S C kelETON rEW

BY DOMINIQUE MORISSEAU DIRECTED BY NICOLE A. WATSON PART OF THE WOMEN’S VOICES THEATER FESTIVAL

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3 WelCOME

This program is published by: 4 TITLE PAGE BALTIMORE CENTER STAGE 700 North Calvert Street 7 SETTING Baltimore, MD 21202 EDITOR Maggie Beetz 8 DRAMATURGY DESIGN Bill Geenen 14 WOMEN'S VOICES ADVERTISING [email protected] TheATer FesTival BOX OFFICE 410.332.0033 16 CAST ADMINISTRATION 410.986.4000 18 ARTISTIC TEAM CENTERSTAGE.ORG [email protected] 22 LEADERSHIP

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BALTIMORE CENTER STAGE 1 BOARD ABOuT US Terry H. Morgenthaler John McCardell Baltimore Center Stage is a PResiDeNt professional, nonprofit institution Hugh W. Mohler, Jr. committed to entertaining, Edward C. Bernard Charles J. Morton, Jr. ViCe PResiDeNt engaging, and enriching audiences J. William Murray through bold, innovative, and August J. Chiasera Charles E. Noell III ViCe PResiDeNt thought-provoking classical and Judy M. Phares contemporary theater. Beth W. Falcone Jill Pratt Named the State Theater of ViCe PResiDeNt Philip J. Rauch Maryland in 1978, Baltimore Brian M. Eakes E. Hutchinson Center Stage has steadily grown TReAsUrer Robbins, Jr. Jordan D. Rosenfeld as a leader in the national Scot T. Spencer regional theater scene. Under the SeCRetAry Todd Schubert leadership of Artistic Director Charles Schwabe Stephanie L. Baker Kwame Kwei-Armah OBE and Robert W. Smith, Jr. Penny Bank Managing Director Michael Ross, Scott Somerville Baltimore Center Stage is Taunya Banks Michele Speaks committed to creating and Bradie Barr Michael B. Styer presenting a diverse array of Meredith Borden Harry Thomasian world premieres and exhilarating James T. Brady Donald Thoms interpretations of established works. Stephanie Carter Krissie Verbic Baltimore Center Stage Lynn Deering believes in access for all—creating Jed Dietz tRUSTeeS eMeRItI Walter B. Doggett III a welcoming environment for Katharine C. everyone who enters its doors Jane W.I. Droppa Blakeslee and, at the same time, striving to Amy Elias C. Sylvia Brown meet audiences where they are. Juliet A. Eurich Martha Head In addition to Mainstage and Off Daniel Gahagan Sue Hess Center productions in the historic C. Richard Gamper, Jr. Murray M. Mount Vernon neighborhood, Suzan Garabedian Kappelman, MD Baltimore Center Stage ignites Megan Gillick E. Robert Kent, Jr. conversations among a global Adam Gross Joseph M. Langmead audience through digital Cheryl O'Donnell initiatives, which explore how Guth Kenneth C. Lundeen technology and the arts intersect. Elizabeth J. Himelfarb Marilyn Meyerhoff The theater also nurtures the Hurwitz Esther Pearlstone next generation of artists and Kathleen W. Hyle Monica Sagner theatergoers through the Young Ted E. Imes George M. Sherman Playwrights Festival, Student Wendy Jachman Matinee Series, and many other Joe Jennings educational programs for students, John J. Keenan families, and educators. Sandra Liotta

2 BALTIMORE CENTER STAGE WELCOME

Dear Friends,

When I arrived in America to begin my time at Baltimore Center Stage, Dominique Morisseau was the first US playwright I had the honor of collaborating with. I directed the original production of Skeleton Crew at the Lark Play Development Center, as well as the world premiere of Detroit ’67 for the Public Theater in New York. As my time here comes to a close, it seems fitting to circle back to Dominique’s words and work.

Some of you may remember our 2015/16 production of KWAME KWEI-ARMAH Dominique’s Detroit ’67, the second play (chronologically) in her Detroit Project trilogy and a story that spotlights the importance of family against the social unrest of the Detroit riots. Skeleton Crew connects us with a different kind of family, working in the long shadow of Detroit’s more recent history.

Detroit and Baltimore have a shared history of postindustrial struggle. What Skeleton Crew portrays about the city and people behind this struggle I think rings true for our city—and our audiences—as well. As usual, Dominique’s portrayal of ordinary people leading their lives while major historical events unfold around them shows us just how powerful theater, and storytelling, can be.

While I may be stepping away as the Artistic Director of this theater, it is not yet goodbye. I will be back to direct the last play of this season, SOUL The Stax Musical. And I will always carry this city, and this theater, with me in my heart back across the pond.

Kwame Kwei-Armah ARTISTIC DIRECTOR

BALTIMORE CENTER STAGE 3 S C kelETON rEW

BY DOMINIQUE MORISSEAU DIRECTED BY NICOLE A. WATSON PART OF THE WOMEN’S VOICES THEATER FESTIVAL

JAN 25– MAR 4, 2018

THE CAST THE ARTISTIC TEAM in alphabetical order Nicole A. Watson Brittany Bellizeare Director Shanita Mariana Sanchez Stephanie Berry Scenic Designer Faye Karen Perry Sekou Laidlow Costume Designer Reggie Burke Brown Gabriel Lawrence Lighting Designer Dez Darron L. West Sound Designer Lori M. Doyle Mari Andrea Travis Stage Manager Assistant Director Lindsay Eberly Faedra Chatard Carpenter Assistant Stage Manager Production Dramaturg Pat McCorkle Katja Zarolinski McCorkle Casting, Ltd. Casting There will be one intermission.

4 BALTIMORE CENTER STAGE S C kelETON rEW

Please turn off electronic devices.

The Actors and Stage Managers employed in this production are Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Skeleton Crew is presented by special arrangement with Samuel French, Inc.

Skeleton Crew was developed at the Lark Play Development Center, New York City and the 2014 Sundance Institute Theatre Lab at the Sundance Resort.

Winner of the 2014 Sky Cooper New American Play Prize at Marin Theatre Company, Mill Valley, CA, Artistic Director, Jasson Minadakis; Managing Director, Michael Barker.

Director Nicole A. Watson is the Season 2017/18 recipient of the Lord Baltimore Capital Corporation Visiting Artist Fund.

BALTIMORE CENTER STAGE 5 Make it a party!

The cast of Shakespeare in Love

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A STAMPING PLANT, DETROIT, MICHIGAN. WINTER. SOMEWHERE AROUND 2008.

“Should you ever find yourself near an active press line, you’ll no doubt know it. Like the liftoff of an airliner, the stamping of auto body parts requires inhuman force, producing decibels registered by your internal organs. The presses sound, unmistakably, as if they could kill you, which they could, without much interrupting their normal functioning. You’d notice the collision more than they would.” —Paul Clemens, Punching Out: One Year in a Closing Auto Plant

BALTIMORE CENTER STAGE 7 MORISSEAU’S MUSICAL NOTATIONS FAEDRA CHATARD CARPENTER Production Dramaturg

Many years ago, when penning his as Duke Ellington, Billy Eckstine, Pearl 1963 book Blues People, the provocateur Bailey, Ella Fitzgerald, and Count Basie. In poet and playwright Amiri Baraka (a.k.a. making Blackbottom the setting for her play, LeRoi Jones) reflected on the indivisible Morisseau concurrently acknowledges the nature of African American music and history of her native city’s ever-changing history. Musing that you could ostensibly landscape while also paying homage to “go from one to the other, actually from the Detroit’s rich musical heritage. inside to the outside, or reverse, and be talking about the same things” Baraka was Whereas the backdrop of Blackbottom struck by the revelation that “the music was reminds us of Detroit’s musical roots, Detroit explaining the history as the history was ’67, the next play in the sequence, reignites explaining the music.” the more popular knowledge that the “Motor City” is also the “Motown City.” At Many dramatists, past and present, can the same time, as the title suggests, Detroit boast of work that breathes vibrant truth ’67 also uses its narrative focus to address into Baraka’s musical maxim (August Wilson the racial tensions that indelibly mark our readily comes to mind). However, no one of public memories of July 1967. All of this is late has refreshed this notion or bestowed strategically supported by the sounds of it with quite the same distinctive fervor as Berry Gordy’s legendary musical empire, Dominique Morisseau does with her unique thereby paying tribute to a host of beloved triumvirate known as The Detroit Project. Motown groups and their enduring hits. Morisseau designed each play within the trilogy with a specific “soundtrack” in mind; And then there is Skeleton Crew, the final the musical motifs keenly reflecting each play within Morisseau’s dramatic triptych. play’s time, place, and given circumstances. Skeleton Crew follows the conceptual refrain set by its antecedents, integrating The trilogy begins with Paradise Blue. specific characterizations with the Set in 1949 within Detroit’s now-faded equally present characters of Detroit Blackbottom neighborhood, Paradise Blue and its music. In place of the swing of jazz dramatizes the story of a nightclub owner or Motown’s bop, Skeleton Crew’s more who struggles against the gentrifying contemporary setting leads Morisseau forces that aim to “renew” his community. to use hip hop as the play’s leitmotif: a As the annals of history reveal, Blackbottom fitting pairing, not only because hip hop birthed an effervescent jazz scene that is the recognized beneficiary of earlier was cultivated by legendary artists such forms of African American music, but

8 BALTIMORE CENTER STAGE because—as Morisseau indicates—hip Such a seemingly simple notation hop complements the discernable yet powerfully reverberates with the scope undercover musicality found within the of Morisseau’s Detroit trilogy. In writing heartbeat of an auto plant. about Detroit—its history and people— through the emotive lens of particular It was, in fact, a concept-shaping visit to a soundtracks, Morisseau designs her plays Ford factory that prompted the playwright to be multi-sensory experiences that can to take note of the rhythmic, syncopated, be heard, seen, and felt. Tapping into the and synchronized sound that pervades power of music, born from specific cultural such facilities: “I watched them work the and historical contexts, Morisseau creates line and I thought: ‘Wow. This is just like a theatrical milieu that invites audiences choreography.’ It was gorgeous and to understand and experience the fullness theatrical.” Undoubtedly influenced by this of Detroit. experience, Morisseau infused her script with hip hop, even writing stage directions In so doing, she not only encourages us that describe the hums and rattles of to pay our respects to Detroit’s (faded) imagined machinery as “hip hop drum glories, but she also invites us to recognize beats” that “blend into the rhythm— the beauty and power found in the city’s a cacophony of working class hustle.” labor, struggles, resilience, and survival. Through Morisseau’s careful orchestration Beyond calling for the harmonious of The Detroit Project, the resonance and blending of hip hop music and industrial reverberations of Baraka’s reflection holds clamor, Morisseau extends the musical true: music does explain history and history motif through her characters as well. does explain music—not only in terms of Shanita, a young auto plant worker a city and its songs, but also through the who relishes the mechanical rhythms indivisible histories of Detroit, African that surround her, meditates on the American music, and the broader tapestry sounds of the stamping plant: “Sound of American life and culture. like harmony,” she says to a colleague, “like life happening. Production. Good sound.” For Shanita, the sounds of the stamping plant provide audible markers of productivity and employment. Although not conventionally melodic, they are still music to her ears.

BALTIMORE CENTER STAGE 9 SKELETON CREW “WALKING ON THE Production LINE:” Dramaturg THE TEETERINGFAEDRA VIEW CHATARD IN CARPENTER,

10 BALTIMORE CENTER STAGE t has been a decade since the U.S. source of their livelihood and fellowship) stumbled into the aches and pains of and the city of Detroit. The characters the Great Recession. National statistics and predicaments offer audiences a prove that the financial turmoil that vivid portrait of recent, real life drama. In Ibegan in December 2007 fell far short doing so, Skeleton Crew prompts us all to of the debilitating trials and traumas recognize how thin the line can be between suffered by Americans during the Great the haves and have nots—and how easily Depression of the 1930s. Yet and still, talk such lines are crossed, by accident or of a "Great Recession” felt like a delusional intention. understatement for some cities, Detroit, Michigan being a prime example. In many respects, the specific history dramatized by Skeleton Crew—the story of For Detroit, the nation’s ills were unwelcome Detroit, the Auto Industry, America—is all complements to the steady decline of about “lines,” both literal and metaphoric. the city’s once-upon-a-time bustling auto Socio-economic lines. Racial lines. City industry. Once known as “The Auto Capital lines. Assembly lines. Picket lines. The lines of the World,” Detroit was the hub of major between the haves and the have nots. And, in automobile makers such as Ford, GM, and the words of Skeleton Crew’s characters, the Chrysler. Back in the day, business boomed affirming or numbing experience of “working and the city’s population proliferated. In the line” and the empowering or paralyzing fact, from 1920 to 1950 Detroit proudly held consequence of “walking on the line." the title of being the fourth largest city in the country. For decades the Motor City was on True to this thematic observation is the a seemingly unstoppable and aspirational fact that in writing the play, Dominique joy ride, and the good times seemed like Morisseau “works the lines” by mapping they would continue to roll on—that is, until out her characters’ journeys so that we, they rolled out. the audience, invariably “walk the line” ourselves. We are encouraged to refrain While the auto industry had experienced from judging these characters; to teeter ups and downs before 2007, the at the brink of indecision and expectation recession marked a monumental shift because, well, sometimes there are no easy in gears. Compounded by an influx of answers, no clear delineations, no easily- industry-specific factors' (collapsing of made pronouncements of right or wrong, credit markets, rising oil prices, foreign good or bad. competition, plummeting auto sales, and the displacing effects of automation), the Likewise, the characters of Skeleton Great Recession further aggravated the Crew—not unlike the city of Detroit—find already tenuous condition of automobile themselves in circumstances that ask them companies, steering them—and the people to be cautious yet hopeful, poised at the of Detroit—into a course of uncertainty. It is precipice of uncertainty. Like the city they amidst these trying times that we enter the call home, they are trying to move forward, world of Skeleton Crew. while participating in an undesirable balancing act. Weary and wary but still The small cadre of workers in Skeleton Crew, standing, still working, they continue moving a makeshift family, are first-hand witnesses forward, heads held high, with daredevil to the stripping and shrinking of both precision, walking on a very thin line. their communities, the auto industry (the

BALTIMORE CENTER STAGE 11 “I definitely think people come in with assumptions FAEDRA CHATARD about Detroit…Detroiters know that people feel CARPENTER Production Dramaturg negatively about the city, so they’re very particular about who’s going to write us. When I tell people from Detroit that I’m writing about the city, the first thing they say is, ‘Okay, make us look good now.’ And I’m like, ‘Why? That’s not an interesting play!’ I’m not going to do that. But what I promise is: I’m not going to make you look bad. I’m going to make you look human. Because that’s what we are.” —Playwright Dominique Morisseau

12 BALTIMORE CENTER STAGE “[Once] we built war machines for the world…we built everything and put them on ships and shipped 'em to England and everywhere. Y'all know what we did. Keep up with that history. Now we can’t even buy an American-made washing machine. Or an iron. So where did all our manufacturing base go? Where’d it all go? ‘Cause we built everything. We built everything. Everything. America did.” —George McGregor, President of Detroit’s United Auto Workers Union, Local 22

“It’s amazing that we use all these euphemisms: downsizing, outsourcing, rightsizing. When all it means is you just lost your job and you have no way to pay your house note. Don’t know where your kids are going to get the money for clothes or for food. We’ve lost the human pathos, the empathy, the drama.” —Jon Clark, Founding Editor, Plant Closing News

“Listen, like I don’t know if y'all understand, but they shutting down schools, they shutting down—futures, basically. And that’s not cool, like, it’s just not cool. You know, it almost makes me feel like we might be, regressing.... We’ve got enough problems, y'all, now let’s just come up with some way to solve these problems ‘cause I think we destined for the heavens, Detroit.” —Crystal Starr, Detroit Native and Video Blogger

“We’re not going to accept any more downsizing. We want to hear about upsizing, bigsizing, supersizing Detroit.” —Unidentified Detroit Citizen at Town Hall Meeting

BALTIMORE CENTER STAGE 13 Welcome! FESTIVAL WELCOME I am so happy you are here for this performance. It’s a part of the 2018 Women’s VoicesWWelcome!elcome ! Theater I am so happy you are here for this performance. Festival in the nation’s capital region ItIand ’ams a sopart happythe of the younew 2018 are Womenhere for’s thisVoices performance. Theater FIt’sest aiv apartl in the of thenati o2018n’s capital Women’s region Voices and the Theater new play you are about to see is one ofp lamanyy you are babeouingt to see is one of many being pFestivalroduced into thebrin gnation’s attention capital to the region abundance and theof produced to bring attention to the abundancewonderful women poflayw rights creating exciting, rneweleva playnt th eyouater are tod aboutay and to the see am isa onezing ofarray many of wonderful women playwrights creatingcombeingpan producediesexcit in the aWring,e toaelc. bringo m eattention! to the relevant theater today and the amaIabundancez’ming very gladarray to of be wonderfulI aa partofm soof this womenhappy project, playwrights youand proud are here for this performance. tocreating be helpi exciting,ng the Frelevantestival advo theatercate for today women and the writing for the stItag’se , foa r partnew plays, of andthe fo 2018r the Women’s Voices Theater companies in the area. samazingharing of darrayiverse F ofsteo companiesstriesiv. Ia hlop ine youthe in enjoythe n area.a thetio shown’s capital region and the new and see as many of the Women’s Voices Theater FI’mest veryival sh gladows a tos pop belass iblya parte.you of thisare project, abou tand to see is one of many being produced to bring attention to the abundance of I’m very glad to be a part of this project,proud and to be proudhelping the Festival advocate for wonderful women playwrights creating exciting, women writing for the stage, for new plays, and to be helping the Festival advocate for womenreleva nt theater today and the amazing array of for the sharing of diverse stories.Allis I hopeon Ja nyouney companies in Honorarythe are Chaira. writing for the stage, for new plays,enjoy and the showfor andthe see as many of the Women’s sharing of diverse stories. I hope you enjoyVoices theTheater showI ’Festivalm ver y shows glad as to possible. be a part of this project, and proud and see as many of the Women’s Voices Theateto bre helping the Festival advocate for women writing for the stage, for new plays, and for the Festival shows as possible. sharing of diverse stories. I hope you enjoy the show Offi cial Ticketing Partner WomensVoicesTheaterFestival.organd see as many of the Women’s Voices Theater todaytix.com @WOMENSVOICESTHEATERFESTIVAL @WOMENSVOICESDCFestival shows as possible.

Allison Janney Honorary Chair Allison Janney Allison Janney Honorary Chair Honorary Chair

Welcome! I am so happy you are here for this performance. It’s a part of the 2018 Women’s Voices Theater Festival in the nation’s capital region and the new play you are about to see is one of many being produced to bring attention to the abundance of wonderful women playwrights creating exciting, relevant theater today and the amazing array of companies in the area. Offi cial TicketingWomensVoicesTheaterFestival.org Partner WomensVoicesTheaterFestival.org @WOMENSVOICESTHEATERFESTIVAL I’m very glad to be a part of this project, and proud @WOMENSVOICESTHEATERFESTIVAL to be helping the Festtodaytix.comival advocate for women@WOMENSVOICESDC writing for the stage, for new plays, and for the Officialsharing Ticketing of diverse Partner stories. I hope you enjoy the show @WOMENSVOICESDC antodaytix.comd see as many of the Women’s Voices Theater Offi cial Ticketing Partner WomensVoicesTheaterFestival.orgFestival shows as possible. @WOMENSVOICESTHEATERFESTIVAL todaytix.com 14 BALTIMORE CENTER STAGE Allison Janney @WOMENSVOICESDC Honorary Chair

Offi cial Ticketing Partner WomensVoicesTheaterFestival.org todaytix.com @WOMENSVOICESTHEATERFESTIVAL @WOMENSVOICESDC WOMEN’S VOICES THEATER FESTIVAL FULL SCHEDULE

Queens Girl in Africa This is All Just Temporary Noura by Caleen Sinnette by Olivia Haller by Heather Raffo Jennings Convergence Theatre Shakespeare Theatre Mosaic Theater Company January 19 – February 10 Company January 4 – February 4 February 6 – March 14 Jefferson’s Garden The Way of the World by Timberlake Peepshow by Theresa Rebeck Wertenbaker by dog & pony dc Folger Theatre Ford’s Theatre dog & pony dc January 9 – February 11 January 19 – February 11 February 7 – 25

Rabbit Summer Waxing West Aubergine by Tracey Conyer Lee by Saviana Stanescu by Julia Cho Ally Theatre Company 4615 Theatre Company Olney Theatre Center January 11 – 28 January 19 – February 10 February 7 – March 4

Sovereignty Skeleton Crew All She Must Possess by Mary Kathryn Nagle by Dominique Morisseau by Susan McCully Arena Stage Baltimore Center Stage Rep Stage January 12 – February 18 January 25 – March 4 February 8 – 25

Imogen Handbagged No Word in Guyanese by Charlie Marie McGrath by Moira Buffini For Me Pointless Theatre Round House Theatre by Wendy Graf January 12 – February 11 January 31 – February 25 Rainbow Theatre Project February 8 – March 4 Love is a Blue Tick Hound The Trojan Women Project by Audrey Cefaly by Rachel Hynes & Count Down Rapid Lemon Productions the cast by Dominique Cieri January 12 – February 17 Brave Spirits Theatre Strand Theater Company January 31 – February 25 February 14 – March 4 4,380 Nights by Annalisa Dias Digging Up Dessa The Lathe of Heaven Signature Theatre by Laura Schellhardt by Natsu Onoda Power & January 16 – February 18 The Kennedy Center for Richard Henrich the Performing Arts Spooky Action Theater The Wolves February 3 – 18 February 15 – March 11 by Sarah DeLappe Studio Theatre Familiar The Veils January 17 – March 4 by Danai Gurira by Hope Villanueva Woolly Mammoth Nu Sass Productions Theatre Company February 15 – March 4 February 5 – March 4

BALTIMORE CENTER STAGE 15 THE CAST

Brittany Bellizeare Other—She appears in Shanita Mississippi, Sassafras and Myrrh with her storytelling company. Baltimore Center Stage: She’s a founder of Blackberry debut. New York—Gallery Productions, a Harlem-based Players: A Raisin in the Sun company that develops new (Beneatha). Regional—The works and brings theater to Guthrie: The Bluest Eye underserved populations. As (Pecola); TheaterWorks a playwright, Stephanie’s new Hartford: Sunset Baby (Nina); musical play, Sarah Sings a Love La Jolla/Berkeley Rep: The Last BRITTANY BELLIZEARE Story, was selected as one of Tiger in Haiti (Rose); Northern the 10 Best New Jersey Theater Stage: The Mountaintop Productions of 2017. Special (Camae); Two River Theatre: thanks to Marshall Jones and Seven Guitars (Ruby); the Yard: Crossroads Theatre. Archy & Mehitabel (Ensemble). Educational Tour—McCarter: Sekou Laidlow Sunjata Kamalenya (Player Reggie 3). Film/TV—The Blacklist, Eye Baltimore Center Stage: A Civil Candy, The Knick. Education— War Christmas. Broadway— MFA: The New School for Manhattan Theater Club: Drama; BS: Spelman College. STEPHANIE BERRY Airline Highway (various). NAACP Theatre for Best Regional—Huntington Ensemble nomination for The Theater Company: A Doll’s Last Tiger in Haiti (2017/18). House (Torvald); American brittanybellizeare.com Repertory Theater: Father Stephanie Berry Comes Home from the Wars Faye (Homer), Seven Guitars (The Juilliard School-Guest Artist, Baltimore Center Stage: Wild Hedley); Philadelphia: The with Happy, Gleam. Regional— Mountain Top (MLK); Pioneer The Guthrie: The Bluest Eye; Theater Co: Of Mice And Men Yale Repertory Theater: Seven (Crooks); Studio Theater DC: Guitars. TV—Upcoming: SEKOU LAIDLOW Runaway Home (Paul); Lime Kiln: Luke Cage, The Last OG; she Stonewall Country (Barefoot); appeared on Bull, Blacklist, Blue Playwrights: You Shouldn’t Have Bloods, Louie, Broad City, and Told (Ray-Ray); Lambs Theater: all the Law and Order programs. Midnight Onto Rain (Samuel); Film—Submission, OG, The Tower Theater: Seven Brides Delivery Man, Invasions, No For Seven Brothers (Gideon), A Reservations, Finding Forrester. Raisin in the Sun (Asagai); Arena Awards/Accolades—She is Players: Amen Corner (David), a recipient of an Obie Award An Enemy Of The People for her one-woman show, The (Nansen), Something’s Afoot Shaneequa Chronicles and GABRIEL LAWRENCE (Geoffrey); Lynchburg Theater: the TCG/Fox Fellowship as a Rumors (Officer Welch). Distinguished Artist.

16 BALTIMORE CENTER STAGE THE CAST

Film/TV—The Breaks, Good credits include Contemporary Wife, The Mend, Person of American Theater Festival Interest, The Carrie Diaries, (nine summer seasons, two Smash, Law and Order, The Wire, plays in rep each season); multiple productions at The La Homicide, Pop Foul, Half Pint, Jolla Playhouse, The Westport Divided We Stand. Awards— Country Playhouse, The The Actors and Stage Managers employed in this production are Columbia Short Festival Best Huntington Theatre Company, Performance for Lead Actor: Members of Actors’ Equity and Actors Theatre of Louisville. Association, the Union of Pop Foul. Education—The Off-Broadway—Second Professional Actors and Stage Juilliard School Drama Division. Stage Theatre Company, Managers in the United States. RTC @ The Laura Pels, The Gabriel Lawrence NY Shakespeare Festival, The Dez Lambs Theatre Company, Baltimore Center Stage: debut. Circle Rep, The American Off Broadway—National Black Jewish Theatre. Other— Theatre: Carnaval (Audelco 80+ corporate and special Award Best Ensemble). Tour— events with 33 different production companies. The Acting Company: Macbeth, Baltimore Center Stage operates under an agreement between LORT Julius Caesar (title roles) Lindsay Eberly and Actors’ Equity Association, the and X or Betty Shabazz v. The Assistant Stage Manager union of professional actors and Nation. Regional—Cincinnati stage managers in the United States. Playhouse in the Park: To Kill Baltimore Center Stage: The Secret Garden, Pride & a Mockingbird; Shakespeare Prejudice, 4000 Miles, After Santa Cruz: Man in the Iron the Revolution, It’s a Wonderful Mask, Henry IV.2; Human Race Life, Amadeus, Twelfth Night, The Director and Choreographer Theatre: Lombardi. TV—Madam A Civil War Christmas, are members of the Society of Stage Secretary, The Good Fight, Animal Crackers, Beneatha’s Directors and Choreographers, Inc., Mysteries of Laura, Shades of Place, Clybourne Park, The an independent national labor union. Blue, Alpha House, What Would Mountaintop, The Completely You Do?. Education—MFA: Fictional...Final Strange Tale University of California, San of E.A. Poe. Off-Broadway— Atlantic: Tell Hector I Miss Him; Diego (Theater); BA: West Theater For One at Signature Texas A&M University (Mass The scenic, costume, lighting, and Theatre, Carnegie Hall: West sound designers in LORT theaters are Communication). Side Story. Regional—CATF represented by United Scenic Artists, Local USA-829 of the IATSE. Lori M. Doyle The Niceties, The Second Girl, Stage Manager pen/man/ship, WE ARE PUSSY RIOT, The Full Catastrophe, Baltimore Center Stage: The Dead & Breathing, The Ashes Importance of Being Earnest, Under Gait City, Modern Ma Rainey’s Black Bottom. Terrorism, Scott & Hem in the Broadway—The Visit, You Can’t Garden of Allah, The Insurgents, Musicians engaged by Baltimore Take It With You, The Mystery Ages of the Moon, Inana, and Center Stage perform under the of Edwin Drood (revival), Fela!, The Eelwax Jesus 3-D Pop Music terms of an agreement between Jane Eyre-the Musical, 1776, Show; ATL Humana Festival: Center Stage and Local 40543, Say Goodnight Gracie, and Recent Alien Abductions; American Federation of Musicians. 11 Mainstage productions and Hartford Stage: Queens for Baltimore Center Stage is a numerous Gala events for The a Year; Berkshire Theater constituent of Theatre Communica- Roundabout Theatre Company. Festival: A Thousand Clowns, tions Group (TCG), the national Regional—most recently, Homestead Crossing. organization for the nonprofit Cry It Out at Actors Theatre professional theater, and is a member of Louisville 2017 Humana of the League of Resident Theatres (LORT), the national collective Festival and Queens for a bargaining organization of Year at Hartford Stage; other professional regional theaters.

BALTIMORE CENTER STAGE 17 THE ARTISTIC TEAM THE ARTISTIC TEAM Dominique Morisseau Nicole A. Watson Shakespeare Festival: Playwright/Actress Director The River Bride; Amherst College: Peer Gynt, Yale Dominique Morisseau is the Baltimore Center Stage: Repertory Theater: WAR; Yale author of The Detroit Project (A debut. New York—The University Theater: Peter Pan. 3-Play Cycle) which includes the Women’s Project: We Play for Education—BA: UNAM following plays: Skeleton Crew the Gods; NY Fringe: Kevin (architecture); MFA: Yale (Atlantic Theater Company), R. Free’s Night of the Living School of Drama (scenic Paradise Blue (Signature N-Word (world premiere). design). Awards—The Theatre), and Detroit ’67 (Public Regional—Playmakers Rep: Donald and Zorca Oenslager Theater, Classical Theatre of Colman Domingo's Dot; Fellowship Award in Design Harlem and NBT). Additional Cincinnati Playhouse: Mr. Joy; and FONCA Artistic plays include: Pipeline (Lincoln CATF: Kara Lee Corthron’s Residency Award. Center Theatre), Sunset Baby Welcome to Fear City (world (LAByrinth Theatre); Blood premiere), World Builders; Asolo at the Root (National Black Repertory Theatre: The Great Karen Perry Theatre) and Follow Me to Society; Washington National Costume Designer Nellie’s (Premiere Stages). She is Opera: Approaching Ali (world Baltimore Center Stage: debut. also the book writer on the new premiere). Other—A.C.T. Regional—Dallas Theater musical Ain’t Too Proud – The Conservatory: Las Meninas; Center: Miller, Mississippi, Hair, Life and Times of the Temptations Two River Theater’s Little Dreamgirls, A Raisin in the Sun, (Berkeley Repertory Theatre). Shakespeare: Merry Wives of Clybourne Park, The Trinity River Dominique is an alumna of Windsor; Smith College: Our Plays; Guthrie Theater: The Lion The Public Theater Emerging Lady of Kibeho; North Carolina in Winter (dir. Kevin Moriarty); Writer’s Group, Women’s Project School of the Arts: Joe Turner’s ETC: Porgy & Bess; Harford Lab, and Lark Playwrights Come and Gone; Member of Stage: Ma Rainy Bottom Blues, Workshop and has developed The New Georges Jam; 2015 Having Our Say; Encore New work at Sundance Lab and Artist-in-Residence at the York City Center: Cabin in the Eugene O’Neil Playwrights Drama League; 2013 Drama Sky; The National Black Theatre: Conference. Her work has been League Directing Fellow; 2011 Dead & Breathing; Two Rivers commissioned by the Hip Hop recipient of the League of Theater: Ma Rainy Bottom Blues, Theater Festival, Steppenwolf Professional Theatre Women’s Lives of Reason, Seven Guitars, Theater Company, Women’s Josephine Abady Award. Sweet Blues, Guadalupe in the Project, South Coast Rep, Education—BA: Yale University; Guest Room; Quick Silver People’s Light and Theatre, and MA: NYU Gallatin School. Theater Company: Proof; Oregon Shakespeare Festival/ nicoleawatson.com. Signature Theatre: stop. reset, Penumbra Theatre. She recently The Piano Lesson; PlayMakers served as Co‐Producer on the Mariana Sanchez Repertory Company: Trouble in Showtime series Shameless. Scenic Designer Mind; Mark Taper Forum: Joe Awards include: Stavis Turner’s Come and Gone. Baltimore Center Stage: debut. Playwriting Award, NAACP Awards—Best Costume Design Off Broadway/Other New Image Award, Spirit of Detroit for Dreamgirls (Dallas Theater York—The Public Theater: Award, Weissberger Award, Center) from Black Theatre Winter’s Tale, Troy; The Play PoNY Fellowship, Sky-Cooper­ Award of Dallas. New American Play Prize, Company: Oh My Sweet Land; TEER Spirit Trailblazer Award, Primary Stages: Fade; The Bushwick Starr: Frontieres Sans Burke Brown Steinberg Playwright Award, Lighting Designer Edward M. Kennedy Prize for Frontieres; The New School for Drama (Detroit ’67), Audelco Drama: Chained Woman. Baltimore Center Stage: and OBIE Award (Skeleton Regional—TheaterWorks: The It’s a Wonderful Life: A Live Wolves, Fade; Oregon Radio Play. New York—New Crew).

18 BALTIMORE CENTER STAGE THE ARTISTIC TEAM

World Stages: Church & State; Mari Andrea Travis Night, The Odyssey (American Mabou Mines: Imagining the Assistant Director premiere). Professional— Imaginary Invalid; Metropolitan Baltimore Center Stage: Associate Professor of Theatre Museum: Celestina; Rattlestick Lookingglass Alice (assistant and Performance Studies, Playwrights Theater; 52nd director and dance captain). University of Maryland, Street Project; Ars Nova; Broadway—Fela! Nigeria College Park. Education: NYSF-Public Theater. (production assistant). BA: Spelman College; MA; International—Erratica: Choreography—credits Washington University; PhD Remnants (London), Abbey include MSU: Black Nativity Stanford University. Theatre (Dublin), Golden The Wiz; Spotlighter's Mask Festival (Moscow), Theatre: Ain't Misbehavin; Pat McCorkle Seoul Performing Arts Festival, Arena Players: Smokey Joe's Katja Zarolinski Festival of Two Worlds (Spoleto, Café; guest choreography McCorkle Casting, Ltd Italy). Regional—Cal Shakes: residencies: Georgetown Casting A Midsummer Night’s Dream, University, MSU, Duke Ellington Baltimore Center Stage: Twelfth Night; Magic Theatre; School for the Arts, Friends Lookingglass Alice, The Cleveland Playhouse; School. Directing—credits Christians, Jazz, Les Liaisons PlayMaker’s Rep; George include Arena Players: Spell Dangereuses, Detroit ’67, As Street Playhouse; Asolo Rep; #7, Colorblind: The Katrina You Like It, Pride and Prejudice, Barrington Stage Co.; Hanger Monologues. Education—BA: Marley, One Night in Miami…, Theater; Northern Stage; Two Morgan State University Amadeus, Wild with Happy, River Theater. Dance—Aszure (Theater). Professional/ Twelfth Night, A Civil War Barton & Artists: Awáa; Alvin Other—co-founder and Christmas. Broadway—Amazing Ailey America Dance Theater: creative director of Good Grace, On the Town, End of Lift; Hubbard Street Dance Stuff On Stage, a performing the Rainbow, The Lieutenant of Chicago: Fluence, Cloudless, arts-based institution Inishmore, The Glass Menagerie, Waxing Moon, Cloudline; Ballet dedicated to serving Cat on a Hot Tin Roof, One West: The Nutcracker; English Baltimore's underserved Flew Over the Cuckoo’s Nest, Nation Ballet: Fantastic Beings; communities through innovative Amadeus, She Loves Me, Blood Bayerisches Staatsballett: programming and community Brothers, A Few Good Men, Konzert für Violine un Orchester, outreach. Adam Is; Houston Ballet: Angular etc. Off-Broadway—Clever Momentum; Kansas City Ballet, Little Lies, Dr. Ruth, Stalking Faedra Chatard TU Dance. Education—MFA: the Bogeyman, Freud’s Last Carpenter Yale School of Drama. Session, Tribes, Our Town, Professional—Wingspace Production Dramaturg Almost Maine and Driving Theatrical Design, USA829. Baltimore Center Stage: Pride Miss Daisy. Over 50 regional burkebrowndesign.com. and Prejudice, Twelfth Night, theaters—Guthrie (16 seasons), The Whipping Man, Ma Rainey’s George Street Theatre (14 Darron L. West Black Bottom, Fabulation, Joe seasons), Connecticut Rep, Sound Designer Turner’s Come and Gone. Pittsburgh Public, Barrington Regional—Mosaic Theater Stage. Over 60 films—Senior Baltimore Center Stage: debut. Company: Queens Girl in Africa; Moment, Year by the Sea, Darron is a Tony Award and Kennedy Center: The Wings Child of Grace, Premium Rush, Obie Award-winning sound of Ikarus Jackson, Locomotion, Ghost Town, Secret Window, designer whose work for dance New Voices/New Visions; Tony and Tina’s Wedding, The and theater has been heard African Continuum: The Amen Thomas Crown Affair, The 13th in over 600 productions all Corner, Fresh Flavas New Warrior, Madeline, Die Hard III, over the United States and Play Development program; School Ties. TV/web—Planned internationally in 14 countries. TheatreWorks: Fences; Parenthood series Talkin’ His accolades include the Crossroads: Former Resident About, Twisted, Sesame Street, Drama Desk, Lortel, Audelco Dramaturg/Literary Manager, Californication (Emmy nom), Max and Princess Grace Foundation Crumbs from the Table of Joy, Bickford, Hack, Strangers with Statue Award’s. Spirit North (world premiere); Candy, Barbershop, Chappelle’s Arena Stage: Former Fellow Show. mccorklecasting.com and Literary Associate. Holiday Heart, Long Day’s Journey Into

BALTIMORE CENTER STAGE 19 Finding inspiration is important.

At M&T Bank, we understand how important art is to a vibrant community. That’s why we offer our time, energy and resources to support artists of all kinds, and encourage others to do the same. Learn more at mtb.com.

Equal Housing Lender. ©2017 M&T Bank. Member FDIC.

20 BALTIMORE CENTER STAGE THE NEW LOOK OF BALTIMORE CENTER STAGE MERCHANDISE Looking for a unique gift for someone special? Baltimore Center Stage is pleased to offer a line of items for sale including baseball caps, beanies, t-shirts, polo shirts, ties, and mugs. Visit the Nancy K. Roche Bar on the fourth floor.

Get involved with Baltimore Center Stage!

EVENT RENTALS TOURS With a variety of unique space We offer docent-led behind-the- options, Baltimore Center Stage is the scenes tours, architectural tours, and perfect place to host your next event. student tours. These tours should be The venues range in size and capacity scheduled ahead of time and are and are perfect for any type of affair, available up to one hour before from luncheons or dinners to seminars, performances. Email tours@center- fundraisers, parties, weddings, and stage.org. more. Email [email protected] GROUP SALES with details about your event. Did you know that groups of ADVERTISING 10 or more can receive savings off Baltimore Center Stage reaches ticket prices? Gather your church, upwards of 100,000 audience school, or just a group of friends and members each year and offers enjoy an evening—or afternoon— advertising opportunities in the at the theater! Call 410.332.0033 or playbill and via emails to our highly email [email protected]. diverse and engaged audience. Email [email protected].

BALTIMORE CENTER STAGE 21 LEADERSHIP LEADERSHIP

Artistic Director Managing Director KWAME KWEI-ARMAH MICHAEL ROSS Kwame Kwei-Armah OBE is a playwright, Michael Ross returned to Baltimore Center director, actor, and broadcaster. At Stage last season after working for seven KWAME KWEI-ARMAH Baltimore Center Stage he has directed seasons as managing director of Westport Jazz, Marley, One Night in Miami..., Amadeus, Country Playhouse. From 2002 to 2008 he dance of the holy ghosts, The Mountaintop, An was managing director of Center Stage. Enemy of the People, The Whipping Man, and Previously, Ross was managing director of Things of Dry Hours. He was named Best Long Wharf Theatre (1997–2002) where he Director in City Paper’s Best of Baltimore was on the producing team for the (2014), and he was a finalist for the Stage commercial transfer of the Pulitzer Prize Directors and Choreographers winner Wit. He was general manager and Foundation’s Zelda Fichandler Award for business manager at Hartford Stage Best Theater Director. His works as (1986–1996). Ross served as program HANA S. SHARIF playwright include One Love: The Bob officer/project director at National Arts Marley Musical, Elmina’s Kitchen, Let There Be Stabilization, and worked with Baltimore Love, A Bitter Herb, Statement of Regret, Seize Opera Company and Alley Theater, the Day, and Beneatha’s Place, which Houston. Ross has consulted in fundraising, debuted at Baltimore Center Stage in 2013 board development, executive search, and as part of The Raisin Cycle. Other strategic planning for theaters nationwide, directorial credits include One Love: The including Kansas City Repertory Theatre, Bob Marley Musical at Birmingham Repertory SITI Company, Wilma Theater, Trinity Theatre; One Night in Miami… at London’s Repertory Company, Eugene O’Neill Donmar Warehouse; Twelfth Night, The Theater Center, and Everyman Theatre. He Comedy of Errors, Much Ado About Nothing, has been a panelist for programs hosted by and the world premiere of Detroit ’67 at The the National Endowment for the Arts, Public Theater in New York; Naomi Theatre Communications Group, and New Wallace’s The Liquid Plain at Signature England Foundation for the Arts, among Theatre; Dominique Morisseau’s Skeleton others, and was an adjunct professor in Crew at the Lark Play Development Center; The Yale University School of Drama and the world premiere of The Liquid Plain at Theater Management Program. He has Oregon Shakespeare Festival. served on numerous Boards including He has served on the boards of Theatre Theatre Communications Group, The Communications Group, Steinberg National Women’s Hall of Fame, and the Playwright Awards, The National Theatre, Connecticut AIDS Residence Coalition. and The Tricycle Theatre (London), and as Ross currently serves on the Board of the Artistic Director for the World Arts Festival in Burry Fredrik Foundation. Senegal. He was named the Chancellor of the University of the Arts London, and in 2012 was named an Officer of the Most Excellent Order of the British Empire.

22 BALTIMORE CENTER STAGE Club, Janine Nabers’ A Swell in the Ground, and Marcus Gardley’s The House That Will Not Stand. Her plays include All the Women I Used to Be, The Rise and Fall of Day, and The Sprott Cycle Trilogy. Hana is the recipient of the 2009–10 Aetna New Voices Fellowship and Theatre Communications Group (TCG) New Generations Fellowship. She serves on the board of directors for the Greater Baltimore KWAME KWEI-ARMAH Cultural Alliance and the Sprott Foundation.

MICHAEL ROSS Associate Director, Director of Dramaturgy GAVIN WITT Gavin Witt came to Baltimore Center Stage in 2003, after nearly 15 years in Chicago as an actor, director, dramaturg, translator, and teacher—and co-founder of the classically based greasy joan & co theater. Among his HANA S. SHARIF translations and adaptations are a half-dozen Shakespeare plays; including a Jeff-nominated GAVIN WITT version of Pericles; Jeff-nominated translations of Beaumarchais’ The Barber of Seville and Artistic Ionesco’s Macbett; and Baltimore Center Stage Associate Artistic Director productions of The Voysey Inheritance and last HANA S. SHARIF season’s As You Like It. Baltimore Center Stage Hana S. Sharif is a director, playwright, and directing credits include Twelfth Night and a producer. She served as Associate Artistic recent short film from a Kenneth Lin script Director, Director of New Play Development, commissioned by Baltimore Center Stage and and Artistic Producer at Hartford Stage; the Goethe Institut-Washington as part of the recently as Program Manager of the international P3M5 project—as well as more ArtsEmerson Ambassador Program; and as than a dozen Young Playwrights Festival entries, Developmental Producer/Tour Manager of many more play readings, and the 50th Progress Theatre’s musical The Burnin’. Hana Anniversary Decade Plays. In addition to also served as co-founder and Artistic Director working as a dramaturg on scores of of Nasir Productions, which brings theater to productions, readings, and workshops at underserved communities. Her directing credits Baltimore Center Stage, he has also helped include: Baltimore Center Stage: The develop new work around the country. A Christians, Les Liaisons Dangereuses; Pride & graduate of Yale and the University of Chicago, Prejudice (DCArts: Best Director/Best New he is currently on the Humanities faculty at Play); Regional: The Whipping Man, Gem of the Peabody Conservatory, having previously Ocean (six CCC nominations), Gee’s Bend taught at the University of Chicago, DePaul, (CCC Award Best Ensemble, two nominations), and Towson; has served on the advisory boards Next Stop Africa, Cassie, The Drum, and of several theaters; and spent more than a IFdentity. Hana has directed numerous decade as a regional vice president of LMDA, developmental workshops, including Elyzabeth the national association of dramaturgs, before Gregory Wilder’s The Chat and Chew Supper joining its board.

BALTIMORE CENTER STAGE 23 INDIVIDUALS AND FOUNDATIONS THANK YOU! The following list includes gifts of $250 or more made to the Baltimore Center Stage Annual Fund. Although space limitations make it impossible for us to list everyone who helps fund our artistic, education, and community programs, we are enormously grateful to those who contribute to Baltimore Center Stage. We couldn’t do it without you!

The Center Stage Society PRODUCERS’ CIRCLE Patricia and Mark Joseph, represents individual donors ($25,000-$49,999) The Shelter Foundation who, through their annual The William G. Baker, Jr. Francie and John Keenan contributions of $1,500 or Memorial Fund, creator of the more, provide special Baker Artist Portfolios www. Townsend and Bob Kent opportunities for our artists BakerArtistAwards.org and audiences. Society Keith Lee Penny Bank members are actively Sandy Liotta involved through special The JI Foundation events, theater-related Ken and Elizabeth Lundeen travel, and behind-the- Kathleen Hyle Marion I. and Henry J. Knott scenes conversations with Marilyn Meyerhoff Foundation theater artists. Sharon and Jay Smith Mr. J. William Murray

SEASON SPONSORS Charles E. Noell III ($50,000+) ARTISTS’ CIRCLE ($10,000- $24,999) Paul M. Angell Family Foundation Ellen and Ed Bernard The William L. and Victorine Q. Dave and Chris Powell Stephanie and Adams Foundation Mr. and Mrs. George M. Sherman Ashton Carter The Bunting Family Foundation Mary Catherine Bunting Department of VSA and James and Janet Clauson Accessibility at the The Annie E. Casey Foundation John F. Kennedy Center Lynn and Tony Deering The Helen P. Denit for the Performing Arts Charitable Trust Jane and Larry Droppa Ms. Nancy Dorman and PLAYWRIGHTS’ CIRCLE Mr. Stanley Mazaroff The William Randolph ($5,000- $9,999) Hearst Foundation Brian M. and Denise H. Eakes Peter and Millicent Bain Mr. Louis B. Thalheimer and The Laurents/Hatcher Ms. Juliet A. Eurich Taunya Lovell Banks Foundation The Fascitelli Family Foundation Bradie Barr and Tollie Miller Terry H. Morgenthaler and Genine and Josh Fidler Meredith and Adam Borden Patrick Kerins Daniel P. Gahagan James T. and Francine G. Brady John Gerdy and Sylvia and Eddie Brown Judy and Scott Phares E. Follin Smith Melissa and Augie Chiasera Lynn and Philip Rauch The Goldsmith Family Foundation The Nathan & Suzanne Cohen The Laverna Hahn The Shubert Foundation, Inc. Charitable Trust Foundation The Jane and Worth B. Daniels, The Harold and Mimi The Hecht-Levi Foundation, Inc. Jr. Fund of the Baltimore Steinberg Charitable Trust J. S. Plank and D. M. DiCarlo Community Foundation Family Foundation Ms. Wendy Jachman The Delaplaine Foundation, Inc.

24 BALTIMORE CENTER STAGE THANK YOU!

Walter B. Doggett III and Mr. Jed Dietz and B.J. and Bill Cowie Joanne Doggett Dr. Julia McMillan Dr. Matthew Freedman and Dr. Ms. Amy Elias and Judith and Steven B. Fader Gladys Arak Freedman Mr. Richard Pearlstone Andrea and Samuel Fine, in Sandra Levi Gerstung memory of Carole Goldberg Beth and Michael Falcone The Gladstone Family Dick Gamper Ms. Suzan Garabedian Foundation, in honor of Dr. Pebble Kranz Robert and Cheryl Guth Megan M. Gillick Dr. Neil Goldberg, in Ralph and Claire Hruban The Arthur J. and Lee R. memory of Carole Goldberg Glatfelter Foundation David and Elizabeth JH Hurwitz Mr. and Mrs. W. Kyle Gore Mr. and Mrs. Joseph M. Fredye and Adam Gross Len and Betsy Homer Jennings, Jr. The Harry L. Gladding Mrs. Harriet S. Iglehart Foundation/Winnie and Francine and Allan Krumholz Joseph J. Jaffa Neal Borden The Macht Philanthropic Fund of The Associated Rebecca Henry and Ms. Shirley Kaufman Harry Gruner Maryland Charity Campaign Ms. Deborah Kielty The Hecht-Levi Foundation, Inc. Hugh and Leanne Mohler Mr. Barry Kropf The John J. Leidy Foundation, Inc. John and Susan Nehra Mr. and Mrs. Earl Linehan/The Linehan Family Foundation Maryland Humanities Council Lawrence C. Pakula, in memory of Sheila S. Pakula Mrs. Diane Markman Mr. John McCardell Val and Hutch Robbins Jim and Mary Miller Robert E. Meyerhoff and Rheda Becker Michelle and Nathan Robertson Morris A. Mechanic Foundation Charles and Leslie Schwabe Jeannie Murphy The Rollins-Luetkemeyer The Ida and Joseph Shapiro Foundation Blanche and Theo Rodgers Foundation Michael Ross Donald and Mariana Thoms Scott and Mimi Somerville Ms. Dorothy Powe Krissie and Dan Verbic Scot T. Spencer Bayinnah Shabazz, M.D. Ellen J. Remsen Webb & Mr. Michael Styer Barbara and Sig Shapiro J.W. Thompson Webb Mr. Todd M. Wilson and Barbara Payne Shelton Mr. and Mrs. Christopher West Mr. Edward Delaplaine Mr. and Mrs. Robert N. Loren and Judy Western Ms. Linda Woolf Smelkinson Ted and Mary Jo Wiese Nanny and Jack Warren, in DESIGNERS’ CIRCLE honor of Lynn Deering DIRECTORS’ CIRCLE ($1,500- $2,499) Cheryl Hudgins Williams and ($2,500- $4,999) Anonymous Alonza Williams Anonymous Jan Boyce Sydney and Ron Wilner The Lois and Irving Blum Susan Bridges and Dr. Richard H. Worsham Foundation Bill Van Dyke Patricia Yevics-Eisenberg and Drs. Joanna and Harry Brandt The Caplan Family Stewart Eisenberg Mr. Dan F. Dent Foundation, Inc.

BALTIMORE CENTER STAGE 25 COMPANY Ms. Shirley Kaufman Mr. Matthew Teitelbaum and Ms. Dorie Fader Teitelbaum ($750-$1,499) Stephen and Laurie Kelly Mr. and Mrs. Harry Thomasian Anonymous Andrea Laporte Sabrina Sikes Thornton Gene-Michael Addis Jonna and Fred Lazarus Dr. and Mrs. Frank R. Witter Mr. Daniel Aibel Dr. and Mrs. Ronald Lesser Eric and Pam Young Suzanne and Stuart Amos Mr. and Mrs. Lawrence M. Macks Dr. Laurie S. Zabin Harriet and Bruce Blum Mr. Alan Macksey Mr. and Mrs. Marc Blum Matthew and Eileen Margolies ADVOCATES John and Carolyn Boitnott Brad Mendelson ($250-$749) Anonymous Ms. Barbara Crain and Faith and Ted Millspaugh Mr. Michael Borowitz Ms. Diane Abeloff, The Montag Family Fund of in memory of Martin Abeloff Dr. and Mrs. Donald D. Brown The Community Foundation for Greater Atlanta Bradley and Lindsay Alger, in The Campbell Foundation, Inc. honor of George J. Staubus Roger F. Nordquist, in memory Mr. G. Brian Comes and David and Bonnie Allan Mr. Raymond Mitchener of Joyce C. Ward Ms. Bernadette Anderson Jane Cooper and Philip Angell Mr. and Mrs. Lee Ogburn Ms. Susan Arnold and Lawrie Deering and Dr. Bodil Ottesen Mr. Richard Ochs Albert DeLoskey/ Michael and Phyllis Panopoulos Mr. Alan M. Arrowsmith, II The Deering Family Foundation Dr. Ira Papel Deborah and Stephen Awalt The Honorable and Mrs. E. Stephen Derby Fred and Grazina Pearson Ayd Transport Tracy Bacigalupo and Linda Eberhart Walt and Donna Pearson Jake Baker Jeffrey and Laura Thul Penza The Eliasberg Family Foundation Robert and Dorothy Bair Sue and Buddy Emerson, Pat Pilling, in memory of Mike Baker in appreciation of Ken and Mary C. Lee The Mr. and Mrs. Raymond Bank Elizabeth Lundeen Janet Plum, in memory of Family Fund of the Baltimore Donald M. and Jeffrey J. Plum Community Foundation Margaret W. Engvall Jill and Darren Pratt Mr. Greg Baranoski and Mr. Lucio Gama Mr. and Mrs. Ross Flax The James and Gail Riepe José and Ginger Galvez Family Foundation, Mr. and Mrs. Bruce A. Barnett in honor of Lynn Deering Ms. Patricia Baum Richard and Sharon Gentile, in honor of the Center Stage Dr. & Mrs. James Rubenstein Jaye and Dr. Ted Bayless Fund Costume Shop of the Baltimore Community The Earle and Annette Shawe Foundation Stuart and Linda Grossman Family Foundation Randi and Adam Benesch Thomas and Barbara Guarnieri The Sinksy-Kresser-Racusin Memorial Foundation Ms. Karen Bennett Linda Hambleton Panitz Dr. Bruce and Mrs. Toni Berger Robert and Terri Smith F. Barton Harvey III and Mr. Gary Bess Janet Marie Smith Mr. and Mrs. Scott Smith Bob and Maureen Black Sandra and Thomas Hess Ms. Michele Speaks Garrett and Katherine Bladow Kelly and Andre Hunter, in George and Holly Stone Ms. Katharine C. Blakeslee honor of Beth Falcone Susan and Brian Sullam Rachel and Steven Bloom, in Susan and Steve Immelt Mr. William J. Sweet and honor of Beth Falcone Max Jordan Ms. Geraldine Mullan Cliff Booth Murray Kappelman Mr. and Mrs. A. Stanley Brager, Jr.

26 BALTIMORE CENTER STAGE INDIVIDUALS AND FOUNDATIONS

Ms. Michelle Brown John-Francis Mergen Mr. and Mrs. Bill Kerr Sandra and Thomas Brushart Dr. Frank Eisenberg and Alane and George Kimes Natalie and Paul Burclaff Hon. Catherine C. Blake Roland King and Judith Phair King Brad and Kate Callahan Mr. James Engler Mr. Neil and Mrs. Linda Sheldon and Jamie Caplis, Ms. Rhea Feikin, in memory of Kirschner in honor of Ken and in honor of Juliet Eurich and Colgate Salsbury Elizabeth Lundeen Louis Thalheimer Faith and Edgar Feingold Mark and Terri Kissinger Ms. June Carr Gary Felser & Mr. and Mrs. David Carter Debra Brown Felser Joyce and Robert Knodell Ms. Jan Caughlan Bob and Susie Fetter Thomas Koch and H. Frances Reaves Henry and Linda Chen, Merle and David Fishman Ms. Nancy Kochuk in memory of Lysl Sundheim Dr. and Mrs. Ms. Sue Lin Chong Robert P. Fleishman Thomas and Lara Kopf Tracey L. Chunn Joan and David Forester Alice Kurs, in memory of Louis N. Kurs William and Bonnie Clarke Whit and Mary Louise Foster Joseph M. and Amy and Scott Frew Fronda Cohen Ottenheimer Judy K. Langmead and Richard Ottenheimer The Jim and Anne Cantler Mr. and Mrs. William Larson Mary Ellen Cohn Memorial Fund of the Baltimore Community Foun Dr. and Mrs. Yuan C. Lee Joan Coley and Lee Rice Mark and Patti Gillen Mr. Raymond Lenhard, Jr. Ida and Emmett Collins, in honor of Elizabeth Hurwitz Hal and Pat Gilreath Dr. and Mrs. George Lentz, Jr. The Elsa and Stanton Collins Dr. Larry Goldstein and Kenneth and Christine Lobo Charitable Fund Dr. Diane Pappas Amy Macht and George Grose Combined Charity Campaign Mary and Richard Gorman Dr. and Mrs. Charles Mann David and Sara Cooke Ms. Hannah B. Gould Jeanne E. Marsh Mr. William Cooke Kathleen and Eric Greenberg, Mary E. McCaul in honor of Beth Hauptle and Mr. Joe Coons and Hilary Judis Mary L. McGeady Ms. Victoria Bradley Annie Groeber, in memory of David and Ellen McGinnis Scott and Patricia Corbett Dr. John E. Adams Mary and Barry Menne Margaret O. Cromwell Michael and Susan Guarnieri Mr. and Mrs. Timothy E. Meredith Family Fund of the Baltimore Community Foundation Joseph and Christine Hall Tracy Miller and Paul Arnest, in honor of Stephanie Miller Con and Eleanor Darcy John and Cynthia Heller Stephanie F. Miller, in honor of Mr. Bill Dausch Betsy and George Hess The Lee S. Miller Jr. Family Richard and Lynda Davis Sue Hess Tom and Cindi Monahan Robert and Janice Davis C.T. and Moira Hill James W. and Shirley A. Moore The Richard and Rosalee C. Mrs. James J. Hill, Jr., Ms. Jill Morgenthaler, Davison Foundation in memory of James J. Hill Jr. in honor of Terry Morgenthaler James DeGraffenreidt and Gina and Daniel Hirschhorn Bill and Mimi Mules Mychelle Farmer Jean and Lon Homeier, George and Beth Murnaghan Kim Gingras and Gene in honor of Phil Rauch DeJackome James and Rosemary Hormuth Stephen and Terry Needel David and Emily Gaines Demsky The A. C. and Penney Hubbard Claire D. O'Neill Susan and Joachim Diedrich Foundation Ms. Jo-Ann Mayer Orlinsky Ms. Mary Downs Mr. and Mrs. Ted Imes P.R.F.B. Charitable Foundation Dr. Frank C. Marino Foundation Sally and John Isaacs Justine and Ken Parezo Ina and Ed Dreiband James and Hillary Aidus Jacobs Kevin and Joyce Parks Lynne M. Durbin and Richard and Judith Katz Linda and Gordon Peltz

BALTIMORE CENTER STAGE 27 Baltimore Center Stage welcomes FAMILY SERIES PRESENTS the Theatreworks USA production of Junie B. Jones for one performance only!

SUNDAY, APR 15, 2018 AT 1PM ALL TICKETS $20

For more than fifty years, Baltimore Center Stage has engaged audiences with professional theater of the highest caliber. Kramon & Graham is a proud supporter of this important artistic institution.

www.kramonandgraham.com

28 BALTIMORE CENTER STAGE INDIVIDUALS AND FOUNDATIONS

Carolyn Peterkin The Alsop Family Foundation GOVERNMENT GRANTS Mr. William Phillips The Ethel M. Looram Baltimore Center Stage is Foundation, Inc. Bonnie L. Pitt supported, in part, by a grant Cindy and Fred Thompson from the Maryland State Arts David and Wendy Pitts Council (msac.org) which Mary Tod and Leslie and Gary Plotnick receives support from the Calvin Timmerman In honor of Whitney Alison Stott National Endowment for the Shoshana Ballew & Aaron Tripp Arts, a federal agency. Bryan and Karen Powell Laura and Neil Tucker, Baltimore County Executive, Robert E. and Anne L. Prince in honor of Beth Falcone County Council, & Commission Richard and Kay Radmer Sharon and David Tufaro on Arts and Sciences Carolyn Raff Mr. Eli Velder Carroll County Government Russ and Beckie Ray Dan Watson and Brenda Stone Howard County Arts Council through a grant from Howard Cyndy Renoff and Dr. Maria Wawer County Government George Taler Len and Lindley Weinberg Mayor Catherine E. Pugh and Michael X. Repka and Mr. John Wessner the Baltimore Office of Mary Anne Facciolo Ms. Camille Wheeler and Promotion & The Arts Phoebe Reynolds Mr. William Marshall Natasha and Keenan Rice Drs. Dahlia Hirsch and MATCHING GIFT Mrs. Peggy L. Rice Barry Wohl COMPANIES Alison and Arnold Richman Ken and Linda Woods The Abell Foundation, Inc. Jack and Ida Roadhouse Mr. Charles Young Bank of America Susan Rosebery and William D Zerhouni and BGE Barbara Blom Uriyoan Colon-Ramos The Black & Decker Wendy Rosen and Corporation Richard Weisman SPECIAL GRANTS & Brown Capital Management, Inc. Henry A. and Dorothy L. GIFTS: The Annie E. Casey Foundation Rosenberg The Leading National Theatres Deutsche Bank Americas Sheila and Steve Sachs Program, a joint initiative of Foundation Steven and Lee Sachs the Doris Duke Charitable IBM Foundation Foundation and The Andrew W. Illinois Tool Works Foundation John and Nancy Sandbower Mellon Foundation JMI Equity Ms. Stacie Sanders Evans Kraft Foods Ann and David Saunders McCormick Foundation Jessica and Glen Schatz Norfolk Southern Foundation Dr. Cynthia Sears PNC Bank Clair Zamoiski Segal T. Rowe Price Foundation Dr. Ruth Horowitz and UBS Wealth Management Dr. Carl Shanholtz Verizon Leslie Shepard Western Union Mrs. Kimberly Shorter We make every effort to provide Dr. Donald Slowinski accurate acknowledgement of our contributors. We appreciate Pamela A. Stevens your patience and assistance in Clare H. Stewart, keeping our lists current. To advise in honor of Bill Geenen us of corrections, please call Lola and Ernest Stokes, in 410.986.4026. memory of Audrey T. Stokes Mr. Gerhard F. Stronkowski Ms. Laura Taylor

BALTIMORE CENTER STAGE 29 DRINK LOCAL.

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Pendulum Pilsner Tell Tale Heart IPA Annabel Lee White The Raven Special Lager Dark Usher Kölsch The Cask (of Amontillado) RavenBeer.com

30 BALTIMORE CENTER STAGE THANK YOU

CORPORATIONS: PLAYWRIGHTS’ CIRCLE THE 2017/18 SEASON IS MADE POSSIBLE BY American Trading and Production Corporation Brown Capital Management Cho Benn Holback + Associates Environmental Reclamation THE 2017/18 EDUCATION AND COMMUNITY PROGRAMS Company ARE MADE POSSIBLE BY Ernst & Young Howard Bank Legg Mason McCormick & Co., Inc. McGuireWoods LLP PRESIDENTS’ CIRCLE Merritt Properties, LLC. Merrill Lynch- Liotta Osterman Buchinski Group Northrop Grumman PricewaterhouseCoopers Stifel T. Rowe Price Foundation SunTrust Bank Whiting Turner

PRODUCERS' CIRCLE DIRECTORS’ CIRCLE Ayers Saint Gross Baxter, Baker, Sidle, Conn & Jones, P.A. Continental Realty Loyola College Of Arts and Sciences Schoenfeld Insurance Associates

DESIGNERS’ CIRCLE Asbestos Specialists, Inc. Baker Donelson Carney, Kelehan, Bresler, Bennett & Scherr, LLP Chesapeake Plywood, LLC ARTISTS' CIRCLE ezStorage Caroline Fredericka Holdship Fiserv Charitable Trust via Keller Stonebraker Insurance PNC Bank Charitable Trusts RCM&D SC&H Group

BALTIMORE CENTER STAGE 31 Capital CAMPAIGN DonoRS We sincerely thank all of our campaign donors for their tremendously generous support. Without their trust and vision, all of the work we have done and continue to do would not be possible. The following includes gifts of $10,000 or more.

$2,000,000+ Jacob and Hilda Brian and Denise Eakes Howard Bank Edward and Ellen Blaustein Foundation Guy E. Flynn and A. C. and Penney Bernard Margaret Hammond Nupur Parekh Flynn Hubbard Lynn and Tony Deering Cooke (bequest) Daniel P. Gahagan David and Elizabeth JH Hurwitz and The Marilyn Meyerhoff Cordish Family Fredye and Adam Gross Foundation Himelfarb Family Hecht-Levi Foundation State of Maryland KPMG Nancy Dorman and Helen P. Denit $1,000,000– Stanley Mazaroff Charitable Trust John J. Leidy Foundation $1,999,999 Ben and Wendy Stephen and Eddie C. and Griswold Susan Immelt London Foundation/ C. Sylvia Brown The Hyle Family Meredith and Wendy Jachman Adam Borden Charlie Noell and Joan and Murray M. Patricia and Mark Barbara Voss Kappelman, M.D. Macht Philanthropic Joseph, The Shelter Fund George and Betsy Townsend and Bob Kent Foundation J. S. Plank and D. M. Sherman Earl and Darielle Linehan Francie and John DiCarlo Family Keenan Katherine Vaughns Joseph and Harvey Foundation (bequest) Meyerhoff Family Marion I. and Henry J. PNC Charitable Funds Knott Foundation $500,000-$999,999 Rollins-Luetkemeyer The Meyerhoff and McCormick & Co. Foundation Anonymous Becker Families Ruth Carol Fund Michael Ross Janet and James Middendorf Foundation Charles and Leslie Clauson Dana and Mary and Jim Miller Schwabe Matthew Slater France-Merrick J. William Murray Ellen J. Remsen Webb Scott and Mimi Foundation and J.W. Thompson Somerville Judy and Scott Phares Webb Lord Baltimore Capital Michele Speaks Corporation Sheridan Foundation $25,000–$49,999 Gilbert H. Stewart and Terry H. Morgenthaler Jay and Sharon Smith Anonymous Joyce L. Ulrich and Patrick J. Kerins T. Rowe Price Michael B. Styer Foundation Delbert and $250,000–$499,999 Gina Adams Krissie and Dan Verbic Whiting-Turner Annie E. Casey Baltimore County Contracting Co. Delegate Christopher Foundation Jane and Larry and Anne West Droppa $50,000–$99,999 Philip and Denise Mary Jo and Ted Wiese Andrews J.I. Foundation Anonymous Clayton Baker Trust $10,000–$24,999 Kenneth C. and Baltimore Gas & Electric James T. and Anonymous Elizabeth M. Lundeen Penny Bank Francine G. Brady Robbye D. Apperson M&T Bank Bunting Family Deering Family William G. Baker, Jr. Foundation The Pearlstone Family Foundation Memorial Fund Mary Catherine Bunting Lynn and Phil Rauch Walter B. Doggett III Bradie Barr and Thalheimer-Eurich The Caplan Family and Joanne Doggett Tollie Miller Foundation, Inc. Charitable Trust Ernst & Young Richard Berndt Stephanie and Robert and Cheryl Guth Katharine Blakeslee $100,000–$249,999 Ashton Carter Harry L. Gladding Joseph and Meredith Anonymous Augie and Melissa Foundation/Winnie and Callanan Chiasera Peter and Millicent Bain Neal Borden William and Bonnie Suzanne F. Cohen Baltimore City Bart Harvey and Clarke Jane W. Daniels Bank of America Janet Marie Smith G. Brian Comes and DLA Piper Sybil and Donald Hebb Raymond Mitchener

32 BALTIMORE CENTER STAGE Capital CAMPAIGN DonoRS INtern DoNors Baltimore Center Stage thanks these supporters of the Katherine Vaughns Internship Program for providing recent graduates an opportunity to spend the Penelope Cordish Sandra Liotta and 2017/18 Season working at the theater. Carl Osterman Peter de Vos The program would not be possible without Stephen Richard and James DeGraffenreidt their generosity. and Mychelle Farmer Mame Hunt Jed Dietz and Valerie and FULL SEASON INTERN SPONSORSHIPS Hutch Robbins Julie McMillan The Ellen & Ed Bernard Production Linda Eberhart, in Clair and Management Intern memory of William F. Thomas Segal Eberhart Barbara Payne Shelton The Lynn & Tony Deering Producing and Community Programs Intern Sandra and Ross Flax Turner and Judy Smith The Jane & Larry Droppa Audio Intern Dick and Maria Scot T. Spencer Gamper William Sweet and The Kathleen Hyle Education Intern Suzan Garabedian Geraldine Mullan The Wendy Jachman Graphics Intern Pamela and Dr. Edgar and The Elizabeth & Ken Lundeen Properties Intern Jonathan Genn Mrs. Betty Sweren Linda Hambleton Panitz Harry and Carey The Terry Morgenthaler & Patrick Kerins and The Family of T. Thomasian Costumes Fellow Edward Hambleton Donald and Mariana The Judy & Scott Phares Dramaturgy Fellow Lee Meyerhoff Hendler Thoms The Lynn & Philip Rauch Company Dr. and Mrs. Freeman A. Kathryn and Mark Management Intern Hrabowski III Vaselkiv The Sharon & Jay Smith Stage Management Cheryl Hudgins Daniel Watson and Intern Williams and Alonza Brenda Stone Williams Ron and Sydney Wilner INTERN PROGRAM SUPPORTERS Joseph and Judy Todd Wilson and Anonymous Langmead Edward Delaplaine III Taunya Banks Jonna and Fred Linda Woolf Lazarus Cecelia and David Beck Nadia and Elias Hugh and Zerhouni Winona Caesar Leanne Mohler William Cooke Kathleen and Eric Greenberg in honor of Beth Hauptle and Hilary Judis Teresa and Tom Ichniowski BALTIMORE CENTER STAGE 2016/17 Townsend and Bob Kent RENOVATIONS Sandra Liotta and Carl Osterman Architect Cho Benn Holback Associates Christine and Kenneth Lobo Head Theater Consultants Aida and James Matters Charcoalblue Mary and Jim Miller Multi Media Lobby Designs Christina Moss Jared Mezzocchi Dorothy Powe Brand Design Lee and Steven Sachs Pentagram Jennifer Ueda If you’re interested in sponsoring an intern, please contact [email protected]

BALTIMORE CENTER STAGE 33 RITE OF SPRING THU, FEB 22 | 8 PM • FEATURING BRANFORD MARSALIS SAT, FEB 24 | 7 PM • OFF THE CUFF Join Marin Alsop and the BSO for two performances of Stravinsky's great masterpiece, The Rite of Spring. Grammy Award-winning saxophonist Branford Marsalis joins the Orchestra on Thursday evening to perform Scaramouche for saxophone and orchestra. The Saturday night performance includes an in-depth Off The Cuff discussion of The Rite of Spring with Marin Alsop.

MAHLER’S TITAN FRI, APR 20 | 8 PM SAT, APR 21 | 8 PM Experience the massive orchestral forces of Mahler's “Titan.” The BSO performs two of the greatest pieces in the classical repertoire, Beethoven’s romantic Triple Concerto and Mahler's dramatic "Titan" Symphony.

TO BERNSTEIN WITH LOVE FRI, MAY 4 | 8 PM SUN, MAY 6 | 3 PM The BSO celebrates Bernstein’s centennial with Nicola Benedetti, one of the most sought-after violinists of her generation. This performance includes Bernstein favorites from West Side Story, On the Town and more.

PRESENTING SPONSORS:

TICKETS FROM $30 | 410.783.8000 JOSEPH MEYERHOFF SYMPHONY HALL EXPLORE ALL UPCOMING CONCERTS AT BSOMUSIC.ORG

34 BALTIMORE CENTER STAGE “Through classroom discussions, individual meetings with professors, and personal conversations with my classmates, the relation- ships I formed have enriched my own intellectual and pro- fessional development as a theologian. I would not be the theologian I am today without these relationships.”

- Andrew Belfi eld, MTS ’17 Ph.D. Student in Historical Theology at Boston College

For all inquiries please contact Dan McClain at [email protected] @LoyolaMTS LoyolaMTS or 410-617-5649 Loyola College of Arts and Sciences

BALTIMORE CENTER STAGE 35 CAMP+SUMMER BREAK SPRINGMUSICAL THEATER At Baltimore Center Stage young people build creative confidence and self-awareness through intensive explorations of theater. Classes include acting, dance, circus arts, and theater production.

Students get the opportunity to play, express themselves, and get artistic instruction from a team of professional teaching artists. Each session culminates in a staged presentation for family and friends.

SPRING BREAK DATES SUMMER DATES Mon, Mar 12–Fri, Mar 16, 2018 Session One: Jun 25–Jul 6 Session Two: Jul 9–20 Session Three: July 23–August 3 Session Four: August 6–17

REGISTRATION NOW OPEN! CENTERSTAGE.ORG/EDUCATION #BCSCAMP

36 BALTIMORE CENTER STAGE UP NEXT

ONCE UPON A TIME, THE ANIMALS REVOLTED

GEORGE ORWELL’S ANIMAL FARM ADAPTED BY IAN WOOLDRIDGE DIRECTED BY MAY ADRALES MAR 01–APR 01 United by the realization that animals have a common enemy— man—they revolted against the tyranny of forced work.

.

TWELFTH MAR 22–25 5 PERFORMANCES IN THE THIRD SPACE NIGHT

In Mobile Twelfth Night, only five actors bring to life Shakespeare’s topsy-turviest romp—where the smallest choice has unexpected consequences, from heartbreaking to hilarious.

ON SALE NOW! CENTERSTAGE.ORG 410.332.0033

BALTIMORE CENTER STAGE 37 Age Is Just a State of Mind! Senior Programs at CCBC offer classes designed just for you!

• Computers • Humanities • Photography • Lunch and Learn • History and Culture • Wellness and Fitness • Art and Photography • Politics and Current Events

Registration is ongoing. 443-840-4700 www.ccbcmd.edu/seniors

FOR YOUR TAILORING NEEDS CLICK ON

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38 BALTIMORE CENTER STAGE ARTISTIC CORNER

WORLD PREMIERE

MAY 03–JUNE 10 Thomas, David Porter, Wilson Pickett, Johnny Taylor, and Eddie Floyd— SOUL The Stax Musical who created the very foundation of BOOK BY MATTHEW BENJAMIN American Soul Music. MUSIC AND LYRICS BY VARIOUS STAX ARTISTS SOUL The Stax Musical celebrates DIRECTED BY KWAME KWEI-ARMAH how music brought Americans PRODUCED IN ASSOCIATION WITH STUART BENJAMIN AND CONCORD MUSIC together during the early years of the Civil Rights Movement, and continues This world premiere musical tells the to bring generations together—from story of the Memphis-based those who remember the early days Stax Records and the launch of iconic of R&B, to those who are discovering artists—including Otis Redding, these phenomenal artists today. The Staple Singers, Isaac Hayes, Booker T & The MG’s, Rufus & Carla TICKETS AVAILABLE NOW!

BALTIMORE CENTER STAGE 39 NEIGHBORHOOD

NeiGHbOrHOOD PArtNERs Baltimore Center Stage is pleased to have partnerships with a variety of neighborhood restaurants. Please take a moment to review our partners and be sure to visit them when you are in the neighborhood! Partners provide special discounts or offers to Baltimore Center Stage patrons. Visit our website for more details on these exclusive offers.

NEIGHBORHOOD DINING PARTNERS

1. BREW HOUSE NO. 16 8. MT. VERNON STABLE & SALOON 831 N. Calvert St. 909 N. Charles St. 410.659.4084 410.685.7427

2. DOOBY’S 9. PLATES 802 N. Charles St. 210 E. Centre St. 410.609.3162 443.453.9139

3. THE ELEPHANT FARTHER AFIELD 924 N. Charles St. 443.447.7878 10. THE CLASSIC CATERING PEOPLE 4. FLAVOR 99 Painters Mill Rd. 15 E. Centre St. Owings Mills 443.563.2279 410.356.1666

5. LA CAKERIE 11. GERTRUDE'S 1216 N. Charles St. 10 Art Museum Dr. 443.449.6699 410.889.3399

6. MARIE LOUISE BISTRO 904 N. Charles St. 410.385.9946

7. MICK O’SHEA’S 328 N. Charles St. 410.539.7504

Go to centerstage.org/visit/partners for a map of our neighborhood and the partners listed above.

40 BALTIMORE CENTER STAGE WE’VE BEEN BUILDING UP TO THIS FOR FORTY YEARS.

With the Grand Expansion of Roland Park Place, a new tier of retirement living in Baltimore City is on the horizon. Starting with an extensive renovation – a new dining venue, theater and performing arts center – and culminating with the construction of an 8-story addition to include 60 spacious new residences and indoor parking, the new Roland Park Place will open doors and windows onto the possibilities of city living. Expand your horizons at the new Roland Park Place.

READY FOR 443.338.6160 MOVE-IN RolandParkPlace.org FALL 2020

Pending final approval from Maryland Department of Aging

BALTIMORE CENTER STAGE 41 20827-13rpp-40YearsPrint-Centerstage-5_375x8_375-V1.indd 1 12/13/17 4:02 PM s TA f f Artistic Director Kwame Kwei-Armah OBE Managing Director Michael Ross

ADMINISTRATION DEVELOPMENT INFORMATION TECHNOLOGIES Associate Managing Director Director of Advancement Del W. Risberg Randi Benesch Technologies Manager Corporate Relations Manager John Paquette ARTISTIC Amanda Mizeur Tessitura Database Coordinator Associate Artistic Director Individual Giving Manager Madeline Dummerth Hana S. Sharif Sara Kissinger Associate Director/ MARKETING & Institutional Giving Coordinator COMMUNICATIONS Director of Dramaturgy Brandon Hansen Gavin Witt Director of Marketing & Special Events Coordinator Communications Artistic Producer/ Director of Catherine Logan Community Programs Katie McCulloh Daniel Bryant Executive Assistant/ Associate Director of Marketing Research Coordinator Artistic Administrator Hilary Judis David Kanter Melody Easton Art Director Development Assistant Artistic Assistant Bill Geenen Nicholas Palm Danielle Turner Publications Manager Auction Coordinator The Lynn & Tony Deering Maggie Beetz Sydney Wilner Producing Intern Public Relations Manager Rebecca Redman Auction Assistant Robyn Murphy Norma Cohen The Judy & Scott Phares Group Sales & Community Dramaturgy Fellow Engagement Manager Rebecca Adelsheim eDUCATION Shannon Ziegler The Lynn & Philip Rauch Director of Education Digital Marketing Associate Company Management Intern Michael Wiggins Will Pesta Deion Dawodu Education Program Coordinator The Wendy Jachman Adena Varner Graphics Intern PLAYWRIGHTS The Kathleen Hyle Albany Carlson COLLECTIVE Education Intern Photography Alisa Brock, Brent Englar, Cara Hinh Richard Anderson production Kevin Kostic, Susan McCully, Teaching Artists Dean Alexander advertising Lola Pierson, R. Eric Thomas, Zipporah Brown, Hannah Fogler, Mani Yangilmau Miranda Rose Hall, Katie Mack, AUDIENCE RELATIONS Garrett Marshall, Andrew Box Office Manager Stromyer, Susan Stroupe, Kelly Broderick Jacob Zabawa Subscriptions Manager FINANCE Jerrilyn Keene Patron Services Associates Director of Finance Ishai Barnoy, Marlene Bell, Michelle Williams Kelli Blackwell, Molly Hopkins, Business Manager Jonathan Jacobs, David Kanter, Kathy Nolan Sarah Lewandowski, Brandon Love, Business Associate Kira-Lynae Pindell, Jazmine Riley, Brian Novotny Esther Rodriguez

42 BALTIMORE CENTER STAGE AUDIENCE SERVICES AUDIO SCENERY AND RENTALS Supervisor Technical Director Audience Services and Amy Wedel Rob McLeod Events Manager Audio Engineer Assistant Technical Director Alec Lawson Daniel Hogan Anna Kann Assistant Audience The Jane & Larry Droppa Scene Shop Supervisor Services Manager Audio Intern Frank Lasik Faith Savill Aerik Harbert Carpenters Accessibility Intern Jessica Bittorf, Brian Jamal Bethany Slater COSTUMES Marshall, Sam Martin, Eric House Managers Costumer Scharfenberg Laura Baker, Lindsey Barr, David Burdick Senior Carpentry Intern Nick Horan, Lindsay Jacks, Associate Costumer Whitney Stott Hannah Kelly Ben Kress Bar Manager Draper MULTIMEDIA Ann Weaver Susan MacCorkle Multimedia Coordinator Shift Managers Danny Carr Craftsperson Shelly Burke, Hannah Kelly, William E. Crowther Multimedia Intern Val Long, Robby Priego, Kat Pagsolingan Shannon Ziegler First Hand Ellouise Davis Docent Coordinator SCENIC ART Pat Yevics The Terry Morgenthaler & Patrick Kerins Costumes Fellow Charge Scenic Artist ASL Interpretation Matthew Smith Erich Starke First Chair

Lead Audio Describer ELECTRICS STAGE OPERATIONS Mary Lou Fisher Lighting Director Stage Carpenter Tamar Geist Eric L. Burton OPERATIONS Master Electrician Wardrobe Supervisor Director of Operations Kelly Brooks Linda Cavell Kevin Maroney Staff Electrician The following individuals and Building Engineer Aaron Haag organizations contributed to Harry Piasecki this production of Lighting Intern SKELETON CREW Abbey Kojima PRODUCTION MANAGEMENT Assistant Lighting Designer PROPERTIES Director of Production Abbey Kojima Props Manager Rick Noble Electricians Jeffery Bazemore Associate Production Manager Jessica Anderson, Parker Damm, Lawrence Bennett Master Craftsman Cody Pentenbrink, Will Voohies Nathan Scheifele Ellen & Ed Bernard Props Production Management Intern Props Artisan Trevor Winter, Jacob Zabawa Rachael Erichsen Todd Harper Scenic Artist Sharon & Jay Smith Elizabeth & Kenneth Mallory Porter Properties Intern Stage Management Intern Scenic Sarah Anne Broyles Kaitlyn Martin Robert Castrence, Ben Jones, Chester Stacey, Trevor Winter

BALTIMORE CENTER STAGE 43 SERVICES fOr Our AuDienCes

DINING ACCESSIBILITY The Sherman Café & Bar is located on the MOBILITY first floor. Our restaurant food provider, Wheelchair-accessible seating is available Flavor at Baltimore Center Stage, will be for every performance. serving dinner and small plates on the second floor. The Nancy K. Roche Bar in the Deering Lounge on the fourth floor will be open during Head performances. Our BLIND/LOW VISION food and beverage service will begin two The Audio Description/Touch Tour hours before each performance. performances of Skeleton Crew take place on Sun, Feb 18 at 2 and 7:30 pm. DRINKS pm. Touch tours present a pre-show Drinks from our bars are welcome in the opportunity to feel props and set pieces theater; lids are required. Please no food in on stage. Large print and braille the theater. No outside food or drinks. programs are available upon request.

PHONES & RECORDING Please silence all phones and electronic devices before the show and after DEAF/HEARING LOSS intermission. Audio and video recording are A Closed Captioned performance of strictly forbidden. No flash photography Skeleton Crew takes place on during the show. Sun, Feb 18 at 7:30 pm. Assistive listening and Closed Captioning devices are BATHROOMS available to be borrowed at no cost. Restrooms are located on first, second, and An ASL Interpreted performance will fourth floors. take place Fri, Mar 2 at 8 pm. BOX OFFICE CC The Marilyn Meyerhoff Box Office on the first floor can service all patron needs regarding PARKING purchasing tickets, will call, listening devices, If you are parking in the Baltimore Sun braille and large print programs, and address Garage (diagonally across from the theater any of your questions. at Monument & Calvert) you can pay via ON-STAGE SMOKING credit card at the pay station in the garage We use tobacco-free herbal imitations for lobby or at the in-lane pay station as you any on-stage smoking and do everything exit. We do not validate parking tickets. possible to minimize the impact and amount LATE SEATING of smoke that drifts into the audience. Let Patrons arriving after curtain will be seated our Box Office or front of house personnel at the house manager’s discretion. know if you’re smoke sensitive. FEEDBACK CHILDREN Children under six are not allowed We hope you have an enjoyable, in the theater. stress-free experience! Your feedback and suggestions are always welcome: [email protected] or [email protected]

44 BALTIMORE CENTER STAGE Wedding Cakes • Dessert Bars Cupcakes • Favors Winner: Best Cakes & Cupcakes Best of Baltimore

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Baltimore Center Stage Patrons 15% Off available at Centre Street location only

T-TH 3PM-10PM/ F-S 3PM-2am/Sunday Brunch 10AM-4PM

ENJOY A MEALNOW BEFORE OPEN: THE FLAVOR SHOW AT AT BALTIMORE CENTER STAGE On the second floor, openvisit 2 ushours on the before second curtain. floor 2 hours before curtain

BALTIMORE CENTER STAGE 45 FEB 17-25, 2018

ONLINE AUCTION SPONSORED BY THE BALTIMORE SUN

GET READY TO BID ON HUNDREDSFor over 40 years, OF proceeds ITEMS! from the Baltimore Center Stage Online Auction have supported the work you see on stage, in the classroom,

and in the community!

CENTERSTAGE.ORG/AUCTION

Have question or something to donate? Contact Sydney Wilner at [email protected] or 410.986.4025.