an enemy of the people program

Sep 19–Oct 21

By Arthur Miller Adapted from the play by Henrik IbsenDirected by Kwame Kwei-Armah

An Enemy of the People

The Completely Fictional— Utterly True—Final Strange Tale of Edgar Allan Poe

Bus Stop

The Mountaintop

Mud Blue Sky

Clybourne Park

Beneatha’s Place

2012–13 season

The Raisin CycleMiller/Ibsen

When we began thinking about this 50th Anniversary Season, one of the strongest themes to emerge was conversation. We wanted to create a season of work that is not only entertaining— although entertainment is tremendously important—but also asks the right questions, the kinds of questions our audience is thinking about right now. Running up to the election, I saw how An Enemy of the People asks: what is the role of the citizen and what is the role of the individual? What is the power of the majority and what is the value of the minority position? How does a society grow together, as the sum of its many independent parts?

I began to fall in love with this play when I read the wonderful preface Arthur Miller wrote for his adaptation. In it, he talks about Ibsen going out of fashion—and the theater’s growing unwillingness to ask the fundamental questions about society that Ibsen wanted to ask.

Questions like, who or what is an enemy of the people? Ibsen was saying it’s the press. And not just the press, but an elite few who own the press. As Miller was writing this translation, television was becoming the articulation of what it is to be American. And so, as we began work on this production, we were inspired to think about the changes that medium brought about in our democracy.

Many say that it was the 1960 Kennedy–Nixon debate that truly shifted the landscape. That one close-up of Nixon wiping the sweat from his face forever changed the whole field of politics. All of a sudden, television became not just a window into Washington, but the arbiter of who should be there and who should not.

Now, we live in a multimedia world that, many would argue, directs the focus where it wants us to look. It isn’t that multimedia necessarily is the enemy of the people; but it is worth posing the question: how are we manipulated by this hyper-visualized world?

We hope that this question provokes in you something new or unexpected, and that you will continue to join us in all of our conversations this season.

Warmly,

Kwame Kwei-Armah, Director Artistic Director, CENTERSTAGE

P.S. While you may only visit this building a few times per year, we want you to stay connected. Sign up for our email updates, explore our media wall in the lobby, check out My America online, send a tweet, or connect with us on Facebook.

Letter from the Director

Kwame Kwei-Armah Director

Riccardo Hernández Scenic Designer

David Burdick Costume Designer

Michelle Habeck Lighting Designer

Ryan Rumery Original Music & Sound

Alex Koch Video & Projection Designer

Kellie Mecleary Production Dramaturg

Tara Rubin Casting Director

Laura Smith* Stage Manager

Captain Kate Murphy* Assistant Stage Manager

Caitlin Powers* Assistant Stage Manager

John Ahlin* Captain Horster

Ross Bickell* Morten Kiil

Dion Graham* Dr. Stockmann

Tyrone Mitchell Henderson* Hovstad

Wilbur Edwin Henry* Aslaksen

Kevin Kilner* Peter Stockmann

Jimi Kinstle* The Drunk

Jeffrey Kuhn* Billing

Susan Rome* Catherine Stockmann

Charise Castro Smith* Petra Stockmann

Holden Brettell or Zion Jackson Morten

Jory Holmes or Lucas Pelton Ejlif

*Member of Actors’ Equity Association

The CasT (in alphabetical order) The arTisTiC Team

An Enemy of the People (Miller) is presented by special arrangement with Dramatists Play Service, Inc., New York.

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An EnEmy of thE PEoPlE iS MADE POSSiBLE By SuPPOrT frOM

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PrESEnTing PArTnEr

SEASOn SPOnSOrSEllen and Ed BernardStephanie and Ashton CarterJames and Janet ClausonLynn and Tony Deering and

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An Enemy of the PeopleBy Arthur Miller • Adapted from the play by Henrik Ibsen Directed by Kwame Kwei-Armah

Sep 19–Oct 21, 2012

CENTERSTAGE is funded by an operating grant from the Maryland State Arts Council, an agency dedicated to cultivating a vibrant cultural community where the arts thrive.

I Love LucyFor the dazzling, six-year run of the show, I Love Lucy would remain conservative in content and innovative in technique. Lucy, the scheming, ebullient housewife of Cuban bandleader Ricky Ricardo, never earns her own money but never stops following her dreams, however ridiculous. By the time Ball gave birth to her second child in 1953, the coinciding episode, “Lucy Goes to the Hospital,” smashed records, drawing a bigger TV audience than any previous program at the time and beating Eisenhower’s televised inauguration the next day by four percentage points. The show became the model for sitcoms to follow. Along with shows like Leave It to Beaver and Father Knows Best, I Love Lucy acted as a model for the ideal American family home.

Kefauver & the MafiaIn 1950, Senator Estes Kefauver, a Democrat from Tennessee, invited cameras into hearings of the Senate Special Committee to Investigate Crimes in Interstate Commerce, which centered on the doings of the Mafia. A national sensation as an uncompromising crime-fighter, Kefauver

used his celebrity to run for president in 1952, gaining almost 40 times as many votes in Democratic primary elections as Illinois Governor Adlai Stevenson. Party leadership, however, favored Stevenson, who went on to lose to General Dwight D. Eisenhower. Television’s influence on American culture and politics, however, only continued to grow.

Disneyland on TVThe land of Walt Disney’s dreams was born on television before a single child set foot on park grounds in Anaheim. On Wednesday, October 27, 1954, Disneyland premiered on ABC as an anthology of children’s cartoons hosted by Disney himself. Unlike other studio chiefs, who worried about television’s impact on ticket sales, Disney invested in the new

technology wholeheartedly. The television program Disneyland skillfully promoted an eponymous amusement park that opened several months later to such popularity that in only two-and-a-half years it marked its 10-millionth visitor. With a hit theme song and a national coonskin cap craze in 1955, Disneyland programs like Davy Crockett demonstrated not just Walt Disney’s wisdom in accepting television as an advertising tool, but also his foresight in expanding a children’s movie business into a brand that could touch every aspect of a child’s life. With the launching of the Disneyland anthology, park, and line of products, it became a ubiquitous alternate reality, promising citizens a shining, utopia—just as long as they remained loyal customers.

In An Enemy of the People, as we watch brothers battle over the fate of their town, it is worth noting the role that the town paper, The People’s Daily Messenger, plays—the various ways in which it contributes to the machinations and outcome of the plot. The paper is a powerful tool, and its use in the play reflects the use of mass media in other times. In Arthur Miller’s day, the media that was fast becoming a central part of American life was television: as it grew in scope and influence, it took on the role of both informing and reflecting American society and culture. These pages provide an overview of the late ’50s and early ’60s through the major shows and events that dominated the small screen at the time.

Tuned InBy Kellie Mecleary, Production Dramaturg, and Matthew Buckley Smith

2 | CENTERSTAGE

McCarthy & MurrowEd Murrow’s March 9, 1954 See It Now episode, entitled “A Special Report on Senator Joseph P. McCarthy,” had the impact of the little boy’s outburst in The Emperor’s New Clothes. The hour-long program, sponsored by Murrow himself and his producer Fred Friendly, was dedicated to a public examination of the career of Senator Joseph R. McCarthy and was almost entirely made up of recordings of the senator’s own public appearances. Though CBS subsequently pulled funding for See It Now, Murrow’s televised exposure of McCarthy effectively broke the senator’s spell.

American BandstandIn the ’50s and ’60s, American Bandstand, alongside The Ed Sullivan Show, was a living mirror of American popular culture. Beginning in 1957, Dick Clark became the face of Bandstand, inviting teenagers to dance at home with the rest of the nation. Among the dozens of legendary acts Bandstand hosted in 1957 was Jerry Lee Lewis, the fiery Louisiana-born pianist who collaborated and competed with Elvis Presley. Some parents were shocked by Lewis’ suggestive performance, but Clark stood by the singer through three appearances. Though the show broke few social barriers, American Bandstand provided continuity and community for generations of Americans, reflecting changes in the national culture for a faithful audience at home.

Quiz Show ScandalAmericans familiar with cynical reality television today might find it hard to imagine the disillusionment audiences felt in 1959 on learning that the popular quiz show Twenty-One was fixed. At the heart of the public tragedy was the popular contestant Charles Van Doren. Fifty million Americans had tuned in to watch the showdown between Van Doren and previous champion Herb Stempel. For months after, audiences followed

Van Doren’s prodigious performance. Performance, sadly, was all it was— tevery answer was scripted. That year, almost 100 former contestants chose to perjure themselves rather than publicly admit that the show’s seductive presentation of brilliance and sudden fortune had been a sham.

The Twilight ZoneRod Serling was one of the most successful writers in television when The Twilight Zone debuted on October 2, 1959, with an episode concerning a U.S. airman who slowly loses his mind in an idyllic small town mysteriously emptied of people. Episodes of The Twilight Zone—all hosted by the wry and impeccably dressed Serling—used elements of science fiction to feed television viewers subtly disguised moral and political problems, including racism, nuclear war, and mass hysteria. The show was a critical and popular hit from the start, lasting five seasons and earning three Emmy Awards, among numerous other honors. American audiences seemed to crave the thoughtful treatment of the widespread paranoia rarely examined elsewhere on television. As Serling later said, “I found that it was all right to have Martians saying things Democrats and Republicans could never say.”

An Enemy of the People | 3

a Place for DebateImagine what it must have been like to be faced with the task of building a nation, as our Founding Fathers set out to do some 200-plus years ago. Thomas Jefferson envisioned a nation filled with philosopher farmers, each man the master of his own small domain, granted individual liberty to live as he saw fit. Alexander Hamilton dreamed of progress, industrialization, a collective march forward toward better living and new discoveries. Rather than choose, these men and their fellows attempted to create a system that allowed for the possibility of both ways of living, a system of checks and balances founded on the idea that no single person should decide the fate of a nation; people would have the right to live as they chose. Consequently, as our nation grew, different ways of being inevitably clashed. Hamilton’s dream of progress played out against Jefferson’s ideals of liberty, sometimes at the cost of the safety of workers or the health of the land. Other clashes—moral, religious, ideological—arose. The system that established our Republic left its descendants constantly in battle, endlessly wrestling over the right path and struggling to balance costs against benefits.

INDUSTRIALIZATION Waltham-Lowell SystemIn September 1813, Francis Cabot Lowell bought the Boies Paper Mill in Waltham, Massachusetts, changing American industry forever. The Boston Manufacturing Company housed under a single roof all the processes involved in turning cotton into cloth. Contributing to the efficiency of his system was the company’s strict control of factory workers’ lives. Housed nearby, they were awakened before five and worked roughly 80 hours per week. Americans have enjoyed the cheap goods such modern factories provide and the economic dominance they earned the country. It would be almost 100 years before workers’ interests would find a voice in Upton Sinclair’s 1906 novel, The Jungle, which exposed brutal conditions in Chicago’s meat-packing factories. Jack London called it “the Uncle Tom’s Cabin of wage slavery.”

ENERGY FrackingIn December of 2007, Terry Engelder, a Penn State professor, estimated that ground beneath the rock formation in Pennsylvania known as the Marcellus Shale housed about 50 trillion cubic feet of natural gas. Engelder was lauded as the man responsible for creating new jobs and revenue in Pennsylvania and discovering a new fuel source for the country. After the extraction process began, however, Conrad Voltz, a University of Pittsburgh professor, posited that the removal of natural gas would contaminate the state’s drinking supply. The process, called hydraulic fracturing, involves drilling a tunnel underground and forcing gas upwards with chemically infused water. Voltz estimated that frackers were dumping about 800,000 pounds of this liquid into the Monongahela River, a prime source of drinking water for the state. Voltz was asked to keep his findings quiet by his peers. Instead, he resigned from his position at the university. The debate over the health risks versus economic benefits of fracking continues in Pennsylvania and throughout the country.

By Kellie Mecleary, Production Dramaturg, Matthew Buckley Smith, and Roisin Dowling

4 | CENTERSTAGE

a Place for Debate

HEALTH & MEDICINE Embryonic Stem Cell Research On the night of August 9, 2001, President George W. Bush addressed the nation with news of scientific and ethical importance. The matter was federal funding for embryonic stem cell research. Congress had already passed the 1995 Dickey-Wicker Amendment, which stopped federally funded programs from performing research on embryos created specifically for that purpose. Citing qualms with the ethical status of such embryos, President Bush decided to withhold federal funding for research on all but 60 established lines of cells. Eight years later, President Obama rescinded the ban, upsetting those who shared Bush’s moral concerns. The scientific community, on the other hand, remains frustrated by the Dickey-Wicker Amendment, which still stymies some efforts to cure diseases like Parkinson’s, Alzheimer’s, and Multiple Sclerosis.

IDEOLOGY Prohibition By the time the 18th Amendment was repealed on December 5, 1933, the Constitutional prohibition on the sale of alcohol changed more than America’s drinking habits. Many women’s groups, including the Women’s Christian Temperance Union, had supported Prohibition, arguing that saloons— once bleak, all-male establishments— could drain a man’s finances while his wife was left at home with the children, helpless and dependent on him for support. Evangelicals and public health activists had joined women’s groups in making Prohibition policy. As Americans wearied of the ban, though, it was not just civil libertarians who swayed public opinion. Perhaps the boldest advertisements for repeal were prominent gangsters like Bugs Moran and Al Capone, themselves happy supporters of Prohibition, which after all had made them very wealthy men.

FOOD The Great Corn DebateFor centuries, corn has been used to fatten cattle for slaughter. Over time, corn increasingly became the main source of food for cows, a fact that resulted in cheaper meat more widely available to the mass public. However, studies show that a corn and protein diet can cause intestinal damage in cows and increases the risk of E. coli-ridden beef. Communities are calling for a return to a grass-fed diet, and some cattle raisers have taken up the call. This meat, though healthier, is more expensive, and may affect the prices as more fields are taken up for grazing and less is available for growing corn. While the debate between proponents of corn and backers of grass rages on in the farming community, it also plays out in the grocery store— where customers have to choose between cheaper corn-fed beef and more expensive, but arguably healthier, grass-fed meat.

Expansion/Settlement

Urbanization

Foreign Policy


HENRIKIBSEN

IN“REBELWITH

A CAUSE” “REBELWITH

A CAUSE”

HENRIKIBSEN

IN

Henrik Ibsen. The name has a tendency to conjure images of staid, tight-laced women and dark, heavy drapes. Very un-cool. Way old-school. But these images, these ideas only tell a partial story, one that fails to consider the playwright in his time. Ibsen, while alive, was the James Dean of Norway, an outsider with his metaphorical cigarette dangling effortlessly between his thumb and forefinger and his collar turned up. In short, a rebel. Only this rebel had a cause, and his cause was truth.

Ibsen was born in Skien, Norway, on March 20, 1828, to Marichen and Knud Ibsen. Knud was a wealthy merchant whose business went under when Ibsen was six, leaving the family considerably poorer, and necessitating young Ibsen’s apprenticeship at a pharmacy in Grimstad—a tiny, grimy, rough-and-tumble shipping town 100 miles south. It was here where Ibsen really grew into his outsider/rebel persona: he even fathered an illegitimate child, whom he helped support but never knew. Had he been a 20th- century man, I imagine questions about this boy would cause him to look away, take a drag of his self-rolled cigarette, and say something like, “Wasn’t my time, man. Wasn’t my truth.”

Ibsen had a tumultuous relationship with his native country, Norway. He would often claim that he didn’t have a single drop of Norwegian blood in his veins (though he was in fact two-thirds Norwegian), and lived in voluntary exile for 27 years of his adult

life. Yet, he was in other ways very invested in Norway. In his twenties, Ibsen worked tirelessly to develop a Norwegian national theater, believing it would help bring about an independent nation, rather than one still culturally and politically under Danish rule. It was Ibsen’s dream to become his country’s national playwright: he campaigned aggressively for awards and accolades throughout his career. And though he felt very much an outsider among the Norwegian bourgeoisie and elite, Ibsen did not feel he chose his outsider status: he longed to be an accepted member of their society.

Yet, when it came to the art itself, Ibsen would regularly throw status and acceptance to the wind for the sake of the work. While writing Brand, his first hit and the play that would bring him international renown, Ibsen remarked, “I have an impression that my new work will not dispose [the Norwegian parliament] more charitably toward me. But hang me if I can or will, on that account, suppress a single line, no matter what these ‘pocket edition’ souls think of it. Let me rather be a beggar all my life! If I cannot be myself or what I want, then everything is nothing but lies and humbug…”

Ibsen clung fast to the idea that “The important thing is to remain true and faithful to yourself,” and used this idea as a north star guiding his life’s work. Variations on ‘to thine own self be true’ are a dime a dozen, of course, but the statement becomes interesting when considering where it led the playwright. Ibsen’s plays are plays of ideas, theses thoroughly explored through the psychodrama of his characters. But the ideas themselves differ significantly from one play to the next: Ibsen is constantly critiquing the idea he asserts only one play prior. An Enemy of the People, which Ibsen wrote in 1882 in a fury after critics’ scandalized response to Ghosts, champions the intellectual individual in possession of the truth. Ibsen’s very next play, The Wild Duck, portrays a similar individual in a much harsher light.

Consequently, in his lifetime Ibsen was claimed by every political group in town: everyone from socialist to libertarian could find an Ibsen play to complement their thinking. But Ibsen had no permanent interest in any of them. He felt himself a man apart, an ‘intellectual pioneer,’ forging a path of ideas for others to follow after him, but always leaving them behind in the dust.

In the introduction to his adaptation of An Enemy of the People, Arthur Miller wrote, “There is one quality in Ibsen that…lies at the very center of his force…It is his insistence, his utter conviction, that he is going to say what he has to say, and that the audience, by God, is going to listen.” Ibsen—he ambitious, would-be aristocrat, who wanted to be adored by his countrymen—rebelled against his own desires again and again in order to say what he had to say, to examine the world and its ever-changing rules and norms. And so he accepted his status as outsider, man alone, a rebel in more ways than one.

Surrender the motorcycle, James Dean. Ibsen leaves you in the dust.

By Kellie Mecleary, Production Dramaturg

Ibsen

6 | CENTERSTAGE

By now you’re probably on to me. You’re thinking, “I know where she’s going. She painted Ibsen as a rebel, now she’s going to try to convince me that Miller was a fuddy-duddy stick-in-the-mud.” Well, you’re only half right.I won’t try to tell you that Miller, the young idealist who believed that theater could change the world, was a square. Nor does that title apply to the somewhat more mature husband of Marilyn Monroe who refused to give up the names of alleged Communists and was consequently charged with contempt of Congress. Through the McCarthy years in particular, Miller was just as much of an outsider in his country as Ibsen at his most abject. But the two men’s philosophical and artistic inclinations did differ in some fascinating and illuminating ways, and it is on these differences that I want to dwell.

Arthur Miller was born on October 17, 1915, to Isidore, an Austrian-Hungarian immigrant who ran a small coat-manufacturing business, and Augusta, a New York native and schoolteacher. They spent the first 12 years of Miller’s life in relative comfort and prosperity in Manhattan, until the Great Depression began to take hold of the city, crippling Isidore’s business and making it necessary for the Miller family to move out to Brooklyn. Miller, greatly affected by the destitution caused by the Depression, embraced Marxism at the University of Michigan. It seemed clear to him that capitalism was failing and a new system was needed. He and his fellow students believed Marxism was the answer, and Miller, through his art, was going to help spread the word and make a difference.

So Miller picked an ideology and more or less stuck with it. Over time, as it became evident that socialism also had its flaws and would not be taking the United States by storm, Miller became less idealistic, less certain that he could help change the world—indeed uncertain that the world could be changed at all—but he never fully abandoned the set of beliefs he embraced as a young college student.

Another difference between Ibsen and Miller was their approach to form. Unlike Ibsen, who developed an entirely new way of making theater and experimented with others, Miller chose to breathe new life into forms that already existed. Miller in fact drew from Ibsen in developing his style, as well as the Greek Classicists. In Miller’s eyes, both the Greeks and Ibsen possessed a “powerful integrative impulse which, at least in theory, could make possible a total picture of a human being” where “Present dilemma was simply the face that the past had left visible.” In other words, both Ibsen and the Greeks incorporated history into their work, accounting for what had happened in what was happening. For Miller, this element was essential in making socially powerful art. He repurposed the techniques of Ibsen and the Greeks to emulate what he valued in their work. The results, however, were always his own.

An Enemy of the People offers an excellent example of this. Coming off of the wild success of Death of a Salesman, the tragedy that sharply critiqued the American Dream, Miller decided to adapt Ibsen’s classic. Miller saw in Enemy an opportunity to put language to his feelings about the anti-Communist McCarthy hearings. Explicitly embracing Ibsen’s form, structure, and setting, Miller managed to make them just a bit leaner—while also introducing dialogue that more directly addressed the contentious divisions of his day. Though the play was not a hit—due in part, Miller felt, to the overwhelming orthodoxy of the time—he continued to explore this subject matter in his next play, The Crucible, following the path of the minority versus the masses into deeper and darker territories, but remaining on the path.

Miller was no fuddy-duddy, but he was not exactly a rebel, either. He was a man who held fast to his ideals, regardless of how unpopular, or indeed dangerous, they became. Whom does he resemble? Gregory Peck as Atticus Finch. Steady, stalwart, and sticking to his guns until the bitter end.

miller

ARTHUR MILLER

“To Revive a

Mockingbird”starring


What is my America? That is the question we asked more

than 50 playwrights from across the

country this spring. The responses

they brought us—each in the form

of a short monologue—look at

America in all its extraordinary beauty

and complexity. From a young woman

making her way across the country on

I–80 to an octogenarian remembering

his time as a cold-war era spy, from

the fiery artist pitching his movie in

Hollywood’s early days to the aging

veteran remembering his army

pals, the stories contained in these

monologues create a vivid picture

of America, past and present.

What is the My AMEriCA project? After writers sent us their monologues, we set out to find 50 actors to play the

characters they had created. Possible Films, the production company of

independent film director Hal Hartley, then filmed each of the pieces, creating

50 unique videos. And now, just in time for the presidential election and

CENTERSTAGE’s 50th Anniversary Season, they are ready for their unveiling on our

website. What’s more, these videos will live in the CENTERSTAGE lobby on our brand

new Media Wall, where you can not only watch the monologues but also learn

more about the writers who created them.

Join us at the Media Wall or online at www.centerstage.org/MyAmerica.

Oakland

Portland

San Francisco

Hawaii

Salt Lake City

Los Angeles

The PlaywrighTs

THE 5TH L CHRISTINA ANdERSoNJuLIANA AvERy LEE BLESSING THoMAS BRAdSHAw ANdy BRAGEN BEkAH BRuNSTETTER CoNSTANCE CoNGdoN kIA CoRTHRoN LydIA R. dIAMoNd dAN dIETz LISA dILLMAN CHRISTopHER duRANG RINdE ECkERT RICH ESpEy MARCuS GARdLEy kIRSTEN GREENIdGE RINNE GRoff dANNy HoCHwILLy HoLTzMAN QuIARA ALEGRíA HudES

Traci Thoms in The Author’s America by Lydia R. Diamond

By Susanna Gellert, Artistic Producer

8 | CENTERSTAGE8 | CENTERSTAGE

Online Video Release Schedule

Winston-Salem

Kentucky

Arkansas

Florida

Baltimore/DC

Bucks Co., PA

PhiladelphiaCumberland

Detroit New York

Boston

New Jersey

Minneapolis

ChicagoIowa

Indiana

SEP 28 • OCT 2 • OCT 9 • OCT 16 • OCT 23 • OCT 30 • NOV 6 See them at www.centerstage.org/MyAmerica

The PlaywrighTs

THE 5TH L CHRISTINA ANdERSoNJuLIANA AvERy LEE BLESSING THoMAS BRAdSHAw ANdy BRAGEN BEkAH BRuNSTETTER CoNSTANCE CoNGdoN kIA CoRTHRoN LydIA R. dIAMoNd dAN dIETz LISA dILLMAN CHRISTopHER duRANG RINdE ECkERT RICH ESpEy MARCuS GARdLEy kIRSTEN GREENIdGE RINNE GRoff dANNy HoCHwILLy HoLTzMAN QuIARA ALEGRíA HudES

SAMuEL d. HuNTER NAoMI IIzukAJuLIE JENSEN RAJIv JoSEpH JEREMy kAREkEN NEIL LABuTE SEAN CHRISTopHER LEwIS kENNETH LIN kESTRyL CAEL LowREy JAMES MAGRudER MELANIE MARNICH d.J. MENdEL wINTER MILLERANNA MoENCH LENELLE MoïSE pAT MoNTLEy GREG ALLEN QuI NGuyEN LyNN NoTTAGE dAEL oRLANdERSMITH poLLy pEN ELAINE RoMERo LyNN RoSEN ALENA SMITH ANNA dEAvERE SMITH SEEMA SuEko GwydIoN SuILEBHAN CARIdAd SvICH NAoMI wALLACE LAuREN yEE

my AmEricA iS SuPPOrTED ByLynn and Tony Deering and The Charlesmead Foundation


Applause.As we mark our 75th year in Baltimore, we join CENTERSTAGE in

celebrating its own milestone anniversary—50 years of artistic excellence

provided through thought-provoking theater for this great community.

That’s no small act.

We’re proud to be a long-time supporter of this remarkable cultural

institution, which truly enriches our city’s quality of life.

As loyal fans, we say, Bravo!

CENTERSTAGE


John Ahlin*—Captain Horster. CENTERSTAGE: Arsenic and Old Lace (Teddy Brewster). Broadway—Studio 54: Waiting for Godot (Gogo, Pozzo); Belasco: Journey’s

End (Trotter, 2007 Tony Award Best Revival); Lyceum: The Lieutenant of Inishmore (Donny, Christy); Longacre: Voices in the Dark (Blue), One Mo’ Time (Theater Owner); ANTA Theater: WHOOPEE! (Mort); Music Box: Macbeth (Scottish Doctor/Murderer). Off Broadway—Barrow Street: Orson’s Shadow (Orson Welles); Irondale Center: Treasure Island (Billy Bones, Morgan). Regional—Pittsburgh Public, Two River Theater, Old Globe, Goodman, Actors Theatre of Louisville, Cincinnati Playhouse, St. Louis Rep, La Jolla Playhouse, Goodspeed Opera House. John has appeared as Falstaff nine times, most recently in Henry IV Part One at the Shakespeare Theatre of New Jersey. Film/TV—Law & Order: SVU (multiple episodes), Third Watch, As the World Turns, The Education of Max Bickford, the upcoming Coen Brothers’ movie Inside Llewyn Davis.

Ross Bickell*—Morten Kiil. CENTERSTAGE: debut. Broadway—Noises Off (Selsdon), The Iceman Cometh (Chuck Morello), A Few Good Men (Captain

Markinson). Off Broadway—Durango(Ned/Jerry), The Madras House (Eustace State), Deathbed (Thomas), Waste (Horsham), Privates on Parade (Sergeant Len Bonny). Regional—Hartford Stage: Our Town (Doctor Gibbs); City Theatre: A Marriage Minuet (Rex); Pittsburgh Public Theater: Mary Stuart (Burleigh), The Gin Game (Weller Martin), Roleplay (Derek), The Subject Was Roses (John Cleary); Cape Playhouse: Born Yesterday (Ed Devery), Hay Fever (David Bliss); Pioneer Theatre Company: Copenhagen (Bohr), The Night of the Iguana (Shannon); Arena Stage: The Royal Family (Herbert Dean); Alley Theatre: Angel Street (Rough), Spiders Web (Sir Rowland); Philadelphia Theatre: Lips Together, Teeth Apart (Sam); Virginia Stage:

Tyrone Mitchell Henderson*—Hovstad. CENTERSTAGE: debut. New York credits— NYSF: The America Play (Man), The Tempest (Shipmaster); Two

Noble Kinsmen (Pirithous); EPBB: King Lear (Gloucester); At Hand Theatre: Letters to the End of the Worl (Emmanuel). Touring—Bring in ‘da Noise, Bring in ‘da Funk First National Tour (Da’ Voice). Regional— Yale Rep: The Winter’s Tale (Camillo); The Piano Lesson (Avery); Westport Country Playhouse: Tartuffe (Cleante); Milwaukee Rep: Radio Golf (Harmond); ATL: Jitney, (Philmore); Dallas Shakes: Othello (Othello); Syracuse Stage: Hamlet (Laertes); STC: Romeo and Juliet (Paris), Julius Caesar (Metellus Cimber), Antony and Cleopatra (Thidias); BTF: The Tempest (Antonio); St. Louis Rep: The 39 Steps (Clown); Playmaker’s Rep: Topdog/Underdog (Lincoln), Master Harold and the Boys (Willie); Alliance Theatre: Intimate Apparel (George), Angels in America (Belize); Huntington Theatre: Blues for an Alabama Sky (Guy). Film/TV—The Treatment, Boardwalk Empire, Suits (pilot), Law & Order, L&O: CI. Awards—Audelco and Kevin Kline nominations; Dallas Theatre Critics, Connecticut Critics Circle, Leon Rabin Award winner. Tyrone-mitchell-henderson.blogspot.com.

Wilbur Edwin Henry*—Aslaksen. CENTERSTAGE: debut. Broadway—Is He Dead? Off Broadway—Barrow Street Theatre: Our Town (Professor Willard),

Orson’s Shadow (Orson Welles and Laurence Olivier). Off Off Broadway—Keen Company: Pullman Car Hiawatha, Outward Bound (both Drama Desk Award nom. for Honored Revivals), In the Matter of J. Robert Oppenheimer. Touring—West Side Story (Germany, France, Switzerland, Italy, Spain, Liechtenstein). Regional—Alabama Shakespeare Festival: The Merry Wives of Windsor (Falstaff), Henry VIII; Arden Theatre: Wanamaker’s Pursuit; Capital Repertory

Art (Serge), Who’s Afraid of Virginia Woolf?(George); Dallas Theater: Hamlet (Polonius); Merrimack Rep: The Drawer Boy (Morgan). Film/TV— The Fighter, Major Payne, Airport ’77, Law & Order, L&O: C.I., L&O: SVU, Strangers With Candy, Ed, The Dave Chapelle Show, WKRP, 30 Rock.

Holden Brettell—Morten. CENTERSTAGE—debut. Regional—Shakespeare Theatre Company: Merry Wives of Windsor (Robin and William

Page, U/S), The Life of Galileao reading (Boy); Ford’s Theatre: A Christmas Carol (Turkey Boy, Boy Scrooge, Ignorance); Wolf Trap: The King and I (Children’s Chorus); Toby’s Dinner Theatre: The King and I (Louis); Mount Vernon Children’s Theatre: The Adventures of Tom Sawyer (Ben Rogers), Annie (Cabinet Member Hull), Peter Pan (Pirate); Little Theatre of Alexandria: A Christmas Carol (Boy Scrooge, Belle’s Son); City of Fairfax Theatre Company: Annie Get Your Gun (Jesse). Film/TV—National Park Foundation PSA (Boy).

Dion Graham*— Dr. Stockmann. CENTERSTAGE: The Heliotrope Bouquet, All’s Well That Ends Well. Broadway—Not About

Nightingales (also at London’s Royal National Theatre). Off Broadway—Lincoln Center Theatre, Playwright’s Horizons, New York Theatre Workshop, Primary Stages among others. International—Edinburgh Festival: The Gospel at Colonus, Ibsen Conference: Pillars. Regional—Numerous theaters across the country. Film/TV—The Secret Life of Walter Mitty, 13 Conversations About One Thing, Malcom X, The Good Wife, Gossip Girl, The Wire (Rupert Bond), Third Watch, Law & Order, L&O: SVU, Hack, The Hoop Life, Homicide, Asbury Park, NYPD Blue, and others; Narration for A&E’s The First 48. Education—MFA Rutgers University. Heartfelt thanks to Kwame and Kevin. In tribute to my dad.

Biographies The Cast


Biographies The Cast [cont]

Theatre: A Christmas Story (Narrator); The Cleveland Playhouse: A Christmas Story (Narrator); Philadelphia Theatre Company: Orson’s Shadow (Orson Welles); Round House Theatre: Orson’s Shadow (Orson Welles); Alley Theatre: Orson’s Shadow (Orson Welles). Film/TV—Hack (District Attorney Landi), Law & Order, One Life to Live, As the World Turns, Guiding Light, All My Children. Proudly AEA. Love to Elizabeth, Edwina, and Josephine.

Jory Holmes—Ejlif. CENTERSTAGE: debut. Regional—Children’s Theatre of Annapolis: “Witches” A Tribute to Roald Dahl (Head Waiter), A Night at the Wax

Museum (Pirate 1); Colonial Players of Annapolis: A Christmas Carol (Turkey Boy); Colours Performing Arts: Remix (Dancer); PG Little Theatre Group: A Christmas Carol (Turkey Boy); Cheverly Young Actors Guild: Seussical The Musical (A “Who”/Dog), Annie (Orphan); Anderson Dance Company: The Boys are Back (Dancer); Missoula Children’s Theatre: Robin Hood (A Tree); Bethel Church: Birth of Jesus (Shepherd/Sheep). Jory is in grade 5 at Robert Goddard Montessori School located in Prince George’s County, Maryland. Jory is extremely is passionate about the arts!

Zion Jackson—Morten. CENTERSTAGE: Camp CENTERSTAGE performer, CENTERSTAGE 50 Fest performer. A native of New Orleans, LA, Mr. Jackson

currently attends AYFA Middle School and the Baltimore School of the Arts Twiggs’ Program. He would like to extend a special thank you to CENTERSTAGE for providing him with this opportunity, as well as his family for their continued support throughout this process.

Kevin Kilner*—Peter Stockmann. CENTERSTAGE: debut. Broadway—The Glass Menagerie (Theatre World Award; Drama Desk, Outer Critics Circle noms); Off

Broadway—Clurman Theater: Lemon Sky; Dinner with Friends (2000 Pulitzer Prize winner); MTC: Night and Her Stars. Regional—Pasadena Playhouse: Defiance; The Alley Theatre: Wait Until Dark; Young “Vic (Baltimore): The Pirates of Penzance; Santa Fe Stages: The Cherry Orchard; A Streetcar Named Desire; Spike Heels. Film—Paranoia (filming), Raising Helen, A Cinderella Story, American Pie II, Home Alone III, Twenty Bucks, Music From Another Room, Julia, Switch. TV—House of Cards, Happily Divorced, White Collar, Damages, Greek, CSI: NY, Life on Mars, Dollhouse, One Tree Hill. Education—Johns Hopkins University. Kevin dedicates his CENTERSTAGE debut to his parents, Edward and Dorthea Kilner. To the band of brothers & sisters in arms led by the extraordinary Kwame Kwei-Armah— it is an honor to create with you.

Jimi Kinstle*—The Drunk. CENTERSTAGE: As You Like It (Lord), Hamlet (Player/Courtier). Regional—Everyman Theatre: The Trip to Bountiful (Sheriff), All in

the Timing (Trotsky, Phillip Glass, et al), Cat on a Hot Tin Roof (Doc Baugh); Rep Stage: A Dickens of a Carol (Charles Dickens), Man With a Load of Mischief (Innkeeper); Baltimore Shakespeare Festival: Antigone (Polineikes/Tiresias), The Complete Works of William Shakespeare (“James”), The Taming of the Shrew (Petrucchio), A Dickens of a Carol (Charles Dickens), Othello (Iago), Cyrano de Bergerac (Cryano de Bergerac), Much Ado About Nothing (Leonato), Love For Words (William Shakespeare). Education—Towson University. Professional— Producing Artistic Director of Pumpkin Theatre (2009–Present); Artistic Director of Baltimore Shakespeare Festival (2000–08); Former Board President, Baltimore Theater Alliance.

Jeffrey Kuhn*— Billing. CENTERSTAGE: debut. Broadway—The 39 Steps (Clown 1), Spamalot (Sir Bedevere), Wicked (Boq), Assassins (Zangara), original


cast of Ragtime. Touring—The Who’s Tommy National Tour (Cousin Kevin). Other New York: Cap21: Southern Comfort; Playwrights Horizon: Floyd Collins. Regional—St. Louis Rep: Next Fall; Shakespeare Theatre: Romeo and Juliet; Old Globe: Sea of Tranquility; Pittsburgh Public: ...80 Days; Stageworks: I Am My Own Wife; Alliance: The Fourth Wall; Cincinnati Playhouse: The Pavilion, Dirty Blonde; Stratford Shakespeare: Love’s Labour’s Lost, A Midsummer Night’s Dream, Antony & Cleopatra, The Illusion, Timon of Athens, Twelfth Night, The Tempest, Romeo & Juliet; Winter Garden: Nothing Sacred; Princess of Wales: The Lion King. Film/TV—Nothing Sacred, Romeo & Juliet, Gotti, Earth: Final Conflict.

Lucas Pelton—Ejlif. CENTERSTAGE: debut. Baltimore/Local—Memorial Players: Sound of Music (Goatherd/Puppet); Children’s Playhouse of

Maryland: Willy Wonka, Jr. (Oompa Loompa); Pumpkin Theatre: Into The Woods (Mysterious Man); Seussical (Thing 1); Hamilton Elementary/Middle: Alice In Wonderland, Jr. (March Hare), Guys & Dolls (Crapshooter). Lucas is a 7th grader in the Ingenuity Project at Hamilton Elementary/Middle School. He plays the saxophone at school and in the Baltimore School for the Arts TWIGS program. Lucas lives with his family in Lauraville. In March 2012, Lucas won third place in the Morgan State Science Fair. When not on stage, he reads Rick Riordan books. Special thanks to Jimi Kinstle, Ryan Gholson, his family, Pop Pop and Ellen, and his godfathers.

Susan Rome*—Catherine Stockmann. CENTERSTAGE: Mud Blue Sky (Beth, reading), These Shining Lives (Charlotte, reading). Regional—Theatre J: The Moscows of Nantucket

(Ellen), Spring Forward, Fall Back (Minnie, Naomi), The Last Seder (Julia), The Ride Down Mt. Morgan (Leah); Rep Stage: Las Meninas (Mother Superior/Queen Mother), A Shayna Maidel (Mama); Baltimore Shakespeare

Festival: Richard III (Elizabeth), Macbeth (Lady Macbeth), All’s Well That Ends Well (Widow); Baltimore School for the Arts: The Jack Plays (“Ionescorama”) (Mother Jack); Artemis Productions: Why We Have A Body (Renee); Center Stage Seattle: The Legacy (Rachel); Mark Taper Forum: The Substance of Fire (Sarah); Padua Hills Playwrights Festival: The Interpreter of Horror (Willa), Amado Amor (Ensemble); Road Theatre Company: The Chisholm Trail Went Through Here (Eileen), The Walkers (Fern), Why Things Burn (Vera), I-Land (Lana), Balm in Gilead (Terry, Rust); Fountain Theatre: The Couch (Toni); Burbage Theatre: Bad Country (Tony); Cast Theatre: Perpetual Care (Susan); Ensemble Studio Theatre: Branches Among the Stars (Nora); Nosotros Theatre: Of Mice and Men (Curley’s Wife). Film/TV—My One and Only, The Invasion, A Dirty Shame, The Wire, The Secret Service, NYPD Blue. Education—BFA Boston University.

Charise Castro Smith*—Petra Stockmann. CENTERSTAGE: Debut. Off Broadway—The Flea Theatre: The Art of Preservation (Desiree); New Georges: The

Germ Project; Ars Nova: The Voices in My Head; The Public Theater: Jane Says (New Work Now!). Regional—Westport Country Playhouse: Tartuffe; Guthrie Theatre: Chain of Fools. TV— The Good Wife, Body of Proof, Unforgettable. Playwriting—credits include Ars Nova ANT Fest: Estrella Cruz [The Junkyard Queen]; Studio 42: The Hunchback of Seville; The Miracle Theater, Portland, OR: World Premiere of Boomcracklefly. She is currently a Van Lier Playwriting Fellow at New Dramatists. Education—MFA Yale School of Drama, BA Brown University.


Biographies The Cast [cont]

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Arthur Miller (1915–2005) was born in New York City and studied at the University of Michigan. His plays include The Man Who Had All the Luck (1944), All My Sons (1947), Death of a Salesman (1949), The Crucible (1953), A View from the Bridge and A Memory of Two Mondays (1955), After the Fall (1964), Incident at Vichy (1964), The Price (1968), The Creation of the World and Other Business (1972), The Archbishop’s Ceiling (1977), The American Clock (1980) And Playing for Time. Later plays include The Ride Down Mt. Morgan (1991), The Last Yankee (1993), Broken Glass (1994), Mr. Peters’ Connections (1998), Resurrection Blues (2002), and Finishing the Picture (2004). Other works include Focus, a novel (1945); The Misfits, a screenplay (1960); and the texts for In Russia (1969), In the Country (1977), and Chinese Encounters (1979), three books in collaboration with his wife, photographer Inge Morath. Memoirs include Salesman in Beijing (1984) and Timebends, an autobiography (1988). Short fiction includes the collection I Don’t Need You Anymore (1967), the novella Homely Girl, a Life (1995) and Presence: Stories (2007). He was awarded the Avery Hopwood Award for Playwriting at University of Michigan in 1936. He twice won the New York Drama Critics Circle Award, received two Emmy awards and three Tony Awards for his plays, as well as a Tony Award for Lifetime Achievement. He also won an Obie award, a BBC Best Play Award, the George Foster Peabody Award, a Gold Medal for Drama from the National Institute of Arts and Letters, the Literary Lion Award from the New York Public Library, the John F. Kennedy Lifetime Achievement Award, and the Algur Meadows Award. He was named Jefferson Lecturer for the National Endowment for the Humanities in 2001. He was awarded the 2002 Prince of Asturias Award for Letters and the 2003 Jerusalem Prize. He received honorary degrees from Oxford University and Harvard University and was awarded the Prix Molière of the French

theatre, the Dorothy and Lillian Gish Lifetime Achievement Award, and the Pulitzer Prize.

Kwame Kwei-Armah—Director. See page 23

Riccardo Hernández—Scenic Designer. CENTERSTAGE: The Homecoming, The Importance of Being Earnest, The Matchmaker, A Little Night Music, Things of Dry Hours, The Miser, Fences. Broadway—Tony Kushner’s Caroline, or Change (also RNT, London); Topdog/Underdog (also Royal Court, London); Elaine Stritch at Liberty (nat’l tour and Old Vic, London); Parade dir. Hal Prince (Tony, Drama Desk noms); Bells Are Ringing; Bring in ‘Da Noise, Bring in ‘Da Funk (also nat’l tours and Japan); The Tempest. Off Broadway—NYSF/Public: over 20 productions incl. Mother Courage and Her Children, Stuff Happens, Radiant Baby (Drama Desk nom), The America Play; Lincoln Center; NYTW; MTC; MCC; CSC; Playwright’s Horizons; Second Stage; Cherry Lane; BAM. Regional—ART; Alliance; Arena; DTC; Goodman; Hartford Stage; Kennedy Center; La Jolla; Long Wharf; McCarter; Taper; Old Globe; Seattle Rep; South Coast; Shakespeare (DC); Yale Rep. Opera—English National Opera, San Francisco (Philip Glass’ Appomattox); Chicago Lyric; HGO; NYCO; LA; Santa Fe; Pittsburgh; Michigan; Opera Pacific; Berkshire; Det Norske Teatret, Oslo; Hong Kong. Education—Yale School of Drama.

David Burdick—Costume Designer. CENTERSTAGE: The Whipping Man; A Skull in Connemara; The Rivals; Snow Falling on Cedars; Working it Out; Cyrano; Caroline, or Change; Hearts; Things of Dry Hours; Crumbs from the Table of Joy; Elmina’s Kitchen; Picnic; a.m. Sunday; The Rainmaker; Blithe Spirit; many others. Regional—Everyman Theatre: You Can’t Take It with You, Private Lives, All My Sons, The Mystery of Irma Vep; Walnut Street/Totem Pole: The Last Night of Ballyhoo, Moon Over Buffalo. Opera—

Biographies The Artistic Team vote

“YES” on Baltimore

City Bond Issue, “Question D”

to support CENTERSTAGE

Recognizing the powerful economic impact of CENTERSTAGE and our partners throughout the city’s tourism, arts, and cultural sector, Mayor Stephanie Rawlings-Blake and the City Council have included funds designated for capital projects at cultural institutions in a special bond issue on the November ballot. To support CENTERSTAGE, be sure to vote “Yes” on “Question D—Economic Development Loan” at the polls this fall.

CENTERSTAGE improvements will include an enhanced building exterior, expanded public spaces, and infrastructure upgrades to support state-of-the-art information technology and new media installations aimed to better position the theater to serve the community, boost local economy, and fulfi ll our well-established and growing role as a leading national arts organization.


Cincinnati: Don Giovanni; Boston Lyric: I Puritani; Tulsa: Tosca, The Barber of Seville, Carmen, Fidelio. Dance—BAM: FLY: Five First Ladies of Dance; Dayton Contemporary: Lyric Fire (world premiere, dir./choreographer Dianne McIntyre). Miscellaneous—Baltimore Symphony Orchestra: Holiday Spectacular.

Michelle Habeck—Lighting Designer. CENTERSTAGE: The Whipping Man, A Skull in Connemara, Let There Be Love, Things of Dry Hours, Elmina’s Kitchen. Broadway—Slide Artist: Thoroughly Modern Millie (also London and tour); Associate Lighting Designer: The Boy from Oz, King Hedley II; Assistant Lighting Designer: Movin’ Out, Thoroughly Modern Millie, King Hedley II. Opera—Associate Lighting Designer: Julie Taymor’s Grendel. Off Broadway—Fifty Words. Regional—American Music Theatre Project: WAS (dir. Tina Landau), Dangerous Beauty (dir. Sheryl Kaller); Guthrie: A Raisin in the Sun, Gem of the Ocean. Steppenwolf: Love Song, The Chosen, Ten Percent of Molly Snyder. Michelle has also designed for The Goodman, Alliance, Kansas City Repertory, Penumbra, Arizona Theatre Company, Writer’s Theatre, Lookingglass, and others. Awards—NEATCG Career Development Grant for Design, The University of Texas Faculty Fine Arts Award.

Ryan Rumery—Original Music and Sound. CENTERSTAGE: The Rivals; Snow Falling on Cedars; Cyrano; Caroline, or Change; Arsenic & Old Lace; The Boys from Syracuse. Broadway—Thurgood (w/ Laurence FIshburne). Off Broadway—Many credits, including The Submission; Lincoln Center: 4000 Miles; Classic Stage Company: Cherry Orchard, Three Sisters, Orlando, Uncle Vanya; Irish Rep: The Emperor Jones (Lortel nom); MTC: We Live Here. Regional—Over 150 productions including Cincinnati Playhouse in the Park, Actors Theatre of Louisville, Kennedy

Biographies The Artistic Team [cont]

CEnTErSTAgE has reached a signifi cant milestone—and we’re so glad you’re here to join us as we celebrate throughout the season.

We hope you will consider making a gift in honor of CENTERSTAGE’s 50th Anniversary Season.

Ticket sales cover less than half of the cost of keeping our theater up and running, and support from donors like you helps to serve thousands of Maryland residents each year through artistic, educational, and community outreach programming—and ensures that CENTERSTAGE’s future is bright for the next 50 years.

To donate to the future of amazing theater in Baltimore, please visit www.centerstage.org/donate.

Thank you!

support 50 years of world-class Theater

Calling ALL Schools, Churches, Community Organizations, and Associations! We want you here!Your group of 10 or more can save BIG at CENTERSTAGE. It’s fun and easy! To book a group or get more information call 410.986.4008 or email [email protected].


Center, Long Wharf Theatre, Shakespeare Theatre, Hartford Stage, Westport Country Playhouse, Ford’s, Alley, Kansas City Rep, La Jolla Playhouse, Syracuse Stage, Trinity Rep, Geffen Playhouse, and Woolly Mammoth. Film—Credits include SyncroNYCity. Ryan is also playing drumset in a Colorado-located band, The Broken Spoke, and New York City-based Palissimo’s The Painted Bird.

Alex Koch—Video & Projection Designer. CENTERSTAGE— ReEntry (also Round House, Actors Theater of Louisville). Broadway—Walter Kerr: Irena’s Vow. Off Broadway and other New York—Waterwell: Goodbar (Under the Radar 2012); TerraNOVA Collective: Feeder; Repertorio Espanol: En el Tiempo de las Mariposas, La Casa de los Espiritus; Urban Stages: ReEntry, The Oxford Roof Climber’s Rebellion; Ensemble Studio Theatre: Lenin’s Embalmers. International— Mori Theater, Chile: La Casa de los Espiritus. Regional— Court Theatre in Chicago: The Invisible Man (also Studio Theater in Washington, DC); Director’s Company, Theater MITU, Electric Pear, Shalimar, SummerStage, Little Opera Theater, The New Ensemble. Other professional—Technical design for New Georges at 3LD and Big Art Group’s Dead Set II & III. Alex is a founding member of Imaginary Media, a design studio for media in theater. www.imaginarymediadesigns.com

Laura Smith*—Stage Manager. CENTERSTAGE: The Whipping Man, Gleam; The Rivals; Snow Falling on Cedars; Cyrano; Working it Out; Fabulation or, The Re-Education of Undine; Who’s Afraid of Virginia Woolf?; Joe Turner’s Come and Gone. Regional—Everyman: Pygmalion, Shipwrecked, Rabbit Hole, Doubt, Gem of the Ocean, And a Nightingale Sang, The School for Scandal, A Number, Someone Who’ll Watch Over Me, Yellowman; Woolly

Your noteworthy performance

deserves one word:Bravo

KPMG congratulates CENTERSTAGE on its

50th Anniversary Season

kpmg.com© 2012 KPMG LLP, a Delaware limited liability partnership and the U.S. member firm of the KPMG network of independent member firms affiliated with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. The KPMG name, logo and “cutting through complexity” are registered trademarks or trademarks of KPMG International. NDPPS 105976


Mammoth: Gruesome Playground Injuries, House of Gold, The Unmentionables, Vigils, After Ashley; Folger: Measure for Measure, The Comedy of Errors (ASM); Olney Theatre: Stuff Happens; Theater Alliance: Headsman’s Holiday, Pangea, [sic]; Catalyst: Cloud 9; Longacre Lea: Man with Bags.

Captain Kate Murphy*—Assistant Stage Manager. CENTERSTAGE: Stage Manager for A Skull in Connemara, American Buffalo, Crime & Punishment, Let There Be Love, The Santaland Diaries; Assistant Stage Manager for The Importance of Being Earnest, Things of Dry Hours, Trouble in Mind, The Three Sisters, Radio Golf, The Murder of Isaac, Once on this Island, King Lear; Assistant Production Manager 2008–09. Regional—Trinity Rep: Boeing-Boeing; Actors Theater of Louisville: All Hail Hurricane Gordo†, The Clean House, Moot the Messenger†, Dracula, The Ruby Sunrise†, Tall Grass Gothic†, The Drawer Boy, Amadeus, As You Like It (†Humana Festival); Contemporary American Theater Festival: The Overwhelming, Pig Farm; Totem Pole Playhouse: Over 70 productions through 12 summer stock seasons. Film/TV— Route 30, Route 30 Too!, The Next Food Network Star. Proud Actors’ Equity and ASCAP Member.

Caitlin Powers—Assistant Stage Manager. CENTERSTAGE—Assistant Stage Manager for The Whipping Man, A Skull in Connemara, American Buffalo; Assistant Production Manager 2012–13. Regional—Contemporary American Theater Festival: Assistant Stage Manager for Captors, In a Forest, Dark and Deep, Race, We Are Here. Arts Emerson: The Color of Rose (World Premiere). Fringe NYC 2009: Muffin Man: The Musical.

Biographies The Artistic Team [cont]

Planned gifts offer you creative ways to share your passion for the theater with generations to come. Fifty percent of Americans are living without a will. Their life savings may be spent in ways they never intended. Make sure that does not happen to you. Live smart. When you name CENTERSTAGE as a benefi ciary, you can trust that your money will be spent wisely by a non-profi t organization you already know and trust.

Your foresight is our future… and your peace of mind.

Master Your Own Legacy… Join the Heritage Circle at CENTERSTAGE

“What you leave behind

is not what is engraved

in stone monuments,

but what is woven into

the lives of others.”

Pericles (c. 495-429 BCE)

To learn more about opportunities to include CENTERSTAGE in your estate plans, please contact the

Director of Development, Cindi Monahan at 410.986.4020.

encounter begins Monday, October 8

Teens ages 14–18: Do you have something to say?Join a diverse group of Maryland students every Monday as we learn about performance, leadership, and community building—and develop two original performances throughout the year.

www.centerstage.org/education


Kellie Mecleary—Production Dramaturg—holds a Master’s Degree in Performance Studies from New York University and a BA in English and Theater from Goucher College. Other CENTERSTAGE credits include Production Dramaturg for A Skull in Connemara and American Buffalo. She also served as Production Dramaturg for Single Carrot’s production, Milk Milk Lemonade. Previously New York based, she has worked as a dramaturg, director, critic, producer, administrator, and stage manager with various organizations including Brave New World Repertory Company, Pipeline Theater Company, WOW Café Theater, Manhattan Theater Source, and Vital Theater. Her writing has been published through Cerise Press and OffOffOnline.com.

Tara Rubin Casting—Casting. CENTERSTAGE—Into the Woods. Broadway—Ghost, Hugh Jackman: Back on Broadway, How to Succeed in Business Without Really Trying, Promises, Promises, A Little Night Music, Billy Elliot, Shrek, Guys and Dolls, The Country Girl, RockN’Roll, The Farnsworth Invention, …Young Frankenstein, The Little Mermaid, Mary Poppins, My Fair Lady, Pirate Queen, Les Misérables, History Boys, Spamalot, Jersey Boys, …Spelling Bee, The Producers, Mamma Mia!, Imaginary Friends, Phantom of the Opera, Oklahoma!, Happiness, The Frogs, Contact, Thou Shalt Not. Off-Broadway: Love, Loss, and What I Wore, Second Stage. Regional—Westport Country Playhouse. Yale Repertory, Kennedy Center, La Jolla Playhouse, Dallas Theatre Center, The Old Globe. Film—Lucky Stiff, The Producers.


By Stephen ThorneDirected by Curt Columbus

Oct 17–Nov 25 Nex

t U

p @

By turns a madcap vaudeville and a touching examination of artistic aspiration, this hilarious-yet-enchanting new play spins a tale of the mysterious fi nal days of Baltimore’s emblem of oddness, E.A. Poe.Supported by

James and Janet Clausen

Featuring

Baltimore

favorite,

Bruce Nelson!


By Kellie Mecleary, Production Dramaturg

uP fOr A figHT? Step outside, please.Maybe you missed it, but some big voices are starting something out there, and they’re waiting for you to join in. Sprinkled about the lobby, the mezzanine, and other public spaces are some thoughts from historical figures, major and minor. Their perspectives vary, sometimes vastly, but they all speak for the truth as they see it. Set in conversation with one another and with An Enemy of the People, what resonances do you find? What new ideas form? Any really strong reactions?

All of the quotations are listed below, matched up with their source—but with some key words missing. Find them all and fill in the blanks to be entered to win a set of four ticket vouchers, valid for any future performance! Just be sure to note your contact information as well, so we can let you know if you won. Then drop off the completed page with our Front of House staff and cross your fingers.

1. “SOCiETy, CAPTAin, iS LiKE A ______—EVEry MAn SHOuLD DO SOMETHing TO HELP nAVigATE THE _______.” —An Enemy of the People

THE inDiViDuAL rEALLy MuST ___________HiMSELf TO…THE _________ WHO ArE in CHArgE Of THE gEnErAL WELfArE.—An Enemy of the People

2. yOu SHALL KnOW THE TruTH AnD THE TruTH SHALL MAKE yOu _____. —Flannery O’Connor, American fiction writer, 1925–64

ALL grEAT TruTHS BEgin AS__________.—George Bernard Shaw, British playwright, 1856–1950

3. frEEDOM iS THE rOAD _______TrAVELED By THE MuLTiTuDE. —Frederick Douglass, African American social reformer, 1818–95

frEEDOM: TO ASK_________. TO ExPECT _________. TO DEPEnD On __________.—Ayn Rand, Novelist and Objectivist, 1905–82

4. SO BE SurE WHEn yOu STEP,/ STEP WiTH CArE AnD grEAT______./ AnD rEMEMBEr THAT LifE’S/ A grEAT BALAnCing ACT. —Dr. Seuss, Oh the Places You’ll Go!, American children’s book writer, 1904–91

i WOuLD rEMinD yOu THAT ________ in THE DEfEnSE Of LiBErTy iS nO ViCE! AnD…MODErATiOn in THE PurSuiT Of _______iS nO VirTuE!—Barry Goldwater, US Senator and Presidential candidate, 1909–98

5. THE THing THAT MAKES yOu ExCEPTiOnAL, if yOu ArE AT ALL, iS _________ THAT WHiCH MuST ALSO MAKE yOu _______. —Lorraine Hansberry, American playwright, 1930–65

An inDiViDuAL HAS nOT STArTED LiVing unTiL HE CAn riSE ABOVE THE nArrOW __________Of HiS inDiViDuALiSTiC COnCErnS TO THE BrOADEr COnCErnS Of ALL HuMAniTy.—Martin Luther King, Jr., American civil rights activist, 1929–68

6. TO gEnErALizE MEAnS TO_________. —Georg Wilhelm Friedrich Hegel, German philosopher, 1770–1831

TO gEnErALizE iS TO BE An_________.— William Blake, British poet, 1727–1857

7. iDEALiSM iS finE, BuT AS iT APPrOACHES rEALiTy, THE COSTS BECOME ___________. —William F. Buckley, Jr., Conservative American author and commentator, 1925–2008

8. THE BEST ArguMEnT AgAinST_________ iS A fiVE-MinuTE COnVErSATiOn WiTH THE AVErAgE _________. —Winston Churchill, British Prime Minister, 1874–965

Name ___________________________________Address ___________________________________________

__________________________________________________

State/Zip _________________________________________

Email _____________________________________________

Phone ____________________________________________

Member # ________________________________________(if applicable)

iT iS BETTEr TO DEBATE A quESTiOn WiTHOuT SETTLing iT THAn TO SETTLE A quESTiOn WiTHOuT DEBATing iT. —Joseph Joubert

A MAn LiVES By BELiEVing SOMETHing; nOT By DEBATing AnD Arguing ABOuT MAny THingS. —Thomas Carlyle

✃


Artistic Director Kwame Kwei-Armah OBE, an award-winning British playwright, director, actor, and broadcaster, is in his second season as Artistic

Director. Last season he directed The Whipping Man, and previously Naomi Wallace’s Things of Dry Hours. Among his works as playwright are Elmina’s Kitchen and Let There Be Love—which had their American debuts at CENTERSTAGE—as well as A Bitter Herb, Statement of Regret, and Seize the Day. Kwame has served on the boards of The National Theatre and The Tricycle Theatre, both in London. He served as Artistic Director for the World Arts Festival in Senegal, a month-long World Festival of Black Arts and Culture, which featured more than two thousand artists from 52 countries participating in 16 different arts disciplines. He was named the Chancellor of the University of the Arts London, and in 2012 was named an Officer of the Most Excellent Order of the British Empire.

Managing Director Stephen Richard, a leader on the national arts scene for more than 30 years, joined CENTERSTAGE in January

2012. Stephen comes most recently from a position as Vice President, External Relations, for the new National Children’s Museum. Previously, he served 18 years as Executive Director of Arena Stage, where he planned and managed the theater’s $125 million capital campaign for the Mead Center for American Theater. Also a professor of Arts Management at Georgetown University, he has served on the boards and committees of some of the nation’s most prestigious arts organizations, including the National Endowment for the Arts, American Arts Alliance, League of Resident Theatres, and Theatre Communications Group. twitter: @sjrcenterstage

FYi Audience ServicesPrE-SHOW Dining visit Sascha’s Express, our pre-performance dinner service located just up the lobby stairs in our Mezzanine Café. featuring delicious prix fixe dining, service begins two hours before each performance. you’ll find the current menu at www.centerstage.org/saschas.

ACCESSiBiLiTy PrOgrAMSwheelchair-accessible seating is available for every performance. for patrons who are hearing impaired, we offer assistive listening devices at no charge. An open Captioned performance is available for one Sunday performance of each Classic Series production for deaf and hearing impaired patrons. Several performances also feature Audio description, and Braille programs or magnifying glasses are available upon request.

On-STAgE SMOKingwhen a play requires on-stage smoking, we use tobacco-free herbal imitations and do everything possible to minimize the amount of smoke that drifts into the audience. If you’re smoke-sensitive, be sure to let our Box office know.

PHOTOgrAPHy & rECOrDing PrOHiBiTEDBecause of copyright and union regulations, photography or recording of performances—both audio and video—is strictly forbidden.

BE COurTEOuSplease silence your cell phone, pager, or other electronic devices both before the show starts and after intermission. And, while you’re welcome to take beverages with lids to your seat, eating is never allowed inside the theater.

AnyTHing ELSE WE CAn DO?CENTERSTAGE wants every patron to have an enjoyable, stress-free experience. your feedback and suggestions are always welcomed: [email protected].

Associate Artistic Director/Director of Dramaturgy Gavin Witt, came to CENTERSTAGE in 2003 as Resident Dramaturg, having served in

that role previously at several Chicago theaters. As a dramaturg, he has worked on well over 60 plays, from classics to new commissions—including play development workshops and freelance dramaturgy for TCG, The Playwrights Center, The New Harmony Project, The Old Globe, Bay Area Playwrights Festival, CATF, The Kennedy Center, and others. A graduate of Yale and the University of Chicago, he was active in Chicago theater for more than a decade as an actor, director, dramaturg, translator, and teacher, not to mention co-founder of greasy joan & co. theater, while serving as a regional Vice President of LMDA, the national association of dramaturgs. He has been on the faculty of the University of Chicago and DePaul University, and locally at Towson University.

Biographies The Staff

✃


As we move through our landmark anniversary season, we invite you to help us celebrate our past. For videos, audio interviews, and memories of our history, visit www.centerstage.org/anniversary.

JanuarY 22, 1963: a TheaTer is BornLong before the 24-hour cable TV news cycle, the ubiquitous internet, and nonstop tweets, newspapers published twice a day. Headlines were huge, and the gravity of the news they announced seemed to dwarf even the exaggerated size of the banner typeface. 1963 was an “all-caps” kind of year: papers covered the assassination of JFK, the March on Washington (and MLK’s iconic speech), passage of the Equal Pay Act guaranteeing equal pay for women, segregationist George Wallace’s election as Govenor of Alabama, and the murder of civil rights advocate Medgar Evans.

Meanwhile, New York City was losing its national monopoly on professional theater, and the regional theater scene was upon us. Ten new regional companies were founded in 1963 alone—including CENTERSTAGE, the Guthrie Theater in Minneapolis, Seattle Repertory Theatre, and Rhode Island’s Trinity Repertory Company—and 55 of today’s major regional theaters began in the 1960s.

CENTERSTAGE was founded in 1963 by members of the Baltimore community who supported this movement and shared the belief that serious theater should not just reflect, but also actively include, its community.

It’s no coincidence that the very first production under founding Artistic Director Ed Golden—Arthur Schnitzler’s provocative La Ronde—echoed the escalating social chaos of the times.

This wasn’t light entertainment, as La Ronde satirized contemporary sexual mores and entrenched classism.

In 1965, CENTERSTAGE and its growing audience moved from Preston Street into a 300-seat theater on North Avenue, and welcomed new Artistic Director Doug Seale, who opened the 1966–67 Season with Molière’s The Miser. Peter Culman joined the theater as Managing Director the following year, beginning a 36-year relationship with the theater. During the next seven years, first under the direction of John Stix and then under Jacques Cartier, CENTERSTAGE produced adventurous six-play seasons of classical and contemporary works.

Memorable productions in that first decade included The Zoo Story; The Member of the Wedding (which would tour throughout the city); Journey of the Fifth Horse (an adaptation of Turgeynev’s Diary of a Scandal); Slow Dance on the Killing Ground; the world premiere of Park; Ron Milner’s Who’s Got His Own, CENTERSTAGE’s first production by an African American playwright with an entirely African American cast; and the first professional African American production of Arthur Miller’s Death of a Salesman.

Visit www.centerstage.org/anniversary for a more in-depth look at our history—and keep an eye on the programs throughout the season as we chronicle each era of CENTERSTAGE’s growth in the Baltimore community.

50Th anniversarY The First Decade


The first space was a theater-in-the-round at 45 west preston, now home to Baltimore’s Theatre project.

MpT’s Rhea feikin reflects on her involvement in CENTERSTAGE’s first production— visit online to watch!


upgrade to a 2012–13 season Membership! See Four, Five, or all Seven Plays!

MEMBErS are individuals who have decided to make a deeper commitment to CENTERSTAGE by pledging to attend several shows in our Season. They get the best prices, and never miss out on post-show discussions, lectures, special events, and more!

Look for any friendly CENTERSTAGE staff member and they would be happy to answer your questions and get you set up with a 2012–13 Season Membership. Or give the Box Offi ce a call later on at 410.332.0033

www.centerstage.org | 410.332.0033 centerstagemd @centerstage_md

700 N Calvert St, Baltimore, MD 21202

50th Anniversary presenting partner

Visit us at www.centerstage.org to buy tickets or learn more about our 50th Anniversary Season.

Include William Inge’s Bus Stop in your season membership. This 1955 romantic classic brings you a bus load of starry-eyed strangers waiting out a snowstorm in a Kansas diner. Headed your way for the holidays, Nov 21–Dec 23.

PiCK fiVE PLAyS • SaVe 20%Section AP A B

Preview $150 $130 Sold Out

Weekday $170 $150 $120

Weekend $210 $190 $160

PiCK fOur PLAyS • SaViNgS STaRT aT 15%Section AP A B


Weekday $140 $125 $105

Weekend $175 $160 $140

SEE ALL SEVEn PLAyS • SaVe UP TO 38%Section AP A B


Weekday $238 $210 $170

Weekend $294 $266 $175

Not yet a Member? Apply the cost of today’s ticket toward a four- or fi ve-play package—or even all seven shows!*

*An Enemy of the People will count as the fi rst show in the membership you select. The cost of your ticket will be deducted at the time of payment.


As newcomers to Baltimore, do you feel that you are at home here yet?

stephen richard, managing Director • Yes. Amazingly quickly. It took forever in DC to not make a wrong turn and end up in a state I didn’t want to be in. But I feel like I know Baltimore geography, neighborhoods, restaurants, and arts organizations.

Kwame Kwei-armah, artistic Director • Can I say ditto. I feel at home with the people, with the way they have greeted me. I feel at home in the institution, with the ambition Baltimore—and the state—has for us to fulfill its potential. I feel really at home.

sr • One of the things I’ve loved is that people who have been here for a long time love talking about it. They are passionate about Baltimore. That’s not true in every city by any stretch. If you ask someone a question, they are going to give you an answer, not just to your question but to the importance of Baltimore, the attributes of the city.

Was there a moment or a place that you realized you felt that, “this feels like mine, this feels like home?”

KKa • In the theater, that moment was when Liz Lerman and Jawole Willa Jo Zollar were doing their Play Lab. We had a completely different audience upstairs on the fifth floor…. but, artistically, it had the kind of energy that I want us to have.

Outside of the theater, when I went to Park Heights, there were Caribbean restaurants where I could buy different kinds of Caribbean food: Jamaican food in one spot, Trinidadian food in another spot. I thought, not only can I buy Caribbean food, but I can buy types of Caribbean food. And my wife and all of my family, we all went, “Yeah okay, this could work.”

sr • My theater moment was at our gala, honoring Peter Culman, someone I have long admired. I’ve been in this business since the mid-’80s, and he’s been a hero of mine. To come full circle, to be hosting a gala to acknowledge his contributions, was really the moment I felt fully at home.

Do you have a favorite thing about living in Baltimore?

KKa • When I moved in, the people knocked at my house and brought me apple pie and flowers. They ask me all the time how my wife is and how the children are. And it’s not routine, it’s actual care. Because sometimes I’ll give a routine answer and they’ll go, “Really?” And they’ll push. I think the people are quite extraordinary in that respect. And it’s not just me. I met someone the other day who said that he had a puncture on 83. He pulled over and two cyclists stopped and asked him if they could help him change his tire. I mean, I’m not really sure where that would happen in England, or in London,

certainly. And whether you’d even say yes and let them! They’re quite extraordinary, the people.

sr • I’ve had so many welcome lunches and dinners, that I think I’ve gained more weight as the result of the generosity of the people here… I agree, it’s the people.

Is there anything that you have introduced each other to?

KKa • Yeah, yeah—lunch! Stephen told me about two restaurants, actually, that I’ve gone to for lunch now. What was the first one called, the Indian—?

sr • Indigma.

KKa • Indigma. They do a magnificent lunchtime buffet. Cazbaar is another one, which really is going to work for me.

sr • The things that Kwame has introduced me to are difficult to explain, but it has to do with rooting or connecting a big global vision to a local community. The way he connects a big artistic and intellectual vision to this community is very exciting.

Each program this season will include a short conversation between CENTERSTAGE’s fearless leaders.

conversaTions with Kwame and Stephen

We encourage you to join the conversation!You can find us on Facebook, Twitter, or just email [email protected] with your questions for Kwame and Stephen.

centerstagemd @centerstage_md


It was, quite literally, a dark and stormy night. On October 3, 1849, Baltimore huddled damply beneath lowering skies and a cold, insistent rain. Towards evening, passersby hurrying along East Lombard stumbled on a bedraggled figure collapsed in the street outside Ryan’s Tavern. It was Election Day, many taverns doubled as polling stations, and tradition dictated rounds of drinks for persuadable voters—so it came as no great surprise to find an apparently over-eager partisan disheveled, delirious, and derelict on the ground. The nearly unconscious unfortunate ended up in a nearby hospital; despite medical care, he died a few days later. How or why, nobody has ever deciphered.

There it could end, save that this was no ordinary Charm City inebriate. In spite of tattered clothes not his own and the “disgusting” state that witnesses reported, this was one of young America’s leading literary lights, an adoptive son of Baltimore, and missing for a week—Edgar Allan Poe. How he ended up in Baltimore that night, where he’d been for the missing week, how he came to lie in the street, what happened once he vanished into the hospital, and under what circumstances he suddenly died: it’s all given rise to mystery and speculation that still festers today. Even the shadowy figure of the Poe Toaster who faithfully and annually appeared at the Poe grave, a cherished local tradition,

By Gavin Witt, Associate Artistic Director

prompted its own set of haunting unknowns. All of it apt, even predictable, for this pioneer of mystery fiction, horror, suspense, and the supernatural.

In his new play, The Completely Fictional—Utterly True—Final Strange Tale of Edgar Allan Poe, Stephen Thorne ventures boldly, theatrically, even hilariously into these murky waters. Here is Poe waking in an East Baltimore hospital under the careful ministrations of Dr. Moran. Here the somewhat bewildered author finds himself hosting a panoply of figures from his past and present—or are they conjured from his imagination? Here is the exotic Mlle. Valdemar, renowned Mesmerist; has she indeed discovered a channel to commune between this world and the next? Can this gentle Englishman of august bearing really be Charles Dickens? And wait—is the dark and brooding young poet called Eddie indeed Poe’s younger self?

In a dizzying array, drawing wonderfully on Poe’s own genre-breaking, genre-making literary constructions as well as vaudeville and popular theatrical gestures of the day, the Strange Tale… introduces the passionate tale-spinner to an account of his own life and work. Mother, child-bride, stepfather, and characters real and imagined visit the invalid. Tackling them all and more, Poe takes stock of artistic aspiration, a life lived, and loves lost. Or, he wonders and hopes, are they ever really lost?

preview: The Completely Fictional—Utterly True—Final Strange Tale of Edgar Allan PoeBy Stephen Thorne, Directed by Curt Columbus • Oct 17–Nov 25, 2012


CENTERSTAGE proudly presents the second production of this new play, originally premiered at Trinity Rep last spring. How right and fitting to bring it home to the final resting place of the restless spirit who gave us detective fiction, science fiction, psychological thrillers—and an identity for our football champions.

In Thorne’s hands, Poe and we venture through the bizarre and macabre realms that this shadowy author made his personal domain, to emerge into a sense of sublime possibility. And all with humor, whimsy, and fantasy as much as passion, mystery, and longing. Questions may linger, and perhaps there is no certain answer for that missing week in Baltimore. But just try to see this play without speculating anew. We dare you.

SuPPOrTED By

James and Janet Clausen

CENTERSTAGE and the Enoch Pratt Free Library present their participation in The Big Read, a month-long series of events, performances, and educational outreach focused on the life and works of Edgar Allan Poe. The Big Read is an initiative of the National Endowment for the Arts designed to restore reading to the center of American culture. Stay tuned for more events being added to the schedule, which will be updated at www.centerstage.org/poe.

Saturday, September 29 4–7:30 pm • The Head Theater CENTERSTAGE and the Enoch Pratt Free Library launch The Big Read during 50 Fest with three Poe-inspired performances—featuring Single Carrot Theatre, Theatre Morgan, and Tony Tsendeas’ The Poe Show.

friday, September 28– Sunday, September 30 Baltimore Book Festival, Monument Street The Poe Booth featuring free Poe books and the opportunity to become Poe yourself.

Wednesday, October 3 6:30 pm • Central Library CENTERSTAGE preview their upcoming production of The Completely Fictional—Utterly True—Final Strange Tale of Edgar Allan Poe and hosts discussion about the play, the man, and his writings.

Sunday, October 7 Annual Edgar Allan Poe Commemorative Lecture 1:15 pm • Tribute to Poe at the poet’s grave, Westminster Hall. 2 pm • Lectures, Central Library

“Poe, Lovecraft, and the Revolution of Weird Fiction,” by S.T. Joshi, independent scholar, editor, bibliographer, and novelist.

Wednesday, October 10 Tony Tsendeas’ The Poe Show 6 pm • Reisterstown Branch The Poe Show features performances of The Raven, The Tell-Tale Heart, The Black Cat, and more, by Tony Tsendeas, actor, director, and nationally recognized Edgar Allan Poe interpreter.

Thursday, October 25 Single Carrot Theatre’s The Poe Project 6:30 pm • Light Street Branch An interactive new work derived from the writings of Edgar Allan Poe by Genevieve de Mahy. This is a unique performance opportunity for the audience to interact with artists and each other, while exploring the reaches of Poe’s indelible poetry and prose.

Tuesday, October 30 Single Carrot Theatre’s The Poe Project (see above) 6:30 pm • Central Library

Sunday, november 4 Single Carrot Theatre’s The Poe Project (see above) 7 pm • Liam Flynn’s Ale House

Wednesday, november 14 6 pm • Reisterstown Branch CENTERSTAGE’s Encounter program performs the works of Edgar Allan Poe. Teens retell Poe’s writings and muse on his impact on their lives today.

AfterThoughts • CENTERSTAGE Post-show conversation with artistic staff and Poe-related experts: Thursday, November 1 Thursday, November 8 Sunday, November 11 Thursday, November 15

The Big Read is a program of the National Endowment for the Arts in partnership with Arts Midwest.


supporTing the Annual Fund @ cenTersTageJuly 1, 2011– August 6, 2012

The following list includes gifts of $250 or more—individual, corporate, foundation, and government contributions—made to the CENTERSTAGE Annual Fund between July 1, 2011 and August 6, 2012. Although space limitations make it impossible for us to list everyone who helps fund our artistic, education, and community programs, we are enormously grateful to each person who contributes to CENTERSTAGE.

We couldn’t do it without you!

The CEnTErSTAgE Society represents donors who, with their annual contributions of $2,500 or more, provide special opportunities for our artists and audiences. Society members are actively involved through special events, theater-related travel, and behind-the-scenes conversations with theater artists.

ArTiSTS CirCLE ($25,000+)The William L. and Victorine Q. Adams Foundation and

The Rodgers Family FundThe Miriam and Jay Wurtz Andrus TrustEllen and Ed BernardStephanie and Ashton CarterThe Charlesmead FoundationJames and Janet ClausonLynn and Tony DeeringMs. Kathleen HyleMarilyn MeyerhoffJudy and Scott PharesMr. and Mrs. George M. ShermanThe Shubert Foundation, Inc.Harold and Mimi Steinberg Charitable TrustMr. and Mrs. Robert W. Smith, Jr.

PrODuCErS CirCLE ($10,000–$24,999)The William G. Baker, Jr. Memorial FundPenny BankThe Jacob and Hilda Blaustein Foundation, Inc.The Bunting Family FoundationMr. and Mrs. George L. BuntingThe Helen P. Denit Charitable TrustMs. Nancy Dorman and Mr. Stanley MazaroffMr. and Mrs. Larry D. DroppaJohn Gerdy and E. Follin SmithThe Goldsmith Family FoundationThe Laverna Hahn Charitable TrustMartha HeadJ.I. FoundationKenneth C. and Elizabeth M. LundeenMr. and Mrs. Samuel G. MacfarlaneTerry H. Morgenthaler and Patrick KerinsMr. and Mrs. J. William MurrayMr. and Mrs. Philip RauchGeorge Roche

Mr. Louis B. Thalheimer and Ms. Juliet A. EurichMs. Katherine L. VaughnsMs. Barbara Voss and Charles E. Noell, III

PLAyWrigHTS CirCLE ($5,000–$9,999)AnonymousThe Abell Foundation, Inc.Peter and Millicent BainMs. Katharine C. BlakesleeJames T. and Francine G. BradySylvia and Eddie BrownThe Nathan & Suzanne Cohen FoundationThe Cordish FamilyThe Jane and Worth B. Daniels, Jr. Fund of the

Baltimore Community FoundationBrian and Denise EakesFascitelli Family FoundationThe Harry L. Gladding Foundation/Winnie and Neal

BordenDr. and Mrs. Neil D. GoldbergDonald and Sybil HebbMr. Martin HillDr. and Mrs. Freeman A. Hrabowski, IIIMurray and Joan KappelmanFrancie and John KeenanThe John J. Leidy Foundation, Inc.The Macht Philanthropic FundRobert E. Meyerhoff and Rheda BeckerJohn and Susan NehraHenry and Ruth Blaustein Rosenberg FoundationThe Jim & Patty Rouse Charitable FoundationMs. Linda Woolf

DirECTOrS CirCLE ($2,500–$4,999)AnonymousThe Lois and Irving Blum Foundation, Inc.Drs. Joanna and Harry BrandtMary Catherine Bunting

The Annie E. Casey FoundationMarjorie Rodgers Cheshire and Mark CheshireAugust and Melissa ChiaseraThe Mary & Dan Dent Fund of the Baltimore

Community FoundationMr. and Mrs. Walter B. Doggett, IIIMr. and Mrs. Michael FalconeDick and Maria GamperMs. Suzan GarabedianF. Barton Harvey, III and Janet Marie Smith,

in honor of Peter CulmanThe Hecht-Levi Foundation, Inc.Dr. and Mrs. J. Woodford HowardThe Harley W. Howell Charitable FoundationMs. Sherrilyn A. IfillMr. and Mrs. Stephen ImmeltMr. and Mrs. Herschel L. LangenthalJonna and Fred LazarusMrs. Diane MarkmanMaryland Charity CampaignLinda and John McClearyJim and Mary MillerJeannie MurphyDr. and Mrs. Lawrence C. PakulaMonica and Arnold SagnerScot T. SpencerMr. Michael StyerDr. Edgar and Betty Sweren, in honor of

Kwame Kwei-Armah and Stephen RichardMr. and Mrs. Donald and Mariana ThomsTrexler Foundation, Inc. - Jeff Abarbanel and David

GoldnerKathryn and Mark VaselkivMr. and Mrs. Loren and Judy WesternScott and Mary WielerTed and Mary Jo WieseSydney and Ron WilnerDrs. Nadia and Elias Zerhouni

INDIVIDUALS & FOUNDATIONS

50 th ANNIVERSARY SEASONPrESEnTing PArTnEr

SEASOn SPOnSOrSEllen and Ed BernardStephanie and Ashton CarterJames and Janet ClausonLynn and Tony Deering and

The Charlesmead FoundationTerry H. Morgenthaler and Patrick KerinsJudy Witt Phares and Scott PharesJay and Sharon Smith

ASSOCiATE SEASOn SPOnSOrKathi Hyle

SEASOn PArTnErS

The Rouse Company Foundation

T. Rowe Price Foundation

MEDiA PArTnErS

50 fEST iS SuPPOrTED By

continued on page 33 >>30 | CENTERSTAGE30 | CENTERSTAGE

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INDIVIDUALS & FOUNDATIONS (continued)ASSOCiATES ($1,000–$2,499)AnonymousMr. and Mrs. Raymond Bank

Family Fund of the Baltimore Community Foundation

Ms. Taunya BanksDonald BartlingMr. and Mrs. Marc BlumJohn and Carolyn BoitnottDr. and Mrs. Donald D. BrownSandra and Thomas BrushartMaureen and Kevin ByrnesMeredith and Joseph CallananThe Campbell Foundation, Inc.Caplan Family Foundation, Inc.Sally and Jerry CaseyJohn ChesterAnn K. ClappDr. Joan Develin Coley and Mr.

Lee RiceConstantinides Family

FoundationRobert and Janice DavisThe Richard & Rosalee C.

Davison FoundationMr. James H. DeGraffenreidt, Jr.

and Dr. Mychelle Y. FarmerAlbert F. DeLoskey and Lawrie

DeeringRosetta and Matt DeVitoMr. Jed Dietz and Dr. Julia

McMillanMr. and Mrs. Eric DottMs. Lynne Durbin and John-

Francis MergenJack and Nancy DwyerPatricia Yevics-Eisenberg and

Stewart EisenbergBuddy and Sue Emerson, in

appreciation of Ken and Elizabeth Lundeen

Mr. and Mrs. Matthew Freedman

Frank and Jane GaborJose and Ginger GalvezJonathan and Pamela Genn, in

honor of Cindi Monahan and Beth Falcone

Sandra Levi GerstungJanet and John GilbertMs. Ana GoldsekerFredye and Adam GrossStuart and Linda GrossmanRobert and Cheryl GuthH.R. LaBar Family Foundation

Fund of The Greater Cincinnati Foundation

Bill and Scootsie HatterSandra and Thomas HessDrs. Dahlia Hirsch and Barry

Wohl, in honor of Carole Goldberg

Mr. and Mrs. Leonard HomerMr. and Mrs. James HormuthThe A. C. and Penney Hubbard

FoundationMr. and Mrs. Theodore ImesJoseph J. JaffaMr. and Mrs. Mark JosephMr. and Mrs. E. Robert Kent, Jr.Francine and Allan KrumholzSandy and Mark LakenJoseph M. and Judy K.

LangmeadDr. and Mrs. George Lentz, Jr.Marty Lidston and Jill

LeukhardtMr. and Mrs. Earl & Darielle

Linehan/Linehan Family Foundation

Mr. and Mrs. John L. Messmore

Joseph and Jane MeyerTom and Cindi MonahanMs. Stacey Morrison and Mr.

Brian MoralesMr. and Mrs. Lee OgburnMs. Jo-Ann Mayer OrlinskyMs. Beth PerlmanRonald and Carol RecklingThe James and Gail Riepe

Family FoundationNathan and Michelle

RobertsonDr. David A. RobinsonMr. Grant RochThe Rollins-Luetkemeyer

FoundationMr. and Mrs. Todd SchubertMrs. Gail SchulhoffCharles & Leslie SchwabeThe Tim and Barbara Schweizer

Foundation, Inc.Bayinnah Shabazz, M.D.Barbara and Sig ShapiroThe Ida & Joseph Shapiro

FoundationThe Earle & Annette Shawe

Family FoundationDr. Barbara SheltonDana and Matthew SlaterMr. and Mrs. Robert N.

SmelkinsonJudith R. and Turner B. SmithMr. and Mrs. Scott SmithScott and Mimi SomervilleDr. and Mrs. John StrahanSusan and Brian SullamMr. and Mrs. Ronald W. TaylorSanford and Karen TeplitzkyJohn A. UlatowskiUnited Way of Central

Maryland CampaignMr. and Mrs. George and Beth

Van DykeCarolyn and Robert WallaceNanny and Jack Warren, in

honor of Lynn DeeringMr. and Mrs. J.W. Thompson

WebbJanna P. WehrleCheryl Hudgins Williams and

Alonza WilliamsAnn Wolfe and Dick MeadJohn W. WoodDr. Laurie S. ZabinMr. Calman Zamoiski, Jr., in

honor of Terry MorgenthalerMr. E. Zuspan

COLLEAguES ($500–$999)AnonymousLindsay and Bradley AlgerThe Alsop Family FoundationMrs. Alexander ArmstrongArt Seminar GroupMr. Robert and Dorothy BairMayer and Will Baker, in honor

of Terry MorgenthalerAmy and Bruce BarnettMr. and Mrs. Charles C. and

Patti BaumMs. Jane Baum RodbellJaye and Dr. Ted Bayless FundMr. and Mrs. S. Woods and

Catherine L. BennettMr. and Mrs. Bruce Blum, in

memory of Shirley Feinstein Blum

Rose CarpenterMr. and Mrs. Carl F. ChristCombined Charity Campaign

The Deering Family FoundationGene DeJackome and Kim

GingrasThe Honorable and Mrs. E.

Stephen DerbyDave and Joyce EdingtonPatricia Egan and Peter

Hegeman, in honor of Peter Culman

The Eliasberg Family Foundation, Inc.

Donald and Margaret EngvallMr. and Mrs. Edgar and Faith

Feingold, in memory of Sally W. Feingold

Sandra and John FerriterAndrea and Samuel FineDennis and Patty FlynnMs. Nancy FreymanDr. Joseph Gall and Dr. Diane

DwyerHal & Pat GilreathMary and Richard GormanLouise A. HagerTerry Halle and Wendy

McAllisterLee M. Hendler, in honor of

Peter CulmanRebecca Henry and Harry

GrunerBetsy and George Hess, in

honor of Peter CulmanMrs. Heidi HoffmanMr. James HughesMs. Harriet F. IglehartRichard Jacobs and Patricia

LasherMs. Mary Claire JeskeBJ and Candy JonesMax JordanDr. and Mrs. Juan M. JuanteguyPeter and Kay KaplanMs. Shirley KaufmanMr. and Mrs. Padraic Kennedy,

in honor of Ken LundeenRoland and Judy Phair KingStewart KoehlerMr. John Lanasa, in honor of

Peter CulmanMr. Claus Leitherer and Mrs.

Irina FedorovaDr. and Mrs. Ronald LesserMarilyn LeutholdKenneth and Christine LoboThe Dr. Frank C. Marino

Foundation, Inc.Dr. Carole MillerMr. Jeston I. MillerStephanie F. Miller, in honor of

The Lee S. Miller Jr. FamilyThe Montag Family Fund of The

Community Foundation for Greater Atlanta, in honor of Beth Falcone

George and Beth MurnaghanLettie MyersJudith Needham and Warren

KilmerRoger F. Nordquist and Joyce

WardMr. and Mrs. James and Mimi

Piper Fund of the Baltimore Community Foundation

Bonnie PittMr. Mike Plaisted and Ms.

Maggie WebbertDave and Chris PowellMs. Jill PrattRobert E. and Anne L. PrinceMr. and Mrs. Richard RadmerMrs. Peggy L. RiceMr. and Mrs. Harold Rojas

Dorothy L. and Henry A. Rosenberg, Jr.

Kevin and Judy RossiterMrs. Bette RothmanMr. Al RussellSheila and Steve SachsMs. Renee C. SamuelsMs. Sherry SchnepfeMr. and Mrs. Eugene H.

SchreiberScott Sherman and Julie

RothmanThe Sinksy-Kresser-Racusin

Memorial FoundationSusan Somerville-Hawes, in

honor of EncounterGeorgia and George StamasMr. Gilbert H. Stewart and Ms.

Joyce UlrichMr. Ben StoneRobert and Patricia TarolaDiana and Ken TroutSharon and David TufaroComprehensive Car Care/

Robert WagnerIn memory of Sally WessnerMr. Michael T. WhartonDr. and Mrs. Frank R. WitterEric and Pam YoungZiger/Snead Architects

ADVOCATES ($250–$499)AnonymousMr. Alan M. Arrowsmith, IIMr. and Mrs. Jon Baker, in

honor of Terry MorgenthalerDrs. Lewis and Diane BeckerJudge Robert BellRachel and Steven Bloom, in

honor of Beth FalconeMr. Chad Bolton, in honor of

Peter CulmanPerry and Aurelia BoltonChiChi and Peter BosworthBetty Jo BowmanJan BoyceBeth and Dale BradyMr. and Mrs. Charles BryanMr. David BundyMs. Deborah W. CallardCindy CandeloriThe Jim and Anne Cantler

Memorial Fund of the Baltimore Community Foundation

Mr. and Mrs. David CarterMr. Andrew J. CaryMr. and Mrs. James CaseDonna and Tony ClareStanton CollinsDavid and Sara CookeMr. and Mrs. Richard D. CraftonMs. Barbara CrainMr. Thomas Crusse and Mr.

David Imre, in honor of Stephanie and Ash Carter

Richard and Lynda DavisSally Digges and James ArnoldMr. and Mrs. Ivor EdmondsDeborah and Philip EnglishMr. Dennis EppsMs. Rhea FeikinMs. Jeannette E. FestaBob and Susie FetterDr. and Mrs. Robert P.

FleishmanMr. and Mrs. George FlickingerJoan and David ForesterDr. Neal M. Friedlander and Dr.

Virginia K. Adams

Robert W. Smith, Jr., PresidentEdward C. Bernard, Vice PresidentJuliet Eurich, Vice PresidentTerry H. Morgenthaler, Vice PresidentE. Follin Smith, TreasurerKatherine L. Vaughns, Secretary

Katharine C. Blakeslee+James T. Brady+C. Sylvia Brown+Stephanie CarterAugust J. ChiaseraMarjorie Rodgers CheshireJanet ClausonLynn DeeringJed DietzWalter B. Doggett, IIIJane W.I. DroppaBrian EakesBeth W. FalconeC. Richard Gamper, Jr.Suzan GarabedianCarole GoldbergAna GoldsekerAdam GrossCheryl O’Donnell GuthMartha HeadKathleen W. HyleTed E. ImesMurray M. Kappelman, MD+John J. KeenanE. Robert Kent, Jr.Joseph M. Langmead+Jonna Gane LazarusKenneth C. LundeenMichelle McKenna-DoyleMarilyn Meyerhoff+J. William MurrayCharles E. NoellEsther Pearlstone+Beth S. PerlmanJudy M. PharesJill PrattPhilip J. RauchHarold RojasMonica Sagner+Renee C. SamuelsTodd SchubertGeorge M. Sherman+Scott SomervilleScot T. SpencerMichael B. StyerRonald W. TaylorDonald ThomsJ.W. Thompson WebbRonald M. WilnerCheryl Hudgins WilliamsLinda S. Woolf

+ Trustees Emeriti

BOARD OF TRUSTEES

continued on page 34 >>An Enemy of the People | 33

Constance A. GetzovMark and Patti GillenHerbert and Harriet GoldmanMr. Howard GradetRon and Andrea GriesmarThomas and Barbara GuarnieriMs. Doris M. GugelMr. David GuyJane Halpern and James PettitMs. Paulette HammondDr. and Dr. James and Vicki

HandaMr. and Mrs. Richard HawesMelanie and Donald HeacockIn Memory of Eric R. HeadSue HessMr. Donald H. Hooker, Jr.Mr. Jonathan HornbeckMs. Irene HornickMr. and Mrs. Martin HorowitzMs. Deborah HyltonMs. Sarah IssacsMr. William JacobJames S. and Hillary Aidus

JacobsA.H. Janoski, M.D., in honor of

Jane JanoskiJames and Julie JohnstoneRichard and Judith KatzB. KellerMr. and Mrs. Stephen J. KellyDonald Knox and Mary Towery,

in memory of Carolyn Knox and Gene Towery

David and Ann KochDr. and Mrs. Randi L. KohnGina KotowskiMr. and Mrs. Robert A. LagasDrs. Don and Pat LangenbergMr. Richard M. LansburghMr. and Mrs. William LarsonDrs. Ronald and Mary LeachSara W. LeviTerry Lorch and Tom LiebelPaul and Anne MaddenMr. Elvis MarksDon MartinMs. Michael McMullanMary and Barry MenneCarolyn and Michael MeredithPeniel and Julia S. MoedMr. and Mrs. James and Shirley

MooreThe Honorable Diana and Fred

Motz, in memory of Nancy Roche

Mr. and Mrs. William H. MullinDr. Patrick Murphy and Dr.

Genevieve A. LosonskyStephen and Terry NeedelIn memory of Nelson NeumanNina NobleMs. Irene Norton and Heather

MillarThe P.R.F.B. Charitable

Foundation, in memory of Shirley Feinstein Blum

Michael and Phyllis PanopoulosJustine and Ken ParezoFred and Grazina PearsonLinda and Gordon PeltzChris and Deborah PenningtonMr. William PhillipsRonald and Patricia PillingLeslie and Gary PlotnickDr. Albert J. Polito and Dr.

Redonda G. MillerConnie and Roger PumphreyCyndy Renoff and George TalerDr. Michael Repka and Dr. Mary

Anne FaccioloNatasha and Keenan RiceAlison and Arnold Richman

Richard and Sheila RiggsRichard and Mary RimkunasMs. Elizabeth Ritter and Mr.

Lawrence KoppelmanIda and Jack RoadhouseMr. and Mrs. Domingo and

Karen Rodriguez, in honor of Emma Grace Barnes

Mr. and Mrs. Jerry RoeslerLouis and Luanne RuskFrank and Michelle SampleMs. Gloria SavadowFrederica and William Saxon, Jr.Mr. Steve SchwartzmanMs. Minnie ShorterMr. and Mrs. L. SiemsDr. and Mrs. Donald J. SlowinskiRosie and Jim SmithSolomon and Elaine SnyderJoseph SterneMrs. Clare H. Stewart, in honor

of Peter CulmanBrenda and Dan StoneMs. Joann StricklandMr. and Mrs. James R.and Gail

SwanbeckTed and Lynda ThillyFredrick and Cindy ThompsonRobin and Harold TuckerDonald and Darlene WakefieldMs. Magda WesterhoustMs. Camille Wheeler and Mr.

William MarshallHarold and Joan YoungMr. Norman YouskauskasMr. Paul Zugates

SPECiAL grAnTS & gifTSThe Leading National Theatres Program, a joint initiative of the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation

gOVErnMEnT grAnTSCENTERSTAGE is funded by an operating grant from the Maryland State Arts Council, an agency dedicated to cultivating a vibrant cultural community where the arts thrive. Funding for the Maryland State Arts Council is also provided by the National Endowment for the Arts, a federal agency.

CENTERSTAGE’s catalog of Education Programs has been selected by the President’s Committee on the Arts and Humanities as a 2011 National Arts and Humanities Youth Program Award Finalist.

CENTERSTAGE participates annually in Free Fall Baltimore, a program of the Baltimore Office of Promotion and the Arts.

Baltimore County Executive, County Council, & Commission on Arts and Sciences

Carroll County Government

Howard County Arts Council through a grant from Howard County Government

gifTS in-KinDThe Afro AmericanAkbar RestaurantDean AlexanderArt LithoAu Bon PainThe Baltimore Sun

BlimpieThe Brewer’s ArtCalvert Wine & SpiritsCasa di PastaCharcoal GrillCima Model ManagementThe Classic Catering People ChipotleThe City PaperEggspectationsFisherman’s Friend/PEZ Candy,

Inc.Gertrude’s RestaurantGreg’s BagelsGT PizzaGutierrez Studios Haute DogHoneyBaked Ham Co.The HelmandHotel MonacoIggie’sThe Jewish TimesMarriott Minato Mitchell Kurtz Architect, PCMount Vernon Stable and

SaloonNew System BakeryNo Worries CosmeticsOriole’s Pizza and SubPazoPizza Boli’sPizza HutPromoWorksRepublic National Distributing

CompanyRoly Poly Romano’s Macaroni GrillSabatino’sSenovvaShugoll ResearchThe SignmanStyle MagazineSunlight LLC, in honor of Kacy

ArmstrongUrbaniteA Vintner’s SelectionWawaWegman’sWhitmore Print & ImagingWYPR Radiowww.thecheckshop.us

MATCHing gifT COMPAniES The Abell Foundation, Inc.Bank of AmericaThe Annie E. Casey FoundationConstellation EnergyThe Deering Family FoundationExxon CorporationFrance-Merrick FoundationGE FoundationGoldseker FoundationIBM CorporationMcCormick & Co. Inc.Norfolk Southern FoundationOpen Society Institute PNC BankStanley Black & Decker SunTrust BankT. Rowe Price Group

We make every effort to provide accurate acknowledgement of our contributors. We appreciate your patience and assistance in keeping our lists current. To advise us of corrections, please call 410.986.4026.

PLAyWrigHTS CirCLEAnonymousAccentureAmerican Trading &

Production CorporationThe Baltimore Life

CompaniesBaxter, Baker, Sidle, Conn

& Jones, P.A.Brown AdvisoryEnvironmental

Reclamation CompanyFTI ConsultingHoward BankLord Baltimore Capital

CorporationMcCormick & Co. Inc.McGuireWoods LLPPNC BankProcter & GambleStifel NicolausTransamerica Financial

Solutions GroupVenable, LLPWhiteford, Taylor &

Preston LLPWhiting-Turner

Contracting Co.

DirECTOrS CirCLEAlexander Design StudioBay ImageryE*Trade Financial

CorporationFunk & Bolton, P.A.Offit | Kurman, Attorneys

at LawPessin Katz Law P.A.PricewaterhouseCoopers

LLPSchoenfeld Insurance

AssociatesStevenson UniversityThe Zolet Lenet Group at

Morgan Stanley Smith Barney

CORPORATIONS

PrODuCErS CirCLE

ArTiSTS CirCLE

ADVOCATES continued

T. Rowe Price Foundation, Inc.

34 | CENTERSTAGE

Baltimore Community Foundation Web: www.bcf.org Phone: 410.332.4171


Kwame Kwei-Armah–Artistic Director Stephen Richard–Managing Director

AdministrationAssociate Managing Director–del w. RisbergExecutive Assistant–kacy ArmstrongThe Ellen and Ed Bernard Management Intern–

Batya feldmanYale Fellow–Alyssa Simmons

ArtisticAssociate Artistic Director–Gavin wittArtistic Producer–Susanna GellertArtistic Administrator–katie ByrnesCompany Manager–Sara GroveArtistic Senior Fellow–kellie MeclearyThe Lynn and Tony Deering Artistic Intern–

Samantha GodfreyCompany Management Intern–Matt Shea

Audience relationsBox Office Manager–Mandy BenedixAssistant Manager/Subscriptions Manager–

Jerrilyn keeneAssistant Manager–Blane wycheFull-time Assistants–Lindsey Barr, Ashley fain,

Rachel Holmes, Alana kolb, Christopher LewisPart-Time Assistants– Susie Martinez, froilan MateBar Manager–Sean van CleveHouse Manager & Volunteer Coordinator–

Bertinarea CramptonAssistant House Managers–Linda Cavell,

faith SavillAudience Relations Intern–Quincy priceAudio Description–Ralph welsh &

Maryland Arts Access

AudioSupervisor–Amy wedelEngineer–Eric LottThe Jane and Larry Droppa Audio Intern–

Andrew Graves

Community Programs & EducationDirector–Julianne franzEducation Coordinator–Rosiland CauthenCommunity Programs Fellow–dustin MorrisThe James and Janet Clauson Education Intern–

kristina SzilagyiTeaching Artists–wambui Richardson, Joan weber

CostumesCostumer–david BurdickTailor–Edward dawsonCraftsperson–william E. CrowtherStitcher–Jessica RietzlerThe Terry H. Morgenthaler and Patrick Kerins

Costumes Intern– Elizabeth ChapmanThe Judy and Scott Phares Costumes Interns–

Anna Tringali

DevelopmentDirector–Cindi MonahanGrants Manager–Sean BeattieAnnual Fund Manager–katelyn whiteEvents Coordinator–Brad NorrisDevelopment Assistant–Julia ostroff

Assistant–Christopher LewisAuction Coordinator–Sydney wilnerAuction Assistant–Norma CohenDramaturgyDirector–Gavin wittDramaturgy Senior Fellow–kellie MeclearyApprentices–Roisin dowling, Christine prevas,

kate Ramsdell, Bennett Remsberg, Matthew Buckley Smith, Lucy walker

ElectricsLighting Director–Lesley BoeckmanMaster Electrician–Lily BradfordInterim Staff Electrician–Michael A. SperberLighting Fellow–Bevin MiyakeThe Barbara Capalbo Electrics Intern–Scot Gianelli

financeDirector–Susan RoseberyBusiness Manager–kathy NolanAssociate–Carla Moose

graphicsArt Director–Bill GeenenSenior Designer–Jason GembickiProduction Photographer–Richard AndersonGraphics Intern–Michelle flemingDigital Media Intern–Leslie datsis

information TechnologiesDirector–Joe LongSystems Administrator–Mark Slaughter

Marketing & CommunicationsDirector–Tony Heaphy Public Relations Manager–Heather C. JacksonMarketing Manager–Timmy MetznerDigital Media Associate–Timothy GellesMarketing Associate–Tia AbnerThe Jay and Sharon Smith Marketing and

Public Relations Fellow–kiirstn paganMedia Services–planit

OperationsDirector–Harry deLairOperations Assistant–Len dozierHousekeeper–kali keeney, Jacqueline StewartSecurity Guards–Crown Security

Production ManagementProduction Manager–Mike SchleiferAssistant Production Manager– Caitlin powersProduction/Stage Management Intern–Ashley Riester

PropertiesManager–Jennifer StearnsAssistant Manager– Nathan ScheifeleArtisan–Jeanne-Marie BurdetteThe Kenneth C. and Elizabeth M. Lundeen Properties

Intern–kimberly Townsend

SceneryTechnical Director–Tom RuppAssistant Technical Director–Laura p. MerolaShop Supervisor–Trevor Gohr

Carpenters–Joey Bromfield, Mike kulha, Scott Richardson

Scene Shop Intern–Ryan ColeScenic ArtScenic Artist–Stephanie NimickIntern–Lauren Crabtree

Stage ManagementResident Stage Manager–Laura SmithThe Peter and Millicent Bain

Stage Management Intern–Brent Beavers

Stage OperationsStage Carpenter–Eric Burton

The following designers, artisans, and assistants contributed to this production of

An Enemy of the People—Assistant Lighting Designer–Ryan AndrusCarpenters–Bernard Bender, Mark Eisendrath,

Seth fosterCostumes Draper–Ginny MckeeverDramaturgy Apprentices–Roisin dowling, Matthew

Buckley Smith, Lucy walkerElectrics–Lisa Allen, Stanley Chevrin, Jake Epp,

Aaron Haag, Jon Rubin, Joseph Sigai, Joey wallsProperties–Samantha kuczynski

CENTERSTAGE operates under an agreement between LoRT and Actors’ Equity Association, the union of professional actors and stage managers in the united States.

The director and Choreographer are members of the Society of Stage directors and Choreographers, Inc., an independent national labor union.

The scenic, costume, lighting, and sound designers in LoRT theaters are represented by united Scenic Artists, Local uSA-829 of the IATSE.

Musicians engaged by CENTERSTAGE perform under the terms of an agreement between CENTERSTAGE and Local 40-543, American federation of Musicians.

CENTERSTAGE is a constituent of Theatre Communications Group (TCG), the national organization for the nonprofit professional theater, and is a member of the League of Resident Theatres (LoRT), the national collective bargaining organization of professional regional theaters.

The CEnTErSTAgE Program is published by:Center Stage Associates, Inc. 700 North Calvert Street Baltimore, Maryland 21202

Editor Heather C. JacksonAssistant Editor kiirstn paganArt Direction/Design Bill Geenen Design Jason Gembicki

Advertising Sales [email protected]

COnTACT infOrMATiOnBox Office Phone 410.332.0033 Box Office fax 410.727.2522 Administration 410.986.4000www.centerstage.org [email protected]

Material in the CENTERSTAGE performance program is made available free of charge for legitimate educational and research purposes only. Selective use has been made of previously published information and images whose inclusion here does not constitute license for any further re-use of any kind. All other material is the property of CENTERSTAGE, and no copies or reproductions of this material should be made for further distribution, other than for educational purposes, without express permission from the authors and CENTERSTAGE.

staff

36 | CENTERSTAGE

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Bank of America is proud to support Centerstage for their leadership in creating a successful forum for artistic expression.

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an enemy of the people program

Documents

right questions

kwame kweiarmahan enemy

fundamental questions

kinds of questions

season of work

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