The American Century Theater presents
IA MusicalDo! about II MarriageDo!Do!
Book and Lyrics by Music by Tom Jones Harvey Schmidt The American Century Theater presents
About The American Century Theater The American Century Theater was founded in 1994. We are a professional nonprofit theater company dedicated to presenting great, important, and I Do! I Do! worthy American plays of the twentieth century—what Henry Luce called A Musical about Marriage “the American Century.” Book and Lyrics by Music by 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 Tom Jones Harvey Schmidt moorings to our shared cultural heritage. Based on The Fourposter by Jan de Hartog Our mission is also driven by a conviction that communities need theater, Originally Produced on Broadway by David Merrick and theater needs audiences. To those ends, this company is committed to Originally Directed by Gower Champion 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. July 19–August 17, 2013 Gunston Theatre Two Board of Directors 2700 South Lang Street, Arlington Chair Louis George Vice-Chair Wes MacAdam Musical Director Director Secretary Ann Marie Plubell Treasurer Wendy Kenney Tom Fuller Jack Marshall Board Paige Gold, Gabe Goldberg, Vivian Kallen, Assistant Director Stage Manager Jack Marshall, Kevin McIntyre Quinn Anderson Lindsey E. Moore Staff Set Design Lighting Design Sound Design Jack Marshall Artistic Director Patrick Lord David Walden Ed Moser Paige Gold Managing Director Master Carpenter Costume Design Properties Design Rip Claassen Steven Scott Mazzola Trena Weiss-Null Rip Claassen Joshua Aaron Rosenblum Brian Crane Lindsey E. Moore Ellen Dempsey Emily Morrison Kate Dorrell Ed Moser Tom Fuller Joli Provost Place The U.S.A. Time Any Time Rhonda Hill Ginny Tarris There will be one 15-minute intermission.
This program is supported in part by Arlington County through the Arlington Commission for the Arts and Arlington Cultural Affairs, a division Please—Silence and stow cell phones and other distracting devices. of Arlington Economic Development; the Virginia Commission for the Arts; The videotaping or other video or audio recording the National Endowment for the Arts; and many generous donors. of this production is strictly prohibited
I Do! I Do! is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI, 421 West 54th Street, New York NY 10019 Tel 212.541.4684 Fax 212.397.4684 www.MTIShows.com Cast in order of appearance The Snows, a married couple...... Mary Beth Luckenbaugh I Do! I Do! (1966), by Harvey Schmidt and Tom Jones Esther Covington Steve Lebens I Do! I Do!, the once popular 1966 Broadway musical by The Fantasticks team of Harvey Schmidt and Tom Jones, is a paradox. Like its source, a 1951 drama Chad Fornwalt by Jan de Hartog called The Fourposter, it was intended to be a probing, Pianists...... Amy Conley, Laurie Corkey, Alvin Smithson sometimes sentimental, but at heart realistic examination of the institution of marriage, using one long and remarkably typical marriage as the “star” of the show. Drama usually arises from the remarkable, not the ordinary, but both the play and its musical adaptation, on the page at least, aimed Production staff at entertaining by placing a mirror in front of married couples and handing Director ...... Jack Marshall a guidebook to those who hadn’t taken the leap yet. This was key to both Musical Director...... Tom Fuller shows’ success, because the only suspense in such a story would be which familiar event that had already been dramatized in hundreds of other plays, Assistant Director...... Quinn Anderson movies, and I Love Lucy episodes the authors would choose to omit. Stage Manager...... Lindsey E. Moore The musical, however, was foiled in its objective by the commercial demands Assistant Stage Manager...... Kelly Anne Johns of Broadway. Producer David Merrick didn’t think an ode to a normal Scenic Design/Master Carpenter...... Trena Weiss-Null marriage would put fannies in the seats without help, so two mega-stars Lighting Design...... David Walden were recruited to play “Him” and “Her.” The unremarkable but dramatic Sound Design...... Ed Moser marriage between a minor author and the plucky love of his life came to Costume Design...... Rip Claassen the Broadway stage as a series of vignettes and songs performed by the Properties Design...... Joshua Aaron Rosenblum unlikely coupling of the Music Man and Peter Pan—Robert Preston and Mary Martin. Critics, blinded by the star power, missed the goal of the book, and Choreography...... Mary Beth Luckenbaugh, Esther Covington complained that the plot was a thin and predictable device to justify songs Sound Board Operator ...... Danny Glover for the dynamic duo. Audiences, happy to see two old pros strut their stuff, Wardrobe Assistant ...... Kelly Anne Johns even though watching them play twenty-year-olds on their wedding night Publicist/Graphic Design...... Emily Morrison was a little, shall we say, creepy, didn’t care. Program Design...... Michael Sherman Even so, the show was only a modest hit, running less than two years. Where House Manager...... Joli Provost I Do! I Do! really took off was in dinner theaters and community theaters, where it was not a star vehicle (no stars!), and thus the real strength and genius of Schmidt and Jones’ show could shine through. It was about marriage, and although the marriage on stage began in the 19th century, I Special thanks to— Do! I Do! would never be anachronistic, because marriage in America hadn’t changed for centuries, and wasn’t about to change. After all, this was 1966! Katy Rinaman Don Barton What could change marriage? The Director would like to thank Grace Marshall, Roundhouse Theatre, Oh, only the pill, the sexual revolution, the divorce rate, women’s liberation, Lazy Susan Dinner Theater, Michael DeBlois, and the U.S. Supreme Court gay rights, changing gender roles . . . and, in dizzying fashion (for some, far too dizzying), the redefinition of marriage itself. Yet the power and sentiment that were always the sturdy spine of the play and the musical remain. Marriage—every marriage and especially long-lasting ones—is a Become a fan of The American Century Theater on Facebook. great adventure, and like so many American Century Theater shows, what Keep up with shows, auditions, volunteer opportunities, podcasts, has changed in the U.S. since the original production makes an old work videos, and more. www.AmericanCentury.org more intriguing, not less so. Though some will doubtless disagree, this production was designed to herald the real message of I Do! I Do! in the most unequivocal way. Marriage is marriage, and love is love. Jack Marshall (Director) is the artistic director and co-founder of The American Of course. Century Theater. Among the TACT productions he has directed are the Helen Hayes–nominated The Anderson Trial and The Cradle Will Rock (for which he —Jack Marshall received an Outstanding Director nomination), Danny and Sylvia, Moby Dick Artistic Director, The American Century Theater Rehearsed, Lady in the Dark, Hollywood Pinafore, last season’s epic Marathon ’33, and the company’s very first production, Twelve Angry Men. He also has authored or co-authored many original TACT productions, including Paul Morella’s one man Clarence Darrow show, Laughter at Ten O’ Clock, If Only in My Dreams, TACT’s Esther Covington American Century Theatre credits: One Night with Fanny adaptation of Uncle Tom’s Cabin, Hellzapoppin’, and An American Century Christmas. Brice, Babes in Arms, Hellzapoppin’. Regional Theatre: Robert Redford’s Sundance He is an ethics specialist and attorney, but regards his greatest achievement in Institute (Fiddler on the Roof w/Michael Rupert), Jefferson Performing Arts Society the law as his launching, as a first-year law student, the Georgetown Law Center (The Buddy Holly Story, The Full Monty), Alhambra Theatre (The Buddy Holly Story), Gilbert and Sullivan Society, which this year celebrated its fortieth anniversary Studio Theatre (Bloody Bloody Andrew Jackson), Baltimore Shakespeare Festival as “America’s only theater company with its own law school.” And he dedicates (Mrs. Kemble’s Tempest), Wayside Theatre (Miracle on 34th Street), Toby’s Dinner his work in I Do! I Do! to Grace Marshall, who said those words to him thirty-three Theatre (The Buddy Holly Story, Here’s Love, Happy Days, Anything Goes, Dreamgirls), years ago, and his cup has runneth over ever since. Imagination Stage (Twice Upon a Time), and The Garden National Tour. Favorite roles include the title role in Calamity Jane, Rhetta (Pump Boys & Dinettes), Meredith Tom Fuller (Musical Director) has been conducting and performing in musicals (Bat Boy), Baker’s Wife (Into the Woods), Claire (bare), and Bella (Lost in Yonkers). and operettas since 1967, appearing in roles from Charlie Brown in You’re a Good Esther has a Master’s Degree in Theatre. Man, Charlie Brown to Monostatos, the evil Moor, in The Magic Flute. He has been Musical Director for The American Century Theater productions of Lady Chad W. Fornwalt’s DC area credits include The Full Monty (The Keegan Theatre), in the Dark, archy & mehitabel, The Cradle Will Rock, Hollywood Pinafore, Danny The Sound of Music, A Christmas Carol, Happy Days and Rent (Toby’s Dinner Theater), and Sylvia, Laughter at Ten O’ Clock, If Only in My Dreams (which he co-authored), The Rocky Horror Show (Washington Savoyards), and Cannibal...the Musical One Touch of Venus, Call Me Mister, Hellzapoppin’, and Marathon ’33. He adapted (Landless Theatre). NYC: reading of Tears of Heaven. Film: Battlecry (original cast), Uncle Tom’s Cabin, created (with Jack Marshall) An American Century Christmas, The Wedding Singer, and Evita. appeared onstage in the most recent production of Moby Dick Rehearsed, and is Steve Lebens has previously appeared with The American Century Theater the general musical supervisor for all TACT shows. in Hellzapoppin’, Drama under the Influence, An American Century Christmas, Quinn Anderson (Assistant Director) is an actress and singer who charmed DC Will Success Spoil Rock Hunter?, Stalag 17, Stage Door, Visit to a Small Planet, The area audiences in musicals like The Sound of Music (as Maria), Kismet (Lalume), Country Girl, Little Murders, Marathon ’33, and J.B. Steve has worked at a number Me and My Girl (Sally), Candide (Cunegonda), Evita (Eva Peron), and many more of Washington area theaters, including Signature Theatre, Studio Theatre, Folger before moving her career and her talents to New York City. Returning to Theatre, Source Theatre, No Rules Theatre, The In Series, Horizons Theater, Northern Virginia several years ago, she has been the target of Director Jack and Scena Theatre. He began his professional career at the Guthrie Theater in Marshall’s efforts to employ her talents on American Century Theater projects Minneapolis. In Bogota, Colombia, Steve was the founding artistic director of almost since the company was launched. Finally, he hit on the successful “Teatro de las Americas” and also appeared at the Teatro Popular. In Karachi, incentive with an offer to assist him in the direction of the newly-imagined Pakistan, he worked with the Karachi Drama Circle. Film and television: In addition version of I Do! I Do! to Law and Order: Criminal Intent, Steve can be seen in the current season of House of Cards and in the upcoming feature film, Field of Lost Shoes. Rip Claassen (Costume Design) has directed, produced, and costumed for The American Century Theater, Natural Theatricals, Howard University, American Mary Beth Luckenbaugh was last seen on The American Century Theater University, Bowie State, and other local venues. He has taught theatre and acting stage as Rita Marimba in Marathon ’33. In the DC area, she has appeared in Spot’s at the Institute for the Arts for Fairfax County Public Schools, Duke Ellington Birthday Party (Adventure Theatre MTC), The 25th Annual Putnam County Spelling School of the Arts, and several other local theatre programs. Rip is Artistic Bee (The Keegan Theatre), Flora the Red Menace (1st Stage), and James Joyce’s The Director of Teens ‘n’ Theatre Company and an artistic associate with TACT, where Dead (Quotidian Theatre). Film: Funkomatic (Limitless Films). Mary Beth holds a he recently directed J.B. and costumed Little Murders and Marathon ’33. Bachelor of Music in Musical Theatre from The Catholic University of America. Kelly Anne Johns (Assistant Stage Manager) is a rising senior at George Mason University, majoring in theatrical costume design. This is her first show with The American Century Theater. Thank you to the many generous donors who provided support from Patrick Lord (set design) This is Patrick’s fourth show at The American Century June 1, 2012–June 30, 2013. Theater. He previously designed sets for Little Murders, The Country Girl, and One Night with Fanny Brice. Other DC Metro area designs have included We Fight We Group Theater Goers ($5,000+) Die (Junesong Productions) and the 2011 Source Festival. Patrick also served Arlington Commission for the Arts Wendy and Bob Kenney as associate designer on The History of Invulnerability (Theater J), The Language Virginia Commission for the Arts Estate of Suzy Platt Archive (Forum Theatre), and Birds of a Feather (The Hub Theatre). He holds a BFA Estate of Rosemarie Bowie in scenic design from Emerson College in Boston, MA, and is currently pursuing Provincetown Players ($2,500–$4,999) his MFA at the University of Texas at Austin. More examples of his work can be Kevin and Jennifer McIntyre found at www.patrickwlord.com. Lindsey E. Moore (Stage Manager) is thrilled to be kicking off her first ever Theater Guilders ($1,000–$2,499) Anonymous (2) Wes MacAdam musical with this new, re-imagined version of I Do! I Do! With The American The Boeing Company Peri N. Mahaley Century Theater, she has been Stage Manager for Voodoo Macbeth, The Show-Off, Seth Carus and Noreen Hynes Constance McAdam Marathon ’33, and Stage Door; and Properties Designer for Biography. She worked Steven R. Cohen and Mary McGowan Andrew McElwaine in stage management in Roanoke, VA for shows including Antigone, The Laramie Dennis Deloria and Suzanne Thouvenelle Ann Marie Plubell Project, and The Good Woman of Setzuan. Lindsey is a graduate of Roanoke Vivian and Arthur Kallen Victor Shargai College with a Bachelor of Arts in Theatre and Design. Mercury Theater Backers ($500–$999) Edward Moser (Sound Design) is a regional audio-production veteran whose John A. Acton Carl and Undine Nash designs include Long Day’s Journey into Night, A Little Trick, Afterplay, and Master Donald Adams and Ellen Maland Sheldon Wallerstein Harold and the Boys (Quotidian Theatre), Amelia (a Kennedy Center Page-to-Stage Robert DuBois Michael Wyckoff reading), and A Christmas Carol, Underneath the Lintel, and Tuesdays with Morrie Jacqueline and Thomas Manger for Paul Morella. Favorite musical credits include Señor Discretion Himself (Arena Stage), Urinetown (University of Maryland), David in Shadow and Light (Theater J), Living Theater Lovers ($250–$499) and Godspell (Olney Theater Center). Favorite designs for The American Century James Bertine IBM International Foundation Rosemarie Bowie Laurence A Jarvik Theater include Native Son, Treadwell: Bright and Dark, Visit to a Small Planet, The David W. Briggs and John F. Benton Robert Krubsack Country Girl, Little Murders, and Marathon ’33. Marvin and Ellen Cantor Angus and Sharon MacInnes Joshua Aaron Rosenblum (Properties Design) previously designed properties Kate Dorrell Marjorie Mayer for The American Century Theater production of J.B. He has appeared in TACT Dr. Coralie Farlee Richard and Dorothy Miller Tracy Fisher William and Connie Scruggs productions as “Lusty” in Marathon ’33 and in Babes in Arms. Recent credits Footlights Susan and Ralph Shepard include John Darling in Peter Pan: The Boy Who Hated Mothers (No Rules Theatre James and Maria Gentle David and Willa Siegel Company) and performances with Synetic Theater, 1st Stage, and Potomac Lou George and Ellen Dempsey Robin Suppe-Blaney and John Blaney Theatre Company. Larry George and Brenda A. Pommerenke Frontis Wiggins Alan Herman and Irene Szopo Audrey and Michael Wyatt David Walden (Lighting Design) is a long-time metropolitan-area lighting Angela Hughes designer whose work has encompassed lighting for dance, opera, drama, and musicals. David has a long association with Marshall/Fuller/TACT, including The Players ($100–$249) doing lights for such classics as Moby Dick Rehearsed, The Cradle Will Rock, and AARP Elizabeth Borgen Lady in the Dark. Most recently, he lit the TACT production of Marathon ’33. Cheryl Bailey and Mary Burrelli William M. McClenahan, Jr. Rebecca and Gene Christy Trena Weiss-Null (Scenic Design) designed and built the sets for The American Jean and Richard Barton Wendy Cohen Century Theater productions of J.B., Life with Father, Dr. Cook’s Garden, The Titans, Ron Bass and Linda Allen Ray Converse Happy Birthday, Wanda June, and Cops. She works as a director, designer, and Sally Beth Berger Daniel and Nancy Cooper theatre teacher in professional, community, and educational venues and has a David and Janet Bond Joe Cronin Bachelor’s in Acting-Directing and Master’s in both Theatre and Education. Michael Boorstein Judy Davis The Players ($100–$249) continued The Federal Theater Funders ($10–$99) Michael deBlois Charles and Jill Lady Dr. and Mrs. Lloyd Landa John Seal Brandie Detwiler Mary Ann Lawler and Neal Signom Terry Lee Bertha Shostak Alison Drucker and Tom Holzman Karen T. Lazarus Ann Lewis Richard Sincere Gloria M. Dugan Mark Longo Mark and Sarah Linton Pat Spencer Smith Timothy Edwards Margaret Lorenz Phebe K. Masson Nancy Snyder Carol Erion Gudrun Luchsinger Milan and Evelyn Matey Paul Steinmetz Alison and Craig Fields Winnie MacFarlan Margaret Miller Ginny Tarris Jay Fisette Lory Manning Peter Misuinas Sharon Theodore Marian Flynn ElizabethMcDaniel Tecia Murphy Marjorie Townsend Edwin Fountain Alexandra McElwaine David Ochroch Martha Trunk Tom and Kathy Fuller David and Judi McGarvey Ricardo Parra Gordon and Mary Tubbs Barbara Gallager Margaret Mulcahy Chaaron Pearson William Turner Jean F. Getlein John Peterson Ruth and Charles Perry Josephine Wagner Kimberly Ginn Katherine Reinsdorf Jane Petkofsky George and Kay Wagner Madi Green Donna Reynolds Gerda Picco Renate Wallenberg Robert Gronenberg Carole Shifrin Greg Renz Barbara Washburn The Isidore Grossman Foundation Rob and Shayla Simmons Andrew Reynolds Patrick and Linda Wesley Jack Hahn Jean and Cliff Smith Andrew Robinson Clifford Whitham Jean Handsberry Marcia Neuhaus Speck Francis Roche Bonnie Williams and Bob Skelly Rhonda Hill John and Alison Steadman Leroy Sandoval Carol and Henry Wolinsky Roxanne Hoare Barbara Stearns Carol Saunders Mary Ann Wren Katharine Hood Daniel and Margaret Sullivan Sharon Schoumacher Jeanette Wurster Thomas W. Hoya David Tannous The Hon. Mary Hines Kathryn Tatko Donors-in-kind Hy Juter The Isidore Grossman Foundation Rebecca Christy, Brian Crane, Dennis Deloria, Ellen Dempsey, Kate Dorrell, Norma Kaplan Professor Heathcote W. Wales Tracy Fisher, Victor and Dale Gold, Bill Gordon, Vivian Kallen, Wendy Kenney, Margaret E. Kenna Andrea Walker Loren Platzman Charles S. and Ellen Kennedy Douglas and Evelyn Watson Robert Kimmins Marilynn Wilson Alan King Robert Wood The American Century Theater has been around long enough now Paul Klingenberg —17 years—to accumulate a gratifying number of loyal, appreciative The Federal Theater Funders ($10–$99) followers who cheer our triumphs, forgive our missteps, and Pamela Brodie Renee Fischman understand the importance of our unique mission to the D.C. area, Michael Carpenter Joshua Foster theater, and U.S. culture. Bryant Centofanti Carl Fretts Gerald Chapman Gabriel Goldberg and Kim Rendelson One of those loyal supporters was Rosemarie Bowie, who passed Boris E. Cherney Madi R. Green away in late June. Sherry Chriss Gerald Greenwald Susan Clay Adriana Hardy The company will miss having her thoughtful presence in the Ronald Cogan Rachel Hecht Martin Cohen Christine Hill audience, but she left us more than memories: a generous bequest, Bruce Collins Steve Hornstein one that will help the company do its job of presenting great stage Mary Kay Davis Nancy Jarvis works of the 20th Century that other theater companies have Robert Draba Howard and Myrna Kaplan forgotten or fear to attempt. Hers was a loving and empowering Tracy Eastman William Kelleher gesture of encouragement and endorsement, and we will strive to William Erdmann Rose Kobylinski make sure that we use it to make the American Century Theater of Janet and Marty Fadden Dana Koch the future better, stronger, and worthy of her memory. Charles Feingersh Raymond Kogut Donna Feirtag Jo Ursini and Ken Krantz —Jack Marshall Mark and Mark Finley David Lamdin Artistic Director, The American Century Theater to subscribe to The American Century Theater’s exciting 2013–2014 season. You’ll see—
by Neil Simon (1961) by Mark Harris (1992) by Arthur Kopit (1962) Judgment at Nuremberg by Abby Mann (2002) by Jack Marshall and Tom Fuller
about these 20thcentury gems on our website at www.americancentury.org
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