ALICE LOOKINGGLASS - 2017- 201 8 SEASON - Baltimore Center Stage
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LOOKINGGLASS
ALICE
ADAPTED BY DAVID CATLIN FROM
THE WORKS OF LEWIS CARROLL
2 01 7 – 2 01 8 S E A S O N
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CONTENTS
3 WelCOME
This program is published by:
4 TITLE PAGE
BALTIMORE CENTER STAGE
700 North Calvert Street 6 MUSIC
Baltimore, MD 21202
EDITOR
Maggie Beetz 7 The TEAM
DESIGN
Bill Geenen 8 DRAMATURGY
ADVERTISING
ads @ centerstage.org
BOX OFFICE
16 CAST
4 10 . 332 . 0 0 3 3
ADMINISTRATION 18 ARTISTIC TEAM
4 10 . 9 86 . 4 00 0
CENTERSTAGE.ORG
INFO@CENTERSTAGE.ORG 22 LEADERSHIP
26 ANNUAL FUND
LOOKINGGLASS ALICE
IS MADE POSSIBLE BY 32 CAPITAL CAMPAIGN
39 ARTISTIC CORNER
40 NEIGHBORHOOD
SEASON SPONSOR
PARTNERS
42 STAFF
44 AUDIENCE SERVICES
2017/18 SEASON
IS ALSO MADE POSSIBLE BY
Material in this program is made available for
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. All other material is the
property of Baltimore Center Stage.
BALTIMORE CENTER STAGE 1
BOARD
ABOuT
US Terry H. Morgenthaler John J. Keenan
Baltimore Center Stage is a
PResiDeNt Sandra Liotta
professional, nonprofit institution
Edward C. Bernard John McCardell
committed to entertaining,
ViCe PResiDeNt Hugh W. Mohler, Jr.
engaging, and enriching audiences
through bold, innovative, and August J. Chiasera Charles J. Morton, Jr.
ViCe PResiDeNt J. William Murray
thought-provoking classical and
contemporary theater. Beth W. Falcone Charles E. Noell III
ViCe PResiDeNt Judy M. Phares
Named the State Theater of
Maryland in 1978, Baltimore Brian M. Eakes Jill Pratt
Center Stage has steadily grown TReAsUrer Philip J. Rauch
as a leader in the national Scot T. Spencer E. Hutchinson
regional theater scene. Under the SeCRetAry Robbins, Jr.
leadership of Artistic Director Jordan D. Rosenfeld
Stephanie L. Baker Todd Schubert
Kwame Kwei-Armah OBE and
Penny Bank Charles Schwabe
Managing Director Michael Ross,
Taunya Banks Robert W. Smith, Jr.
Baltimore Center Stage is
committed to creating and Bradie Barr Scott Somerville
presenting a diverse array of Meredith Borden Michele Speaks
world premieres and exhilarating James T. Brady Michael B. Styer
interpretations of established works. Stephanie Carter Harry Thomasian
Baltimore Center Stage Lynn Deering Donald Thoms
believes in access for all—creating Jed Dietz Krissie Verbic
a welcoming environment for Walter B. Doggett III
everyone who enters its doors Jane W.I. Droppa tRUSTeeS eMeRItI
and, at the same time, striving to Amy Elias
Katharine C.
meet audiences where they are. Juliet A. Eurich Blakeslee
In addition to Mainstage and Off Dorie Fader C. Sylvia Brown
Center productions in the historic Teitelbaum
Martha Head
Mount Vernon neighborhood, Daniel Gahagan
Sue Hess
Baltimore Center Stage ignites C. Richard Gamper, Jr.
Murray M.
conversations among a global Suzan Garabedian Kappelman, MD
audience through digital Megan Gillick E. Robert Kent, Jr.
initiatives, which explore how Adam Gross Joseph M.
technology and the arts intersect. Cheryl O'Donnell Langmead
The theater also nurtures the Guth Kenneth C. Lundeen
next generation of artists and Elizabeth J. Himelfarb Marilyn Meyerhoff
Hurwitz
theatergoers through the Young Esther Pearlstone
Kathleen W. Hyle
Playwrights Festival, Student Monica Sagner
Ted E. Imes
Matinee Series, and many other George M. Sherman
educational programs for students, Wendy Jachman
families, and educators. Joe Jennings
2 BALTIMORE CENTER STAGE
WELCOME
Dear Friends,
With this production of Lookingglass Alice I’m so
pleased to welcome back a friend, Director
Jeremy Cohen. In addition to having long and
deep connections with most of our artistic
leadership, you might remember Jeremy as the
director of Colman Domingo’s hilarious and
touching Wild with Happy (2013/14) or the
American premiere of my own Let There Be Love KWA
ME K
W E I-
ARMA
(2009/10). Now, he brings us a new take on a H
classic story with the fantastical world of Alice.
Jeremy’s vision comes to life on our stage with the
support of a most impressive team, including
world-renowned choreographer Rennie Harris,
considered the pioneer of Street Dance.
The New York Times called Rennie “the most
profound choreographer of his idiom.”
In collaboration with additional artists and a multi-
talented cast, Jeremy and Rennie use movement,
music, dance, and theater to tell a truly universal
story of self-discovery.
Kwame Kwei-Armah
ARTISTIC DIRECTOR
BALTIMORE CENTER STAGE 3
LOOKINGGLASS
ALICE
ADAPTED BY DAVID CATLIN
FROM THE WORKS OF
LEWIS CARROLL
THE CAST THE ARTISTIC TEAM
in alphabetical order
Jeremy B. Cohen
Jessica Bennett Director
Ensemble
Rennie Harris
Patrice Covington* Choreographer
Red Queen / Dormouse /
Caterpillar / Tweedle Dee Tim Mackabee
Scenic Designer
David Darrow*
Cheshire Cat / Mad Hatter / David Burdick
Caterpillar / Humpty Dumpty Costume Designer
Markita Prescott* Rui Rita
Alice Lighting Designer
Christopher Ramirez* Lindsay Jones
Dodgson / White Queen / Original Music,
Caterpillar / Tweedle Dum Musical Arrangements,
Sound Designer
Sensei Silab
Ensemble Caite Hevner
Garrett Turner* Projection Designer
White Rabbit / White Knight / Jose C. Simbulan
Wicket / March Hare Music Director
Mari Travis
Alicia Quirk* Assistant Director and
Stage Manager Dance Captain
Monica Cook* Rebecca Adelsheim
Assistant Stage Manager Production Dramaturg
Pat McCorkle
Katja Zarolinski
Please turn off electronic devices. McCorkle Casting, Ltd.
Please turn off electronic devices. Casting
*Member of Actors’ Equity Association
*Member of Actors’ Equity Association
Lookingglass Alice is produced by special arrangement with
Lookingglass
Bruce Ostler, Alice is produced
Bret Adams, by special
Ltd. 448 arrangement
West 44th Street, Newwith Bruce
York, Ostler,bretadamsltd.net
NY 10036. Bret Adams, Ltd.
448 West 44th Street, New York, NY 10036. bretadamsltd.net
Lookingglass Alice premiered at Lookingglass Theatre in Chicago on February 13, 2005, and
was developed
Lookingglass in affiliation
Alice premieredwith The Actors Gymnasium
at Lookingglass Circus and
Theatre in Chicago onPerforming
February 13,Arts School.
2005, and
was developed in affiliation with The Actors Gymnasium Circus and Performing Arts School.
4 BALTIMORE CENTER STAGE
BALTIMORE CENTER STAGE 5
SETTING & MUSIC
WHERE: Through the looking-glass and down the rabbit hole.
WHEN: Thirteen o’clock. And a bit after.
MUSICAL NUMBERS
INCLUDE THE FOLLOWING:
AFRAID OF EVERYTHING
Milo Greene
(Milo Greene Publishing)
BREATHING UNDERWATER
Chris Crowhurst,
Emeli Sandé
(Sony/ATV Music Publishing)
CONFIDENT
Demetria Lovato, Ilya Salmanzadeh,
Karl Martin Sandberg,
Savan Harish Kotecha
(Universal Music Publishing Group)
GOLDEN
Ruth Berhe
(Sony/ATV Music Publishing)
I CRUSH EVERYTHING
Jonathan Coulton
6 BALTIMORE CENTER STAGE
MEET THE TEAM
JEREMY COHEN
Director (left)
When not freelancing around the
country, Jeremy Cohen spends most of
his time shepherding and supporting
playwrights as the Producing Artistic
Director of the Playwrights Center—a
new play development hub and national
artistic treasure based in Minneapolis.
He spoke to the cast, designers, and
staff during the first rehearsal of
Lookingglass Alice to share some
thoughts on this production:
"We were struck by the question of what it
means for this story—and for any of us—
to be here, in Baltimore, in the fall of 2017.
And, in particular, what does it mean for
younger women of color to look around
the world and ask: how do I develop
community? How do I see roles for myself?
And then there’s the central idea of this
play, which is a young woman asserting,
I want to be a queen. Or rather asking, RENNIE HARRIS
Who is the queen that I want to be? How Choreographer (right)
do I find my space? Who am I in the face
of all of that, and in the world in general? Legendary choreographer Rennie
These became really compelling to us as Harris spoke to BCS about his process.
the central questions of our production. “I guess what I’m known for is bringing
street dance to theater, but really
As Patrice [Covington], who plays our
merging theater and street dance
Red Queen, put it to me: 'Theater is an
together, marrying the two. I mean,
opportunity for empathy. If there is one
a lot of the time when hip-hop is in
thing our country is challenged with right
theater it’s just hip-hop in the theater,
now, I think it’s with this idea of empathy.
versus how do you merge the two, and
How can we better make connections;
the aesthetic of the theater. And then
improve our ability to find (or hear) our also bring narrative and abstraction
voices; or just, frankly, sit and listen and to hip-hop movement or street dance.
learn.' There is something about Alice’s I’m not a set person, I don’t have a lot
journey that resonates with these of props when I’m with my company,
questions, something I think is so valuable so I like to figure out how to create the
here and now." same illusion with bodies.”
BALTIMORE CENTER STAGE 7
AlICE:
OF OUR MOMENT
BY REBECCA ADELSHEIM
The Judy & Scott Phares Dramaturgy Fellow
In 2015, Alice’s Adventures
in Wonderland celebrated
150 years of publication.
From academic Oxford to
the revolutionary 2018 Pirelli
calendar, Alice’s fantastical
journeys down the rabbit hole
and through the looking-
glass have captivated
readers, filmmakers, artists,
and fashion designers, keeping the Alice stories an
indefatigable part of our cultural imagination.
Alice and the continuum of her reincarnations
and reimaginings act as transformative framework,
reflecting back our current cultural moment
and anxieties.
Alice in Wonderland was born on a boating
expedition when Charles Dodgson (Lewis Carroll)
invented a story about Alice and her adventures
in a fantastical world underground. After Alice
Liddell, the story’s namesake, insisted that Dodgson
write the tales down, he moved the setting from
underground to Wonderland and spent the next
decade crafting Alice’s Adventures in Wonderland
(published 1865) and Through the Looking-Glass
and What Alice Found There (published 1871), both
embellished by famed illustrator John Tenniel.
At the time of publication, Alice both revolutionized
children’s literature and reflected a restricted
Victorian society at the precipice of change. With
the Industrial Revolution gaining steam, London
society was preoccupied with modernizations
like a new subway system where, according to
historians, “imagination could ‘run wild,’ and
indulge a ‘passion for dreaming.’”
8 BALTIMORE CENTER STAGETechnological changes brushed departures in setting, structure, and
up against a society desperately morals, Disney returns to
clinging to old, stringent ways of an Alice living at the border of
life, codified in Victorian behavior. change in a society trying to
From this cultural tension emerges maintain old practices despite a
Alice—a child at the precipice world charging forward.
of adolescence embracing
Wonderland, a world full of Alice has continued to reverberate
imagination and free of Victorian in nearly every medium from stained
constraints. glass windows to graphic novels.
Despite tone changes—the 2010
Using Carroll’s stories as a Tim Burton film adaptation of Alice
framework, the now-popular 1951 in Wonderland is notoriously dark—
Walt Disney adaptation transforms setting adaptations, and other
the Tenniel line drawing of Alice into variances, Alice continues to act
a modern animation. This full-color as a mirror for social anxieties.
romp reflected 1950’s post-war
anxieties. In this adaptation, Alice is How then does Alice transform again
a weaker, easily thwarted version of in turbulent 2017? We see a hint
the intelligent, inquisitive Victorian of this in the early release photos
child. She narrowly escapes death of the 2018 Pirelli Calendar. Alice
by the Queen of Hearts to discover for the first time is a Black woman
that she was just dreaming through surrounded by an entirely Black
the adventure. The strong moralizing fantasy world. As photographer Tim
message to accept the status quo Walker told the New York Times: “This
reflects a post-war society that sent is not about trends, this is about the
women away from their wartime zeitgeist today [...] I think we are
jobs and tried to force them back living in a fantastically exciting time,
into homemaking. Though there are particularly when a story like that of
Alice, that has held such resonance
with so many people and been told
in a certain way for so long, can now
be told compellingly in another.”
The Alice you are about to see is
part of the continued reverberations
of a celebrated icon. Still caught
in the tension between change
and familiarity, she is now a young
woman defiantly part of our current
political and cultural moment.
Another cultural icon updated.
Our prop shop made these shoes
to help tell the story of Alice in
another way.
BALTIMORE CENTER STAGE 9"WHEN IT’S
RECESS
WE ALL
GO TO
WONDERLAND"
During the second week of rehearsal, dramaturg Rebecca
Adelsheim sat down with actresses Markita Prescott (below
left), who plays Alice, and Patrice Covington (below right),
who plays the Red Queen (and other roles), to unpack some
of their thoughts on Lookingglass Alice. This conversation
has been edited for length and clarity.
10 BALTIMORE CENTER STAGEDo you remember what your first What about the story is resonating with
encounter was with the story of you today? How are you locating
Alice in Wonderland? yourselves inside of your characters?
Patrice: That movie with the real people Markita: I would definitely say that it is Alice
came out a few years after I was born, so and this coming-of-age story. There is so
I remember watching that. I never got into much of me in Alice. I came up as an only
the cartoon version, I don’t really remember child. In school being kind of awkward—
connecting to it like I did with the rest of I was a young actress, and at the time I was
Saturday morning cartoons or Disney movies. in a school where I wasn’t with other artists.
But now that I’m in this story I’m wondering And it was hard to find real friends. I feel like
what the difference was in my psyche as a Alice’s journey is in that very same way, just
young lady that didn’t connect to it. trying to make friends, trying to find her
footing, while at the same time trying to be a
Markita: My first encounter with the story kid and be her kind of normal. There is a
had to be as a kid seeing a compilation of strong familiarity that I have with this Alice
different Disney films, it may have been from beginning to end.
like a special. I remember seeing those
Patrice: Think about all of the Disney
character images. But just like Patrice I
queens: they never really taught lessons,
didn’t grow up on this film the same way
they are always evil. If you think about Snow
that I grew up on The Little Mermaid, Aladdin,
White, Cinderella, Sleeping Beauty, The Little
and Cinderella. And those are films that I
Mermaid; literally all of them are villains,
can recite all the lines.
women taking down other women. With our
I would say with this show, I’m starting to get version it’s clear that the women are trying
to know these beloved characters with the to help Alice become a queen. So that
imagery we have today. definitely is sticking with me.
BALTIMORE CENTER STAGE 11"WHEN I THINK ABOUT RED
QUEEN, SHE’S A TEACHER,
SHE’S AN INSPIRE-ER, SHE’S
BEEN THROUGH SOME STUFF,
THAT’S HOW SHE KNOWS."
When I think about Red Queen, she’s a Patrice: As far as this “queen” phenomenon
teacher, she’s an inspire-er, she’s been right now: me and my girlfriends, we greet
through some stuff, that’s how she knows. I’ve each other with “queen”. That’s just how we
been through a lot in my childhood and in my speak to each other now to remind each
adult life that I now share with people to let other that we are that. On this journey, Alice
them know that they can still be a queen. encounters so many things that could throw
Look at the things that I’ve been blessed to her off of her throne. And we’re here to
do, look how I walk down the street and remind her, “girlfriend pull up, you’re better
carry myself regardless of the things I’ve than, you have to walk with your head all the
had to go through in life. Since earlier this way high. Don’t forget who you are, don’t
year, I’ve developed a class where I travel forget what you came here to do.” Hopefully,
the country teaching young children; and I that message of empowerment can really
have a special class for young women, little come through.
girls. I’ve started a scholarship foundation
for young women. I’m always trying to show What do you hope audiences find in this
them, relate to them, that there is forward modern retelling of these classic
movement. It can motivate and inspire Victorian stories?
people. I definitely see that as something the Patrice: My hope is that it becomes less
Red Queen can relate to. about the fact that we are Black and it
becomes an American story that happens to
In our production, we are focusing on
be told by some Black people. Something
the thread of Alice becoming a queen.
that people can relate to. Something that
Can you talk about what attracts you
doesn’t matter what race, culture, creed,
to that narrative?
background, whatever—everyone can relate
Markita: We’re talking about this young to it. Everyone can be changed and inspired
Black girl who is coming into her own as a by it. Touched by it.
young woman. The meaning of who we are
Markita: I mean, I love that this is a story for
today, just coming into our own as Black
us all. No matter the color of your skin, all little
women today has turned into a strong part of
girls have imaginations—when it’s recess we
our modern day culture and it is about really
all go to Wonderland. It just so happens
embracing who we are. In all of our glory.
that it’s a Black girl with a Black queen, oh
12 BALTIMORE CENTER STAGEmy goodness. And that’s awesome, because Patrice: I’m looking forward to seeing how
I can only imagine, as a kid, coming to see we all develop together. Doing a show eight
this show, what it would mean to see this times a week; you develop quickly, because
Black Alice. I would be so hyped, immediately, you literally are creating every single night.
because representation is so important. You get a chance to try something new
every single night. And we’ve only just now
Patrice: I love that people of all shapes,
started our second week and we’ve only just
sizes, backgrounds are part of this show.
scratched the surface of developing. So I’m
I just love that people are finally, about
very excited about figuring it out. What else
time, opening up.
is Red Queen? When I really know what the
What’s one thing you’re excited for in the words mean and I am able to look in Alice’s
rest of your time at Baltimore Center Stage? eyes and really mean what I’m talking about,
I look forward to that.
Markita: I can’t wait for us to do our first
run through of the show. This is the most To learn more about Patrice’s classes, visit
challenging role I’ve ever had to play, in TheGalaxyMethod.com.
every sense of the word.
And as an actor, you want an audience, so
I’m excited to see what the audience has to
bring. They’re going to be part of the show
—literally—so there’s that excitement.
BALTIMORE CENTER STAGE 13we’ll stay true to a uniquely
Maryland tradition.
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©2017 The PNC Financial Services Group, Inc. All rights reserved.
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CCRD PDF 0117-076-447206We look forward to
your next bril iant
performance.
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support Center Stage.
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BALTIMORE CENTER STAGE 15THE CAST
Jessica Bennett David Darrow*
Ensemble Cheshire Cat / Mad Hatter/
Caterpillar / Humpty Dumpty
Baltimore Center Stage:
debut. Off Broadway—The Baltimore Center Stage:
Actor’s Temple: Honestly Abe debut. Regional—The Guthrie,
(Jessie); The Pit: Mother Eve’s Actors Theater of Louisville,
Secret Garden of Sensual Geva, Theatre Latte Da, Ten
Sisterhood (Echinacea.) Thousand Things, Illusion, 7th
Tour—Theatreworks USA: We House Theater. Other—Wrote
the People (Dawn). Regional— book/music/lyrics for The
Keegan Theatre: Chicago Passage (7th House at The
(May 2018); Artscentric: Guthrie, 2017 NAMT Festival),
Chicago (Velma); Stillpointe: JESS
IC A B music/lyrics for Jonah and the
ENN ETT Whale (Stoneham Theatre, 7th
The Last Five Years (Cathy); Iron
Crow: Fucking A (Hester), The House at The Guthrie), and The
Wild Party (Kate; B.U.L.S.H.I.T. Great Work (7th House at The
award, Supporting Actress); Guthrie). Education—Acting
New Hazlett: Ragtime (Sarah’s Apprentice: Actors Theater of
Friend); Millbrook Playhouse: Louisville; BA: Albright College.
Hairspray (Dynamite).
Entertainment—Royal Markita Prescott*
Caribbean Cruises, Ltd: Lead Alice
Vocalist. Education—BFA: Baltimore Center Stage:
Ithaca College (Musical debut. Off Broadway—
Theatre). Sonnet Repertory Theater:
PA T R The Caucasian Chalk Circle
IC E C
Patrice Covington* O V IN
GTO
(Grusha); Queens Theatre:
Red Queen / Dormouse / N Hit-Lit (Marisa Cimoli);
Caterpillar / Tweedle Dee Classical Theatre of Harlem:
Baltimore Center Stage: The First Noel (workshop, Noel);
debut. Broadway—The Color The Poet’s Den: Flambéaux
Purple (Squeak, Grammy and (Audelco award nom., Best
Tony Award winner for Best Actress). Regional—Alliance
Revival). Tours—Motown The Theatre: Too Heavy for Your
Musical, The Book of Mormon, Pocket (Suzi Bass award
Ain’t Misbehavin’ (Armelia); nom., Outstanding Ensemble,
International Tour of Dreamgirls Outstanding World Premiere).
(Effie). Regional—New York Film/TV—Barry (Netflix), The
City Center Encores: Big River Knick (dir. Steven Soderbergh;
D A V ID Cinemax), Person of Interest
(Alice), Fulton Theater: Little DARR
OW (CBS). Education—MFA:
Shop of Horrors (Audrey II/
The Plant). Awards—Emmy Rutgers University.
Award winner, Grammy nom.
Other—National voiceover
and recording artist for
numerous radio and television
commercials and jingles.
Patrice is a coach and speaker.
TheGalaxyMethod.com @
sangtrice
16 BALTIMORE CENTER STAGETHE CAST
Christopher Ramirez* Garrett Turner*
Dodgson / White Queen / White Rabbit / White Knight /
Caterpillar / Tweedle Dum Wicket / March Hare
Baltimore Center Stage: Baltimore Center Stage: debut.
debut. Off Broadway—Icon. Regional—True Colors Theatre:
Regional—credits include Holler If Ya Hear Me (Vertus, dir.
Disney’s Freaky Friday at La MARK
IT A P
Kenny Leon); Asolo Repertory
Jolla Playhouse, Cleveland RESC Theatre: The Elaborate Entrance
OTT
Playhouse, and the Alley of Chad Deity (Chad Deity);
Theatre; Barrington Stage: Mason Street Warehouse:
Man of La Mancha; Pioneer Memphis (Delray); Aurora
Theatre: The Count of Monte Theatre/Theatrical Outfit: In the
Cristo; Speakeasy Stage: In Heights (Benny); Atlanta Lyric
the Heights; Clarence Brown Theatre: Dreamgirls (Jimmy
Theatre: Violet. Film/TV— Early); Playhouse on Park:
Instinct (CBS). Education— Passing Strange (Mr. Franklin/
BFA: The Boston Conservatory Mr. Venus); Alliance Theatre:
and William Esper Studio. Acappella the Musical (Simon),
Special thanks to Harden- York Theatre Company: The
Curtis Associates and my Dove (Will). Education—BA:
C H R IS
family. @c_rambrothaman TOPH Emory University (Music and
ER RA
M IR E
Z Creative Writing); MA: Royal
Sensei Silab Central School of Speech and
Ensemble Drama in London on a Marshall
Scholarship (Music Theatre).
Baltimore Center Stage: debut.
garrett-turner.com,
Sensei Silab emigrated from the
@garrettmturner
Philippines to the United States
in 2008. She is currently a senior *Member of Actors’ Equity
in high school at The Baltimore Association, the Union of
School for the Arts, majoring Professional Actors and Stage
in theater. Grateful to be a Managers in the United States.
part of this amazing ensemble,
Sensei has been in numerous
school performances. In 2016,
SENS
she participated in the MICA E I S IL
A B
film project, Mischievous Pupil
(starring as “Olivia”). In her
free time, Sensei loves to play
the guitar, go on nature walks,
and meditate. She also enjoys
singing. Other than English,
Sensei is fluent in Bisaya and
Tagalog. One of Sensei’s many
goals is to be able to speak
Spanish fluently.
GAR
RETT
TURN
ER
BALTIMORE CENTER STAGE 17THE ARTISTIC TEAM
THE ARTISTIC
TEAM
Jeremy B. Cohen Rennie Harris Undisputed Truth (dir. Spike
Director Choreographer Lee). West End—The Elephant
Baltimore Center Stage: debut. Man. Off-Broadway—MTC:
Cohen is in his 8th season as
Accolades—Considered the Vietgone, Important Hats of the
Producing Artistic Director
pioneer of “Street Dance Twentieth Century; Atlantic:
of the Playwrights’ Center,
Theater” Harris was voted Guards at the Taj (2016 Lucille
having served as Associate
one of the most influential Lortel Award for Outstanding
Artistic Director at Hartford
people in the last 100 years of Set Design), Our New Girl,
Stage, where he directed
Philadelphia history and has The Penitent; Lincoln Center
several premieres. Previously
been compared to Alvin Ailey Theatre: Heathers The Musical,
at Baltimore Center Stage,
and Bob Fosse. Awards—3 Luce; Vineyard: Gigantic;
he directed Wild With Happy
Bessie Awards, 3 Alvin Ailey Public Theatre: Much Ado
and Let There Be Love (by
Black Choreographers Awards, About Nothing. Regional—ACT
Kwame Kwei-Armah). Directing
the Herb Alpert Award in San Francisco, Ford’s Theatre,
credits include productions
Choreography, nominated Seattle Repertory Theatre, The
at A.C.T., Actors Theatre
for a Lawrence Olivier Award Old Globe, Denver Center,
of Louisville, Alley Theatre,
(UK), Governors Artist of Portland Center Stage,
Alliance, Cleveland Play House,
the Year Award, USA Artist Cleveland Play House, Dallas
Dorset Theatre, George Street
Award for Choreography. Theatre Center, Geva Theatre,
Playhouse, Goodman, Kansas
Education—He’s the first Yale Repertory Theatre,
City Rep, McCarter, Mixed
street dancer to receive two Syracuse Stage, South Coast
Blood, New Victory, Olney
honorary doctorates: Bates Repertory, Victory Gardens
Theatre, Open Fist, Repertory
College (Arts and Humanities) Theatre, Bay Street Theatre,
Theatre of St Louis, Royal
and Columbia College (Fine Asolo Repertory Theatre,
George, Steppenwolf, Theater
Arts). International—2014 Philadelphia Theatre Company,
J, Theater Latté Da and
tour of the Middle East, Arden Theatre Company,
Victory Gardens. As Founding
including Egypt, Jordan, and Studio Theatre, The Muny,
Artistic Director of Naked Eye
Palestine. He served as 1 of 4 Williamstown Theatre Festival
Theatre Company (Chicago),
US Ambassadors as part of (9 seasons.) Dance—Doug
Cohen developed/directed
President Obama’s cultural Varone & Dancers, Cedar Lake
more than 15 plays, including
exchange program Dance Dance. TV—Amy Schumer: Live
several premieres. He has
Motion USA, led by former at the Apollo, Gotham, Smash,
received numerous directing
Secretary of State Hillary The Today Show. Education—
awards, including for his play
Clinton. “Harris the most North Carolina School of the
12 Volt Heart. His Off-Broadway
profound choreographer of his Arts, Yale School of Drama.
production (The Duke on 42nd
idiom” (New York Times). timothymackabeedesign.com
Street) of a new musical by
singer/songwriter Jonatha
Tim Mackabee David Burdick
Brooke called My Mother Has
Scenic Designer Costume Designer
Four Noses is currently touring
the US, and he is currently Baltimore Center Stage: Baltimore Center Stage: Jazz;
under commission at A.C.T. to Shakespeare in Love, Jazz, Next to Normal; Amadeus; Twelfth
co-write (with Dipika Guha) Amadeus. Broadway—The Night; dance of the holy ghosts;
and direct their play Malicious Elephant Man (starring Animal Crackers; …Edgar Allan
Animal Magnetism. Bradley Cooper), Mike Tyson: Poe; The Mountaintop; An Enemy
18 BALTIMORE CENTER STAGETHE ARTISTIC TEAM
of the People; The Whipping A Thousand Clowns. Off- Coast Repertory; Arena
Man; A Skull in Connemara; The Broadway—Second Stage: Stage; Goodman; Old
Rivals; Snow Falling on Cedars; Happiest Song Plays Last; Globe; Steppenwolf; Actors
Working it Out; Cyrano; Caroline, Roundabout: Just Jim Dale, Theatre of Louisville; Guthrie;
or Change; Hearts; Things of Dry Talley’s Folly, Milk Train Doesn’t Hartford Stage; Chicago
Hours; Crumbs from the Table Stop Here Anymore; Signature Shakespeare; Lookingglass
of Joy; Elmina’s Kitchen; Picnic; Theatre: Piano Lesson, Horton Theatre Company; Yale
a.m. Sunday; The Rainmaker; Foote’s The Orphans’ Home Repertory; many others. Film/
Blithe Spirit; and many others. Cycle; TFANA: Engaged TV scoring work—The Brass
Regional—Everyman Theatre: (Obie Award), All’s Well That Teapot for Magnolia Pictures;
Intimate Apparel, Dot, Los Otros, Ends Well; MTC: Nightingale, A Note of Triumph: The Golden
Great Expectations, An Inspector Moonlight and Magnolias; Age of Norman Corwin (2006
Calls, Death of a Salesman, Lincoln Center: Big Bill, The Academy Award Winner, Best
A Streetcar Named Desire, Carpetbagger’s Children, Far Documentary Short Subject)
for HBO Films. Awards—Seven
Ruined, Ghosts, Blithe Spirit, East. Regional—Alley, ACT,
Joseph Jefferson Awards
August: Osage County, You Arena Stage, Center Theatre
and 24 nominations; two
Can’t Take It with You, Private Group, Ford’s Theatre, Guthrie,
Ovation Awards and three
Lives, All My Sons, The Mystery of Hartford Stage, Huntington
nominations; LA and SD Drama
Irma Vep; Walnut Street/Totem Theatre, McCarter, Old
Critics Circle Award; two
Pole: The Last Night of Ballyhoo, Globe, Oregon Shakespeare
ASCAP Plus Awards; multiple
Moon Over Buffalo. Opera— Festival, Shakespeare Theatre
nominations for Drama Desk,
Cincinnati: Don Giovanni; Company, Two River Theater,
Barrymore, Henry Hewes
Boston Lyric: I Puritani; Tulsa: Williamstown Theatre Festival.
Design, AUDELCO Awards
Tosca, The Barber of Seville,
Lindsay Jones among many others; and was
Carmen, Fidelio. Dance—BAM:
Original Music, the first sound designer to win
FLY: Five First Ladies of Dance;
Musical Arrangements, the Michael Maggio Emerging
Dayton Contemporary: Lyric Sound Designer Designer Award.
Fire (world premiere, dir/
Baltimore Center Stage: Bus
choreographer Dianne Caite Hevner
Stop, Let There Be Love, Intimate
McIntyre). Other—Baltimore Projection Designer
Apparel. Broadway—Bronx
Symphony Orchestra: Holiday
Bombers, A Time To Kill. Off Baltimore Center Stage:
Spectacular.
Broadway—Public Theatre: debut. Broadway—In Transit.
Privacy, Dry Powder; Playwrights Off Broadway/New York—
Rui Rita
Horizons: Bella, Bootycandy; The Duke on 42nd Street:
Lighting Designer
Primary Stages: Rx; New York My Mother Has 4 Noses, (dir.
Baltimore Center Stage: The
Theatre Workshop: Top Secret; Jeremy B. Cohen); Atlantic
White Snake, Two Gentlemen
many others. International— Theater Company: Derren
of Verona, The Wiz, Trouble in
Royal Shakespeare Company Brown: Secret; Primary Stages:
Mind, Tis Pity She’s a Whore, (England), Stratford DISCORD; The Gym at Judson:
King Lear. Broadway—Trip to Shakespeare Festival DIASPORA; Roundabout
Bountiful, Velocity of Autumn, (Canada), and productions Underground: Ugly Lies the
Present Laughter, Dividing in Zimbabwe, South Africa, Bone; Lynn Redgrave Theater:
the Estate, Old Acquaintance, Scotland, and Austria. Tail! Spin!; New York Theatre
Enchanted April, The Price, Regional—McCarter; South Workshop Next Door: The
BALTIMORE CENTER STAGE 19Elephant in Every Room I Enter; Unified Professional Auditions Rebecca Adelsheim
St. Luke’s Theater: Baghdaddy; (UPTA). Education—BM: Production Dramaturg
Soho Playhouse: Triassic Parq; Virginia Commonwealth Baltimore Center Stage—Play
59E59:Orwell in America; HERE University (Piano Performance). Lab 2017: Handle It, To the Flame.
Arts Center: Science Fair; Avery @JoseSPiano Off Broadway—Atlantic & Deaf
Fisher Hall: Parade. Regional— West: pig.gov (Workshop).
Alley Theatre, Alliance Theatre, Mari Travis
Regional—Goodman Theater
Arena Stage, Barrington Stage Assistant Director and
New Stages: King of Hell’s
Company, Cleveland Play Dance Captain
Palace, And Moira Spins, King
House, Dallas Theater Center, Baltimore Center Stage: of the Yees, On the Exhale;
Everyman Theatre, Guthrie debut. Broadway—Fela! Victory Gardens Theater:
Theater, Long Wharf Theatre, Nigeria (production assistant). Cocked, Ignition Festival:
Marin Theatre Company, Choreography—credits Wolf Play, Kill Move Paradise;
McCarter Theatre, Northern include MSU: Black Nativity Writers: The Mystery of Love
Stage, Pasadena Playhouse, The Wiz; Spotlighter's & Sex; Steep: Bobbie Clearly;
People’s Light, PlayMakers Theatre: Ain't Misbehavin; Greenhouse: The Way She
Repertory Company, Round Arena Players: Smokey Joe's Spoke; Sideshow: Mai Dang
House Theater, Seattle 5th Café; guest choreography Lao, Wally World. Professional—
Avenue, Syracuse Stage, residencies: Georgetown Professional Leadership
Theater J, Williamstown Theatre University, MSU, Duke Ellington Assistant at Steppenwolf
Festival. caitedesign.com School for the Arts, Friends Theatre Company; Producer:
School. Directing—credits Victory Gardens, 2nd Story,
Jose C. Simbulan include Arena Players: Spell Directors Gathering; Script
Music Director #7, Colorblind: The Katrina Reader: Victory Gardens,
Baltimore Center Stage: debut. Monologues. Education—BA: Writers, O’Neill National
Broadway—Lestat, A Chorus Morgan State University Playwrights Conference, Bay
Line, Mary Poppins. Regional— (Theater). Professional/ Area Playwrights, Philadelphia
Arena Stage: The Music Man, Other—founder and creative Young Playwrights; Proud
South Pacific, Sunday in the director of Good Stuff member of LMDA. Education—
Park with George; Connecticut On Stage, a performing BA: University of Pennsylvania;
Repertory Theatre: Peter & arts production company Kings College London.
The Starcatcher; Fiddlehead with the vision to generate
Theatre Company: Priscilla, technically creative ideas in Pat McCorkle
Queen of the Desert; Merry- order to actualize a wide- Katja Zarolinski
Go-Round Theatre: West Side range of ambitious theatrical McCorkle Casting, Ltd
Story; Shakespeare Theatre productions. Mari is also a Casting
Company: Man of La Mancha; performer, performing arts Baltimore Center Stage: The
Virginia Repertory Theatre: educator, theater director, Christians, Jazz, Les Liaisons
Gypsy; Signature Theatre: and choreographer who Dangereuses, Detroit ’67, As
Passion, Into the Woods; started in the arts at her family's You Like It, Pride and Prejudice,
Charleston Stage Company: dance school, Flair Dance & Marley, One Night in Miami…,
The Producers. Other— Modeling Studio. Amadeus, Wild with Happy,
Accompanist: Southeastern Twelfth Night, A Civil War
Theatre Conference (SETC), Christmas. Broadway—Amazing
20 BALTIMORE CENTER STAGETHE ARTISTIC TEAM
Grace, On the Town, End of Wife (PSM, Actor’s Express,
the Rainbow, The Lieutenant of Atlanta). Sondheim’s Road
Inishmore, The Glass Menagerie, Show (SMPA, Public Theater
Cat on a Hot Tin Roof, One NY); Mary Poppins (SMA, 1st
Flew Over the Cuckoo’s Nest, National Tour); The Color
Baltimore Center Stage operates
Amadeus, She Loves Me, Blood Purple, Saint Lucy’s Eyes, Pacific
under an agreement between LORT
Brothers, A Few Good Men, etc. Overtures, My Fair Lady, Crowns and Actors’ Equity Association, the
Off-Broadway—Upcoming; (Alliance, Atlanta) Mahalia, union of professional actors and
stage managers in the United States.
Party Face, Clever Little Lies, Dr. Lost Highway (Theatrical Outfit,
Ruth, Stalking the Bogeyman, Atlanta). Recent new works
Freud’s Last Session, Tribes, include Script and/or Score
Our Town, Almost Maine and Supervision for World Premiere
Driving Miss Daisy. Over 50 Workshop Productions at The Director and Choreographer
regional theaters—Guthrie the Alliance Theatre for Tuck are members of the Society of Stage
Directors and Choreographers, Inc.,
(17 seasons), George Street Everlasting, Born For This: The
an independent national labor union.
Theatre (18 seasons), Bebe Winans Story, Twist: An
Connecticut Rep, Pittsburgh American Musical, Start Down,
Public, Barrington Stage, etc. and The Prom.
Over 60 films—Senior Moment,
Year by the Sea, Child of Grace, Monica Cook* The scenic, costume, lighting, and
Ghost Town, Secret Window, Assistant Stage Manager sound designers in LORT theaters are
represented by United Scenic Artists,
Tony and Tina’s Wedding, The Baltimore Center Stage: debut. Local USA-829 of the IATSE.
Thomas Crown Affair, The 13th Regional—Synchronicity
Warrior, Madeline, Die Hard III, Theater: Sense and Sensibility
School Ties, etc. Television— (Stage Manager); Actor’s
includes, Twisted, Sesame Express: Appropriate, The
Street, Californication (Emmy Crucible, The Legend of
nomination), Max Bickford, Georgia McBride, Father Comes Musicians engaged by Baltimore
Hack, Strangers with Candy, Center Stage perform under the
Home From the Wars: Parts 1, 2, &
terms of an agreement between
Barbershop, Chappelle’s Show, 3, Little Shop of Horrors. Opera— Center Stage and Local 40543,
etc. mccorklecasting.com Opera Saratoga: Il Postino. American Federation of Musicians.
Education—BA: Birmingham- Baltimore Center Stage is a
Alicia Quirk* Southern College (Music). constituent of Theatre Communica-
Stage Manager tions Group (TCG), the national
organization for the nonprofit
Baltimore Center Stage: debut. professional theater, and is a member
Regional—credits include of the League of Resident Theatres
Father Comes Home From the (LORT), the national collective
bargaining organization of
Wars, Parts 1, 2, & 3, The Legend professional regional theaters.
Of Georgia McBride, Stupid
F*ing Bird, Murder Ballad, The
Rocky Horror Show, Seminar,
See What I Wanna See, Fair Use,
Grey Gardens, Some Men, The
Last Five Years, I Am My Own
BALTIMORE CENTER STAGE 21LEADERSHIP LEADERSHIP Artistic Director Managing Director KWAME KWEI-ARMAH MICHAEL ROSS Kwame Kwei-Armah OBE is a playwright, Michael Ross returned to Baltimore Center director, actor, and broadcaster. At Stage last season after working for seven Baltimore Center Stage he has directed seasons as managing director of Westport Jazz, Marley, One Night in Miami..., Amadeus, Country Playhouse. From 2002 to 2008 he dance of the holy ghosts, The Mountaintop, An was managing director of Center Stage. Enemy of the People, The Whipping Man, and Previously, Ross was managing director of Things of Dry Hours. He was named Best Long Wharf Theatre (1997–2002) where he Director in City Paper’s Best of Baltimore was on the producing team for the (2014), and he was a finalist for the Stage commercial transfer of the Pulitzer Prize Directors and Choreographers winner Wit. He was general manager and Foundation’s Zelda Fichandler Award for business manager at Hartford Stage Best Theater Director. His works as (1986–1996). Ross served as program playwright include One Love: The Bob officer/project director at National Arts Marley Musical, Elmina’s Kitchen, Let There Be Stabilization, and worked with Baltimore Love, A Bitter Herb, Statement of Regret, Seize Opera Company and Alley Theater, the Day, and Beneatha’s Place, which Houston. Ross has consulted in fundraising, debuted at Baltimore Center Stage in 2013 board development, executive search, and as part of The Raisin Cycle. Other strategic planning for theaters nationwide, directorial credits include One Love: The including Kansas City Repertory Theatre, Bob Marley Musical at Birmingham Repertory SITI Company, Wilma Theater, Trinity Theatre; One Night in Miami… at London’s Repertory Company, Eugene O’Neill Donmar Warehouse; Twelfth Night, The Theater Center, and Everyman Theatre. He Comedy of Errors, Much Ado About Nothing, has been a panelist for programs hosted by and the world premiere of Detroit ’67 at The the National Endowment for the Arts, Public Theater in New York; Naomi Theatre Communications Group, and New Wallace’s The Liquid Plain at Signature England Foundation for the Arts, among Theatre; Dominique Morisseau’s Skeleton others, and was an adjunct professor in Crew at the Lark Play Development Center; The Yale University School of Drama and the world premiere of The Liquid Plain at Theater Management Program. He has Oregon Shakespeare Festival. served on numerous Boards including He has served on the boards of Theatre Theatre Communications Group, The Communications Group, Steinberg National Women’s Hall of Fame, and the Playwright Awards, The National Theatre, Connecticut AIDS Residence Coalition. and The Tricycle Theatre (London), and as Ross currently serves on the Board of the Artistic Director for the World Arts Festival in Burry Fredrik Foundation. Senegal. 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. 22 BALTIMORE CENTER STAGE
Club, Janine Nabers’ A Swell in the Ground,
and Marcus Gardley’s The House That Will Not
Stand. Her plays include All the Women I Used
to Be, The Rise and Fall of Day, and The Sprott
Cycle Trilogy. Hana is the recipient of the
2009–10 Aetna New Voices Fellowship and
Theatre Communications Group (TCG) New
Generations Fellowship. She serves on the
board of directors for the Greater Baltimore
KWA
ME K
W E I-
ARMA Cultural Alliance and the Sprott Foundation.
H
M IC H
AEL R
OSS Associate Director, Director of Dramaturgy
GAVIN WITT
Gavin Witt came to Baltimore Center Stage in
2003, after nearly 15 years in Chicago as an
actor, director, dramaturg, translator, and
teacher—and co-founder of the classically
based greasy joan & co theater. Among his
HANA translations and adaptations are a half-dozen
S. SH
AR IF
Shakespeare plays; including a Jeff-nominated
G AV
IN W IT version of Pericles; Jeff-nominated translations
Artistic
T
of Beaumarchais’ The Barber of Seville and
Ionesco’s Macbett; and Baltimore Center Stage
Associate Artistic Director productions of The Voysey Inheritance and last
HANA S. SHARIF season’s As You Like It. Baltimore Center Stage
Hana S. Sharif is a director, playwright, and directing credits include Twelfth Night and a
producer. She served as Associate Artistic recent short film from a Kenneth Lin script
Director, Director of New Play Development, commissioned by Baltimore Center Stage and
and Artistic Producer at Hartford Stage; the Goethe Institut-Washington as part of the
recently as Program Manager of the international P3M5 project—as well as more
ArtsEmerson Ambassador Program; and as than a dozen Young Playwrights Festival entries,
Developmental Producer/Tour Manager of many more play readings, and the 50th
Progress Theatre’s musical The Burnin’. Hana Anniversary Decade Plays. In addition to
also served as co-founder and Artistic Director working as a dramaturg on scores of
of Nasir Productions, which brings theater to productions, readings, and workshops at
underserved communities. Her directing credits Baltimore Center Stage, he has also helped
include: Baltimore Center Stage: The develop new work around the country. A
Christians, Les Liaisons Dangereuses; Pride & graduate of Yale and the University of Chicago,
Prejudice (DCArts: Best Director/Best New he is currently on the Humanities faculty at
Play); Regional: The Whipping Man, Gem of the Peabody Conservatory, having previously
Ocean (six CCC nominations), Gee’s Bend taught at the University of Chicago, DePaul,
(CCC Award Best Ensemble, two nominations), and Towson; has served on the advisory boards
Next Stop Africa, Cassie, The Drum, and of several theaters; and spent more than a
IFdentity. Hana has directed numerous decade as a regional vice president of LMDA,
developmental workshops, including Elyzabeth the national association of dramaturgs, before
Gregory Wilder’s The Chat and Chew Supper joining its board.
BALTIMORE CENTER STAGE 23DRINK LOCAL.
DRINK UNION.
Tap Room Hours:
Thurs-Fri: 5-10PM
Sat-Sun: 12-5PM
BEER UNITES!
1700 Union Ave. Baltimore MD, 21211
Artwork by KAL
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Annabel Lee White
The Raven Special Lager
Dark Usher Kölsch
The Cask (of Amontillado)
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24 BALTIMORE CENTER STAGETHANK YOU
CORPORATIONS: PLAYWRIGHTS’ CIRCLE
THE 2017/18 SEASON IS MADE POSSIBLE BY American Trading and
Production Corporation
Brown Capital Management
Cho Benn Holback +
Associates
Environmental Reclamation
THE 2017/18 EDUCATION AND COMMUNITY PROGRAMS Company
ARE MADE POSSIBLE BY
Ernst & Young
Howard Bank
Legg Mason
McCormick & Co., Inc.
McGuireWoods LLP
PRESIDENTS’ CIRCLE
Merritt Properties, LLC.
Merrill Lynch- Liotta Osterman
Buchinski Group
Northrop Grumman
PricewaterhouseCoopers
Stifel
T. Rowe Price Foundation SunTrust Bank
Whiting Turner
PRODUCERS' CIRCLE DIRECTORS’ CIRCLE
Ayers Saint Gross
Baxter, Baker, Sidle, Conn &
Jones, P.A.
Continental Realty
Loyola College Of Arts
and Sciences
Schoenfeld Insurance
Associates
DESIGNERS’ CIRCLE
Asbestos Specialists, Inc.
Baker Donelson
Carney, Kelehan, Bresler,
Bennett & Scherr, LLP
Chesapeake Plywood, LLC
ARTISTS' CIRCLE
ezStorage
Caroline Fredericka Holdship Fiserv
Charitable Trust
via Keller Stonebraker Insurance
PNC Bank Charitable Trusts RCM&D
SC&H Group
BALTIMORE CENTER STAGE 25INDIVIDUALS AND FOUNDATIONS
THANK YOU!
The following list includes gifts of $250 or more made to the Baltimore Center Stage Annual
Fund. 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 those who
contribute to Baltimore Center Stage. We couldn’t do it without you!
The Center Stage Society PRODUCERS’ CIRCLE The Laverna Hahn
represents individual donors ($25,000-$49,999) Charitable Trust
who, through their annual
The William G. Baker, Jr. Ms. Wendy Jachman
contributions of $1,500 or
Memorial Fund, creator of the
more, provide special Francie and John Keenan
Baker Artist Portfolios.
opportunities for our artists www.BakerArtist.org
and audiences. Society Townsend and Bob Kent
members are actively The JI Foundation
Keith Lee
involved through special Kathleen Hyle
events, theater-related Sandy Liotta
travel, and behind-the- Marilyn Meyerhoff
Ken and Elizabeth Lundeen
scenes conversations with
Sharon and Jay Smith
theater artists. Maryland Humanities Council
Mr. J. William Murray
SEASON SPONSORS ARTISTS’ CIRCLE
($50,000+) ($10,000- $24,999) Charles E. Noell III
The Charlesmead The William L. and
Paul M. Angell Family Foundation
Victorine Q. Adams Foundation
Foundation
J. S. Plank and D. M. DiCarlo
Penny Bank Family Foundation
Lynn and Tony Deering
The Bunting Family Foundation Mr. and Mrs. George M. Sherman
Jane and Larry Droppa
Mary Catherine Bunting Department of VSA and
Ellen and Ed Bernard The Annie. E. Casey Foundation Accessibility at the John
F. Kennedy Center for the
Stephanie and The Helen P. Denit Performing Arts
Ashton Carter Charitable Trust
Ms. Nancy Dorman and PLAYWRIGHTS’ CIRCLE
James and Janet Clauson
Mr. Stanley Mazaroff ($5,000- $9,999)
The William Randolph Brian and Denise Eakes Peter and Millicent Bain
Hearst Foundation Bradie Barr and Tollie Miller
Ms. Amy Elias and
The Laurents/Hatcher Mr. Richard Pearlstone Meredith and Adam Borden
Foundation Mr. Louis B. Thalheimer and James T. and Francine G. Brady
Ms. Juliet A. Eurich
Terry H. Morgenthaler Drs. Joanna and Harry Brandt
and Patrick Kerins The Fascitelli Family Foundation Sylvia and Eddie Brown
Judy and Scott Phares Genine and Josh Fidler August and Melissa Chiasera
John Gerdy and E. Follin Smith The Nathan & Suzanne Cohen
Lynn and Philip Rauch Foundation
Daniel P. Gahagan
The Shubert Foundation, Inc. The Jane and Worth B. Daniels, Jr.
The Arthur J. and Lee R. Fund of the Baltimore
The Harold and Mimi Glatfelter Foundation Community Foundation
Steinberg Charitable Trust The Goldsmith Family The Delaplaine Foundation, Inc.
Foundation
Walter B. Doggett III and
Fredye and Adam Gross Joanne Doggett
26 BALTIMORE CENTER STAGEBeth and Michael Falcone Mr. Jed Dietz and Andrea and Samuel Fine, in
Dr. Julia McMillan memory of Carole Goldberg
Dick Gamper
Judith and Steven B. Fader Dr. Matthew Freedman and
The Harry L. Gladding Dr. Gladys Arak Freedman
Foundation/Winnie and Ms. Suzan Garabedian
Neal Borden Sandra Levi Gerstung
Robert and Cheryl Guth
The Hecht-Levi Foundation, Inc. Dr. Neil Goldberg,
Ralph and Claire Hruban in memory of Carole Goldberg
Mr. and Mrs. Joseph M.
David and Elizabeth JH Hurwitz Mr. and Mrs. W. Kyle Gore
Jennings, Jr.
Francine and Allan Krumholz Rebecca Henry and
Patricia and Mark Joseph,
Harry Gruner
The Shelter Foundation The Macht Philanthropic Fund
of The Associated Len and Betsy Homer
The John J. Leidy Foundation, Inc.
Mrs. Diane Markman Joseph J. Jaffa
Mr. John McCardell
Jim and Mary Miller Ms. Deborah Kielty
Robert E. Meyerhoff and
Rheda Becker John and Susan Nehra Mr. Barry Kropf
Jeannie Murphy Lawrence C. Pakula, Mr. and Mrs. Earl Linehan/
in memory of Sheila S. Pakula The Linehan Family Foundation
Dave and Chris Powell
Hugh and Leanne Mohler Maryland Charity Campaign
Blanche and Theo Rodgers
Val and Hutch Robbins Morris A. Mechanic Foundation
Scot T. Spencer
Michelle and Nathan Robertson Ms. Dorothy Powe,
Donald and Mariana Thoms in memory of Ethel J. Holliday
Charles and Leslie Schwabe
Krissie and Dan Verbic The Rollins-Luetkemeyer
The Ida and Joseph Shapiro Foundation
Ellen J. Remsen Webb & J.W. Foundation
Thompson Webb Michael Ross
Scott and Mimi Somerville
Mr. and Mrs. Christopher West Barbara and Sig Shapiro
Mr. Michael Styer
Barbara Payne Shelton
Loren and Judy Western Mr. Kenneth Thompson
Susan Bridges and
Ted and Mary Jo Wiese Mr. Todd M. Wilson and Bill Van Dyke
Mr. Edward Delaplaine
Nanny and Jack Warren,
DIRECTORS’ CIRCLE Ms. Linda Woolf in honor of Lynn Deering
($2,500- $4,999)
Cheryl Hudgins Williams and
Anonymous
DESIGNERS’ CIRCLE Alonza Williams
Taunya Lovell Banks ($1,500- $2,499)
Sydney and Ron Wilner
Anonymous
The Lois and Irving Blum Dr. Richard H. Worsham
Foundation Jan Boyce
Patricia Yevics-Eisenberg and
Kim Gingras and The Caplan Family Stewart Eisenberg
Gene DeJackome Foundation, Inc.
Mr. Dan F. Dent B.J. and Bill Cowie
BALTIMORE CENTER STAGE 27COMPANY Mr. F. Barton Harvey III and Mr. and Mrs. Robert N.
($750-$1,499) Ms. Janet Marie Smith Smelkinson
Sandra and Thomas Hess Robert and Terri Smith
Anonymous
Kelly and Andre Hunter, Mr. and Mrs. Scott Smith
Gene-Michael Addis in honor of Beth Falcone Ms. Michele Speaks
Mr. Daniel Aibel Mrs. Harriet S. Iglehart George and Holly Stone
Suzanne and Stuart Amos Mr. and Mrs. Ted Imes Dr. and Mrs. John Strahan
Harriet and Bruce Blum Susan and Steve Immelt Susan and Brian Sullam
Mr. and Mrs. Marc Blum Max Jordan Mr. William J. Sweet and
John and Carolyn Boitnott Ms. Shirley Kaufman Ms. Geraldine Mullan
Ms. Barbara Crain and Murray Kappelman Mr. Matthew Teitelbaum and
Mr. Michael Borowitz Ms. Dorie Fader Teitelbaum
Andrea Laporte
Dr. and Mrs. Donald D. Brown Mr & Mrs. Harry Thomasian
Jonna and Fred Lazarus
United Way of
Meredith and Joseph Callanan Mr. and Mrs.
Central Maryland
The Campbell Foundation, Inc. Lawrence M. Macks
Kathryn and Mark Vaselkiv
Mr. Alan Macksey
Ms. Sue Lin Chong Dr. and Mrs. Frank R. Witter
Matthew and Eileen Margolies
Mr. G. Brian Comes and Eric and Pam Young
Mr. Raymond Mitchener Brad Mendelson
Dr. Laurie S. Zabin
Jane Cooper and Philip Angell John Messmore
The Deering Family Faith and Ted Millspaugh ADVOCATES
Foundation/Lawrie Deering The Montag Family Fund of
($250-$749)
and Albert F. DeLoskey The Community Foundation for Anonymous
Greater Atlanta Ms. Diane Abeloff,
The Honorable and
Roger F. Nordquist, in memory of Martin Abeloff
Mrs. E. Stephen Derby
in memory of Joyce C. Ward Bradley and Lindsay Alger,
Linda Eberhart in honor of George J. Staubus
Mr. and Mrs. Lee Ogburn
The Eliasberg Family Ms. Bernadette Anderson
Dr. Bodil Ottesen
Foundation Mr. Alan M. Arrowsmith, II
Michael and Phyllis Panopoulos
Sue and Buddy Emerson, Deborah and Stephen Awalt
in appreciation of Ken and Dr. Ira Papel
Tracy Bacigalupo and
Elizabeth Lundeen Walt and Donna Pearson Jake Baker
Donald M. and Jeffrey and Laura Thul Penza Robert and Dorothy Bair
Margaret W. Engvall Pat Pilling, Mike Baker
Ms. Rhea Feikin, in memory of in memory of Mary C. Lee The Mr. and Mrs. Raymond Bank
Colgate Salsbury Family Fund of the Baltimore
Bonnie L. Pitt
Community Foundation
Richard and Sharon Gentile Janet Plum, Mr. Greg Baranoski and
in honor of the Center Stage in memory of Jeffrey J. Plum Mr. Lucio Gama
Costume Shop Jill and Darren Pratt Mr. and Mrs. Bruce A. Barnett
Mr. and Mrs. Ross Flax The James and Gail Riepe Ms. Patricia Baum
Dr. Neal M. Friedlander and Family Foundation, Jaye and Dr. Ted Bayless
Dr. Virginia K. Adams in honor of Lynn Deering Fund of the Baltimore
Dr. & Mrs. James Rubenstein Community Foundation
José and Ginger Galvez
Bayinnah Shabazz, M.D. Ms. Karen Bennett
Megan M. Gillick
Dr. Bruce and Mrs. Toni Berger
The Earle and Annette Shawe
Stuart and Linda Grossman Mr. Gary Bess
Family Foundation
Thomas and Barbara Guarnieri Bob and Maureen Black
The Sinksy-Kresser-Racusin
Linda Hambleton Panitz Memorial Foundation Ms. Katharine C. Blakeslee
28 BALTIMORE CENTER STAGEINDIVIDUALS AND FOUNDATIONS
Mr. and Mrs. A. Stanley Brager, Jr. Mr. Peter Hegeman and Roland King and
Ms. Patricia Egan Judith Phair King
Ms. Michelle Brown
Mr. James Engler Mr. Neil and Mrs. Linda
Sandra and Thomas Brushart Kirschner in honor of
Mrs. Christine Espenshade
Mr. Paul Burclaff Ken and Elizabeth Lundeen
James DeGraffenreidt and
Brad and Kate Callahan Joyce and Robert Knodell
Mychelle Farmer
Sheldon and Jamie Caplis, Donald Knox and Mary Towery,
Mr. and Mrs. Edgar L. Feingold
in memory of Carolyn Knox and
in honor of Juliet Eurich and Mr. and Mrs. Gary Felser Gene Towery
Louis Thalheimer
Bob and Susie Fetter Stewart and Carol Koehler
Ms. June Carr
Merle and David Fishman Thomas and Lara Kopf
Joe and Missy Carrier
Dr. and Mrs. Robert P. Fleishman Alice Kurs, in memory of
Mr. and Mrs. David Carter Joan and David Forester Louis N. Kurs
Mr. and Mrs. James Case Whit and Mary Louise Foster Joseph M. and
Judy K. Langmead
Ms. Jan Caughlan The Jim and Anne Cantler
Memorial Fund of the Baltimore Mr. and Mrs. William Larson
Henry and Linda Chen,
in memory of Lysl Sundheim Community Foundation Dr. and Mrs. Yuan C. Lee
Mark and Patti Gillen Mr. Raymond Lenhard, Jr.
Tracey L. Chunn
Hal and Pat Gilreath Dr. and Mrs. George Lentz, Jr.
Fronda Cohen Ottenheimer
and Richard Ottenheimer Dr. Larry Goldstein and Dr. and Mrs. Ronald Lesser
Dr. Diane Pappas Marilyn Leuthold
Mary Ellen Cohn
Mary and Richard Gorman Kenneth and Christine Lobo
Joan D. Coley and M. Lee Rice
Ms. Hannah B. Gould Dr. and Mrs. Charles Mann
The Elsa and Stanton Collins Kathleen and Eric Greenberg, Margaret O. Cromwell
Charitable Fund in honor of Beth Hauptle and Family Fund of the Baltimore
The Constantinides Hilary Judis Community Foundation
Family Foundation Amy Macht and George Grose Jeanne E. Marsh
David and Sara Cooke Michael and Susan Guarnieri Don Martin
Mr. William Cooke Joseph and Christine Hall Aida and James Matters
Mr. Joe Coons and Alma Hays and John Ginovsky Mary L. McGeady
Ms. Victoria Bradley Rachel and Ian Heavers Mary and Barry Menne
Con and Eleanor Darcy John and Cynthia Heller Mr. and Mrs. Timothy E. Meredith
Mr. Lewis Davis Betsy and George Hess Stephanie F. Miller, in honor of
Sue Hess The Lee S. Miller Jr. Family
Richard and Lynda Davis
Mrs. James J. Hill, Jr., Tracy Miller and Paul Arnest,
Robert and Janice Davis in honor of Stephanie Miller
in memory of James J. Hill Jr.
The Richard and Rosalee C. James W. and Shirley A. Moore
Gina and Daniel Hirschhorn
Davison Foundation Mr. Wilbert Moultrie
Jean and Lon Homeier,
Curt Decker in honor of Phil Rauch Bill and Mimi Mules
David and Emily Gaines Demsky James and Rosemary Hormuth George and Beth Murnaghan
Susan and Joachim Diedrich Ms. Irene Hornick Stephen and Terry Needel
Ms. Mary Downs The A. C. and Penney Hubbard Ms. Katherine Newberger
Dr. Frank C. Marino Foundation Foundation Claire D. O'Neill
Sally and John Isaacs Ms. Jo-Ann Mayer Orlinsky
Ina and Ed Dreiband
Mr. William Jacob P.R.F.B. Charitable Foundation
The Suzy and Eddie Dunn
Fund of the Baltimore James and Hillary Aidus Jacobs Justine and Ken Parezo
Community Foundation Mr. John Kane Kevin and Joyce Parks
Lynne M. Durbin and Richard and Judith Katz Fred and Grazina Pearson
John-Francis Mergen Mr. and Mrs. Bill Kerr Linda and Gordon Peltz
Joyce L. Edington Alane and George Kimes Carolyn Peterkin
BALTIMORE CENTER STAGE 29You can also read
