The American Century Theater presents

A Musical about Marriage

Book and Lyrics byTom Jones

Music byHarvey Schmidt

I Do! I Do!I Do! I Do!

The American Century Theaterpresents

Please—Silence and stow cell phones and other distracting devices.The videotaping or other video or audio recording

of this production is strictly prohibited

About The American Century TheaterThe American Century Theater was founded in 1994. We are a professional nonprofit theater company dedicated to presenting great, important, and worthy American plays of the twentieth century—what Henry Luce called “the American Century.”

The company’s mission is one of rediscovery, enlightenment, and perspective, not nostalgia or preservation. Americans must not lose the extraordinary vision and wisdom of past playwrights, nor can we afford to surrender the moorings to our shared cultural heritage.

Our mission is also driven by a conviction that communities need theater, and theater needs audiences. To those ends, this company is committed to producing plays that challenge and move all Americans, of all ages, origins, and points of view. In particular, we strive to create theatrical experiences that entire families can watch, enjoy, and discuss long afterward.

Louis GeorgeWes MacAdam Ann Marie PlubellWendy KenneyPaige Gold, Gabe Goldberg, Vivian Kallen, Jack Marshall, Kevin McIntyre

Chair

Vice-Chair Secretary Treasurer

Board

StaffJack Marshall

Paige GoldRip Claassen

Brian CraneEllen Dempsey

Kate DorrellTom Fuller

Rhonda Hill

Artistic Director Managing DirectorSteven Scott MazzolaLindsey E. Moore Emily Morrison Ed MoserJoli Provost Ginny Tarris

Board of Directors

This program is supported in part by Arlington County throughthe Arlington Commission for the Arts and Arlington Cultural Affairs, a division

of Arlington Economic Development; the Virginia Commission for the Arts;the National Endowment for the Arts; and many generous donors.

I Do! I Do! is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also

supplied by MTI, 421 West 54th Street, New York NY 10019Tel 212.541.4684 Fax 212.397.4684 www.MTIShows.com

July 19–August 17, 2013Gunston Theatre Two

2700 South Lang Street, Arlington

Place The U.S.A.Time Any Time

There will be one 15-minute intermission.

I Do! I Do!Book and Lyrics byTom Jones

Music byHarvey Schmidt

Based on The Fourposter by Jan de Hartog

Originally Produced on Broadway by David MerrickOriginally Directed by Gower Champion

Master Carpenter Trena Weiss-Null

Costume DesignRip Claassen

Properties DesignJoshua Aaron Rosenblum

Set DesignPatrick Lord

Lighting DesignDavid Walden

Sound DesignEd Moser

Musical DirectorTom Fuller

DirectorJack Marshall

Assistant DirectorQuinn Anderson

Stage ManagerLindsey E. Moore

A Musical about Marriage

I Do! I Do! (1966), by Harvey Schmidt and Tom Jones

I Do! I Do!, the once popular 1966 Broadway musical by The Fantasticks team of Harvey Schmidt and Tom Jones, is a paradox. Like its source, a 1951 drama by Jan de Hartog called The Fourposter, it was intended to be a probing, sometimes sentimental, but at heart realistic examination of the institution of marriage, using one long and remarkably typical marriage as the “star” of the show. Drama usually arises from the remarkable, not the ordinary, but both the play and its musical adaptation, on the page at least, aimed at entertaining by placing a mirror in front of married couples and handing a guidebook to those who hadn’t taken the leap yet. This was key to both shows’ success, because the only suspense in such a story would be which familiar event that had already been dramatized in hundreds of other plays, movies, and I Love Lucy episodes the authors would choose to omit.

The musical, however, was foiled in its objective by the commercial demands of Broadway. Producer David Merrick didn’t think an ode to a normal marriage would put fannies in the seats without help, so two mega-stars were recruited to play “Him” and “Her.” The unremarkable but dramatic marriage between a minor author and the plucky love of his life came to the Broadway stage as a series of vignettes and songs performed by the unlikely coupling of the Music Man and Peter Pan—Robert Preston and Mary Martin. Critics, blinded by the star power, missed the goal of the book, and complained that the plot was a thin and predictable device to justify songs for the dynamic duo. Audiences, happy to see two old pros strut their stuff, even though watching them play twenty-year-olds on their wedding night was a little, shall we say, creepy, didn’t care.

Even so, the show was only a modest hit, running less than two years. Where I Do! I Do! really took off was in dinner theaters and community theaters, where it was not a star vehicle (no stars!), and thus the real strength and genius of Schmidt and Jones’ show could shine through. It was about marriage, and although the marriage on stage began in the 19th century, I Do! I Do! would never be anachronistic, because marriage in America hadn’t changed for centuries, and wasn’t about to change. After all, this was 1966! What could change marriage?

Oh, only the pill, the sexual revolution, the divorce rate, women’s liberation, gay rights, changing gender roles . . . and, in dizzying fashion (for some, far too dizzying), the redefinition of marriage itself. Yet the power and sentiment that were always the sturdy spine of the play and the musical remain. Marriage—every marriage and especially long-lasting ones—is a great adventure, and like so many American Century Theater shows, what has changed in the U.S. since the original production makes an old work more intriguing, not less so. Though some will doubtless disagree, this

Cast in order of appearanceThe Snows, a married couple . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mary Beth Luckenbaugh Esther Covington Steve Lebens Chad FornwaltPianists . . . . . . . . . . . . . . . . . . . . Amy Conley, Laurie Corkey, Alvin Smithson

Production staffDirector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jack Marshall Musical Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tom FullerAssistant Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Quinn AndersonStage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lindsey E. MooreAssistant Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kelly Anne JohnsScenic Design/Master Carpenter . . . . . . . . . . . . . . . . . . . . . . Trena Weiss-NullLighting Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . David WaldenSound Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ed MoserCostume Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rip ClaassenProperties Design . . . . . . . . . . . . . . . . . . . . . . . . . . . Joshua Aaron RosenblumChoreography . . . . . . . . . . . . . Mary Beth Luckenbaugh, Esther CovingtonSound Board Operator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Danny GloverWardrobe Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kelly Anne JohnsPublicist/Graphic Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Emily MorrisonProgram Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Michael ShermanHouse Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joli Provost

Special thanks to—Katy Rinaman Don Barton

The Director would like to thank Grace Marshall, Roundhouse Theatre, Lazy Susan Dinner Theater, Michael DeBlois, and the U.S. Supreme Court

Become a fan of The American Century Theater on Facebook. Keep up with shows, auditions, volunteer opportunities, podcasts, videos, and more. www.AmericanCentury.org

production was designed to herald the real message of I Do! I Do! in the most unequivocal way.

Marriage is marriage, and love is love.

Of course. —Jack Marshall

Artistic Director, The American Century Theater

Esther Covington American Century Theatre credits: One Night with Fanny Brice, Babes in Arms, Hellzapoppin’. Regional Theatre: Robert Redford’s Sundance Institute (Fiddler on the Roof w/Michael Rupert), Jefferson Performing Arts Society (The Buddy Holly Story, The Full Monty), Alhambra Theatre (The Buddy Holly Story), Studio Theatre (Bloody Bloody Andrew Jackson), Baltimore Shakespeare Festival (Mrs. Kemble’s Tempest), Wayside Theatre (Miracle on 34th Street), Toby’s Dinner Theatre (The Buddy Holly Story, Here’s Love, Happy Days, Anything Goes, Dreamgirls), Imagination Stage (Twice Upon a Time), and The Garden National Tour. Favorite roles include the title role in Calamity Jane, Rhetta (Pump Boys & Dinettes), Meredith (Bat Boy), Baker’s Wife (Into the Woods), Claire (bare), and Bella (Lost in Yonkers). Esther has a Master’s Degree in Theatre.

Chad W. Fornwalt’s DC area credits include The Full Monty (The Keegan Theatre), The Sound of Music, A Christmas Carol, Happy Days and Rent (Toby’s Dinner Theater), The Rocky Horror Show (Washington Savoyards), and Cannibal...the Musical (Landless Theatre). NYC: reading of Tears of Heaven. Film: Battlecry (original cast), The Wedding Singer, and Evita.

Steve Lebens has previously appeared with The American Century Theater in Hellzapoppin’, Drama under the Influence, An American Century Christmas, Will Success Spoil Rock Hunter?, Stalag 17, Stage Door, Visit to a Small Planet, The Country Girl, Little Murders, Marathon ’33, and J.B. Steve has worked at a number of Washington area theaters, including Signature Theatre, Studio Theatre, Folger Theatre, Source Theatre, No Rules Theatre, The In Series, Horizons Theater, and Scena Theatre. He began his professional career at the Guthrie Theater in Minneapolis. In Bogota, Colombia, Steve was the founding artistic director of “Teatro de las Americas” and also appeared at the Teatro Popular. In Karachi, Pakistan, he worked with the Karachi Drama Circle. Film and television: In addition to Law and Order: Criminal Intent, Steve can be seen in the current season of House of Cards and in the upcoming feature film, Field of Lost Shoes.

Mary Beth Luckenbaugh was last seen on The American Century Theater stage as Rita Marimba in Marathon ’33. In the DC area, she has appeared in Spot’s Birthday Party (Adventure Theatre MTC), The 25th Annual Putnam County Spelling Bee (The Keegan Theatre), Flora the Red Menace (1st Stage), and James Joyce’s The Dead (Quotidian Theatre). Film: Funkomatic (Limitless Films). Mary Beth holds a Bachelor of Music in Musical Theatre from The Catholic University of America.

Jack Marshall (Director) is the artistic director and co-founder of The American Century Theater. Among the TACT productions he has directed are the Helen Hayes–nominated The Anderson Trial and The Cradle Will Rock (for which he received an Outstanding Director nomination), Danny and Sylvia, Moby Dick Rehearsed, Lady in the Dark, Hollywood Pinafore, last season’s epic Marathon ’33, and the company’s very first production, Twelve Angry Men. He also has authored or co-authored many original TACT productions, including Paul Morella’s one man Clarence Darrow show, Laughter at Ten O’ Clock, If Only in My Dreams, TACT’s adaptation of Uncle Tom’s Cabin, Hellzapoppin’, and An American Century Christmas. He is an ethics specialist and attorney, but regards his greatest achievement in the law as his launching, as a first-year law student, the Georgetown Law Center Gilbert and Sullivan Society, which this year celebrated its fortieth anniversary as “America’s only theater company with its own law school.” And he dedicates his work in I Do! I Do! to Grace Marshall, who said those words to him thirty-three years ago, and his cup has runneth over ever since.

Tom Fuller (Musical Director) has been conducting and performing in musicals and operettas since 1967, appearing in roles from Charlie Brown in You’re a Good Man, Charlie Brown to Monostatos, the evil Moor, in The Magic Flute. He has been Musical Director for The American Century Theater productions of Lady in the Dark, archy & mehitabel, The Cradle Will Rock, Hollywood Pinafore, Danny and Sylvia, Laughter at Ten O’ Clock, If Only in My Dreams (which he co-authored), One Touch of Venus, Call Me Mister, Hellzapoppin’, and Marathon ’33. He adapted Uncle Tom’s Cabin, created (with Jack Marshall) An American Century Christmas, appeared onstage in the most recent production of Moby Dick Rehearsed, and is the general musical supervisor for all TACT shows.

Quinn Anderson (Assistant Director) is an actress and singer who charmed DC area audiences in musicals like The Sound of Music (as Maria), Kismet (Lalume), Me and My Girl (Sally), Candide (Cunegonda), Evita (Eva Peron), and many more before moving her career and her talents to New York City. Returning to Northern Virginia several years ago, she has been the target of Director Jack Marshall’s efforts to employ her talents on American Century Theater projects almost since the company was launched. Finally, he hit on the successful incentive with an offer to assist him in the direction of the newly-imagined version of I Do! I Do!

Rip Claassen (Costume Design) has directed, produced, and costumed for The American Century Theater, Natural Theatricals, Howard University, American University, Bowie State, and other local venues. He has taught theatre and acting at the Institute for the Arts for Fairfax County Public Schools, Duke Ellington School of the Arts, and several other local theatre programs. Rip is Artistic Director of Teens ‘n’ Theatre Company and an artistic associate with TACT, where he recently directed J.B. and costumed Little Murders and Marathon ’33.

Kelly Anne Johns (Assistant Stage Manager) is a rising senior at George Mason University, majoring in theatrical costume design. This is her first show with The American Century Theater.

Patrick Lord (set design) This is Patrick’s fourth show at The American Century Theater. He previously designed sets for Little Murders, The Country Girl, and One Night with Fanny Brice. Other DC Metro area designs have included We Fight We Die (Junesong Productions) and the 2011 Source Festival. Patrick also served as associate designer on The History of Invulnerability (Theater J), The Language Archive (Forum Theatre), and Birds of a Feather (The Hub Theatre). He holds a BFA in scenic design from Emerson College in Boston, MA, and is currently pursuing his MFA at the University of Texas at Austin. More examples of his work can be found at www.patrickwlord.com.

Lindsey E. Moore (Stage Manager) is thrilled to be kicking off her first ever musical with this new, re-imagined version of I Do! I Do! With The American Century Theater, she has been Stage Manager for Voodoo Macbeth, The Show-Off, Marathon ’33, and Stage Door; and Properties Designer for Biography. She worked in stage management in Roanoke, VA for shows including Antigone, The Laramie Project, and The Good Woman of Setzuan. Lindsey is a graduate of Roanoke College with a Bachelor of Arts in Theatre and Design.

Edward Moser (Sound Design) is a regional audio-production veteran whose designs include Long Day’s Journey into Night, A Little Trick, Afterplay, and Master Harold and the Boys (Quotidian Theatre), Amelia (a Kennedy Center Page-to-Stage reading), and A Christmas Carol, Underneath the Lintel, and Tuesdays with Morrie for Paul Morella. Favorite musical credits include Señor Discretion Himself (Arena Stage), Urinetown (University of Maryland), David in Shadow and Light (Theater J), and Godspell (Olney Theater Center). Favorite designs for The American Century Theater include Native Son, Treadwell: Bright and Dark, Visit to a Small Planet, The Country Girl, Little Murders, and Marathon ’33.

Joshua Aaron Rosenblum (Properties Design) previously designed properties for The American Century Theater production of J.B. He has appeared in TACT productions as “Lusty” in Marathon ’33 and in Babes in Arms. Recent credits include John Darling in Peter Pan: The Boy Who Hated Mothers (No Rules Theatre Company) and performances with Synetic Theater, 1st Stage, and Potomac Theatre Company.

David Walden (Lighting Design) is a long-time metropolitan-area lighting designer whose work has encompassed lighting for dance, opera, drama, and musicals. David has a long association with Marshall/Fuller/TACT, including doing lights for such classics as Moby Dick Rehearsed, The Cradle Will Rock, and Lady in the Dark. Most recently, he lit the TACT production of Marathon ’33.

Trena Weiss-Null (Scenic Design) designed and built the sets for The American Century Theater productions of J.B., Life with Father, Dr. Cook’s Garden, The Titans, Happy Birthday, Wanda June, and Cops. She works as a director, designer, and theatre teacher in professional, community, and educational venues and has a Bachelor’s in Acting-Directing and Master’s in both Theatre and Education.

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Thank you to the many generous donors who provided support from June 1, 2012–June 30, 2013.

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The American Century Theater has been around long enough now —17 years—to accumulate a gratifying number of loyal, appreciative followers who cheer our triumphs, forgive our missteps, and understand the importance of our unique mission to the D.C. area, theater, and U.S. culture.

One of those loyal supporters was Rosemarie Bowie, who passed away in late June.

The company will miss having her thoughtful presence in the audience, but she left us more than memories: a generous bequest, one that will help the company do its job of presenting great stage works of the 20th Century that other theater companies have forgotten or fear to attempt. Hers was a loving and empowering gesture of encouragement and endorsement, and we will strive to make sure that we use it to make the American Century Theater of the future better, stronger, and worthy of her memory.

—Jack Marshall Artistic Director, The American Century Theater

to subscribe to The American Century Theater’s exciting 2013–2014 season.

You’ll see—

by Neil Simon (1961)

by Mark Harris (1992)

by Arthur Kopit (1962)

by Abby Mann (2002)

by Jack Marshall and Tom Fuller

about these 20thcentury gems on our website at www.americancentury.org

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Judgment at Nuremberg