ANIMAL GEORGE ORWELL'S - FARM - Baltimore Center Stage
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GEORGE ORWELL’S
ANIMAL
FARM ADAPTED BY
IAN WOOLDRIDGE
DIRECTED BY
MAY ADRALES
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 SETTING
Baltimore, MD 21202
EDITOR
Maggie Beetz 7 Meet the DiREctOR
DESIGN
Bill Geenen 8 DRAMATURGY
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Cover: Jonathan Gillard Daly and
Brendan Titley in Animal Farm.
Photo by Michael Brosilow.
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 McCardell
Baltimore Center Stage is a theater
PResiDeNt Hugh W. Mohler, Jr.
committed to artistic excellence.
Edward C. Bernard Charles J. Morton, Jr.
We engage, enrich, and broaden
ViCe PResiDeNt J. William Murray
the perspectives of diverse
audiences through entertaining August J. Chiasera Charles E. Noell III
ViCe PResiDeNt Judy M. Phares
and thought-provoking work and
educational programs. Beth W. Falcone Jill Pratt
ViCe PResiDeNt Philip J. Rauch
Named the State Theater of
Maryland in 1978, Baltimore Brian M. Eakes E. Hutchinson
TReAsUrer Robbins, Jr.
Center Stage has steadily grown
Jordan D. Rosenfeld
as a leader in the national Scot T. Spencer
regional theater scene. Under SeCRetAry Todd Schubert
Executive Director Michael Ross, Charles Schwabe
Stephanie L. Baker Robert W. Smith, Jr.
Baltimore Center Stage is
Penny Bank Scott Somerville
committed to creating and
Taunya Banks Michele Speaks
presenting a diverse array of
Bradie Barr Michael B. Styer
world premieres and exhilarating
interpretations of established works. Meredith Borden Harry Thomasian
Baltimore Center Stage James T. Brady Donald Thoms
believes in access for all—creating Stephanie Carter Krissie Verbic
a welcoming environment for Lynn Deering
everyone who enters its doors Jed Dietz tRUSTeeS eMeRItI
and, at the same time, striving to Walter B. Doggett III
Katharine C.
meet audiences where they are. Jane W.I. Droppa Blakeslee
In addition to Mainstage and Third Amy Elias C. Sylvia Brown
Space productions in the historic Juliet A. Eurich Martha Head
Mount Vernon neighborhood, Daniel Gahagan Sue Hess
Baltimore Center Stage ignites C. Richard Gamper, Jr. Murray M.
conversations across Baltimore Suzan Garabedian Kappelman, MD
and beyond through the Mobile Megan Gillick E. Robert Kent, Jr.
Unit, which brings high-quality Adam Gross Joseph M.
theater to economically, culturally Langmead
Cheryl O'Donnell
and geographically diverse Guth Kenneth C. Lundeen
communities. The theater also Elizabeth J. Himelfarb Marilyn Meyerhoff
nurtures the next generation of Hurwitz Esther Pearlstone
artists and theatergoers through Kathleen W. Hyle Monica Sagner
the Young Playwrights Festival, Ted E. Imes George M. Sherman
Student Matinee Series, and many Wendy Jachman
other educational programs for Joe Jennings
students, families, and educators. John J. Keenan
Sandra Liotta
2 BALTIMORE CENTER STAGE
WELCOME
Dear Friends,
Corruption and the exploitation of the weak by the
powerful can seem inevitable, as it is experienced across
both cultures and generations.
After witnessing injustice firsthand, George Orwell
endeavored to create art that would expose events
that lead to dictatorships. Having written Animal Farm in
1945, he explains that it was “the first book in which I tried,
with full consciousness of what I was doing, to fuse
political purpose and artistic purpose into one whole” M IC H
AEL R
OSS
(see page 8).
We do not shy away from politically infused themes in
the art we create for our stages, and this is especially
evident in this production of Animal Farm. The themes
that Orwell exposes here are not just dangers of the past.
The beauty of live theater is that, like Orwell, we can use
our art as a vehicle for awareness and education, and
even sometimes for change.
We’re proud to offer this classic work on our stage to
continue the conversation and encourage awareness
across all audiences, including full houses of students who
are reading Orwell’s novel in class. That this novel is still a
strong presence in middle and high school curricula
further spotlights the importance of this story and its
lessons. Some things stay the same, some things change;
sometimes we learn from the past, sometimes we don’t. But
as Director May Adrales explains, “theater is an act of
citizenry—it is an act of participation in an engagement of
ideas” (page 7). We invite you to participate now.
Michael Ross
Executive Director
BALTIMORE CENTER STAGE 3
GEORGE ORWELL’S
ANIMAL FARM
ADAPTED BY IAN WOOLDRIDGE
DIRECTED BY MAY ADRALES
MAR 1–APR 1, 2018
THE CAST THE ARTISTIC TEAM
in alphabetical order
May Adrales
Melvin Abston* Director
Napoleon/Ensemble
Andrew Boyce
Francis Cabatac Scenic Designer
Ensemble
Izumi Inabi
Jonathan Gillard Daly* Costume Designer
Benjamin/Pilkington/Ensemble
Noele Stollmack
Surasree Das Lighting Designer
Ensemble Nathan A. Roberts &
Deborah Staples* Charles Coes
Clover/Ensemble Composers/Sound Designers
Tiffany Rachelle Stewart* Nancy Lemenager
Squealer/Mollie/Ensemble Movement Director
Brendan Titley* Frank Honts
Snowball/Minimus/Ensemble Casting Director
Stephanie Weeks* Pat Mccorkle
Major/Boxer/Ensemble Katja Zarolinski
Mccorkle Casting, Ltd.
New York Casting
Simon Evans
* Member of Actors’ Assistant Director
Equity Association
Jacqueline Singleton*
Stage Manager
Carrie Taylor*
Asst. Stage Manager
4 BALTIMORE CENTER STAGE
There will be no intermission.
Please turn off electronic devices.
Co-produced with Milwaukee Repertory Theater
Mark Clements, Artistic Director;
Chad Bauman, Managing Director
Tiffany Rachelle Stewart and
Deborah Staples in Animal Farm.
Photo by Michael Brosilow.
BALTIMORE CENTER STAGE 5
SETTING
TIME & PLACE
Then, Now, and Later Manor Farm,
run by Farmer Brown
6 BALTIMORE CENTER STAGE
MEET THE DIRECTOR
This preeminent political
A STAMPING PLANT,fable, Animal Farm, lays out the
anatomy of all political revolutions, where the revolutionary
DETROIT, MICHIGAN.
ideals of justice, equality, and fraternity inevitably shatter.
WINTER. SOMEWHERE
There will always AROUND
be those that exploit 2008.
others in order to gain
advantage. There will always be pigs. The only change will
be the identity of the masters.
My work as a director stems from a desire to push the world in a certain direction,
to alter other people’s idea of the kind of society that they should strive after.
Theater is an act of citizenry—it is an act of participation in an engagement of
ideas. My direct aim in this production is not to sway political affiliations, but
rather for us to think critically on the very nature of civilization and governance.
To prepare for this production of Animal Farm, I looked at key images from each
stage of revolution. I wanted to explore what kind of life people had to endure
before fighting for more than survival. We looked at cruel and harsh labor
conditions. We took images of soulless industrial and migrant farms with abusive
labor practices as well as images of poverty, homelessness, and extreme
hunger. We pored over images of the Bolshevik Revolution, Tiananmen Square,
and the Ukrainian Maidan Revolution. We looked at major movements in our
recent history: the Civil Rights Movement, Ferguson and Black Lives Matter,
the Women’s March, and political rallies from both the Left and the Right. With
the company, we devised the movement sections by taking these images and
translating them to the stage.
This allegorical story is as powerful now as it was in 1945. The cruel repetition
of history reminds us how tenuous and fragile human freedom is. In a world in
which there will always be pigs, we take away a powerful moral. Revolutions are
only successful when the masses have the education to be alert and can be
ready to speak out. The systematic gutting of education and the elimination of
democratizing social programs have hindered the ability to demand equality.
The vilification of the opposition, fear mongering, and rapid fire proliferation of
false news create mass confusion. With a magician’s sleight of hand, dominant
forces can make one forget real sources of discontent. Education is the only real
weapon against tyranny. As Orwell warns, “To see what is in front of one’s nose
needs a constant struggle.”
MAY ADRALES
DIRECTOR
Photo: Butchering a steer in the Lutz slaughterhouse, November 1942. Lititz, Pennsylvania.
By Marjory Collins
BALTIMORE CENTER STAGE 7
“Writing a book is a horrible, exhausting
struggle, like a long bout of some painful
illness. One would never undertake
such a thing if one were not driven on
by some demon whom one can neither
resist nor understand.”
GEORGE ORWELL, “Why I Write”
DRIVEN BY DEMONS:
THE EVOLUTION OF GEORGE ORWELL
BY GAVIN WITT, Director of Dramaturgy
George Orwell was born Eric Blair in assumptions and core convictions. Though
1903 near Nepal, where his father was reaffirming his resistance to oppression
stationed in the British Civil Service as and repression, he found himself struggling
part of the colonial occupation of India. with what he increasingly saw as the
He himself remained in India and Burma authoritarian brutality and fundamental
intermittently until 1927, including a stint in dishonesty of the Soviet Stalinist regime he
the Imperial Police. Then, like many of his had once so highly regarded.
generation, in England and abroad, Orwell
Wounded in body and soul, skeptical but
was captivated by ideals of Democratic
not entirely disillusioned, Orwell remained
Socialism. These were among the many
politically active, in his life and in his writing.
ideologies across the political spectrum
He used both to rail against totalitarianism
that swept the globe in the aftermath of
of any kind, whether in dictatorial
the First World War and the 1917 Russian
repression by political leaders, the mass
Revolution, and found even more adherents
hysteria of false populism, or simply
amid the depravations of the Great
authoritarian abuses of thought or speech.
Depression. For Orwell, however, ideal
met real in a fiery crucible and left him Though a prolific essayist and journalist,
forever changed. Orwell remains best known today for his two
novels of political satire: 1984 (1949) and its
When a brutal civil war erupted in Spain
predecessor Animal Farm (1945). While 1984
in 1936, it rapidly transformed into a proxy
obviously drew on contemporary politics
war between Left and Right, between
and the ordeals and aftermath of a world
Communists and Fascists. Inspired by
war, Orwell recalled the genesis of Animal
what he described as a fundamental
Farm in a momentary but searing encounter
clash between Right and Wrong, Orwell
in his distant past:
volunteered to fight. There in Spain, Orwell
confronted many challenges to his naïve
8 BALTIMORE CENTER STAGEThis propaganda poster rallies compatriots to the cause on
behalf of the Marxist-affiliated POUM militia, fighting for the
Leftist government in the Spanish Civil War. Orwell fought with
POUM during his time in Spain.
I saw a little boy, perhaps ten years old, Looking back late in life, in an essay he
driving a huge cart-horse along a narrow called "Why I Write,” Orwell offered an
path, whipping it whenever it tried to turn. It account of his outlook and its evolution:
struck me that if only such animals became
From a very early age, perhaps the age
aware of their strength we should have
of five or six, I knew that when I grew up I
no power over them, and that men exploit
should be a writer…. I tried to abandon this
animals in much the same way as the rich
idea, but I did so with the consciousness
exploit the proletariat.
that I was outraging my true nature and
This perception of biting injustice, seen that sooner or later I should have to settle
through an essentially political lens, down and write books…and I think from the
distinguished most of Orwell’s writing, very start my literary ambitions were mixed
and was something he identified as at the up with the feeling of being isolated and
core of his sensibilities. undervalued. [….]
BALTIMORE CENTER STAGE 9“When I sit down to write a book, I do not
say to myself, ‘I am going to produce a work
of art.’ I write it because there is some lie that
I want to expose, some fact to which I want to
draw attention, and my initial concern is to
”
get a hearing. GEORGE ORWELL
I give all this background information but these experiences were not enough to
because I do not think one can assess give me an accurate political orientation.
a writer’s motives without knowing
Then came Hitler, the Spanish civil war,
something of his early development. His
etc. The Spanish war and other events in
subject matter will be determined by the age
1936–37 turned the scale and thereafter I
he lives in—at least this is true in tumultuous,
knew where I stood. Every line of serious
revolutionary ages like our own—but before
work that I have written since 1936
he ever begins to write he will have acquired
has been written, directly or indirectly,
an emotional attitude from which he will
against totalitarianism and for Democratic
never completely escape.
Socialism, as I understand it. It seems to me
[Among my motivations always lies] Political nonsense in a period like our own, to think
Purpose—using the word “political” in the that one can avoid writing of such subjects.
widest possible sense. Desire to push the Everyone writes of them in one guise or
world in a certain direction, to alter other another…. And the more one is conscious of
people’s idea of the kind of society that they one’s political bias, the more chance one
should strive after. Once again, no book has of acting politically without sacrificing
is genuinely free from political bias. The one’s aesthetic and intellectual integrity.
opinion that art should have nothing to do
What I have most wanted to do throughout
with politics is itself a political attitude.
the past 10 years is to make political
In a peaceful age I might have written ornate writing into an art. My starting point is
or merely descriptive books, and might have always a feeling of partisanship, a sense of
remained almost unaware of my political injustice. When I sit down to write a book, I
loyalties. As it is I have been forced into do not say to myself, “I am going to produce
becoming a sort of pamphleteer. First I spent a work of art.” I write it because there is
five years in an unsuitable profession (the some lie that I want to expose, some fact to
Indian Imperial Police, in Burma), and then I which I want to draw attention, and my initial
underwent poverty and the sense of failure. concern is to get a hearing.
This increased my natural hatred of authority
Animal Farm was the first book in which
and made me for the first time fully aware
I tried, with full consciousness of what I
of the existence of the working classes,
was doing, to fuse political purpose and
and the job in Burma had given me some
artistic purpose into one whole….
understanding of the nature of imperialism:
10 BALTIMORE CENTER STAGEIzumi Inabi,
Costume Designer for Animal Farm,
was kind enough to share some of her thoughts
on her work for this production.
This isn’t your first fully all the time; so I
time working on an came up with different
adaptation of Animal mechanisms for each
Farm. How did this animal that would
production, and serve those aims.
your design Much of my inspiration
approach, differ? came from oppressed
Yes, this is my second workers in many
time working on different countries
Animal Farm. For the during the Communist
Steppenwolf production era. I wanted to reflect
in 2014, we worked with their struggles in how
a very different version I represented the
of the play. The animals were playful, lively, animals. They became a fun mix of costume
and warm at the beginning, and as it went craft, props, and puppetry—and our actors
on they became less playful, more cold and also weighed in with their thoughts on
terrifying. We gave the ensemble a military their animals. There were definitely some
uniform base, which could also look like farm challenges, but I strongly believe this
workers. All the animals were constructed collaboration was the key ingredient for the
in the same manner: a masked hood and successful execution of the design.
gloves with either hooves, or wings, which got
gradually ripped away as the story went on. Obviously, Orwell’s original book tells the
story of farm and barnyard animals as a
In this version of the story, I felt that the text way of conveying its allegory of human
was somewhat more poetic and nostalgic. political behavior. How did you and director
I also got a sense of these working-class May Adrales discuss balancing the animal
animals already in pain and exhausted from and human elements of each character?
the beginning. The scenic design for this In any play with animal characters, it is
production was also very different, so that pretty obvious that it is human beings
helped me to imagine these animals living playing animals. I think it was important
in this environment. I wanted us to feel the to us that we feel a strong difference
animals as abandoned and broken, and between actors playing animals and
[director] May [Adrales] felt that it was actors playing human.
important for us to see the actors’ faces
BALTIMORE CENTER STAGE 11For the animal show their personality,
characters, May and I and on how they are
felt that they needed to constructed—shape
feel unified, and since and materials,
they switch animals mechanism and
quite often, their base silhouette. Beyond
costumes needed to be that, a lot of smaller
simple and effective for character tracking
all the looks. It was also (who plays what) we
important for me to make discovered during the
them look less “human-y” rehearsal process, so
but other-worldly—so we needed to come up
we added the skull caps. with some simple add-
The color palette of their on items that could
base costume also helps work for anyone in
the animal masks and human clothing stand the ensemble. Besides tweaking the fit and
out as focus points. wearing the animal masks, I found I could
come up with almost anything that helped
For the human characters, Jones and tell the story, because the actors were
Pilkington, we’ve chosen to dress them fully willing to try anything.
in clothes with a red accent to represent
the power of Mankind; but May and I had For the power structure of the farm, we found
much discussion about the pigs’ final we had two main groups of animals: Good
transformation (which I don’t want to ones (the working animals) and Bad ones
give away). I asked myself, “What would (pigs, dogs, Moses). For the Good ones,
be the complete opposite of weathered, we’ve used more organic materials, such
dirty white jumpsuits?” I wanted them to as burlap, furs, soft yarns, and leather. The
feel dark, sleek, and sharp in style, so I Bad ones get mesh metals, tin sheets, bolts,
assembled tailored suits. I just love the chains, etc. The costume and props shops
contrast of the last image, with the also spent a lot of time to achieve the right
clean, suited humans eating out of this facial expression that conveys personality
grotesque carcass. and attitude for each animal and each
category—mostly by trial and error!
When it comes to the animals themselves,
what were some of the solutions you used The book famously uses its animal allegory,
to help us determine who represents and a bucolic setting in the English
which animal? How do those also help us countryside, to respond to elements
as audience understand how and where of the 1917 Russian Revolution and the
each animal fits into the power dynamics subsequent Stalinist dictatorship; are
of the farm? there ways your designs convey that
To personalize each animal, we’ve relied original impulse?
both on the mask’s expressions, which helps I looked at many research pictures from
12 BALTIMORE CENTER STAGEthat era, and what really I think the world
stuck in my mind were the we created is
propaganda posters. special, where we
Simple coloring and a see performers
strong contrast really as actors and at
gave me a sense of alert, the same time as
of alarm—which I felt puppeteers and
was right for this story the characters they
presented to modern embody.
audiences in our current
political climate. While What would you
the text sometimes could say was the most
feel somewhat Old challenging part
Time-y to me, hearing the of your work on
music and seeing the set this show? And
model for our production what’s been the
instantly took my vision most satisfying?
to a much more modern The biggest
world. My research for challenge was
the ensemble's base finding a cohesive
costumes ranged from military uniforms aesthetic for all the animal masks.
from different wars of the 20th Century Originally, construction was divided
to the masses of uniformed workers in between the costume shop and the prop
modern China. shop. They each executed animal heads
beautifully, but seeing the results all
How do you see the costumes and together on stage in tech, I didn’t feel that
masks working together, as elements they were yet all living in the same world.
of the same idea? Switching their eyes and giving more
In general I think costumes and masks details and textures to their skin layers
have different purposes. Normally, helped solve this challenge, and I am very
masks and puppets are something that pleased with how unique and specific each
performers put their heart into and mask looks, while still living within the same
project through the face, so it is a form world. The most satisfying thing for me was
of its own. However, in our production, definitely seeing our actors embody my
you’ll find the performers are mostly initial ideas from the sketches, and taking
actors, not puppeteers, so I envision them even further. I have truly enjoyed the
the animal heads to be an extension of collaboration with our actors throughout
their bodies, not really costumes. the process.
Above: Deborah Staples in Animal Farm.
Photo by Michael Brosilow.
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BALTIMORE CENTER STAGE 15THE CAST
Melvin Abston* Theatre Arts: Martial Arts (Boy
Napoleon/Ensemble 1); Gunpowder Repertory
Theatre: Picasso at the Lapin
Baltimore Center Stage:
debut. Broadway—Sister Act Agile (Picasso); Single Carrot
(with Raven Symone and Theatre: The V.I.P. (Aoki), A
Carolee Carmello). Tours— Sorcerer's Journey (Scholar,
Disney’s The Little Mermaid Crow); Woolly Mammoth
(Sebastian); Disney’s The Lion Theatre: You For Me For You
King; Joseph and The Amazing (Puppeteer); Community
Technicolor Dreamcoat. MELV
IN A B College of Baltimore County:
STO N
Regional—Milwaukee Rep:
M. Butterfly (Song); Towson
Animal Farm. ZACH Theatre,
University: Kaspar (Prompter),
La Jolla Playhouse, Pasadena
The Misanthrope (Alceste).
Playhouse, The 5th Avenue
Theatre, Kansas City Starlight, Film—The Wanting Mare.
Pittsburgh CLO, Northlight Education—BS, Towson
Theatre, PCPA and The University.
Goodman Theatre. Film/TV—
Solace, Gotham, Chastity Bites, Jonathan Gillard Daly*
Raising Hope, Chuck, Awake, Benjamin/Pilkington/Ensemble
Touch, I’m in the Band, Ghost FRAN Baltimore Center Stage: debut.
C IS C
Whisperer, ER and recurred on ABAT
AC Regional—Milwaukee Rep;
Grey’s Anatomy, H+: The Digital Repertory Theater of St. Louis;
Series, and Weeds. Melvin has Cincinnati Playhouse in the
also provided voiceover work Park; Utah, Great River, Illinois,
for Verizon Wireless, South Park and New Jersey Shakespeare
Studios, The Illinois Lottery, and Festivals; American Players
The Prince of Peace. A proud Theater; Clarence Brown
member of SAG-AFTRA and Theater; Indiana Repertory
Actor’s Equity, even prouder Theater; PCPA Theaterfest.
Father to Jaron, Stevie and Author—Sandburg; To the
Krystina. melvinabston.com. Promised Land; The Daly News.
JONA
THAN
G IL L
ARD
Francis Cabatac D A LY
Surasree Das
Ensemble Ensemble
Baltimore Center Stage: Baltimore Center Stage: debut.
debut. Regional—Quest Regional—American Immersion
Visual Theatre & Theatre Theatre; Single Carrot Theatre:
Project: Twilight Station Lear (Goneril), Constellation
(Francis/Originated Role, Theatre Company: Arabian
world premiere); Center Nights (Dunyazade, Azizah, and
others), Maryland Ensemble
for International Theatre
SURA Theatre: Top Girls (Nijo),
Development & Towson SREE
DAS Cinderella (Fairy Godmother),
University Department of
Wizard of Odd (Patches), Little
16 BALTIMORE CENTER STAGETHE CAST
Mermaid (Little Mermaid);
Tiffany Rachelle Stewart*
Toby’s Dinner Theatre: South
Pacific (Liat); Clouds in My
Squealer/Mollie/Ensemble
Coffee: Sensuality (multiple Baltimore Center Stage: debut.
roles). Awards—Watermelon Broadway—A Curious Incident
Festival: Best Ensemble; CSM: of the Dog in the Night-time. Off-
Best Supporting Actress; Broadway—credits include The
Montgomery Forensics: Best Public Theater: Pericles; Cherry
Actress; Campus Movie Fest: Lane: Vagina Monologues.
Best Performance. Regional—Berkeley Repertory,
Yale Repertory: The House That
Deborah Staples* Will Not Stand; The Alliance
Clover/Ensemble Theatre: Vera Stark; Oregon
Shakespeare Festival: Love’s
Baltimore Center Stage:
Labor’s Lost, The African Co.
debut. Regional—Milwaukee DEBO
RAH
S TA P Presents Richard III; Folger
Rep: (Associate Artist, 65+ LES
Shakespeare Theatre:
productions) Anna Karenina,
Conference of the Birds.
Mary Stuart, Mirandolina,
Anna Christie (title roles), The Choreography—credits include
Amish Project (one woman Oregon Shakespeare Festival:
show), Born Yesterday (Billie The Unfortunates (world
Dawn), A Doll’s House (Nora), premiere), NYU Tisch New
To Kill a Mockingbird (Jean Studio on Broadway: Fun Home;
Louise), Proof (Catherine), NYU Tisch MFA Acting: Camino
The Cherry Orchard (Lyubov Real; 45th Street Theatre:
Ranyevskaya); Writers’ Theatre: Obama Drama; Lyceum
The Blonde, the Brunette and T IF FA Theatre: A Midsummer Night’s
NY R
A CH
the Vengeful Redhead (one EL LE ST Dream. TV/Film—Black Rose, All
EW ART
woman show, Jeff Award My Children, Royal Pains, Hotel
nom.); Chicago Shakespeare: Pennsylvania. Awards—Best
Othello (Desdemona), Troilus Actress in a Drama, NYTVF.
and Cressida (Cressida) As Education—MFA: Yale School
You Like It (Celia); American of Drama.
Players Theatre: Private Lives
(Amanda), Phedre (title role),
Brendan Titley*
Much Ado About Nothing
Snowball/Minimus/Ensemble
(Beatrice), Uncle Vanya
(Yelena), Cyrano de Bergerac Baltimore Center Stage: debut.
(Roxane), All’s Well That Ends BREN Broadway—Macbeth (with Alan
DAN
T IT L E
Well (Helena); Next Act: Silent Y Cumming). New York—Semitic
Sky (Henrietta), The Other Place Root/4th Street Theatre: The
(Juliana); Syracuse Stage & Strangest (dir. May Adrales),
Indiana Repertory: All My Sons The Public/NYSF: As You Like It,
(Ann); Illinois Shakespeare: Measure for Measure, All’s Well
Hamlet (title role), Elizabeth That Ends Well; Slant Theatre
Rex (title role), Antony and Project: The Steadfast; Dixon
Cleopatra (Cleopatra). Place: Tiger Tiger; Wheelhouse:
Film—Coming Up For Air (lead Henry IV Part 1, Julius Caesar,
& co-screenwriter), Pilot Error,
Romeo and Juliet. Regional—
Waterwalk, Baraboo, Delight in
STEP Penguin Rep: Trayf; Two River
the Mountains. H A N IE
WEEK Theater Co.: Henry V, As You
deborahstaples.com S
BALTIMORE CENTER STAGE 17THE ARTISTIC TEAM
Like It; Old Sound Room/Christ The Actors and Stage Managers Milwaukee Repertory
employed in this production are
Church Neighborhood House: Theater
Members of Actors’ Equity
JIB; Palm Beach Dramaworks: Association, the Union of Co-producer
Of Mice and Men. TV/Film—The Professional Actors and Stage
Now in its 64th season,
Good Wife, Person of Interest, Managers in the United States.
Milwaukee Repertory Theater is
Mozart in the Jungle, Happyish,
the largest performing arts
Cohab, The Lipstick Stain,
organization in Wisconsin,
Maggie’s Plan. Education—
welcoming 275,000 patrons at
MFA: NYU Tisch Grad Acting.
nearly 700 performances of
Brendan is currently on the
15 productions across four
weekly Dungeons and Dragons
Baltimore Center Stage operates performance venues. Under the
podcast “Dice City.”
under an agreement between LORT leadership of Artistic Director
and Actors’ Equity Association, the Mark Clements and Managing
Stephanie Weeks* union of professional actors and
Director Chad Bauman, The
Major/Boxer/Ensemble stage managers in the United States.
Rep is dedicated to providing
Baltimore Center Stage: the highest level of live theater
debut. She has performed at ranging from compelling
many award-winning regional dramas, powerful classics, new
theaters and Off-Broadway. The Director and Choreographer plays, full-scale musicals, and
She was recently seen as are members of the Society of Stage
an annual production of A
Directors and Choreographers, Inc.,
Christine in Target Margin an independent national labor union. Christmas Carol. Over the
Theater’s production of course of six decades, The Rep
Mourning Becomes Electra has gained a national
(New York Times Critics Pick) reputation as an incubator of
and in Single Black Female at new work, an agent of
Crossroads Theatre Company. The scenic, costume, lighting, and community change, and a
Favorite roles include Ruined sound designers in LORT theaters are forward-thinking provider of
(Salima), A Christmas Carol represented by United Scenic Artists,
vital arts education programs.
Local USA-829 of the IATSE.
(Belle), The Crucible (Tituba), Milwaukee Repertory Theater
and Oh My God I’m So Thirst(y) ignites positive change in the
(Shark, Innovative Theater cultural, social, and economic
nomination). Film—Ex-Doofus vitality of its community by
(dir: Melvin Van Peebles, creating world-class theater
Tribeca Film Festival) and Musicians engaged by Baltimore experiences that entertain,
Rosy (2017). She directed her Center Stage perform under the provoke, and inspire meaningful
first full length play, Eclipsed by terms of an agreement between dialogue among an audience
Center Stage and Local 40543,
Danai Gurira at the University representative of Milwaukee’s
American Federation of Musicians.
of Utah earlier this year. The rich diversity.
Baltimore Center Stage is a
production has just been constituent of Theatre Communica-
chosen as one of six out of tions Group (TCG), the national
70 plays to be showcased at organization for the nonprofit
Festivention, hosted by the professional theater, and is a member
of the League of Resident Theatres
Kennedy Center. Training— (LORT), the national collective
London Academy of Music bargaining organization of
and Drama; MFA: American professional regional theaters.
Conservatory Theater.
www.stephaniejweeks.com
* Members of Actors' Equity
Association
18 BALTIMORE CENTER STAGETHE ARTISTIC TEAM
THE ARTISTIC
TEAM
May Adrales MFA program. Other—Drama Izumi Inabi
Director League Directing Fellow, Costume Designer
Baltimore Center Stage: Women’s Project Lab Director, Baltimore Center Stage:
debut. Regional—Milwaukee SoHo Rep Writers/Directors debut. Regional—Milwaukee
Rep: Animal Farm, Yellowman, Lab, and NYTW directing Repertory Theatre: Animal
The Mountaintop, after all the fellow. Awards—TCG New Farm, The Who And The What;
terrible things I do, The Who & Generations Grant, League of Goodman Theatre: The King of
The What; Manhattan Theatre Professional Women’s Abady the Yees (in association with
Club; South Coast Rep; Award; Denham Fellowship and Kirk Douglas Theatre); The
Oregon Shakespeare Festival; Paul Green Directing Award. Repertory Theatre of St. Louis:
Seattle Rep: Vietgone, LCT3: Education—MFA: Yale School Faceless; Steppenwolf Theatre:
Luce; Williamstown Theatre of Drama. mayadrales.net Animal Farm, Constellations, The
Festival: Whaddabloodclot!!!; Crucible; Victory Gardens: An
Actors Theatre of Louisville: Andrew Boyce Issue of Blood, The House That
Scenic Designer
Edith Can Shoot Things and Will Not Stand, A Wonder in My
Hit Them; Goodman Theatre: Andrew is a Chicago and Soul; Chicago Shakespeare:
Mary; Partial Comfort NYC-based designer working SS! A Midsummer Night’s Dream,
Productions: The Bereaved; in theater, opera, and film/ CPS Shakespeare! Romeo and
Two River Theater Company: TV. New York—credits include Juliet; Northlight Theatre: The
In This House; SF Playhouse: Lincoln Center Theater, Mousetrap, You Can’t Take It
Trouble Cometh; NYU Tisch: Roundabout Theatre Company, with You, Charm, Faceless; The
Five Days ‘Til Saturday; Access Atlantic Theater Company, Hypocrites: Woyzeck, Adding
Theater: The Wife; Signature Rattlestick, Play Company, Machine: A Musical, You on the
Theatre: The Dance and the Playwrights Realm and others. Moors Now; Court Theatre:
Railroad; Old Globe: Tokyo Regional—A.C.T. (SF), Actors Harvey. Awards—Michael
Fish Story; Two River Theater: Theatre of Louisville, Alliance, Maggio Emerging Designer
The Electric Baby; Portland American Players Theatre, Award and Jeff Awards.
Center Stage: Chinglish; American Theater Company, Education—MFA: Northwestern
Syracuse Stage: Chinglish, Asolo Rep, California University (Stage Design). A
In the Next Room, Disgraced; Shakespeare Theater, Dallas member of United Scenic Artists
Cleveland Playhouse: Breath Theater Center, Geffen, Local USA 829.
and Imagination. Professional— George Street Playhouse, The
Associate Artistic Director Goodman, Kirk Douglas, Mark Noele Stollmack
at Milwaukee Rep; former Taper Forum, Milwaukee Rep, Lighting Designer
Director of On-Site Programs Oregon Shakespeare Festival, Noele Stollmack’s lighting
at the Lark Play Development Syracuse Stage, Writers has appeared onstage at
Center and Artistic Associate Theatre, Yale Rep, among many The Brooklyn Academy of
at The Public Theater. May has others. Professional—Assistant Music, Sydney Opera House,
directed and taught at Juilliard, Professor of set design at Carnegie Hall, The Library
ART, ACT, Fordham, NYU and Northwestern. Education— of Congress Theater, as well
Bard College and served on Yale School of Drama. as the opera companies of
faculty at the Yale School andrewboycedesign.com Ontario, Houston, Portland,
of Drama and Brown/Trinity Vancouver, New Orleans,
BALTIMORE CENTER STAGE 19Nashville, and Milwaukee’s special emphasis on flutes Nancy Lemenager
Florentine Opera. Regional and hurdy-gurdies. Education— Movement Director
design for the theater includes MFA, Yale School of Drama. Baltimore Center Stage: debut.
Milwaukee Repertory Theatre, Professional—Director of Choreography—credits include
Milwaukee Chamber Theatre, Undergraduate Studies, Bette Midler’s choreographer
Renaissance Theaterworks, Theater Studies, Yale University. for Hulaween NYC; associate
Skylight Music Theatre, for Live from Lincoln Center’s
American Players Theatre, Charles Coes Camelot; Off-Broadway: The
Forward Theater, and Jeff Composer/Sound Designer
Porch. Actor credits include
Daniel’s Purple Rose Theatre. Baltimore Center Stage: Broadway—Chicago, Twyla
Lighting and Scenic Realization The Christians, Les Liaisons Tharp and Billy Joel’s Movin’
includes Meredith Monk’s Dangereuses. Off Broadway— Out, Never Gonna Dance,
international tours of mercy Tales of the Washer King Kiss Me Kate, Dream, How To
and impermanence. As Lighting (Playwright’s Realm), Servant of Succeed In Business Without
Director for the Houston Grand Two Masters (TFANA); Robber Really Trying, and Guys and
Opera, Noele supervised Bridegroom (Roundabout); Dolls; Lincoln Center: Sarah
lighting for over 50 operas and For Peter Pan…(Playwrights). Ruhl’s How to Transcend a Happy
designed such productions Tour—Into the Woods (Fiasco), Marriage (world premiere).
as Andrei Serban’s Elektra, Peter and the Starcatcher Regional—Denver Center:
Dr. Jonathan Miller’s Der (1st National, Networks), Benediction (world premiere);
Rosenkavalier, and the world Macbeth; Julius Caesar (Acting The Alley: Theresa Rebeck’s
premieres of Harvey Milk, Desert Co.). Regional—Yale Rep; What We’re Up Against by
of Roses, and Dracula Diary. Seattle Rep; Berkeley Rep; (world premiere); Cincinnati
Member: United Scenic Artists. South Coast; The Old Globe; Playhouse: Sex with Strangers;
Guthrie; Shakespeare Theatre Pioneer Theatre: Other Desert
Nathan A. Roberts Company; ArtsEmerson; Wilma Cities; Engeman: God of
Composer/Sound Designer Theatre; Two River Theater; Carnage; Actors Theatre of
Baltimore Center Stage: Williamstown Theatre Festival; Louisville: Sense and Sensibility;
The Christians, Les Liaisons Ford’s Theatre, Dallas Theater Virginia Stage: Romeo and
Dangereuses. Off Broadway— Center, the Huntington. Juliet; Alliance Theatre: Smart
TFANA: The Servant of Two Other—He has also designed Cookie (world premiere).
Masters; The Acting Company: Puppet UP! at the Venetian Carnegie Hall Debut 2004:
Julius Caesar, Macbeth; The in Las Vegas; robotic, and Skitch Henderson and
Playwrights Realm: Crane aquatic spectaculars for Royal The New York Pops. Television—
Story, Dramatis Personae; Caribbean; and, collaborated Madame Secretary, Gypsy,
HERE: Olives and Blood. on installations with artists Ann Elementary, Girls, The Good
Regional—Dallas Theater Hamilton, Abelardo Morel, and Wife, Nurse Jackie, 30 Rock,
Center/Guthrie Theater: Luis Roldan. Professional— Law and Order, Law and Order
Sense and Sensibility; The Old Faculty, Yale School of Criminal Intent, and Law and
Globe: Tokyo Fish Story; Ford’s Drama. He has worked as an Order SVU.
Theatre: The Widow Lincoln, Our associate on many Broadway
Town; Yale Repertory Theater: shows including Peter and Frank Honts
Assassins, Accidental Death the Starcatcher (Tony Award Casting Director
of an Anarchist, The Servant of winning Sound Design); Baltimore Center Stage: debut.
Two Masters; Hartford Stage: Jitney; Junk; and the upcoming Regional—Casting Director
Twelfth Night, The Tempest; Long Lobby Hero. and Director of Emerging
Wharf Theatre: It’s a Wonderful Professional Residency,
Life. Other—designs and builds Milwaukee Rep. Director of
musical instruments, with a
20 BALTIMORE CENTER STAGEDramaturg for productions Tony and Tina’s Wedding, at Madison Repertory Theatre
at Utah Shakespeare The Thomas Crown Affair, and for three years at Forward
Festival, Renaissance The 13th Warrior, Madeline, Theater in Madison.
Theaterworks, Paramount Die Hard III, School Ties. TV/
Theatre, A Contemporary web—Planned Parenthood Carrie Taylor*
Theatre (Seattle), Forward series Talkin’ About, Twisted, Assistant Stage Manager
Theater Company (also Sesame Street, Californication Baltimore Center Stage:
Artistic Associate), and (Emmy nom), Max Bickford, debut. Tours—Chicago
others. Education—BA: Hack, Strangers with Candy, Shakespeare Theater:
Brown University (History). Barbershop, Chappelle’s Show. Chicago Shakespeare in the
Professional—Michael mccorklecasting.com Parks and Short Shakespeare
Flachmann Fellowship programs, National Theatre of
(inaugural recipient), Utah Simon Evans Scotland: The Strange Undoing
Shakespeare Festival. Assistant Director of Prudencia Hart. Regional—
Baltimore Center Stage: Milwaukee Rep, American
Pat McCorkle debut. Regional—Milwaukee Players Theatre, First Stage,
Katja Zarolinski Repertory Theatre: Animal Chicago Shakespeare Theater,
McCorkle Casting, Ltd. Farm. Directing—credits Chicago Children's Theatre,
New York Casting include Muhlenberg: Salomé Utah Shakespeare Festival,
Baltimore Center Stage: by Oscar Wilde, The Brides Goodman Theatre, TimeLine,
Skeleton Crew, Lookingglass by Harry Kondoleon, and The and Great River Shakespeare
Alice, The Christians, Jazz, Les Lover by Harold Pinter. He Festival. Proud member of AEA.
Liaisons Dangereuses, Detroit also served as the assistant
’67, As You Like It, Pride and director for a production
Prejudice, Marley, One Night of Tarell Alvin McCraney’s
in Miami…, Amadeus, Wild with Wig Out!. Education—BA:
Happy, Twelfth Night, A Civil War Muhlenberg College
Christmas. Broadway—Amazing (English and Theatre with a
Grace, On the Town, End of concentration in directing).
the Rainbow, The Lieutenant of
Inishmore, The Glass Menagerie, Jacqueline Singleton*
Cat on a Hot Tin Roof, One Stage Manager
Flew Over the Cuckoo’s Nest, Originally from Myersville,
Amadeus, She Loves Me, Blood Maryland, this is Jacki's first
Brothers, A Few Good Men, production with Baltimore
etc. Off-Broadway—Clever Center Stage. She just
Little Lies, Dr. Ruth, Stalking completed her 16th season
the Bogeyman, Freud’s Last with American Players Theatre,
Session, Tribes, Our Town, in Spring Green, Wisconsin.
Almost Maine and Driving Some past favorite shows
Miss Daisy. Over 50 regional include Travesties, Timon of
theaters—Guthrie (16 seasons), Athens, Arcadia, Macbeth, and
George Street Theatre (14 A Streetcar Named Desire. Jacki
seasons), Connecticut Rep, began her stage management
Pittsburgh Public, Barrington career in Chicago, working
Stage. Over 60 films—Senior for the Goodman, Writers
Moment, Year by the Sea, Theatre, and the Next Theatre,
Child of Grace, Premium Rush, among others. She also stage
Ghost Town, Secret Window, managed for seven seasons
BALTIMORE CENTER STAGE 21LEADERSHIP
LEADERSHIP
Executive Director
MICHAEL ROSS
Michael Ross returned to Baltimore Center Stage last
season after working for seven seasons as managing
director of Westport Country Playhouse. From 2002 to
2008 he was managing director of Center Stage.
Previously, Ross was managing director of Long Wharf
Theatre (1997–2002) where he was on the producing
team for the commercial transfer of the Pulitzer Prize
winner Wit. He was general manager and business
manager at Hartford Stage (1986–1996). Ross served as M IC H
AEL R
program officer/project director at National Arts OSS
Stabilization, and worked with Baltimore Opera
Company and Alley Theater, Houston. Ross has
consulted in fundraising, board development, executive
search, and strategic planning for theaters nationwide,
including Kansas City Repertory Theatre, SITI Company,
Wilma Theater, Trinity Repertory Company, Eugene
O’Neill Theater Center, and Everyman Theatre. He has
been a panelist for programs hosted by the National
Endowment for the Arts, Theatre Communications Group,
and New England Foundation for the Arts, among others,
and was an adjunct professor in The Yale University
HANA
School of Drama Theater Management Program. He has S. SH
A R IF
served on numerous Boards including Theatre
Communications Group, The National Women’s Hall of
Fame, and the Connecticut AIDS Residence Coalition.
Ross currently serves on the Board of the Burry Fredrik
Foundation and Maryland Citizens for the Arts.
G AV
IN W IT
T
22 BALTIMORE CENTER STAGEArtistic
Associate Artistic Director Associate Director, Director of Dramaturgy
HANA S. SHARIF GAVIN WITT
Hana S. Sharif is a director, playwright, and Gavin Witt came to Baltimore Center Stage in
producer. She served as Associate Artistic 2003, after nearly 15 years in Chicago as an
Director, Director of New Play Development, actor, director, dramaturg, translator, and
and Artistic Producer at Hartford Stage; teacher—and co-founder of the classically
recently as Program Manager of the based greasy joan & co theater. Among his
ArtsEmerson Ambassador Program; and as translations and adaptations are a half-dozen
Developmental Producer/Tour Manager of Shakespeare plays; including a Jeff-nominated
Progress Theatre’s musical The Burnin’. Hana version of Pericles; Jeff-nominated translations
also served as co-founder and Artistic Director of Beaumarchais’ The Barber of Seville and
of Nasir Productions, which brings theater to Ionesco’s Macbett; and Baltimore Center Stage
underserved communities. Her directing credits productions of The Voysey Inheritance and last
include: Baltimore Center Stage: The Christians, season’s As You Like It. Baltimore Center Stage
Les Liaisons Dangereuses; Pride & Prejudice directing credits include Twelfth Night and a
(DCArts: Best Director/Best New Play); recent short film from a Kenneth Lin script
Regional: The Whipping Man, Gem of the Ocean commissioned by Baltimore Center Stage and
(six CCC nominations), Gee’s Bend (CCC the Goethe Institut-Washington as part of the
Award Best Ensemble, two nominations), Next international P3M5 project—as well as more
Stop Africa, Cassie, The Drum, and IFdentity. than a dozen Young Playwrights Festival entries,
Hana has directed numerous developmental many more play readings, and the 50th
workshops, including Elyzabeth Gregory Anniversary Decade Plays. In addition to
Wilder’s The Chat and Chew Supper Club, working as a dramaturg on scores of
Janine Nabers’ A Swell in the Ground, and productions, readings, and workshops at
Marcus Gardley’s The House That Will Not Stand. Baltimore Center Stage, he has also helped
Her plays include All the Women I Used to Be, develop new work around the country. A
The Rise and Fall of Day, and The Sprott Cycle graduate of Yale and the University of Chicago,
Trilogy. Hana is the recipient of the 2009–10 he is currently on the Humanities faculty at
Aetna New Voices Fellowship and Theatre Peabody Conservatory, having previously
Communications Group (TCG) New taught at the University of Chicago, DePaul,
Generations Fellowship. She serves on the and Towson; has served on the advisory boards
board of directors for the Greater Baltimore of several theaters; and spent more than a
Cultural Alliance and the Sprott Foundation. decade as a regional vice president of LMDA,
the national association of dramaturgs, before
joining its board.
BALTIMORE CENTER STAGE 23INDIVIDUALS 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 Francie and John Keenan
represents individual donors ($25,000-$49,999) Townsend and Bob Kent
who, through their annual The William G. Baker, Jr. Keith Lee
contributions of $1,500 or Memorial Fund, creator of the
more, provide special Sandy Liotta
Baker Artist Portfolios www.
opportunities for our artists BakerArtistAwards.org Ken and Elizabeth Lundeen
and audiences. Society Marion I. and Henry J. Knott
members are actively Penny Bank
Foundation
involved through special The JI Foundation Mr. J. William Murray
events, theater-related
Kathleen Hyle Charles E. Noell III
travel, and behind-the-
scenes conversations with Laurents Hatcher Foundation Paul M. Angell Family Foundation
theater artists. Dave and Chris Powell
Marilyn Meyerhoff
Mr. and Mrs. George M. Sherman
Sharon and Jay Smith
SEASON SPONSORS Department of VSA and
($50,000+) Accessibility at the
Anonymous ARTISTS’ CIRCLE John F. Kennedy Center
($10,000- $24,999) for the Performing Arts
Ellen and Ed Bernard Anonymous
The William L. and Victorine Q.
PLAYWRIGHTS’ CIRCLE
Stephanie and Adams Foundation ($5,000- $9,999)
Ashton Carter Anonymous
The Bunting Family Foundation
James and Janet Clauson Mary Catherine Bunting Peter and Millicent Bain
The Helen P. Denit
Taunya Lovell Banks
Lynn and Tony Deering Charitable Trust
Ms. Nancy Dorman and Bradie Barr and Tollie Miller
Jane and Larry Droppa Mr. Stanley Mazaroff
Meredith and Adam Borden
Brian M. and Denise H. Eakes
The William Randolph James T. and Francine G. Brady
Mr. Louis B. Thalheimer and
Hearst Foundation
Ms. Juliet A. Eurich Sylvia and Eddie Brown
Terry H. Morgenthaler and The Fascitelli Family Foundation The Annie E. Casey Foundation
Patrick Kerins Genine and Josh Fidler
Melissa and Augie Chiasera
Daniel P. Gahagan
Judy and Scott Phares The Nathan & Suzanne Cohen
John Gerdy and Foundation
E. Follin Smith
Lynn and Philip Rauch The Jane and Worth B. Daniels,
The Goldsmith Family Foundation Jr. Fund of the Baltimore
The Shubert Foundation, Inc. The Laverna Hahn Community Foundation
Charitable Trust
The Harold and Mimi The Delaplaine Foundation, Inc.
The Hecht-Levi Foundation, Inc.
Steinberg Charitable Trust Walter B. Doggett III and Joanne
J. S. Plank and D. M. DiCarlo Doggett
Family Foundation
Ms. Amy Elias and
Ms. Wendy Jachman
Mr. Richard Pearlstone
Patricia and Mark Joseph,
The Shelter Foundation Beth and Michael Falcone
24 BALTIMORE CENTER STAGEDick Gamper Robert and Cheryl Guth Dr. Matthew Freedman and Dr.
Gladys Arak Freedman
Megan M. Gillick Ralph and Claire Hruban
Dr. Neil Goldberg, in
The Arthur J. and Lee R. David and Elizabeth JH Hurwitz memory of Carole Goldberg
Glatfelter Foundation
Mr. and Mrs. Joseph M. Mr. and Mrs. W. Kyle Gore
Fredye and Adam Gross Jennings, Jr.
Len and Betsy Homer
The Harry L. Gladding Francine and Allan Krumholz
Foundation/Winnie and Mrs. Harriet S. Iglehart
The Macht Philanthropic Fund
Neal Borden Joseph J. Jaffa
of The Associated
Rebecca Henry and Maryland Charity Campaign Ms. Deborah Kielty
Harry Gruner
Hugh and Leanne Mohler Mr. Barry Kropf
The John J. Leidy Foundation, Inc.
John and Susan Nehra Mr. and Mrs. Earl Linehan/The
Maryland Humanities Council Linehan Family Foundation
Lawrence C. Pakula,
Robert E. Meyerhoff and in memory of Sheila S. Pakula Mrs. Diane Markman
Rheda Becker Jim and Mary Miller
Val and Hutch Robbins
Jeannie Murphy Morris A. Mechanic Foundation
Michelle and Nathan Robertson
Blanche and Theo Rodgers Dorothy Powe
Charles and Leslie Schwabe
in Memory of Ethel J. Holliday
Donald and Mariana Thoms
The Ida and Joseph Shapiro The Rollins-Luetkemeyer
Krissie and Dan Verbic Foundation
Foundation
Ellen J. Remsen Webb & Scott and Mimi Somerville Michael Ross
J.W. Thompson Webb
Scot T. Spencer Renee Samuels and
Mr. and Mrs. Christopher West Jordan Rosenfeld
Mr. Michael Styer
Loren and Judy Western Ms. Dorothy Powe
Cheryl Hudgins Williams
Ted and Mary Jo Wiese and Alonsa Williams Bayinnah Shabazz, M.D.
Mr. Todd M. Wilson and Barbara and Sig Shapiro
Mr. Edward Delaplaine
DIRECTORS’ CIRCLE Barbara Payne Shelton
($2,500- $4,999) Paul Wolman
Brian and Susan Sullam
Anonymous
Ms. Linda Woolf Mr. and Mrs. Robert N.
The Lois and Irving Blum Smelkinson
Foundation
DESIGNERS’ CIRCLE Mr. and Mrs. Harry Thomasian
Drs. Joanna and Harry Brandt ($1,500- $2,499)
Nanny and Jack Warren, in
Mr. Dan F. Dent Anonymous honor of Lynn Deering
Mr. Jed Dietz and Stephanie Baker Cheryl Hudgins Williams and
Dr. Julia McMillan Alonza Williams
Jan Boyce
Judith and Steven B. Fader Sydney and Ron Wilner
Susan Bridges and
Andrea and Samuel Fine, in Bill Van Dyke Dr. Richard H. Worsham
memory of Carole Goldberg
The Caplan Family Patricia Yevics-Eisenberg and
Ms. Suzan Garabedian Foundation, Inc. Stewart Eisenberg
Sandra Levi Gerstung B.J. and Bill Cowie
BALTIMORE CENTER STAGE 25COMPANY Murray Kappelman Mr. Matthew Teitelbaum and
($750-$1,499) Ms. Dorie Fader Teitelbaum
Ms. Shirley Kaufman
Anonymous Sabrina Sikes Thornton
Stephen and Laurie Kelly
Gene-Michael Addis Dr. and Mrs. Frank R. Witter
Andrea Laporte
Mr. Daniel Aibel Eric and Pam Young
Jonna and Fred Lazarus
Suzanne and Stuart Amos Dr. Laurie S. Zabin
Mr. and Mrs. Lawrence M. Macks
Scott and Catherine Bissett Mr. Alan Macksey ADVOCATES
Harriet and Bruce Blum ($250-$749)
Matthew and Eileen Margolies
Anonymous
Mr. and Mrs. Marc Blum Brad Mendelson
Ms. Diane Abeloff,
John and Carolyn Boitnott Faith and Ted Millspaugh in memory of Martin Abeloff
Ms. Barbara Crain and The Montag Family Fund of Bradley and Lindsay Alger, in
Mr. Michael Borowitz The Community Foundation for honor of George J. Staubus
Dr. and Mrs. Donald D. Brown Greater Atlanta David and Bonnie Allan
The Campbell Foundation, Inc. Roger F. Nordquist, in memory Ellie Allen
of Joyce C. Ward Ms. Bernadette Anderson
Mr. G. Brian Comes and
Mr. Raymond Mitchener Mr. and Mrs. Lee Ogburn Mr. Alan M. Arrowsmith, II
Jane Cooper and Philip Angell Dr. Bodil Ottesen Deborah and Stephen Awalt
Lawrie Deering and Ayd Transport
Michael and Phyllis Panopoulos
Albert DeLoskey/ Tracy Bacigalupo and
Dr. Ira Papel Jake Baker
The Deering Family Foundation
Fred and Grazina Pearson Robert and Dorothy Bair
The Honorable and
Mrs. E. Stephen Derby Walt and Donna Pearson Mike Baker
Linda Eberhart Jeffrey and Laura Thul Penza The Mr. and Mrs. Raymond Bank
Family Fund of the Baltimore
The Eliasberg Family Foundation Pat Pilling, in memory of Community Foundation
Sue and Buddy Emerson, Mary C. Lee
Mr. Greg Baranoski and
in appreciation of Ken and Bonnie L. Pitt Mr. Lucio Gama
Elizabeth Lundeen Mr. and Mrs. Bruce A. Barnett
Janet Plum, in memory of
Donald M. and Jeffrey J. Plum Ms. Patricia Baum
Margaret W. Engvall
Jill and Darren Pratt Jaye and Dr. Ted Bayless Fund
Genine and Josh Fidler of the Baltimore Community
The James and Gail Riepe Foundation
Mr. and Mrs. Ross Flax Family Foundation,
Randi and Adam Benesch
José and Ginger Galvez in honor of Lynn Deering
Ms. Karen Bennett
Richard and Sharon Gentile, Dr. & Mrs. James Rubenstein
Dr. Bruce and Mrs. Toni Berger
in honor of the Center Stage The Earle and Annette Shawe
Costume Shop Mr. Gary Bess
Family Foundation
Stuart and Linda Grossman Bob and Maureen Black
The Sinksy-Kresser-Racusin
Memorial Foundation Garrett and Katherine Bladow
Thomas and Barbara Guarnieri
Ms. Katharine C. Blakeslee
Linda Hambleton Panitz Robert and Terri Smith
Rachel and Steven Bloom, in
Sandra and Thomas Hess Mr. and Mrs. Scott Smith honor of Beth Falcone
Kelly and Andre Hunter, in Ms. Michele Speaks Cliff Booth
honor of Beth Falcone Mr. and Mrs. A. Stanley Brager, Jr.
George and Holly Stone
Susan and Steve Immelt Ms. Michelle Brown
Mr. William J. Sweet and
Max Jordan Ms. Geraldine Mullan Sandra and Thomas Brushart
26 BALTIMORE CENTER STAGEYou can also read
