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JUNE 19 - SEPTEMBER 26, 2021 DADDY LONG LEGS Music and Lyrics by Paul Gordon I Book by John Caird Based on the novel by Jean Webster I directed by Adam P. Blais THE AGITATORS by Mat Smart I directed by Debra Ann Byrd CRUMBS FROM THE TABLE OF JOY by Lynn Nottage I directed by Chris Anthony MEASURE FOR MEASURE by I directed by James Noel Hoban AGE OF BEES MAINE PREMIERE I by Tira Palmquist I directed by Eddie DeHais SOFONISBA by Callie Kimball I directed by Dawn McAndrews FAMILY SHOW AESOP’S GUIDE TO FRIENDSHIP by Dawn McAndrews I directed by Ian Kramer FALL SHOWS WAR: THEN AND NOW AN ILIAD GROUNDED by Lisa Peterson and by George Brant THEATER Dennis O’Hare TICKETS $10 - $36 | MONMOUTH, ME | 207.933.9999 T WWW.THEATERATMONMOUTH.ORG MAT SEASON SPONSOR: MAIN STREET PSYCHOTHERAPY AMONMOUTH ACTING COMPANY CO-SPONSOR: KENNEBEC SAVINGS BANK W e are proud to support the Theater at M onm outh Enjoy the show !

Augusta (207) 622-5801 Farmingdale (207) 588-5801 • Freeport (207) 865-1550 Winthrop (207) 377-5801 • Waterville (207) 872-5563

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4 | TheaTer aT MonMouTh sEAsON 52 REVOLUTIONARY REDUX TAbLE Of CONTENTs DaDDY LonG LeGS Music and Lyrics by Paul Gordon Book by John Caird About Theater at Monmouth 6 Based on the novel by Jean Webster | directed by Adam P. Blais Board of Trustees and Staff 6 Sponsored by Eaton Peabody From the President 7 The aGITaTorS From the Producing Artistic Director 7 by Mat Smart | directed by Deba Ann Byrd Sponsored by Maine Community Foundation Corporate Sponsors 9 Daddy Long Legs 11 CruMBS FroM The The Agitators 13 TaBLe oF JoY Crumbs from the Tale of Joy 15 by Lynn Nottage| directed by Chris Anthony Sponsored by Maine Community Foundation Measure for Measure 17 Age of Bees 19 MeaSure For MeaSure by William Shakespeare | directed by James Noel Hoban Sofonisba 21 Sponsored by Dave & Christine Heckman Aesop’s Guide to Friendship 24 aGe oF BeeS Engagement Programs 25 by Tira Palmquist| directed by Eddie DeHais 2022 Season 26 Sponsored by Robert & Moira Fuller Fall Shows 26 SoFonISBa 2021 Calendar 27 by Callie Kimball | directed by Dawn McAndrews Sponsored by George & Elaine Keyes 2021 Cast Matrix 28 aeSoP’S GuIDe To Company Bios 29 FrIenDShIP Individual Donors 41 by Dawn McAndrews | directed by Ian Kramer About Cumson Hall 44 Sponsored by Austin Associates

Theater at Monmouth an ILIaD 796 Main Street | P.O. Box 385 | Monmouth, ME | 04259 by Lisa Peterson and Dennis O’Hare Box Office: 207.933.9999 Business Office: 207.933.2952 Sponsored by DR Struck Landscape Nursery GrounDeD by George Brant | directed by Dawn McAndrews

Season 52 is Generously Sponsored by Main Street Psychotherapy The 2021 Acting Company is Co-Sponsored by Kennebec Savings Bank THEATER AT MONMOUTH Mission: our mission is to present innovative approaches to Shakespeare and other classic plays through professional productions that enrich the lives of people throughout the state of Maine.

History: Founded in 1970, Theater at Monmouth is a year-round, professional repertory company, named the Shakespearean Theater of Maine by the State Legislature in 1975. Performances are held in Cumston hall, listed on the national register of historic Buildings since 1976. In its 47 seasons, TaM has presented more than 338 productions in its three-month Summer repertory Season, including 30 world premieres, entertaining audiences from 36 states and each of Maine’s 16 counties.

Commitment to Community: From its inception, TaM has maintained strong community partnerships, education programs, and humanities initiatives. Through collaborations with such institutions as the university of Maine augusta, the Maine humanities Council, the Maine arts Commission, The holocaust and human rights Center of Maine, Cumston hall Public Library, and schools across the state, TaM provides educational, scholarly, and artistic experiences for Maine residents of all ages.

Land Acknowledgement: We as an organization would like to acknowledge that our theater and offices are built on the ancestral abd unceeded territories of the arosaguntook Peoples of the Wabankaki Confederation. The Indigenous peoples of this land never surrendered lands or resources to the united States. We acknowledge this not only in thanks to the Indigenous communities who have held relationship withthis land for generations, but also in recognition of the ongoing legacy of colonialism. We acknowledge this as a point of reflection for us all as we work towards a more inclusive, diverse, equitable, and accessible organization.

Education & Engagement : The mission of all Theater at Monmouth education and engagement programs is to deepen understanding of, appreciation for, and connection to great literature. objectives are: to build analytical and literacy skills; to inspire imaginative thinking and foster creativity; and to increase confidence, self-esteem, and a sense of community. TaM works in partnership with community-based arts, cultural, and service organizations using theatre and the works of Shakespeare to build community and enhance civic engagement.

THE BOARD STAFF Zachary Nichols Joel Johnson President George Keyes Amanda Kinsey Dawn McAndrews Ryan Dumais Producing Artistic Director Vice President Andrew Landry Anna Lyons David Heckman Rachel Merriam James Noel Hoban VP of Institutional Advancement Melvin Mounts Associate Artistic Director Zachary Nguyen Jill Ouellette Treasurer Donna Seppy Jordyn Chelf Austin Watts Marketing Associate & Box Office Manager Ellen O’Brien Secretary Robin M. Struck Executive Producer

6 | TheaTer aT MonMouTh fROM THE pREsIDENT We missed you! keeping our productions intimate, and turning to more local tal- On some abstract level, we knew how ent. With all that said, we are proud of what we have been able to vital the performing arts were before the accomplish this year and think our performances meet the high pandemic, but never experienced their standard you have come to expect from TAM. lack as viscerally as we all did in 2020. I hope you are able to take a moment to appreciate the simple This past year made it abundantly clear: joy of being a part of the shared experience of watching a live there’s no real substitute for live theatre. performance unfold before you. And now that you are back, We are so excited for TAM to be back, I hope you come back again soon! Be sure to tell your family, filling that void, and doing what we do friends, neighbors, and colleagues that we are back; better yet, best—putting on shows in-person that bring them along next time! engage and enrich our audience. For our subscribers and donors – thank you, thank you, thank you! Your generosity has allowed us to rebound from a truly Our postponed (R)evolutionary Season has evolved, naturally, into difficult year for the arts. We do not take your commitment for a (R)evolutionary Redux. The stories that were originally selected granted and hope to continue to earn your support. to help us celebrate a historical year—Maine’s bicentennial and Enjoy the show! the 100th anniversary of Women’s Suffrage, among other events— remain just as relevant, and in many ways resonate with contempo- Very best regards, rary issues more deeply today than ever before. These revolutionary and evolutionary themes are naturally coupled with timely medita- tions on resilience and renewal. Even as the U.S. opens up, planning for this season has not been a simple or easy process, as I am sure you can empathize…it takes Zachary Nichols some lead time to put on a show! To do so while keeping the health President, Board of Trustees and safety of our company and our community at the forefront has been no small task. For TAM, this has meant following appropriate health and safety guidelines through the design and rehearsal process, remote work (where possible), social distancing,

fROM THE pRODUCINg ARTIsTIC DIRECTOR Due to covid-19, we missed the rehearsing and performing in rotating repertory, inviting celebrations of Maine’s Bicentennial, audiences to see the actors in different roles in different shows the Anniversary of Women’s Suffrage, in one weekend. and, lived through one of the most divisive elections in our nation’s Thanks to the generosity of so many patrons, donors, and history. Still, here we are with the foundations, TAM weathered the past year; for you we are belief that we’ve come through it all deeply grateful. Our dedication to bringing you great plays with new hopes and dreams for a that represent the best of our fellow humans is stronger than peaceful . With more vaccine ever. The plays of TAM’s Revolutionary Redux Season will distribution centers and testing resonate with many and, we hope, help us all find the path to becoming more and more efficient, the ability for venues to process the loss, grief, and joy of this covid-crisis. safely open is on the horizon, and that mean TAM’s intermission will soon come to an end. TAM’s Season 52, is a gift to everyone; to the art makers and the art watchers and the art supporters, alike. As always, we’ll Things will flow a little differently this summer. Performances continue to bring outstanding actors, directors, and designers will take place in multiple venues; Cumston Hall, the 250-seat to share their talents with you and our community. We hope Victorian opera house designed by Harry Cochrane, will be you’ll join us. the main performance space. For audience members looking to be outside for performances we’ll offer a tent at Cumston Hall, and a short drive from Cumston Hall, we’ll offer Winery Wednesdays at WillowsAwake in Leeds. You pick the play, the Dawn McAndrews location, and the date. We’ll continue our tradition of Producing Artistic Director

SeaSon 52 | 7 8 | TheaTer aT MonMouTh CORpORATE spONsORs Theater at Monmouth extends its gratitude to the members of the business community who currently support our theatre’s work. Through their support, corporations ensure TAM’s ability to present world-class productions, introduce diverse audiences to classic theatre, and provide innovative education and engagement programs that serve thousands of students throughout our community.

Main street psychotherapy sEAsON 52 spONsOR Main Street Psychotherapy ACTINg COMpANY CO-spONsOR Kennebec Savings Bank pRODUCTION spONsORs Austin Associates D.R. Struck Landscape Nursery Eaton Peabody George & Elaine Keyes David & Christine Heckman Maine Community Foundation Robert & Moira Fuller CORpORATE fRIENDs Champoux Insurance Agency A-1 Seamless Gutters Helen Watts Engineering PLLC Immortal Bard Greeting Cards Royal Family Productions The Dance Center

We are proud to partner with area businesses to enrich the cultural and civic life of our region. If you would like to see your company listed here next season, please contact us regarding opportunities to promote your business and support our work. SeaSon 52 | 9

10 | TheaTer aT MonMouTh DADDY LONg LEgs Music & Lyrics by Paul Gordon | Book by John Caird | Based on the novel by Jean Webster Directed by Adam P. Blais CAsT pRODUCTION TEAM Henry Hetz Jervis Pendleton Set Designer Dan Bilodeau Sophia Mobbs Jerusha Abbott Costume Designer Michelle Handley Lighting Designer Jim Alexander MUsICIANs Sound Designer Rew Tippin Stage Manager Aaron Louque Rebecca Caron Music Director/ Piano Props Master Emma Kielty Mike French Guitar Asst. Stage Manager Kailey Pelletier Alex Wong Cello

spONsORED bY

Daddy Long Legs is presented through a special arrangement with Music Theater International (MTI). All authorized performance materials are also supplied by MTI. www.mtishows.com

PLACE AND TIME: NEW ENGLAND, 1908 fROM THE DIRECTOR On December 10, 2015, theatre lovers from around the world crowded around their electronic devices to view a free livestreamed performance of a new Off-Broadway running at the Davenport Theatre musical entitled Daddy Long Legs. Written by John Caird and Paul Gordon and based on the 1912 novel of the same name by Jean Webster,Daddy Long Legs tells the story of an orphan named Jerusha Abbot and the mysterious benefactor who agrees to send her to college. Through a series of letters penned to her mysterious benefactor, Jerusha shares her collegiate experience while discovering her own identity and reveling in the wonders of literature, adventure, and love. The livestreamed performance ofDaddy Long Legs was viewed by over 150,000 individuals across 135 countries and provided audiences with the new and exciting opportunity to view live theatre from the comfort of their own homes. Like many viewers, I immediately fell in love with this delightful new musical and knew that I wanted to direct it.

As I began work on Theater at Monmouth’s production of Daddy Long Legs, I decided to visit both the original source material and the historic livestreamed performance. While the story varies very little from one media to the other, I began to realize that the true beauty of the piece lies in the details of Jerusha’s letters. Jerusha possesses the ability tosee beyond the distractions of the world and is able to hone in on the often-overlooked details that surround her. Her story reminds readers that life is about the journey and not the destination. It is about the people that we meet, the places that we discover, and the experiences that shape us. I am extraordinarily grateful to all of the artists and who have made this production of Daddy Long Legs possible. I can only hope that today’s production will bring you as much joy as it has brought me. Welcome back!

SeaSon 52 | 11 sponsored by Maine Community foundation

Brimming with urgency and relevance, The agitators examines the friendship and rivalry between Frederick Douglass and Susan B. anthony. It’s 1849 and two young activists steel themselves for the battles to come. over the next 45 years, they journey from allies to adversaries and back. Theirs is a story of defiance, of rebellion, of revolution. They agitated the nation. They agitated each other. They changed the course of history.

12 | TheaTer aT MonMouTh THE AgITATORs by Mat Smart | directed by Debra Ann Byrd

CAsT pRODUCTION TEAM Frederick Douglass Nathan M. Ramsey Set Designer Nadir Bey Susan B. Anthony Casey Turner Costume Designer Michelle Handley Lighting Designer Aja Jackson Sound Designer Rew Tippin Props Emma Kielty spONsORED bY Stage Manager Jo Davita Asst. Stage Manager Ty Bolduc Asst. Director/ Dramaturge Dathan Williams

Video and/or audio recording of this performance by any means whatsoever are strictly prohibited.

PLACE AND TIME: Several Locations, 1849 – 1895 fROM THE DIRECTOR This play has several settings as the lives and the missions of the people it portrays are hardly ever stagnant, but rather are, ever moving, ever evolving, ever growing and ever shifting as they work to change and influence their community, their state, their country and even the world. Back in their time, no one could have imagined that Susan B. Anthony and Frederick Douglass would ever become friends. The former slave and the outspoken woman came from two different worlds. But they shared deep-seated beliefs in equality and the need to fight for it. Despite naysayers, hecklers, arsonists, and even their own disagreements, Susan and Frederick remained fast friends and worked together to change America. Writers differ upon the level of friendship between Frederick Douglass and Susan B. Antony, who over the years, when they found it expedient, did not hesitate to disassociate themselves from each other. Despite that, it is clear that the missions of Douglass and Anthony overlapped. He championed women’s rights; she fought against slavery. The common enemy they shared was the struggle for acceptance into American Society.

This production ofThe Agitators sets Douglas and Anthony on a 45-year journey, in which the bonds of their friendship will constantly be tested, strengthened and even challenged, as the two press forward, never taking their eyes off the prize; freedom, equality and the right to vote. In it you will see Frederick as mentor, Susan as eager student, who quickly learns to master her craft; later reaching back to encourage and remind her mentor of all that he taught her about adding just enough tension, just enough activism and gentle confrontation to disturb the air around issues of race and gender. It is my hope that this production of The Agitators will encourage conversation. Particularly the kind that promotes understanding and continues to bind us together and motivates us to search for new ways to bring about positive change for our country and our world. We are hoping to inspire The Agitator in you!

SeaSon 52 | 13 sponsored by Maine Community foundation 1950. after the death of their mother, ernestine and ermina Crump move to with their father, Godfrey, who seeks guidance from charismatic preacher, Father Devine. In the swirling, glamorous commotion of this new city, with calls for equal rights and communist rebellion hanging in the air, the girls begin a journey toward independence and a challenging future. This sharp and boisterous play from two-time Pulitzer Prize-winner Lynn nottage about family, faith, and revolution had been described as a mashup of Lorraine hansberry and , a memory play about a black family, a glass menagerie in the sun.

14 | TheaTer aT MonMouTh CRUMbs fROM THE TAbLE Of JOY by Lynn Nottage I Directed by Chris Anthony CAsT pRODUCTION TEAM Ernestine Crump Sarah Goldman Set Designer Natalie Morales Lily Charence Higgins Costume Designer Elizabeth Rocha Godfrey Crump Nathan M. Ramsey Lighting Designer Aja Jackson Ermina Crump Tori Thompson Sound Designer Rew Tippin Gerte Casey Turner Props Emma Kielty Stage Manager Jo Davita Asst. Stage Manager Julia Jennings

Crumbs from the Table of Joy is presented by special arrangement with DRAMATISTS PLAY SERVICE INC.

spONsORED bY Crumbs from the Table of Joy World Premiere Production by The Second Stage Theatre, May 1995 Rothman, Artistic Director; Suzanne Schwartz Davidson, Producing Director; with a grant from the Lila Wallace- Reader’s Digest Fund

PLACE AND TIME: Brooklyn, 1950 fROM THE DIRECTOR A little girl stands before a studio backdrop. Hair in neat corn rows, wearing a denim dress and new sandals, arms akimbo, one foot casually crossing the other. Smiling and confident, I imagine her thinking “Let’s do this, pre-school!” I imagine her mother standing to the side, just out of frame. She shakes her head slightly and perhaps even says, “This girl…” The mother knows that pre-school is not ready.

That’s what I imagine, anyway. The back of the photo simply says, “Ria, age 5.” My memories of babysitting Ria—baking cookies, exploring the back yard, supervising her in Zoom kindergarten—fill in the rest. The school photo captures a moment; my love and admiration for her constructs the story. Memory is a combination of emotion and sensation. Born in the same instant, each reflects and shapes the other. Flashes of memory arrive as an image, a song, a smell, texture, or taste. Cookies are famous for their evocative power. In Crumbs from the Table of Joy, Ernestine constructs the story of her family. Her love, fear, admiration, and longing animate the characters in her life. In the face of tremendous loss and upheaval, her father does everything he can to protect her from the chaos of the world. But nothing he does can protect her from the big questions. What good is safety if there is no joy? What good is freedom if there is no love? Is it better to risk everything in expectation of a feast or risk nothing and be satisfied with crumbs? And what does it take to stand arms akimbo, ready to take on the world, ready to feel the joy?

SeaSon 52 | 15 sponsored by Dave and Christine Heckman With a unique brew of laughter and darkness, Shakespeare’s tale of impassable moral dilemmas, religious hypocrisy, and he said/she said examines the complex relationships between those in power and those they govern. The quality of mercy is strained to the point of breaking in this dark comedy about the corruption of justice and authority…and the true nature of love and mercy.

16 | TheaTer aT MonMouTh MEAsURE fOR MEAsURE by William Shakespeare | Directed by James Noel Hoban CAsT pRODUCTION TEAM Sarah Goldman Francisca/ Messenger/ Friar Peter Set Designer Dan Bilodeau Angelo/ Provost 1 Henry Hetz Costume Designer Michelle Handley Escalus/ Friar Thomas/Provost 3 Charence Higgins Lighting Designer Jen Fok Isabella Amber McNew Sound Designer Simon Marlamd Juliette/ Pompey/ Boy Sophia Mobbs Props Emma Kielty/ Melissa A. Nathan Duke Vincentio Nathan M. Ramsey Stage Manager Aaron Louque Lucio/ Abhorson Michael Rosas Asst. Stage Manager Julia Jennings Claudio/ Barnadine Reece Santos Mistress Overdone/ Mariana/ Casey Turner spONsORED bY Provost 2 DAVE & CHRIsTINE HECkMAN

PLACE AND TIME: Vienna, Montana 1880 fROM THE DIRECTOR The western prairie, 1880. The town of Vienna, Montana. An isolated settlement struggling with the tensions between civil law and religious morality, human failing and divine absolutism. A time and place where power and the fates of others can be concentrated in the hands of one man, and where the character of that man determines all. In Shakespeare’s Measure for Measure, under the guise of comedy, vital concerns of power and morality are explored. Fearing he has been too lenient with his people, Duke Vincentio places his authority in the hands of his deputy, Lord Angelo, hoping that a new ruler with a reputation for scrupulous morality can impose order. Vincentio says he needs to go abroad for diplomatic purposes, but his true intent is to observe in secret the effects of Angelo’s rule. The first focus of Angelo’s zeal is Claudio, a young gentleman named Claudio, who having gotten his fiancee Juliet pregnant before wedlock, must suffer death for his indiscretion. When Claudio’s sister, the novice nun Isabella, is asked to plead to Angelo for her brother’s life, the clash of their two conflicting views of Christian law and morality takes an unexpected turn. Of particular relevance in this #metoo era is Angelo’s willingness to wield his power to bend Isabella to his will and publicly call into question the veracity of her word.

The foundation for this production is a 90-minute version I directed for TAM’s 2020Shakespeare in Maine Communities virtual education tour last fall. Now, as we begin to gather and create again, It is my hope that in life and in art we can retain the lessons of our time apart, value our common humanity and vulnerability, and interact with a greater degree of mercy and empathy. At the heart of Measure for Measure lies the lesson of a singularly tolerant biblical passage: “judge not lest ye be judged”. Always suspect of absolutists, Shakespeare brings his most zealous characters to a humble and humane resolu- tion. Here’s to all of us breathing free again.

SeaSon 52 | 17 sponsored by Robert & Moira fuller Palmquist’s coming-of-age drama, imagines a world where environmental disaster, and a rapidly spreading plague, has reduced civilization and decimated hope. Mel finds safe haven on an isolated farm, tending to some of the last blooming apple orchards as primary pollinator. Enter Jonathan, an independent field researcher collecting samples of plants to start anew. Mel sees possibility and purpose in Jonathan, and in Mel, Jonathan discovers a secret that could save the world.

18 | TheaTer aT MonMouTh AgE Of bEEs by Tira Palmquist I Directed by Eddie DeHais CAsT pRODUCTION TEAM Sarah Charence Higgins Set Designer German Cardenas-Alaminos Mel Amber McNew Costume Designer Elizabeth Rocha Jonathan Michael Rosas Lighting Designer SeifAllah Salotto-Cristobal Debra Tori Thompson Sound Designer Rew Tippin Props Melissa A. Nathan Stage Manager Kailey Pelletier Age of Bees World Premiere Production by MadLab Theater, Asst. Stage Manager Julia Jennings in Columbus, OH, November 2012. Jim Azelvandre, Director; Aran Carr, Assistant Director; Mary Beth Griffith as Mel; Travis Horseman as Jonathan; Lexy Weixel as Debra; Courtney Deuser as Sarah.

PLACE AND TIME: A Defunct Orchard, Sometime in the Future fROM THE DIRECTOR What do we do in the wake of a global pandemic?

This is not just a question we are all wrestling with in this moment, but one that is alive in Age of Bees by Tira Palmquist. In this eerily prescient play from 2011, a global pandemic has devastated the human race and ten years later there are only small pockets of survivors barely scraping by. Not only has most of humanity gone the way of the dinosaurs, but the virus mutated, and took out much of the flora and fauna too, including the bees. On an apple orchard in Ohio, we meet two young women, Mel and Debra, struggling with the painful transition from childhood to adulthood when all the rules have changed. They also find themselves under the controlling grasp of a man whose abuse and zealotry are escalating dangerously. Into this midst, a stranger enters, providing questions and new paths forward that could change everything. Age of Bees shows us a world that has spiraled so further down the well than our own, and provides a blueprint of how to not just survive, but how to find hope in building anew.

SeaSon 52 | 19 Only 40 minutes away Pownalborough Court House (1761)

An ideal location for outdoor weddings, family reunions, or other group events.

Pownalborough Court House is located in Dresden on a bluff overlooking the Kennebec River. New this year, the property now offers a wheelchair accessible woodland trail with a handicapped designated parking facility on Highway 128 directly across from Courthouse Road.

The only surviving Pre-Revolutionary court house in Maine, the Pownalborough Court House is listed on the National Register of Historic Places. Lincoln County Historical Association maintains this fine property, offering the grounds for guided tours as well as private events. Please visit www.lincolncountyhistory.org for more information and driving directions.

Lincoln County Historical Association P.O. Box 61 Wiscasset, ME 04578 [email protected]

20 | TheaTer aT MonMouTh sOfONIsbA by Callie Kimball I Directed by Dawn McAndrews CAsT pRODUCTION TEAM Bishop/ Don Francisco Henry Hetz Set Designer German Cardenas-Alaminos Sofonisba Amber McNew Costume Designer Michelle Handley Isabella Sophia Mobbs Lighting Designer Jen Fok Fool Michael Rosas Sound Designer Rew Tippin King Phillip/ Orazio Reece Santos Props Melissa A. Nathan Stage Manager Kailey Pelletier Asst. Stage Manager Ty Bolduc

Sofionisba was developed in a professional workshop production at Portland Stage Company Portland, ME. Further developed by Dramatic Repertory Company, spONsORED bY by the Lark Play Development. gEORgE & ELAINE kEYEs

PLACE AND TIME: The Spanish Court of King Philip II, 1560-1571. And two ships, 20 years, and three lifetimes, apart. fROM THE DIRECTOR Perhaps the most revolutionary (and the least well known) of the historical characters in our 2021 Revolutionary Redux Season is Sofonisba Anguissola. While there has never been a period in Western history in which women were completely absent in the visual arts, Sofonisba’s artistry and success blazed a trail (on her own terms) for greater numbers of women to pursue serious careers as artists. I have been aching to direct Callie Kimball’s Sofonisba since I first read it several years ago nda am deeply grateful to her for the opportunity. Kimball’s elegant and deeply human approach to Sofonisba’s story, full of both fact and some fiction, centers on the women: the child queen and the ambitious painter, educated by her father so she could make her way in the world independent of the encumbrances of a husband. Their brief friendship is the center of the story. Their deep love for each other changes them both and fuels the longing of the men that surround them. Historian Whitney Chadwick wrote: “The first woman painter to achieve fame and respect did so within a set of constraints that removed her from competing for commissions with her male contemporaries and that effectively placed her within a critical category of her own.” The act of creation is a deeply person matter, both Sofonisba and Queen Isabel grapple with their purpose in life, to deliver a son and to matter to oneself. Though resistant to the domesticity of taking a husband, Sofonisba did so twice. Once, at the urging of King Phillip. And the second time, to the ship’s captain who guided her journey to her third lifetime. Seven years after her death, on what would have been her one hundredth birthday, her husband placed an inscription on her tomb that reads, in part: “To Sofonisba, my wife … who is recorded among the illustrious women of the world, outstanding in portraying the images of man …” Orazio. Lomellino, in sorrow for the loss of his great love, in 1632, dedicated this little tribute to such a great woman. Sofonisba herself once said, “Life is full of surprises, I try to capture these precious moments with wide eyes.” Thanks to the brilliance of Kimball’s words, I hope we have captured the quiet brilliance of Sofonisba and offered you a glimpse into her world through wide eyes.

SeaSon 52 | 21 WE ARE PROUD TO SUPPORT THE AND THEATER AT MONMOUTH

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(207) 783-1585 * FRANCOCENTER.ORG * 46 CEDAR ST., LEWISTON AEsOp’s gUIDE TO fRIENDsHIp by Dawn McAndrews | Directed by Ian Kramer

CAsT pRODUCTION TEAM Sarah Goldman Team Trickster Set Designer Stacy Koloski Michael Rosas Team Predator Costume Designer Elizabeth Rocha Reece Santos Team Peacemaker Lighting Designer Steph Bottum Tori Thompson Team Prey Sound Designer Simon Marland Stage Manager Julia Jennings

spONsORED bY

PLACE AND TIME: CAMP AESOP, Present Day fROM THE DIRECTOR No author of Greek antiquity has been more read, translated, adapted, embellished, printed, or illustrated than Aesop. Originally told and spread orally, it took about three centuries before they were actually written down. Many of us grew up listening to stories about The Hare and the Tortoise and The Lion and the Mouse in some form or another. While different versions of the same fables exist, the lessons that each hold remain: “Slow and steady wins the race;” “No act of kindness, no matter how small, is ever wasted.”

Over the course of time, these stories have been shared by many cultures in different languages all over the world. They are universal stories. And that is a beauty of storytelling: you can tell or perform the same stories countless different ways, but their main values are always present. I think Aesop was a man ahead of his time. He knew that personifying animals was one of the best ways to reach his fellow human, to remind us all that we are not so different. And perhaps that’s why we still tell these fables: to teach and learn what it means to be human.

So welcome to Camp Aesop, where these fables have become the main attraction! Each year the campers gather to learn the magic of teamwork and imagination. And through it all, they might just end up with some friendships that will last a lifetime.

SeaSon 52 | 23 ENgAgEMENT pROgRAMs Theater at Monmouth has provided literature-based education and engagement programs since the Theater’s founding through School Programs, Education Tours, and Engagement Initiatives. Their mission is to deepen understanding of, appreciation for, and connection to classic literature. School Programs: Bring the art and practice of theatre into the classroom to support student learning and teacher professional development. Performance-based Residencies designed collaboratively by teachers and artists, guide students through a deeper exploration of classic texts and address specific classroom and/or curriculum objectives and outcomes. Teacher Resource Guides provide background information on the plays, productions, and people of classic literature to help teachers prepare students to engage with the plays on the page and the stage. Education Tours: Increase access to great literature by bringing adaptations of classic works to schools and community centers throughout Maine. Education Tours, including Page to Stage (grades pre-k to 8) and Shakespeare in Maine Communities (middle and high school), challenge learners of all ages to explore the ideas, emotions, and principles contained in great literature and to discover the connection between classic theatre and our modern world. All aspects of the program including in-school workshops, post-performance dialogues, and Teacher Resource Guides integrate the art of making theatre with the humanities focus on history, civic responsibility, and language. Engagement Programs: Develop an appetite for classic literature and live performance through discussions, dialogues, and dramaturgical materials. TAM offers a variety of programs to engage audiences in a conversation about the plays and provide an opportunity to explore our work both before and after performances including: Classics in Context Pre-Performance dialogues with scholars and artists before each opening night performance in July from 5:30 p.m. to 6:30 p.m.; Post-Performance Discussions with the Artists following all Sunday evening performances; Director’s Notes on all plays in the program and online; Meet the Artist Interviews and Videos on the blog; and Ticket Discounts providing increased access to the arts for Monmouth residents, families, millennials, teachers, students, and seniors. Throughout the year, TAM works in partnership with community-based arts, cultural, and educational organizations using theatre and the works of Shakespeare to build community and enhance civic engagement.

24 | TheaTer aT MonMouTh 2022 sEAsON THE GREEKS AND ROMANS For 2022 Theater at Monmouth reaches into the roots of classic theater with plays by and about the Greeks and Romans. Through modern adaptations and classic takes on the original plays and myths; TAM’s 53rd Season will feature gods, demigods, heroes, and heroines, kings and , and every satyr in-between.

TITUS ANDRONICUS by WILLIAM SHAKESPEARE Shocking, gripping, savage, and surprisingly moving, Titus Andronicus is a cataclysmic cycle of revenge between the families of Titus, the great Roman general, and Tamora, the Queen of the Goths. Each of their barbarous acts of revenge brings even more brutal acts of retaliation. But in the midst of this chaos, Shakespeare shows us the fierce love of fathers, daughters, mothers and sons.

COMEDY OF ERRORS by WILLIAM SHAKESPEARE Two sets of twins, each with the same name—what could go wrong? Everything, apparently. Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. The blunders double, triple, and cube until chaos reigns—and everyone is pretty sure that everyone else is completely insane.

AMPHITRYON by MOLIERE "I laughed so hard I fell over backward."- Jupiter, the King of the gods, is in love again, this time with the beautiful and faithful Alcmena, wife of Amphitryon, general of the Thebans. As the victorious general is on his way home from battle, Jupiter disguises himself as Amphitryon in order to win Alcmena's favors. The blend of high comedy and slapstick antics that follow unlocks a Pandora's box of ideas about love, marriage, and power.

MOURNING BECOMES ELECTRAby EUGENE O’NEIL On a Connecticut tenant farm in 1923, two lost souls find hope under a lover's moon. In Eugene O'Neill's touching and heartbreaking play, Josie Hogan is a boisterous woman with a quick tongue and a tarnished reputation. It's been a hard and lonely life, working the Tyrone farm with her bullying father. When James Tyrone Jr.'s mother dies, he returns to the farm to settle the estate. One night, under the autumn moon, he opens his heart to Josie. Sparks fly and hope burns anew as two "misbegotten" people come together.

EURYDICE by SARAH RUHL On her wedding day, Eurydice falls victim to a tragic accident that sends her hurtling into the Underworld, erasing her memory and reuniting her with her long-dead father. When Orpheus arrives to save his bride, Eurydice is torn between her desire to return to the real world and the tender relationship she has rediscovered with her father in the afterlife. Brimming with lyrical beauty, and Ruhl’s trademark , Eurydice is a visceral and surrealist meditation on love worth grieving for.

FAMILY SHOW ATALANTA AND ARTEMIS by DAWN MCANDREWS Hercules, Perseus, Theseus, Odysseus; we know all these names well. However, it’s time for Atalanta to take the stage. Despite being abandoned as a baby in the wilderness by a father who wanted a son, Atalanta survived and grew up to become a fierce and renowned huntress. Meet Atalanta, the legendary heroine who defied the expectations of her time. Against the odds, Atalanta pursued life under her own terms, and even helped a hero or two on her journey.

Take part in Season 53 and become a subscriber! 2022 Subscriptions will be available beginning August 13, 2021. SeaSon 52 | 25 SUbSCRIbE TO SEASON 53 Be a part of Season 53 and become a subscriber! 2022 Subscriptions go on sale August 13th. In addition to great savings, pass holders also enjoy preferred seating (beginning December 13, 2021) free ticket exchanges, lost ticket protection, and tax receipts for unused tickets. 2022 SEASON PASS SEASON 53 GOLD COUPLE PASS |$420 THE GREEKS & ROMANS

Redeemable for TWO admission to ALL of the Summer Rep Mainstage Plays Under Consideration MAINSTAGE productions plus TWO tickets to the Family Show and Fall Show. TITUS ANDRONICUS GOLD PASS |$210 By WILLIAM SHAKESPEARE Redeemable for one admission to ALL of the Summer Rep COMEDy OF ERRORS Mainstage productions plus one ticket to the Family Show and Fall Show. By WILLIAM SHAKESPEARE FLEX PASS| $165 AMPHITRyON Redeemable for FIVE admissions to ANY of the five Mainstage By MOLIERE productions- mix and match or use all at once. MOURNING BECOMES ELECTRA GENERAL PASS| $150 By EUGENE O’NEILL Redeemable for one admission to EACH of the five Mainstage productions (excludes Family Show). EURyDICE By SARAH RUHL SENIOR (age 66 or better) PASS | $140 FAMILy SHOW Redeemable for one admission to each of the FIVE Mainstage ATALANTA AND ARTEMIS productions (excludes Family Show). By DAWN MCANDREWS

SENIOR PLUS (age 66 or better) PASS | $175 Upgrade you Senior Pass and add a ticket to the FALL SHOW.

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Purchase your passes over the phone, online, or detach form and mail with payment to: Theater at Monmouth, PO Box 385, Monmouth, ME 04259. Thank you!

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26 | TheaTer aT MonMouTh Professional theater and professional care right in your own community!

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SeaSon 52 | 27 fALL sHOws wAR: THEN AND NOw An Iliad by Lisa Peterson and Dennis O’Hare September 2-11 Set in the present, a lone figure onstage, The Poet recalls the nobility, savagery, and valor of Trojan War battles and warriors, while exploring the human costs of war through the centuries. This tour-de-force adaptation of Homer’s classic poem weaves humanity’s unshakable attraction to warfare with the music of the muses, capturing the contradictory conditions of glory and violence with spellbinding modernity. Sponsored by

Grounded by George Brant directed by Dawn McAndrews featuring Amber McNew September 16-26 When an American fighter pilot becomes un- expectedly pregnant, she is reassigned to operate military drones from a windowless trailer outside Las Vegas. By day, she hunts terrorists. By night, she enjoys a quiet family life in suburbia. As the pressure to track a high-profile target mounts, the boundaries begin to blur between the desert where she lives and the one she patrols half a world away.

28 | TheaTer aT MonMouTh SeaSon 52 | 29 2021 CAsT MATRIX

CRUMBS FROM MEASURE AESOP’S GUIDE DADDy LONG THE ACTOR THE TABLE OF FOR AGE OF BEES SOFONISBA TO FRIENDSHIP LEGS AGITATORS JOy MEASURE Francisca/ Team Sarah Goldman Ernestine Messenger/ Trickster Friar Peter Jervis Angelo/ Bishop/ Henry Hetz Pendleton Provost 1 Don Francisco Escalus/ Friar Charence Higgins Lily Sarah Thomas/ Provost 3 Amber McNew Isabella Mel Sofonisba Juliet/ Sophia Mobbs Jerusha Abbott Pompey/ Isabel Boy Duke Frederick Godfrey Nathan M. Ramsey Vincentio./ Douglass Crump Gentleman Team Lucio/ Michael Rosas Jonathan Fool Predator Abhorson Team Claudio/ King Philip/ Reece Santos Peacemaker Barnardine Orazio Tori Thompson Team Prey Ermina Debra Mistress Susan B. Overdone/ Casey Turner Gerte Anthony Mariana/ Provost 2

30 | TheaTer aT MonMouTh COMpANY bIOs Jim Alexander Adam p. blais (He/Hm/His) (Set Designer, 10th Season) (He/Him/His) (Director/House Manager/ Jim has worked on theatre, dance, and opera Volunteer Coordinator; 9th Season) productions from Maine to Missouri as Adam returns to TAM having previously production manager (Washington Revels, directed Murder For Two, The Pirates of Shakespeare Festival St. Louis) and master Penzance, and My Father’s Dragon. Additional electrician (Shakespeare Theatre Company, credits include work with The Public Washington Ballet, Portland Stage Company). Theatre, Shakespeare & Company, The Uni- sco He toured nationally and internationally with versity of Maine, Waterville Opera House, The Flying Karamozovs, Netherlands Dance and many others. Adam holds a B.A. in The- Theatre, Suzhuo Kunju Opera, National Ballet of China, and Ballet atre from the University of Maine, and a M.A. in Leadership Studies Nacional de Cuba among others. Jim is the Assistant Technical from the University of Southern Maine, and serves as the Education Director for the Department of Theatre and Dance at Bowdoin & Development Director for The Public Theatre in Lewiston. College. a Chris Anthony Ty bolduc (She/Her/Hers) (Director, 1st Season) (They/Them) (Stage Management Apprentice, Chris is Assistant Professor of Acting at The 1st Season) Theatre School at DePaul University. Ty will be attending the University of Vermont Directing credits include Theatre for One: We in the fall. They’ve stage managed shows at their Are Here (Court Theatre), Off the Rails (Na- high school for the past 4 years, their favorites tive Voices at the Autry), Lunch Lady Courage in- cluding An Experiment (one-act), Charlotte’s (Cornerstone Theater), A Midsummer Night’s Web, and Little Women (the musical). They are Dream, Romeo & Juliet, and (St. Louis thrilled to be a part of the Theater at Mon- Black Rep), Romeo & Juliet (Shakespeare mouth’s company this season! Center of Los Angeles), The Tomorrow Show (DePaul), We Are Proud ip/ to Present… (CSULB), and Blood Wedding (CSUN). steph bottum (She/Her/Hers) (Master Electrician/ Lighting Nadir bey Designer, 2nd Season) (He/Him/His) (Set Designer, 1st Season) A Tennessee native, Steph comes to TAM for Hailing from Atlanta, GA, Nadir, is making her second season. Steph first worked at TAM as his TAM design debut this summer. As a a lighting and sound intern in 2018. She fell in graduate of the University of North Carolina love with TAM and Maine and could not wait to School of the Arts, he operates in the North return. Steph is a student at Middle Tennessee East coast as a freelance Scene Designer and State University where she studies lighting and Scenic Artist. Notable plays include: creative writing. Her professional credits include with Rocket, Passover. He has worked with Tent Theatre’s 2019 season where Steph preformed the role of Master Maine State Music Theatre (Maine) and Electrician. Burning Coal Theatre (North Carolina). Debra Ann byrd Dan bilodeau (She/Her/Hers) (Director, 1st Season) (He/Him/His) (Set Designer, 14th Season) Debra Ann recently directed Annamarie Dan has designed more than 30 shows in MacLeod’s one-woman play Full Fathom Five at Cumston Hall including a dozen by Shake- the Pear Theatre in California. She is an award speare. Favorite TAM designs include: The winning classically trained actress, scholar and Real Inspector Hound, The Glass Menagerie, producer whose credits include: Writer-in- Two Gentlemen of Verona, and King Lear. Dan, Residence at the Shakespeare Birthplace Trust, a Maine native, is the Mark and Marcia Bailey Artist-in-Residence Fellow at the Folger Institute Professor of Speech and Theatre at the and an A’Lelia Bundles Community Scholar University of Maine where has had taught at . Debra Ann received a Bachelor of Fine Arts since 2008. His work has been seen in theaters throughout New degree from Marymount College and is the 2021 England, including the Gamm Theater, Lewiston Public Theater, recipient of the prestigious Sidney Berger Award presented to her by the Theater at Monmouth, Portland Stage Company, and Penobscot Shakespeare Theatre Association for her work as a charismatic leader of Theater. Dan would like to thank Beth, Sophie, and Luke for all their Shakespearean theater throughout the world. love and support.

SeaSon 52 | 31 COMpANY bIOs John Caird Lydia Cochran (He/Him/His) (Playwright, 1st Season) (She/Her/Hers) (Arts Admin Intern, 1st Season) Caird is a freelance director and writer working Lydia is a recent graduate from Carleton College in theatre, opera and musical theatre, an in Northfield, MN, where she lived for the past Honorary Associate Director of the Royal four years studying Theatre Arts and American Shakespeare Company, Principal Guest History, receiving a Bachelor’s degree in both. Director of the , Originally from Shrewsbury, MA, she is very (Dramaten) and author of Theatre excited to be back on the east coast in Maine this Craft, published by Faber and Faber. Published summer and working with Theatre at Monmouth work as a librettist and lyricist includes: a new as she begins her career in the arts. version of John Gay’s The Beggar’s Opera with the composer Ilona S ekacz, first performed at the RSC, a new adaptation of J M Barrie’s Peter Pan (RSC and NT), Children of Eden with composer Stephen Schwartz, Jo Davita-Ortiz and Daddy Long Legs, both with composer Paul Gordon, and (They/Them) (Production Stage Manager, Bernstein’s with new lyrics by Richard Wilbur and Stephen 1st Season) Sondheim. Caird won the in 2016 for “Outstanding Jo has been stage managing for five years at an Book of a Musical” for Daddy Long Legs. academic and community level. Their favorite part about stage management is bringing the german Cárdenas-Alaminos shows together from pre-production through (He/Him/His) (Scenic Designer, 1st Season) closing. Credits include: School of Rock, Funny Girl, All the Great Books [Abridged], How the He is a part time faculty at the Theatre and Garcia Girls Lost Their Accents, The Complete Dance Department at Bowdoin College. Some Works of William Shakespeare [Abridged]. credits include: A Little Night Music, Ubu Roi, The Laramie Project, The Producers, Nine, Metamorphoses, Reasons to be Pretty, Merrily We Roll Along, She Kills Monsters, and Once On This Eddie DeHais Island. He has also worked for Passage Theater, (They/Them) (Director, 1st Season) Cherry Lane and Claire Tow Theater (Lincoln Eddie is a director, choreographer, writer, and Center) in N.Y., M.F.A. (Yale, 2010) devised-theater-maker, who creates spaces of rigorous collaboration, radical empathy, Rebecca Caron and reckless joy to investigate the best and (She/Her/Hers) (Music Director, 14th Season) worst of human nature in both new work and Rebecca is thrilled to once again be creating art traditional scripts. They are a 2021 Brown- here at TAM! She is a music director, pianist, and Trinity Rep MFA Directing Candidate. Eddie teaching artist who resides in Portland, but has been crafting epic and sensorial new plays Cumston Hall will always feel like home. You may since 2009 and has worked with artists such as Robert O’Hara, Anne have heard her work during the TAM fall musi- Bogart, Annie-B Parson, JoAnne Akalaitis, Will Davis, and Taibi cals, most recently Pirates of Penzance or at many Magar. eddiedehais.com. other local theaters. Many thanks and much love to her dream team, and to you for your support.

Jordyn Chelf Erin fauble (She/Her/Hers) (Lighting & Sound Intern, (She/Her/Hers) (Marketing Associate/ Box 1st Season) Office Manager, 2nd Season) Erin heralds from the little town of Jordyn has spent over a decade as an actor, Anderson, SC. After graduating with a BA stage manager, director, and now moving to in Musical Theatre from Converse College, Front of House and Marketing. She holds an Erin went on to work at Flat Rock Playhouse undergraduate degree in Communications: for such productions as Amadeus and Little Theatre from the University of South Carolina Shoppe of Horrors, and the Richmond Upstate. Prior to coming to Maine, she spent Shakespeare Festival for A Winter’s Tale and . She aspires Summer 2019 as the Patron Services Manager to be a Lighting Designer, and to be a successful mother to her at Creede Repertory Theatre. She has been with TAM for over a year, fur-baby—a small, bossy gray cat with enormous green eyes. but is ecstatic to be a part of her first Summer Rep Season!

32 | TheaTer aT MonMouTh COMpANY bIOs Jennifer fok paul gordon ason) (She/They) (Lighting Designer, 8th (He/Him/His) (Composer & Lyricist for Daddy ge Season) Long Legs, 1st Season) t Jen is thrilled to be back at TAM this Paul Gordon was nominated for a 2001 Tony n summer. Previous designs at TAM: Dial M Award for composing the music and lyrics to For Murder, Enchanted April, , Henry the musical Jane Eyre. He is the recipient of the V, Macbeth, and . Previous 2009 Ovation Award for his music and lyrics to aine this work at Lincoln Center Education, Long Daddy Long Legs which has had productions onmouth Wharf Theatre, Flint Repertory Theatre, all over the world, including Off-Broadway, Detroit Public Theatre, Kitchen Theatre, where it was nominated for 2 Drama Desk The Know Theater Of Cincinnati, Portland Stage, Bates Dance Awards, an Off-Broadway Alliance Award and 3 Outer Critic Circle Festival, NCPA Beijing, , among others. Jennifer uses awards. Knight’s Tale, written with John Caird, opened at the Imperial she/they pronouns and holds a BFA in Theatrical Production Arts Theatre in Tokyo in 2018 and will be remounted in 2021. from Ithaca College. www.jenniferfok.com Matt geschke Michelle Handley (He/Him/His) (Asst. Technical Director, 1st (She/Her/Hers) (Costume Designer, 8th Season) Season) Michelle is happy to be back in this beautiful Originally from California, Matt comes to jewel box building. It is always a privilege to TAM from Houston, Texas, where he collaborate creatively as a small part of the big completed his Bachelors in Theatre at the production picture. She also designs for University of Houston. Matt has worked professionally for Houston Shakespeare University of Maine Orono’s School of Festival for two seasons as a master carpenter, and as an overhire Performing Arts and The Public Theatre in carpenter at the Alley Theatre. While at UH, he worked as both an As- Lewiston. When not costume wrangling, sistant Technical Director and Master Carpenter. He is very excited to Michelle dwells in Monmouth, the proud mother of two beloved be coming out to TAM this summer. teenage humans. In her free time, she serves as clerk and photographe with the Monmouth Fire Department. Dorothy Anne giroux-pare Henry Hetz (She/Her/Hers) (Box Office Assistant, 2nd Season) (He/Him/His) (Actor, 2nd Season) Recently graduated from Maine Arts Academy, Born and raised in San Francisco, Henry Dorothy Anne lives in Winslow, Maine. She enjoys returns to TAM from his current residence acting, directing, dancing, singing, and reading. She in Los Angeles. His family relocated to has written two plays, directed a ten-minute play, Kennebunkport, ME years ago and he choreographed many dance pieces on top of having considers it home. He graduated with his danced for thirteen years, participated in many Masters in acting from Brown/Trinity Rep festivals, and performed in community theater and MFA in Spring of ‘20 and is pursuing film school shows. She loves to be involved in the per- and television work in LA. He serves on the Board of Directors of forming arts and is thrilled to be returning to TAM this summer! The Vineyard Sound, the professional a cappella group on Martha’s Charence Higgins (She/Her/Hers) (Actor, 1st Season) sarah goldman Charence Higgins is a Mississippi native who (She/Her/Hers) (Actor, 2nd Season) has had a passion for storytelling as long as she Sarah is a native of , Alabama and a can remember! She holds degrees in recent graduate of the University of Minnesota/ Psychology and Theatre from Jackson State BFA Acting Program (company of 2021). She University and is a member of the Class of elated to be joining TAM for a second year. Her 2021 MFA Acting program at the University previous acting experience includes performing in of Illinois at Urbana-Champaign. Past roles plays from to The Jungle Book. In addi- include Black Mary in Gem of the Ocean, tion to Acting, Sarah is a playwright and, in the fall, Judy in The Curious Incident of the Dog in the Night-Time (both with will be attending Northwestern University’s MFA Illinois Theatre), and several historic roles with the Smithsonian program for Writing for the Screen and Stage. Institute in Washington, DC. She is elated to use her talents to por- tray thought-provoking roles and continue to inspire future theatre artists. SeaSon 52 | 33 COMpANY bIOs James Noel Hoban Emma kielty (He/Him/His) (Associate Artistic Director & (She/Her/Hers) (Props Master/ Scenic Artist, 2nd Director, 11th Season) Season) James is honored to return to TAM. Some Emma Kielty is an artist originating from favorites: Twelfth Night, The Illusion, A Woman Dartmouth, Massachusetts. In 2020 she earned of No Importance, Tartuffe, What the Butler Saw, her BFA in Sculpture at Maine College of Art. The Learned Ladies, and Love’s Labour’s Lost. She went on to work in sets and props for Mad He was most recently seen in Good Theater’s Horse Theatre Company and Theatre at A Doll’s House, Part 2. He is the founder of Monmouth. Her art has been exhibited at New Portland Shakespeare Company and directed Systems Exhibitions in Portland, Maine and the critically acclaimed production of Richard II at St. Luke’s Cathe- Maine College of Art. dral. Other regional credits: Commonwealth Shakespeare Company, Portland Stage Company, , Fenix Theater, Lorem Callie kimball Ipsum, 60 Grit, Penobscot Theater, Mad Horse Theatre, and Dramatic (She/Her/Hers) (Playwright, 1st Season)) Repertory Company. Callie earned her MFA at Hunter College, where she won the Rita & Aja M. Jackson Burton Goldberg Playwriting Award (She/Her/Hers) (Lighting Design, 1st Season) two years in a row. Her plays have been Aja is a Boston-based lighting designer working in produced and developed in New York, theater, dance, and interdisciplinary Chicago, LA, and DC, and many colleges performances. Aja has designed for companies and festivals across the country. Her first such as the American Repertory Theatre, The teaching job was teaching Shakespeare Public Theater’s: Under the Radar Festival, in a juvenile detention facility, and she has taught playwriting to Boston Center for the Arts, and the Boston over 1,000 students in various settings. Some have described her Conservatory. Aja is currently on the faculty for plays as feminist, which is lovely, but really, she just writes plays the National Theatre Institute teaching Lighting where the main characters have jobs and goals and happen to be Design and serves as Board Chair on the Board of women. Directors for Brighter Boston an internship program that pays and trains new technicians in live event production. stacey koloski (She/Her/Hers) (Set Designer, 8th Season) Julia Jennings Stacey has designed sets for more than (She/Her/Hers) (Stage Management Intern, 1st 12 TAM productions and is delighted Season) to return for another summer season. Originally from outside of Philadelphia, Julia is Other recent design credits include currently an undergraduate theater student at Bow- Aesop’s Guide to Friendship and The Tale doin College in Brunswick. There, she has worked of Princess Kaguya (TAM Page to Stage as an assistant stage manager for Henry VI, Part tours), Ninshaba (Ziggurat Theatre II and as an actor in The Curious Incident of the Dog Ensemble), and Totalitarians (Mad Horse Theatre Company), in the Nighttime Cows of War. and Callie Kimball’s where she is also a Resident Company member. Stacey is co- Julia also serves as artistic director of Bowdoin’s student theater group Masque & Gown, where she founder of STAGES Youth Theater and the PortFringe Theater has done work as a student director and playwright. Festival. Ian kramer Aaron Louque (He/Him/His) (Director, 8th Season) (He/Him/His) (Stage Manager, 2nd Ian, a recent graduate from the Brown/ Season) Trinity MFA Acting program. TAM credits: Ev- Aaron is a Maine native, currently re- ery Christmas Story Ever Told, James and the Gi- siding in Lewiston, and is happy to join ant Peach, Twelfth Night and Henry V ShakesME TAM for a second season after stage Tours, and directing The Velveteen Rabbit. Acting managing the 2020 Virtual ShakesME credits: Trinity Rep, Hangar Theatre, Tour production of Measure for Measure Kingsmen Shakespeare, Texas Shakespeare, last Fall. Aaron holds a BA in Theatre Kentucky Shakespeare, Orlando Shakespeare, from Dean College, is a board member for the Maine Drama and National Players. Ian received a BFA in Acting from University of Council, and works at Lewiston High School, where he directs Central Florida. When he’s not in the theatre, you can find him in one and advises the Drama Club. of our national parks. Follow along on IG: @ickramer.

34 | TheaTer aT MonMouTh COMpANY bIOs simon Marland (He/Him/His) (Sound/Lighting Intern, 1st Amber McNew Season) (She/Her/Hers) (Actor, 3rd Season) Simon is currently a graduate student at Amber is so grateful and thrilled to be back Ohio University studying Theatrical Sound on stage at Theater at Monmouth. She has Design. He grew up in North Carolina and only recently received her Master’s of Act- discovered a love for music and theatre while ing at The FSU/ Asolo Repertory for Actor in school and working with Horn In the Training. She was last seen on the Monmouth Enchanted April Pride @ West (NC), Endstation Theatre (VA), and stage in (), Prejudice Tantrum Theater (OH). (Jane Austen, Jane, Lydia, and Mary Bennet, Caroline Bingley, and Lady Cathe- rine De Bourgh), Richard III (Lady Anne). Her other favorite roles include: Kes (Scorch), Rachel kayla Marshall (She/Her/Hers) (Wardrobe Supervisor, 2nd Season) Kayla comes to TAM from MA, where she sophia Mobbs studied at the University of Massachusetts, Amherst. Kayla graduated with a major (She/Her/Hers) (Acting Intern, 1st Season) in theatre, with minors in studio art and Sophia is thrilled to be a part of the TAM education, as well as certificates in social summer company. She interned at the work and arts management. During the Houston Shakespeare Festival in 2020. She academic year, Kayla works with the UMass Theatre Guild, where attends the University of Houston where she is she served as a producer for the 2019-2020 season and will serve majoring in acting. Her favorite role thus far at as the chairperson for the 2020-2021 season. the University of Houston was Electra in The Orestia. She cannot wait to see what she will Dawn McAndrews learn this summer with Theater at Monmouth. (She/Her/Hers) (Producing Artistic Direc- tor, 12th Season) Natalie Morales Dawn has worked as a producer, edu- (She/Her/Hers) (Scenic Designer, 1st Season) cator, director, and artistic director at As a recent MFA graduate of CSULB’s Theatre theatres across the country including Arts Department, Natalie explores art, theatre, Shakespeare Theatre Company, Steppen- and film in her journey as a scenic designer. wolf Theatre, , Arena She achieved her Bachelor’s degree at CSUN, Stage, Portland Stage Company, and and started by assisting various scenic design- Shakespeare Festival St. Louis. Directing ers in Southern California. Natalie’s hands-on credits include: The Pajama Game (UMO); Haroun and the Sea experience opened new opportunities, of Stories (Colby); The Language Archive (Public Theatre); Sense allowing her to design her own productions, as & Sensibility, The Jungle Book, Richard III, Macbeth, Peter and the well as mentor design students of a new generation. She is now a Starcatcher, Boeing, Boeing, Love’s Labour’s Lost, The Winter’s Tale, professor of Digital Design for Theatre at CSUN. , The Mousetrap, Henry IV Part 1, (TAM); The Glass Menagerie; Holiday, and Three Days of Rain (1st Mark Muir Stage); Sarah Ruhl’s Eurydice, Timberlake Wertenbaker’s Antigone, as well as adapting and directing A Christmas Carol at Portland (He/Him/His) (Wardrobe Intern, 1st Stage. Season) This is Mark’s first time working with Theater Max McAndrews at Monmouth. He is a student at UMaine (He/Him/His) (Box Office Associate, 5th Orono and is planning on graduating in the fall Season) with a BA of Theater and a minor in Dance. He Cats, music, video games, and books are all would like to thank the cast and crew for an wonderful things to Max. He’s perpetually tired excellent experience and a special thank you to and unable to nap without waking up Michelle Handley for the opportunity. wondering what year it is, and constantly reminded that it’s weird that he doesn’t like seafood yet lives in Maine. Tea is just as good as coffee to him and he considers it rude to put one or the other down.

SeaSon 52 | 35 COMpANY bIOs kailey pelletier Melissa A. Nathan (She/Her/Hers) (Stage Manager, 2nd Season) (She/Her/Hers) (Production Coordinator, Kailey is a rising Sophomore at Emerson College 7th season) studying Stage and Production Management. Primarily an Equity Stage Manager, Recent Emerson College credits include Spring Awak- Melissa is excited to step into these new roles at TAM. Some of her favorite TAM ening (Production Assistant), Marisol (vMix Techni- credits include: The Merry Wives of cian), and Men on Boats (Run Crew). Previous TAM Windsor, The Learned Ladies, The Winter’s credits include The Jungle Book (Stage Management Tale, and What the Butler Saw. Other Apprentice) and Intimate Apparel (Stage Management credits include: Gloria (Swine Palace/ Apprentice). Kailey is excited to be returning to The- LSU), The Miracle Worker (Florida Rep), Buyer & Cellar (Triad ater at Monmouth for another summer and would like to thank all of her friends Stage), Because of Winn-Dixie and Sherlock Holmes (Alabama and family for their support. Shakespeare Festival), Underneath the Lintel (Riverside Theatre), and Bonnie & Clyde (Asolo Rep). Nathan M. Ramsey (He/Him/His) (Actor, 1st Season) Lynn Nottage Nathan M. Ramsey is a Bronx, New York native (She/Her/Hers) (Playwright, 2nd Season) and U.S. Air Force veteran with a penchant for Lynn Nottage is a Pulitzer Prize winning making things that reflect his experiences, beliefs, playwright and a screenwriter. Her plays and curiosities in life. He recently completed his include Mlima’s Tale, , By The Way, MFA Acting training at the University of Illinois Meet Vera Stark, , Fabulation, or The Urbana-Champaign. He’s performed on an array Re-Education of Undine, Crumbs from the of stages from NYU’s Gallatin Theater to tour- Table of Joy, Las Meninas, Mud, River, Stone, ing with Montana Shakespeare in the Parks. He’s Por’knockers and POOF!. She is thrilled to debut at TAM this year. (www.nathanmramsey.com) working on adapting Intimate Apparel into an opera. Honors include the National Black Theatre Fest’s Playwriting Award, a Guggenheim Grant, Lucille Elizabeth Rocha Lortel Fellowship and Visiting Research Fellowship at Princeton (She/Her/Hers) (Costume Designer, 8th University. She is a graduate of and the Yale Season) School of Drama. She is also an Associate Professor in the Theatre Elizabeth studied at the Rhode Island School of Department at Columbia School of the Arts. Design and Boston’s Museum School before receiving her BA from Harvard’s Extension School. She was working as an il- Tira palmquist lustrator when she accidentally stumbled into (She/Her/Hers) (Playwright, 1st Season) theater, where she has worked ever since. She Full-length scripts include Coyote Rising, has designed for Perseverance Theater, Central Square Theater, Lost Nation, Age of Bees and Frequency of Apollinaire Theatre, Theatre on Fire, Fresh Ink, The Institute at Stars and Other Matter. Age of Bees won the the A.R.T., Harvard College, and The Prometheus Dance Compa- Company of Angels’ Visions of Dystopia ny. She grew up in Maine and loves coming back to visit and work. reading series and received a workshop production in June 2009. Other read- ings/workshops of her plays have been hosted by such theatres as Interact Theatre (Los Angeles), City Attic Theatre (New York), Revolution Theatre (Chicago), Theatricum Botanicum (Topanga Canyon, CA), Theatre of NOTE (Los Angeles) and Coyote Rep (NY). Her short plays have recently been produced at the DeLand Theatre Festival (Jan. 2007), Hunger Artists’ Dead Letter Office II in (Nov. 2007), and Company of Angel’s L.A. Views (April 2008). Tira is a member of Dramatists’ Guild and the LMDA (Literary Managers and Dramaturgs of the Americas).

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Michael Rosas william shakespeare (He/Him/His) (Actor, 1st Season) (He/Him/His)(Playwright, 52nd Season) Michael is the proud son of Ecuadorian For all his fame and celebrity, Shake- immigrants. Recent credits include: References to Salvador Dalí Make Me Hot speare’s personal history remains a (Coyote), Marie Antoinette (The Sheep),The mystery. We know a man named William Comedy of Errors (Antipholus of Syracuse and Shakespeare was baptized at Stratford Ephesus). MFA, Brown University/Trinity upon Avon on April 26, 1564, and was Rep. buried at Holy Trinity Church in Stratford on April 25, 1616. By 1594, Shakespeare was a shareholder, actor, and principal playwright in the Lord seifAllah salotto-Cristobal Chamberlain’s Men. In the years since Shakespeare’s death, he has risen from obscurity to the most read, adapted, and translated (He/Him/His) (Lighting Designer, 1st Season) writer of all time. SeifAllah has been telling stories using light for the past 16 years. He holds an MFA in Lighting and Projection Design from the Mat smart University of Missouri-Kansas City and (He/Him/His) (Playwright, 1st Season) currently teaches at the University of South- An avid traveler and baseball fan, he ern Maine, where he brings his knowledge has been to all of the states, all of the and experience to help guide the next genera- continents, and all of the current MLB tion of storytellers. He is excited to get back stadiums. He received his Undergradu- into the theatre this summer with shows in Maine, Massachusetts, ate degree at University of Evansville, and Indiana. and his MFA at University of California San Diego. Some of his plays include: The Agitators (Geva; Park Square; Glouces- Reece santos ter Stage Company; Mosaic; Pure; West of Lenin; upcoming at (He/Him/His) (Actor, 1st Season) Remy Bumppo; Phoenix; Theatre Horizon; Riverside; Falcon Theatre),The Royal Society of Antarctica(Gift Theatre, recipi- Born in Brazil and raised outside of Boston ent of the 2015 Jeff Award for Best New Work in Chicago; Stage in Lowell, MA. This is his first collabora- West), Samuel J. and K. (Williamstown Theatre Festival; Steppen- tion with TAM, and he is beyond excited wolf; Passage Theatre; upcoming at Gremlin), andTinker to Evers to spend the summer in Maine as part of to Chance (Geva; this company of artists. TV/FILM: RUST Merrimack Rep; Artistry). Mat has received two Jerome (Showtime). THEATER: A Welcome Guest Fellowships, a McKnight Advancement Grant, to Edgerton (CATF), Anna in the Tropics (Gallery Foundation New Play Awards, and was the recipient of the 2014 Players Theater) Training: Current MFA Guernsey New Voices Award from the Center student at NYU’s Grad Acting Program for the Arts.

Mary Carol schreier Tori Thompson (She/Her/Hers) (Technical Director, 1st (She/Her/Hers) (Actor, 1st Season) Season) Tori is an actor, artist, storyteller, and Originally from Louisville, Kentucky Mary Carol teacher joining TAM from Chicago, IL. is a third-year Master of Fine Arts in Technical Being from Northern California, she . Direction Graduate Student at the University of received her Bachelor’s degree in Drama Houston. After tech directing two shows at the from UC Irvine where she directed and University of Houston (Salman Rushdie’s Haroun starred in her own independent and the Sea of Stories and William Shakespeare’s production of The Wiz. This year, Tori Romeo and Juliet) and taking this last year to received her Master of Fine Arts degree refine her skills she is more than excited to be back to work with in Acting from DePaul University where she participated in various Theater at Monmouth to make the transition back to live theatre shows such as Long Time Since Yesterday, Measure for Measure, and seamless, safe, and spectacular. Our Lady of Kibeho.

SeaSon 52 | 37 COMpANY bIOs Rew Tippin (He/Him/ His) (Sound Designer/ Technician, 16th Season) Rew is a Floridian feline whose favorite sound design credits from TAM in- clude The Illusion, Macbeth, Enchanted April, and Henry IV, Part One. Credits from elsewhere include Billy the Kid for the Oakland Ballet in California, Amadeus at the Gretna Theatre in Pennsylvania, In a Word and Apples in Winter for Urbanite Theatre andThe Liarfor the FSU/Asolo Conservatory in Florida. He is most delighted to be a part of this vibrant family of artists.

Casey Turner (She/Her/Hers) (Actor, 5th Season) Casey received her BA in Theater from the University of Southern Maine. As an actor, Casey has been a part of the Maine theater scene since she was a teenager. She began producing in 2013, working on tv documentaries, receiving an Emmy nomination for her work on America’s Hidden Stories for the Smithsonian Channel. Casey is currently focusing on the audio world, producing and acting in audiobooks, audio dramas, podcasts and commercials.

Dathan b. williams

(He/Him/His) (Assistant Director The Agitators, 1st Season) Dathan is the Associate Artistic Director of The Harlem Shakespeare Festival. He made his Off-Broadway directing debut with Me and Steppin’ at The New Federal Theater (2019 Outstanding Overall Production, www.DNretire.com Midtown International Play Festival). As an Ken Nott: [email protected] actor his credits include: the Broadway and Megan Bourque: [email protected] 1st National Tour of Show Boat, seven Off-Broadway shows, three other National Tours, a lot of Regional Theater: 44 Companies. International: Two Seasons at The (’91 Guthrie (207) 622-5222 Award). 19 Central Street, Hallowell, Maine 04347

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38 | TheaTer aT MonMouTh

SeaSon 52 | 39 INDIVIDUAL DONORs kings & Queens Courtney Hill Root Kathleen & David Glenn-Lewin $5000+ Robert B. & Karin W. Jackson Matthew & Lynn Goldfarb Michael Kaberle Elizabeth Goldstein Robert & Moira Fuller Lincoln & Gloria Ladd Carol S. Griffiths Dave & Christine Heckman J. Scott & Patricia Ladd Patricia & Herschel Gurley Elaine & George Keyes Andrew Landry Diane & Jeffrey Handler Barbara Granville & Benjamin Lund George & Mary McNeil Kathleen Harper Elisa & Wade Narin van Court Dennis Harnish & Cheryl Harrington princes & princesses Ellen & Richard O’Brien Nancy Hasenfus & Robert Anderson $2,500 - $4,999 David & Susan Offer Karen Herold Barbara & Lawrence Oliver Polly Hodgkins Melvin Mounts Carol & Michael Payne Christine Hopf-Lovette Gladys Richardson Michael & Gail Hoyt Dukes & Duchesses Douglas Riley Rebecca Stanley & Jacobs $1,000 - $2,499 David & Emily Scribner Bryant Johnson Andrews & Susan Tolman Mark & Judy Johnston Mary Bayer & Leon Bresloff Jack & Gina Wallace Tanya Kandris Roger & Nancy Campbell Ed Willgress Mary & Kevin Thomas & Frances Carhart Jane & Larry Wilson Angus III & Catherine King Delvyn C. Case Amanda Kinsey Deborah G. Chandler knights & Dames Anthony Kleitz Pamela & Duane Damon $100 - $249 Susan Klemmer Tom & Bobbie Gottschalk Susan & George Knapp Robert & Cynthia McGuire Matthew Arbour Randy Labbe Robin Struck Ann Babbitt Lund & Sandra Lynch Joan Wing Ann & Thomas Baiocchi Norah Hass & Theodore Lund Nancy Young Peter & Ellyn Ballou Mary Grace & James Lyman Dale & Maria Bardo Susanne & Kenneth MacArthur barons & baronesses Ann Lee Bressler & Robin Barnes Renee MacKenzie $500 - $999 Warren & Christine Bartlett Christopher Marx Katie & Peter Basquin Victoria Matthews Emory & Marilyn Ackley Kelly Beaudoin Jodi McDonough Emily Chew & Robert Murphy Susan Beegel C. Irving Meeker Ryan Dumais Erik Bergman Rachel Merriam David Eskelund Bruce Boutet John C. & Suzanne Milazzo Cheryl & Ken Freye Norman & Emily Breitner Ruth A. & David G. Millay Sheryl & John Gregory Johnny Brooks Sue Neal Steve Hammond Barney Brown Joseph & Margaret Newhouse Joel & Alice Johnson Laurence A. & Donna H. Brown Ann H. Norsworthy Zachary Nguyen Pat Burnes Tonda L. Olson Zachary Nichols Mary E Bussey Deborah Packard Jeffrey O’Brien Jacques Caussin David & Barbara Page Phil D. O’Connell Nancy Thomas Chasse Nancy & Larry Perkins Jeffrey Shaw James Chick Dian Petty Vernon Squires S. Clifton & Jane P. Ives Alex Primm Charlotte Urbanek Lois W. Cole Jerry Casey & Patrice Putman Pat Connors Linda & KC Putnam Lords & Ladies Anne Crane David Rawson $250 - $499 Marian Dalton Ralph Record Phillip Davis Laurence Reinhartsen Patricia Bourgeau Cynthia DeSoi Joyce M. Rivers Teresa Becker & Lawrence Buggia Richard & Barbara Diamond Robertson Holly & Daniel Burnes Grace Drown William & Mary Earl Rogers Dave Canarie Joseph A. Edwards Charles Schramm Charles & Sharon Conover Network For Good Jay Shepherd Lynda & Thomas Crowley Stephen & Mary Ford Jeanette Smith & Paul Rucha Alvin Da Costa Norman and Audrey Fortier Robert & Susan Spellman John & Elizabeth Dollhopf Marcia Gallagher Sharon Staz Kathy Lynn Emerson Phyllis Gardiner & Logan Johnston Karen & Eugene Taylor Gail Grossmann Susan Geismar Martha L. Taylor Reginald & Pauline Hannaford Richard & Terry Gilbert Daniel Thompson John Herzfeld Jayne & John Giudici Cheryl Van Messel & Charles Bross

40 | TheaTer aT MonMouTh John & Michelle Wainer SueAnn Johnson Helen & Austin Watts Joe B. Jones David & Marjorie Whipple Verdell Jones J. Wiacek Laura Juraska & Richard Fochtmann Linda & Andrew Wilcox Philip Keith Paula Wood & Josh Wallach Connie Kent Susan & Charles Woodman Rich Kimball Tim Kopacz Katherine Lane The Court Christopher Lansley Up to $100 Kristen Lavoie Kenneth & Barbara Leach Jim Shaffer & Lew Alessio Mary & Dana Leighton Susan Allison Michael Levey Nancy Austin Susan Lieberman Courtney Baehr C. Douglas Ludewig William Bardwell Stephen & Anne MacDonald Jill & Christopher Barker Carl & Audrey McGee Amanda Bart Jim McMillan Mary Ann Bates Sandra Minnesang Jemelie & Paul Bessette Frank Morin David Blocher Leroy & Mary Mottla Brenda Boothby Melissa Nathan Kathleen Bower Jacqueline and Stephen Norman Brian Boyd Karen Norton Kelly Breazeale Cynthia O’Brien & Charles Harris Anne & Rick Brown David & Susan Offer Hazel & Ann Bryant Chuck Cohen & Mary Beth Paquette Steven Bunnell Nick Azzaretti & Kate Pennington Lindsey & Andrew Cadot Sarah Perreault Lisa Charles Jeffrey Pinnette Mary & Ken Barnard Thomas Quinn Cynthia Clement Don & Cindy Ripley Lucille Clement Bethany Robertson Peter Cook Peter Rosenberg Ruth Covell Karen Schermerhorn & Evan Seymour Margaret & John Cross Sandra Schiller James Cumming Eleanor & James Schneid Ruth & Keith Dalen Prudence Schofield Matthew Dame-Brusie Robert Selinske Peter Dickson Karen Schermerhorn & Evan Seymour Amy Dolan David & Donna Shaw Caitlin Duffy Anna Siegel Jeannette Eaton Pete Small Mathew Edwards Jennifer Smith Sarah Ferguson Amy Soule Linda & Doug Findlay Anthony Theberge Kevin Fliege Ginette Theriault Susan Gagne Eben & Susan Thomas Carl Gatto David Tyler Catherine Geren Lucille & Colin Vaz Lee Griswold Fiorello & Judy Ventresco Diane Haberman Susan Wade Kelly Hall Paul & Virginia Warren Aili Hartikka Anne-Marie Watson Amy Haskins Helen & Austin Watts Gloria & Richard Healy Darwin Webster Melissa Heckman & Lo Fitzgibbons Rupert White Mary Lou & Lew Horzempa Corene Wickenheiser Jonathan & Amy Cole Ives William R. Wilson Stephen Jacobs Ryan Wing Norine Jewell & David Ault Cynthia Yachanin

SeaSon 52 | 41 In-kind Donors/ special Thanks Harold Burnett Bonnie Green Mary Beth Paquette & Chuck Cohen The Public Theatre foundation Donations Arts Midwest Goldstone Foundation Helen & George Ladd Charitable Corp Kennebec Valley Council of Governments Maine Arts Commission Maine Community Foundation Margaret E. Burnham Charitable Trust Onion Foundation The Snider Foundation

Donations received between June 1, 2020 and June 1, 2021. We make every effort to list donor names correctly. In the event of an error, please notify the Box Office at 207.933.9999 and we will ensure the correction appears in our 2022 program.

42 | TheaTer aT MonMouTh CUMsTON HALL This beautiful edifice dominates the main street of the town and has aroused the interest and awe of passersby since its dedication in 1900. It is named for Dr. Charles Cumston, who for many years was the headmaster of Boston Latin High School. Having retired to Monmouth, Dr. Cumston decided to give his town a community building which would house the town offices, a caucus hall, a public library, and an auditorium. He entrusted the job of designing the building to Harry Cochrane, a Maine native with a reputation for fine interior work. The Monmouth community, Cumston Hall Trustees, The Friends of Cumston Hall, the Monmouth Board of Selectmen, representatives of the library and many user groups worked cooperatively on a $2.9 million revitalization and addition. Supporters, donors, and other organizations combined to finish the last pieces of the opera hall restoration project that began in 2000. The remarkable investment project is a testament to the vision of Dr. Cumston and Mr. Cochrane and their ability to create a facility that is both practical and unique more than 100 years later. For an expanded history of this exceptional building, visit theateratmonmouth.org

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