2019 30th Anniversary Events
HILLBROOK DINNER NOVEMBER 14, 2019
NEW YEAR’S EVE COSTUME BALL: DEC 31, 2019
30APRIL IN NEW YORK Save the dates! APRIL 2020 Join us as we celebrate the
30th Anniversary OPENING TOAST & FANFARE of CATF. JULY 10, 2020
WRAP PARTY AT BIG CORK FALL 2020 Letter from the Producing Director
From the Founder & Producing Director ED HERENDEEN
At the Contemporary American Theater Festival WORDS MATTER. Ideas matter. Stories matter. YOU, the audience, matters.
Your passion for contemporary theater plays a vital and necessary role in producing new work. Now, more than ever, the power of stories and live theater create a deeper appreciation and understanding of the human experience. An experience that is intrinsically beautiful, elegant, turbulent, and messy.
We are driven by bold works of art. New work that is bold enough to reflect our present culture back to us. New works produced without a safety net of tradition. These six plays will inspire you, stimulate your imagination, open your minds, and entertain you. Our 2019 playwrights — Deborah Brevoort, Joseph Dougherty, Ellen Fairey, Greg Kalleres, Dael Orlandersmith, Antonio Edwards Suarez, and Michael Weller — use the power of their words to introduce you to new ideas and diverse stories that will challenge, provoke, and ED HERENDEEN fascinate you.
“ Now more than ever, we need our myths, our fables, our gods, MISSION and demons. Stories are the most ancient path to empathy.” TO PRODUCE —Guillermo del Toro AND DEVELOP NEW AMERICAN THEATER Embrace the power of words and the power of stories. THE VISION THE ULTIMATE Words matter. THEATER EXPERIENCE
CORE VALUES FEARLESS ART; DARING AND DIVERSE
STORIES; A PROFOUND DYNAMIC AMONG THE Ed Herendeen AUDIENCE, THE ARTIST, AND THE WORK
1 ED HERENDEEN TABLE OF CONTENTS Founder & Producing Director
PEGGY MCKOWEN LETTER FROM THE PRODUCING DIRECTOR ...... 1 Associate Producing Director CATF INSTITUTIONAL FUNDERS ...... 4 EBONÈE HELMICK Business Manager LETTER FROM THE PRESIDENT OF THE BOARD ...... 5 LETTER FROM THE PRESIDENT OF SHEPHERD UNIVERSITY ...... 6 GABRIELLE TOKACH Public Relations Manager BOARD OF TRUSTEES ...... 8 VICKI WILLMAN SUPPORT CATF ...... 10 Director of Development MAJOR CONTRIBUTORS ...... 12 NICOLE M. SMITH 2019 COMPANY LIST ...... 16 Company Manager MY LORD, WHAT A NIGHT ...... 18 TRENT KUGLER Production Manger SUPPORT GROUP FOR MEN ...... 20
CHASE MOLDEN WRECKED ...... 24 Production & Props Supervisor A WELCOME GUEST ...... 26 CHESTER BAILEY ...... 30 ANTONIO’S SONG ...... 32 Contemporary American Theater Festival at PLAY SPONSORS ...... 36 Shepherd University ABOUT THE 2019 COMPANY ...... 38 PO Box 429 EDUCATIONAL OPPORTUNITIES ...... 64 Shepherdstown, WV 25443 2019 FELLOWS, INTERNS, & APPRENTICES ...... 65
800.999.CATF ART AROUND THE FESTIVAL ...... 66 www.catf.org LECTURES & SPECIAL EVENTS ...... 68 CATFatSU SUPPORTERS ...... 70 @thinktheater @thinktheater CATF CONTRIBUTORS ...... 72 PRODUCTION HISTORY ...... 76 ADVERTISERS’ INDEX ...... 78 FESTIVAL SCHEDULE ...... 80
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PROUDLY SUPPORTS THE CONTEMPORARY AMERICAN THEATER FESTIVAL AT SHEPHERD UNIVERSITY
We recognize their dedication to producing and developing new American theater in West Virginia’s oldest town
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3 CATF Institutional Funders
ACTORS’ EQUITY FOUNDATION JEFFERSON ARTS COUNCIL
THANK YOU THE ALFORD FOUNDATION JEFFERSON COUNTY CONVENTION & The Contemporary American AMAZONSMILE FOUNDATION VISITORS BUREAU Theater Festival’s 2019 BB&T LAURENTS/HATCHER FOUNDATION Season is supported, in part, BB&T WEST VIRGINIA FOUNDATION MARION PARK LEWIS FOUNDATION by the following foundations, NATIONAL ENDOWMENT FOR THE ARTS corporations, institutions, BANK OF AMERICA FOUNDATION MATCHING GIFT PROGRAM and government agencies. NATIONAL NEW PLAY NETWORK BRISTOL-MYERS SQUIBB FOUNDATION THE NORA ROBERTS FOUNDATION MATCHING GIFT PROGRAM ROGERS RISSLER FOUNDATION CASEY FAMILY PROGRAMS MATCHING GIFT PROGRAM SAM’S CLUB
THE CLEVELAND FOUNDATION SHAFFER WEALTH ADVISORY GROUP OF JANNEY MONTGOMERY SCOTT LLC CITY NATIONAL BANK SHEPHERD UNIVERSITY CLAUDE WORTHINGTON BENEDUM FOUNDATION SHEPHERD UNIVERSITY FOUNDATION
CORPORATION OF SHEPHERDSTOWN THE SHUBERT FOUNDATION
COSTCO WHOLESALE THE TED SNOWDON FOUNDATION, IN LOVING MEMORY OF MRS. SNOWDON DANDRIDGE REALTY GROUP DURHAM BYRON DELAPLAINE FOUNDATION THE STATE OF WEST VIRGINIA DRAMATISTS GUILD FOUNDATION THE HAROLD AND MIMI STEINBERG THE CALARAMA FARM FUND, FLEMING CHARITABLE TRUST FAMILY FUND, AND STRAUCH FAMILY FUND OF THE EASTERN WEST VIRGINIA THRIVENT FINANCIAL COMMUNITY FOUNDATION THE TIDES FOUNDATION
ECOLAB FOUNDATION UNITED BANK The Contemporary American FAYETTE COUNTY CULTURAL TRUST WALMART Theater Festival at Shepherd University is proudly affiliated FIRSTENERGY FOUNDATION WEIS MARKETS with Actors’ Equity Association, LAW OFFICES OF DAVID S. GREENE, LLC WEST VIRGINIA COMMISSION United Scenic Artists, Stage HOME DEPOT ON THE ARTS Directors and Choreographers Society, National New IBM FOUNDATION MATCHING GIFT WEST VIRGINIA DEPARTMENT OF ARTS, CULTURE, AND HISTORY Play Network, and Theatre PROGRAM Communications Group. INSURANCE OUTFITTERS WEST VIRGINIA HUMANITIES COUNCIL
4 Letter from the President of the Board
Welcome from the President of the CATF Board of Trustees S. ANDREW ARNOLD
On behalf of the Contemporary American Theater Festival Board of Trustees,
I extend our warmest gratitude and our heartiest welcome. Among the list of
accolades that the CATF can share to illustrate its success: rave reviews of the plays,
becoming a summer destination for respected American theater artists — none shine
like the consistent loyalty of the CATF audience. You, the audience, are the benchmark
that reflects the success of this institution. Great art survives and thrives. And you
speak that truth by coming each year.
My introduction to the Festival came before the second season when I heard a highly S. ANDREW ARNOLD energized vision of what was being built here. I heard Ed speak to a local group and
knew I wanted to see the plays. Over one hundred plays later, the seasons only get
better. The art produced here moves us through intrigue, tragedy, comedy. We face
our reality in these theaters — our deficiencies, our humanity, and our exultation.
When the lights go dim know this: something wonderful is about to happen.
S. Andrew Arnold, Esquire CATF Board of Trustees, President
5 Letter from the President of Shepherd University
A Letter from the President of Shepherd University DR. MARY J.C. HENDRIX
WELCOME to Shepherd University and to the Contemporary American Theater Festival that we so proudly host each summer. The longstanding partnership between Shepherd and CATF has enriched our community for more than a quarter of a century.
The Center for Contemporary Arts is home to Shepherd’s Department of Contemporary Art and Theater, a unique combination of the visual and performing arts centered in one beautiful complex. The Center for Contemporary Arts houses art and graphic design classrooms, studios — including the L. Dow Benedict Sculpture Studio named in honor of a beloved and longtime faculty member and dean — set and costume shops, and the Stanley C. and Shirley A. Marinoff Theater, where you will have the opportunity to see several of this season’s plays.
We are grateful to Dr. Marinoff and his family for their support of CATF, Shepherd University, and the arts. The arts thrive because of support by generous and DR. MARY J.C. HENDRIX thoughtful donors.
Since its inception in 1991, CATF has been led by the remarkably talented Ed Herendeen. He developed the Festival in order to produce and develop new American theater and to celebrate playwrights – both established and upcoming. A whirlwind of energy and artistic vision, Ed is directing two of the six plays being presented this season. I hope you will take advantage of all that is offered by the theater Festival, historic Shepherdstown, and Shepherd University during your time with us this summer. CATF evinces Shepherd’s dedication to excellence, innovation, and opportunity. We are extremely proud to be a partner of the Contemporary American Theater Festival, and play a collaborative role in transforming the future.
With many best wishes,
Mary J.C. Hendrix Shepherd University, President
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10 129 W. GERMAN STREET 304.876.8777 3 W. German Street | 304.876.1106
Press Room Board of Trustees
2019 Contemporary American Theater Festival BOARD OF TRUSTEES
S. ANDREW ARNOLD* MARELLEN AHERNE* HONORARY BOARD EX OFFICIO PRESIDENT JON AMORES JENNY EWING ALLEN DOW BENEDICT SHARON J. ANDERSON MARTIN BURKE ALLISON MARINOFF EMERITUS BOARD JASON AUFDEM-BRINKE ELLEN CAPPELLANTI CARLE* CARMELA CESARE RONALD JONES BETH BATDORF VICE PRESIDENT BRIDGET COHEE LINDA RICE DR. SCOTT BEARD BILL DRENNEN SHIRLEY MARINOFF ‡ SCOTT WIDMEYER* ROBIN BERRINGTON MARY CLARE EROS MICHAEL PROFFITT ‡ VICE PRESIDENT MARY I. BRADSHAW* THOMAS S. FOSTER ROBERTA L. DEBIASI, MD LILY HILL *MEMBER OF CATF’S PAUL KESSLER* EXECUTIVE COMMITTEE PETE HOFFMAN TREASURER MIRIAM DICKINSON ‡ IN MEMORIAM JAMES J. EROS CATHERINE E. IRWIN JUDITH W. KATZ-LEAVY THE REV. DR. ROSE HERR NANCY FELDMAN WAYLAND, D.MIN* SUSAN KEMNITZER HANS FOGLE* SECRETARY KATHA KISSMAN ANN M. HARKINS* DEMI LEWIN DR. MARY J.C. HENDRIX TRIPP LOWE ED HERENDEEN* STANLEY C. MARINOFF, M.D. DIANA HORVAT TIA MCMILLAN ELIZABETH MCDONALD NOAH MEHRKAM ANDREW D. MICHAEL PEGGY MCKOWEN* JEANNE MUIR KAKIE MCMILLAN JOYCE CAROL OATES SUSAN MILLS KAREN RICE FRANKLIN C. MOORE MICHAEL SANTA BARBARA PATRICIA F. RISSLER R.B. SEEM AUDREY ROWE LYNN SHIRLEY RICK SHAFFER STEPHEN SKINNER MARY HELEN STRAUCH SYLVIA BAILEY SHURBUTT* KEVIN STRUTHERS SID STOLZ KIRSTEN TRUMP MICHELLE SUDDUTH MARJORIE WEINGOLD J. ELDON YATES LISA YOUNIS
8 Boonsboro Inn & Town Support CATF
Support the Contemporary American Theater Festival THINK THEATER. THINK SUPPORT. GIVE TODAY!
Each season is possible because of you.
A contribution to CATF is an investment in the future of American theater. As a nonprofit arts organization, CATF depends upon grants and donations from businesses and individuals like you in order to bridge the gap between ticket sales and the Festival’s total budget. For each dollar of support CATF receives, 92 cents is invested directly into producing the art seen on our stages.
Help us to continue producing unparalleled and ambitious new theater by making a donation today.
Visit CATF.ORG/DONATE to learn more about donor benefits and to make a tax-deductible donation.
CATF Trustee Susan Mills enjoying the first read- through of Support Group for Men.
STUDENT REP PASS RISSLER-ROGERS MATCHING SPONSORSHIP GIFT CHALLENGE
Give the gift of theater to the next generation. Contributions made during the Festival using the enclosed gift envelope Sponsor a student Rep4 Pass at $88 or a Rep6 support the Rissler-Rogers Matching Gift Challenge. With special Pass at $132. CATF will distribute these tickets thanks to long-time Festival friends, Pat Rissler and James Rogers, to regional high school and college students your gift to CATF will be matched dollar-for-dollar up to $20,000 that might not otherwise have the chance to to support CATF’s ongoing mission to produce and develop new experience the Festival. American theater.
THREE WAYS TO DONATE: ONLINE BY PHONE BY MAIL (CHECK OR CREDIT CARD) WWW.CATF.ORG/DONATE CALL 304.876.5683 PO BOX 429 SHEPHERDSTOWN, WV 25443
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See more at www.DandridgeRealtyGroup.com Major Contributors
The 2019 Season is generously supported by these FESTIVAL FRIENDS
PRODUCER’S CIRCLE Janet & Bruce Bunch | Peter Emch | Mina Goodrich & Lawrence K. Dean | Dr. Stanley C. Marinoff and Allison Marinoff Carle & Eric Carle | Ed & Helen Moore | Betsy Nicholas & Paul Kessler | C.M. & Stephanie Partridge Patricia Rissler & James Rogers | Rick & Sheila Shaffer | Deb Weisbacher
PLAYWRIGHT’S CIRCLE Marellen Johnson Aherne | Drs. Roberta DeBiasi & Mark Cucuzzella | Liz McDonald | R.B. Seem & Stephanie Mathias
AGENT’S CIRCLE Sharon J. Anderson & Adrienne Haddad | S. Andrew Arnold & Carmela Cesare | John Philip & Patty Bain Bachner Beth K. Batdorf & John S. Bresland | Robin Berrington | Mary I. Bradshaw & Donald H. Hooker, Jr. Julia Davis & Leonard Frenkil | Mimi & Mark Dickinson | Mario Durham & Craig Horness | James & Mary Clare Eros Nancy & Cary Feldman | Mary Fortuna & Chris Kuser | Paul S. Garrard | Ann M. Harkins | Mary J.C. Hendrix Ed & Sue Herendeen | Tom & Kay Horst | Diana Horvat | Peggy McKowen | Kakie & Andrew McMillan Tia & Bob McMillan | Susan L. Mills | Franklin C. Moore & Erich D. Hosbach | Jeanne Muir & Jim Ford Drs. Sylvia & Ray Shurbutt | Robert & Mary Helen Strauch | Michelle & Scott Sudduth | Annette Totten & Kathy Day Rose H. Wayland | Scott Widmeyer | J. Eldon Yates
DIRECTOR’S CIRCLE A Playwright | Jon & Linnsey Amores | Fredrick & Christine Andreae | Yolanda & Frank Bruno | Barbara Spicher & Martin Burke | Frederic & Anne D’Alauro | Joi Denenberg & Tom Murphy | Trevor Drake & Anne Albright Erdem & Joan Ergin | Warren Gump | Stephen W. Hanze | Pete Hoffman & Steve O’Toole | Judith W. Katz-Leavy Richard Krajeck & Anita Difanis | Lex & Pam Miller | Martha Moss | David & Leah Rampy | Markley Roberts, In memory of Jeanne Addison Roberts | Audrey Rowe | Mark & Merrill Shugoll, In memory of Joan & Gene Shugoll Delacey Skinner | Peter & Victoria Smith | Angie Sosdian & Bill Senseney | Alyse & Steve Steinborn Emma J. Stokes | Sid Stolz | Kirsten Trump | Marjorie Weingold | Beth & Pat Winkler | Dr. Peter B. Young
Bolded listings indicate donors who increased their contribution June 21, 2018 – June 15, 2019 by 10% or more in comparison to the previous season. 12 CATF’s contributors list continued on page 72 Clark&Carle Group of Compass Real Estate
Domestic Festival at the Museum of Fine Arts – Washington County, Maryland. In 2018, Peggy was named West Virginia Artist of the Year at the CATF LEADERSHIP Governor’s Awards for the Arts. In addition, she was presented the Insurance Outfitters Guide Award for Outstanding Leadership ED HERENDEEN*** in Culture and Arts. PRODUCING DIRECTOR & DIRECTOR MY LORD, WHAT A NIGHT / A WELCOME GUEST CASEY HAYES- DEATS Ed Herendeen founded the Contemporary GRANT WRITER American Theater Festival in Shepherdstown, Casey Hayes-Deats is a West Virginia native West Virginia in 1991 with the mission to who spent more than a decade in New York produce and develop new American theater. City before landing in Washington, DC. In At CATF, Ed has curated and produced 133 addition to working at CATF during past new plays – including 56 world premieres summer seasons, she is the former Education and eleven commissions – and has gained Manager of Brooklyn Arts Exchange and a reputation as one of America’s most important curators of new assistant to the executive director of The Chocolate Factory Theater work. Ed has also worked at the Walnut Street Theater in in Long Island City, Queens. Her favorite projects as a theater-artist Philadelphia, The Milwaukee Repertory Theatre, The Missouri include producing and performing in the New York Premiere of Repertory Theatre, The Old Globe in San Diego, and the Martin Crimp’s translation of Pains of Youth and co-directing More Williamstown Theatre Festival. Ed has served on the Admissions Than Memory, an arts-based action research project that developed Committee for New Dramatists and as a panelist for the National a process for devising and performing theater in collaboration with Endowment for the Arts. He has served on the board of the seniors with dementia. She is a graduate of Columbia University, Theatre Communications Group, the national service organization the Stella Adler Studio of Acting, and the City University of New for American theaters. In 1999, CATF was presented with the York’s master’s program in Applied Theater. Governor’s Award for Excellence in the Arts and, in 2012, the Governor’s Award for Leadership in the Arts. Additionally, he has been named a Fine Arts Distinguished Alumni from Ohio EBONÈE HELMICK University. In April, Ed was inducted into the College of Fellows of the American Theatre at the Kennedy Center. BUSINESS MANAGER Ebonèe Helmick recently joined the theater Festival this year. Ebonèe obtained her PEGGY MCKOWEN** Master’s Degree in Public Administration ASSOCIATE PRODUCING DIRECTOR & and a Certificate in Non-profit Management. Prior to joining CATF, Ebonèe worked with COSTUME DESIGNER several organizations in various ANTONIO’S SONG / A WELCOME GUEST management positions in North Central West Virginia. Most Peggy McKowen’s association with CATF notably, she was instrumental in the development of the Fairmont began in 2006, when she designed the Community Development Partnerships affordable rentals program costumes for Mr. Marmalade and Jazzland. overseeing the acquisition and rehabilitation of real property in She joined the full-time staff the following Marion County, West Virginia, as well as streamlining the financial year. As designer, her work at CATF includes: costumes for The and organizational management of the Partnership. Wedding Gift, Not Medea, Everything You Touch, 1001, H2O, Scott and Hem in the Garden of Allah; and scenery for From Prague, Wrecks, and Gidion’s Knot. Previously, Peggy was the resident GABRIELLE TOKACH designer for the Obie-award-winning Jean Cocteau Repertory in NY and the Phoenix Theatre Ensemble. Her regional theater work PUBLIC RELATIONS MANAGER has been seen at Arkansas Repertory Theatre; Barrington Stage; Gabrielle Tokach is happily spending her Tennessee Repertory Theatre; Texas, Dallas and Houston tenth summer at the Festival. Gaby earned Shakespeare Festivals; and Perseverance Theater. International her Master’s Degree in arts management theater work includes the B.A.T. Studio Theatre (Berlin, Germany); from George Mason University. At GMU, the Teatro Alfa Real (Sao Paulo, Brazil); and the E.T.A. Hoffmann she served on the executive committee of Theatre (Bamberg, Germany). Additionally, Peggy designed the the Graduate Arts Management Society first full-length English speaking production of The Tempest and received the Erin Isabelle Edwards Gaffney Award. She is a performed in Beijing, China and the first Mandarin translation of recent graduate of Leadership Jefferson’s thirteenth class (the How To Succeed In Business Without Really Trying for the Seven best class). At Shepherd University, Gaby directed the Department Stages Production Company in Beijing. She is a member of United of Contemporary Art & Theater’s production of Wondrous Strange. Scenic Artists 829 and has served on the board of the National She’s also worked with Woolly Mammoth Theatre Company, New Play Network. Peggy was the featured artist in the exhibition, Arvold Casting (History Channel’s “The Wars”) and Scrappy Cat High Drama: Costumes from the Contemporary American Theater Productions (“Angel’s Perch”).
14 VICKI WILLMAN CHASE MOLDEN DIRECTOR OF DEVELOPMENT PRODUCTION SUPERVISOR / PROPS MASTER Vicki Willman joined the theater Festival’s Chase graduated from Otterbein College professional staff in January 2016 following in Westerville, Ohio with a BFA in Theatre over two decades of progressively Design/Technologies. He first started responsible fundraising positions in working with CATF in 2005, while still in college. This will be his ninth season with performing arts, public radio, television, CATF. During the year, Chase works as the eldercare, and higher education. Prior to Technical Director with the School of Arts joining CATF, she served for eleven years as Director of Development and Humanities for Shepherd University. Other credits include: with the Maryland Symphony Orchestra based in Hagerstown, MD. The Barter Theatre, The Albany/Berkshire Ballet Company, The Vicki was first drawn to the development profession through Pennsylvania Renaissance Faire, and The Shakespeare Theatre volunteering with a community orchestra and public radio station, of New Jersey. He would like to thank his girlfriend, Jess, for while simultaneously working alongside her father in the operation her support and patience through all of the late nights. of a commission agency for Greyhound Bus Lines in Bismarck, ND. Following her father’s retirement, she joined the development staff NICOLE M. SMITH* of Prairie Public Broadcasting as a Corporate Support Associate. Vicki’s rebuilding of the radio network’s sponsorship base led to COMPANY MANAGER successive positions with Wisconsin Public Television in Madison, Nicole holds a Bachelor of Fine Arts in WI and Maryland Public Television (MPT) in Owings Mills, MD. Prior Theatre Design and Technology with an to joining MPT, she held other development positions in her native emphasis in Stage Management. Her career North Dakota with The Sacred Heart Benedictine Foundation and in Stage Management took her from her home town in Arizona to both Washington at her alma mater, the University of Mary, where she earned her D.C. and New York. Nicole worked with BS in Music Education. Vicki has served as a music panelist for the Roundhouse Theatre in Bethesda, Maryland, Sitar Arts Center Maryland State Arts Council, performs regularly as a timpanist with in Washington DC, The Juilliard School in New York, and the Frederick (MD) Symphony Orchestra, and following a three-year Theatreworks USA where she traveled across the United States. term as the congregation’s senior warden, she currently chairs the It was her work in New York that brought her to CATF for the finance committee and assists in stewardship activities at St. Mark’s first time in 2012, and introduced her to Company Management. Episcopal Church in Boonsboro, MD. After three summers at CATF, Nicole moved back to Arizona where she worked with the Arizona Theatre Company as their Assistant Company Manager for a season. From 2015 to 2018, TRENT KUGLER Nicole has served as the Housing Coordinator in the Company Management department at the Oregon Shakespeare Festival, PRODUCTION MANAGER working on over 33 productions! In 2018, Nicole returned to Trent Kugler spent his first summer at CATF CATF as the Company Manager and a full time staff member. in 2006 as Technical Director for the Frank Center Theater, and went on to build his professional career as the Assistant Technical JEN ROLSTON Director at Studio Theater in Washington, EDEN DESIGN D.C. working on shows including Helen Hayes A native of southern WV and graduate of nominated productions such as Adding Machine: A Musical (2009); Shepherd University’s BFA program, Jen The Solid Gold Cadillac (2010); Grey Gardens (2009); The History started Eden Design in March of 2000. Eden Boys (2009); Souvenir, A Fantasia on the Life of Florence Foster Design has blossomed into a successful Jenkins (2008); Reefer Madness: The Musical (2008). During his design firm, using their expertise to help time in DC, Trent was awarded the League of Washington Theatres’ clients achieve visions that often nurture Off Stage Award in 2008. Trent returned to the festival in 2010, and communities and improve local economies. Having lived in the joined Shepherd University in the following fall as Technical Director area for nearly twenty years, Jen has also become a great for the departments of art, theater, and music. He also serves as resource of contacts and information for numerous start-up businesses. Clients range from thriving mom-based businesses an adjunct instructor of technical theater. Trent obtained his BFA to agriculture development, arts and theater, boutique hotels, in Theater Design/Technology from Otterbein University. His interest community assistance organizations, doctors, attorneys, in robotics and building small electronic contraptions resulted in restaurants, professional and personal coaches, consultants . . . his first published paper by USITT and Tech Expo “Best in Show” the list is ever growing. Eden Design also partners with Shepherd award for his work A Realistic and Interactive LED Candle in 2015. University providing internships to graphic design students.
15 2019 Company List
2019 Contemporary American Theater Festival COMPANY LIST
ED HERENDEEN DIRECTORS STAGE MANAGEMENT PRODUCING DIRECTOR Shelley Butler*** Deb Acquavella, PRODUCTION STAGE MANAGER* Mark Clements*** Lori M. Doyle, STAGE MANAGER* PEGGY MCKOWEN Ed Herendeen*** Lindsay Eberly, STAGE MANAGER* ASSOCIATE PRODUCING DIRECTOR Ron Lagomarsino*** Paul Mills Holmes, STAGE MANAGER* EBONÈE HELMICK Courtney Sale*** Tina Shackleford, STAGE MANAGER* Ryan Kane, ASST. STAGE MANAGER* BUSINESS MANAGER Alexandra Beller, MOVEMENT DIRECTOR AND CHOREOGRAPHER*** Aubrey Sirtautas, ASST. STAGE MANAGER* GABRIELLE TOKACH Aaron Anderson, FIGHT DIRECTOR*** PUBLIC RELATIONS MANAGER ACTING COMPANY Charlotte La Nasa, ASSISTANT DIRECTOR Scott Aiello* VICKI WILLMAN Shaun McCracken, ASSISTANT DIRECTOR Juan Arturo* DIRECTOR OF DEVELOPMENT Kirsten Trump, DIALECT COACH Megan Bartle* Theresa M. Davis, HOSTEL YOUTH DIRECTOR NICOLE M. SMITH Ephraim Birney* Pat McCorkle, CASTING DIRECTOR COMPANY MANAGER Reed Birney* Katja Zarolinski, CASTING DIRECTOR Rolando Chusan* TRENT KUGLER Julia Coffey* PRODUCTION MANAGER DESIGNERS Tom Coiner* CHASE MOLDEN Louie Rozier, COMPOSER Wade McCollum* PRODUCTION & PROPS Therese Bruck, COSTUME DESIGNER Lizan Mitchell* SUPERVISOR Beth Goldenberg, COSTUME DESIGNER** Sarah Sun Park Peggy McKowen, COSTUME DESIGNER** Larry Paulsen* John Ambrosone, LIGHTING DESIGNER** John Leonard Pielmeier* PLAYWRIGHTS Tony Galaska, LIGHTING DESIGNER Ken Robinson* Michael Rogers* DEBORAH BREVOORT D.M. Wood, LIGHTING DESIGNER** Reece Santos JOSEPH DOUGHERTY David Barber, SCENIC DESIGNER** Antonio Edwards Suarez* Jesse Dreikosen, SCENIC DESIGNER ELLEN FAIREY Lou Sumrall* Luciana Stecconi, SCENIC DESIGNER** GREG KALLERES Chris Thorn* Brendan Aanes, SOUND DESIGNER** DAEL ORLANDERSMITH Kate Udall* Victoria Deiorio, SOUND DESIGNER** ANTONIO EDWARDS SUAREZ Angela Wildflower* Andre Pluess, SOUND DESIGN & COMPOSER** MICHAEL WELLER David Remedios, SOUND DESIGNER** Jared Mezzocchi, PROJECTIONS DESIGNER** Jerry Johnson, ASST. COSTUME DESIGNER Yvonne Chang, ASST. LIGHTING DESIGNER Lawrence Schober, ASSOCIATE SOUND DESIGNER Dylan Uremovich, ASST. PROJECTIONS DESIGNER
16 PRODUCTION STAFF CREATIVE TEAM Cassie Cormier, STAGE MANAGEMENT INTERN Jaechelle Johnson, ASSOCIATE PRODUCTION MANAGER Jen Rolston, GRAPHIC DESIGNER Robert Cott, STAGE MANAGEMENT INTERN Joshua Frachiseur, FESTIVAL TECHNICAL DIRECTOR Seth Freeman, PHOTOGRAPHER Lilian McGrail, STAGE MANAGEMENT INTERN Kevin Dunckel, TECHNICAL DIRECTOR Jared Scheerer, SEASON IMAGES Nicole Belenski, KCACTF FELLOW & Monique Robine, TECHNICAL DIRECTOR ASSISTANT TO TONY GALASKA Jared Sorenson, TECHNICAL DIRECTOR INTERNS, FELLOWS, & APPRENTICES Cameron Filepas, KCACTF FELLOW & ASSISTANT TO D.M. WOOD Anna Atkinson, LEAD CARPENTER Emily Maddox, BUSINESS MANAGEMENT INTERN Mason Chad, CARPENTER Camryn D’Angelo, COMPANY MANAGEMENT INTERN Michael Cherry, CARPENTER Charmaris Darias, COMPANY MANAGEMENT INTERN Stephanie Shaw, COSTUME SHOP MANAGER Rachael Ellis, COMPANY MANAGEMENT INTERN Anthony Gary, WIG MASTER/ STITCHER Caitlin Hudecheck, COMPANY MANAGEMENT INTERN Cordelia Rios, FIRST HAND Kirsten Moore, COSTUME INTERN/DRESSER Lizz Williams, CUTTER/ DRAPER & WARDROBE HEAD David Wesley Price, COSTUME INTERN Monique Cuyler, FESTIVAL MASTER ELECTRICIAN Kyla Schneider, COSTUME INTERN / WARDROBE HEAD Emily Beggs, MASTER ELECTRICIAN Emily Webb, COSTUME INTERN/DRESSER Sabrina Wertman, MASTER ELECTRICIAN Kevin Karn, DEVELOPMENT FELLOW Sophia Adsit, FESTIVAL CHARGE ARTIST Avery Sedlacek, DIRECTING INTERN Sebastien Oliveros-Tavares, ASST. CHARGE ARTIST Alaina Pizzoferrato, ELECTRICS INTERN Grisele Gonzalez, SCENIC CHARGE ARTIST Oscar Sanchez, ELECTRICS INTERN Katelin Ashcraft, ASSOCIATE PROPS SUPERVISOR Kyle Schearer, ELECTRICS INTERN Kayla Carroll, PROPS ARTISAN Nicole Schwarz, ELECTRICS INTERN Rochele Mac, PROPS ARTISAN Danielle Beauclaire, FRONT OF HOUSE INTERN Rowan Wilkerson, SOUND DEPARTMENT HEAD Alissa Cecala, FRONT OF HOUSE INTERN Max Wallace, VIDEO DEPARTMENT HEAD Maggie Gunning, FRONT OF HOUSE INTERN Electra Judson, FRONT OF HOUSE INTERN ADMINISTRATIVE STAFF Shelee Lee, FRONT OF HOUSE INTERN Leah Claggett, BOX OFFICE MANAGER Serafina Maerten,FRONT OF HOUSE INTERN Kyla Tacopina, ASST. BOX OFFICE MANAGER Lanae Wilks, FRONT OF HOUSE INTERN Jeanne Muir, GROUP SALES MANAGER Amelia Workman, MARKETING & PR INTERN Molly Schafer, FRONT OF HOUSE MANAGER Linda Hughes, PAINTS INTERN Allie Punekii, EDUCATION ASSISTANT Alex Webb, PAINTS INTERN Casey Hayes-Deats, GRANT WRITER Danica Rodrigues, PRODUCTION INTERN RESIDENT MANAGER PROPS INTERN Isaiah Hall, Rayna Cook, This Theater operates under an agreement between Abigail Knoshaug, PROPS INTERN the League Of Resident Theatres and Actors’ Equity Mars Martin, PROPS INTERN Association, the Union of Professional Actors and Stage Managers in the United States. Emily Taylor, SCENERY FELLOW *Actors’ Equity Association Monty Wilson, SCENERY FELLOW **United Scenic Artists Maggie Quigley, SCENERY INTERN ***Stage Directors and Erica Feagin, SOUND INTERN Choreographers Society Ben Lechtman, SOUND INTERN Kenneth May, SOUND INTERN John Schirillo, SOUND INTERN Dan Karlin, STAGE MANAGEMENT FELLOW
17 My Lord, What a Night My Lord, What a Night
by Deborah Brevoort SPONSORED BY ED & HELEN MOORE DIRECTED BY ED HERENDEEN A WORLD PREMIERE
SETTING & TIME: T he study in Albert Einstein’s house at 112 Mercer Street in Princeton, NJ. Act One: April 16, 1937. Late at Night. Act Two: Two years later. February 27, 1939. Late afternoon.
CAST: ALBERT EINSTEIN SCENIC DESIGN TECHNICAL DIRECTOR STAGE MANAGEMENT JOHN LEONARD DAVID BARBER KEVIN DUNCKEL INTERN PIELMEIER ROBERT COTT COSTUME DESIGN PRODUCTION STAGE MARIAN ANDERSON THERESE BRUCK MANAGER CASTING DIRECTORS ANGELA WILDFLOWER DEB ACQUAVELLA PAT MCCORKLE, CSA LIGHTING DESIGN KATJA ZAROLINKSI, CSA ABRAHAM FLEXNER D.M. WOOD STAGE MANAGER LARRY PAULSEN PAUL MILLS HOLMES ASSISTANT DIRECTOR SOUND DESIGN SHAUN MCCRACKEN MARY CHURCH TERRELL VICTORIA DEIORIO ASST. STAGE MANAGER LIZAN MITCHELL RYAN KANE
Run time: 90 minutes. My Lord, What a Night is produced at the Contemporary American Performed with one intermission. Theater Festival as part of a National New Play Network Rolling World Premiere. Other partnering theaters are Orlando Shakespeare Theater Concessions located in the Frank and Florida Studio Theatre. Center Gallery. Warnings: strobe lights and Special thanks to Lee Sandberg and the Institute for Advanced Study theatrical smoke. in Princeton, NJ.
An Interview with the Playwright Researched, interviewed, and edited by Sharon J. Anderson, CATF Trustee/Professional Story Listener and Creative Director DEBORAH BREVOORT www.sharonjanderson.com
CATF: The inspiration for this play is a book because it was there. The complete works of Conan Doyle, Sherlock your mother gave you when you were a kid, Holmes – I was done with that by the age of seven. Sammy Davis My Lord, What a Morning – Marian Anderson’s Jr’s. biography was another book that my mother handed to me. autobiography. My favorite was Manchild in the Promised Land by Claude Brown which was filled with the “m-f” word. It was banned in the local Deborah Brevoort: My mother reads libraries, so my mother ordered it from the local bookstore. Then, extensively on a lot of different subjects. with her Tareyton cigarette hanging out of the corner of her mouth, She was a minister’s daughter and was she said, “Debbie, darling, you are going to read this book, but raised in a very conservative household there are words in this book that I don’t ever want to hear come community in the Midwest. She’s always rebelled against the limits out of your mouth. You need to know how some people talk, but that were imposed on her. If somebody banned a book, my mother I don’t want you to ever talk like this.” was the first in line to buy it. She was also very interested in the issue of civil rights, so she began to read books about civil rights Marian Anderson said that her mother always said, “Remember, and started feeding those to me. wherever you are and what you do, someone always sees you.” I think I was born with a book in my hand. I was reading the letters That makes a lot of sense for her character because she was very of Benvenuto Cellini, a 16th century Italian artist, at the age of six conscious throughout her career of being seen and watched as
continued on page 22 19 FRANK CENTER SUPPORT GROUP FOR MEN
by Ellen Fairey SPONSORED BY JOHN PHILIP & PATTY BAIN BACHNER, MARIO DURHAM & CRAIG HORNESS, AND R.B. SEEM & STEPHANIE MATHIAS DIRECTED BY COURTNEY SALE
SETTING & TIME: A CHICAGO APARTMENT NEAR THE BORDER OF WRIGLEYVILLE AND BOYSTOWN. JUNE 2017 / OCTOBER 2017.
CAST: SCENIC & PROJECTION TECHNICAL DIRECTOR STAGE MANAGEMENT DESIGN KEVIN DUNCKEL INTERN ROGER DAVID BARBER ROBERT COTT SCOTT AIELLO PRODUCTION STAGE COSTUME DESIGN MANAGER FIGHT DIRECTOR BRIAN THERESE BRUCK DEB ACQUAVELLA AARON ANDERSON CHRIS THORN LIGHTING DESIGN STAGE MANAGER CASTING DIRECTORS DELANO D.M. WOOD PAUL MILLS HOLMES PAT MCCORKLE, CSA KEN ROBINSON KATJA ZAROLINSKI, CSA SOUND DESIGN ASST. STAGE MANAGER KEVIN VICTORIA DEIORIO RYAN KANE JUAN ARTURO OFFICER NOWAK TOM COINER OFFICER CARUSO Run time: 120 minutes. JULIA COFFEY Performed without an intermission. ALEX Concessions located in the Frank Center Gallery. ROLANDO CHUSAN Warnings: mature content and strobe lights.
An Interview with the Playwright Researched, interviewed, and edited by Sharon J. Anderson, CATF Trustee/Professional Story Listener and Creative Director ELLEN FAIREY www.sharonjanderson.com
Please note, this interview contains mature idea of a woman writing about men. I don’t even think about it language. that way. These are characters that I was interested in who happen to be a group of men. Plenty of male writers throughout history CATF: If your play had a twitter account, would have written women – Tennessee Williams, for example. Thank it use the hashtag “#metoo?” God he wrote these fantastic female characters. ELLEN FAIREY: I’m so not a Twitter person. A woman writing men seems to really disorient some people. I No, that’s not my goal – to make anything didn’t know this before I wrote this play. I realized it afterward into a hashtag. Assigning a hashtag to me because the response I got was so often focused on “Why would feels reductive, and the play is about not you want to do that?” “How can you do that?” I can do it because reducing a gender to one thing. I’m much more interested in the I have an imagination. I listen to people. universal, in humanity. This is a play about men – men in crisis – written by a woman. How The word that seems to best describe the men in this play is the word “tender,” a word not often associated with men. These characters did you become so comfortable writing male voices? care enough about each other to create a support group that they call I have wonderful brothers, a wonderful father, and I’ve had lots of their “sacred space of safety. We are brothers . . . we are only here to wonderful relationships with men. People are so focused on the bear witness . . . It’s Thursday. It’s what we do.” by Ellen Fairey continued on page 23 21 FRANK CENTER Deborah Brevoort interview continued from page 19
DEBORAH well as being a role model from whom others My husband and I live in New Jersey, and would draw conclusions about black people. in the time that we’ve been together, we’ve been racially profiled five times, instances BREVOORT She recognized that she was in that position that were completely unwarranted, and not and conducted herself with grace, manners, prompted by him doing anything illegal. PLAYWRIGHT, MY LORD, WHAT A NIGHT propriety, and dignity. It’s difficult to write Blacks call it, “driving while black.” As a about her because she was so diplomatic white person, you don’t normally see these and avoided conflict or anything that would Deborah Brevoort is the award-winning author events up close. You hear about them or reflect badly on her, or anybody else. of numerous plays, musicals, and operas. She is you see a white cop and black person over best known for her play The Women of Lockerbie, How did the opportunity come up to write a on the side of the street. But I’ve seen it from the receiving end. In two cases, my which is produced all over the country and play based on a historical event? husband was slapped with fines for things internationally. Her other plays include: The Premiere Stages, a New Jersey theater he did not do, for which we hired lawyers, Poetry of Pizza (Purple Rose Theatre, Mixed company, began collaborating with the went to court, and won. The worst event Blood, Cal Rep, Virginia Stage, and others), The Liberty Museum, a history museum, and happened when he was starring in the lead Blue-Sky Boys (Capital Rep, Barter Theatre) The started a program called Liberty Live, in role in Chicago on Broadway. We were which they commissioned a New Jersey Comfort Team, (Virginia Stage) The Velvet parked legally, and he was dragged out of playwright to write a one-act play based on Weapon, Into the Fire, and Signs of Life. Blue the car, made to stand in the pouring rain, an event in New Jersey history that would and our car was confiscated. He did not Moon Over Memphis, her Noh Drama about Elvis then be produced at the museum as a living want to legally pursue this one because of Presley is currently touring internationally in a exhibit. Then they would release a list of its huge emotional, psychological, and traditional Noh production by Theatre Nohgaku. topics for play proposals. This year, Marian financial cost. Like Marian Anderson, he Her musical works include Crossing Over, an Anderson, Albert Einstein, and Princeton didn’t want that negative energy in his life. Amish hip hop musical with Stephanie Salzman; were on the list. When I stumbled across the events featured in this play, I did some We now have a routine to protect him. As King Island Christmas with composer David quick research and got the commission. soon as the cop pulls us over, we go into Friedman; and Coyote Goes Salmon Fishing with What is now act one, was the first incarnation “the system.” Hands on the steering wheel, Scott Richards. She is currently writing Loving, of the play about those events. registration above in the visor so that he a musical about the Loving vs. Virginia story with never has to reach for the glove compartment At her Lincoln Memorial concert, the Secretary composer Diedre Murray; Tiffany Girls, a musical so someone can’t say, “He reached for a of Interior at the time, Harold Ickes, introduced about Clara Driscoll, the uncredited creator of gun.” If I’m in the car, I get the paperwork, Anderson with, “Genius, like justice is blind. so the first thing the officer sees when he the famed Tiffany Lamp, with composer Julianne Genius draws no color lines.” comes to the driver’s window is my white Wick Davis; and Murasaki’s Moon, an opera about It describes Einstein, too. By the way, many face with the paperwork held out. Lady Murasaki and The Tale of Genji with people claimed that the Lincoln Memorial composer Michi Wiancko for the Metropolitan It’s very easy to discount this stuff when concert was their idea. Ickes claimed it, a you hear it in the news. This is ongoing Museum of Art and On-site Opera in NYC. Her low-level administrator at the Department harassment of black people, and it has plays are published by Applause Books, Samuel of Interior claimed it, Walter White of the increased in the last few years. French, Dramatists Play Service, and No Passport NAACP claimed it, and Marian Anderson’s Press. She teaches at Goddard College, Columbia agent also claimed it. The truth is nobody You’ve had a writing dilemma about whether or not to keep a line in your play that mentions University, and in NYU’s Graduate Musical Theatre knows whose idea it was. So I gave the idea to Mary Church Terrell. She was involved in DAR’s goal, “Make America Great,” because Writing Program. She serves a mentor to the back-channel negotiations and was such a some in the audience would automatically NBO Musical Theatre workshop in Nairobi, Kenya. strategist. assume it’s a dig at Trump. You’ve said that “the more ‘1937’ the play is, The power of theater is that an audience the more we see today, the more we see how can enter another person’s experience. far we haven’t come.” continue reading the interview online: catf.org/interview-brevoort
22 Ellen Fairey interview continued from page 21
I love people. I’m so curious about people seem to respond to it. It’s not just for ELLEN beyond their gender. There’s also a millennials, and it’s not just for middle-aged tenderness in myself. All of those characters people. There seems to be something for are part of myself – every single one. everyone, and I didn’t know that until I was FAIREY sharing it with audiences and getting Part of the focus of your play is ageism – the feedback. PLAYWRIGHT, SUPPORT GROUP FOR MEN invisibility that comes with aging for men – and for women . . . A lot of people also don’t like it, and what I Ellen Fairey is a playwright and screenwriter living find with that is they usually are not I love writing adolescent characters, and I interested in seeing the characters in any in Los Angeles. Her play Support Group for Men love writing middle-aged characters. There’s other way than negative. This play is so premiered at Chicago’s Goodman Theatre in 2018 a real similarity in those times of our lives. warm-hearted and some people may get after being developed at Ojai Playwright’s It’s a time of life where nothing is going to angry about it because they may feel like Conference and the Goodman’s New Stages be the same again. You’re in a transitional men don’t deserve a warm-hearted story. place, and wherever you’ll end up you’ll Festival and went on to win a 2018 Joseph know that the past is over and you’re going You were asked once what you hope audiences Jefferson Award for Best New Work. She is the into a new place. take away from Support Group for Men and you author of Graceland, which held its New York responded, “The same thing I hope to feel premiere as part of Lincoln Center Theater’s I love those areas of our timelines and those after writing it: less alone.” characters because it’s all so bewildering. LCT3 series after an extended six-month run at But there’s also something kind of magic That answer goes for anything that I write. Chicago’s Profiles Theatre. Graceland was about it. Aging is bewildering. Adolescence How wonderful to make people feel less awarded the 2010 Jeff Award for Best New is bewildering. It’s scary because there’s alone. They’ve seen themselves on stage. Work. The New York Times named Ms.Fairey one They’ve understood something about others not necessarily a roadmap. It’s not all one of their “Faces to Watch” for spring 2010. Her that they hadn’t understood before. It makes thing, “and now we’re done.” It’s how you first play, Girl 20, was named one of the top 10 navigate it, and the guys in this play are them more open to things, which in turn plays of 2006 by the Chicago Tribune and navigating it – some better than others. makes them or someone else feel less alone. nominated for two LA Weekly Theater Awards. They are trying to figure it out. You’ve also said, “Ordinary people are my people.” Her short plays have been part of Collaboration’s This play is set in Chicago. Why? Sketchbook Festival as well as Edward Albee’s I moved to Chicago in the ‘80s to attend I probably wouldn’t write something about Last Frontier Theatre Conference in Valdez, royalty, but maybe I would because that school at the Art Institute and ended up Alaska. Ellen’s screenwriting credits include “The would be a fun challenge. I have a staying for 23 years. I lived there longer than Midwestern soul and like to write about Sinner,” “Masters of Sex,” and “Nurse Jackie.” She any other place, and then I moved to Los everyday people, the salt-of-the-earth types. is a graduate of the School of the Art Institute Angeles 11 years ago where I wrote this play, of Chicago. partly because I was missing Chicago so much. “Questions inform my work. Things I don’t understand inform my work,” you’ve said. What After moving to Los Angeles, I realized that questions informed Support Group for Men? Chicago is a city that is in conversation. People just talk to one another. It’s full of Questions come up as I’m writing. It’s never dialogue, conversation, and conviviality all like I have a question and I sit down to find the time. I find that so warm and lovely. You the answer. I find it as I go. I started with may not always agree with what you’re the character of Rog, the main character hearing or what people are talking about, of the play, who’s the kind of guy that’s but you really exist when you’re there. Los probably not used to sharing his fears in Angeles is a little isolating and there’s less this kind of social setting. He’s clumsy, and engagement because everyone is in their it’s humorous, but it’s also moving. Then cars or in their homes. the play grew into a support group setting. This play is a conversation that invites continue reading the interview online: conversation. People from all generations catf.org/interview-fairey
23 WRECKED WRECKED
by Greg Kalleres SPONSORED BY JANET & BRUCE BUNCH DIRECTED BY SHELLEY BUTLER A WORLD PREMIERE
SETTING & TIME: LIVING ROOM OF A MIDWESTERN HOME AT NIGHT. THE PRESENT.
CAST: VICTORIA SCENIC DESIGNER TECHNICAL DIRECTOR STAGE MANAGEMENT JULIA COFFEY JESSE DREIKOSEN JARED SORENSON FELLOW DAN KARLIN JOHN COSTUME DESIGNER STAGE MANAGER CHRIS THORN BETH GOLDENBERG LORI M. DOYLE CASTING PAT MCCORKLE, CSA LYNN SOUND DESIGN ASSISTANT STAGE MANAGER KATJA ZAROLINSKI, CSA MEGAN BARTLE DAVID REMEDIOS AUBREY SIRTAUTAS ASSISTANT DIRECTOR ALEX CHARLOTTE LA NASA TOM COINER
Run time: 90 minutes. Performed without an intermission. Concessions located in Copper Canyon. Warning: mature language.
An Interview with the Playwright Researched, interviewed, and edited by Sharon J. Anderson, CATF Trustee/Professional Story Listener and Creative Director GREG KALLERES www.sharonjanderson.com
CATF: What’s really “wrecked” in this play? We do so many things in relationships to make sure we never feel scared. We have stories we share, words we use, and furniture Greg Kalleres: The original title was Hit that we buy together. The world we create with another person is and Run, because that was the literal idea a protective bubble from the rest of the world. We’re terrified of of the play – that we do things and then feeling alone. keep running until we forget that we did them. How far can we get before we forget? You’ve said that, “it’s best when you write something that scares you.” That title seemed to be giving away a lot, Did your fear of feeling alone scare you into writing Wrecked? so I went with Wrecked. It’s about a I’m always scared that I’m experiencing a different relationship dysfunctional relationship running into a functional relationship than my wife is experiencing. It’s a scary thing to think, “I’m not and revealing both of them. getting it. We’re in love, but are we in love in the same way? Does The character, Victoria, says in this play, “There is nothing scarier in she see things the way I see them? Am I lying to myself about this world than being with someone and feeling alone.” certain things?” Victoria and John have created a sort of bubble that they live in The reason I got married to this woman in particular, is because I with rules and strictures, so they will never feel alone, because do feel aligned with her. I do feel an alliance. We get each other. But they are obviously terrified of feeling alone. I’ve been in relationships when I’ve felt alone all the time and thought, continued on page 28 25 MARINOFF THEATER A Welcome Guest
by Michael Weller COMMISSION SUPPORTED AND SPONSORED BY DEB WEISBACHER DIRECTED BY ED HERENDEEN A WORLD PREMIERE
SETTING & TIME: TOPPLEDON INDUSTRIAL PARK AT THE EDGE OF OLD TOWN IN CENTER CITY. IT’S THE FUTURE.
CAST:
SHANANANA SCENIC DESIGN TECHNICAL DIRECTOR CASTING DIRECTOR KATE UDALL JESSE DREIKOSEN JARED SORENSON PAT MCCORKLE, CSA KATJA ZAROLINSKI, CSA MCMOLEY COSTUME DESIGN STAGE MANAGER LOU SUMRALL PEGGY MCKOWEN LORI M. DOYLE ASSISTANT DIRECTOR SHAUN MCCRACKEN FRIZZBY LIGHTING DESIGN ASST. STAGE MANAGER REECE SANTOS TONY GALASKA AUBREY SIRTAUTAS ASSISTANT TO MICHAEL WELLER ZAZU SOUND DESIGN STAGE MANAGEMENT CALLEY ANDERSON SARAH SUN PARK DAVID REMEDIOS FELLOW DAN KARLIN LUCIUS COMPOSER MICHAEL ROGERS LOUIE ROZIER Run time: 135 minutes. SHIMEUS WADE MCCOLLUM Performed with one intermission. Concessions located in Copper Canyon. Warning: mature language. Supported, in part, by a generous grant from the Laurents/Hatcher Foundation.
An Interview with the Playwright Researched, interviewed, and edited by Sharon J. Anderson, CATF Trustee/Professional Story Listener and Creative Director MICHAEL WELLER www.sharonjanderson.com
CATF: This play is based on an idea that Then later, as I realized that I was half-Jewish and started to read obsessed you for over two decades, the germ about the way Israel was founded and settled in this country that of which you say, “was dropped into my brain was occupied by other people, I thought, “Wow, that’s interesting as early as 1956.” – someone comes along and says, ‘This is mine. I’m taking it back.’” How does that work? What happens there? I wonder if there’s any Michael Weller: I was 14 years old and way to write a play about that? attending a very radical, small boarding school in the country, the headmaster of I started to sketch scenes for this play in 1998 or so, never thinking which was a refugee from the Second I would write it or that I would find a producer who was interested World War. One day during his weekly news brief, he told us that in it. So I never truly took it seriously. the Third World War would happen because of a conflict over Israel. Then I saw Arturo Ui, a play by Bertolt Brecht at SCS Repertory Although I was raised among very political people, I myself was a – an allegory about Hitler’s rise to power – and the play just didn’t day-dreamy kind of kid and thought, “Oh, that’s terrifying!” It work. So I knew I couldn’t make the play a direct parable about brought a whole expanse of nightmare images that had been Israel and Palestine, but then I considered the notion of someone shaped by watching atom bomb tests in Las Vegas, where I grew taking another person’s home. up. You knew from reading the news or hearing grown-ups talk that the atom bomb could end the world. continued on page 29 by Michael Weller 27 MARINOFF THEATER Greg Kalleres interview continued from page 25
GREG “This person doesn’t understand me, and I don’t really suffered, and I haven’t suffered at all. understand this person. I want to, but I don’t How can I write? What am I healing?” You’re and I feel lonelier and lonelier.” That loneliness, healing whatever you think needs to be fixed. KALLERES that waking up one day and not recognizing You’re often writing to know yourself over that person, scares the hell out of me. and over again without realizing it. You had PLAYWRIGHT, WRECKED a bad childhood, so you find yourself writing Of course you can feel lonely in a relationship, about your childhood. Only the individual but hopefully at these moments, like in the artist can know what that wound is, and you play, you can recalibrate – meet up again at usually don’t know until you start writing Greg Kalleres is a playwright and screenwriter a certain point. We all go off and grow a little about it. living and working in Brooklyn, usually next to a bit, but you come back together. Explain the role of the giraffe in this play. large black Labrador with a B-12 deficiency At one point in your play, John says: “If you named, Bruce. His satire about race and really want it to work, it doesn’t matter what Victoria has this home that she curates, that advertising, Honky, was an LA Times and NY story you choose to believe, as long as you both she knows everything about, that she Times Critics’ Pick, for which he received believe in the same story.” understands, that has all these things that the Urban Stages Emerging Playwright Award. she can count on. She and John went to Africa That’s not good. That’s Wrecked – the title of and had this experience together, and that The play’s critically acclaimed San Diego the play. John and Victoria are dysfunctionally experience, represented by the giraffe, is now Rep production aired nationally on PBS for the functional. They are desperately holding onto in their living room. series “OnStage in America.” His two-character each other so nothing can rock them. They comedy, A Beautiful Spell, was produced at almost don’t have their own identities. They are The giraffe is an inanimate object that for some reason helps Victoria and John feel the Royal George in Chicago and later adapted more terrified of being alone without each other. whole and ends up being defiled throughout to Arabic and performed to sold-out audiences Is there a lot of talking in your marriage? the play. There’s a drink on it, it’s got an in Beirut. It was also adapted for podcast I do all the talking. I work from home with my ashtray in it, and by the end, one of the with Wondery Media, starring Jenna Elfman. In dog, and my wife has a high-powered job. characters is actually sodomizing it. addition, his play, Apropos of Nothing won the When she comes home, I’m like a puppy. I want Theatrically, I love that there’s this animal we 2018 Reva Shiner Comedy Award at The to talk because I haven’t for 7-8 hours. During keep talking about: “Did we hit an animal? Did we hit a deer? Did we hit a dog? Did we Bloomington Playwrights Project. Greg received the first two years of our marriage, I had to hit a fox?” . . . and then there’s this giraffe the Certificate of Excellence from the Kennedy learn not to bombard her with conversation for the first hour after she gets home from sitting there staring at everyone. Center, is a two-time finalist for Playwrights work. She does not like talking about her job. Program at Juilliard, and has won top honors at I read that you wrote your first play when you She calls me her “escape” from her job. were ten years old. How did you end up in a number of one-act festivals including Samuel There’s always that push and pull about what advertising and then the theater? French. Greg has also written and produced each person needs from the other. commercials for ESPN, Nike, CFDA, Brand Jordan, I went to Indiana University for two years for I’m definitely the emotional one, full of self- screenwriting, but there was no screenwriting Budweiser, New York Magazine, Twitter, and analysis. She’s like, “Why do I want to do a lot program at Indiana U, so I started taking a Google. He was a lead writer on the award- of self-analysis?” I would just get depressed. class in textiles because it was slightly winning “This is SportsCenter” campaign and I have enough problems.” And I respond, creative. I transferred to NYU Tisch School created ESPN’s Monday Night Football campaign, “Because an unexamined life is not a life worth of the Arts where I discovered that I enjoyed “Is it Monday Yet?” Greg’s screenplay, “Our living,” and so on. writing more for theater than for film because Condolences,” made the 2018 Blacklist. He is also I know you admire Edward Albee who said, “If you dialogue, character, and ideas were things that really interested me. Everything I started currently writing an adaptation for Sony and have no wounds, how can you know if you’re alive?” writing found a much more natural place on Misher Films. Or so he says. It makes sense that Albee would say that. Art, stage than it did on screen. I also thought to me, is often healing, but it’s individual. theater was just a natural art form. You write Everyone’s wounds are different. You might it and you do it. It was very direct. What I have self-imposed wounds. Or you’ll be around write, I’m going to see on stage. It’s such a someone and think, “Man, that person has clean art form to me.
continue reading the interview online: 28 catf.org/interview-kalleres Michael Weller interview continued from page 27
First, allegorical writing for most Americans also become very interested in other styles is an odd thing to do because outside of and other traditions of work. If they touch MICHAEL Washington, D.C., they are not well informed a nerve, you try to absorb them in your work. about politics. Second, I thought the subject If I discover that I am drawn to crazy comedic WELLER of someone taking over someone else’s land writing, then I let myself go that way and try – which can be Americans taking over to immerse myself in that kind of work – PLAYWRIGHT, A WELCOME GUEST Indians, the conflict between Pakistan and looking at it, referencing it, remembering India, etc. – with a broader allegorical the experiences I’ve had with it that I liked. treatment involving prejudices, superstitions, Surreal slapstick is not more difficult or less Best known for his plays Moonchildren, Loose and the way we make fun of each other, difficult than traditional comedy. It’s just a Ends and Fifty Words, Weller is making his 4th would be more interesting. constant experience of finding some new appearance at CATF with the premiere of his Last, the level of discourse on my social way to work and exploring it. newest play, A Welcome Guest, commissioned by the festival. He wrote the screenplays for Hair, media newsfeeds about politics is psychotic. You have described this play as a “crazy-quilt Things have become so crazed that the Ragtime, Lost Angels and In Spite of Love (from of Fred Flintstone meets Monty Python, with his play Spoils of War). Based on private mentoring attempt to actually speak quietly in the visits to Mad Max and Ubu Roi on the way.” middle of it to try and unravel what’s going throughout his career, he designed the acclaimed on isn’t nearly as strong, at least to me, as What I’m trying to do is to find a framework Mentor Project of the Cherry Lane Theatre and trying to yell over it more stupidly than the for an audience, pointing them to the sorts served for its first ten years as Supervising discourse itself. By screaming that loud and of theater experiences that might be Mentor. He has won an Academy Award nomination, an N.A.A.C.P. Outstanding that irrationally, could you make people referenced when they sit and watch this play, Contribution Award, Critics Outer Circle Award, think, for a moment, “That’s actually what although the mix itself is finally very a Rockefeller Foundation Grant, the Flora Roberts we sound like?” I gave myself permission to unconscious. I proceeded totally on instincts Award of the Dramatists Guild of America for take that route and that’s how the play in this play, and I entertained myself, too. I distinguished playwriting, and the Helen Merrill resulted. don’t think I’ve laughed so hard while I was writing any play as I have writing this one. Award. The Broken Watch Theatre Company You said that in this play, you were trying to named their playhouse in his honor. His play write “surreal slapstick”. But I’m not a crazy person. I worked very Buyer Beware, centering around the legacy of hard on this, and it has as tough a design as Lenny Bruce, challenging comedy, and its effect Slapstick comedy is basically pie-in-the-face, I can possibly put on it. When you come and on contemporary students, will be produced by whack-you-in-the-butt stuff, like low, low see it, it’s not going to be Tea and Sympathy Tony Speciale, with Vicious Circle Productions in humor that appeals to everybody. It appeals or one of those plays you recognize from 2020. His play, Jericho, based on Ferenc Molnar’s to the person wandering off the street that your theatergoing. I’m trying to prepare international hit Liliom, (known best in its musical has no education at all, and it appeals to a people to go and have fun. form as “Carousel”) premiered in New York at more sophisticated audience because if you the Wild Project in January, 2018. do it with the right kind of sensibility and In 1988, you said in the New York Times, “You the right kind of “winky” way, they grow to a certain point and things begin to feel old to you. It’s not a conscious thing; you just understand that you’re mocking it as well as feel a need to go in a new way.” Is that what is doing it straight out. happening with A Welcome Guest? Is surreal slapstick more difficult to write than I am restless in my work, but people want traditional comedy? you to be a brand. They want to be able to I grew up with painters, and I remember identify your style and what to expect from conversations around the work of painting you, which is useful if you are pursuing a that would include questions like, “Did you career with an identity. But it’s a bit of a trap hear that Phil Everygood was very influenced if you’re trying to explore and let yourself by African masks? Do you think he’s just dive completely into unfamiliar water. exploring the kind of thinking that goes into that sort of artwork?” So my notion of being continue reading the interview online: an artist is you have what you do, but you catf.org/interview-weller
29 Chester Bailey
by Joseph Dougherty SPONSORED BY MINA GOODRICH & LAWRENCE DEAN DIRECTED BY RON LAGOMARSINO
SETTING & TIME: 1945, A HOSPITAL ON LONG ISLAND.
CAST: CHESTER BAILEY SCENIC DESIGN TECHNICAL DIRECTOR CASTING DIRECTORS EPHRAIM BIRNEY LUCIANA STECCONI MONIQUE ROBINE PAT MCCORKLE, CSA KATJA ZAROLINSKI, CSA DR. PHILIP COTTON COSTUME DESIGN STAGE MANAGER REED BIRNEY BETH GOLDENBERG TINA SHACKLEFORD FIGHT DIRECTOR AARON ANDERSON LIGHTING DESIGN STAGE MANAGEMENT JOHN AMBROSONE INTERN CASSIE CORMIER SOUND DESIGN BRENDAN AANES
Run time: 90 minutes. Performed without intermission. Concessions located in Copper Canyon. Warnings: mature themes and language.
An Interview with the Playwright Researched, interviewed, and edited by Sharon J. Anderson, CATF Trustee/Professional Story Listener and Creative Director JOSEPH DOUGHERTY www.sharonjanderson.com
CATF: About storytelling in Chester Bailey I would not have a career if I hadn’t had parents who let me indulge you said, “I believe part of what makes us in Rod Serling’s “Twilight Zone”. There are 160+ episodes, but the who we are is a mixture of what we remember greatest one I remember is one of the hour ones called, “On and what we imagine.” Thursday We Leave For Home.” It’s about a colony that takes off and lands on a planet that was supposed to be their new home, Joseph Dougherty: Storytelling is vital but it didn’t work out at all. So, for 30 years, they keep trying to and finding our narrative is vital. In The get off. To hold the community together, the leader of the group, Power of Myth, Joseph Campbell observed played by James Whitmore, tells stories about what the earth was how evolution gave humans a short gestation period which, in like. Then one day, the rescue ship shows up, and he has no function. turn, gives us a longer childhood. We have to learn a lot about who we are, where we’re going, and what things mean. Childhood The real impact of “Twilight Zone” on me was cumulative – the is the time when the imagination is looking for what to latch on point of view, the language, the morality. The most important to, and what it latches on to are stories or facets of narrative that lesson I learned from the show was that there is such a thing as we experience. a writer. When Rod Serling introduced each episode, he also introduced the concept of storyteller as a career. There he was, What stories did your imagination latch on to when you were a kid? an adult in a grown-up suit, inviting us to sit by the campfire. Writing
continued on page 34 31 STUDIO 112 ANTONIO’S SONG
ANTONIO’S SONG I was dreaming of a son
by Dael Orlandersmith and Antonio Edwards Suarez SPONSORED BY C.M. & STEPHANIE PARTRIDGE | COMMISSIONED BY JOSHUA SHERMAN PRODUCTIONS, LLC DIRECTED BY MARK CLEMENTS A WORLD PREMIERE MOVEMENT DIRECTION/CHOREOGRAPHY BY ALEXANDRA BELLER
SETTING & TIME: NEW YORK. NOW.
CAST: ANTONIO SCENIC DESIGN TECHNICAL DIRECTOR ANTONIO EDWARDS LUCIANA STECCONI MONIQUE ROBINE SUAREZ COSTUME DESIGN STAGE MANAGER PEGGY MCKOWEN LINDSAY EBERLY LIGHTING DESIGN STAGE MANAGEMENT JOHN AMBROSONE INTERN LILIAN MCGRAIL SOUND DESIGN & COMPOSITION CASTING DIRECTORS Supported in part by grants ANDRE PLUESS PAT MCCORKLE, CSA from the National Endowment for the arts and the KATJA ZAROLINSKI, PROJECTIONS DESIGN Dramatists Guild Foundation. CSA JARED MEZZOCCHI Run time: 90 minutes. Performed without an intermission. Concessions located in Copper Canyon. Warnings: mature content and language.
Researched, interviewed, and edited by Sharon J. Anderson, CATF Trustee/Professional Story Listener and Creative Director An Interview with the Playwright www.sharonjanderson.com DAEL ORLANDERSMITH AND ANTONIO EDWARDS SUAREZ
CATF: Why is this play called Antonio’s Song/I How did you two hook up? was dreaming of a son and not Antonio’s ANTONIO EDWARDS SUAREZ: We were in the same space one Story/I was dreaming of a son? day doing some work, and Dael came on stage. I had never seen DAEL ORLANDERSMITH: There’s her work before, and I thought, “I want to work with this woman something rhythmic about how Antonio somehow, some way.” So I followed her work over the years and moves throughout the world. Songs do came to appreciate how she can write across the board for men something that’s very universal – they and women, regardless of race or socio-economic class, and really manage to capture a moment. You can be on the other side of the show empathy toward human beings. world listening to Piaf, and you can get what she is saying even Josh Sherman, a good friend of mine, got us in touch, and Dael though you don’t understand the language, because it transcends and I met, talked, and she was very interested in my story. Because language. Songs can zero in on the collective unconscious in it’s my story and it’s personal, Dael has been very good at making certain ways. sure I was being taken care of. She’s also been very good at pushing the envelope when necessary. “I was dreaming of a son” is a way to think of men being dreamy, liquid, and soft.
continued on page 35 33 STUDIO 112 Joseph Dougherty interview continued from page 31
JOSEPH was a thing you could do for a living. And if infection. I write six days a week, long you did it well, with generosity, craft and days that often run till bedtime; and the appropriate pride, what you wrote might books are different from what came DOUGHERTY endure. before in more ways than age. I sleep long nights with few hard dreams, and PLAYWRIGHT, CHESTER BAILEY The structure of this play is two woven- now I’ve outlived both my parents. Even together monologues by the doctor and his my handwriting looks very little like the patient that address recollected moments as script of the man I was in June of ’84. Joseph Dougherty’s Chester Bailey, produced at well as the present time. Cranky as it is, it’s taller, more legible, A.C.T. in San Francisco was selected as the It’s a structure that a lot of people found very with more air and stride. It comes down “Outstanding World Premier Play” at the Theatre challenging when it was just a thing on paper. the arm of a grateful man. Bay Area Awards. His play Digby, presented by Ron Lagomarsino (director of CATF’s When you are really flying and really writing, Manhattan Theatre Club, was nominated for production of Chester Bailey) immediately saw you are not writing so much as the pen is there Drama Desk and Outer Critics Circle awards. He the potential for it and took it to the American to catch it. Conservatory Theater (ACT). wrote the libretto for the Tony Award winning This is the second production of this play. Ed musical My Favorite Year, produced at Lincoln Chester Bailey looks the way it does because Herendeen has said that, “second productions Center Theatre. Winner of an Emmy Award and I started writing it at a time when I was able are sometimes harder to get than first.” The Humanitas Prize for his work on the to write without worrying about my end result. I could simply write and see what I came up I would say that they are always harder to get groundbreaking television series with. The only real conscious decision on my than the first, and I don’t quite know why, which “thirtysomething,” he is also the author of several part, having written a lot of television over the is why I’m really happy to have this production. HBO movies, including the Emmy winning occult- past few years, was I wanted to make sure This production will benefit from everything noir mash-up “Cast a Deadly Spell.” He has there were no restrictions on the language. I we learned at ACT. One of the things we contributed as a writer and director to popular wanted to go for a more compact language. I learned is that audiences are more trusting series including “Judging Amy,” “Once and wanted to stimulate the imagination. I, selfishly and smarter than we thought. Because the Again,” “Saving Grace,” and “Pretty Little Liars.” or altruistically, wanted to specifically know structure is a little odd, we were concerned some people would be leaving the theater with that people understand these two characters, images that would stay with them. so there’s a lot of information that you get Is that what brought you back to live theater before they actually meet each other. How will after so much success in television and film? audiences take this information in? Will they become impatient? It never came up with the Chester Bailey was like a gateway drug for me audience. to come back to theater. What’s happened since then is that I’ve gotten access to a kind Why set the play in 1945? of writing and storytelling I either did not have In one sense, ruthlessly, period plays don’t access to earlier or had not quite developed. date so it will remain relevant because it is not dependent upon contemporary references or The best writing a writer does is writing for language. In another sense, I wanted to set it which he feels the least responsibility for. I in a time when there were less technological always go back to the last paragraph in A Whole solutions to the medical issue, i.e. no computer New Life: An Illness and A Healing, the cancer information. I wanted to remove all the medical memoir by Reynolds Price [Dougherty reads technology over the last several decades so aloud the following]: people think it would really have been better I’ve long since weaned myself from all if Chester had died. drugs but a small dose of antidepressant, an aspirin to thin my blood, an occasional scotch or a good red wine, and a simple continue reading the interview online: acid to brace my bladder against catf.org/interview-dougherty
34 Dael Orlandersmith and Antonio Edwards Suarez interview continued from page 33
You’re both storytellers. What was it like to thing she said was, “You have very small DAEL collaborate? How did the process actually work? hands.” It didn’t offend me. This is who I am, and she knows that in a gentle way, AES: I would write some material, and Dael whereas within the community, it’s not would write some material. We would read it ORLANDERSMITH known in a gentle way. In the play, we’re every few months to see what’s working, then examining what it means when somebody go back to the drawing board and write some PLAYWRIGHT, ANTONIO’S SONG/ calls you out on your size, calls you out on more. Dael was very good at pushing me in having a light voice, being a man. I WAS DREAMING OF A SON terms of, “No, this is not clear. This is not good enough.” It’s been a really good back and forth. Dael, did your turbulent childhood influence Dael Orlandersmith previously collaborated with the your writing of this play? Goodman on Stoop Stories, which she first performed in DO: And it’s been good on my end. 2008, at The Public Theater’s Under the Radar Festival DO: That’s within this play. That’s what I and the Apollo Theater’s Salon Series. Washington, DC’s The format of the words in this play is fascinating: wanted to look at. For example, we don’t Studio Theatre produced its world premiere in 2009. In 3,600 lines, just 50-60 words per page. It reads take children very seriously. The sins of the 2012/13, Ms. Orlandersmith wrote and performed a solo like a poem, a song. play called Black ‘n Blue Boys/Broken Men, which was father, the sins of the mother also play into commissioned by the Goodman Theatre and co-produced DO: That’s the way I write. What we tried to Antonio’s Song. Mostly, we wanted to look and performed in by both Berkeley Rep and the Goodman do on the page is create a sense of music, at what masculinity means: what does it Theatre. Her play Horsedreams was developed at New mean in terms of coming from Brooklyn, Dramatists and workshopped at New York Stage and Film poetry, and dance. Company, and was performed at Rattlestick Playwrights what does it mean in terms of men of color, Theater. Bones was commissioned by and premiered at The spacing reminds me a lot of the work of the what does it mean if a man is small? Is a the Mark Taper Forum. Ms. Orlandersmith premiered The experimental writer/novelist Carole Maso, who small man not really a guy because our Blue Album, in collaboration with David Cale, at Long uses a lot of white space between lines. perception is that men are big and strong? Wharf Theatre. Yellowman was commissioned by and premiered at McCarter Theatre in a co-production with DO: Because that’s what Maso does, makes In his article, “Blackness as a Lens,” [New The Wilma Theater and Long Wharf Theatre. She is a up her own language, as does another Pulitzer Prize finalist and Drama Desk Award nominee York Times, 4/28/19], Wesley Morris writes, for Outstanding Play and Outstanding Actress in a Play wonderful writer Max Porter in his novel Grief “The thrill of this generation of black for Yellowman in 2002. The Gimmick, commissioned by Is the Thing with Feathers, which is now a play. playwrights is that they’ve harnessed the true McCarter Theatre, premiered in their Second Stage I noticed that there is a lot of air between the power of theater. It’s their sense of danger, OnStage series in 1998 and went on to great acclaim at lines because what Porter is doing is a fusion Long Wharf Theatre and New York Theatre Workshop; their belief in risk that may explain why none Ms. Orlandersmith won the Susan Smith Blackburn Prize between theater and novel. of them has yet made it to Broadway. They for The Gimmick in 1999. Her play Monster premiered at don’t give a damn about your comfort.” New York Theatre Workshop in November 1996. Ms. Antonio, you’re going to speak and dance... Orlandersmith has toured extensively with the Nuyorican Poets Café (Real Live Poetry) throughout the United AES: . . . and move. I’m an actor who moves DO: That’s a sweeping statement. The expectation in theater of color is to write States, Europe, and Australia. Yellowman and a collection well. What the piece does with the language of her earlier works have been published by Vintage is help me examine those sides of men that about identity. I don’t wake up and think I’m Books and Dramatists Play Service. Ms. Orlandersmith aren’t explored in our community. How do we a black woman. I know that I am. Antonio’s attended Sundance Institute Theatre Lab for four Song is about someone of mixed-race summers and is the recipient of a New York Foundation move? How do we move in our space? How for the Arts Grant, The Helen Merrill Award for Emerging do we move with each other? When we want descent, but it also deals with universalism. Playwrights, a Guggenheim, and the 2005 PEN/Laura to start to break away from that, what does Sometimes people don’t know what to do Pels Foundation Award for a playwright in mid-career. that mean? With Dael’s words, how can I with that because they are going to make it She is the recipient of a Lucille Lortel Foundation into a “race” play. It goes beyond those things. Playwrights Fellowship and an Obie Award for Beauty’s explore that space? How do I explore this new Daughter. In 2014, Ms. Orlandersmith wrote and space that I want to go into? It becomes a This generation of playwrights is doing performed a solo memoir play: Forever, which was done form of a song within my body. at the Kirk Douglas Theatre in Los Angeles; in 2015, it some great work. I know many who say that was performed at the Long Wharf and New York Theatre So you moved after you got the words, or she they want to write about other things, but Workshop; in 2017, it was performed at Dublin’s Abbey watched you move and wrote the words? How they’re not being allowed to. That’s part of Theatre. Ms. Orlandersmith wrote and performed Until the oppression as well. the flood, which was commissioned by St Louis Rep. In did this work? 2018 it was performed at Rattlestick Theatre in New York, Milwaukee Rep, the Goodman, and ACT Seattle. Her AES: I knew I wanted this to be something with continue reading the interview online: commissioned play Lady in Denmark opened at the movement, so Dael listened and watched me catf.org/interview-orlandersmith-suarez Goodman Theatre in the fall of 2018. In the spring of and watched me and watched me. The first 2019, she performed Until the Food at Portland Centerstage, and in the summer of 2019, will perform the play at the Galwayarts Festival. She is currently working on a book of autofiction. 35 Play Sponsors
2019 SEASON PLAY & SINGLE PERFORMANCE SPONSORS
CATF’s wishes to acknowledge and extend a very special thank you to these play and single performance sponsors during the 2019 Season.
MY LORD, WHAT A NIGHT by Deborah Brevoort A WELCOME GUEST: A DEMENTED FAIRY TALE SPONSORED BY ED & HELEN MOORE by Michael Weller
SINGLE PERFORMANCES COMMISSIONED AND SPONSORED BY DEB WEISBACHER Sunday, July 14 2:30 p.m. Sponsored by The Residents of The Woods Hedgesville, WV
Merrie Blocker, Lloyd & Shirley Buckner, Bonnie Bundy, Rosalee Chiara, WRECKED by Greg Kalleres Joyce Cutlip, Donna J. Dean & John L. Meyer, Isabel P. Dunst, Alan & SPONSORED BY JANET & BRUCH BUNCH Cynthia Kehr, Beverly McNeill, Sallye Perrin & John von Briesen, Terry Richards & Martin Jepsen, Audrey Rowe, Emma J. Stokes, George & Judy Tenley, Rose H. Wayland, and Ramona Zammetti CHESTER BAILEY by Joseph Dougherty Wednesday, July 17, 2:30 p.m. Sponsored by Martha Moss SPONSORED BY LAWRENCE DEAN & MINA GOODRICH Wednesday, July 17, 8:30 p.m. Sponsored by Kathy Day & Annette Totten ANTONIO’S SONG / I WAS DREAMING OF A SON Saturday, July 27, 8:30 PM Sponsored by Richard Krajeck & Anita Difanis by Dael Orlandersmith & Antonio Edwards Suarez SPONSORED BY C.M. & STEPHANIE PARTRIDGE
SUPPORT GROUP FOR MEN by Ellen Fairey SPONSORED BY JOHN PHILIP & PATTY BAIN BACHNER, MARIO DURHAM & CRAIG HORNESS, AND R.B. SEEM & STEPHANIE MATHIAS
SINGLE PERFORMANCE Saturday, July 6, Opening Night 8:30 PM Sponsored by Marjorie Weingold
36 HBP
37 About the 2019 Company
THE 2019 COMPANY
BRENDAN AANES** SOPHIA ADSIT SOUND DESIGNER CHESTER BAILEY FESTIVAL CHARGE ARTIST Recently: Fire in Dreamland at The Public Theater (sound design Sophie is a freelance Scenic Artist currently based in New York and original music), Balls with One Year Lease (Drama Desk City. A Florida native, Sophie attended Wagner College where Nomination), Catch as Catch Can with Page 73, Wild Abandon at she earned a BA in Theatre with a concentration in design and Irish Rep, {my lingerie play} at Rattlestick, Beep Boop at HERE, technology. Selected recent work includes The Sean O’Casey Zurich with Colt Coeur, and Cowboy Bob at Ars Nova. Regional: Season (Irish Repertory Theatre), Eddie and Dave (Atlantic Theater Seascape, Heisenberg, The Unfortunates, John, and Chester Company), and AWAKE (The Barrow Group). This is her fourth Bailey at American Conservatory Theater, Curious Incident at season with CATF. Kansas City Rep (sound design and original music), The War of The Roses, The Glass Menagerie and Othello at California Shakespeare Theater,The Music Man at Sharon Playhouse. SCOTT AIELLO* ACTOR SUPPORT GROUP FOR MEN Scott Aiello is an NYC based actor and DEB ACQUAVELLA* writer. International: Eddie Carbone in A PRODUCTION STAGE MANAGER View From the Bridge (The Gate, Dublin, MY LORD, WHAT A NIGHT / SUPPORT GROUP FOR MEN Ireland). Off-Broadway: Stalking the Deb is delighted to be back at CATF for her fourteenth season. Bogeyman (New World Stages), Anna No stranger to new play festivals, Deb spent fifteen seasons Christie (The Wild Project). Regional: The working as the Production Stage Manager of Actors Theatre of Elaborate Entrance of Chad Deity (Asolo Rep, FL). Perfect Louisville, where she stage managed dozens of premieres in the Mendacity (Steppenwolf, Chicago). TV/Film: “Billions” (HBO, Humana Festival of New American Plays. Other regional credits recurring), “The Good Fight” (CBS, recurring), “Blue Bloods” include Baltimore’s Center Stage, Mala by Melinda Lopez at The (CBS), “God Friended Me” (CBS), “The Last O.G.” (TBS), “The Huntington Theatre & The Guthrie Theatre, Trinity Repertory Good Cop” (Netflix). He is the narrator of over 100 audiobooks. Company, Studio Arena Theatre, The Shakespeare Theatre Scott’s first full-length play, Bernie and Mikey’s Trip to the Moon Company, Barter Theatre, and Breath and Imagination by Daniel received its Off-Broadway debut at 59E59 Theaters in the fall of Beaty at Boston’s Paramount Theatre. On Broadway, Deb was last year. Training: Juilliard. scottaiello.com. PSM of the long-running Metamorphoses at Circle in the Square, Master Harold… and the boys, and Jane Eyre – the Musical. Off- Broadway credits include Radio Macbeth, directed by Anne Bogart; Falsettos at Playwrights Horizons; The Thing about Men directed by Mark Clements at the Promenade Theatre, and Metamorphoses at Second Stage Theatre. In the off season, Deb is the Head of the Stage and Production Management Program in the Performing Arts Department at Emerson College in Boston. Working professionally at CATF with her students is the best of both worlds!
This Theater operates under an agreement between the League Of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. *Actors’ Equity Association **United Scenic Artists ***Stage Directors and Choreographers Society
38 American Conservation Film Festival
40 Conservation-focused films Discussions with filmmakers & conservation experts Filmmaker workshop Youth education OCTOBER 4–6, 2019 programs ENCORE WEEKEND: OCTOBER 11-13 & video contest SHEPHERDSTOWN, WEST VIRGINIA Screenings & events throughout the year FOR MORE INFO: CONSERVATIONFILMFEST.ORG A Taste of Paris IN SHEPHERDSTOWN
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Bistro 112 JOHN AMBROSONE** JUAN ARTURO* LIGHTING DESIGNER CHESTER BAILEY / ANTONIO’S SONG ACTOR SUPPORT GROUP FOR MEN CATF: A Late Morning (In America) With Ronald Reagan; Berta Juan Arturo was born in Miami, FL and Berta;The Niceties; Wild Horses; Not Medea; On Clover Road; raised in New York City. Arturo received his Everything You Touch; Uncanny Valley; and more. Broadway: The BFA from Rutgers University in New Jersey. Old Neighborhood. Off Broadway: Uncanny Valley (59E59 St. Since then he has gone on to star in Off- Theatres), Nocturne (New York Theatre Workshop). US Tour: The Broadway productions including The King Stag. International Designs: Sao Paulo, Brazil; Strasbourg, Oregon Trail (Women’s Project Theatre), France; Berlin, Germany, Tokyo, Japan; London, England; Leon, The Rivals (New York Classical Theatre), The Rafa Play (The Pool). Mexico; Singapore; Moscow, Russia; Taipei, Taiwan. Regional Theatre: He refuses to give himself any downtime and as such has American Repertory Theatre, Alley Theatre, Arena Stage, Brooklyn participated in numerous projects and workshops throughout Academy of Music, Capital Repertory, Clarence Brown Theatre, the city as well as making a co-star appearance on the hit CBS Coconut Grove Playhouse, Hartford Stage, Long Wharf Theatre, series “Blue Bloods.” This is his first time at CATF and in West McCarter Theatre, Merrimack Repertory, People’s Light & Theatre, Virginia. He is incredibly thankful for this amazing opportunity. Philadelphia Theatre Company, PlayMaker’s Repertory Company, Prince Music Theatre, Ridge Theatre, Royal George Theatre of Chicago, Trinity Repertory Company, Virginia Stage Company. KATELIN ASHCRAFT Professional Affiliations: John is a member of the United Scenic ASSOCIATE PROPS SUPERVISOR Artists Local 829, United States Institute for Theatre Technology. Katelin Ashcraft lives in Louisville, Kentucky where she is the Teaching: Head, MFA/ BA Lighting Design at Virginia Tech. Assistant Prop Master for Actors Theatre of Louisville. This year marks her sixth summer with CATF and she could not be happier working alongside friends and colleagues, old and new, in AARON ANDERSON*** producing this year’s six captivating worlds. Katelin earned her FIGHT DIRECTOR BFA in Theatre Production, Design/Technology with an emphasis Aaron is thrilled to be returning to CATF – as it is his absolute is Scenic Design & Props from the University of Arizona in 2010. favorite place to pretend to beat people up. He is a former US She previously worked in her hometown of Tucson for three and Army explosive ordinance specialist and current university half seasons at Arizona Theatre Company, first as a soft-goods professor at Virginia Commonwealth University. He is artisan and electrics over-hire and then as their Assistant Prop internationally certified as a fight director with the Society of Master for two years. Recent production credits include Prop American Fight Directors and the British Academy of Stage and Master for: The Corpse Washer (ATL 2019 Humana Festival), Screen Combat and has taught at universities and theaters across Curious Incident of the Dog in the Night-time (ATL 2018), We the the United States and Europe, including the Banff Center for the Invisibles (ATL 2018 Humana Festival), and The Santaland Diaries Performing Arts, London’s City Literary Institute, the Denver (ATL 2018 & 2019). Special thanks to her incredibly supportive Center for the Performing Arts, London’s Italia Conti School of friends and family who embrace her crazy wonderful career path Performing Arts, Northwestern University, The University of with nothing but passion, empathy, and love! Illinois, North Carolina School of the Arts, and the University of Hawaii. Favorite shows at CATF include The Wedding Gift, Not Medea, On Clover Road, Everything You Touch, H2O, Heartless, DAVID BARBER** Modern Terrorism: Or They Who Want to Kill us and How We Learn SCENIC DESIGNER MY LORD, WHAT A NIGHT / to Love Them, Scott and Hem in the Garden of Allah, Barcelona, SUPPORT GROUP FOR MEN Captors, Gidion’s Knot, In a Forest Dark and Deep, Ages of The For CATF: The Cake; Memoirs of a Forgotten Moon, Lidless, Fifty Words, History of Light, Farragut North, The Man; Everything is Wonderful; Byhalia, Overwhelming, Stick Fly, and Pig Farm. Aaron is a member of the Mississippi; The Wedding Gift; 20th Century Society of Stage Directors and Choreographers union. Blues; Everything You Touch; On Clover Road; and more. New York/Off-Broadway: The Bonfire of the Vanities (world premiere opera),’Tis Pity She’s a Whore, Women Beware Women, The Most Deserving (world premiere), The Orphans’ Home Cycle (world premiere nine play
40 Devonshire Arms Writers Conference at Shepherd University
After Theater Join Us for Dinner
Relax with a special cocktail and enjoy a cozy British pub atmosphere
The Devonshire Arms Cafe and Pub 107 S. Princess Street • Shepherdstown 304 876 1977 cycle), TOKIO Confidential(world premiere musical), The Vandal Hong Kong, Oslo, Cyprus, St. Petersburg, and Poland. Alexandra (world premiere), A Simple Heart (world premiere). Regional: South holds a BFA in Dance, MFA in Dance and CMA (Certified Movement Coast Repertory, Denver Center, Hartford Stage, Baltimore Center Analyst) in Laban Movement Analysis and Bartenieff Fundamentals. Stage, American Repertory Theater, Pittsburgh Public, Cleveland She is on the faculty of Princeton University, Montclair State Public, Alabama Shakespeare, Two River Theater Co., Barrington University’s graduate program, and frequently teaches at Barnard Stage Co., Idaho Shakespeare, Great Lakes Theater, Jacobs Pillow, College, Rutgers University, The New School, and Alvin Ailey others. Television: NBC Universal Lifestyle Networks, “E News!” Dance Center at Fordham University. “The TODAY Show,” “Football Night in America” (Art Director), “The King’s Horsemen” (Production and Costume Designer), “Fashion Mega Warriors,” “Woodstock ’99” (Production Designer). Film: “Day EPHRAIM BIRNEY* 39,”“All Relative,” “Also Lies,” “Double Header” (Production and ACTOR CHESTER BAILEY Costume Designer). Awards: Drama Desk, American Theatre Wing Ephraim is making his CATF debut in Henry Hewes Award, Connecticut Critics Circle, Denver Ovation Chester Bailey. If you’re from the area, you Award, Denver Critics’ Circle, Westword’s Best of Denver List, Prague may have seen him recently as Charlie in Quadrennial ’99. Faculty member at Kean University Theatre DC’s Studio Theatre production of Conservatory, Union, NJ. davidmbarber.com Admissions. Off Broadway credits include Good Person Of Szechuan at LaMama MEGAN BARTLE* Theater and the Public Theater. Numerous other NY off-off broadway credits include The Rock Garden at the Drama League ACTOR WRECKED Directorfest, An Intimate Evening with Typhoid Mary at the New Off-Broadway: Desire (59E59), Of Mice and Ohio Theater, and Marla and Her Prayers at New Perspectives Men (The Acting Company), As You Like It Company. Ephraim’s TV credits include “Gotham,” “Are We There (New Victory). Regional: Guthrie Theater, Yet?” and “The Americans.” He writes and directs sketch comedy, Theater of Note, New American Theater which can be seen on his new Youtube Channel, Bellhop Project, Nebraska Shakespeare Festival, Productions. He is excited and terrified to work with his dad. Tennessee Williams Festival. Film: “Kill Me Deadly,” “The Sonnet Project,” and “My Women.” Megan has a BFA in Acting from University of Minnesota/ Guthrie Actor Training REED BIRNEY* Program. ACTOR CHESTER BAILEY Reed Birney made his Broadway debut in ALEXANDRA BELLER*** 1977 in Albert Innaurato’s Gemini. He has appeared on Broadway three more times, MOVEMENT DIRECTOR/CHOREOGRAPHER ANTONIO’S SONG Picnic (2013); Casa Valentina (2014), for Alexandra has been Choreographer for Sense and Sensibility which he was nominated for a Tony; and (Sheen Center, Judson Gym, Folger Shakespeare Library, American The Humans, for which he won the Tony. Repertory Theatre, Portland Center Stage), for which she won a Of the Off Broadway roles he has created, his favorites include Helen Hayes Award, Lortel Nomination, and IRNE nomination for two by Annie Baker: Circle Mirror Transformation and her Best Choreography. She choreographed the Off Broadway musical, adaptation of Uncle Vanya. He created the role of Ian in the New The Mad Ones (Kerrigan/ Lowdermilk), (59E59); Bedlam’s Peter York premiere of Sarah Kane’s Blasted. On television, he has Pan (Duke Theatre); Two Gentlemen of Verona (Hudson Valley appeared in “House of Cards” as Vice President Donald Blythe, Shakespeare Festival); As You Like It (Hudson Valley Shakespeare HBO’s “High Maintenance,” “Girls;” DC Universe’s “Titans;” and Festival, Folger Shakespeare Library), How to transcend a happy NBC’s “The Blacklist” as Tom Connolly. This fall he will be seen marriage by Sarah Ruhl (Lincoln Center Theatre); The Young Ladies on Apple TV’s new series “Home Before Dark,”as well as the of… (Taylor Mac); and Chang(e) (Soomi Kim at HERE Arts). Her Netflix movie, “Lost Girls.” He will also be seen this October in critically acclaimed international performance career includes 7 the Blumhouse/ Universal film, “The Hunt.” years with the Bill. T. Jones/Arnie Zane Dance Company, and projects with Martha Clarke, and John Turturro. Her choreography has been presented at theatres throughout the US and in Korea,
42 Gallery at 105
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43 L L I
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S THERESE BRUCK ROLANDO CHUSAN* COSTUME DESIGNER ACTOR SUPPORT GROUP FOR MEN MY LORD, WHAT A NIGHT / SUPPORT GROUP FOR MEN Rolando Chusan is a New York based actor Therese is delighted to return for her 11th season with CATF, who has performed throughout stage, film, where she has designed The Cake, Memoirs of a Forgotten Man, TV and commercials. He is a graduate of Everything Is Wonderful, We Will Not Be Silent, The Second Girl, Fiorello H. LaGuardia High School of the 20th Century Blues, On Clover Road, The Full Catastrophe,and Performing Arts, Hunter College, and more. Therese designed earlier works like Coyote on a Fence, Maggie Flanigan Studio. Recent credits Betty the Yeti, and The Nose. Currently Therese is the Costume include Amazon’s “Modern Love,” Columbia University’s Lucha Director for NYU’s Undergraduate Drama program at Tisch, and Libre, and Labyrinth Theater Company’s 2019 Barnyard Series. previously was the Costume Manager for the internationally Rolando is excited to make his CATF premier with such a stellar renowned Blue Man Group. New York credits include: The Sum group of artists! of Us (with Tony Goldwyn), Demonology (with Marisa Tomei), Arts and Leisure (directed by Joanne Akalitis), Down the Road (with Eric Stoltz), Veins and Thumbtacks (directed by Ethan Hawke), A MARK CLEMENTS*** Life in the Theater (with F. Murray Abraham), The Suffering Colonel DIRECTOR ANTONIO’S SONG (directed by Matthew Broderick). Regional designs include Picnic Mark is an award-winning international theater director whose (with Blythe Danner, Jane Krakowski, Gwyneth Paltrow, and Tony work has appeared in over 100 major theaters throughout Europe Goldwyn) and Moonstone (with James Naughton), both at and the United States. He began his tenure as Milwaukee Rep’s Williamstown Theater Festival, and Always Patsy Cline (with Sally Artistic Director with the 2010/11 Season by bringing the musical Struthers) in Las Vegas. Therese most recently won an IPA grant to the mainstage, starting a tradition that is now the highlight from NYU to create “The Real Cost Of Clothing,” an interactive of every season. His Milwaukee Rep directing credits include the sewing installation to coincide with the Triangle Shirtwaist Factory world premiere of One House Over, world premiere adaptation Fire Anniversary in March. Therese is delighted to return to CATF, of the current A Christmas Carol, Guys and Dolls, The Glass where theater artists are supported, theater magic happens, and Menagerie, Man of La Mancha, American Song, Of Mice and Men, the collaborative fireworks light up the stage Dreamgirls, world premiere of Five Presidents, The Color Purple, The History of Invulnerability, End of the Rainbow, Ragtime, SHELLEY BUTLER*** Clybourne Park, Assassins, Othello, Next to Normal, Death of a Salesman,Bombshells, and Cabaret. Some of his New York and DIRECTOR WRECKED international work include the world premieres of Speaking in Shelley Butler’s recent productions include the world premieres Tongues, The Milliner, and Blunt Speaking, in addition to creating of Lucas Hnath’s A Doll’s House, Part 2 at South Coast Repertory, and directing the West End and UK National Tour of Soul Train. The Magician’s Daughter by Lila Rose Kaplan for Geva, and Human Prior to joining The Rep, Mark served as an Associate Artistic Error by Eric Pfeffinger for the Denver Center Theatre Company. Director for several UK theater companies including Moving Butler also recently helmed the Japanese premiere of Beautiful: Theatre Company, founded by Vanessa and Corin Redgrave. Most The Carole King Musical at the Imperial Theatre in Tokyo. She notably, Mark served as Artistic Director of the award-winning has developed over two dozen new plays and musicals at Derby Playhouse in the UK from 1992 – 2002, where he directed companies including Ars Nova, Primary Stages, E.S.T., WP over 40 productions. He has been nominated for an Olivier Award, Theater, Yale Repertory Theatre, Hartford Stage, South Coast several UK Theatre Awards, and has won three Barrymore Awards Repertory, Denver Center Theatre Company, Repertory Theatre from his time at Walnut Street Theatre in Philadelphia. He of St. Louis, Geva, New York Stage and Film, PlayPenn, currently serves on the National Advisory Board for the Lunt- Playwright’s Realm, New Dramatists, and the Lark. She spent Fontanne Fellowship Program at Ten Chimneys. two seasons as artistic associate in charge of new play development for Hartford Stage and three seasons as artistic associate for Great Lakes Theater Festival.
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Opera House in Shepherdstown, WV Business Organization of Shepherdstown JULIA COFFEY* THERESA M. DAVIS ACTOR SUPPORT GROUP FOR MEN / WRECKED HOSTEL YOUTH! DIRECTOR Off Broadway: Perfect Arrangement; London Theresa M. Davis is an Artist-Educator in 3-D (Dramaturg-Deviser- Wall (Drama Desk Nomination); The Widowing Director) working to expand the boundaries of creating culturally of Mrs. Holroyd (Drama League Nomination). specific work in academic institutions and beyond. Theresa Credits include: Olney Theatre: Labour of collaborated as a Dramaturg with the Contemporary American Love (Helen Hayes Nomination); The Theater Festival’s productions of The Ashes Under Gait City and Shakespeare Theater Company: Beaux Dead And Breathing. Tenured at three different institutions, Stratagem, Merchant of Venice, The Panties, The Partner and The Theresa has taught at Kalamazoo College, West Virginia University Prophet; Hudson Valley Shakespeare Festival: Richard II (Richard and the University of Virginia where she joined the faculty in II); Studio Theater: Hedda Gabler (Hedda); Baltimore Center Stage; 2007 as an Associate Professor of Cross Cultural Performance. Barrington Stage; ACT; The Guthrie Theater. She is a former member of the Board of Directors for the University and Resident Theatre Association (U/RTA). As a Director she has also enjoyed Guest Artist residencies at TOM COINER* Macalester College and Purdue University. Her directing credits ACTOR SUPPORT GROUP FOR MEN / WRECKED include The Colored Museum, The Miser, A Piece of My Heart, Flyin’ West, The Canterbury Tales, Twelfth Night, Mo Pas Connin, for colored Tom is thrilled to be returning to CATF for girls who have considered suicide when the rainbow is enuf, Seven his second season. His last CATF Guitars, The African Company Presents Richard III, Day of Absence, appearances were On Clover Road and The and Every Tongue Confess. Full Catastrophe. Theater: God Said This, Primary Stages; God Said This, Humana Festival; The Invisible Hand, Milwaukee Rep; VICTORIA DEIORIO*** Good Men Wanted, NY Stage and Film; Silent Sky, Merrimack Rep; Both Your Houses, The Little Foxes, The Great Society, Our Betters, SOUND DESIGNER MY LORD, WHAT A NIGHT / SUPPORT GROUP FOR MEN Asolo Rep; Private Lives, Playmakers Rep; Perfect Wedding, Cape Victoria Deiorio is thrilled to be returning to CATF after designing Playhouse; The Book Club Play, Perfect Wedding, Geva Theatre; Memoirs of a Forgotten Man, The Cake, pen/man/ship, and The Beautiful Star, Triad Stage; The Little Prince, Comedy of Errors, Second Girl. Off-Broadway: 9 Circles (Sheen Center); A Christmas The Inspector General, Romeo & Juliet, Colorado Shakespeare Carol (St. Clements); Two Point Oh (Primary Stages), The Bluest Festival. On Screen: “It’s Bruno!,” “Law & Order SVU,” “Boardwalk Eye (Steppenwolf at The Duke Theatre); Cassie Chimera (Joe’s Empire,” “Person of Interest,” “The Night Of,” “Red Dead Pub at The Public); Arnie the Doughnut (NY Music Theatre Redemption 2.” Tom studied at Kenyon College and the National Festival); Ophelia (NYC Fringe Fest); Regional: Oregon Shakespeare Theatre Conservatory. tomcoiner.com Festival, The Goodman, Steppenwolf Theatre, Hartford Stage, Long Wharf Theatre, Court Theatre, Victory Gardens, LA Theatre Works, Center Stage Baltimore, Syracuse Stage, Geva Theatre, MONIQUE CUYLER Cleveland Playhouse, Cincinnati Play House, Delaware Theatre Company, Chautauqua Theatre Company, Indiana Repertory, FESTIVAL MASTER ELECTRICIAN American Players Theatre, Milwaukee Rep, Milwaukee Shakespeare, Monique Cuyler is from Colorado Springs, Colorado. She has been Birmingham Children’s Theatre, and many others. Film: “Thump,” working in the southwest corner of Colorado for four years. “The Interview,” and “One Sunday Afternoon” (We Make Movies), Monique is an electrician, master electrician, and lighting director and “Use Me Up” (Vicarious Films). She is the first woman to in Durango, Colorado. Monique recently graduated from Fort have been nominated for fourteen Joseph Jefferson Awards, Lewis College with a BA in Technical Theatre and Design with a winning seven, and she has received two After Dark Awards and focus on lights and sound. Monique received a Broadway World a SALT award. Victoria is the head of Sound Design at DePaul Denver Nomination for Best Lighting Design of a Play for a University. victoria-sound-design.com Christmas Carol.
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Skinner Law Firm Bridge Gallery LORI M. DOYLE* LINDSAY EBERLY* STAGE MANAGER WRECKED / A WELCOME GUEST STAGE MANAGER ANTONIO’S SONG It’s Lori’s 11th CATF season (22 shows, plus CATF’s Uncanny Valley CATF: The Cake, Memoirs of a Forgotten Man, The Niceties, The in NYC) and she’s ever pleased and honored to be a part of this Second Girl, pen/man/ship, WE ARE PUSSY RIOT, The Full wonderful company. Her most recent theatrical credits are Catastrophe, Dead and Breathing, The Ashes Under Gait City, Pamela’s First Musical at Two River Theater, and an updated Modern Terrorism, Scott and Hem in the Garden of Allah, The concert version of I Do! I Do! at York Theatre Company. Broadway: Insurgents, Ages of the Moon, Inana, The Eelwax Jesus 3-D Pop The Visit, You Can’t Take It With You, The Mystery of Edwin Drood Music Show. Baltimore Center Stage: Skeleton Crew, The Secret (revival), Fela!, Jane Eyre — the Musical, 1776, Say Goodnight Gracie, Garden, Pride & Prejudice, 4000 Miles, After the Revolution, It’s and 11 mainstage productions and numerous Gala events for The a Wonderful Life, Amadeus, Twelfth Night, A Civil War Christmas, Roundabout Theatre Company. Regional: multiple productions Animal Crackers, Beneatha’s Place, Clybourne Park, The at Actors Theatre of Louisville, Baltimore Center Stage, La Jolla Mountaintop, ...Final Strange Tale of E.A. Poe. ATL Humana Playhouse & Westport Country Playhouse; Hartford Stage, and Festival: Recent Alien Abductions. Hartford Stage: Queens For A The Huntington Theatre Company. Off-Broadway: 2econd Stage Year. NY: Paradise Blue, By the Way, Meet Vera Stark (Signature), Theatre Company, RTC @ The Laura Pels, The NY Shakespeare Tell Hector I Miss Him (Atlantic), Intractable Woman (PlayCo), and Festival, The Lambs Theatre Company, Circle Rep, and The Carnegie Hall’s West Side Story. American Jewish Theatre. Additional: 82+ Corporate & Special Events with 32 different production companies. JOSHUA FRACHISEUR JESSE DREIKOSEN FESTIVAL TECHNICAL DIRECTOR Josh is the Professor of Scenic Design at Northern State University, SCENIC DESIGNER WRECKED / A WELCOME GUEST and is happy to join CATF for his seventh year. Some of his recent Jesse is very excited to be back designing at CATF. Last season work includes serving as Technical Director for Idaho Shakespeare he designed the scenery for Thirst by C.A. Johnson and The Festival, the Great Lakes Theater Festival, and CATF’s 2014 Uncanny House On The Hill by Amy E. Witting. Previous CATF designs Valley. He has had the pleasure of designing scenery for Idaho include set and costume designs for Wild Horses by Allison Gregory Theater for Youth and Shakespeariance tours. He also served as and The Niceties by Eleanor Burgess. He also set designed Not the Scenic Designer for Great Lakes Festival’s outreach tours Medea by Allison Gregory and Uncanny Valley by Thomas Gibbons, Before the Storm and Seeing Red. Other theater credits include which opened at CATF and played Off-Broadway at 59E59 Technical Director for Glyn Maxwell’s premiere of Wolfpit and Theaters in New York City. He is currently the Head of Design and Technology at the University of Idaho. He received his MFA Broken Journey for the Phoenix Theatre Ensemble of New York. in Scene Design from Purdue University and a BFA in Theatre Josh served as touring Technical Director for Arkansas Repertory Design from Viterbo University in La Crosse, Wisconsin. He also Theatre, including the tour of Romeo and Juliet which was part designs for theaters such as The Alabama Shakespeare Festival, of the NEA’s Shakespeare in American Communities initiative. He Montana Shakespeare in the Parks, The Shakespeare Theatre of has also served as Professor of Theatre for West Virginia University New Jersey,The Texas Repertory Theatre Company,The Texas and Scenic Carpenter and Props Artisan for the daytime drama Shakespeare Festival, The Mint Theater Company, The Red Fern “As the World Turns”. Josh is blessed by the font of creativity and Theatre Company, The Ohio Theater, The Renaissance Theatre endurance of his daughter, Corina. The Cinnabar Theater, and The 6th Street Playhouse in Santa Rosa,California. He is currently the Vice-Commissioner of Education in the Scene Design & Technologies Commission for TONY GALASKA The United States Institute for Theatre Technology (USITT) and LIGHTING DESIGNER WRECKED / A WELCOME GUEST the National Chair of Design, Technology and Management for The Kennedy Center American College Theatre Festival. He has Tony Galaska is in his sixth season with CATF. Company design received both regional and national awards for his designs. credits: Thirst, The House on the Hill, Welcome to Fear City, We Will Not Be Silent, pen/man/ship, The Second Girl, World Builders, The Ashes under Gait City, and Dead and Breathing. Tony has worked professionally with companies such as The National Young Arts Foundation, Gable Stage, Zoetic Theatre Company, Wings Theatre Company, Metropolitan Playhouse, The Shakespeare Theatre of New Jersey (thirteen seasons), and The Texas
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Freedom’s Run Two Rivers Treads Shakespeare Festival (five seasons). Tony is currently Associate Production Assistant at Playwrights Horizons. Ryan is the recipient Professor of Lighting Design and Head of Design and Production of the 2019 USITT Clear-Com Award for Stage Management. He at Florida International University in Miami. He received his MFA received his BFA in Stage & Production Management from in Lighting Design from Purdue University, a BFA from The Emerson College. Endless gratitude to his mentor Deb and his University of Wisconsin Stevens Point, and an A.A. from The loving mother. University of Wisconsin-Waukesha. Tony is currently the Chair of Design, Technology, and Management for The Kennedy Center CHARLOTTE LA NASA American College Theatre Festival Region IV. ASSISTANT DIRECTOR WRECKED Charlotte La Nasa is a director and teaching artist from BETH GOLDENBERG** Hagerstown, MD, where she serves as the Theater Director for COSTUME DESIGNER WRECKED / CHESTER BAILEY Saint James School. After studying history and theater at Sewanee: The University of the South, she went on to intern at Beth Goldenberg is a New York based costume designer working the Eugene O’Neill Theater Center and New Dramatists. She has in theatre and opera. Her previous designs include Blueprints to been a guest director with the Shepherd University Contemporary Freedom (La Jolla Playhouse); Henry V, Queens For A Year Arts and Theater Department, where she directed Dear by Lilly (Hartford Stage); Frankenstein, The Christians (Dallas Theatre Houghton (2018) and The Tomb of King Tot by Olivia Dufault Center); The White Devil, The Changeling (Red Bull Theater); (2019). Charlotte also served as an Assistant Director with Circus: Wandering City (BAM Next Wave); Macbeth, the little match American Shakespeare Center Theater Camp in summer 2018, girl passion, Stabat Mater (Glimmerglass Opera); and La Susanna, and has directed readings at Anacostia Playhouse in DC. She is Don Giovanni, Carmen, Lucia di Lammermoor (Heartbeat Opera), thrilled to return to CATF! amongst other credits. She is an Associate Artist at Heartbeat Opera. She holds a BFA in Theatre Design from Boston University and an MFA in Costume Design from New York University. RON LAGOMARSINO*** bethgoldenberg.com. DIRECTOR CHESTER BAILEY Mr. Lagomarsino directed the world premiere of Chester Bailey PAUL MILLS HOLMES* at American Conservatory Theatre where it won several Theatre STAGE MANAGER MY LORD, WHAT A NIGHT / SUPPORT GROUP FOR MEN Bay Area Awards including Best Play and Best Production. He has also directed the premieres of Alfred Uhry’s Driving Miss Daisy and Regional: Twenty-seven seasons at Actors Theatre of Louisville; Last Night of Ballyhoo which garnered the Pulitzer Prize and Best Girlfriend at Kirk Douglas Theatre in Los Angeles; The Glass Play Tony respectively. For his production of Daisy and Christopher Menagerie, Betsey Brown, Indians, The Three Sisters at The Durang’s Laughing Wild, Ron won the Outer Critics Circle Award. McCarter Theatre Center. Broadway: The RSC’s Les Liaisons Other premieres include works by John Patrick Shanley, Beth Dangereuses, Smile, Oh! Calcutta! Off-Broadway: Little Shop of Henley, Jane Anderson, and Lisa Loomer. He directed Joseph Horrors, Steel Magnolias, Oil City Symphony. Additional Credits: Dougherty’s Digby and My Favorite Year, the latter with Lynn Ahrens Directed Little Shop of Horrors in Tel Aviv and Tokyo. Thirty-eight and Stephen Flaherty at Lincoln Center. He has developed new seasons at Pennsylvania’s Totem Pole Playhouse. works at NY Stage & Film, Sundance, the Eugene O’Neill National Playwrights Conference, and Ojai Playwrights Conference. His own RYAN KANE* play Jerome was a Finalist at the O’Neill, and he is a member of Ensemble Studio Theatre/LA’s Playwrights Unit. His TV credits ASSISTANT STAGE MANAGER include many movies and pilots including David E. Kelley’s “Picket MY LORD, WHAT A NIGHT / SUPPORT GROUP FOR MEN Fences” for which he won the Directors Guild of America Award. Excited to be returning for his fourth summer, Ryan’s previous His episodic works spans from “thirtysomething” and “My So-Called CATF credits include The House on the Hill, Thirst, The Niceties, Life” to “Nashville,” “Ally McBeal,” and twenty-five episodes of The Wedding Gift, and 20th Century Blues. Other credits include “Pretty Little Liars.” Ron is currently in pre-production to helm the productions with the Huntington Theater Company, the Boston film “Follow,” developing his pilot set in late-60s San Francisco Ballet, the American Repertory Theater Institute, and the NYC called “City by the Bay,” and readying his new play Love the Sinner Fringe Festival. Originally from just over the Potomac in Frederick, for the Road Theatre’s Summer Playwrights Festival in LA later MD, Ryan will be moving to New York in August to work as a this month. He resides in Los Angeles and New York.
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Four Seasons Books Dickinson & Wait Craft Gallery WADE MCCOLLUM* dramaturg for David Toney’s Frankenstein: Dawn of a Monster ACTOR A WELCOME GUEST (Virginia Commonwealth University). Shaun has worked at CATF for many years as the Assistant Director and Dramaturg for 20th Broadway: Wicked. London’s West End: It Century Blues and The Second Girl; We Will Not Be Silent; Happened in Key West, Off Broadway: Jersey Everything is Wonderful; and Thirst and The House on the Hill. Boys, Triassic Parq, Secondary Dominance Additionally, Shaun directed a staged reading of Silas House’s and as Ernest Shackleton in Ernest Family of Strangers and Denise Giardina’s Robert and Ted for Shackleton Loves Me at 2nd Stage (Norton CATF. Regionally, Shaun served as the New Play Dramaturg for award win and a Lortel Award Nomination Lucia DelVecchio’s play, Off the Rails at the Magnetic Theatre. in NYC). Broadway tour: Priscilla Queen of the Desert as Tick. TV: “Sydney Carton” opposite Clive Owen on Cinemax/HBO’s “The Knick,” and opposite Julianna Margulies on “Nightcap.” Other JARED MEZZOCCHI** credits: Gene in the world premier of Rob Askins’ The Carpenter, Puck in A Midsummer Night’s Dream, Prior in Angels in America, PROJECTIONS DESIGNER ANTONIO’S SONG Jake in A Lie of the Mind, Laucelot Gobbo in The Merchant of Venice, Jared Mezzocchi received his MFA in Performance and Interactive Charlotte/others in I Am My Own Wife, Dracula in Steven Dietz’s Media Arts at Brooklyn College. He is currently on faculty at Dracula, Don Pedro in Much Ado About Nothing, Batboy in Batboy University of Maryland, College Park, where he leads the projection the Musical (Drammy Award), Jeffrey in Jeffrey, Cousin Kevin in design track in the MFA Design program. He is a resident artist Tommy, The Narrator in Fly By Night, Crumpet in The Santaland at Woolly Mammoth Theater Company in DC and has directed Diaries, Emcee in Cabaret, (Dallas Fort Worth Theatre Critic’s award), and designed at theaters across the U.S. and in Europe including Hedwig in Hedwig And The Angry Inch (Ovation, Los Angeles Critics designing for Big Art Group, The Builders Association, Rob Roth, Circle, Drammy, and Garland Awards), and the Broadway web-series 3-Legged Dog, HEREarts Center, and UTC #61. Jared made his “Submissions Only” as series regular, Nolan Grigsby. off-broadway debut at Manhattan Theatre Club with his projection design in Vietgone, written by Qui Nguyen and directed by May PAT MCCORKLE, KATJA ZAROLINSKI Adrales. In 2012, he received the prestigious Princess Grace Award, the first projection designer to be honored with this national CASTING DIRECTORS theater award. In 2017, he received the first Lucille Lortel Award Casting, Pat McCorkle, (C.S.A.), Katja Zarolinski, (C.S.A.), McCorkle for the category of Outstanding Projection design (Vietgone, Casting LTD Current regional Theatre seasons: Barrington Stage, Manhattan Theater Club). In addition to the Lucille Lortel, he Pittsburgh Public, St. Louis Rep., Playmakers Rep., Olney Theatre, received a 2017 Obie Award and nominations for an Outer Critics City Theatre, Alley Theatre, Connecticut Rep., Etc. Broadway: Circle Award and a Drama Desk Award. In Spring 2017, Mezzocchi Over 50 productions including; On The Town, Amazing Grace, was accepted as a fellow to the MacDowell Colony. Most Recently, End of the Rainbow, The Lieutenant of Inishmore, Cat on a Hot Mezzocchi wrote and directed an adaptation of Oliver Jeffers’ Tin Roof, One Flew Over The Cuckoo’s Nest, Amadeus, She Loves Me, A Few Good Men. etc. Off-Broadway: Highlights; Party Face, book How To Catch A Star at the John F. Kennedy Performing Arts Clever Little Lies, Tribes, Our Town (Barrow Street),Freud’s Last Center. Mezzocchi grew up in New Hampshire, Where he returns Session, Toxic Avenger, Almost Maine, Driving Miss Daisy. Feature to every summer as Producing Artistic Director of Andy’s Summer films: “Senior Moment,” “Mike, Mike Tan,” “Year by the Sea,” Playhouse, an innovative children’s theater producing original “Premium Rush,” “Ghost Town,” “The Thomas Crown Affair,” “Die work by professional artists from across the country. Hard with a Vengeance,” “School Ties,” etc. Television: “Twisted,” Humans for Hack” (CBS), “Californication”(Emmy Nomination), “Max Bickford”(CBS), “Chappelle’s Show,” “Strangers with Candy,” LIZAN MITCHELL* “Sesame Street.” etc. mccorklecasting.com ACTOR MY LORD, WHAT A NIGHT Regional credits include: Richard III SHAUN MCCRACKEN (Shakespeare Theatre), The Tempest (The Old Globe), Dead and Breathing. Broadway ASSISTANT DIRECTOR, MY LORD, WHAT A NIGHT / A WELCOME GUEST credits include Electra, Having Our Say, and Shaun M. McCracken served as a research associate for Lynn M. So Long on Lonely Street. Off-Broadway Thomson on her workshop production of the musical adaption credits include Passage, The First Noel, of the Wilkie Collins novel, The Woman in White at the Tribeca Brownsville Song, Cell, The Hurricane Katrina Comedy Festival, Performing Arts Center. She was the new play and production Rosmersholm, For Colored Girls, Gum, Salt and Ma Rose. Regional
52 Museum of Fine Arts – Washington County Historic Shepherdstown Museum
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Brix 27 credits include Dead and Breathing (London, Liverpool, National LARRY PAULSEN* Black Theater, and CATF), Skeleton Crew (Trinity Rep, Alley ACTOR MY LORD, WHAT A NIGHT Theater), A Raisin in the Sun (Arena Stage, Helen Hayes Award), My Lord, What a Night (Premiere Stages), The Good Peaches Recent appearances include Alabama Story (Cleveland Play House), The House That Will Not Stand (Yale and Polonius in Hamlet at the Repertory Repertory, Berkeley Repertory, Victory Gardens), An Issue of Theatre of St. Louis, The Explores Club in Blood (Victory Gardens), The Last Fall (Crossroads Theater), Santa Cruz, and Don Jerry Geronte in Jeffrey Having Our Say (McCarter), Fabulation (Center Stage) and Woolly Binder’s new adaption of Moliere’s Scapino Mammoth, Pittsburgh Public Theater, TheaterWorks, Goodman, at Gulfshore Playhouse. Among other credits, Proposition Theatre, San Jose Repertory, Crossroads Theatre and he has performed with the Shakespeare Theatre in Washington DC, the Humana Festival. Film/TV credits include “Of Monsters and the Huntington Theatre, Denver Center Theatre Company, Gulfshore Men”, “Unbreakable Kimmy Schmidt”, “Detroit, Brooklynification”, Playhouse, Seattle Rep, ACT Theatre, Intiman Theatre, Santa Cruz “Deadbeat”, “We’ll Never Have Paris”, “Golden Boy, John Adams” Shakespeare, Alliance Theatre Company, La Jolla Playhouse, Kansas (HBO), “The Good Wife”, “Law & Order”, “The Human Stain”, “The City Rep, and the Cleveland Playhouse, as well as the South Coast Preacher’s Wife”, “Sesame Street” and “The Wire”. Rep, the Milwaukee Rep, Alliance Theatre Company, Arizona Theatre Company, Mark Taper Forum, Syracuse Stage, and Two River Theatre. In addition, he was a company member at the Oregon Shakespeare LEAH E. OTT Festival for seven seasons, appearing there in dozens of productions. Off-Broadway, he has been seen in The Winter’s Tale at Classic Stage BOX OFFICE MANAGER Company, Julius Caesar at NY Shakespeare Festival, and Swansong Leah E. Ott hails from Jefferson County, West Virginia. Leah is at the Lion Theatre. a graduate of the MA in Theatre Education program at the Catholic University of America, the BA in Theatre at Eastern Mennonite University. In undergrad, she earned an Irene Ryan nomination JOHN LEONARD PIELMEIER* for her portrayal of Antigone in Antigone and for her costume ACTOR MY LORD, WHAT A NIGHT design for Art. Leah has worked in applied theatre with The Wall Project, a devised project around peace and social justice, acting John Leonard Pielmeier began his acting across the tri-state region, theatre history and outreach in South career straight out of grad school, working Africa, Lesotho, and Ireland, and in theatre education, teaching at theatres including Actors’ Theatre of preschool – high school. Her favorite role is being the theatre Louisville, The Guthrie Theatre, Baltimore director at Liberty High School in Bealeton, VA where her students Center Stage, and the Eugene O’Neill produce 10 shows a season, including student-written productions. Playwrights’ Conference; he appeared as In 2018, the theatre department won Virginia’s VHSL state award Trigorin in The Seagull, Billy in The Collected Works of Billy the for their student-directed production of The Other Room. Kid, Cousin Lymon in The Ballad of the Sad Cafe, Billy in Billy Bishop Goes To War, and many others. In 1982, he decided to switch his creative focus to his writing, which includes Agnes of SARAH SUN PARK God, over 25 movies and miniseries, and most recently a stage adaptation of The Exorcist and a novel, Hook’s Tale (which he ACTOR A WELCOME GUEST has since adapted as a play to premiere in Houston next spring). Sarah Sun Park is thrilled to be making her He acted only occasionally in the intervening years, primarily in CATF debut! So many thanks to Ed Herendeen, plays and miniseries he wrote J.M. Barrie in Courage, Willi in Willi, and this incredible cast & creative team! Brother Cuthbert in The Pillars of the Earth, Gary Ridgway in The Sarah is a graduate of NYU Tisch’s New Studio Capture of the Green River Killer but recently decided to pursue on Broadway and Stonestreet Film Studios. acting once again. He’s been married to writer Irene O’Garden Credits include Fun Home (Tisch), Hair for almost 42 years. johnpielmeier.com (Berkshire Theatre Group), Mamma Mia! (North Carolina Theatre), America (Two River Theater). Sarah gives thanks to Jesus, her loving family, her beautiful mentor Michele Ivey, Liz McGowen & Arariel for their unending love and support! “...and do everything with love.” 1 Corinthians 16:14 sarahsunpark.com @sarah_sun_park
54 Jefferson County CVB Bavarian Inn Shepherd University Center for Appalachian Studies
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Jala Yoga ANDRE PLUESS** KEN ROBINSON* SOUND DESIGNER ANTONIO’S SONG ACTOR SUPPORT GROUP FOR MEN Andre Pluess is a composer/sound designer based in Chicago. Ken is honored to make his CATF debut His credits include composition and sound design for numerous with Support Group for Men. Last seen on productions for Lookingglass, Court Theatre, Goodman Theatre, Broadway in Summer:The Donna Summer Steppenwolf Theatre Company, Northlight Theatre, Victory Musical, his other Broadway credits include Gardens Theater, About Face Theatre, and many other Chicago the 2016 Tony-winning revival of The Color and regional theaters. Broadway credits: Metamorphoses, I Am Purple, Memphis, and Baby It’s You! Ken’s My Own Wife, 33 Variations and The Clean House (Lincoln Center). regional credits include The Dryer/The Bus in Caroline, Or Change Andre has received multiple Jeff Awards, an LA Ovation Award, (Tantrum); Junior in Between Riverside and Crazy (Cleveland Barrymore Award, Drama Critics Circle Award, and Drama Desk/ PlayHouse); The First Noel (Classical Theatre of Harlem); Lortel nominations for composition and sound design. Recent Headmaster Morrow in Choir Boy (Marin Theatre); The Colored projects include: Life Sucks, Mr. and Mrs. Pennyworth, Treasure Museum (Huntington); Avery in The Piano Lesson (Syracuse Stage, Island, Title and Deed, Eastland: A New Musical, Cascabel, In the Seattle Rep); and Freddy Eynsford-Hill in My Fair Lady (Oregon Garden: A Darwinian Love Story, Metamorphoses, and Peter Pan Shakespeare Festival). MFA in Acting, Yale School of Drama. BA (A Play)(Lookinglass); Equivocation (Arena Stage); Stage Kiss in Economics, Morehouse College. For my best friend so much and Jungle Book (Goodman Theatre); Endgame (Steppenwolf and for my angel, always. Theatre Company); Milk Like Sugar (La Jolla Playhouse/ Playwrights Horizons); The Arabian Nights and Argonautika (Lookingglass, subsequent regional productions); Ghost Light, MICHAEL ROGERS* White Snake, King Lear, and Cat on a Hot Tin Roof (Oregon ACTOR A WELCOME GUEST Shakespeare Festival); and Macbeth and Titus (California Mr. Rogers has worked at theatres across Shakespeare Festival). the US and internationally in roles varying from God (Italy) to Titania, Othello, Robert Mugabe, and Dracula (USA). Recently DAVID REMEDIOS** Generations, Marley, The Call, The Merchant SOUND DESIGNER WRECKED / A WELCOME GUEST Of Venice, The Winter’s Tale. On television: David Remedios has designed sound for nineteen CATF Mr. Rogers has appeared on many of the major episodic shows. productions since 2009, including A Late Morning (in America) Most recently “Madame Secretary” and “Alternatino.” Films: “The with Ronald Reagan; Berta, Berta; The Niceties; Wild Horses; Not Mosquito Coast,” “Weekend at Bernie’s II,” “ Side Street,” “Dope Medea; North of the Boulevard; Scott and Hem in the Garden of Fiend,” “God’s Pocket,” “Inscape,” “Dance of the Quantum Allah; and more. Recent credits include The Burdens (City Theatre Cats,”and “Moonfire.” Mr. Rogers has served as language and Company);The Haunted Life, Slow Food, Miss Bennet: Christmas cultural consultant for Disney, ABCTV, HBO and is a graduate of at Pemberley, and Murder for Two (Merrimack Repertory Theatre); the Yale School of Drama. Quack (Alley Theatre). David’s work has been heard regionally at Trinity Rep, 59E59, Geva Theatre Center, Huntington Theatre Company, The Studio Theatre, Portland Stage, Theatre for a New LOUIE ROZIER Audience, American Repertory Theatre (50 productions), La COMPOSER A WELCOME GUEST Jolla Playhouse, and Cincinnati Playhouse, among many others, Louie Rozier earned his master’s degree in composition with a and internationally at prominent arts festivals in Bogotá, Paris, concentration in Asian musics at the University of Hawaii. He holds Hong Kong, and Edinburgh. David is Assistant Professor and a degree in jazz composition from Berklee College of Music, and Program Head of Sound Design at Boston University’s School of attended Peabody Conservatory and North Carolina School of the Theatre. remediossound.com Arts. He studied north Indian classical music with Pandit Ali Akbar Khan, and drums with Gary Chaffee, Narada Michael Walden, and Joe Morello. As a drummer he has toured with Big Mama Thornton, The Blackbyrds, New Olduvai, Arthur Brown, Leadhead, Charles Brackeen, Bill Frisell, Ed Kowalczyk, Michael Gregory Jackson, and performed with Gary Burton, Danny Elfman, Ethereal Blue
56 Shepherd University Foundation
Proud to partner with CATF in its 29th season and to continue a rich tradition of supporting the arts with scholarship opportunities for young adults in the Hostel YOUTH! theater immersion program.
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Shepherdstown School of Dance Ricco Gallery Orchestra, and many others. He was house drummer for Cabaret with the Pittsburgh Symphony Orchestra, Theatre de la Jeune Manhattan on CATV, and the Craig Russell show Outrageous off- Lune, and the Latino performance group Culture Clash. Recent Broadway. He was composer and Music director for the Mummery, ventures into the world of opera include Falstaff, On the Town, an 8-hour ritual play by Adi Da Samraj. His compositions have and Amahl and the Night Visitors for Resonance Works Pittsburgh. been performed by the Honolulu Symphony, Baltimore Symphony She was also Production Stage Manager for Iowa Summer Chamber Players, Iggy Jang, the League of Electronic and Musical Repertory and the Illinois Shakespeare Festival. Film credits Urban Robots (LEMUR), and the Pacific Composer’s Collective. include “Graduation” and “Love and Bones”. Tina teaches Stage Louie is delighted to be joining the CATF for the first time. and Production Management at the Carnegie Mellon University School of Drama, where she is also the Option Coordinator for Production Technology and Management. For USITT, she is the COURTNEY SALE*** Management Commissioner, serves on the Board of Directors, DIRECTOR SUPPORT GROUP FOR MEN and is active in the Institute’s Diversity initiatives. Tina holds an Courtney Sale currently serves as the MFA from the University of California-San Diego and is a proud Artistic Director for Seattle Children’s member of Actors Equity Association. Theatre. Her CATF credits include last season’s The Cake, Wild Horses, and Not STEPHANIE SHAW Medea. As the Associate Artistic Director at Indiana Rep, she directed The COSTUME SHOP MANAGER Mountaintop; The Mousetrap; April 4, 1968; and Jackie and Me. Stephanie Shaw is returning to CATF for her seventh season as Other selected regional credits include the world premiere of the Costume Shop Manager. She received her BFA in Theatre The Ghost of Splinter Cove by Steven Dietz (Children’s Theatre Design and Technology from WVU (Let’s go, Mountaineers!) and of Charlotte), Tiny Beautiful Things (Seattle Rep), Mr. Burns: A her MFA in Costume Design and Technology from Purdue Post Electric Play, On Clover Road (Phoenix Theatre). Up next: University. Stephanie has served as Costume Shop Manager and Black Beauty (SCT). Member: National Theatre Conference, SDC. Costume Technologist for Purdue University, The University of MFA, UT Austin. BFA, Cornish College of the Arts. Maryland, Weston Playhouse, Texas Shakespeare Festival, North Shore Music Theater, Des Moines Metro Opera. She has also served as the Instructional Assistant Professor of Costume REECE SANTOS* Technology for the University of Mississippi, Ole Miss. Thanks to ACTOR A WELCOME GUEST Peggy, Ed, and the entire CATF family for six great summers. Reece is thrilled join the cast of A Welcome Love and hugs to family and friends. Guest in his CATF debut. Reece is a recent graduate of the Atlantic Theater School. In AUBREY SIRTAUTAS* 2018, he has appeared in His Bedroom is Eden at The Atlantic Theater, Midsummer Assistant Stage Manager WRECKED / A WELCOME GUEST Night’s Dream, Troilus & Cressida, and Anna Aubrey is thrilled to be joining CATF this year! R Geva Theatre in the Tropics. Center: Revival: The Resurrection of Eddie ‘Son’ House, The Humans, Hard Cell, Thurgood, Hair. Weston Playhouse Theatre: Fun Home, All My Sons, Round and Round the Garden. Broadway TINA SHACKLEFORD* Workshop: Giants in the Sky, We Will Rock You. Aubrey has also STAGE MANAGER CHESTER BAILEY worked with Cirque du Soleil’s Mystére and Dick Clark Productions’ Tina Shackleford returns for her fourth season at CATF where Billboard Music Awards, The Academy of Country Music Awards. she last stage-managed Michael Weller’s A Late Morning (in She received her MFA in Stage & Production Management from America). Her regional credits include productions with Weston Carnegie Mellon University. Playhouse, La Jolla Playhouse, The Shakespeare Theatre, Saint Michael’s Playhouse, Clarence Brown Theatre, Seattle Group Theatre, Quantum Theatre, Zachary Scott Theatre Center, Actor’s Theatre of Louisville, Riverside Theatre, Dallas Theater Center, and the Shakespeare Festival of Dallas, as well as collaborations
58 Shepherdstown Sweet Shop River Riders
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Jefferson Arts Council LUCIANA STECCONI** LOU SUMRALL* SCENIC DESIGNER CHESTER BAILEY / ANTONIO’S SONG ACTOR A WELCOME GUEST Luciana Stecconi returns to CATF after designing Berta, Berta, Lou is returning to CATF in the role of A Late Morning in America, The Ashes Under Gait City, Dead and McMoley in Michael Weller’s, A Welcome Breathing, Heartless, A Discourse on The Wonders of the Invisible Guest. Broadway: Saint Joan, Frankie & World, The Exceptionals and Barcelona. Recent credits include: Johnny in the Claire de Lune, (u/s). Off Spunk (Signature Theatre), Oil (Olney Theatre Center), Kings Broadway: Disconnect (Lark), Scaring the (Studio Theatre), The Winter’s Tale (Folger Theatre), Straight Fis (Intar). Regional: Women in Jeopardy White Men (Marin Theatre), among others. Luciana has also (Merrimack Rep), Lonesome Hollow (CATF), Elaborate Entrance of designed for many DC area theaters, including Woolly Mammoth, Chad Diety (Actor’s Theatre of Louisville), All The Way (Cleveland Mosaic Theatre, Roundhouse, Theatre J, The Kennedy Center Playhouse) FILM: “Ghost Town,” “My Soul to Take,” “The Bounty Theatre for Young Audiences, Gala Hispanic, Everyman Theatre, Hunter.” TV: “The Blacklist,” “High Maintenance,” “Soul Man,” Imagination Stage, Adventure Theatre MTC, The Library of “NYPD Blue, Law & Order,” “Law & Order: SVU,” “Law & Order: Congress, Georgetown University, American University, Catholic Criminal Intent.” Other: Billy Grey (GTA IV: The Ballad of Gay Tony, University. She serves as Assistant Professor at Emerson College. GTA IV: The Lost and Damned). Education: Rutgers M.F.A Mason Education: MFA in Theatre Design from Brandeis University. Gross School of the Arts. Awards: 2010 Mayor’s Art Award for Outstanding Emerging Artist, 2006 Ira Gershwin Prize in theater excellence from Brandeis University. lucianastecconi.com CHRIS THORN* ACTOR SUPPORT GROUP FOR MEN / WRECKED ANTONIO EDWARDS SUAREZ* This is Chris’ second season at CATF. He was last seen here in World Builders in 2015. ACTOR & PLAYWRIGHT ANTONIO’S SONG Broadway: Bernhardt/Hamlet (Roundabout). Broadway: American Buffalo. Lincoln Center: Off-Broadway: Pride and Prejudice (Primary Chaucer in Rome. Other New York credits: Stages), Twelfth Night (Pig Iron), Miss Lily Entertaining Mr. Sloane, The Resistible Rise Gets Boned (Studio 42), King John (NY of Arturo Ui, Dogg’s Hamlet, Cahoot’s Shakespeare Exchange), The Bird and the Two-Ton Weight (EST), Macbeth (The Phoenix Theater Ensemble); The Most Damaging Wound (The Production Company), Dead Points of Departure (INTAR); Richard III (The Man’s Socks (Ma-Yi). Regional: The Guthrie, Hudson Valley National Black Theater); Food Acts (Lions Theater); The Hamlet Shakespeare Festival, Barrington Stage, Delaware Theater Project (Mac Wellman Theater); Trespass (The Producers Club II); Company, The Fulton Theatre Company, Theaterworks Hartford, Fuente (Cherry Lane Alternative); Waiting for Godot (Chashama); Boston Playwright’s, and The Acting Company. Film/TV: “Madam Regional: International tour of The King Stag directed/choreographed Secretary,” “Still on the Road,” “Sonnet Project.” Training: Boston by Andrei Serban and Julie Taymor; The Night is a Child (Milwaukee University, LAMDA. He is a native of South Berwick, ME. Rep); A Midsummer Nights’ Dream, Taming of the Shrew, The Tempest, Julius Caesar (Commonwealth Shakespeare Company); Havana is Waiting (Cincinnati Playhouse in the Park); Spinning into KATE UDALL* Butter (St. Louis Rep); Idiots Karamazov (American Repertory ACTOR A WELCOME GUEST Theater)` Independent film: “The Tested”. Television: “Elementary,” Kate’s first season at CATF was in 2017, in “Law & Order,” “The Good Wife,” “Rookie Blue,” “Person of Interest,” the one woman show Wild Horses by Allison “One Life to Live,” and “As the World Turns.” HBO: “Flight of the Gregory. She is happy to be back at CATF Conchords” and “Curb Your Enthusiasm.” USA Network: Stan the and to be in a play with other people! In Orderly (recurring) on “Royal Pains.” Assistant Professor at 2018, she became part of the Marvel Marymount Manhattan College. BFA-Marymount Manhattan College. universe in the Netflix TV show “Daredevil,” MFA-ART/MXAT- Harvard University. where she plays FBI honcho Tammy Hattley. She is no stranger to West Virginia as she was an Associate Professor in the WVU theatre department for many years. Her New York credits include The Waves (Blue Heron Arts Center/Culture Project), The Seagull
60 Jefferson County Development Authority Mountain Heritage Arts & Crafts Festival
Strategic Mid-Atlantic Location DISCOVER • 60 miles to Washington, D.C. • 40 minutes to Dulles Jefferson International Airport • Only minutes to Interstate 81 County, WV Comprehensive Business Support • Aggressive tax credits and Let us help you financing programs start, expand, • Workforce training resources or relocate Prime Commercial & your business! Industrial Properties • Shovel-ready sites in 400- acre Burr Business Park For more information: • Affordable land prices Jefferson County Development Authority 304-728-3255 [email protected] www.jcda.net
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Seth Freeman Photography Price Romine PLLC (White Heron @ Second Stage), Ms Mousie Explains It All to You ROWAN WILKERSON (Club Funambules). Regional: Admissions (St Louis Rep), Later SOUND DEPARTMENT HEAD Life (Portland Stage), Moon for the Misbegotten (Virginia Stage), Four Places (Merrimack Rep), Full Gallop (MT Pockets), Twelfth A native of North Carolina, Rowan will be entering her senior Night, and Othello (Colorado Shakespeare Festival), The Seagull year at UNC School of the Arts in the fall. This is her third season (Cincinnati Playhouse), The Matchmaker, Hay Fever, Camino Real with CATF. She started here as an intern, and is excited to be (Williamstown Theater Festival), As You Like It (Shakespeare & joining the production staff and spending another summer in Co). International: Macbeth (Bamberg, Germany) Four Dogs and this beautiful corner of the world. a Bone (Edinburgh Fringe Festival). She has appeared in all three “Law Order” syndicates. Thanks to Eric for the lamborghini. kateudall.com D.M. WOOD** LIGHTING DESIGNER MY LORD, WHAT A NIGHT / SUPPORT GROUP FOR MEN MAX WALLACE Previous Designs for CATF: The Cake, Memoirs of a Forgotten VIDEO DEPARTMENT HEAD Man, Everything is Wonderful; Byhalia, Mississippi; 20th Century Blues; The Wedding Gift; WE ARE PUSSY RIOT; The Full Catastrophe; Max Wallace is a projection designer and technician based in the and more. Other: A Midsummer Night’s Dream and Star Wars en Austin area. Recent credits at Texas State University include: The Concert (Opéra Orchestre National Montpellier); The Twilight Magic Flute, The Tempest, and Speech and Debate. Other credits Zone (Ambassadors Theatre, London’s West End); Berenice (Royal include: The After Party at Vortex Repertory Theater, Dirty Rotten Opera House, Linbury)The Niceties (Huntington Theatre Company, Scoundrels at Summer Stock Austin, and Grease and Alice In Manhattan Theatre Club, McCarter Theatre and The Geffen Wonderland at Maine State Music Theatre. maxwallacedesigns.com Playhouse); the U.S. premiere of 4.48 Psychosis (Prototype Festival, NYC); the world premiere of Mamzer Bastard (Royal ANGELA WILDFLOWER* Opera House, Hackney Empire); Les enfants terribles, L’elisir d’amore and Medea (Opera Omaha); La bohème (Opera di ACTOR MY LORD, WHAT A NIGHT Firenze – Florence, Italy); A Midsummers Night’s Dream and Tosca Angela Wildflower is thrilled to make her (Nevill Holt Opera, U.K); James Bond Symphony and Star Wars CATF debut. Both an actress and singer, en Concert (Orchestre National de Lyon); The World Premiere of Wildflower has been seen on regional 4.48 Psychosis (Royal Opera House, Lyric Hammersmith); and stages across the country including, but more. not limited to The Public Theatre (Venice), The Old Globe (October Sky), Pasadena Playhouse (Crowns, Dangerous Beauty), Kirk Douglas Theatre (Venice), 3D Theatricals (Avenue Q, All Shook Up), and made her Broadway Debut in Motown The Musical , as the iconic Mary Wells. Her tv/film credits include “Blue Bloods” (CBS), “The Blind Spot” (NBC), “Roxanne Roxanne” (Netflix), “First Dates” (Webseries) and season 2 of the Emmy award winning tv series “Atlanta” (FX). As a vocalist, she has toured all over the globe with Post Modern Jukebox (On Deck), Marcus Terell and The Serenades, & three time Tony winner, Hinton Battle. Angela Wildflower is a proud graduate of Spelman College, in Atlanta, Georgia. angelawildflower. com IG: iWildflower
62 Jefferson County Farmland Protection Board Kimo Pics
Cultivating Conservation
Our county’s history and traditions are tied to the land. We believe that protecting our beautiful and productive rural lands is an important investment in the economy and quality of life for everyone in Jefferson County ...and a lasting legacy for all our children.
Farmland for the Future: [email protected] 4,530 Acres Protected www.jefferson.wvfp.org
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EDUCATIONAL OPPORTUNITIES
CATF/U LEARN MORE: WWW.CATF.ORG/CATFU
CATF welcomes America’s college students to Shepherd University. See shows on a college budget! We offer affordable housing, meal options, workshops, discussions, and artists meet & greets.
Hostel YOUTH! LEARN MORE: WWW.CATF.ORG/HOSTELYOUTH
The Hostel YOUTH are back! CATF’s theater immersion program for high school students returns for its seventh year: July 23-25. Housing, meals, workshops with CATF artists, and performance tickets are all included in the package. Support for CATF’s Hostel YOUTH! is made possible, in part by a grant from the Marion Park Lewis Foundation. Additional support to sponsor tuition scholarships has been provided by a generous contribution from the Shepherd University Foundation.
ROAD SCHOLARS LEARN MORE: WWW.ROADSCHOLAR.ORG
CATF has partnered with Road Scholars to provide educational adventures that further inspire learning and friendship through theater. Registrants attend shows; discuss dramatic themes and the production process with actors and staff; take part in workshops on writing, acting, and directing; and experience exclusive programming.
KENNEDY CENTER ACTF
Started in 1969, the Kennedy Center American College Theater Festival (KCACTF) is a national theater program involving 18,000 students helping to improve the quality of college theater in the United States. It has grown into a network of aca- demic institutions throughout the country, where student artists showcase their work and receive outside assessment by KCACTF respondents. This year the KCACTF Design Fellows are Cameron Filepas and Nicole Belenski.
64 2019 FELLOWS, INTERNS, & APPRENTICES
THE 2019 FELLOWS, INTERNS, & APPRENTICES
The Contemporary American Theater Festival is committed to the education and training of future theater professionals. In 1991, the Intern Program began with five interns and three apprentices in the production department. Now in CATF’s 29th Season, the program continues to thrive, offering positions each year in artistic, administrative, and technical areas. To date, over 435 students and Front Left to Right: Alainia Pizzoferrato, Kyla Schneider, Camryn D’Angelo, Alex Webb, recent graduates have completed the program with Kirsten Moore, Danica Rodrigues, Linda Hughes, Amelia Workman, Nicole Schwarz, Emily many pursuing professional careers in theater. Taylor Middle Left to Right: Kyle Shearer, Dan Karlin, Kenneth May, Danny Beauclair, Rachel Ellis, Maggie Quigley, Lilian McGrail, Avery Sedlacek, Shelee Lee, Emily Maddox, Robert Cott, Each year, professional theater artists and John Schirillo, Emily Webb Back Left to Right: Isiah Hall, Mars Martin, Lanae Wilks, Oscar administrators make a commitment to mentor these Sanchez, Caitlin Hudecheck, Charmaris Darias, Kevin Karn, Ben Lechtman, Monty Wilson, Maggie Gunning, Wesley Price, Abbie Knoshaug, Rayna Cook, Erica Feagin Not pictured: budding artists. This summer, CATF is proud to have Electra Judson, Alissa Cecala, Serafina Maerten, Molly Schafer, Kyla Tacopina, Cassie Cormier 43 members of its Intern Program working in Administration, Company Management, Costumes, Electrics, House Managment, Paints, Performance, Props, Scenery, Sound, and Stage Management.
Business Management Intern, With missions dedicated to providing education Emily Maddox and Development Fellow Kevin Karn with BB&T’s opportunities, the BB&T West Virginia Foundation, Regional Banking Manager Frank the FirstEnergy Foundation, the Shirley A. Marinoff DeChiazza and Market President Matthew Drahos. Fund for Education, and the Eastern WV Community Foundation’s Calarama Farm Fund, and Fleming Family Fund are proudly supporting our 2019 Fellows, Interns, & Apprentices program.
Jason Whitaker (Volunteer), Maggie Gunning, Serafina Maerten, Stanley Marinoff, Isaiah Hall, Danica Rodrigues, Kenneth May, Danielle Beuclair. FirstEnergy Foundation’s 2019 Electrics Intern Kyle Shearer. 65 Art Around the Festival
ART AROUND THE FESTIVAL
The Phaze 2 gallery will have on display a selection of work from students of the Shepherd University department of contemporary art and theaters. It will be available to the public from July 5th through July 30.
Participating artists include Tyler Hooks, Kaleb Michael Timothy Davis Aurand, Kylie Kemp, Alizah Lathrop, Nevada Tribble, and Kennaddee Hinzman. BADGERHOUND STUDIO Phaze 2 Art Gallery / Across from Marinoff Theater New paintings and sculptures by artists Michael T. Davis and Emily Vaughn.
KIMOPICS STUDIO AND GALLERY 110 W German Street Opening Reception: July 6, 5pm –7pm Photography / 133 West German Street Open Thur–Sat, 10am– 8pm, Open Thur– Sun, 11am–6pm Sun, 11am –5pm, or by appointment
THE GALLERY AT 105
New Work by Five Local Artists featuring Scott Cawood, Metal Sculptures; Joe Mayer, Paintings; Ann Sharp, Portraits; Diana Suttenfield, Paintings; Bruce Fransen, Wood Sculptures; and Susan Liselle Carney, Paintings.
105 S Princess Street Artists Reception: Wednesday, July 10, 5 pm– 9pm Open Tues– Fri, 10am – 3pm // Sat – Sun, 11am – 5pm
Scott Cawood Bruce Fransen
66 Kinnett CPAs, Inc.
David Bottini Kelly Scudieri
THE BRIDGE GALLERY
Featuring Local Artists & Landscapes in July: Seth Hill, Tim Clayton, Walt Bartman, and David Bottini.
8566 Shepherdstown Pike Open Wed – Sun
KELLY SCUDIERI
Kelly’s painting “Gravity” was selected by the Art in Embassies program (AIE) to be on loan for three years at the US Embassy in Sri Lanka. Several additional pieces can be found at the following downtown establishments:
Domestic 115 E German Street Grapes & Grains 110 E German Street Bistro 112 112 W German Street
30TH ANNIVERSARY OVER THE MOUNTAIN STUDIO TOUR SUMMER PREVIEW SHOW
War Memorial Building, German Street Opening Reception: Friday, July 12, 5 – 7pm Sat, July 13, 10 – 5pm, Sun, July 14, 9 – 3pm Lectures & Special Events
TALKTHEATER
CATF IN CONTEXT
SATURDAYS AT 10AM IN CCA/II ROOM G03 | 62 W CAMPUS DRIVE | 60 MINUTES FREE | RESERVATIONS REQUIRED | LIMITED SPACE A scholarly approach to the repertory. Dive deeper into the themes and unique approaches to the season. JULY 6: THE FESTIVAL STAGE DIRECTORS JULY 13: RACE AND ENTERTAINMENT IN THE 1930S JULY 20: THE POWER OF IMAGINATION JULY 27: RETELLING FAIRY TALES FROM A FEMINIST PERSPECTIVE
LECTURE SERIES
SATURDAYS AT 5PM | 60 MINUTES | FREE | NO RESERVATION REQUIRED Guest speakers and resident artists discuss issues raised in the season’s plays and challenges facing contemporary theater. JULY 6: PLAYWRIGHTS OF THE CONTEMPORARY AMERICAN THEATER FESTIVAL: A DISCUSSION REYNOLDS HALL / 109 KING STREET JULY 13: THE MUSIC OF MARIAN ANDERSON SHIPLEY RECITAL HALL / 260 UNIVERSITY DRIVE JULY 20: ALL WELCOMED: GENDER IDENTITY SHIPLEY RECITAL HALL / 260 UNIVERSITY DRIVE JULY 27: ANT ONIO EDWARDS SUAREZ: CO-AUTHOR AND PERFORMER OF ANTONIO’S SONG SHIPLEY RECITAL HALL / 260 UNIVERSITY DRIVE
FRIDAY FILMS FRIDAYS* AT 2PM AT THE SHIPLEY RECITAL HALL | 260 UNIVERSITY DRIVE DONATIONS TO ACFF ENCOURAGED | NO RESERVATION REQUIRED *excluding Opening Weekend. The American Conservation Film Festival, in a new partnership with CATF, curates the Friday Film experience exploring the interconnection of nature, culture, science, and the human experience. JULY 12: DEVIL WE KNOW JULY 19: DISOBEDIENCE JULY 26: EO WILSON: OF ANTS AND MEN
68 STAGED READING SERIES TUESDAYS AT 6PM IN THE MARINOFF THEATER 62 W CAMPUS DRIVE FREE | NO RESERVATIONS REQUIRED
Join CATF in supporting all stages of a play by experiencing new works that are rehearsed and read for audiences in the same day. This exciting opportunity is a perfect complement to a Tuesday night performance. See the evolution of new plays in a single evening! Participants interact with luminaries of the modern stage, allowing them to learn, ask questions, and develop their talents with input from experts. All of the Stage Readings are supported in part, by a grant from the Jefferson AFTER THOUGHTS Arts Council. WEDNESDAYS & SATURDAYS FOLLOWING THE PERFORMANCES COPPER CANYON | 62 W CAMPUS DRIVE FREE* | NO RESERVATION REQUIRED
Wednesdays: Bavarian Inn / 164 Shepherd Grade Road Saturdays: domestic / 115 E German Street
Enjoy a drink after the show and share your thoughts with CATF artists and staff. *additional cost for food and drinks DELIBERATIVE DIALOGUES LOCATIONS & TIME TBA | FREE | NO RESERVATIONS REQUIRED
Designed to stimulate public deliberation, the purpose of the Deliberative Dialogue Forum is to inform collective action about contemporary topics, especially topics explored in CATF plays.
This project is presented with financial assistance from the West Virginia Humanities Council, a state affiliate of the National Endowment for the Humanities. Any views, findings, conclusions or recommendations do not Support for ‘talktheater’ is made possible, in part, by grants from the West necessarily represent those of the West Virginia Humanities Council or the Virginia Humanities Council, and the Jefferson Arts Council. National Endowment for the Humanities.
69 Supporters
THANK YOU...
The work you see on stage would not be possible without the generosity, time, and support of so many individuals, businesses, and organizations. We applaud the following:
American Conservatory Theater Pat McCorkle The Asam Family & Bavarian Inn Joan Molchan Mayor Jim Auxer & the Shepherdstown Town Council NYU Undergraduate Program Todd Beckwith & City National Bank Off Mane Street Sarah Bellamy Old Opera House Theatre Company Jim Besser Parlights Blue Moon Café James Bumbera Progressive Printing Kathryn Burns & The Bridge Gallery Curator Randall Reid-Smith & West Virginia Department of CATF Board of Trustees Arts, Culture and History CATF Honorary Board of Trustees Jen Rolston, Melissa Neely, Molly Bloom, and Adrienne Steuer CATF Season Ushers (In Memoriam) of Eden Design Chick-fil-A Commissioner Chelsea A. Ruby, West Virginia Tourism Office City Theatre Company Senator Patricia Rucker Jack Conant Carol Sanders Todd Cotgreave, Sadie Tucker, & everyone at Town Run Patrick Sell & HBP, Inc. Nancy Veronica Dilworth Shepherdstown Farmer’s Market Delegate John Doyle Shepherdstown Opera House EPTA Shepherdstown Sweet Shop Bakery Delegate Paul Espinosa Deb Tucker & Bistro 112 Seth Freeman Photography Ann Halavik, Plan-IT Payroll Senator John Unger Sue Herendeen University of Maryland, Baltimore County Zach Hiatt Douglas Vaira & everyone at domestic Holzman, Moss, Bottino Architechture Sheila Vertino Home Depot Virginia Commonwealth University Adam Hutton Eric Waggoner & West Virginia Humanities Council Jefferson County Chamber of Commerce Patrick Wallace Robert Klingelhoefer Eliot Williamson Jennifer Lee & American Conservation Film Festival Tripp Lowe & The Clarion Hotel & Conference Center Yount, Hyde & Barbour Tom & Michele Maiden & Insurance Outfitters Katja Zarolinski Dr. Stanley C. Marinoff Chief John McAvoy
70 Thank you to our special partners at Thank you to our Housing Partners: Shepherd University: Steve & Rebecca Ayraud OUR MEDIA PARTNERS Jayne Angle Bavarian Inn Cross Currents Dow Benedict Charlie Brown www.iheart.com Marcey Clements & Catering and Dining The Clarion Hotel & Conference Center DCist Services Julia Davis & Leonard Frenkil dcist.com Chris Coltrin Annette Gloomis The Journal Newspapers Tim Haines Gay Henderson www.Journal-News.net Pete Hoffman Dr. Mary J.C. Hendrix, Shepherd University The Herald Mail President Dr. Stanley C. Marinoff www.heraldmailmedia.com Heather & Don Marshall Tracey Jones The Observer James King & Facilities Management Elizabeth McGowen www.WVObserver.com Beth Montgomery Valerie Owens WV Radio Corporation, Martinsburg Adam Paige Jeanne Muir & Jim Ford www.wepm.com www.todays975.com Diane Niedzialkowski Don Rohel The Shepherdstown Chronicle Tara Orndorff & Home2 Suites by Hilton Jack Shaw & Auxiliary Enterprises www.ShepherdstownChronicle.com Steve & Cate Pearson Shepherd University Campus Police The Spirit of Jefferson Susan Pellish Sonya Sholley & Office of the President www.SpiritofJefferson.com Linda Shea Staff WRNR Talk Radio Shepherd University Jim Sweeney www.TalkRadioWRNR.com G. T. & Susie Shramm Dr. Rob Tudor & Department of Music WSHC – SU Radio Elisabeth Staro Elissa Woodbrey & Residential Life www.897wshc.org Pat & Lee Stine WTOP The Thomas Shepherd Inn www.wtop.com Thank you for sponsoring our 29th Gabrielle Tokach Season Special Events: Meredith Wait & Deborah Dickinson Annette Gavin Bates & Jefferson County Marjorie Weingold Convention & Visitors Bureau Todd Beckwith & City National Bank Matthew Drahos & BB&T Liz McDonald & Dandridge Realty Group The McMillan Family & Jefferson Distributing Company Betsy Nicholas & Paul Kessler Sheila Shaffer & Shaffer Wealth Advisory Group of Janney Montgomery Scott LLC Shepherd University CATF Contributors
David & Jane Greene Henry Greene, In honor of Ed OUR DONORS KEEP GIVING Herendeen D.W. Gregory Gail Gulliksen ARTIST’S CIRCLE Charles & Helen Wert and Wayne Coleman, In memory Mike & Sue Hall Jo Allen Glenn R. Willman of Gina Coleman Andrea & James Hamos Nan Beckley Concordia Church Women Barbara S. Hawkins & Rick & Burma Bochner PATRON’S CIRCLE Walter Connelly Stephen G. Singer Eli & Sara Burke Sandra Adams-Choate Dorothy Cooper Beverly & Gordon Hawkins John Burns & Dianne Rawl Tom & Kathleen Altizer Cathy A. Costantino, In honor Casey & Caleb Hayes-Deats Jim Campbell & Nancy Hooff Lloyd & Shirley Buckner of Ann Harkins Rebecca Heagy Bill & Ellen Conner Dorothy Andrake Edward E. Cragg James Heegeman Donna J. Dean & John L. Meyer Anonymous, In memory of David & Katy Culp Julie Heifetz & Jack Ruback Tony & Nancy DeCrappeo Gladys Conaway Joyce Cutlip Alan Helgerman & Sandra Isabel P. Dunst Anonymous, In honor of Rick Donna Dana Lapietra Penelope P. Dann Anne Rose Eapen Carson Thomas J. Henderson John Arrington & Linda King Maribeth DeLorenzo & Eric M. Heidi K. Henson, In memory of Ray & Robin Fidler Terrence Averill & Dirk Winslow Phyllis N. Kresan Hans & Dana Fogle Geratz Sharon Dubble & William Richkus Joan Rudick & Jim Herrell Elena Furman & Efrem Osborne Steve & Rebecca Ayraud Derreth Duncan, In honor of Thomas & Ann Hettmansperger Renee Shaffer Galvin, In honor Susan R. Baker Susan Mills & Jim Eros Lily R. Hill of Rick & Sheila Shaffer Ann Baronner, In honor of Cynthia Eichberg, In honor of Robert & Sandra Hillman Frona Hall Renna Lise Baronner Susie & Tim Sheehan Bill & Betse Hinkley M. Michele Hogan & Steven & Candace Barrigar Bill & Joan Eisner Michele Hogan Timothy Deyak Ellen Barton George & Elaine Farrant Linda Holland, In honor of Jen RC Howes Fred & Jutta Bauman Laurie Feinberg, In honor of Rolston, Patrick Shunney & Helena & William Hunter Dow Benedict, In honor of Ed Julia Davis & Leonard Frenkil Sam Shunney Jacquelyn Karpovich Herendeen’s Vision Michael Finn & Pamela Frazier Marilyn Holmes M.A. Mahoney Marilyn Benoit M.D. & David & Elaine Fishman Al B. Honick & Jo-Ellen Turner Al Munzer & Joel Wind Geoffrey Brown Patrick & Leigh Fleming David Horne & Connie Lausten Beth W. Newburger TC Benson Barbara Fox, In memory of Larry John L. Howell Barbara Pryor & Brad Gehrke Elinor & Alan Berg R. Fox Marsha Hughes-Rease Steven & Cynthia Puckett, In Kyle Bradstreet Larry Franks & Ellen Berelson Ruth B Hurwitz memory of Jo Ricks Mara Bralove & Ari Fisher, In Ron & Julie Fresne Susan & Paul Hyman Karen & Bill Rice honor of Stanley Marinoff & Maureen Friar, In honor of Julia Gary Irving Carolyn Rodis Allison Marinoff Carle Davis Mark & Tato Joelson Shirley Schlessinger, In honor of Sandy & Tom Bresnahan Arlene Friedlander Christie Johnson Allene Puneky Betsy Brown & Lexie May, In Pamela Friedman & Ronald Betsy Johnson Susan & John Skinner memory of Polly Brown Bailey Dawn Jones Peter & Lois Spreen Marlene Brown Stanley & Marilyn Gabor Sara & Barclay Jones Susan & Scott Sterling, In honor Susan R. Buswell Paul S. Garrard, In honor of E. E. Joost of Sheila & Rick Shaffer Peggy & Bernie Butts Hollis & Mark McCarthy Kristin Kaineg Andris Strauss & Marie Burgess- Marianne Morse Callahan Paul S. Garrard, In honor of Tom & Shannon Kane Strauss Ann K. Christy David Zunker, Director of Ann & Dan Kasprzyk Victoria Weagly & Polly Kuhns Mr. & Mrs. John J. Chromey Tourism, Dahlonega-Lumpkin Hattie & Eric Katkow Robert & Susan Tobias Jeffrey Clark, In loving CVB Jonathan Kelinson Linda A. Winslow memory of Jo Ricks James & Maria Gentle Jack Kendall & James Puglisi Mary Ann Wren, In memory of Vicky Clark, In memory of Beryl Gilmore Jacqueline Kendall William J. Wren Meredith Alexander Jinny & Mike Goldstein, In honor Stephen G. Kent Vicki Willman & Sue Wert, In Bridget Cohee of Robin Berrington Susan Kern memory of our parents; Vic & Marla Cohen Renu & Sonny Gopalan Faith & Jim Kirk
Bolded listings indicate donors who increased their contribution by 10% or more in comparison to the previous season. 72 CONTINUED FROM PAGE 12 JUNE 10, 2018 – JUNE 15, 2019
Cecilia Kloecker Susan Osann While we make every effort to provide a complete and accurate Robert & Barbara Kott Lisa Parker & David Sogg acknowledgement of our contributors, if we have made an error, please accept our apologies and contact Vicki Willman, Director Bev & Frank Kristine Richard E. & Pragati B. Patrick of Development, at [email protected] or 304.876.5683. Kris Kudrnac Richard A. Pauli & Jessica Kump & Eric Shuler Rosemary Hartigan Contributions Key: Marcel C. LaFollette & Jeffrey Steve & Harriet Pearson PRODUCER’S CIRCLE $10,000+ K. Stine Douglas Peddicord PLAYWRIGHT’S CIRCLE $5,000-$9,999 Sandy & Mark Laken Peter & Eleanor Pella AGENT’S CIRCLE $2,000-$4,999 Stanford & Lynne Lamberg Pia Peltola DIRECTOR’S CIRCLE $1,000-$1,999 Eddie Landrum & Theresa Sallye Perrin & John von Briesen ARTIST’S CIRCLE $500-$999 Trainor Diane Petersen PATRON’S CIRCLE $100-$499 Roberta Larkin Samuel & Charlene Phillips FRIEND’S CIRCLE TO $99 Allan & Sondra Laufer Louise & Craig Potter Demi Lewin & Lucian Lewin Jason Price & Lisa Cunningham Barry Linkner Lee Price Peppy G. Linden Judy Lynn Prince & Bob Haiman Elizabeth Smith, In honor of Vicki Willman, In honor of the William F. Lindgren Chazz & Donna Printz Rick Shaffer 2018 Festival Company Sonya Livingston Anabel Proffitt, In memory of Rhonda J. Smith Beverly Winter, In memory of Kevin & Bev Lloyd Michael Proffitt Shannon & Jerry Sollinger & Jackson Winter Mark A. Longo Josie Raney David Lusk & Deb Bodner Sandy Adams-Choate Robert & Carole Winter Douglas Rathbun Susan Maginnis Pam & John Splaine Karl Wolf Peter Relic Earle & Sharon Maiman Audrey & Fred Stahl Sheri & Raymond Wolfe Terry Richards & Martin Jepsen Lois Mannes Robert Stein & Gina Daddario Don & Dale Yablonowitz Peta Richkus, In honor of Julia P. Samuel & Sally Marshall Pat & Jim Stemmle Phyllis A. Yigdall Davis, Esq & Len Frenkil Judith & David Mauriello David M. Stevens James Yoke Jan & Doug Ripper Ellen D. Mayer Lee & Patricia Stine David Young Janet W. Roberson Tom Mayes & Rod Glover Emma J. Stokes, In honor of Ed Ramona Zammetti Margaret A. Ross Louis T. Mazaway Herendeen, Peggy McKowen, Carolyn Zwior Dr. Stephen M. Sachs, MD & Tyler McMillan Vicki Willman, and the 2018 Sally A. Bohn Joshua Midgett Festival Company FRIEND’S CIRCLE John & Elizabeth Sedlins Susan Miller Jessica Tava Bill & Pat Abeles Falynn Schmidt, In memory of Enid Mirkin George & Judy Tenley Abrams Sisters Vanessa Mitchell & Toby Rieders & Charlie Schmidt Gabrielle Tokach Paul Ackerman Jonathan Tarlin Jeffrey Schragg & Mary Jo Jack & Carol Topchik Deb Acquavella Elvi Moore George JoAnn Tracey Ephraim Aharonson, In honor of Audrey Morris Tina Shackleford Martha Trunk the late Mrs. Nail Nurit Karen Motyka & Paula Warner Carolyn & Martin Shargel Rafael & Joanne Urrutia Walter Ailes & Lyyne Israel Judy Mullins & Neil Macmillan, Stevie & Will Sheridan Daniel J. VanBelleghem Jane & Robert Anthony In honor of Sharon Anderson Lynn & Dolores Shirley, In honor Theresa Vickery Sharon Arden & Adrienne Haddad of Lee Sellars Andrew & Barbara Vogt Jason Aufdem-Brinke Catherine A. Nelson Paul Siegel Kristen & John Vorhes Charlotte & Michael Baer Karen Nelson Mr. & Mrs. Richard Silbert Hank & Dale Walter Jannon Baer, In honor of Rob & Audrey Nevitt Howard & Marilyn Silver Don & Natalie Wasserman Vicki Willman Peter Nicholas & Clea Benson Lesley Anne Simmons Martin & Barbara Wasserman JT Barton Louise Novotny Dennis Siracusa Sylvia Eggleston Wehr Paul & Marjorie Battaglia Virginia Nuessle William Skane & Ann Muromachi Judith Weintraub Dr. Scott Beard Rick & Susan O’Brien Fran Skiles Sam & Constance Weisman Susan Belsky Amanda & Robert Ogren Stephen Skinner & Jeffrey Robert Wiener Marsha Berger & Kevin Silson Mary O’Hara Gustafson Richard & Carol Will Theodore Berman Barbara Orman, In honor of Ed Patricia E. Smeton Margaret Willingham, In honor Marjorie & Raj Bery Herendeen Charissa Smith of Catherine Irwin Nancy Blaney
73 Merrie Blocker David L. Gorsline David C. Lyman Ellen & Richard Rubin Kim Boddie, In honor of Stan Judith A. Gottlieb Ric MacDowell, In memory of Ruth Matthew Ruiz Marinoff & Marjorie Weingold Michael Grady Lepperd MacDowell Sharon Salus, In honor of CATF Hedy & Jerry Bookin-Weiner Judy Greenberg Sharon Machrone staff Peggy Bosch Everick Gross Patti Maerten Beverly Sanderson Connie Brindle Virginia Gruenert Jonathan Mann Dianne & George Scheper Jon Brooks Naomi E. Hafter Ellen W. Mansueto Frances Schlosstein Colin Brown Chris Harkins Alan D. Margolis Alan Scott Susan Bruce Pat Hartley, In honor of Jane & Joelle Lee Margolis Ivan & Betty Lee Severson Bonnie Bundy Bob Autmann Sharon Martin Chad Shirley Jennifer Burdick Darlene Hassler Hannah Mazo Jeff Sherwood Eleanor Burgess Jonathan & Jan Heath Victoria McCormick Joy Sibel Charles Burt Linda & Jay Herson Zakee McGill Joe & Julie Siler Gary & Jan Butler Dr. Becki S. Hill Beverly McNeill Sue Silver John Campbell Melissa Hoffman, In honor of Mary Menke Gina & Claude Skelton, In honor Judith Canning Pete Hoffman & Steve O’Toole Rita Molyneaux of Elloyd Lotridge Evie Cantu Lucy & Kevin Hogan Sam Morales Linda & Kirby Smith Robert Carney Paul Hollinger Roberthi Morgan Ruth & Howard Sokolove Susan Cash Kristin Horton Tim & Esther Murphy Jeffrey & Sandra Solomon Rosalee Chiara Stan Hreniuk Cindy & Mike Nash Madison St. Amour Daniel & Kathleen McCabe A.V. Hutter Sue Ann Nogle Robin Staats Chokel Andrew Hyde Stephen O’Brien Elisabeth Staro Tamara Clay Barbara Irvine Karen Olive Tom & Lois Steichen Mary Cleminson Catherine E. Irwin Stephanie Olshan Sam Steinberg Barbara Collins Stephanie Jackson Anna Olsson Richard Sterba Cynthia & Thomas Coogan Jane Jasper, In honor of Robin- Kathryn O’Toole Vernon Stoltz Alyssa Crump Eve Jasper & Francesca Rudin Michael Page Laurie Stroope Daniel Davis Alan & Cynthia Kehr Eleanor Palmer, In honor of Robin Talbert & Bruce Goldstein Stewart Davis David & Ann Kennedy Marjorie Weingold Margaret & Robert Tessier Anne & Stephen Dean, In Susan Kern Alex Parker Behzad Touhidi memory of Michael Proffitt Malinda Kerr Ms. Jeane Parker, In memory of Andrea Van Hook Alison Drucker & Thomas Joel Kimling Lois Cockey Thomas Vasale Holzman Richard Kirby Patty & Andreas Parrish Carol Vincenti Rosemary & Paul DuMont Linda & Neil Kirschner Dilys Parry Toni Visconti-Smith Lakita Edwards Gerald Klauber & Lynn Wheeler Suzanne S. Patrick Bette Ann & Chan Walton Pat & Jack Egle Bob & Karen Knopes Ralph & Delores Pecora Dawn Warfield Alice K. Epstein Lori Kolenda Libby Pennacchia William Oliver Watkins Mari & Palmer Foret Maureen Kostial Maria Peyser David Watson Doris S. Forster, In honor of JHU Trent Kugler Carrie Pierson Mary Watters Osher Kate Kuranda Marsha Pierson, In memory of Phyllis Weinberg Donald Friedman Douglas W. & Rebecca Massie Dorothy I. Pierson Donna Weiss Denise Bruskin-Gambrell Lane Ruth & Harris Pitlick Michael & Susan Whalton Carol Geidt Katia Lathrop Russell & Sandy Pittman Harumi Williams Kelly Gibson Susan Latimer Betsy Raymond Rie Wilson Katrina Gochenour Jennifer M. Lee Donald Reilly Judy Lyons Wolf Michael Goldberg Harriett & Mende Lerner JT Rogers Emre Yucel Matthew Goldstan, In honor of Joan Lipnick Jen Rolston Allene Puneky Mark Littman Linda Romero Dr. & Mrs. David H. Goodman Marcia Luek Deverah Routman
Bolded listings indicate donors who increased their contribution by 10% or more in comparison to the previous season. 74 Speak Story Series
CATF’S OVATION SOCIETY
CATF wishes to acknowledge the extraordinary members of the Ovation Society who have provided for the future of the Festival in their estate plans.
Jenny Ewing Allen Anonymous RC Howes Jeffrey Longhofer & Jerry Floersch Dr. Stanley C. Marinoff OPEN
THE ED HERENDEEN FUND FOR CONTEMPORARY THEATER
CATF extends its sincere gratitude to the following individuals and businesses for their leadership in supporting this critical endowment fund for future artistic initiatives and programming.
Skip Adkins Tia & Bob McMillan Jenny Ewing Allen Andrew Michael John & Joyce Allen Robert Myers in honor of Catherine Irwin Matthew & Jan Birch Lisa M. Poulin in honor Sondra Birch & of Joan Marie & Lawrence Hamer Normand Poulin Martin Burke & Proffitt & Associates Barbara Spicher Architects Conoco Phillips Company Stephen Skinner Reggie Govan Robert Stein & Ann M. Harkins Gina Daddario Margaret & Fontaine Hooff Kirsten Trump Gary Horowitz Elizabeth Tyson in honor Ernest & Joan Johnston of Catherine Irwin Karen & Douglas Kinnett Mikki Van Wyk in honor of Jenny Ewing Allen MajorGiving.com Noah Mehrkam PRODUCTION HISTORY
1991-2019 PRODUCTION HISTORY
2019 My Lord, What A Night by Deborah Brevoort 2013 A Discourse on the Wonders of the Invisbile Support Group For Men by Ellen Fairey World by Liz Duffy Adams Wrecked by Greg Kalleres Modern Terrorism, or They Who Want to Kill Us and How We Learn to Love Them by Jon Kern A Welcome Guest: A Psychotic Fairy Tale by Michael Weller H2O by Jane Martin Chester Bailey by Joseph Dougherty Heartless by Sam Shepard Antonio’s Song / I Was Dreaming Of A Son Scott and Hem in the Garden of Allah by Dael Orlandersmith & Antonio Edwards Suarez by Mark St. Germain 2018 The Cake by Bekah Brunstetter 2012 Gidion’s Knot by Johnna Adams Berta, Berta by Angelica Chéri The Exceptionals by Bob Clyman Memoirs Of A Forgotten Man by D.W. Gregory In a Forest, Dark and Deep by Neil LaBute Thirst by C.A. Johnson Captors by Evan M. Wiener A Late Morning (In America) With Barcelona by Bess Wohl Ronald Reagan by Michael Weller 2011 From Prague by Kyle Bradstreet The House On The Hill by Amy E. Witting Race by David Mamet 2017 The Niceties by Eleanor Burgess Ages of the Moon by Sam Shepard Welcome to Fear City by Kara Lee Corthron We Are Here by Tracy Thorne Wild Horses by Allison Gregory The Insurgents by Lucy Thurber Byhalia, Mississippi by Evan Linder 2010 The Eelwax Jesus 3-D Pop Music Show Everything is Wonderful by Chelsea Marcantel by Max Baker & Lee Sellars We Will Not Be Silent by David Meyers Lidless by Frances Ya-Chu Cowhig 2016 pen/man/ship by Christina Anderson Breadcrumbs by Jennifer Haley Not Medea by Allison Gregory Inana by Michele Lowe The Wedding Gift by Chisa Hutchinson White People by J.T. Rogers 20th Century Blues by Susan Miller 2009 The History of Light by Eisa Davis The Second Girl by Ronan Noone Yankee Tavern by Steven Dietz 2015 World Builders by Johnna Adams Dear Sara Jane by Victor Lodato Everything You Touch by Sheila Callaghan Fifty Words by Michael Weller On Clover Road by Steven Dietz Farragut North by Beau Willimon WE ARE PUSSY RIOT by Barbara Hammond 2008 Stick Fly by Lydia R. Diamond The Full Catastrophe by Michael Weller A View of the Harbor by Richard Dresser 2014 The Ashes Under Gait City by Christina Anderson Pig Farm by Greg Kotis One Night by Charles Fuller WRECKS by Neil LaBute Uncanny Valley by Thomas Gibbons The Overwhelming by J.T. Rogers North of the Boulevard by Bruce Graham 2007 Lonesome Hollow by Lee Blessing Dead and Breathing by Chisa Hutchinson My Name is Rachel Corrie from then writings of Rachel Corrie, edited by Alan Rickman and Katharine Viner The Pursuit of Happiness by Richard Dresser 1001 by Jason Grote
76 133 plays. 56 world premieres. 11 new play commissions. 96 writers. 68 plays by women; 66 by men.
2006 Augusta by Richard Dresser 1999 Coyote on a Fence by Bruce Graham Jazzland by Keith Glover Compleat Female Stage Beauty by Jeffrey Hatcher Mr. Marmalade by Noah Haidle Flo’s Ho’s by Julia Jordan Sex, Death and the Beach Baby by Kim Merrill Tatjana in Color by Julia Jordan The Water Children by Wendy MacLeod 2005 Augusta by Richard Dresser Jazzland by Keith Glover 1998 Gun-Shy by Richard Dresser Sonia Flew by Melinda Lopez Interesting Times by Preston Foerder On the Verge or the Geography Carry the Tiger to the Mountain by Cherylene Lee of Yearning by Eric Overmyer BAFO by Tom Strelich The God of Hell by Sam Shepard American Tet by Lydia Stryk 1997 Lighting Up the Two Year Old by Benjie Aerenson Father Joy by Sheri Wilner Below the Belt by Richard Dresser Demonology by Kelly Stuart 2004 Amazing by Brooke Berman CATF Dance Ensemble Flag Day by Lee Blessing Rounding Third by Richard Dresser 1996 Tough Choices for the New Century by Jane Anderson Homeland Security by Stuart Flack The Nina Variations by Steven Dietz The Rose of Corazon by Keith Glover The Nose by Elizabeth Egloff Father Joy by Sheri Wilner Octopus by Jon Klein Bad Girls by Joyce Carol Oates 2003 Whores by Lee Blessing Flag Day by Lee Blessing 1995 Betty the Yeti by Jon Klein Bright Ideas by Eric Coble Maggie’s Riff by Jon Lipsky The Clandestine Crossing by Keith Glover Psyche Was Here by Lynn Martin The Last Schwartz by Deborah Zoe Laufer Voir Dire by Joe Sutton Wilder by Erin Cressida Wilson 1994 What are Tuesdays Like? by Victor Bumbalo 2002 Thief River by Lee Blessing Shooting Simone by Lynne Kaufman Rounding Third by Richard Dresser Spike Heels by Theresa Rebeck Silence of God by Catherine Filloux Forgiving Typhoid Mary by Mark St. Germain The Late Henry Moss by Sam Shepard 1993 A Contemporary Masque by Stephen Bennett Orange Flower Water by Craig Wright Dream House by Darrah Cloud Melissa Arctic by Craig Wright Alabama Rain by Heather McCutchen 2001 Tape by Stephen Belber Black by Joyce Carol Oates Carol Mulroney by Stephen Belber 1992 The Baby Dance by Jane Anderson Silence of God by Catherine Filloux The Swan by Elizabeth Egloff The Ecstasy of Saint Theresa by John Olive Still Waters by Lynn Martin The Occupation by Harry Newman Static by Ben Siegler The Pavilion by Craig Wright Orange Flower Water by Craig Wright 1991 Accelerando by Lisa Loomer Welcome to the Moon by John Patrick Shanley 2000 Something in the Air by Richard Dresser Mary and Myra by Catherine Filloux Miss Golden Dreams, A Play Cycle by Joyce Carol Oates Hunger by Sheri Wilner
77 Advertisers’ Index Old Opera House Theatre Company
ADVERTISERS’ INDEX
30th Anniversary Events ...... B Kimo Pics...... 63 Aldene Etter, MED, LMT...... 45 Kinnett CPAs, Inc...... 67 American Conservation Film Laughing Hat ...... 79 Festival...... 39 Mountain Heritage Arts & Antietam Creek Vineyards. . . . . 47 Crafts Festival...... 61 Sept. 6, 7, 8, 13, 14, 15 Atasia Spa...... 51 Deliver Us From Mama! Museum of Fine Arts – Washington The World Premiere of a Jones-Hope-Wooten Comedy Bavarian Inn ...... 55 County...... 53 Bistro 112 ...... 39 Old Opera House Theatre Company.78 Perfect Arrangement Oct. 11, 12, 13, 18, 19, 20 Boonsboro Inn & Town ...... 9 Opera House in Shepherdstown, WV. .45 Comedy/drama by Topher Payne Bridge Gallery...... 47 Press Room...... 7 Dec. 5, 6, 7, 8, 13, 14, 15 Brix 27...... 53 Price Romine PLLC ...... 61 Kris Kringle The Musical Book by Maria Ciampi, music and lyrics by Tim Janis and Business Organization of Ricco Gallery...... 57 Shepherdstown ...... 45 Angelo Natalie River Riders...... 59 Clark&Carle Group of Compass Real Estate...... 13 Seth Freeman Photography. . . . .61 For best seating it is suggested that you resereve Dandridge Realty Group...... 11 Shaffer Wealth Advisory Group. . . 3 your tickets by calling: 304.725.4420 Devonshire Arms...... 41 Shenandoah Summer Music Theatre...... 79 204 N. George St. Charles Town, WV oldoperahouse.org Dickinson & Wait Craft Gallery. . . .51 Shepherdstown Community Domestic...... 13 Center Book Sale...... 79 Ellsworth Music Supply & Repair. . 63 Shepherdstown School of Dance. . 57 Four Seasons Books...... 51 Shepherdstown Sweet Shop. . . . 59 Freedom’s Run ...... 49 Shepherdstown Vistitors Center. . . 11 Gallery at 105...... 43 Shepherd University Center for German St. Coffee & Candlery. . . . 7 Appalachian Studies ...... 55 HBP...... 37 Shepherd University Foundation. . 57 Historic Shepherdstown Museum. . 53 Skinner Law Firm...... 47 Inn at Antietam...... 45 Speak Story Series...... 75 Jala Yoga...... 55 Sundogs Bed & Breakfast...... 51 Jefferson Arts Council ...... 59 Thomas Shepherd Inn...... 47 Jefferson County CVB...... 55 Two Rivers Treads ...... 49 Proudly Supporting Jefferson County Development Authority...... 61 Uncommon Vernacular...... 49 The ContemporaryProudly American Supporting Theater Festival Jefferson County Farmland Writers Conference at Shepherd for 26 Years! Protection Board...... 63 University...... 41 The Contemporary American Theater Festival for 27 Years!
SEASON IMAGES BY JARED SCHEERER
DESIGN BY EDEN DESIGN edendesignco.com Laughing Hat Shenandoah Summer Music Theatre
S R ANTON USAN MILLE I-PARKS Find their CHEKHOV SUZAN LOR EL WELLER words and all MICHA ILLIAM LLMAN W LILLIAN HE OTTAGE the others! SHAKESPEARE LYNN N T ILLIAMS APHRA ENNESSEE W ENRIK BEHN EVE ENSLER H OCTOBER 10-13 AMUEL BECKETT IBSEN S ST EDWARD ALBEE AUGU LEGENDARY BOOK SALE YCE CAROL OATES WAR MEMORIAL BUILDING WILSON JO AMET OSCAR WILDE DAVID M SHEPHERDSTOWNCC.ORG MATTER WORDS
Shepherdstown Community Center Book Sale Festival Schedule THE SCHEDULE 304.876.3473 / 800.999.CATF CATF.ORG
MY LORD, WEEK 1 SUN 6/30 TUE 7/2 WED 7/3 THURS 7/4 Fri 7/5 Sat 7/6 Sun 7/7 WHAT A NIGHT WORLD PREMIERE 10:00AM CONTEXT BACKSTAGE BY DEBORAH BREVOORT Tickets for Pay-What-You-Can NEW! Preview tickets for FRANK CENTER 12:00PM Preview Performances maybe Wednesday and Thursday LUNCH & ART ANTONIO BAILEY performances may be 260 UNIVERSITY DRIVE be obtained at the Frank BAILEY 2:00PM Center starting at 5pm. purchased in advanced. WRECKED GUEST RUN TIME: 120 MINUTES OPENING PERFORMANCE 2:30PM You may only purchase Starting on Wednesday, LORD MEN SUPPORT GROUP tickets for that evening’s June 5: online, over the FOR MEN 4:30PM performances. phone, or in person, for $22 . BAILEY BY ELLEN FAIREY Tickets are distributed with a At the door, tickets will be LECTURE FRANK CENTER 5:00PM donation to the Festival. distributed for donations. 260 UNIVERSITY DRIVE ANTONIO RUN TIME: 120 MINUTES ANTONIO BAILEY ANTONIO BAILEY ANTONIO 6:00PM WRECKED PREVIEW: PWYC PREVIEW: PWYC PREVIEW PREVIEW OPENING PERFORMANCE WRECKED 6:30PM LORD WORLD PREMIERE BY GREG KALLERES 8:00PM WRECKED GUEST WRECKED GUEST WRECKED GUEST PREVIEW: PWYC PREVIEW: PWYC PREVIEW PREVIEW OPENING PERFORMANCE OPENING PERFORMANCE MARINOFF THEATER LORD MEN LORD MEN LORD MEN ANTONIO 62 W CAMPUS DRIVE PREVIEW: PWYC PREVIEW: PWYC PREVIEW PREVIEW OPENING PERFORMANCE OPENING PERFORMANCE 8:30PM RUN TIME: 90 MINUTES BAILEY A WELCOME GUEST: A WEEK 2 Mon 7/8 Tues 7/9 Wed 7/10 Thur 7/11 Fri 7/12 Sat 7/13 Sun 7/14 PSYCHOTIC 10:00AM BACKSTAGE CONTEXT BACKSTAGE FAIRY TALE ANTONIO BAILEY BAILEY WORLD PREMIERE BAILEY ANTONIO PRE-SHOW DISCUSSION PUBLIC CHANGE OVER PRE-SHOW DISCUSSION BY MICHAEL WELLER 12:00PM MARINOFF THEATER LUNCH & ART 62 W CAMPUS DRIVE WRECKED WRECKED 2:00PM GUEST FRIDAY FILM GUEST RUN TIME: 120 MINUTES PRE-SHOW DISCUSSION PRE-SHOW DISCUSSION LORD LORD 2:30PM MEN MEN CHESTER BAILEY PRE-SHOW DISCUSSION PRE-SHOW DISCUSSION BY JOSEPH DOUGHERTY 4:30PM BAILEY STUDIO 112 ANTONIO LECTURE 92 W CAMPUS DRIVE POST SHOW DISCUSSION 5:00PM R UN TIME: 90 MINUTES BAILEY
ANTONIO’S SONG/ 6:00PM READING ANTONIO BAILEY GUEST I WAS DREAMING OF A SON 6:30PM MEN GUEST WRECKED WORLD PREMIERE 8:00PM ANTONIO GUEST WRECKED BY DAEL POST-SHOW DISCUSSION POST-SHOW DISCUSSION ORLANDERSMITH & MEN LORD MEN LORD ANTONIO ANTONIO EDWARDS 8:30PM SUAREZ ANTONIO BAILEY STUDIO 112 92 W CAMPUS DRIVE 10:00PM AFTER THOUGHTS AFTER THOUGHTS RUN TIME: 90 MINUTES PAID EVENTS WEEK 3 Tues 7/16 Wed 7/17 Thurs 7/18 Fri 7/19 Sat 7/20 Sun 7/21
AFTER THOUGHTS 10:00AM BACKSTAGE CONTEXT BACKSTAGE An afterhours mixer with the CATF BAILEY ANTONIO ANTONIO ANTONIO BAILEY company. PRE-SHOW DISCUSSION PUBLIC CHANGE OVER PRE-SHOW DISCUSSION LOCATION VARIES. 12:00PM LUNCH & ART GUEST GUEST BACKSTAGE BREAKFAST 2:00PM WRECKED FRIDAY FILM WRECKED Enjoy a continental breakfast while getting PRE-SHOW DISCUSSION PRE-SHOW DISCUSSION MEN a backstage tour of the CATF stages. MEN 2:30PM LORD LORD PRE-SHOW DISCUSSION LO PRE-SHOW DISCUSSION CATION VARIES. PUBLIC CHANGE OVER
LUNCH & ART 4:30PM BAILEY Join CATF Founder Ed Herendeen as he LECTURE discusses contemporary theater and 5:00PM BAILEY issues raised in the season’s plays. ANTONIO LOCATION VARIES. POST-SHOW DISCUSSION 6:00PM READING BAILEY ANTONIO WRECKED FRIDAY FILM Films that complement themes 6:30PM LORD and topics addressed in the CATF season. 8:00PM ANTONIO WRECKED GUEST WRECKED GUEST Donations encouraged. LORD MEN SHIPLEY HALL • 260 UNIVERSITY DRIVE LORD MEN BAILEY POST-SHOW DISCUSSION POST-SHOW DISCUSSION 8:30PM BAILEY ANTONIO
PRESENTED FREE OF CHARGE 10:00PM AFTER THOUGHTS AFTER THOUGHTS THANKS IN PART TO THE WEST VIRGINIA HUMANITIES COUNCIL AND THE JEFFERSON ARTS COUNCIL: WEEK 4 Tues 7/23 Wed 7/24 Thurs 7/25 Fri 7/26 Sat 7/27 Sun 7/28
CATF IN CONTEXT 10:00AM BACKSTAGE CONTEXT BACKSTAGE A scholarly approach to the Festival. BAILEY BAILEY ANTONIO BAILEY ANTONIO Reservations Required. PRE-SHOW DISCUSSION 12:00PM ROOM G03 • 62 W CAMPUS DRIVE LUNCH & ART GUEST WRECKED LECTURE SERIES 2:00PM WRECKED FRIDAY FILM GUEST PRE-SHOW DISCUSSION PRE-SHOW DISCUSSION Guest speakers discuss issues raised in the MEN LORD . LOCATION VARIES. 2:30PM LORD MEN plays PRE-SHOW DISCUSSION PRE-SHOW DISCUSSION STAGED READINGS 4:30PM ANTONIO Join CATF for Staged LECTURE Readings of new plays. 5:00PM M ANTONIO ARINOFF THEATER • 62 W CAMPUS BAILEY DRIVE POST-SHOW DISCUSSION 6:00PM READING ANTONIO BAILEY GUEST PUBLIC CHANGE OVER Narrated by a CATF production leader, 6:30PM MEN observe the set transform from one set to its counterpart. LOCATION VARIES. 8:00PM BAILEY GUEST WRECKED GUEST WRECKED LORD MEN MEN LORD PUBLIC CHANGE OVER DELIBERATIVE DIALOGUE 8:30PM Designed to stimulate public deliberation, ANTONIO BAILEY the purpose of the Deliberative Dialogue Forum is to inform collective action about 10:00PM AFTER THOUGHTS contemporary topics, especially topics explored in CATF plays. LOCATIONS & TIME TBA 2020 SEASON: JULY 10 —AUG 2 THINKTHEATER. THINKAHEAD.
20 REP6 LOCK IN YOUR DISCOUNTED REP6 PRICE BY PURCHASING YOUR 2020 REP6 PASS TODAY! You will have the very first chance to select your performances and secure your seats to the dramatic and vibrant 2020 season.
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