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The American Century Theater presents About The American Century Theater The American Century Theater The American Century Theater was founded in 1994. We are a professional presents nonprofit theater company dedicated to presenting great, important, and worthy American plays of the —what Henry Luce called “the American Century.” A Robert M. McElwaine American Reflections Project production of The company’s mission is one of rediscovery, enlightenment, and perspective, not nostalgia or preservation. Americans must not lose the extraordinary vision and wisdom of past playwrights, nor can we afford to surrender the moorings to our shared cultural heritage. Our mission is also driven by a conviction that communities need theater, and theater needs audiences. To those ends, this company is committed to producing plays that challenge and move all Americans, of all ages, origins, and points of view. In particular, we strive to create theatrical experiences that entire families can watch, enjoy, and discuss long afterward.

The Robert M. McElwaine American Reflections Project with Esther Covington as Fanny One Night with Fanny Brice Honorary Producers November 5–27, 2010 Andrew Scott McElwaine Ann Marie Plubell Rosslyn Spectrum Theatre Harry and Lucille Stanford 1611 North Kent Street, Arlington VA Anonymous Director Musical Director Producers Ellen Dempsey Tom Fuller Rip Claassen About the Robert M. McElwaine American Reflections Project Rhonda Hill “Reflections” is an American Century Theater initiative designed to inspire and produce new and original stage works that compliment the company’s Stage Manager Scenic Design Lighting Design repertoire of important American plays and musicals from the 20th century. Arthur Rodger Patrick Lord Steven L. Barker Reflections includes new revues, plays, and musicals that bring to life the remarkable personalities, events, and movements of “the American Costume Design Sound Design Choreographer Century” that make up our nation’s cultural and historical heritage. These Rip Claassen Darlene Robinson Gia Mora stage works may be developed by TACT or submitted for consideration to the company by playwrights, producers, directors, and actors. There will be a 15–minute intermission. Reflections began in 1999 with a staged reading of Jason Sherman’s It’s All True, which dramatized the circumstances surrounding ’ Please—Silence and stow cell phones and other distracting devices. production of The Cradle Will Rock. (The readings were presented during The use of recording equipment and taking of photographs the run of TACT’s production of the musical itself.) This was the first during the performance are strictly prohibited. continued on inside back cover Cast Fanny Brice ...... Esther Covington Pianist ...... Tom Fuller One Night with Fanny Brice (2010) by Chip Deffaa The chances are that you have no idea what Fanny Brice was like. She was Production staff not, for example, anything like , who starred as Fanny in the musical (and film of same) based on Brice’s life. Streisand Director ...... Ellen Dempsey and Fanny Brice were both major stars of their times, but the similarity Musical Director ...... Tom Fuller ends there. Producers ...... Rip Claassen, Rhonda Hill You don’t know what Fanny Brice was really like because, though she Stage Manager ...... Arthur Rodger died in 1951, there are very few filmed records of her performing and Scenic Design ...... Patrick Lord none when she was at her prime. Oh, she appears in a very unfunny skit in the misbegotten MGM musical sequel to The Great Ziegfeld, The Costume Design ...... Rip Claassen Ziegfeld , in which William Powell reprises his portrayal of the great Lighting Design ...... Steven L. Barker producer and portrays him creating a new show, from Heaven, using the Sound Design ...... Darlene Robinson MGM stable of stars. Fanny comes off weak, but this is a movie featuring the worst dance number was ever in and ’s worst Choreography ...... Gia Mora song. They have their best work in other films, but for Fanny, there isn’t Sound Consultant ...... Ed Moser much else. Rehearsal Pianist ...... Taylor Williams Fanny Brice, you see, was an onstage female comic before there was a Assistant Lighting Designer ...... Ashley Swiger or , in a culture where women were supposed to Master Electrician ...... Andrew Jorgensen be chaste, beautiful, or sexy, but not clowns. She was also a popular singer before high fidelity recordings, in an era when quavering, delicate voices Electricians ...... Christopher Pless, Timothy Page, Peter Swinburne like Helen Morgan’s were the rage. If you hear Fanny Brice’s recordings Follow-spot Operator ...... G.W. Glover today, you probably think using Streisand to play her was a great Sound Board Operator ...... William Angel compliment. And you would be wrong. No female performer, and few male ones, could move an audience to laughter and tears like Fanny Brice. Program Design and Cover Art ...... Michael Sherman Fanny Brice often wasn’t what she pretended to be; in particular, she Production Photography ...... Dennis Deloria wasn’t the Yiddish-accented stereotype she so often portrayed; and she Archivist ...... Kim-Scott Miller was far from all laughs. She was, above all, tough, enduring more off- stage betrayal and heartbreak than her share yet always bouncing back, sometimes using her personal tragedies to spur her to greater success. Special thanks to— Fanny was also, by all accounts, a good mother, a loyal friend, and able to Jackie Altman Lou George take what life dished out for her with humor, courage, modesty, and good spirits. In show business, that makes her character as rare as her talent. Don Barton Georgetown University Keith Bell Lexi Haddad It was these qualities—and the fact that we really don’t know the real Fanny Brice—that led Chip Deffaa, author, playwright, and authority Avery Burns Robbie Hayes on American entertainment between the World Wars, to craft a musical Christy Vander Lockett show, perfect for TACT’s Robert M. McElwaine American Reflections Jared Davis Sherri Perper Project, that imagines Fanny returning to us for one night only, to tell her remarkable story and reprise her remarkable songs. He knew she’d be great company, and she is. Become a fan of The American Century Theater on Facebook. Keep up with shows, auditions, volunteer opportunities, podcasts, She always was. videos, and more. www.AmericanCentury.org —Jack Marshall, Artistic Director

Chip Deffaa is the author of five published plays and eight books. George M. Ellen Dempsey (Director) has directed Will Success Spoil Rock Hunter?, Dr. Cohan Tonight!, which he both wrote and directed Off-Broadway, has been Cook’s Garden, Happy Birthday, Wanda June, MacBird!, and It Had To Be You performed everywhere from Korea to the United Kingdom. Other plays include (The American Century Theater), Twelve Angry Men and Unquiet Hearts (Keegan The Seven Little Foys, The Johnny Mercer Jamboree, and Theater Boys. Books Theatre), and Play It Again, Sam and The Antigone in Warsaw (Little Theatre of include Swing Legacy, Voices of the Jazz Age, In the Mainstream, Traditionalists Alexandria). Stage management credits include Pump Boys and Dinettes, Hamlet, and Revivalists in Jazz, Jazz Veterans, F. Scott Fitzgerald: The Princeton Years On the Verge, Violet, and A Streetcar Named Desire (US and Ireland). Ellen was (ed.), Blue Rhythms, and (with David Cassidy) C’Mon Get Happy. He contributed assistant director for Violet and The Field at Keegan Theatre and for Little Shop chapters to Harlem Speaks and Roaring at One Hundred. For 18 years, Deffaa of Horrors, Do Black Patent Leather Shoes Really Reflect Up?, The Radio wrote for The New York Post, writing news, feature stories, and reviews dealing Hour, and Lips Together, Teeth Apart at LTA. She is currently an artistic associate with jazz, cabaret, and theater. He was also a longtime writer for Entertainment and the controller for TACT. Weekly. He has won an ASCAP/Deems Taylor Award, a New Jersey Press Rip Claassen (Co-Producer, Costume Design) has been a fixture on the Association Award, and an IRNE Award (Independent Reviewers of New Washington theatre scene for many years, perhaps best known as dramaturge at England). A graduate of Princeton University, Deffaa is a trustee of The Princeton Backstage, Inc. Rip has taught theatre and acting at the Institute for the Arts for Tiger magazine. Fairfax County Public Schools, Duke Ellington School of the Arts, and other local theatre programs. For TACT, he has directed (Life with Father), produced (Native Son and The Tenth Man), and costumed innumerable shows. He has directed for Natural Theatricals and other other local venues. Rip founded the Northern Virginia Theatre Festival for high schools and coaches theatre students seeking admission Esther Covington (Fanny Brice) is thrilled to be a part of an amazing collaborative to competitive programs. He is Artistic Director of Teens and Theatre (TnT), a team and production. Previous American Century Theater credits include nonprofit theatre education company. Hellzapoppin’ and Babes in Arms (staged reading). Other DC/Baltimore area Rhonda Hill (Co-Producer) has been with TACT since it was first talked about in acting credits include Baltimore Shakespeare Festival, Wayside Theatre, Landless that bar after Twelve Angry Men at Georgetown 16+ years ago and has served as Theatre, Imagination Stage, Toby’s Dinner Theatre, and Theatre on the Hill. the Executive Producer for much of that time. She has produced or stage managed Favorite roles include Meredith (Bat Boy), Bella (Lost in Yonkers), many TACT productions (The Cradle Will Rock, Moby Dick Rehearsed, Danny (Calamity Jane), Vi (Buddy Holly Story), and Claire (Bare). Esther is a professional & Sylvia, Twelve Angry Men, to name just a few), acted in a few productions piano player, role player, and DC tour guide and has a Master’s in Theatre. and stage readings, and now coordinates front-of-house volunteer ushers, house Tom Fuller (Musical Director) has been conducting and performing in musicals managers, and box office staff. Rhonda has been active in theater since the second and operettas since 1967. A trained singer and pianist, he has appeared in roles grade, when she played the Cheshire Cat in Alice in Wonderland, and has a BFA in ranging from Charlie Brown in You’re a Good Man, Charlie Brown to Monostatos, Theater from Auburn University. the evil Moor, in The Magic Flute. Tom has been the musical director for The Steven L. Barker (Lighting Design), an adjunct professor of theatre for Northern American Century Theater productions of Lady in the Dark, archy & mehitabel, Virginia Community College, is resident designer for Crossroads Dance (CDC), The Cradle Will Rock, Pinafore, Danny & Sylvia, Laughter at Ten Vpstart Crow Productions (VCP), and Pied Piper Theatre (PPT). Recent designs O’Clock, If Only in My Dreams (which he co-authored), One Touch of Venus, Call include The Tenth Man for The American Century Theater, Hamlet for VCP, Me Mister, Hellzapoppin’, and Babes in Arms. He adapted Uncle Tom’s Cabin for Disney’s Beauty and the Beast for PPT, and Six Degrees of Separation (2010 TACT’s 2002–03 season, created (in cooperation with Jack Marshall) An American WATCH Nomination) for Taking Flight Theatre (TFT). Current and upcoming: Century Christmas, appeared onstage in the most recent production of Moby Dick designs for (VCP) and The Nutcracker (CDC) and direction Rehearsed, and is general musical supervisor for all TACT shows. for Charlotte’s Web (PPT). Steve holds an MFA in Theatre for Youth from Arizona State University and a BFA in Theatre Education from Virginia Commonwealth University. Download the podcast Patrick Lord (Scenic Design) recently received his BFA in Scenic Design from Listen in as Artistic Director Jack Marshall discusses the TACT Emerson College in Boston and is excited to be back designing in the DC/Metro area. production of One Night with Fanny Brice with Director Ellen Dempsey, Some of his recent scenic design work includes the Boston premiere of Incorruptible Musical Director Tom Fuller, and Esther Covington, who plays Fanny. (Emerson Stage), Peter Pan (Open Road Theatre), Julie (Mercutio Troupe), as Podcast available for download from www.americancentury.org. well as the props design for Source Theatre Festival this past summer. Upcoming: assistant scenic design at Signature Theatre, The Hub Theatre, and Theater J. Gia Mora (Choreographer) had the pleasure of assisting dance legends Gillian Lynne (The Imaginary Invalid, Shakespeare Theatre) and Maurice Hines (Cool Papa’s Party, MetroStage). Her choreography credits include Romeo and Juliet (Maryland Shakespeare Festival), Alexander... Very Bad Day (Town Hall Arts Thank you to the many generous donors who provided support from November 1, 2009 Center), The Tempest (Longmont Theatre), and numerous student productions. A through October 31, 2010. three-time nominee, she has performed in musicals at MetroStage (Glimpses of the Moon, Cool Papa’s Party), Arena Stage (Christmas Carol 1941, Group Theater Goers ($5,000+) She Loves Me), and Kennedy Center (Knuffle Bunny, Chasing George Washington). Arlington Commission for the Arts David T. Austern Upcoming: Sunset Boulevard (Signature Theatre), Liberty Smith (Ford’s Theatre). Virginia Commission for the Arts Darlene Robinson (Sound Design) is a freelance audio engineer in the DC/ Provincetown Players ($2,500–$4,999) Baltimore area. She studied audio engineering at the Conservatory of Recording Wendy and Bob Kenney Arts and Sciences in Tempe AZ and has a BA in Music Performance and Theory from Eastern Nazarene College in Quincy MA. This is her third production with Theater Guilders ($1,000–$2,499) The American Century Theater. Anonymous Peri Mahaley Arthur Rodger (Stage Manager) returns to TACT, having stage managed past Rebecca and Gene Christy Donald Adams and Ellen Maland productions of Machinal and A Thousand Clowns. He appeared in the 2003 Steven R. Cohen and Mary McGowan Eleanor Marshall Robert DuBois Andrew Scott McElwaine staged reading of Green Grow the Lilacs. In the intervening years, Arthur has Vivian and Arthur Kallen directed, designed make-up, and stage managed for several northern Virginia theatre companies. Mercury Theater Backers ($500–$999) John A. Acton Constance McAdam Anonymous Patricia Payne Arlington Community Foundation Ann Marie Plubell Richard and Jean Barton The Plubell Firm Noreen Hynes and Seth Carus Harry and Lucille Stanford Tracy Fisher Sheldon and Marilyn Wallerstein

Living Theater Lovers ($250–$499) Pete and Cherry Baumbusch Sandra McElwaine Jim Bertine Robert J. and Mark L. McElwaine Board of Directors Joya Cox Harriet McGuire Dennis Deloria and Suzanne Suzy Platt Chair Wendy Kenney Thouvenelle William and Connie Scruggs Vice-Chair Rebecca Christy Ellen Dempsey and Lou George David and Willa Siegel Adriana Hardy Marcia Neuhaus Speck Treasurer Kimberly Ginn ThomasW. Hoya Ginny Tarris Secretary Ann Marie Plubell Angela Hughes Frontis Wiggins Board David T. Austern, Richard Barton, Marjie Mayer Elizabeth Borgen, Vivian Kallen, Jack Marshall, Kevin McIntyre, The Players ($100–$249) Linda Allen and Ron Bass Scott Durloo Kim-Scott Miller Cheryl Bailey and William M. Janet and Marty Fadden Staff McClenahan, Jr. Dr. Coralie Farlee Jack Marshall CEO and Artistic Director Sally Beth Berger James and Maria Gentle Elizabeth Borgen Larry George and Brenda Pommerenke Jason M. Beagle Bill Gordon Rosemarie Bowie Jean F. Getlein Rhonda Hill Ron Brandt Kimberly Ginn Rip Claassen Alan and Susan Branigan Gabe Goldberg Brian Crane Steven Scott Mazzola David Briggs and John F. Benton Virginia Harris Ellen Dempsey David Olmsted Marvin and Ellen Cantor Stephen Harrison Ginny Tarris Gerald Chapman Alan Herman and Irene Szopo Kate Dorrell Boris and Earlene Cherney Rhonda Hill Tom Fuller Robyn Dennis Robert Honeygosky Gloria M. Dugan Roger and Katharine Hood About “Reflections” (continued from inside front cover) American presentation of the play, which later had many full productions in The Players (continued) New York and other cities. Richard Kamenitzer Robert Half International It was followed by the original TACT one-man show, I Cry Aloud—The Charles and Ellen Kennedy Daniel Ross Robert L. Kimmins Charline Rugen Clarence Darrow Story, created by TACT Artistic Director Jack Marshall, Alan M. King Robert F. Schiff in collaboration with director Terry Kester and star Paul Morella. (Morella Paul Klingenberg Diane L. Schroth continues to perform a later adaptation of the play, A Passion for Justice, Lou and Jane Kriser John Seal around the U.S.) Robert Benchley’s grandson, actor Nat Benchley, Kathryn and Robert Krubsack Henry Shields Mary Ann Lawler and Neil Sigmon Pat Spencer Smith premiered his one-man salute to his grandfather’s career and writings in the Margaret Lorenz Jean V. Smith 2003 Reflections entry, Benchley Despite Himself. Gudrun Luchsinger Jennifer Sosin and Adam Posen Winnie Macfarlan The Hon. and Mrs. John M. Steadman Reflections then presented TACT’s most popular and most produced show, Angus and Sharon MacInnes Barbara Stearns the original musical Danny and Sylvia, by Bob McElwaine and Bob Bain. Lory Manning John Blaney and Robin Suppe-Blaney The show followed the show business partnership and stormy off-stage Judith and David McGarvey David Tannous relationship of entertainer and his wife, song-writer, muse, Carl and Undine Nash Annette Zimin and manager, Sylvia Fine. It won a Helen Hayes Award for its star, Brian Childers as well as a nomination for his co-star, Janine Gulisano. Danny The Federal Theater Funders ($10–$99) and Sylvia has had productions in five states and London, England, most Anonymous Anna Leder Mary Beatley Sharon Leiser recently opening off-Broadway in May 2009. Ricardo Castro Mark and Sarah Linton Celebrating another American comic was the Reflections revueLaughter at Mary Crosby James Mangi and Kathleen Schmidt Patricia Dowd Martin Marks Ten O’Clock, which recreated memorable skits and other highlights from Rita Gordy Phebe K. Masson TV’s , while If Only in My Dreams, assembled William Kelleher Evelyn and Milan Matey by TACT artistic staff Jack Marshall, Tom Fuller, and Jackie Manger, Paul Kohlbrenner Barbara and Kenneth McLean combined letters from WWII servicemen with period music to evoke the Mary Pascoe Margaret Meath Marcus Walker Richard and Dorothy Miller bittersweet Christmases at home during the war. Tom and Loretta Beaumont Margaret Mulcahy The 2006–2007 season saw the debut of the Reflections pasticheDrama Laura Burchard Barbara Murray Under the Influence, a collection of seven plays by female playwrights of Wendy Cohen Thanh Nguyen Mary Kay Davis Miah Olmsted the Prohibition and Depression eras, assembled and crafted by director Michael deBlois Richard and Rebecca Pariseau Steven Mazzola to create a coherent dramatic experience. Patricia Dowd Paul and Carol Parowski Susan Duka Ruth and Charles Perry In 2008, TACT produced two Reflections entries:Stunt Girl, a staged Donna Feirtag Rhoda Ritzenberg reading of a new play by former TACT Board member Peter Kellogg and Jay Fisette Michael and Loretta Rowe Disney composer David Friedman, tracing the spectacular life and career Cathy Garman Dennis Ryan of , and The Titans, Bob McElwaine’s dramatic recreation of Madi R. Green John H. Schneider Jean Handsberry Sharon Schoumacher the Cuban Missile Crisis. Following the latter production, the TACT Bill and Donna Hannay Susan and Ralph Shepard Board of Directors renamed the series for McElwaine to honor his many Rachel Hecht Carole Shifrin contributions to the theater. In 2009, TACT produced An American Century Linda Hill and Paul Steinmetz Bertha Shostak Christmas, a celebration of 20th century holiday music and memories from Alison Drucker and Tom Holzman Linda and William Smith TV, radio, recordings, and Hollywood. Elaine Howell Paul Stayert Howard and Myrna Kaplan Kathryn Tatko This year has seen two Reflections: TACT’s May 2010 world premiere William Kelleher Marjorie Townsend of Treadwell: Bright and Dark by local Helen Hayes Award–winning Shirley Kostik Doug and Evelyn Watson R.M. Kraft Adrienne White playwright–actress Allyson Currin about the life of , David A. Lamdin Bonnie Williams and Bob Skelly the glass ceiling–shattering journalist, playwright (Machinal), novelist, Steven Laterra Carol and Henry Wolinsky feminist, and social reformer, and this production of One Night with Fanny Brice by Chip Deffaa. Donors-in-kind Jason Beagle, Brian Crane, Dennis Deloria, Ellen Dempsey, Kate Dorrell, Sadly, Bob McElwaine passed away earlier this year. We miss him Tom Fuller, Bill Gordon, Rhonda Hill, Wendy Kenney, Loren Platzman, and are proud to be able to honor his memory through the American Ann Marie Plubell Reflections Project. The American Century Theater 2010–2011 Season Comedy, Romance, Suspense, and More! New* productions of the most outstanding American plays you’ve never seen— and may never have the chance to see again! Chip Deffaa’s One Night with Fanny Brice This one-woman musical celebrates Brice’s personality and comic style and includes Fanny’s performances of her signature songs, as well as many early 20th-century standards. Directed by Ellen Dempsey November 5–27, 2010 Eugene O’Neill’s Beyond the Horizon (1920) The tale of a tragic love triangle that won O’Neill his first Pulitzer Prize. Directed by Kathleen Akerley January 14–February 12, 2011 Edna Ferber and George S. Kaufman’s Stage Door (1936) A full production of the classic saga of backstage intrigue in a boarding house full of ambitious actresses. Last presented as a staged reading by TACT in 2007. Directed by Marie Sproul April 8–May 7, 2011 Gore Vidal’s Visit to a Small Planet (1956) A clever satirical comedy about a confused visitor from outer space whose perspective on human behavior is both hilarious and thought-provoking. Directed by Rip Claassen July 8–August 6, 2011 Apply the value of your ticket to One Night with Fanny Brice to a subscription for the rest of TACT’s 2010–2011 season. See Box Office. * One Night with Fanny Brice is funded in part by Arlington County through the Cultural Affairs Division of the Department of Parks, Recreation, and Cultural Resources, and the Arlington Commission for the Arts.

This arts event is made possible in part by the Virginia Commission on the Arts, the National Endowment for the Arts, and our many generous donors.