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 twentieth century—what Henry Luce called “the American Century.” The company’s mission is one of rediscovery, enlightenment, and perspective, not nostalgia or preservation. Americans must not lose the extraordinary vision and by Paul Green and Richard Wright wisdom of past playwrights, nor can we afford to surrender the moorings to our April 14–May 9, 2009 shared cultural heritage. Gunston Theatre II Our mission is also driven by a conviction that communities need theater, and 2700 South Lang Street • Arlington, Virginia theater needs audiences. To those ends, this company is committed to producing Co–Producers plays that challenge and move all Americans, of all ages, origins, and points of Director Rip Claassen and Sherri Haddad view. In particular, we strive to create theatrical experiences that entire families Bob Bartlett can watch, enjoy, and discuss long afterward. Stage Manager Technical Director/ Master Carpenter Jared Shamberger Set Designer Trena Weiss–Null Michael Null The American Century Theater Board of Directors and Staff Sound Designer Lighting Designer Costume Designer Chair Wendy Kenney Ed Moser Andrew F. Griffin Rachel Morrissey Vice-Chair/Secretary Steven Scott Mazzola Hair and Makeup Fight Choreographer Properties Designer Treasurer Ann Marie Plubell Designer Lex Davis Kate Dorrell Board Richard Barton, Elizabeth Borgen, Rebecca Christy, Jen Durham Kimberly Ginn, Vivian Kallen, Peri Mahaley, Jack Marshall, Loren Platzman Setting Jack Marshall CEO and Artistic Director The Black Belt of Chicago, mainly—1939–1940 Steven Scott Mazzola Associate Artistic Director Scenes Rhonda Hill Production Projects Coordinator I. The Thomas one-room apartment, an early midwinter morning Rebecca Hunger Director of Operations II. A street in front of Ernie’s Kitchen Shack, later the same day Yvonne Hudson Marketing and Publicity Director III. The Dalton breakfast room, a few hours later Jason Beagle Volunteer Manager IV. Mary Dalton’s bedroom, late the same night Rip Claassen Outreach Manager V. The Dalton breakfast room, the following morning Brian Crane Communications Manager VI. The kitchenette apartment of Clara Mears, evening of same day Deborah Rinn Critzer Volunteer Manager VII. The basement of the Dalton home, the next afternoon Karen Currie Production Associate/Inventory Control VIII. A room in a ruined apartment house, night, a day later Ellen Dempsey Controller IX. A hearing room in the City Courthouse, some days later Kate Dorrell Publications Manager X. The Courtroom, a week later Tom Fuller General Counsel/Resident Musical Director XI. The death cell, some days later Sherri Haddad Director of Outreach and Volunteers Ginny Tarris Director of Development Robert McElwaine Resident Playwright Native Son will be presented without an intermission. There will be a post-show discussion after every performance of Native Son. Native Son is funded in part by Arlington County through the Cultural Affairs Native Son is produced by special arrangement with Samuel French, Inc. Division of the Department of Parks, Recreation, and Cultural Resources and the Arlington Commission for the Arts. Please—Silence cell phones and other noise producing devices. This arts event is made possible in part by the Virginia Commission on the Arts and The use of recording equipment and the taking of photographs the National Endowment for the Arts. during the performance are strictly prohibited. Cast (in order of appearance) Artistic Director’s Notes Bigger Thomas ...... JaBen A. Early Hannah Thomas ...... Reneé Charlow Native Son (1941) by Paul Green and Richard Wright Vera Thomas ...... Iman Hassen Native Son, the 1940 Richard Wright novel, is an American classic, frequently Buddy Thomas ...... Kalon Hayward assigned in high school and college, and undeniably secure as one of the books that Miss Emmet/Stenographer ...... Megan Graves educated people will always want to read and think about. Native Son, the 1941 Jack Henson ...... Mark McKinnon play based on the novel, is barely remembered, seldom performed, and survives Clara Mears ...... Farah Lawal primary as a historical and theatrical footnote. Why? Gus Mitchell ...... Jivon Lee Jackson One might assume that the reason is that the play was an unsuccessful adaptation “G.H.” Rankin ...... Jared Shamberger of the novel, but that is far from the case. As Hazel Rowley notes in her essay, Ernie Jones/Reverend Hammond ...... Paul Andrew Morton “Backstage and Onstage: The Drama of Native Son,” the critical reaction was Henry G. Dalton ...... Mick Tinder overwhelmingly positive: Jeff Britten ...... Bruce Alan Rauscher Peggy MacAulife ...... Christine Hirrel Brooks Atkinson, in the New York Times called it “the biggest American Ellen Dalton ...... Danni Stewart drama of the season.” This was “theatre that tingles with life.” According Mary Dalton ...... Julie Roundtree to the New York World Telegram: “It proves . . . that Orson Welles, whether Jan Erlone ...... Evan Crump you like to admit it or not, is no boy wonder but actually the greatest Jed Norris ...... Brian Razzino theatrical director of the modern stage.” Canada Lee [who played the Edward Max ...... Bud Stringer protagonist, Bigger Thomas] was unanimously hailed as a brilliant new David A. Buckley ...... John Geoffrion discovery. Eslanda Robeson said that even her husband, Paul Robeson, Judge Alvin C. Hanley ...... Rob Weinzimer could not have performed better than Lee did. Several reviewers billed Native Son the season’s best play. There were murmurs about the Pulitzer Production staff Prize for drama. Co-Producers ...... Rip Claassen, Sherri Haddad Add to the critical favor the fact that Welles was the hottest commodity on Director ...... Bob Bartlett Broadway, and you have all the ingredients of a runaway hit. Well, almost all. Had Stage Manager ...... Jared Shamberger Native Son been about the Von Trapp family rather than an unsympathetic African Assistant Stage Managers ...... Frances Burnett, Nicole Carter, David Olmsted American criminal, then it would have had all the ingredients. Technical Director/Set Designer ...... Michael Null Master Carpenter ...... Trena Weiss–Null There, sadly, lies the dilemma. Serious, uncompromising novels of ideas can Sound Designer ...... Ed Moser become indispensable teaching tools and sources of intellectual enlightenment. But Lighting Designer ...... Andrew F. Griffin serious, uncompromising plays, even about exactly the same characters and ideas, Costume Designer ...... Rachel Morrissey almost never become commercially reliable, and contemporary theater companies Hair and Makeup Designer ...... Jen Durham usually shy away from producing them, especially when they are about race. It is Fight Choreographer ...... Lex Davis one thing to try to attract black and white audiences to an uplifting drama about Properties Designer ...... Kate Dorrell appealing African American characters, like Raisin in the Sun. But the wonderful Program and Graphics ...... Michael Sherman thing about a book that attacks your world view and batters your optimism and self-esteem is that you can stop reading at any time and watch a rerun of Friends, an episode of The Amazing Race, or the DVD of an Adam Sandler movie. Tough Special thanks to— plays can be relentless, and while the ancient Greek audiences may have enjoyed Our fascinating April 5th telesymposium panelists: getting emotionally battered by life’s verities, the majority of modern American Hazel Rowley, Professor Lawrence Avery, and Professor Arnold Rampersad audiences want escape. Native Son is not about escape. Indeed, its message may be that there is no escape. The Arlington County Costume Shop Micah Hutz, Photographer Bowie State University The Little Theatre of Alexandria Orson Welles understood this in the first production ofNative Son, ignoring, as The Catholic University of America Olney Theatre Company usual for him, Aristotle’s assertion that spectacle was the least important feature of The Clarice Smith Performing Arts The Shakespeare Theatre Company drama and attaching every bell and whistle he could dream up to the show—and Center at the University of Maryland Venus Theatre Company no one could dream up bells and whistles like Welles. In one memorable episode, George C. Marshall High School Lexi Haddad and Richard Yingling he kept adding more and more lights to the play’s design until their weight Bob Greenwood, Redwolf Taxidermy for load in assistance pulled down part of the theater ceiling during a tech rehearsal. A few critics even Robb Hunter, Preferred Arms wondered in print whether Wright’s story was well served by such flamboyant presentation. It wouldn’t have been the first time Orson Welles’ ambitious concepts The Company undermined a script: by most accounts, his famous production of The Cradle Will Rock was insanely burdened by gimmicks, effects, and set pieces, and was only Reneé Charlow (Hannah Thomas) has appeared as Sonya in Sassy Sonya’s saved when a court order forced the cast to perform opening night without set, 24-Karat Gold Revue (a writing/directing commission from Maryland–National costumes, theatrical lighting, or even a stage. But most observers felt that in Native Capital Parks), Georgia in Exonerated, Louise in Waiting To Be Invited, Ruth in Son, Welles’ flamboyant presentation was an asset, not a detriment. A Raisin in the Sun, and Calonice in Lysistrata. Her last TACT role was Lily in Porgy. TV/film: HBO’sThe Wire, Hannibal, and Bones. Directing credits: A Raisin Even with its visual and auditory magic tricks, its rave reviews, the epic in the Sun, Indigos, Short Stack, Antigone, and A Tribute to August Wilson. Reneé performance of star Canada Lee, and the kind of controversy that warms the is an Assistant Professor of Theatre at Bowie State University. cockles of any producer’s heart (the show was picketed by both the Urban League and the Communist Party), Native Son achieved only moderate box office success. Evan Crump (Jan Erlone) has performed Talbott in The Other Room (Kennedy Like Sophie Treadwell’s Machinal, another terrific, hard-edged social protest play Center), Yepikhodov in Cherry Orchard (WSC), and Richard Miller in Ah, that frightens off more audiences than it attracts, Native Son the play ended up in Wilderness! (TACT). His first love is Shakespeare: favorite roles are King the script file labeled “too hot to handle,” as companies opted instead to mount Richard in Richard II, Orlando in As You Like It, and Sir Andrew Aguecheek in shows like its 1941 Broadway competition, Arsenic and Old Lace. As tough as Twelfth Night. Wright’s novel is, live theater makes it seem tougher, more personal, closer, and harder to forget. The same features that make Native Son a remarkable play all but JaBen A. Early (Bigger Thomas) appeared onstage most recently in The Death of ensured its obscurity. Bessie Smith at Liberty Free Theatre. He produced, as well as acted in, the just– Jack Marshall, Artistic Director completed feature film by Streamline Filmworks,Money Matters. Other roles include Alec in Spell Number Seven, Orestes, and several male roles in Marisol. JaBen studied Drama at Morehouse College and holds an MFA from Sarah Lawrence. Director’s Notes John Geoffrion (David A. Buckley) appeared with TACT as Simeon in Desire It was as if that great rush of anger had washed me clean, emptied me of Under the Elms. Other area credits include Gayev in The Cherry Orchard, hope, and, gazing up at the dark sky spangled with its signs and stars, for Graleo in Peace, Rochfort in Red Noses, Sydney in Kafka’s Dick, and Prince the first time, the first, I laid my heart open to the benign indifference of the Charles in Edward III (WSC); God #2 in Good Woman of Setzuan and multiple universe. To feel it so like myself, indeed, so brotherly, made me realize that roles in Arabian Nights (Constellation); John Houseman in War of the Worlds I’d been happy, and that I was happy still. For all to be accomplished, for (Scena); Winston in 1984 (Meat & Potato Theatre); and Psychiatrist in Terrorism me to feel less lonely, all that remained to hope was that on the day of my (Studio Secondstage). John received his MFA in Acting from Catholic University execution there should be a huge crowd of spectators and that they should of America. greet me with howls of execration. —Albert Camus in The Stranger Megan Graves (Miss Emmet/Stenographer) returns to TACT after appearing as translated from the French by Stuart Gilbert, 1942 Mary Skinner in Life With Father. Recent area credits include Hansel and Gretel, More than 25 years after first reading Wright’s novel, I find myself searching for The Importance of Being Earnest, Hamlet: Part II, Red vs. the Wolf, Father of the what it has to say to us today. From its meager beginnings—sheared to nothing Bride, A Christmas Carol, and To Gillian on Her 37th Birthday. Megan can also more than a salacious detective story and book-of-the-month club sensation to be seen in a recurring role as storyteller at Hooray for Books! in Alexandria and is Orson Welles’ famed Mercury Theatre production to its overdue 1991 literary pursuing a Bachelor’s degree in English and theatre. restoration—Native Son continues to haunt America’s struggle to make sense of its racist history. The problem? America’s worst fear—Bigger Thomas, a man who Iman Hassen (Vera Thomas) last appeared in an area production of Museum. Other refuses to accept his condition, who unearths freedom by the basest of means, an performances include When Sex Isn’t Enuf!, Gabriela in References to Salvador accidental dissenter who Wright declares “will not become an ardent, or even a Dali Make Me Hot, Norma Jean in The Colored Museum, and Lady in Red/Lady in lukewarm, supporter of the status quo.” Wright bequeaths America an anti-hero Blue in For Colored Girls Who’ve Considered Suicide When the Rainbow Is Enuf. who responds to horror with horror, an unapologetic and arguably reckless creation, Iman assistant directed the film,A Month to Live. She participated in the V-Day incapable of advancing the cause of racial and economic equality. initiative, performing the Vagina Monologues. She holds a BA in Theatre Arts from Virginia Tech. As I approached directing Native Son, I considered, among many things, how as a species we respond to entrapment. Do we tremble in fear like a cornered rat? Do we run? Do we submit to our maddening fate, trying our best to comprehend it? Abbreviations for area theatres— Or do we fight back—lash out and strike everything within our furious reach? LTA, Little Theatre of Alexandria TACT, The American Century Theater Bob Bartlett, Director WSC, Washington Shakespeare Company Kalon Hayward (Buddy Thomas) is honored to be in his first production with Julie Roundtree (Mary Dalton) is working with TACT for the first time. Favorite TACT. He has been in many productions in the DC area, including A Streetcar roles include: Ophelia (Maryland Shakespeare Festival), a Fury in The Oresteia Named Desire, The Wiz, and Antigone. (Constellation Theatre), Cossette in Les Miserables (Sycamore Rouge), Maid Marian in Robin Hood (Golden Duck Productions), and Honey Buhns in Murder Christine Hirrel (Peggy MacAulife) is returning to the stage after an eight-year on the Mountain (Massanutten Mystery Theatre). Julie earned her BFA in absence. Among her favorite credits are Little Red in The Universal Wolf, Storm in Theatrical Performance from Shorter College and MFA (Acting) through Mary Floating Rhoda, and Glueman with The Theatre Conspiracy. By day, Christine is a Baldwin College and the American Shakespeare Center. speech-language pathologist, dialect coach, and acting teacher. Jared Shamberger (“G.H.” Rankin) is also Stage Manager for this production. Jivon Lee Jackson (Gus Mitchell) is making his debut with TACT. He has See his bio in the Production Staff pages. appeared in the DC area in Foul Line, Piano Lesson, Colorblind: The Katrina Monologues, A Midsummer Night’s Dream, and, most recently, as Sterling in Two Danni Stewart (Ellen Dalton) makes her first appearance at TACT. Area credits Trains Running. Jivon wrote and co-directed the award-winning short film,Shades include Dawn in Unamunda, Vicar’s Wife in Mystery at the Vicarage, Ruth in of Gray. He is a graduate of Howard University. Collected Stories, and performances in the Washington Revels and the British Players Annual Music Hall. Danni holds a BFA in Acting from UCLA and has Farah Lawal (Clara Mears) was seen most recently in R/evolution: Deconstructing trained at Studio Theatre Conservatory and Shakespeare Theatre’s Master Class. the Myth of the Booty with her theatre collective, The Saartjie Project. Other credits include Associate Clown in 500 Clown and the Elephant Deal and Lulu/Joanne Bud Stringer (Edward Max) returns to the stage after 20 years directing plays in How Much for This? in the Washington DC Source Festival. At University of and musicals and writing/producing for educational TV (PBS, MPT, and Prince Maryland, Farah assistant directed To Be Young, Gifted, and Black; performed Spider George’s Office of Television), earning a Cable Ace Award, a NY Film Festival in Ash Girl, Matron Boll in The Physicists, Kid/Topsy in The Colored Museum, and Silver Medal, and a Prism Commendation. Bud is Executive Director of the Sister Boxer in The Amen Corner; and earned a BA in Theatre Performance. Indian Head Cultural Center’s Black Box Theatre and teaches acting for Kids International. He last appeared onstage as Harold Hill in The Music Man. Mark McKinnon (Jack Henson) is a senior majoring in acting at Howard University. His work includes roles in Day of Absence, West Side Story, Little Mick Tinder (Henry G. Dalton) performed John Adams for the 200th time in Women, Sexposé, Church Mafia, Love Forgotten, Making It Big and Chains. LTA’s 2008 Diamond Jubilee Season opener, 1776. He was featured in TACT’s This summer, he moves to Los Angeles to study acting with TVI Actors Studio. American Century Christmas and The Eccentricities of a Nightingale; has Paul Andrew Morton (Ernie Jones/Reverend Hammond) has performed in performed Teddy in Faith Healer, Sagot in Picasso at the Lapin Agile, and Fences, Once on this Island, The Last Meeting of the Knights of the White Finbar Mack, Jack Mullen, Nathan Detroit, John Proctor, Deputy Governor Magnolia, Hair, The Taming of the Shrew, The Comedy of Errors, The Music Danforth, Lycus, Asher, Potiphar, and Paul Bratter in professional and community Man, Victor/Victoria, The Teahouse of the August Moon, A Christmas Carol, The productions and has directed, produced and stage managed throughout the DC area. Greatest Christmas Pageant Ever, Intimate Apparel, The Crawlspace Waltz, The Rob Weinzimer (Judge Alvin C. Hanley) makes his TACT debut. He has Curious Savage and Romeo and Juliet. TV/film: HBO’sThe Wire, Trapped by the performed at Woolly Mammoth and Theater J in staged readings in collaboration Mormons (film) and commercials and training videos. Paul is a three-timeWATCH award nominee. with the Theatre Lab School of the Dramatic Arts and is a graduate of the Honors Conservatory program at Theatre Lab. Bruce Alan Rauscher (Jeff Britten) Favorite roles include Joseph Merrick in The Elephant Man (ACT Best Actor Award), Alan Strang in Equus, Alan Turing in Breaking the Code (ACT Best Actor Award), Edgar in King Lear, Gary/Roger in Noises Off, Rev. Hale in The Crucible, Edward III, and Col. Chipman in The Andersonville Trial (Helen Hayes Best Actor nominee). He has been honored with a Mary Goldwater Award. Bruce recently completed a run off Broadway in The Keegan Theatre’s Love, Peace and Robbery for the 1st Irish Play Festival. Brian Razzino (Jed Norris) was seen recently as Hal in a WATCH-nominated production of Picnic (LTA). He has performed for TACT in The Titans, Cops, and Happy Birthday, Wanda June; at LTA as Dexter Haven in The Philadelphia Story, and at WSC as Edward III. He completed the Theatre Lab Honors Conservatory, where he played Iago, his favorite role. Brian also created Theatre Lab’s Arts Fund for Child Health and Development, a scholarship program to train kids in the arts. Production Staff Rip Claassen (Co-Producer), a fixture on the Washington theatre scene, is Dramaturg at Backstage, Inc. and has taught theatre and acting at The Institute for Bob Bartlett (Director) teaches theatre at Bowie State University where he has the Arts for Fairfax County Public Schools, Duke Ellington School of the Arts, and recently directed Sizwe Bansi is Dead, Two Trains Running, and A Lesson Before other local programs. He has costumed for TACT and numerous other companies; Dying. Other recent directing credits include: an O’Neill trifecta, Ah, Wilderness! directed for Natural Theatricals among other venues; and coached students seeking (for TACT), Long Day’s Journey into Night (Quotidian), and A Moon for the admission to competitive college theatre programs, Governor’s School, and roles Misbegotten (Colonial Players); regional premieres of Rounding Third, Matt & in community and professional theatre. Rip founded the Northern Virginia Theatre Ben, and Colorblind: The Katrina Monologues (AccokeekCreek Theatreco); Festival for high schools and is Artistic Director of Teens and Theatre (TNT) Frankie and Johnny in the Clair de Lune (Quotidian), Streamers (Elden Street Company, a nonprofit educational theatre company. Players), and The Piano Lesson (Colonial Players). Bob is in the MFA in playwriting program at The Catholic University of America. Lex Davis (Fight Choreographer) has worked as a fight choreographer and fight captain mostly at the University of Maryland for such shows as The Pillowman, Frances Burnett (Assistant Stage Manager) is a graduate of Bowie State The Froegle Dictum, The Illusion, Winter’s Tale, and The Physicists. He has also University with a BS in Theatre. She has stage managed, directed, and performed helped teach and perform fights for Gallaudet University and the Shakespeare in The Samson Musical, Two Trains Running, A Raisin in the Sun, Susan Lori Theatre Company. Parks’ 365 Plays in 365 Days, Colorblind: The Katrina Monologues and Absolutely Positive (promoting HIV prevention/awareness). Kate Dorrell (Props Designer) assisted with props for TACT’s Life With Father and has stage managed for Senior Moments Theatre Company. She recently joined Nicole A. Carter (Assistant Stage Manager) is a senior theatre major at Bowie the TACT staff. State University. She has stage managed and performed in Two Trains Running (as Risa), The Samson Musical, Bodywasher, Constellation, Colorblind: The Katrina Jen Durham (Hair and Makeup Designer) is on her second production with TACT, Monologues, Platinum, HIV Awareness Performance Troupe, AccokeekCreek’s having designed hair and makeup for Life With Father. Other design work includes Short Stack series at the Kennedy Center’s Page-to-Stage Festivals, and other St. Mark’s Players’ The Wiz (WATCH Nomination), M. Butterfly, and the upcoming shows. Parade; LTA’s Saturday, Sunday, Monday and the upcoming Scapino!; and The Arlington Players’ Sweet Smell of Success.

Andrew F. Griffin (Lighting Designer) returns to TACT where he last designed Ah, Wilderness! A freelance lighting designer, his recent credits include Dante with Synetic, The Receptionist with Studio, Marisol with Forum Theatre, and Brundibar with Michigan Opera Theatre Children’s Chorus. Andrew has created designs for Olney Theatre, Woolly Mammoth, Adventure Theatre (where he is resident artist), and Washington Shakespeare Company, as well as the Toledo Opera and Delaware Shakespeare Festival. He is also resident Assistant Lighting Designer for Michigan Opera Theatre in Detroit.

Sherri Haddad (Co-Producer) is returning to TACT after producing Life With Father. She has produced many shows in the DC theatre community, but her favorites include The Wiz, Joseph and the Amazing Technicolor Dreamcoat, The Last Night of Ballyhoo, A Midsummer Night’s Dream, and Saturday, Sunday, Monday. Sherri is pleased to have joined the staff of TACT.

Rachel Morrissey (Costume Designer) holds a BFA with performance emphasis from Utah State University. While a student, she earned food money as a seamstress in the costume shop and designed many shows. Recently, she helped costume and design The Wiz at St. Mark’s, but most of Rachel’s recent theatre work has been onstage, including appearances in A Little Night Music, Dearly Departed, and Saturday, Sunday, Monday. She also directed The Most Massive Woman Wins. Ed Moser (Sound Designer) is pleased to be joining TACT for Native Son. Recent theatrical design credits include A Bad Friend (Silver Spring Stage), Long Day’s Journey Into Night (Quotidian), Rounding Third (AccokeekCreek theatreco), and As You Like It and 1984 (National Players Tour 60). Musical credits include Urinetown (U of M/CSPAC), Godspell (Olney Theatre), David (Theater J), Señor Discretion Himself (Arena Stage) and in concert for The Picture Is Dead Quartet, Walt Egan, and Bill Danoff. Ed is a graduate of the Phoenix Conservatory and a Get the podcast! member of the Audio Engineering Society. David Olmsted (Assistant Stage Manager) returns to TACT after having stage The History, Significance, and managed Life with Father and worked on the crew for The Titans. David trained Controversy of Native Son at Duke Ellington School of the Arts and Salem State College. He has been involved in theater for over 15 years and has performed in Washington and in If you missed the April 5th telesymposium on Native Salem, Massachusetts. Son, you can soon download it as a podcast from www. americancentury.org. A distinguished panel, moderated by Jared Shamberger (Stage Manager) is a senior theatre major at Bowie State TACT Artistic Director Jack Marshall, discusses the 1941 University who has worked both on and off the stage. He appeared in Sizwe Bansi stage adaptation of Richard Wright’s classic novel, which Is Dead and was nominated for the Irene Ryan Scholarship through the Kennedy sparked a debate about civil rights, social policy, and racism Center’s American College Theatre Festival. He most recently stage managed that still burns hotly today. Panelists include: the one-act Neglect, which was directed by Nicole Carter. Very involved in HIV awareness and prevention, Jared co-wrote and directed AIDS Has No Color, which has been performed around the U.S. for the past 3 years. Hazel Rowley, author of the biography Richard Wright: The Life and Times, now in its second printing; Michael Null (Technical Director/Set Designer) has experience in four states doing anything technical, most recently with TACT as TD for Life With Father and An Professor Lawrence Avery, Professor of English at the American Century Christmas. He previously worked with TACT as TD on Dr. University of North Carolina, whose current research focuses Cook’s Garden, The Titans, and Stunt Girl, sound design/TD for Cops, lighting design for A Passion for Justice, and stage manager for Ah Wilderness! Michael on the development of African American drama in the context has been TD for Encore Stage and Studio’s Act III Company and TD/lighting of American culture; designer for Encore’s Children’s Theatre. In addition, he has done directing and even a little acting. Professor Arnold Rampersad, noted biographer and literary critic, Professor of English and the Sara Hart Kimball Trena Weiss–Null (Master Carpenter) has designed and built the set for TACT’s Professor in the Humanities at Stanford. His Life of Langston productions of Life With Father, An American Century Christmas, Dr. Cook’s Hughes was a Pulitzer Prize finalist; and Garden, The Titans, Happy Birthday, Wanda June, and Cops. She works as a director, designer, and theatre teacher in professional, community, and educational Bob Bartlett, director, playwright, and director of The venues and has a Bachelor’s in Acting–Directing and Master’s degrees in both American Century Theater’s production of Native Son. Theatre and Education. Theatre Director at the award-winning GC Marshall He is a member of the Theatre Department of Bowie State Theatre Department, Trena is currently directing Company there. University.

Don’t miss TACT’s final 2008–09 season offering The telesymposium was sponsored by the Arlington County Cultural Affairs Division of the Department of Parks, Recreation and Community Services. Edward Albee’s July 30–August 22, 2009

Visit www.americancentury.org or call 703-998-4555 Donors The Players ($100–$249) cont’d. Alan King Henry Shields This list reflects donations received from February 2008 through February 2009. Alicia and John Klaffky Alan Simon Group Theater Goers ($5,000+) Paul Klingenberg Pat Spencer Smith Robert and Sandra McElwaine Virginia Commission for the Arts Nathan and MaryLynn Kotz Jean V. Smith Arlington Commission for the Arts Jo Ursini and Ken Krantz James and Patricia Snyder Diane Lambert John and Alison Steadman Provincetown Players ($2,500–$4,999) Phil and Pat Larson Patricia Sullivan Wendy and Bob Kenney Kim–Scott Miller Mary Ann Lawler Virginia Tarris Peri Mahaley Judith and David McGarvey Kathryn Tatko Theater Guilders ($1,000–$2,499) Margaret Mulcahy Heathcote W. Wales The Arlington Community Foundation Vivian and Arthur Kallen Suzy Platt Glenn and Nancy White Jason Beagle Peter S. Kellogg Robert Schiff Gene and Rebecca Christy Jack and Eleanor Marshall The Federal Theater Funders ($10–$99) John Dawson Jules Abrams Mark Linton Mercury Theater Backers ($500–$999) Cheryl Bailey Margaret Lorenz Alan and Susan Branigan Bruce Alan Rauscher Richard and Jean Barton Gudrun Luchsinger Citi Foundation Janet Reingold and Philip Yasinsky James T. Bennett Winnie Macfarlan Steve Cohen and Mary McGowan David and Willa Siegel Barney Black Angus and Sharon MacInnes Deborah Rinn Critzer Jennifer Sosin and Adam Posen Janet and David Bond Phebe Masson Robert DuBois John Tweel Barbara Bonnet Evelyn and Milan Matey Bill Gordon Sheldon Wallerstein Ron Brandt Margaret Meath Jacqueline Manger Annette Zimin Ann Caracristi Dennis O’Connor Constance McAdam Patricia Chapla Richard Pariseau Boris and Earlene Cherney Sherman and Anastasia Pratt Living Theater Lovers ($250–$499) Peter Garcia and Diane Clark Pearl and Cecil Richardson Donald Adams and Ellen Maland Jim and Marjie Mayer Ronald Cogan Loretta Rowe Joya Cox Constance McAdam Judy Davis Charline Rugen Brian Crane Harriet McGuire Kate Dorrell John Seal Dennis Deloria and Suzanne Thene Martin and George Mernick Janet and Marty Fadden Sigrid Schaefer Thouvenelle Carl and Undine Nash Charles Feingersh Ryan Schmelz Gloria Dugan Dennis R. Nollette Donna Feirtag John Schneider Alison Fields Ann Marie Plubell Cathy Garman Sharon Schoumacher Tracy Fisher Bill and Connie Scruggs James and Maria Gentle Carole Shifrin Thomas and Kathryn Fuller The Troy Foundation Mark Graboyes Bertha Shostak Ellen Dempsey and Louis George Frontis Wiggins Patsy Graves Linda and William Smith Lou and Jane Kriser Bonnie Williams and Bob Skelly Madi Green Robert L. Spatz Jean Handsberry Barbara Stearns The Players ($100–$249) Virginia Harris Robin Suppe–Blaney John Acton Timothy Farris Angela Hughes Sue Swift Rick Albani Sharon Galm Howard and Myrna Kaplan Marjorie Townsend Sally Beth Berger Kimberly Ginn William Kelleher George and Kay Wagner David Bernstein and Deborah Brudno Gabriel Goldberg Robert Kimmins Douglas and Evelyn Watson Jim Bertine Hilton Lee Graham Shirley Kostik Maura Burke Weiner Tom and Loretta Beaumont Hal Handerson Dianne Levine Adrienne White Elizabeth Borgen Alan Herman David W. Briggs Roger and Katherine Hood Donors-in-Kind Marvin and Ellen Cantor Elaine Howell Steve Cosby, Karen Currie, Ellen Dempsey, Ayun Fedorcha, Rhonda Hill, W. Seth Carus Michael Kahn Wendy Kenney, Jack Marshall, Steven Scott Mazzola, Kim–Scott Miller, Dr. Coralie Farlee Charles Kennedy Ann Marie Plubell, Lonny Smith, Mariano Vales, Anne Paine West 2009 Summer Theatre Camp for Ages 7–17 Fairlington Community Center 3308 S. Stafford Street, Arlington, VA 22206

June 29–July 3 9:30 a.m.–4:30 p.m. Improvisational Theatre Games (Theatre Sports) Cost $250

July 6–July 10 9:30 a.m.–4:30 p.m. American Variety and Vaudeville Cost $250

July 13–July 17 9:30 a.m.–4:30 p.m. American One-Act Plays Cost $250

July 20–July 24 9:30 a.m.–4:30 p.m. Radio Theatre Cost $250

Special discounts are available for siblings and repeat campers. Each session will include workshops on theatre crafts and makeup techniques as well as an introduction to theatre appreciation. Sponsored by The American Century Theater (TACT) and Teens and Theatre, Inc. (TNT) To register contact Rip Claassen at 703-765-3648

For more information visit http://www.teensandtheatre.org or http://www.americancentury.org