BY MARCUS GARDLEY DIRECTED BY DANIEL BRYANT 2018- 201 9 SEASON - Baltimore Center Stage
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onder
A W Soul
in My
BY MARCUS GARDLEY
DIRECTED BY DANIEL BRYANT
2 01 8 – 2 01 9 S E ASO N
See more than 160 photographs, sculptures, and sound and video
works showcasing the iconic artist and filmmaker’s renegade humor
and provocative insights.
OCTOBER 7, 2018 — JANUARY 6, 2019
TICKETS AVAILABLE AT ARTBMA.ORG
This exhibition is generously supported by The Alvin and Fanny B. Thalheimer Exhibition Endowment
Fund, Suzanne F. Cohen, Robert E. Meyerhoff and Rheda Becker, Clair Zamoiski Segal, The Andy
Warhol Foundation for the Visual Arts, Constance R. Caplan, The Charlesmead Foundation, Agnes
Gund, Martha and Tad Glenn, Amy and Marc Meadows, The Pearlstone Family Fund, Marianne Boesky
Gallery, New York, and Sherry and Stuart Christhilf.
FUN & FABULOUS
Classes that You Create
Whether it’s just a get together for friends or a workshop for
your organization let CCBC design a class to meet your needs.
Perfect for
• Book clubs
• Couples night out
• Church groups
• Team building
Topics Include
• Arts & Jewelry Making
• Cooking
• Wellness
• Your idea
For more information email:
mmccallum@ccbcmd.edu
CONTENTS
This program is published by:
3 WelCOME
BALTIMORE CENTER STAGE
700 North Calvert Street 4 TiTle PAGE
Baltimore, MD 21202
EDITOR
Maggie Beetz 6 SeTTING
DESIGN
Bill Geenen 8 DRAMATURGY
Daniel Martin-Minnich
ADVERTISING
ads @ centerstage.org 14 CAST
BOX OFFICE
4 10 . 332 . 0 0 3 3 16 ARTISTIC TEAM
ADMINISTRATION
ANNUAL FUND
4 10 . 9 86 . 4 00 0
22
CENTERSTAGE.ORG
INFO@CENTERSTAGE.ORG
28 CAPITAL CAMPAIGN
37 ARTISTIC CORNER
40 DiNING PARTNERS
42 STAFF
44 AUDIENCE SERVICES
A WONDER IN MY SOUL
IS MADE POSSIBLE BY
2018/19 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
HOWARD COUNTY ARTS COUNCIL THROUGH A GRANT
inclusion here does not constitute license for
FROM HOWARD COUNTY GOVERNMENT 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 Laurie McDonald
committed to artistic excellence.
We engage, enrich, and broaden Edward C. Bernard Hugh W. Mohler, Jr.
ViCe PResiDeNt Charles J. Morton, Jr.
the perspectives of diverse
audiences through entertaining August J. Chiasera J. William Murray
ViCe PResiDeNt Charles E. Noell III
and thought-provoking work and
educational programs. Sandy Liotta Judy M. Phares
ViCe PResiDeNt
Named the State Theater of Jill Pratt
Maryland in 1978, Baltimore Brian M. Eakes Philip J. Rauch
Center Stage has steadily grown TReAsUrer
E. Hutchinson
as a leader in the national Scot T. Spencer Robbins, Jr.
regional theater scene. Under SeCRetAry Jordan D. Rosenfeld
Executive Director Michael Ross Charles Schwabe
Stephanie L. Baker
and Artistic Director Stephanie Robert W. Smith, Jr.
Penny Bank
Ybarra, Baltimore Center Stage is Scott Somerville
committed to creating and Taunya Banks
Michele Speaks
presenting a diverse array of Bradie Barr
Michael B. Styer
world premieres and exhilarating Meredith Borden
Harry Thomasian
interpretations of established works. James T. Brady
Donald Thoms
Baltimore Center Stage Stephanie Carter
Joe Timmins
believes in access for all—creating Lynn Deering
Krissie Verbic
a welcoming environment for Jed Dietz
everyone who enters its doors Walter B. Doggett III
tRUSTeeS eMeRItI
and, at the same time, striving to Jane W.I. Droppa
meet audiences where they are. Katharine C.
Amy Elias
Blakeslee
In addition to Mainstage Juliet A. Eurich
C. Sylvia Brown
productions and intimate Beth W. Falcone
Martha Head
performances in our Bernard Black Daniel Gahagan
Box, BCS ignites conversations Sue Hess
Suzan Garabedian
across Baltimore and beyond Murray M.
Sandra Levi Gerstung Kappelman, MD
through the Mobile Unit, which
Megan Gillick E. Robert Kent, Jr.
brings high-quality theater to
Adam Gross Joseph M.
economically, culturally, and
Cheryl O'Donnell Langmead
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
the Young Playwrights Festival, Monica Sagner
Wendy Jachman
Student Matinees, Family Series, George M. Sherman
Chris Jeffries
and many other educational
John J. Keenan
programs for students, families,
and educators.
2 BALTIMORE CENTER STAGE
WELCOME
Dear Baltimore Center Stage Members and Guests,
I’m thrilled to welcome you to this special production of
Marcus Gardley’s A Wonder in My Soul, wrapping up what
has been an exhilarating fall here at Baltimore Center
Stage. As I type this, sitting among stacks of boxes in
New York City and preparing to join you all in Maryland,
I can’t help but reflect on the resonance of this story at
this moment in time when the need for community is more
palpable than ever.
Having followed Marcus Gardley’s career closely for over a STEP
H
decade now, I can say unequivocally, Marcus is one of the A R T IS A N IE Y B A
T IC D RRA
IR E C
TOR
great storytellers of this generation. His ability to capture
the complexities of the human spirit with linguistic precision,
poetic sophistication, and sheer joy is a gift to our art form.
The fact that Marcus has revised aspects of this play to
reflect Baltimore is a tremendous act of generosity…and
also exactly the role of an artist inside a community.
It will come as no surprise to you that our very own Daniel
Bryant, Community Programs Director and Artistic
Producer, has helmed this stellar cast and creative team
with integrity and passion for this production. I can’t think
of a better artist to facilitate the telling of this story than
Daniel. I’m ever more impressed with his commitment to
authentically representing a kaleidoscope of experiences
on our stages, and I’m already looking forward to his next
BCS production, our Mobile Unit’s Antigone this spring,
(see p. 36).
Thank you for gathering with us to witness this play about
the importance of community in all its forms. Whether it’s
a hair salon or a dark theater, convening together and
connecting with each other is a potent antidote to the
divisive climate we find ourselves living in today. Let’s do it
more often, shall we?
Stephanie Ybarra
Artistic Director
BALTIMORE CENTER STAGE 3
onder
A W Soul
in My
BY MARCUS GARDLEY
DIRECTED BY DANIEL BRYANT
4 BALTIMORE CENTER STAGE
NOV 29–DEC 23, 2018
THE CAST THE ARTISTIC TEAM
in alphabetical order
Kalilah Black Marcus Gardley
Pen Lucy/Young Gwynn Playwright
Harriett D. Foy Daniel Bryant
Swann Park Sinclair Director
Stanley Andrew Jackson III Jaret Landon
Andrew Hill Music Director/Original
Music/Arrangements
Anastacia McCleskey
Cherry Hill/Young Swann Wilson Chin
Scenic Designer
Alexis J. Roston
David Burdick
First Lady Cedonia Mosher
Costume Designer
Wandachristine
Kathy A. Perkins
Gywnn Oak Falls Lighting Designer
Please silence all electronic devices. Mikhail Fiksel
Sound Designer
The Actors and Stage Managers employed in this
production are Members of Actors' Equity Alex Basco Koch
Association, the Union of Professional Actors and Projection Designer
Stage Managers in the United States.
Cherelle D. Guyton
A Wonder in My Soul
Wig and Hair Designer
Produced by Baltimore Center Stage
Baltimore, MD
Sabine Decatur
Special thanks to Production Dramaturg
Zahara Sharif-Jackson and Laila Varner
Danielle Teague-Daniels
THEM THERE EYES Stage Manager
By Maceo Pinkard, William Tracey and Doris Tauber
©Copyright by Bourne Co. Erin Edelstein
Copyright Renewed Assistant Stage Manager
All Rights Reserved International Copyright Secured
ASCAP Pat McCorkle
Used by permission Katja Zarolinski
LET IT FLOW McCorkle Casting, Ltd.
By Kenneth Edmonds Casting
Used by Permission of Ecaf Music, Fox Film Music
Corporation, Sony/ATV Songs LLC.
All rights reserved.
BALTIMORE CENTER STAGE 5
SETTING
TIME &
PLACE:
Baltimore
November, 2008
MARCUS GARDLEY
Playwright
In many respects, Marcus Gardley is as much a poet
as he is a playwright, and in his characteristically
gentle fashion as much an activist as either poet
or playwright. However, all three dimensions
inevitably, inextricably mesh and fuse in his plays
through a lens that remains both personal and
populist, both joyous and jolting.
With A Wonder in My Soul, Gardley wanted “to
honor the dozens of strong women” who helped
raise him—as well as the great grandmother who
died the very moment he was born, and whose
spirit he was seen as inheriting. He credits this for
ways in which the story and characters took shape.
That, and the spirit of supportive community,
mutual respect, and nurturing that he observed so
strongly in the world of beauty salons.
Originally conceived in, for, and about Chicago
(where he was in residence at Victory Gardens
theater) Wonder offered Gardley a chance to
tackle "some of the issues they have to deal with in
their neighborhoods. And in a way that everyone
can come together and understand each other
a little better." In now reconceiving the play for
and about Baltimore, Gardley was struck by the
deep roots here, the sense of continuity across
generations even in the face of similar challenges.
He also wanted to celebrate the everyday poetry—
6 BALTIMORE CENTER STAGE
MEET THE PLAYWRIGHT
the strength and fragility, aspirations and fabric of this city, to discover how his
challenges—in what he discerns as the original story resonated and refracted
ordinary lives of extraordinary people. through our own particular history
and geography.
Gardley was previously at Baltimore
Center Stage in 2013 for a revival of Ultimately, for Gardley, the exploration
his early play, dance of the holy ghosts; and the expression unite in a common and
collaborating with that cast and with hopeful purpose: to render poetry and
director Kwame Kwei-Armah, Gardley playwriting into a mix that brings theatrical
dove back into a play that he'd initially life to specific experiences and people,
composed years previously—and in service of those who come to hear the
which had already had numerous story. “I believe in the shared experience,”
productions already (pictured above Gardley says. “I believe in people of all
right). Undeterred, or even inspired with ages, races, and backgrounds coming
new curiosity, the playwright revisited together at the theater.”
and rewrote and reimagined his text
In addition to numerous awards and
right through previews. This time, for
recognitions for his plays, Gardley himself
A Wonder in My Soul, Gardley planned
has received a Helen Merrill Award, a
a further and deeper step.
Kesselring Honor, the Gerbode Emerging
Arriving in Baltimore at the end of the Playwright Award, the National Alliance for
summer for an immersive residency, his Musical Theatre Award, the Eugene O’Neill
trip took him into overlooked corners and Memorial Scholarship, the PEN/Laura
hidden histories, had him feasting on crab Pels award for Mid-Career Playwright,
cakes and lake trout, and culminated in and the ASCAP Cole Porter Award. He
a stirring story-circle gathering of almost holds an MFA in Playwriting from the Yale
a dozen of Baltimore's longest-tenured Drama School, has been a member of New
salon owners. With director Daniel Dramatists, The Dramatists Guild, and The
Bryant (pictured above left) and the BCS Lark Play Development Center; and has
dramaturgy team, Gardley pushed past taught Playwriting at Brown University.
merely a change in street- and place-
names to explore the background and
BALTIMORE CENTER STAGE 7
Permanent
Waves
BY SABINE DECATUR, PRODUCTION DRAMATURG
Use to be
ya could learn
a whole lot of stuff
sitting in them
beauty shop chairs
Use to be
ya could meet
a whole lot of other women
sittin there
along with hair frying
spit flying
and babies crying
Use to be
you could learn
a whole lot about
how to catch up
with yourself
and some other folks
in your household
Lots more got taken care of
than hair
cause in our mutual obvious dislike
we came together
under the hot comb
to share
and share
and share
—Excerpted from Among the Things that Use to Be
by Willie M. Coleman
Photo: SALON RACHE
8 BALTIMORE CENTER STAGEBALTIMORE SALONS
B
eauty salons, parlors, and shops Baltimore Center Stage would like to
are long-standing institutions thank the following salons and salon
within Black communities. Since the owners who contributed their knowledge
days of slavery, the moments of getting and stories to our artistic team:
one’s hair done have been an important
space for Black women: a space to vent, Lois James
LOIS’ SOFT STYLE SALON
to rest, to gossip, to heal, to practice
(retired)
self-care. A space for what scholar bell
hooks calls “bonding through ritualized, Claudia McKee
shared experience.” A space to be safe. MANE ATTRACTION
119 W. Mulberry St.
This crucial space also led to a unique
business opportunity for Black women. Tawanda Solese
MAHOGANY HAIR STUDIO
After the Civil War, many—although
5471 Baltimore National Pk.
barred from most education and
resources—carved room for themselves Sandra Tillman
in the economy using their hairdressing FLAIR HAIR SALON & BARBERSHOP
skills. In fact, America’s first female 514 Ensor St.
self-made millionaire, Madam C.J.
Rachel Thompson
Walker, earned her fortune by selling
SALON RACHE
hair products for Black women in the
1206 Reisterstown Rd.
early 1900s. She was one of the first
major players in the Black beauty Angeliha Wicks
industry that still thrives today. ENSTYLE SALON
7112 Neville Ct.
Furthermore, as one of the only industries
Debbie Wiggs Gaddy
created by and for Black women, salons
XSCAPE HAIR STUDIO
played—and continue to play—a central
10989 Red Run Blvd., Owings Mills
role in community formation and even
in political movements. Economically
independent from outside forces,
far-reaching in their customer base, In 1971, Dr. Katie E. Whickam, the
and usually accompanied by a physical president of the National Beauty
space, salons have served as a grounds Culturists’ League, claimed that, “The
to talk through issues of racism, hide Negro beautician touches the lives of
out from white supremacist threats, and a number of women second only to the
organize political actions. During the Civil Negro minister of the gospel.” The women
Rights Movement, activists often turned in A Wonder in My Soul carry on this
to salon owners to help plan and recruit legacy, as do salon owners in Baltimore,
for protests. The salon was a place of who touch the lives of countless Black
refuge and also a place of radical action. women in this city every day.
BALTIMORE CENTER STAGE 9THE CHANGING
LANDSCAPE OF
WONDER’S
BALTIMORE
BY SABINE DECATUR,
PRODUCTION DRAMATURG
EAST BALTIMORE, like so much of this city, is a THEIR FIGHT IS NOT A NEW ONE.
community that has been through a range of Discriminatory real estate practices have
challenges and changes over the past century, long prevailed across America, but
some that resonate nationally and some that Baltimore had some of the first and most
are unique to this city. This is the Baltimore that extreme racial zoning laws. In 1910, a Black
we encounter in Marcus Gardley’s A Wonder in lawyer bought a home in an all-white
My Soul; one he describes in the introduction to neighborhood here. In reaction, Baltimore’s
the play as “more ghost town than Old Town.” city government put into place a residential
But, as the production’s director, Daniel Bryant, segregation ordinance that explicitly
notes, “Despite these obstacles, there are restricted African Americans to specific
some that are still struggling to hold on—by any blocks. The mayor defended the law, saying,
means necessary—to the life and legacy they “Blacks should be quarantined in isolated
have spent decades building for themselves slums in order to reduce the incidence of
and the people of their community.” As he civil disturbance, to prevent the spread of
reminded the cast and staff at the start of communicable disease into the nearby
rehearsals, “Swann Park Sinclair and Gwynn White neighborhoods, and to protect
Oak Falls—the two central characters of A property values among the White
Wonder in My Soul—have been holding it majority.” Although these laws were
down, fighting the good fight to keep their deemed unconstitutional in 1918, real estate
long-standing beauty salon in a once thriving developers maintained this segregation
Black neighborhood in Baltimore, now with de facto methods, including redlining
threatened by gentrifying forces of the (which allowed banks to systemically deny
changing times…” investments to home and business owners in
neighborhoods deemed “high risk,”
neighborhoods that happened to be
majority Black).
10 BALTIMORE CENTER STAGETHROUGHOUT THE MID-20TH CENTURY TODAY, a troubled legacy of urban
a familiar pattern followed—of renewal attempts haunts the city as
deindustrialization and white flight, of a powerfully as historic injustices. Investment
declining tax base and rampant community in tourist areas such as the Inner Harbor,
disinvestment, of rising crime and Camden Yards, or Harbor East has often
police-community tensions. Nevertheless, left other communities in the lurch;
even under often harsh conditions, some meantime, construction intended to bring
Black communities were able to succeed business to the city frequently disrupts
and even thrive. Notably, Pennsylvania longstanding communities and helps speed
Avenue became a hub for Black culture—it their decay, from the abandoned Highway
was a bustling shopping district, a busy to Nowhere in West Baltimore to the
night-out attraction, and an entertainment building boom around Johns Hopkins
Mecca, with its Royal Theater drawing some medical campus in East Baltimore to the
of the biggest names in music. But when new promises of Under Armor’s massive
Martin Luther King, Jr. was assassinated in expansion in South Baltimore. As usual, the
1968, many of these communities, including line between revitalization and
Pennsylvania Avenue, were among the gentrification, or between renewal and
hardest hit in the violence that followed. exploitation, gets blurry. Walking that line is
Some are still struggling to recover. the community we meet in A Wonder in My
Soul, carrying all that past but still looking
forward to an uncertain future.
BALTIMORE CENTER STAGE 11MAKING HISTORY
BY GAVIN WITT, DIRECTOR OF DRAMATURGY & ASSOCIATE DIRECTOR
Almost visible from the steps of Baltimore Years before the southern sit-ins at
Center Stage, in a silent vigil at the Woolworth’s and other related disruptions
corner of Howard and Lexington, sits a made national headlines, a group of
long-neglected, often-overlooked icon of students from Morgan State joined
the early Civil Rights Movement. Once supporters and activists to stand up for
briefly heralded as the center of a local their rights by sitting in, and in so doing
struggle with national repercussions—a changed their own piece of local history
rallying point for equity and opportunity at and culture. Never heralded as later
the heart of a thriving community—and actions came to be, but very much part of
more recently transformed into a derelict a thriving legacy of social justice activism,
eyesore slated for demolition as part of an the Morgan demonstrations not only
envisioned “Superblock,” this seemingly succeeded in opening doors, rather
innocuous corner property has seen a literally, in Baltimore; they arguably helped
history remarkably parallel to what pave the way for the struggles and the
we encounter in Marcus changes that followed.
Gardley’s A Wonder
in My Soul.
As
12 BALTIMORE CENTER STAGEBaltimore Magazine commemorated in an day in early 1955, student Helena Hicks and
article on the events, “The sixth-largest U.S. a group of friends had had enough; they
city at mid-century, occupying middle came in to warm up and sit down, and were
ground in a border state that hadn’t been promptly ordered out by a manager. For
able to make up its mind which side to join in about 20 minutes, Hicks recalls, they stood
the Civil War, Baltimore was its own their ground—until she had to rush off to
indecipherable tangle of prejudice. ... class (and before any arrests were made).
[T]he city could be onerous and The gesture caught on and spread,
discriminating at one turn, accommodating however, and after several weeks of
the next. Forget, for a moment, the big stuff, continued student activism, the headlines in
like applying for a job or buying a house. For Baltimore’s Afro-American for January 22,
Black citizens, simply trying on clothes or 1955, read: “Now Serve All.” All 39 Read’s
shoes, seeing a movie, filling a prescription, locations had desegregated.
getting a bite to eat—hell, a cup of coffee—
Other actions would follow,
meant navigating a labyrinth of rules that
as students graduated and moved on and
shape-shifted not just from neighborhood to
the country was swept into the larger
neighborhood, but often store to store
maelstrom of the Civil Rights Movement
within a single downtown block.”
nationally, with all the tragedies and
This meant that students from Morgan, one triumphs that came with it. Eventually,
of the leading Historically Black Colleges Read’s went under and progress rolled on
and Universities that drew from around the its inevitable way, and this bit of history was
country and the world, couldn’t sit at the nearly lost, like the landmark Royal Theater
lunch counters at popular Read’s Drugs and so many others. But threatened
around the city, to wait for their buses or get demolition and redevelopment brought out
a quick bite or just seek shelter from wind the old fighting spirit in Hicks and her peers,
and rain. Two locations in particular drove and they rallied—not just to preserve Read’s
the point home, the Read’s at Northwoods the edifice, but to retrieve the history of
adjacent to campus and the original at their, and Baltimore’s, contributions.
Howard and Lexington. One cold January
1947: Morgan State students 1954: Supreme Court 1963: More than 400 Morgan
demonstrate in Annapolis to renders decision in students spend a week in jail
demand equitable Brown v Board of Education and force Northwoods movie
education funding declaring school theater adjacent to campus
segregation unconstitutional to integrate; that same year,
1948: Morgan students join
a group of civic-minded
pickets to desegregate 1955: Student protests
supporters join to found
Ford’s Theatre in D.C. successfully integrate lunch
what becomes Baltimore
(site of Lincoln’s counters at all Read’s
Center Stage
assassination, of course) locations
BALTIMORE CENTER STAGE 13THE CAST
Kalilah Black nom.). International—Dubai:
Ambassador Satch. Film—
Pen Lucy/Young Gwynn
Winter’s Tale, Collateral Beauty.
Baltimore Center Stage: debut. Television—Welcome to the
Broadway—The Lion King. Wayne, Orange is the New Black,
Regional—Theatre Works: Law & Order SVU, Law & Order.
Rosie Revere Engineer; The Education—Howard University.
Broad Stage: Born for This; harriettdfoy.com @divafoyh
Barn Dinner Theater: The Color “WGATAP!”
Purple. National Tour—The
Lion King. International—Hong
Stanley Andrew Jackson III
Kong Disneyland: Festival of
the Lion King; Tokyo Theatre Andrew Hill
K A L IL
Orb: Christmas Wonderland. AH B
LA C Baltimore Center Stage: debut.
K
Education—BFA North International—Pop-up Globe
Carolina A&T State University. Theatre Company: Romeo &
kalilahblack.com @kalilahblack Juliet (Mercutio), Twelfth Night
(Malvolio), Henry V (Dauphin),
As You Like It (Celia); London—
Harriett D. Foy
Embassy Theatre: The Suicide
Swann Park Sinclair (Artistarkh), Webber Douglas
Baltimore Center Stage: HMS Theatre: Revengers’ Tragedy
Pinafore, Seven Guitars, Thunder (Lussurioso). Regional—Stages
Knocking on The Door, Spunk, Repertory Theatre: Swimming
Day of Absence. Broadway— While Drowning (Mila); Source
Amelie, Amazing Grace, The Theatre Company: Dontrell,
American Plan, Mamma Mia, HARR Who Kissed the Sea (Dontrell);
IE T T
Once on This Island. Off- D. FO
Y National Gallery of Art: Forward
Broadway—The House That Will 54th! (Alex), GALA Hispanic
Not Stand (AUDELCO nom.), X Theatre: Thoughts of a Colored
or Betty Shabazz..., On the Levee Man (Passion). TV/Film—Power
(AUDELCO nom.); Crowns Rangers Ninja Steel. Education—
(AUDELCO Award). Original MA: Royal Central School of
Cast recordings—Amelie, Speech and Drama; BFA:
Amazing Grace, Inside Out, Lone Howard University. @stanleyaj3
Star Love, Reunion. Regional—
Arena Stage: Nina Simone: Four Anastacia McCleskey
Women (Nina Simone), Piano Cherry Hill/Young Swann
Lesson, The Women of Brewster
(Helen Hayes nom.), Polk Baltimore Center Stage: SOUL
County (Helen Hayes nom.); S TA N The Stax Musical. Broadway—
LEY A
NDR EW J Waitress (Nurse Norma), Violet
DTC: Ella: First Lady of Song; A CK
SO N II I (Mabel/obc), The Book of
NYMF: MotherFreakingHood!
(Outstanding Individual Mormon, PQD (Diva/OBC),
Performance Award); The HAIR (Abraham Lincoln),
House That Will Not Stand Tarzan (obc). Off Broadway/
(Yale Rep, Connecticut Critics NYC—Mighty Real, a Fabulous
Award nom.; Berkeley Rep, Sylvester Musical (Izora Rhodes/
Theatre Bay Award); Yale Rep: Off Broadway Alliance Award
dance of the holy ghosts; Ford’s nom.), Radio City (Tracy),
Theater: Reunion (Helen Hayes York Theater: Last Dance
14 BALTIMORE CENTER STAGETHE CAST
(Gaynor). Tour/International— Dreamgirls, Seussical, Nutcracker;
Hairspray (1st national), Menier Porchlight: Lady Day at Emerson's
Chocolate Factory: What's It Bar & Grill (Jeff, Black Excellence,
All About (London), West End:
Black Theatre Alliance Awards) ;
Close To You. Regional—credits
The Milwaukee Rep: Color Purple,
include Studio Theater: Murder
Ballad (Narrator/Helen Hayes Lady Day at Emerson's Bar & Grill.
nom. Best Supporting Actress), Film/TV—Chicago Code,
Barrington Stage: Broadway Chicago PD, The Chi, Land O'Frost
Bounty Hunter (Janessa/ (national spot). Education—BFA:
Claudine), 5th Ave: Catch Me Howard. Professional—Congo
if You Can, among others. Film/ Square: Ensemble. Agent:
TV—fka Turning Point (Becker), ANAS Paonessa.
Madam Secretary, Marvel's T A C IA
MCC
LESK
Daredevil, Public Morals, I Take EY
Wandachristine
Thee Zoe, SNL, Sex and the City
2. Choreography—Mighty Real, Gwynn Oak Falls
a Fabulous Sylvester Musical Baltimore Center Stage: debut.
(Audelco Award nom). Other— Tours—Familiar (Guthrie Theater;
Sang with Burt Bacharach and Seattle Repertory Theater),
Patti LaBelle; back-up for Phil Fences (Hartford Stage
Collins, Martha Wash, Bette Company; Dallas Theater
Midler, and Mariah Carey. Center; Portland Center Stage).
Education—NSA/AMDA. Regional—American Blues
anastaciamccleskey.com Theater Company: Beauty’s
Daughter (solo performance,
Black Theater Alliance Award/
Alexis J. Roston ALEX
IS J .
ROST The Ruby Dee Award for Leading
First Lady Cedonia Mosher ON
Actress); Greenhouse Theater:
Baltimore Center Stage: debut. I Love You More...Than Shoes! (solo
Regional—Congo Square: Lady performance); Writers’ Theatre:
Day at Emerson's Bar & Grill, The Old Settler (Jeff nom. for Best
Supporting Actress, Black
What I Learned In Paris, Black
Theater Alliance Nomination for
Nativity, Seven Guitars; Black
Best Actress); Cleveland
Ensemble: Women of Soul Playhouse: Gee’s Bend; Court
(Assistant Costume Designer), Theater: Thyestes; Apollo
Last Dancer Standing, Don't Theater/Chicago: The Vagina
Make Me Over: A Tribute to Monologues; Theater Works:
Dionne Warwick; Flying Oo-Bla-Dee. Film/TV—Me and
Elephants Productions: WAN Mrs. Jones, Chicago PD, Judging
DA C
Defacing Michael Jackson H R IS Amy, The PJ’s. Playwright—I’m a
T IN E
(Director); New Theatre: Sister Woman and I’m Bad, I Love You
Act (Deloris); Second City More…Than Shoes!, Welcome
Home, One Day?, Sammy, Harry,
Chicago: She The People;
Oscar and Me…Morris. Author—I
Skylight: Hot Mikado (Pitti-Sing);
Love You More…Than Shoes!
Paramount: Jesus Christ (Fiction Novel). Other—Voiceover
Superstar, Hair; Goodman: Ain’t Producer/Writer; Ensemble
Misbehavin', Crowns; Court: Company Member, American
Porgy and Bess (Bess), Spunk, Blues Theater.
Piano Lesson; Writers': wandachristine.com
Company, The Old Settler;
Chicago Shakes: Shrek;
Drurylane Oakbrook: Hairspray;
Marriott Lincolnshire:
BALTIMORE CENTER STAGE 15THE ARTISTIC TEAM
THE ARTISTIC
TEAM
Marcus Gardley France. Upcoming productions King Headly II (BTAA for Best
Playwright include: a musical called Ensemble, Best Director) and a
Marcus Gardley is an Oakland- Paradise Square at Berkeley one-act of Nambi Kelly’s For My
born playwright-poet whom Rep with choreography by Bill T. Brothers, Where Ever I May Find
the New Yorker calls “the heir to Jones and directed by Moises Them at Step Up Productions.
Garcia Lorca, Pirandello, and Kaufman. Currently, Gardley Professional/Other—
Tennessee Williams.” His most is writing a film adaptation of Associate artist at Chicago
recent play, X or The Nation Twelve Angry Men for HBO and Dramatists, director for the
V. Betty Shabazz was a New developing a TV show for the Young Playwrights Festival at
York Times Critic Pic and was OWN network as well as a TV Pegasus Players and American
remounted Off-Broadway in series based on Ralph Ellison’s Theatre Company. He is also
the spring of 2018. His play The Invisible Man for Hulu. an established performer with
House That Will Stand opened extensive acting experience
Daniel Bryant as well.
Off-Broadway in the summer
Director
of 2018 to rave reviews and a
Baltimore Center Stage: Jaret Landon
sold-out extension with eight
Artistic Producer/Community Music Director/Original
AUDELCO nominations. He
Music/Arrangements
is a 2019 Library Laureate of Programs; SOUL The Stax
Musical (assistant director); Jaret Landon is a composer/
San Francisco, the recipient of
Mobile Unit Twelfth Night arranger, music director, and
the 2018 Guiding Light Award
(director); Mobile Unit Endgame educator. He’s composed
presented by Cal Shakes and
(director). Regional—Ensemble and arranged music for film,
won the 2017 Special Citation
member of Congo Square musicals, and recorded albums.
Theater Award for his play
Theatre Company for nine Favorite theater credits include
black odyssey, which swept
years and serving multiple roles Lady Day at Emerson's Bar
the Theater Bay Area Awards
including Associate Artistic and Grill (Porchlight Music
garnering six other prizes
Director and Artistic Director. Theatre), 15th-anniversary new
including Best Production
Producing—credits include production of Crowns (Co-
and a special playwrighting
The Nativity at the Goodman Production - McCarter Theatre
award. Gardley is also the
Theatre, The Colored Museum, and Long Warf Theatre), black
recipient of the 2015 Glickman
and Bulrusher, staged readings odyssey (Denver Theatre
Award for The House That
for Congo Square’s Summer Center, Denver CO.), and
Will Not Stand. He is the 2013
Reading Series, Legacy The Black Clown (American
USA James Baldwin Fellow
Festival, and Festival on the Repertory Theatre). Landon is
and the 2011 PEN Laura Pels
Square. Additional directing excited to return to Baltimore
award winner for Mid-Career
credits include What I Learned Center Stage after previously
Playwright. His work has
in Paris, Brothers of the Dust music directing The Christians
been produced in many cities
(BTAA for Best Play), which in 2017. Special thanks to
across the country with several
he helped develop at Congo Daniel and Hana and the entire
productions in England and
Square, The Fall of Heaven, Center Stage Family. Landon
16 BALTIMORE CENTER STAGETHE ARTISTIC TEAM
dedicates his work on Wonder The Ghosts of Versailles. Film— choreographer Dianne
to his mother, who passed away Pass Over (dir. Spike Lee). McIntyre). Other—Baltimore
last year after a valiant battle wilsonchin.com Symphony Orchestra: Holiday
with cancer. Love and Light to Spectacular.
all! Social Media @jaretlandon David Burdick
Costume Designer Kathy A. Perkins
Wilson Chin Baltimore Center Stage: Lighting Designer
Scenic Designer Lookingglass Alice, Next to Baltimore Center Stage: debut.
Baltimore Center Stage: Normal; Amadeus; Twelfth Night; New York—credits include New
debut. Broadway—Next Fall. dance of the holy ghosts; Animal Federal Theatre, Manhattan
Off-Broadway: Playwrights Crackers; …Edgar Allan Poe; The Theatre Club, Carnegie Hall,
Horizons: The Thanksgiving Mountaintop; An Enemy of the Brooklyn Academy of Music.
Play; Manhattan Theatre Club: People; The Whipping Man; A Regional—Goodman Theatre,
Cost of Living; Lincoln Center: Skull in Connemara; The Rivals; Arena Stage, Steppenwolf,
Pass Over; Ma-Yi/The Public: Snow Falling on Cedars; Working Alliance Theatre, Mark Taper
Teenage Dick; Audible Theatre: it Out; Cyrano; Caroline, or Forum, Berkeley Repertory,
Sakina’s Restaurant; The Public: Change; Hearts; Things of Dry Actors Theatre of Louisville, St.
Wild Goose Dreams, Romeo Hours; Crumbs from the Table of Louis Black Repertory, American
and Juliet, Macbeth, Pericles; Joy; Elmina’s Kitchen; Picnic; a.m. Conservatory Theater, Indiana
Atlantic Theater: The Jammer; Sunday; The Rainmaker; Blithe Repertory, Seattle Repertory,
Playwrights Realm: My Mañana Spirit; and many others. Congo Square, Alabama
Comes; Primary Stages: Regional—Everyman Theatre: Shakespeare Festival, Writers
Informed Consent; Second Sweat, Dancing at Lughnasa, Theatre, Two River, People's
Stage: Engagements; Ars Nova: Intimate Apparel, Long Day’s Light, Playmakers Repertory
Boom. Tour—The Public’s Mobile Journey into Night, The Company. International—South
Unit National: Sweat. Regional— Revolutionists, The Book of Africa, Cuba, Switzerland.
Alliance Theatre, Arena Stage, Joseph, Dot, Los Ostros, An Professional/Other—Editor/
Berkeley Rep, Denver Center, Inspector Calls, Death of a co-editor of six anthologies
Geffen Playhouse, Goodspeed Salesman, A Streetcar Named focusing on African/African
Musicals, Guthrie Theatre, Desire, Ruined, Ghosts, Blithe Diaspora women; Professor
Huntington Theatre, La Jolla, Spirit; Walnut Street/Totem Emerita of the University of
Long Wharf, The Old Globe, Pole: The Last Night of Ballyhoo, Illinois at Urbana-Champaign
Seattle Rep, Steppenwolf, Moon Over Buffalo. Opera— and University of North
Williamstown Theatre Festival. Cincinnati: Don Giovanni; Carolina at Chapel Hill.
Opera—Chicago Lyric Opera: Boston Lyric: I Puritani; Tulsa: Education—Howard University,
Lucia di Lammermoor; Canadian Tosca, The Barber of Seville, University of Michigan.
Opera: A Florentine Tragedy, Carmen, Fidelio. Dance—BAM:
Gianni Schicchi (Dora Award FLY: Five First Ladies of Dance;
winner); Avery Fisher Hall: I Am Dayton Contemporary: Lyric
Harvey Milk; Wolf Trap Opera: Fire (world premiere, dir/
BALTIMORE CENTER STAGE 17THE ARTISTIC TEAM
Mikhail Fiksel Design—The Magnetic Fields: Cage, Jesus Christ Superstar,
Sound Designer 50 Song Memoir. Broadway—Be Les Miserables; Workshop
Baltimore Center Stage: debut. More Chill (opening 2019); Theatre: Beehive, Les Liaisons
Mikhail Fiksel is a New York Irena's Vow. Off-Broadway— Dangereuses, Dixie Swim Club;
and Chicago-based designer, The Atlantic, Playwrights and others. Professional—
composer, musician, and DJ. Horizons, Signature Theatre, Salon Director/Wig and
Off-Broadway and Chicago— Ars Nova, Primary Stages, Hair Supervisor, Oregon
credits include projects with Rattlestick, Ensemble Studio Shakespeare Festival; Life
Playwrights Horizons, Victory Theatre. Regional and Member, Carolina Alumni
Gardens, The Goodman Touring—The Kennedy Center, Association. Education—MBA:
Theatre, Writers Theatre, Oregon Shakespeare Festival, Webster University; MFA
Chicago Shakespeare, The Guthrie Theater, Denver Certification (Period Styles
Civilians, PlayCo, Manhattan Center for the Performing Arts, for Wig and Hair Design); BA:
Theatre Club, The Steppenwolf, Alliance Theater, Huntington University of South Carolina
The Playwrights Realm, Theatre Company, Court (Costume, Wig and Makeup
Albany Park Theatre Project. Theatre, Studio Theatre, Actors Design). cstylezu.com
Regional—La Jolla Playhouse, Theater of Louisville, Two River
Theater. London—Menier Sabine Decatur
Williamstown Theatre Festival,
Production Dramaturg
The Old Globe, South Coast Chocolate Factory. Film—Miles
Rep, Center Theatre Group, Ahead; Norman Lear: Just A recent graduate of Yale
Studio Theatre, A.C.T., City Another Version of You. University, Sabine is a new
Theatre. Film—credits include alexbascokoch.com addition to the dramaturgy
original scores for Glitch, team at Baltimore Center
Cherelle D. Guyton Stage. She has previously
The Wise Kids, In Memoriam.
Wig and Hair Designer worked with the Yale Dramatic
Awards—Recipient of two
Lucille Lortel Awards, multiple Baltimore Center Stage: debut. Association, Yale Dance
Joseph Jefferson Awards, two Regional—Shakespeare in Theater, Heritage Theater
Drama Desk Nominations, and Detroit: Twelfth Night; Oregon Ensemble, Oberlin Summer
The Michael Maggio Emerging Shakespeare Festival: Romeo Theater Festival, Semicolon
Designer Award. Other— and Juliet, Destiny of Desire Theater Company, Culture
Resident Artist with Albany (Wig Master), Beauty and the Project, and the Schomburg
Park Theater Project, Ensemble Beast (Wig Master), Unison Center for Research in Black
Member with 2nd Story, an (Wig Master), The Wiz (ED&I Culture.
Artistic Associate with Timeline Hair Texture Consultant), Head
over Heels (ED&I Hair Texture Danielle Teague-Daniels
Theatre Company and Teatro
Stage Manager
Vista, and a member of TSDCA Consultant), Into the Woods
(ED&I Hair Texture Consultant). Baltimore Center Stage:
and USA. mikhailfiksel.com
Ballet—Columbia Classical Resident Stage Manager; Cat
Alex Basco Koch Ballet: The Hunchback of on a Hot Tin Roof, SOUL The
Projection Designer Notre Dame (Special Effects Stax Musical, The Christians.
Makeup Artist); The Columbia Regional—For the past 17
Baltimore Center Stage: SOUL
City Ballet: Dracula (Wig years, she has worked and
The Stax Musical, Detroit ’67,
Designer). Film/TV—Crossing reprised her role as SM with
Pride and Prejudice, Marley, One
the River, Saint Dee Dee many companies including:
Night in Miami…, The
(Hair and Makeup Artist). Actors Theatre of Louisville,
Mountaintop, An Enemy of the
Other Theater—Camelot: La Clubbed Thumb, 3LD, Lee
People, ReEntry. Concert
18 BALTIMORE CENTER STAGEStrasberg Institute, LAByrinth Prejudice, Marley, One Night
Theater, Rising Circle Theater in Miami…, Amadeus, Wild with
Collective, Big Apple Circus, Happy, Twelfth Night, A Civil War
NYU Steinhardt, New Georges, Christmas. Broadway—Amazing
Working Theater, and New Grace, On the Town, End of
Dramatists. Last summer she the Rainbow, The Lieutenant of
wrapped up Bello Mania at Inishmore, The Glass Menagerie,
the New Victory Theater on Cat on a Hot Tin Roof, One
42nd St. Danielle has worked Flew Over the Cuckoo’s Nest,
on two recent workshops: The Amadeus, She Loves Me, Blood
Donna Summer Project (La Jolla Brothers, A Few Good Men,
Playhouse) and Ain’t Too Proud etc. Off-Broadway—Clever
(Berkeley Rep). Additionally, Little Lies, Dr. Ruth, Stalking
Danielle also worked on the Bogeyman, Freud’s Last
Michael Kors' fashion show in Session, Tribes, Our Town, Almost
Baltimore Center Stage operates
Shanghai, China. Maine and Driving Miss Daisy. under an agreement between LORT
Over 50 regional theaters— and Actors’ Equity Association, the
Erin Edelstein Guthrie, George Street
union of professional actors and
Assistant Stage Manager stage managers in the United States.
Theatre, Connecticut Rep,
Baltimore Center Stage: Cat Pittsburgh Public, Barrington
on a Hot Tin Roof. Regional— Stage. Over 60 films—Senior
Gretna Theatre: The 39 Steps, Moment, Year by the Sea,
The Director and Choreographer
She Loves Me, It Shoulda Been Child of Grace, Premium Rush, are members of the Society of Stage
You, Tarzan; Fulton Theatre: Ghost Town, Secret Window, Directors and Choreographers, Inc.,
Other Desert Cities, Les an independent national labor union.
Tony and Tina’s Wedding,
Miserables, Young Frankenstein; The Thomas Crown Affair,
Meadow Brook Theatre: The 13th Warrior, Madeline,
Next to Normal, A Christmas Die Hard III, School Ties. TV/
Carol. Education—Penn State Web—Planned Parenthood The scenic, costume, lighting, and
University: BFA Theatre and series Talkin’ About, Twisted, sound designers in LORT theaters are
represented by United Scenic Artists,
Communications Arts and Sesame Street, Californication Local USA-829 of the IATSE.
Sciences. Member—Actors (Emmy nom), Max Bickford,
Equity Association and Stage Hack, Strangers with Candy,
Managers Association. Barbershop, Chappelle’s Show.
mccorklecasting.com
Pat McCorkle
Katja Zarolinski Musicians engaged by Baltimore
Center Stage perform under the
McCorkle Casting, Ltd.
terms of an agreement between
Casting Center Stage and Local 40543,
American Federation of Musicians.
Baltimore Center Stage: King of
the Yees, Cat on a Hot Tin Roof, Baltimore Center Stage is a
SOUL The Stax Musical, Mobile constituent of Theatre Communica-
The Actors and Stage Managers tions Group (TCG), the national
Unit Twelfth Night, Animal Farm, organization for the nonprofit
employed in this production are
Skeleton Crew, Lookingglass professional theater, and is a member
Members of Actors' Equity
Alice, The Christians, Jazz, Les of the League of Resident Theatres
Association, the Union of (LORT), the national collective
Liaisons Dangereuses, Detroit Professional Actors and Stage bargaining organization of
’67, As You Like It, Pride and Managers in the United States. professional regional theaters.
BALTIMORE CENTER STAGE 19PROMOTION
The Baltimore Sun’s
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February 5, 2019
Two Seatings: 5:30pm and 8:30pm Dinner
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Sponsored by
20 BALTIMORE CENTER STAGEMcCormick
is proud to support
Center Stage
S e a s o n
Tis the
Start a Holiday
Tradition with Classic www.ClassicCatering.com
BALTIMORE CENTER STAGE 21INDIVIDUALS AND FOUNDATIONS
THANK YOU!
The following list includes gifts of $250 or more made to the Baltimore Center Stage
Annual Fund August 1, 2017 through November 1, 2018. 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 The Laurents /Hatcher Francie and John Keenan
represents individual donors Foundation
Townsend and Bob Kent
who, through their annual
Sandy Liotta and
contributions of $1,500 or Keith Lee
Carl Osterman
more, provide special
Ken and Elizabeth Lundeen
opportunities for our artists Charles E. Noell III
and audiences. Society Marion I. and Henry J. Knott
Sharon and Jay Smith
members are actively Foundation
involved through special
events, theater-related ARTISTS CIRCLE Robert E. Meyerhoff and
travel, and behind-the- ($10,000-$24,999) Rheda Becker
scenes conversations with Anonymous Jeanine Murphy
theater artists.
The William L. and Victorine Q. J. William Murray
Adams Foundation
SEASON SPONSORS Dave and Chris Powell
($50,000+) Paul M. Angell Family Mr. and Mrs. George M.
Ellen and Ed Bernard Foundation Sherman
Peter and Millicent Bain
Lynn Deering Department of VSA and
The Bunting Family Foundation Accessibility at the John F.
Jane and Larry Droppa Kennedy Center
Mary Catherine Bunting
Ellen J. Remsen Webb and
Terry H. Morgenthaler and The Helen P. Denit
J.W. Thompson Webb
Charitable Trust
Patrick Kerins
Ms. Nancy Dorman and
Judy and Scott Phares PLAYWRIGHTS CIRCLE
Mr. Stanley Mazaroff
($5,000-$9,999)
Brian M. and Denise H. Eakes
Lynn and Philip Rauch Taunya Lovell Banks
Amy Elias and
Richard Pearlstone Bradie Barr and Tollie Miller
The Shubert Foundation, Inc.
Juliet A. Eurich and Mr. and Mrs. Douglas L. Becker
The Harold and Mimi Louis B. Thalheimer
Steinberg Charitable Trust Winnie and Neal Borden, The
The Fascitelli Family Harry L. Gladding Foundation
Foundation
PRODUCERS CIRCLE James T. and Francine G. Brady
($25,000-$49,999) Daniel and Lori Gahagan
Susan Bridges and Bill Van Dyke
Sandra Levi Gerstung
The William G. Baker, Jr. Sylvia and Eddie Brown
Memorial Fund, creator of the The Goldsmith Family
Baker Artist Portfolios Foundation The Annie E. Casey Foundation
www.BakerArtistAwards.org Harry Gruner and
Melissa and Augie Chiasera
Penny Bank Rebecca Henry
The Nathan & Suzanne Cohen
Stephanie and Ashton Carter The Laverna Hahn
Charitable Trust Foundation
James and Janet Clauson
J. S. Plank and D. M. DiCarlo The Jane and Worth B.
The JI Foundation Family Foundation Daniels, Jr. Fund
Kathleen Hyle Wendy Jachman The Delaplaine Foundation, Inc.
22 BALTIMORE CENTER STAGEWalter B. Doggett III and Kim Gringas and Dana M. DiCarlo
Joanne Doggett Gene DeJackome
Andrea and Samuel Fine, in
Beth and Michael Falcone Robert and Cheryl Guth memory of Carole Goldberg
Sandra and Thomas Hess Dr. Matthew Freedman and
Dick Gamper
Dr. Gladys Arak Freedman
Megan M. Gillick Ralph and Claire Hruban
Howard and Susan Goldberg
David and Elizabeth J.
The Hecht-Levi Foundation, Inc. Dr. Neil Goldberg, in
Himelfarb Hurwitz
memory of Carole S. Goldberg
Patricia and Mark Joseph,
Susan and Steve Immelt
The Shelter Foundation Goldseker Foundation
Mr. and Mrs. Joseph M. Len and Betsy Homer
The John J. Leidy Foundation, Inc. Jennings, Jr.
Harriet S. Iglehart
Maryland Humanities Council Francine and Allan Krumholz
Joseph J. Jaffa
John and Kim McCardell The Macht Fund of
Myron Terry Koenig Fund
the Associated
Melissa Newman for Waverly at the Baltimore
Jim and Mary Miller Community Foundation
Nora Roberts Foundation
Hugh and Leanne Mohler Barry Kropf
Dorothy Powe, in memory of
Chuck and Paddy Morton Mr. and Mrs. Earl Linehan,
Ethel J. Holliday
The Linehan Family Foundation
Blanche and Theo Rodgers John and Susan Nehra
Diane Markman
The Ida and Joseph Lawrence C. Pakula,
The Meier and Berlinghof
Shapiro Foundation in memory of Sheila S. Pakula
Families Fund
Jill and Darren Pratt Marilyn Meyerhoff
Michele Speaks and
David Warnock Val and Hutch Robbins Morris A. Mechanic Foundation
Donald and Mariana Thoms Michelle and Nathan Robertson The Rollins-Luetkemeyer
Foundation
Joe Timmins and Jodie Kristy Charles and Leslie Schwabe
Michael Ross
Krissie and Dan Verbic Scott and Mimi Somerville
Renee Samuels and
Loren and Judy Western Scot T. Spencer Jordan Rosenfeld
Ted and Mary Jo Wiese Michael Styer Barbara and Sig Shapiro
Cheryl Hudgins Williams Barbara Payne Shelton
Thomas Wilson Sanitarium for
and Alonza Williams
the Children of Baltimore City Mr. and Mrs. Robert N.
Todd M. Wilson and Smelkinson
Edward Delaplaine
DIRECTORS CIRCLE Robert and Terri Smith
($2,500-$4,999) Paul and Dorothy Wolman Brian and Susan Sullam
Anonymous Linda Woolf Mr. William J. Sweet and
The Lois and Irving Blum Ms. Geraldine Mullan
Foundation DESIGNERS CIRCLE Mr. and Mrs. Harry Thomasian
Meredith and Adam Borden ($1,500-$2,499)
Nanny and Jack Warren, in
Anonymous honor of Lynn Deering
Jan Boyce
Stephanie and Vince Baker Sydney and Ron Wilner
Drs. Joanna and Harry Brandt
The Campbell Foundation, Inc. Dr. Richard H. Worsham and
Diana and Clinton Daly
The Caplan Family Ms. Deborah Geisenkotter
Mr. Jed Dietz and Foundation, Inc. Young Audiences of
Dr. Julia McMillan Maryland, Inc.
The Mary and Dan Dent
Suzan Garabedian Family Fund
BALTIMORE CENTER STAGE 23COMPANY James and Hillary Aidus Jacobs Mr. and Mrs. Scott Smith
($750-$1,499) Kris Jenner and George and Holly Stone
Susan Cummings Arun and Shilta Subhas
Anonymous
Max Jordan Henry and Tina Thomas
Diane Abeloff, in memory of
Martin Abeloff Murray Kappelman Sabrina Sikes Thornton
Suzanne and Stuart Amos Shirley Kaufman Dr. and Mrs. Frank R. Witter
Tracy Bacigalupo and Stephen and Laurie Kelly Drs. Barry Wohl and
Jake Baker Neil and Linda Kirschner, Dahlia Hirsch
Amy and Bruce Barnett in honor of Ken and Ms. Jean L. Wyman
Elizabeth Lundeen
Patricia Baum, Patricia Yevics-Eisenberg and
Andrea Laporte Stewart Eisenberg
The Baum Foundation
Jonna and Fred Lazarus Steve Ziger and Jamie Snead
Scott and Katherine Bissett
Raymond Lenhard, Jr.
Harriet and Bruce Blum ADVOCATES
Mr. and Mrs. Lawrence M. Macks
Mr. and Mrs. Marc Blum ($250-$749)
Alan Macksey
John and Carolyn Boitnott Anonymous
Robert and Susan Mathias
Michael Borowitz and Bradley and Lindsay Alger, in
Barbara Crain Laurie McDonald honor of George J. Staubus
Dr. and Mrs. Donald D. Brown Brad Mendelson David and Bonnie Allan
Natalie and Paul Burclaff John Messmore Ellie Allen
G. Brian Comes and Jane and Joe Meyer Bernadette Anderson
Raymond Mitchener Beverly and John Michel The Alsop Family Foundation
Jane Cooper and Philip Angell The Montag Family Fund of The Alan M. Arrowsmith, II
The Cordish Family Community Foundation for
Greater Atlanta Meredith C. Atkinson and
B.J. and Bill Cowie Joe Sanchez
James W. and Shirley A. Moore
Lawrie Deering and Deborah and Stephen Awalt
Betsy Nelson
Albert DeLoskey,The Deering Ayd Transport
Family Foundation Michael and Cristina Niccolini
Robert and Dorothy Bair
The Honorable and Roger F. Nordquist, in memory
Mike Baker
Mrs. E. Stephen Derby of Joyce C. Ward
Mr. and Mrs. Raymond Bank
Linda Eberhart Mary Rogers Obrecht and
Family Fund
D.W. Wells Obrecht
The Eliasberg Family Foundation Cheri Barr-Griffin
Lee and Marilyn Ogburn
Sue and Buddy Emerson, in Jaye and Dr. Ted Bayless Fund
appreciation of Ken and Dr. Bodil Ottesen
David and Cecelia Beck
Elizabeth Lundeen Michael and Phyllis Panopoulos
Randi and Adam Benesch
Donald M. and Dr. Ira Papel
Karen Bennett
Margaret W. Engvall Walt and Donna Pearson
Dr. Bruce and Mrs. Toni Berger
Bob and Susie Fetter Jeffrey and Laura Thul Penza
Gary Bess
Genine and Josh Fidler Janet Plum, in memory of
Jeffrey J. Plum Drs. George and
Whit and Mary Louise Foster Valerie Bigelow
Carrie Preston
José and Ginger Galvez Bob and Maureen Black
Robert E. and Anne L. Prince
Richard and Sharon Gentile, in Garrett and Katherine Bladow
honor of the Center Stage Stephen Richard and
Mame Hunt Ms. Katharine C. Blakeslee
Costume Shop
The James and Gail Riepe Cynthia Wyrick Bledsoe
John Ginovsky and Alma Hays
Family Foundation, Rachel and Steven Bloom, in
Fredye and Adam Gross in honor of Lynn Deering honor of Beth Falcone
Stuart and Linda Grossman Dr. and Mrs. James Rubenstein Lisa Blue
Thomas and Barbara Guarnieri Sara and Doug Sampson Cliff Booth
Linda Hambleton Panitz Bayinnah Shabazz, M.D. Mr. and Mrs. A. Stanley Brager, Jr.
Rachel and Ian Heavers The Earle and Annette Shawe Anne Elliott Brown
Betsy and George Hess Family Foundation Michelle Brown
Kelly and Andre Hunter, The Sinksy-Kresser-Racusin Sandra and Thomas Brushart
in honor of Beth Falcone Memorial Foundation
24 BALTIMORE CENTER STAGEINDIVIDUALS AND FOUNDATIONS
Charles and Betsy Bryan Hon. Catherine C. Blake The A. C. and Penney Hubbard
Dr. and Mrs. Arthur Burnett, II Rhea Feikin, in memory of Foundation
Natalie and Paul Burclaff Colgate Salsbury Mr. and Mrs. Ted Imes
Luise Graff and C. Allen Bush Faith and Edgar Feingold Sally and John Isaacs
Brad and Kate Callahan Gary Felser and Dr. and Mrs. Juan M. Juanteguy
Debra Brown Felser Ann H. Kahan
Evelyn Cannon and
James Casey Merle and David Fishman John Kane
The Jim and Anne Cantler Dr. Robert P. and Bill and Sue Kanter
Memorial Fund Janet Fleishman
Lee Kappelman
Sheldon and Jamie Caplis, Lindsay and Bruce Fleming
Richard and Judith Katz
in honor of Juliet Eurich and Joan and David Forester
Alane and George Kimes
Louis Thalheimer Amy and Scott Frew
Roland King and
BALTIMORE CENTER STAGE 25
June Carr Dr. Neal M. Friedlander and Judith Phair King
Mr. and Mrs. David Carter Dr. Virginia K. Adams
Mark and Terri Kissinger
Jan Caughlan Nick and Katherine Garber
Joyce and Robert Knodell
Henry and Linda Chen, Pamela and Jonathan Genn,
Thomas Koch and
in memory of Lysl Sundheim in honor of Beth Falcone
H. Frances Reaves
Sue Lin Chong Mark and Patti Gillen
Thomas and Lara Kopf
Mr. and Mrs. Carl F. Christ Lori and Gene Gillespie
Alice Kurs, in memory of
Tracey L. Chunn Susan Gillette Louis N. Kurs
William and Bonnie Clarke Hal and Pat Gilreath Joseph M. and
Grant and Monique Cleverley Herbert and Harriet Goldman Judy K. Langmead
Fronda Cohen Ottenheimer Dr. Larry Goldstein and Mr. and Mrs. William Larson
and Richard Ottenheimer Dr. Diane Pappas Robbin Lee
Mary Ellen Cohn Michael R. Gordy Dr. and Mrs. Yuan C. Lee
Joan Coley and Lee Rice Mr. and Mrs. W. Kyle Gore Dr. and Mrs. George Lentz, Jr.
Ida and Emmett Collins, Mary and Richard Gorman Marilyn Leuthold
in honor of Elizabeth Hurwitz Hannah B. Gould Kenneth and Christine Lobo
The Elsa and Stanton Collins Kathleen and Eric Greenberg, The Ethel M. Looram
Charitable Fund in honor of Beth Hauptle and Foundation, Inc.
David and Sara Cooke Hilary Judis
Amy Macht and George Grose
William Cooke Annie Groeber, in memory of
Dr. and Mrs. Charles Mann
Joe Coons and Dr. John E. Adams
Dr. Frank C. Marino Foundation
Victoria Bradley Michael and Susan Guarnieri
Jeanne E. Marsh
Scott and Patricia Corbett Mr. and Mrs. Randy Guttman
Mary E. McCaul
The Margaret O. Cromwell Molly Hanes
Family Fund Mary L. McGeady
Joseph and Christine Hall
Con and Eleanor Darcy Judy McMullen, in honor of
Stephen and Melissa Heaver
Terry Morgenthaler
Bill Dausch Peter Hegeman and
Joe and Erica Mechlinski
Gwen Davidson Patricia Egan
Mary and Barry Menne
Richard and Lynda Davis John and Cynthia Heller
Mr. and Mrs. Timothy E.
Robert and Janice Davis Mary Ann Henderson
Meredith
The Richard and Rosalee C. Sue Hess
Tracy Miller and Paul Arnest,
Davison Foundation C.T. and Moira Hill in honor of Stephanie Miller
Curt Decker Mrs. James J. Hill, Jr., Stephanie F. Miller, in honor of
James DeGraffenreidt and in memory of James J. Hill Jr. The Lee S. Miller Jr. Family
Mychelle Farmer Barbara and Sam Himmelrich Michael Milligan
Mary Downs Gina and Daniel Hirschhorn Faith and Ted Millspaugh
Ina and Ed Dreiband Jean and Lon Homeier, Tom and Cindi Monahan
Lynne M. Durbin and in honor of Phil Rauch
Jill Morgenthaler,
John-Francis Mergen James and Rosemary Hormuth in honor of Terry Morgenthaler
Paula and Franco Einaudi Susan Horn Bill and Mimi Mules
Dr. Frank Eisenberg and
BALTIMORE CENTER STAGE 25George and Beth Murnaghan Al Russell Dr. Laurie S. Zabin
Stephen and Terry Needel Sheila and Steve Sachs William D. Zerhouni and
Mary Nichols Steven and Lee Sachs Uriyoan Colon-Ramos
Claire D. O'Neill John and Nancy Sandbower
GOVERNMENT GRANTS
Charles and Stacie Sanders Evans
Margaret M. H. Obrecht Baltimore Center Stage is
Ann and David Saunders
supported, in part, by a grant
Ludge and Tamla Olivier Jessica and Glen Schatz from the Maryland State Arts
Jo-Ann Mayer Orlinsky Eugene and Alice Schrieber Council (msac.org) which
P.R.F.B. Charitable Philanthropic Fund receives support from the
Foundation, in memory of Dr. Cynthia Sears National Endowment for the
Shirley Feinstein Blum Arts, a federal agency.
Clair Zamoiski Segal
Justine and Ken Parezo Baltimore County Executive,
Dr. Carl Shanholtz and County Council, & Commission
Kevin and Joyce Parks Dr. Ruth Horowitz on Arts and Sciences
Bruce and Sindy Parrott
Leslie Shepard Howard County Arts Council
Fred and Grazina Pearson
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