOOKING BACK AMERICAN THEATER TODAY LOOKING FORWARD

READINGS Tuesdays at 6:30pm July 14, 21, 28 • CCA II • Marinoff Theater FREE! Join CATF for Stage Readings of new plays followed by a discussion with the director and actors.

POST-SHOW DISCUSSIONS Just stay in your seats after a show and ask the actors anything!

FREE! EVERYTHING YOU TOUCH // Wednesday, July 15 // Following the 8pm show ON CLOVER ROAD // Thursday, July 16 // Following the 8pm show WORLD BUILDERS // Wednesday, July 22 // Following the 6pm show WE ARE PUSSY RIOT // Wednesday, July 22 // Following the 8:30pm show THE FULL CATASTROPHE // Thursday, July 23 // Following the 8:30pm show

SALONS A glass of wine after the show and more conversation with Associate Producing Director, Peggy McKowen and Managing Director, Gabriel Zucker. Wine and food extra, but not required. FREE! Saturdays at 10pm July 18, 25, and August 1 // Upstairs at Bistro 112, 112 German Street

66 APPRENTICE SHOWCASE FREE! LECTURE THREE: JULY 25 Fridays at 2pm • CCA I / Studio 112 PUSSY RIOT: A PUNK PRAYER Be sure to check out this new Discussion of the HBO Documentary program — a new play featuring members of the University of LECTURE FOUR: AUGUST 2 Iowa’s Theatre Arts Department. CATF: LOOKING BACK Directed by CATF alum Anne Marie Nest. LOOKING FORWARD Designed and executed by CATF’s 2015 Intern company.

WELCOME ROAD SCHOLARS CATF’S HOSTEL YOUTH! PROGRAM CATF has partnered with Road Scholar POST-SHOW DISCUSSIONS Just stay in your seats after a show and ask the actors anything! The Hostel YOUTH are back! CATF’s theater educational adventures to further inspire immersion program for young adults (ages 14- learning and friendship through theater. 18) returns for its third year and will have two Trip highlights include: sessions (July 19-20 & 22-24) during the 2015 • Attending all five performances in one season. Hostel YOUTH! brings cutting edge week and discussing dramatic themes American drama to the “teens” audience, with and the production process with actors readings, workshops, and performances, along and staff members. with opportunities to learn from an array of • Exploring beautiful Shepherdstown and talent featured in the CATF company. nearby Harper’s Ferry with an expert to trace their history from Colonial times up Participants receive housing in the Shepherd through the Civil War to today. dorms, meals, workshops, performance tickets, and an unparalleled opportunity to experience • Taking part in fantastic workshops on writing, acting, and directing plays. bold new theater. For more information visit: roadscholar.org Learn more at www.catf.org/hostelyouth THANK YOU... The work you see on stage would not be possible without the generosity, time, THANK YOU to these businesses and “in-kind” support of so many individuals, businesses, and organizations. for sponsoring our 25th Season We applaud the following: Playwright Events: PGPresents, LLC Dr. Christopher Ames, Vice President, Pat McCorkle Steptoe & Johnson, PLLC Shepherd University McDonald’s of Shepherdstown Jayne Angle Nancy McKeithen Widmeyer Communications / A Finn Partners Company Mayor Jim Auxer Dr. Diane Melby Rebecca Ayraud Mellow Moods Beth Batdorf Morgan’s Grove Farmers Market The Bavarian Inn Thank You to Our Housing Hosts: Doug Moss Todd Beckwith, Sylvia Kesecker, & Marellen Aherne Don Nuckols and Shepherd Brian Mann – City National Bank Steve & Rebecca Ayraud University Facilities Management Dow Benedict Adam Booth & Karen Gergley The Berkshire Theatre Group Old Opera House Theatre Company Pat & Charlie Brown Broken Watch Theatre Company Adam Paige The CATF Board of Trustees Christine Parfitt Martin Burke & Barbara Spicher The CATF Honorary Board PRG Pete Hoffman Chipotle in Hagerstown Progressive Printing Catherine Irwin Margaret Coe Rat Sound Phyllis & Laurin LeTart Dairy Queen Joyce Rankin and everyone at Jeanne Muir & Jim Ford Nancy Veronica Dilworth BB&T Shepherdstown Lee & Patricia Stine Shelli Dronsfield The Repertory Theatre of St. Louis Patrick & Christina Wallace Eunice Earle Shaharazade’s Exotic Tea Room Eden Design Shepherd University Campus Police Food Lion Four Season’s Books Shepherdstown Farmer’s Market Seth Freeman Photography Shepherdstown Sweet Shop Bakery Nina Fritz Dr. Suzanne Shipley, Shepherd OUR MEDIA PARTNERS University President Annette Gavin and the JCCVB The Journal Newspapers Commissioner Amy Goodwin Delegate Stephen Skinner www.Journal-News.net Ann Halavick, Plan-IT Payroll Rhonda Smith The Observer Sue Herendeen Senator Herb Snyder www.WVObserver.com Holzman, Moss, Bottino Architecture Pam Splaine Sue Houchins and SU Catering Pat Stein Prettyman Broadcasting www.wepm.com www.lite975.com Jefferson Distributing Company Studio Theater Jefferson High School Sweet Inspirations Bakery The Shepherdstown Chronicle Theatre Department www.ShepherdstownChronicle.com Senator John Unger King’s Pizza Douglas Vaira The Spirit of Jefferson Phyllis LeTart www.SpiritofJefferson.com Demi & Lucien Lewin Village Florist and Gifts Lost Dog Coffee Walmart WRNR Talk Radio Tom Maiden’s Insurance Outfitters Elissa Woodbrey and Shepherd www.TalkRadioWRNR.com Dr. Stanley C. Marinoff, MD University Residential Life WSHC - SU Radio Martin’s Yount, Hyde & Barbour, P.C. www.897wshc.org Chief John McAvoy Katja Zarolinski

68 www.OperaHouseLive.com

Intimate Venue • Great Selection of Craft Beer & Wine • Rent the Opera House for All Occasions

PROUD PARTNER OF CATF UPCOMING SHOWS: Gilded Lily Burlesque Presents Limelight Cabaret 7/11 • Tom Maxwell from The Squirrel Nut Zippers 7/17 Congratulations on Bumper Jacksons 7/24 • BonesFest XIX 8/8 • The Deer Run Drifters 8/15 your 25th Season! The Woodshedders 9/12 • Freekbass 9/18 • New Riders of the Purple Sage 9/30 “This is the best sounding room I've ever heard” ~ Ralph Stanley 304.876.3704 131 W. German Street Shepherdstown, WV 25443 The 2015 Thank You to INTERNS & JEFFERSON SECURITY BANK and the SHIRLEY A. MARINOFF FUND FOR EDUCATION FELLOWS for sponsoring our Intern program.

The Contemporary American Theater Festival is committed to the education and training of future theater professionals. In 1991, the Intern and Fellow Program began with five interns and three apprentices in the production department. Now in CATF’s 25th Season, the program con- tinues to thrive, offering positions each year in artistic, administrative, and technical areas. To date, over 352 students and recent graduates have completed the program with many pursu- ing professional careers in theater.

Each year, professional theater artists and ad- ministrators make a commitment to mentor these budding artists. This summer, CATF is proud to have 22 interns and 7 fellows in 2015 Apprentices, Fellows, and Interns: Sara Barnett, Molly Brown, Jimmy Bumbera, Eleanor Dohner, Acting, Administration, Company Management, Serafina Donahue, Lauren Duckworth, Erica Harding, Harrison Hayes, Juan Juarez, Blu Lembo, Allyson Costumes, Electrics, House Managment, Paints, Jean Malandra, Michael Maranda, Keyla McClure, Ryan McDonald, Megan McKay, David McKell, Jacob Mueller, Colleen Murphy, Sara Patterson, Adam H. Phillips, Lydia Reed, Taylor Roberts, Ian Robertson, Props, Scenery, Sound, Stage Management, Lena Rodriguez, Rhi Sanders, Matt Schutz, Casey Schweiger, Elliott Shugoll, Ashley Simmons, Madison St. Amour, Séan Swords, Jason Via, Mitchell Wadja, Jennifer Wallisch, Chen Wen. and Video.

Past CATF interns and fellows have gone on to Jefferson Security Bank is proud to sponsor work in theaters across the country including West Virginia State Thespian Festival best actor the Actors Theatre of Louisville, Arena Stage, award winner and recent Jefferson High School Guthrie Theatre, Indiana Repertory Theatre, graduate Mitchell Wadja. Mitchell joins CATF’s Seattle Repertory Theatre, Woolly Mammoth 2015 team as the House Manager in the Marinoff Theater and the Assistant House Manager in Theatre, Blue Man Group, Cherry Lane Theatre, Studio 112. In the fall he is planning to attend Wooster Group, the Studio Theatre, and many, Ithaca College, where he will major in theater many more. arts with concentrations in performance, directing, and acting.

70 THE 2015 SHIRLEY A. MARINOFF EDUCATION FUND

Through the generous support of Dr. Stanley C. Marinoff and his daughter Allison Marinoff Carle, each year a Shepherd University student receives this grant award to acknowledge their exceptional work during the CATF Season. The Fund is designed to support Shepherd University students who have an interest in theater performance, production or administration. The 2015 Shirley A. Marinoff interns and fellows: Lauren Duckworth, Michael Maranda, and Jimmy Bumbera with Dr. Stanley C. Marinoff.

THE CATF ACTING APPRENTICESHIP PROGRAM This exclusive partnership offers University of Iowa undergraduate and graduate theater students an opportunity to gain professional experience with some of the leading directors, playwrights, and actors from around the country. The program provides unique educational and artistic experiences for the apprentices and opens the door for future employment opportunities. Clockwise from top left: DirectorAnne Marie Nest, Adam H. Phillips, Keyla McClure, Molly Brown, and Allyson Jean Malandra. THE 2015 WEISSBERG FELLOWSHIP PROGRAM In 2004, The Weissberg Foundation made a grant to the Contemporary American Theater Festival for a program designed to encourage theater workers from the greater Metropolitan Washington DC area to work on the staff of the Festival. Each summer, a number of staff and artists join the CATF Company as Weissberg Fellows. Since 2004, there have been a total of 47 Weissberg Fellows, including nine actors, nineteen production staff, three assistant directors, seven designers, four assistant stage managers, and five administrators. The program has had a remarkable impact, both for the individual workers and for the Festival itself. The 2015 Weissberg Fellows are: Elliott Shugoll (Electrics Intern), Gabrielle Tokach (Patron Services Manager), Jacob Mueller (Electrics Intern), and Serafina Donahue (Electrics Fellow). We also have five returning Weissberg Fellows from previous years: Maribeth Chaprnka (AEA Stage Manager), William D’Eugenio (Master Electrician), Lindsay Eberly (AEA Asst. Stage Manager), Elisheba Ittoop (Sound Designer), and Hannah Marsh (Video Assistant).

71 CATF PREFERRED PARTNERS

VISIT LODGING

Antietam Overlook Bed & Breakfast Shepherdstown Visitors Center An upscale mountaintop inn just 7 miles Enjoy the uniqueness of historic away! Play and Stay! Relax at our 95 acre Shepherdtown, a small-town gem where you retreat. Full gourmet breakfast. can experience it all! 4812 Porterstown Road, Keedysville, MD 129 E. German Street, Shepherdstown www.AntietamOverlook.com www.Shepherdstown.info [email protected] 304.876.2786 301.432.4200

Jefferson County Convention The Bavarian Inn and Visitors Bureau It’s a pleasant stroll to the Festival from this West Virginia’s Eastern Gateway! Visit the AAA Four Diamond country inn, with 73 Inn Boonsboro myriad attractions of CATF’s home county. luxurious rooms and a brand new infinity Stay in luxury just 15 minutes from 27 Court Street, Harpers Ferry, WV pool and bar overlooking the Potomac River. Shepherdstown! New theater package www.DiscoverItAllWV.com Weekday theater packages are available. available on our website. 866.435.5698 164 Shepherd Grade Rd., Shepherdstown 1 N. Main Street, Boonsboro, MD www.BavarianInnWV.com [email protected] Historic Shepherdstown & Museum 304.876.2551 www.InnBoonsboro.com West Virginia’s Eastern Gateway! Visit the 301.432.1188 myriad attractions of CATF’s home county. Clarion Hotel & Conference Center 129 E. German Street, Shepherdstown 233 Lowe Drive, Shepherdstown Inn at Moler’s Crossroads [email protected] www.ClarionShepherdstown.com Discover this intimate luxury bed and www.HistoricShepherdstown.com 304.876.7000 breakfast just minutes from Downtown. 304.876.0910 CATF guests receive a special welcome Comfort Inn amenity and will be treated to Intermission 70 Maddex Square Drive, Shepherdstown Wine & Tea from 5-6PM daily. www.ComfortInn.com 399 River Road, Shepherdstown 304.876.3160 [email protected] InnAtMolersCrossroads.com 304-876-8215 Comfort Suites Just 15 minutes from Shepherdstown. The Thomas Shepherd Inn 1937 Short Road, Martinsburg, WV Stay at our casually elegant bed and www.ComfortSuitesMartinsburg.com breakfast just a few blocks from the plays, 304.263.8888 ©CHRIS WEISLER dining, and shopping; 3-night special available! 300 W. German Street, Shepherdstown [email protected] www.ThomasShepherdInn.com 304.876.3715 / 888.889.8952

72 CATF acknowledges the following individuals, businesses, and groups for supporting its first-ever Off-Broadway production.

THANK YOU for making Uncanny Valley a reality and for helping us export a little bit of West Virginia all the way to New York City!

EXECUTIVE PRODUCERS Jenny Ewing Allen • Robert & Mary Helen Strauch PRODUCERS Margaret Drennen • Holzman Moss Bottino Architecture Tia & Bob McMillan • Patricia Rissler & James Rogers • Scott Widmeyer & Alan Yount ASSOCIATE PRODUCERS Bill Drennen • Bob Haiman & Judy Lynn Prince • Pete Hoffman Dr. Stanley C. Marinoff • PGPresents LLC • R.B. Seem Nelson Smith (in honor of Paul Garrard) • Steptoe & Johnson, PLLC SUPPORTING PRODUCERS Marellen Aherne • Sharon J. Anderson & Adrienne Haddad Gregory & Rosann Anselmi • Beth Batdorf & John Bresland • Robin Berrington Carmela Cesare & Andrew Arnold • Bridget Cohee & Gerard Nevin Deborah Davis (in memory of Harold L. & Gertrude T. Davis) Anita Difanis & Richard Krajeck • Elena Echenique & Phil Aguila • Warren Gump Ann Harkins • Gary Horowitz • Jefferson County Convention & Visitors Bureau Jefferson County Development Authority • Demi & Lucien Lewin Jeffrey Longhofer & Jerry Floersch • Kakie & Andrew McMillan Jeanne Muir & Jim Ford • James McNeel • Michael Proffitt • Jack Ruback & Julie Heifetz Shepherd University • Shepherdstown Visitors Center Stephen Skinner & Jeffrey Gustafson (in honor of Jenny Ewing Allen) Mr. & Mrs. Henry Walter III • Alexander & Linda Wanger DONORS Ramon & Mary Alvarez • Kip Beardsley & Matthew Nelson Ellen Cappellanti & Mark Carbone • Tony & Nancy DeCrappeo • The IanThom Foundation Anna Filippo & Todd Woodlee • Michael Goodwin • John & Gail Howell Jefferson Arts Council • Nancy & John Mannes • Pat Mirr • Richard & Nadine Osborn Karen & William Rice • Audrey Rowe • Shepherdstown Rotary Club • Eugene & Joan Shugoll Sylvia Bailey Shurbutt • Drs. Barbara & Martin Wasserman • Sylvia Wehr Paul & Lisa Welch FRIENDS Verna Anson • Sharon Arden • Susan & Al Belksy • Paul Blackburn Susan R. Buswell • Norma Cohen • Anne Little DeVaughn Dickinson & Wait Craft Gallery • Pat Fiori • Arlene Friedlander Dr. & Mrs. David H. Goodman • Peter Halmos • Vicki L. Hodziewich Heather Jarvis, Student Loan Expert • Laura L. Kasperski • Nancy Kassner Barbara Kott • Mende & Harriett Lerner • Peppy G. Linden Kelly Lowe • Stan & Wendy Mopsik • Brad Watkins CATF PREFERRED PARTNERS

DINING & LIBATION The Bavarian Inn Dining Room domestic OPENING IN AUGUST: Experience fine Continental and German This creative American restaurant is open Town Run Brewing Company Cuisine paired with selections from a Wine late-night with post-show dining available Brew pub, art gallery, and vintage arcade Spectator ‘Best of Award of Excellence’ Wine during the Festival! parlor in Shepherdstown. List. Also enjoy casual dining and evening 117 E. German Street, Shepherdstown [email protected] entertainment in our Rathskellar. [email protected] www.townrunbrewing.com 164 Shepherd Grade Road, Shepherdstown www.WVDomestic.com www.BavarianInnWV.com 304.876.1030 304.876.2551 SHOP Mellow Moods Cafe & Juice Bar Bistro 112 Healthy juices and a menu to match, this The Bridge Gallery A neighborhood bistro that prepares local Shepherdstown mainstay offers breakfast, Regional Fine Art, Ceramics, Photography ingredients into French favorites such as lunch, and dinner and accommodates all diets and Custom Framing. Wed – Sat 12p – 6p and steak au poivre, mussels & pommes frites, at an affordable price. Sunday 12p – 3p with extended hours and lemonade in the garden during CATF. crepes, and rich desserts. Cozy martini bar, 119 W. German Street, Shepherdstown garden seating under wisteria and dining www.MellowMoodsJuiceBar.com 8566 Shepherdstown Pike, Shepherdstown rooms decorated with eclectic art. 304.876.0608 www.BridgeGalleryAndFraming.com 112 W. German Street, Shepherdstown 304.876.2300 www.Bistro112.com The Press Room 304.876.8477 Fine dining in a comfortable atmosphere. D’Accord Boutique Featuring fresh seafood, pasta, and grilled Offering a large selection of artisanal Blue Moon Café meats. Sunday brunch. products direct from France. Works from a variety of regions can be found and include This local favorite features a diverse menu 129 W. German Street, Shepherdstown pottery, toys, linens, home fragrances, jewelry along with indoor or relaxing outdoor patio 304.876.8777 seating. and much more (plus, a second location now open in Frederick, MD!). Open 7 days a week! 200 E. High Street, Shepherdstown Rumsey Tavern (Clarion Hotel) [email protected] 134 W. German Street, Shepherdstown Open for lunch and dinner with indoor and www.BlueMoonShepherdstown.com Facebook.com/DaccordBoutique outdoor dining. Karaoke and triva nights. 304.876.1920 www.DaccordBoutique.com 233 Lowe Drive, Shepherdstown 304.876.8003 www.ClarionShepherdstown.com/restaurants.html Devonshire Arms Cafe and Pub 304.876.7000 Cozy British Cafe and Pub featuring a great German Street Coffee & Candlery selection of draft beers and a full bar. Serving Shaharazade’s Restaurant & A gourmet marketplace. Featuring fine wine delicious fish and chips and other British and Tea Room and artisan cheeses, WV-made gourmet American favorites. Opens at 9am offering products, fresh coffee beans, local chocolates, Exotic tea, delicious teatime favorites, and breakfast, lunch, and dinner. Also providing a imported teas, unique gifts, and more. late night pub menu. foods inspired by the Middle East and beyond. Full service dining in a Victorian setting; 103 W. German Street, Shepherdstown 107 Princess Street, Shepherdstown please call for reservations. 304.876.1106 [email protected] 304.876.9277 141 W. German Street, Shepherdstown www.facebook.com/shaharazades 304.876.8100

74 RECREATION & WELLNESS BUSINESS PARTNERS Aldene Etter, M.Ed, LMT All-Star Limousine Plan-IT Payroll Intuitive Bodywork www.All-StarLimousine.com • 304.876.2500 Providing payroll and other personnel Deep relaxation and transformation for services for CATF and local businesses. human beings. Inhale. Exhale. Be. Eden Design www.planitpayroll.com • 304.876.1646 Entler Hotel Building A graphic design and consulting firm 129 E. German Street, Shepherdstown specializing in web and print marketing. Seth Freeman Photography www.aldene-etter.massagetherapy.com www.EdenDesignCo.com • 304.728.2508 CATF’s official photographer and perfect for 304.268.8401 editorial, event, and portrait photography. Jefferson County www.sethfreemanphotography.com Atasia Spa Development Authority Relax • Renew • Revitalize Committed to promoting and maintaining Shepherd University Foundation Massages, Facials, Pedicures, Manicures, the exceptional business opportunities of Helping create a powerful and positive Whirlpools, Sugar Scrubs, Mud Wraps, Jefferson County – a perfect place to work, difference in the lives of Shepherd’s students Steam Baths, Reiki, Herbal Steam Wraps, play, and succeed. and faculty. Reflexology, and Aroma Stone Massage. www.jcda.net • 304.728.3255 www.Shepherd.edu/fndtnweb • 304.876.5397 41 Congress Street, Berkeley Springs, WV www.astasiaspa.com PGPresents, LLC 304.258.7888 Tom Maiden’s Insurance Outfitters Founded by Paul S. Garrard of Shepherdstown, CATF’s insurance source! PGPresents is an independent student loan www.insuranceoutfitters.com • 304.876.0822 The Club at Cress Creek consulting company that provides educational The Eastern Panhandle’s only private golf debt management help for medical residents course & country club featuring 18 holes, and other health science school graduates, dining, indoor tennis and a pool facility. schools, and higher education groups. 100 Cress Creek Drive, Shepherdstown [email protected] www.CressCreek.com www.PGPresents.com • 877.201.6162 304.876.3375

River & Trail Outfitters Whitewater rafting, tubing, kayaking, canoeing, and so much more! Near Harpers Ferry (just 15 minutes away). 604 Valley Road, Knoxville, MD www.RiverTrail.com 888.446.7529

©CHRIS WEISLER ©CHRIS WEISLER

75 Lee & Patricia Stine OUR DONORS KEEP GIVING George & Judith Tenley Elizabeth A. Tosi Theresa Trainor & Eddie Landrum PATRON’S CIRCLE David & Elaine Fishman Dr. Stanley C. Marinoff Stephen Vaden Anonymous Lawrence Franks Annie Marks & Cal Austin Drs. Barbara & Martin Wasserman Jo Allen James Gentle David & Judith Mauriello (in memory of Ki Wasserman) Natalie & Donald Wasserman Shirley Marcus Allen Frank & Ann Gilbert Ellen D. Mayer Dana T. Weekes Dorothy Andrake Beryl Gilmore Kathleen McCabe & Daniel Chokel Virginia Weight Jane & Robert Anthony Robbie Glover James McNeel (in honor of Phyllis Weinberg Stephen Arnold Alan & Helene Goldberg Ed Herendeen) Karl Wolf John Arrington Steven Lewis Grant Elizabeth Merricks Mary Ann & Wiliam J. Wren Charlotte & Michael Baer Eugenia Grohman Lex & Pamela Miller Robert & Karen Zelnick Nan Beckley Susan Gurman Susan Mills Vanessa Mitchell & Jonathan Tarlin Mathew Zenkowich Alan & Elinor Berg Jennifer Haley Wendy & Stan Mopsik FRIEND’S CIRCLE Kyle Bradstreet & Leslie Seier Stephen Hanze Joe Morton Anonymous Sandy & Thomas Bresnahan Barbara S. Hawkins & Anne Adamson Albert & Anne Briggs Stephen W. Singer Judy Mullins & Neil MacMillan Rob & Audrey Nevitt Donald Alsedek Susan Brown & Art Wineberg Julie Heifetz Raymond V. O’Connor Jr Jane & Bob Anthony John Burns Alan Helgerman & Sandra La Pietra Amanda & Robert Ogren B. Algot Apelgren James Campbell Heidi & Bill Henson Dr. & Mrs. Richard W. Osborn Laura Atwood John P. Campbell & Thomas & Ann Hettmansperger Sheldon I. Lippman Eleanor & Pete Pella Tim Aumiller & John Ort Lily Hill Morris J. Chalick, MD Barbara Pryor & Brad Gehrke Susan R. Baker Bill & Betse Hinkley Michael Chalmers Steven Puckett Kathleen Barber Paul Hollinger Kathleen McCabe Chokel Janet W. Roberson Ruth Bell Thomas Holzman & Allison Drucker Douglas & Barbara Cobb Markley Roberts Claudia Bentley Donald H Hooker & Mary I Bradshaw Ana Cohen Ludwig & Joan Rudel Zak Berkman RC Howes Edward E. Cragg D.M. Ryan Raj Bery Ruth B. Hurwitz David & Katy Culp Lenore Sack (in memory of Ann Birk, M.D. Susan & Paul Hyman Beth Davis Marty Sack) Wilfred Blood Barbara Irvine Donald & Marit Davis Phil & Donna Scibilia Bruce Blum Keith & Tari Janssen Julia Davis Anne Selinger & Nyles Charon Arthur & Kathy Branch Jim & Faith Kirk Ann & John F. Delaney Christine & Duane Seppi Peggy Bosch Delta Sigma Theta Sorority Beverly & Frank Kristine Sheila Shaffer Anthony F. Britti Joan & Oscar Dodek Chris Kuser & Mary Fortuna Silvia Shuey Marsha Brooks Frederica Douglas Stanford & Lynne Lamberg Howard & Marilyn Silver Amy Brooks David Drennen William Lindgren William Skane & Ann Muromachi Geoffrey Brown Sharon Dubble & William Richkus Bill & Monica Lingenfelter Delacey Skinner Susan Bruce Jack Ebersole (in honor of Don & Barry Linkner Rhonda J. Smith Beth & Truman Bullard Gwendolyn Lehman) Mark Longo Jennifer Smits Jennifer Burdick Coralie Farlee Mary Malhiot Jerry & Shannon Sollinger Susan R. Buswell Edgar Feingold Sheila Manes Robert Stein & Gina Daddario Gary & Jan Butler Harvey Fernbach, MD Ellen Mansueto David Stevens Karen Calandrelle

76 CONTINUED FROM PAGE 14 June 19, 2014 – July 2, 2015

Ann Chaitovitz Wendell Holland Every effort has been made to provide a complete and accurate listing. If we have made an error, please accept our apologies Michele Childs Al Honick and let us know at 304-876-5240. Tamara Clay Marsha Hughes-Rease Cassie Cohn Jane Jasper Key: Jean Cole Betsy Johnson PRODUCER’S CIRCLE $10,000+ Nancy Coleman Dawn Jones PLAYWRIGHT’S CIRCLE $5,000-$9,999 Janet Cornfield William & Elizabeth Jones AGENT’S CIRCLE $2,000-$4,999 Nancy & Kevin Corrigan Sara Jones DIRECTOR’S CIRCLE $1,000-$1,999 Stephanie Cross Barbara Judd ARTIST’S CIRCLE $500-$999 PATRON’S CIRCLE $100-$499 Deborah Davis Barbara Kagan FRIEND’S CIRCLE UP TO $99 Deanna Dawson Nagaera Keeny Rosalind Dewey Jacqueline Kendall Yvonne Dixon Sue Kennedy Dale Dowling Stephen Kent Eileen Miller Donna Stein Jeanne Duffy Susan Clemmens Kern Kathleen Morotti Jean Stipicevic Sandra Dusing Pamela Kilian Fox Michael Nash Ruth & Harry Strauss Pamela Edwards Carol Kolker Deborah Newmark Ryan Sweeney Peter Emch Jennifer Krivanek Rebecca Olean Margaret & Robert Tessier Katharine Fairhurst Allan & Sondra Laufer Kathryn O’Toole Richard Thayer Nicole Fauteux Roberta Larkin Ralph & Delores Pecora Dr. & Mrs. Barry H. Thompson Susan Fischer Arthur Lazarus, Jr. Rebecca Phipps Robert & Susan Meader Tobias Julie Fitzgerald Christa Le Clere Sandra Pike Jack & Carol Topchik Robert & Helen Foss (in honor of Beth Leaman Russell Pittman JoAnn Tracey Catherine Irwin) Maureen Leonard Robert Rempe Julie S. Tucker Barbara Fox Stanley & Isabel Levin Tony Reynolds Ann Unitas (in honor of Kathy and Charles Fuller Mr. & Mrs. T.C. Lewandowski Tom Altizer) Richard Riese Linda Geurkink Ann Lichter (in honor of Ed and Sheila & Al Vertino Jeffrey Robbins Kimberly Godwin Sue Herendeen) Bruce & Dianne Waldron JT Rogers David Gorsline Monica Lockett (in honor of Carolee Walker Peggy McKowen) Judy Ross Kay Gottesman Roberta Waltersdorf Susannah Lynch Jack Ruback Linda Green Rose Wayland (in honor of David C. Grace Said Sarajane Greenfeld Vincent & Caroline Manganiello Wayland) Scott Sanger Nancy & James Gregory John & Nancy Mannes Kay Lynn Wheeler Kathy & Michael Santa Barbara John Greiner Lisa Max Leslie Williams Paula Schutz Victoria Gudeman Thomas Marsh Margaret Willingham Angel Shaffer Jennifer Haley Peter McCall Mary Willy Lesley Simmons Ruth Hammond Victoria McCormick George A. Wilson Elizabeth B. Hass-Hill Cheryl McDonald Carol & David Singer Margaret Windus (in honor of Lily Hill) Pat & Peggy McKee Nelson Smith Roger Wolf & Judy Lyons Rebecca Heagy Paul M. Mendelman Donna Smith Sheri Wolfe James Heegeman Bernard Mergen Marcia Snyder Arthur & Laurie Zucker Robert & Deborah Hefferon Kyle Meyer Rhoda Sommer & Don Friedman Edward Hoefle Richard Mier John & Pam Splaine Sandra Hoffman Claude & Barbara Migeon Elizabeth Staro

77 PLAYWRIGHTS 1991-2015

JOHNNA ADAMS DARRAH CLOUD THOMAS GIBBONS LIZ DUFFY ADAMS BOB CLYMAN KEITH GLOVER BENJIE AERENSON ERIC COBLE BRUCE GRAHAM CHRISTINA ANDERSON RACHEL CORRIE JASON GROTE JANE ANDERSON EISA DAVIS NOAH HAIDLE MAX BAKER LYDIA R. DIAMOND JENNIFER HALEY STEPHEN BELBER STEVEN DIETZ BARBARA HAMMOND STEPHEN BENNETT RICHARD DRESSER JEFFREY HATCHER LEE BLESSING ELIZABETH EGLOFF CHISA HUTCHINSON KYLE BRADSTREET CATHERINE FILLOUX JULIA JORDAN VICTOR BUMBALO STUART FLACK LYNNE KAUFMAN SHEILA CALLAGHAN PRESTON FOERDER JON KERN FRANCES YA-CHU COWHIG CHARLES FULLER JON KLEIN

78 GREG KOTIS HEATHER MCCUTCHEN LYDIA STRYK NEIL LABUTE KIM MERRILL KELLEY STUART DEBORAH ZOE LAUFER HARRY NEWMAN JOE SUTTON CHERYLENE LEE JOYCE CAROL OATES TRACY THORNE JON LIPSKY JOHN OLIVE LUCY THURBER VICTOR LODATO THERESA REBECK MICHAEL WELLER LISA LOOMER J.T. ROGERS EVAN M. WIENER MELINDA LOPEZ LEE SELLARS BEAU WILLIMON MICHELE LOWE MARK ST. GERMAIN SHERI WILNER WENDY MACLEOD JOHN PATRICK SHANLEY ERIN CRESSIDA WILSON DAVID MAMET SAM SHEPARD BESS WOHL JANE MARTIN BEN SIEGLER CRAIG WRIGHT LYNN MARTIN TOM STRELICH

ADVERTISERS’ INDEX

American Conservation Film Festival . . . 9 German Street Coffee & Candlery . . . 17 Seth Freeman Photography . . . 73 Antietam Overlook Farm . . . 43 Inn at Moler’s Crossroads . . . 53 Shenandoah Conservatory . . . 33 Appalachian Studies at Shepherd . . . 33 Janney Montgomery Scott, LLC Shepherd University Admissions . . . 49 Arena Stage . . . 47 Shaffer McGreevy Spainhour . . . 9 Shepherd University Foundation . . . 51 Arnold & Bailey . . . 29 Jefferson Arts Council . . . 73 Skinner Law Firm . . . 15 Atasia Spa . . . 7 JCCVB & SVC . . . Back Cover Spirit of Jefferson . . . 55 Bavarian Inn . . . 33 Jefferson Distributing . . . 55 Steptoe & Johnson . . . 3 Big Cork Winery . . . 45 Laughing Hat . . . 61 Susan Gurman Agency . . . 35 Bistro 112 . . . 15 Maryland Ensemble Theatre . . . 45 Susan Reichel . . . 29 Blue Moon Café . . . 49 Mellow Moods . . . 65 Uncommon Vernacular . . . 43 Washington County Boonsboro . . . 11 The Observer . . . 53 Museum of Fine Arts . . . 31 Christian Caine Jewelers . . . 33 The Old Opera House . . . 49 Woolly Mammoth . . . Inside Back Cover D’Accord Boutique . . . 35 Opera House Live! . . . 69 WRNR . . . 55 Dickinson & Wait Craft Gallery . . . 43 PGPresents LLC . . . 31 Domestic . . . 51 Point Park University . . . 53 PHOTOS BY SETH FREEMAN EP/BC Outdoors . . . 61 Press Room . . . 17 DESIGN BY EDEN DESIGN Fluent Magazine . . . 51 River & Trail Outfitters . . . 78 www.edendesignco.com

79 PAY-WHAT-YOU-CAN WEEK ONE FRI 7/10 SAT 7/11 SUN 7/12 PREVIEWS: JULY 5-9 10:00 am CONTEXT BREAKFAST 12:00 pm WORLD WORLD Schedule ON CLOVER ROAD 25th Anniversary Season: July 10-Aug 2, 2015 SUN, 7/5 7PM • WED, 7/8 8PM 12:30 pm LUNCH & ART WE ARE PUSSY RIOT ** Opening Night, followed by the SUN, 7/5 7:30PM • WED, 7/8 8:30PM 2:00 pm CLOVER TOUCH OPENING NIGHT CELEBRATION EVERYTHING YOU TOUCH 2:30 pm PUSSY RIOT CATASTROPHE TUE, 7/7 8PM • THUR 7/9 8PM ^ These performances will be followed THE FULL CATASTROPHE 4:30 pm LECTURE WORLD by a POST-SHOW DISCUSSION TUE, 7/7 8:30PM • THUR, 7/9 8:30PM 6:00 pm WORLD** WORLD CLOVER WORLD BUILDERS WORLD BUILDERS TUE, 7/7 6PM • WED, 7/8 6PM • THUR, 7/9 6PM 6:30 pm PUSSY RIOT by Johnna Adams BOX OFFICE OPENS ONE HOUR PRIOR TO 8:00 pm CLOVER** TOUCH** STUDIO 112 | CCA I | 92 WEST CAMPUS DRIVE CURTAIN. FIRST COME, FIRST SERVE. RUN TIME: 90 MINUTES 8:30 pm PUSSY RIOT** CATASTROPHE**

EVERYTHING YOU TOUCH WEEK TWO TUES 7/14 WED 7/15 THUR 7/16 FRI 7/17 SAT 7/18 SUN 7/19 by Sheila Callaghan FRANK CENTER STAGE | 260 UNIVERSITY DRIVE 10:00 am BREAKFAST CONTEXT BREAKFAST RUN TIME: 120 MINUTES 12:00 pm WORLD WORLD WORLD ON CLOVER ROAD 12:30 pm LUNCH & ART LUNCH & ART by Steven Dietz 2:00 pm TOUCH CLOVER SHOWCASE TOUCH CLOVER FRANK CENTER STAGE | 260 UNIVERSITY DRIVE RUN TIME: 120 MINUTES 2:30 pm CATASTROPHE PUSSY RIOT CATASTROPHE PUSSY RIOT 4:30 pm LECTURE WORLD WE ARE PUSSY RIOT 6:00 pm WORLD WORLD WORLD WORLD TOUCH by Barbara Hammond MARINOFF THEATER | CCA II | 62 WEST CAMPUS DRIVE 6:30 pm READING CATASTROPHE RUN TIME: 100 MINUTES 7:00 pm THE FULL CATASTROPHE 8:00 pm TOUCH^ CLOVER^ TOUCH CLOVER by Michael Weller 8:30 pm CATASTROPHE PUSSY RIOT CATASTROPHE PUSSY RIOT MARINOFF THEATER | CCA II | 62 WEST CAMPUS DRIVE RUN TIME: 90 MINUTES 10:30 pm SALON

BREAKFAST WITH ED WEEK THREE TUES 7/21 WED 7/22 THUR 7/23 FRI 7/24 SAT 7/25 SUN 7/26 10:00AM | CENTER FOR CONTEMPORARY ARTS II ROOM G03 | 62 WEST CAMPUS DRIVE ($25) 10:00 am BREAKFAST CONTEXT BREAKFAST 12:00 pm WORLD WORLD WORLD LUNCH & ART 12:30 pm LUNCH & ART 12:30PM | CENTER FOR CONTEMPORARY ARTS II ROOM G03 | 62 WEST CAMPUS DRIVE ($30) 2:00 pm CLOVER SHOWCASE CLOVER TOUCH 2:30 pm PUSSY RIOT CATASTROPHE PUSSY RIOT CATASTROPHE PRESENTED FREE OF CHARGE thanks to the West Virginia Humanities Council: 4:30 pm LECTURE WORLD 6:00 pm WORLDˆ WORLD WORLD WORLD CLOVER CATF IN CONTEXT A scholarly approach to the CATF repertory. 6:30 pm READING PUSSY RIOT Free but requires reservation. 7:00 pm ROOM G03 | CCA II | 62 WEST CAMPUS DRIVE 8:00 pm CLOVER TOUCH CLOVER TOUCH LECTURE 8:30 pm CATASTROPHE PUSSY RIOT^ CATASTROPHE^ PUSSY RIOT CATASTROPHE Distinguished guest speakers discuss issues raised in the plays at the popular talktheater Lecture Series. 10:30 pm SALON REYNOLDS HALL | 109 NORTH KING STREET

READING WEEK FOUR TUES 7/28 WED 7/29 THUR 7/30 FRI 7/31 SAT 8/1 SUN 8/2 Join CATF for Stage Readings of new plays. 10:00 am CONTEXT BREAKFAST MARINOFF THEATER | CCA II | 62 WEST CAMPUS DRIVE 12:00 pm WORLD WORLD WORLD SALON 12:30 pm LUNCH & ART Enjoy a late-night drink, lite fare, and discussion with CATF staff at Bistro 112. 2:00 pm TOUCH SHOWCASE TOUCH CLOVER 112 WEST GERMAN STREET 2:30 pm CATASTROPHE PUSSY RIOT CATASTROPHE PUSSY RIOT

APPRENTICE SHOWCASE 4:30 pm LECTURE WORLD A newly created program featuring members of the University of Iowa’s Theatre Arts Department. 6:00 pm WORLD WORLD WORLD WORLD TOUCH Directed by CATF alum Anne Marie Nest. 6:30 pm READING CATASTROPHE STUDIO 112 | CCA I | 92 WEST CAMPUS DRIVE 7:00 pm

8:00 pm TOUCH CLOVER TOUCH CLOVER contemporaryamericantheaterAT SHEPHERDfestival UNIVERSITY 304.876.3473 8:30 pm CATASTROPHE CATASTROPHE PUSSY RIOT CATASTROPHE PUSSY RIOT 800.999.CATF catf.org 10:30 pm SALON

CHARLES TOWN • HARPERS FERRY • SHEPHERDSTOWN

You love Shepherdstown for its theater festival… there are so many other reasons to come back to visit, explore and enjoy Jefferson County.

www.DiscoverItAllWV.com www.Shepherdstown.info visitjeffersoncountywv shepherdstownvc

PHOTOS BY CHRIS WEISLER