CAT ON A Hot Tin Roof - 2018- 201 9 SEASON BY TENNESSEE WILLIAMS DIRECTED BY JUDITH IVEY - Baltimore Center Stage
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2 01 8– 2 01 9 S E AS O N
CAT ON A
Hot Tin Roof
BY TENNESSEE WILLIAMS
DIRECTED BY JUDITH IVEY
2 01 8 – 2 01 9 S E A S O N
FAMILY CONCERT:
A SWINGIN’ NUTCRACKER!
SAT, DEC 8 11 AM
TICKETS FROM $15
The BSO is joined by show-stopping hip-hop dancers for
this fun-filled holiday concert, riffing off of Duke Ellington’s
reimagining of Tchaikovsky’s masterpiece.
HANDEL MESSIAH
SAT, DEC 8 8 PM • SUN, DEC 9 3 PM
TICKETS FROM $25 • KIDS 12 & UNDER 50% OFF
Join us to hear this great masterwork, including the iconic
"Hallelujah" Chorus, conducted by Edward Polochick with
the Concert Artists of Baltimore Symphonic Chorale.
CIRQUE NUTCRACKER
FRI, DEC 14 8 PM • SAT, DEC 15 3 PM
SUN, DEC 16 3 PM
TICKETS FROM $25 • KIDS 12 & UNDER 50% OFF
The awe-inspiring talents of Troupe Vertigo come to the
concert hall as acrobats, contortionists, jugglers, strongmen
and high-flying aerialists join the BSO for this spectacular
holiday-themed show.
GOSPEL CHRISTMAS WITH
CECE WINANS
FRI, DEC 21 8 PM
TICKETS FROM $25
Renowned gospel singer and twelve-time Grammy
Award-winner CeCe Winans joins the BSO and the
Morgan State University Choir in a rousing Gospel
Christmas program of holiday favorites.
HOLIDAY POPS
SAT, DEC 22 3 PM • SAT, DEC 22 8 PM
TICKETS FROM $25 • KIDS 12 & UNDER 50% OFF
Broadway musical director Andy Einhorn leads the BSO
and the Baltimore Choral Arts Society in an exciting new
holiday pops program, highlighted by festive favorites
from Broadway to American classics, the ever-popular
tap-dancing Santas, an audience sing-along and a few
musical surprises.
JOSEPH MEYERHOFF SYMPHONY HALL
BSOMUSIC.ORG | 410.783.8000
CONTENTS
This program is published by:
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BALTIMORE CENTER STAGE
700 North Calvert Street 4 GREETING
Baltimore, MD 21202
EDITOR
Maggie Beetz 6 TiTle PAGE
DESIGN
Bill Geenen 8 SeTTING
ADVERTISING
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BOX OFFICE
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INFO@CENTERSTAGE.ORG 20 ARTISTIC TEAM
27 LEADERSHIP
28 ANNUAL FUND
36 CAPITAL CAMPAIGN
40 NEIGHBORHOOD
PARTNERS
CAT ON A HOT TIN ROOF
42 STAFF
IS MADE POSSIBLE BY
44 AUDIENCE SERVICES
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.
Edward C. Bernard Hugh W. Mohler, Jr.
We engage, enrich, and broaden
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 Jill Pratt
Named the State Theater of
Maryland in 1978, Baltimore Brian M. Eakes Philip J. Rauch
Center Stage has steadily grown TReAsUrer E. Hutchinson
as a leader in the national Robbins, Jr.
Scot T. Spencer
regional theater scene. Under SeCRetAry Jordan D. Rosenfeld
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
world premieres and exhilarating Bradie Barr Michael B. Styer
interpretations of established works. Meredith Borden Harry Thomasian
Baltimore Center Stage James T. Brady Donald Thoms
believes in access for all—creating Stephanie Carter Joe Timmins
a welcoming environment for Lynn Deering Krissie Verbic
everyone who enters its doors Jed Dietz
and, at the same time, striving to Walter B. Doggett III tRUSTeeS eMeRItI
meet audiences where they are. Jane W.I. Droppa
Katharine C.
In addition to Mainstage Amy Elias Blakeslee
productions and intimate Juliet A. Eurich C. Sylvia Brown
performances in our Bernard Black Beth W. Falcone Martha Head
Box, BCS ignites conversations Daniel Gahagan Sue Hess
across Baltimore and beyond Suzan Garabedian Murray M.
through the Mobile Unit, which Sandra Levi Gerstung Kappelman, MD
brings high-quality theater to Megan Gillick E. Robert Kent, Jr.
economically, culturally, and Adam Gross Joseph M.
geographically diverse Langmead
Cheryl O'Donnell
communities. The theater also Guth Kenneth C. Lundeen
nurtures the next generation of Elizabeth J. Himelfarb Marilyn Meyerhoff
artists and theatergoers through Hurwitz Esther Pearlstone
the Young Playwrights Festival, Kathleen W. Hyle Monica Sagner
Student Matinee Series, and many Ted E. Imes George M. Sherman
other educational programs for Wendy Jachman
students, families, and educators. Chris Jeffries
John J. Keenan
2 BALTIMORE CENTER STAGE
WELCOME
Dear Members and Guests,
Welcome to the 56th Season of Baltimore Center Stage!
Executive Director Michael Ross and the artistic staff have
selected an exciting, diverse season of plays that we
believe will enrich your intellectual spirit and provide great
entertainment through the year. Our board is so very proud
of our 62 full-time artists, craftspeople, and administrators
who continued to create great art and educational and
community programming while we did the important work of
identifying our next Artistic Director. STEP
H A N IE
TERR
Y MO YBARRA
The BCS Artistic Director Search Committee, under the RGEN
THAL
ER
leadership of Trustee Beth Falcone, engaged in months of
conversation with some of America’s best theater artists
and leaders. And while there were many worthy candidates,
one rose to the top: Stephanie Ybarra. With two decades of
experience as an artistic producer in theaters across the
country, Stephanie will come to us this fall directly from the
Public Theater in New York. There, among her many
contributions, she served as Director of Special Artistic
Projects overseeing their Mobile Unit and Public Forum
Projects. Her commitment to community engagement is
extraordinary, and she has fresh ideas about broadening
BCS’s reach and extending our impact across the Baltimore
region and the state.
Soon, Stephanie will join our team and share her vision
for our Pearlstone, Head, and Bernard Black Box stages.
She will find and develop exciting and provocative work
for our current audiences as well as the next generation
of theatergoers. And her appointment further reinforces
BCS at the forefront of the Equity, Diversity, and
Inclusion movement.
We are truly excited about our good news and hope you
will join us in welcoming Stephanie Ybarra to Baltimore
and Maryland!
Terry H. Morgenthaler
Baltimore Center Stage Board President
BALTIMORE CENTER STAGE 3
E R I ES
M I LYS
1 9 FA U ST $
20
201 8/ CKE T S J
! TI
ALE N
OW
O N S
THE WIZARD OF OZ AESOP BOPS
SEP 23 AT 11AM & 1PM JAN 27 AT 11AM & 1 PM
A VITAL THEATRE COMPANY PRODUCTION A DAVID GONZALEZ PRODUCTION
PINKALICIOUS: THE UGLY
THE MUSICAL DUCKLING
DEC 9 AT 11AM & 1PM APR 14 AT 11AM & 1 PM
A VITAL THEATRE COMPANY PRODUCTION A LIGHTWIRE THEATER PRODUCTION
ACTIVITIES PARTNER MEDIA PARTNER
A HILARIOUS AND HEARTFELT STORYTELLING EVENT AT BALTIMORE CENTER STAGE FOR ONE NIGHT ONLY.
Comedian Lisa
Lampanelli and her cast
of professional actors,
storytellers, and surprise
guests will have audience
members howling as they
hear stories about trying
to maintain sanity when it
comes to “losin’ it.”
Lampanelli, who recently
lost more than 100
pounds, shines an
intimate but hilarious light
on the universal problem
of body-image and
weight struggles in this
90-minute show.
SATURDAY, NOVEMBER 17, AT 8PM TICKETS ON SALE NOW
TICKETS $35–50 CENTERSTAGE.ORG
SHOW PLUS POST-SHOW MEET & GREET $100 410.332.0033
4 BALTIMORE CENTER STAGE
GREETING
Dear Friends,
Last fall, through a series of focus groups and online
questionnaires, we heard from many of you about what has
made Baltimore Center Stage special for so many years,
and about what you would like to see more of. Among the
range of feedback you generously shared, we noted a
recurring interest in seeing another big, meaty, classic
America drama. So we thought we might open our season
with this classic—and how about Tennessee Williams’ sultry
Cat on a Hot Tin Roof? As it turns out, this iconic piece has
never graced our stage: I think we are fortunate to have
saved it for now. M IC H
AEL R
OSS
While much has changed in America since 1954, themes
from this play echo across our landscape even today.
Greed, lies, and oppression have not gone away. Through
the eyes of iconic writers like Tennessee Williams, we can
turn a brutally honest gaze on enduring truths about secrets
and intolerance. And along with these weighty matters,
Williams’ wry humor seeps out of every encounter over one
very hot night.
We could not do this play justice without the right director,
and we are so lucky and privileged to have Judith Ivey
join us to direct this production. Long admired for her
work on stage and screen—including the work of
Tennessee Williams—Judy somewhat recently added
directing to her already impressive resume. We conversed
about this while doing a project together in Westport.
Little did she realize I would reach out to her the first
chance I had. I’m grateful to have this beloved classic in
such seasoned and worthy hands.
And I’m thrilled to soon be working with the amazing and
inspiring Stephanie Ybarra, who has agreed to join the
Center Stage family as our new Artistic Director. I’m so
excited to partner with her in steering our theater toward
the next phase of its bright future.
Michael Ross
Executive Director
BALTIMORE CENTER STAGE 5
CAT ON A Hot Tin Roof BY TENNESSEE WILLIAMS
SEP 13–OCT 14, 2018
THE CAST THE ARTISTIC TEAM
in alphabetical order
Judith Ivey
Charlotte Booker* Director
Big Mama
Adam Koch
Rod Brogan* Scenic Designer
Gooper
Joseph G. Aulisi
Nina Brothers Costume Designer
Dixie
John Ambrosone
Paul DeBoy* Lighting Designer
Reverend Tooker Victoria Deiorio
Stephanie Gibson* Sound Designer
Maggie Kendall Simpson
Alexis Hyatt* Composer
Mae Sordelet Ink/Rick Sordelet
Jim Ireland* Fight Director
Doc Baugh Gavin Witt
Leonardo Manni Production Dramaturg
Buster Danielle Teague-Daniels*
Cynthia Miller Stage Manager
Sookey Erin Edelstein*
Andrew Pastides* Assistant Stage Manager
Brick Bailey Bass
Assistant Director
David Schramm*
Big Daddy Pat McCorkle
Katja Zarolinski
Jack St. Pierre
McCorkle Casting, Ltd.
Sonny
Casting
* Member of Actors’ Equity Association
Please turn off electronic devices.
Cat on a Hot Tin Roof is presented by special arrangement with Samuel French,
Inc. on behalf of the University of the South Sewanee, Tennessee.
BALTIMORE CENTER STAGE 7SETTING
TIME:
The action of the play
takes place over
the course of
one afternoon
and evening in
late summer, 1954.
HOW CAN I TELL YOU
How can I tell you? With my lips and my hands?
You might mistake their language.
It isn’t easily said.
There’s only moments when we can both believe it….
The trouble is that doubt is always half true,
there is a hard kind of half accuracy in distrust which is hard, very hard,
to let go of.
Still: we stay with each other, we keep returning to places,
the search continues.
What are we looking for in the heart of each other?
Will it ever be clearly
the other and not the self that we so want to comfort?
—Tennessee Williams. Composed in 1957 for Frank Merlo, his longtime companion.
8 BALTIMORE CENTER STAGEMEET THE DIRECTOR
PLACE:
The set is the bed-sitting-room of a plantation
house in the Mississippi Delta, for the past 40
years home to the Pollitt family at the heart
of an enormous and fertile estate of 28,000
acres. Here the family and a few guests have
gathered to celebrate the 65th birthday of
family patriarch Big Daddy.
Seemingly isolated from any turmoil or
progress dominating national and international
headlines—from the aftermath of conflict
in Korea to the defeat of French forces in
Indochina (Vietnam), from the anti-Communist DIRECTOR JUDITH IVEY
fever of Senator Joseph McCarthy to the “I certainly want to honor
death of Josef Stalin, from the launch of much about the traditional
the rock ‘n’ roll era to the launch of the first interpretation of this play. But
Boeing 707, from segregation protests in I guess if I were to put my own
South Carolina to the desegregation decision interpretation within that
in Brown v. Board of Education—the Pollitts’ tradition, I see it as a love
dwelling was evocatively conjured in the story. In some of the
playwright’s own words: productions I’ve seen, the
focus has seemed to be on
"Perhaps the style of the room is not what how much these people
you would expect in the home of the Delta’s hated other, but I think they
really love each other. It may
biggest cotton-planter; it is gently and
be hard or complicated or
poetically haunted. This may be irrelevant or even unspoken, but I think
unnecessary, but I once saw a reproduction of there’s real love in this play.”
a faded photograph of the veranda of Robert
Louis Stevenson’s home on that Samoan Judith Ivey is the recipient
of numerous awards for
Island where he spent his last years, and there
stage and film, including
was a quality of tender light on weathered
the Tony Award and Drama
wood…exposed to tropical suns and tropical Desk Award for her
rains, which came to mind when I thought portrayals in Steaming and
about…this play, bringing also to mind the Hurlyburly, and the Obie
grace and comfort of light, the reassurance it Award for The Moonshot
Tape. See bio page 20.
gives, on a late and fair afternoon in summer,
the way that no matter what, even dread of
death, is gently touched and soothed by it."
BALTIMORE CENTER STAGE 9WORDS ON WIL
“Tom set out, the first chance he had, to find
the devil’s lair. You might say Tom went on‘diggin’…’ the rest of his
life, trying to discover where the devil lives inside all of us. Through his
searching words, he turned the tragedy in his life to art. He once said
he wrote to escape madness.
Where did it start with Tom, this search into the soul, this preoccupation
with poetry and primitive feeling? He was exceptionally observant as a
child. Other children would pick a flower, then carelessly throw it away,
but Tom would stand peering into the heart of the flower as though
trying to discover the secret of its life.”
—Edwina Dakin Williams (Tennessee’s mother)
in her autobiography, Remember Me to Tom
10 BALTIMORE CENTER STAGEILLIAMS
“Tennessee Williams is showing us the
difficulty of communication between
“Tennessee Williams
saved my life. As a 12-year-old
people who spend their lives saying boy in suburban Baltimore, I would look
and doing things they do not mean up his name in the card catalogue at the
and do not feel…How difficult it was library and it would read ‘See Librarian.’
for [the people in Cat] to be honest I wanted these ‘see Librarian’ books…
with each other, probably because Yes, Tennessee Williams was my
it is so difficult to be childhood friend. I yearned for a bad
honest with oneself.” influence and boy, was Tennessee one
—First Lady Eleanor Roosevelt in the best sense of the word: joyous,
alarming, sexually confusing, and
“Cat on a Hot Tin Roof is the work of a dangerously funny.”
mature observer of men and women —Baltimore native John Waters,
and a gifted craftsman. [O]ne of the on discovering the work of
great achievements is the honesty and Tennessee Williams
simplicity of the craftsmanship.
It seems not to have been written. “He taught me not to lie.”
It is the quintessence of life.
—Lady Maria St. Just (aka Maria Britneva),
It is the basic truth. Always a
Willliams’ literary executor and an
seeker after honesty in his inspiration for Maggie
writing, Mr. Williams has not only
found a solid part of the truth but found “In his struggle to unlearn repression, to
the way to say it with complete honesty. It claim his freedom, and to forge glory
is not only part of the truth of life: it is the out of grief, Williams turned his own
absolute truth of the theater.” delirium into one of the 20th Century’s
—Critic Brooks Atkinson, responding great chronicles of the brilliance and the
to the play’s 1955 premiere barbarity of individualism. In order
to name our pain, he
“What I got from Tennessee himself, devoured himself…. Out of
and from a few other people that were the sad little wish to be loved, [he] made
really close to him, is that no one characters so large that they became
could laugh at absurdity, part of American folklore…. Foraying
at tragedy, like he could. into those ineffable realms of sensation
And it’s in his writing — the lightness, where language has little purchase, he
that light touch, humor in the uncovered our sorrow, our desire, our
darkest places.” hauntedness. At the same time, he
changed the shape and the ambition of
—Actor Amanda Plummer
the American commercial theater.”
—Biographer and critic John Lahr
BALTIMORE CENTER STAGE 11FACTS ABOUT
BY TENNESSEE WILLIAMS
I
was born in the Episcopal rectory wasn’t much good and I felt the name had
of Columbus, Miss., an old town on been compromised so I changed it to
the Tombigbee River which was so Tennessee Williams….
dignified and reserved that there was
a saying, only slightly exaggerated, When I was about 12, my father, a
that you had to live there a whole year traveling salesman, was appointed to
before a neighbor would smile at you on an office position in St. Louis and so we
the street. As my grandfather, with whom … moved north. It was a tragic move.
we lived, was the Episcopal clergyman, Neither my sister [Rose] nor I could adjust
we were accepted without probation. ourselves to life in a Midwestern city. The
My father, a man with the formidable schoolchildren made fun of our Southern
name of Cornelius Coffin Williams, was speech and manners. I remember gangs of
a man of ancestry that was descended kids following me home yelling “Sissy!” and
on one side, the Williamses, from pioneer home was not a very pleasant refuge….
Tennessee stock and on the other from
In the South we had never been conscious
early settlers of Nantucket Island in New
of the fact that we were economically
England. My mother was descended from
less fortunate than others. We lived as
Quakers. Roughly there was a combination
well as anyone else. But in St. Louis we
of Puritan and Cavalier strains in my
suddenly discovered there were two kinds
blood, which may be accountable for the
of people, the rich and the poor, and that
conflicting impulses I often represent in the
we belonged more to the latter. … If I had
people I write about.
been born to this situation I might not have
I was christened Thomas Lanier Williams. resented it deeply. But it was forced upon
It is a nice enough name, perhaps a little my consciousness at the most sensitive
too nice. It sounds like it might belong to age of childhood. It produced a shock and
the son of a writer who turns out sonnet a rebellion that has grown into an inherent
sequences to Spring. …Under that name part of my work. It was the beginning of
I published a good deal of lyric poetry, the social consciousness which I think has
which was a bad imitation of Edna Millay. marked most of my writing. I am glad that
When I grew up I realized this poetry I received this bitter education for I don’t
12 BALTIMORE CENTER STAGEME
think any writer has much purpose back of Battle of Angels, which was produced by the
him unless he feels bitterly the inequities Theatre Guild…. It closed in Boston during
of the society he lives in…. That is the social the tryout run but I have rewritten it a couple
background of my life! of times since then and still have faith in it….
My jobs in this period included running an
I entered college during the Great all-night elevator in a big apartment-hotel,
American Depression and after a couple waiting on tables and reciting verse in the
of years I couldn’t afford to continue but Village, working as a teletype operator for
had to drop out and take a clerical job in the US Engineers in Jacksonville, Florida,
the shoe company that employed my father. waiter and cashier for a small restaurant
The two years I spent in that corporation in New Orleans, ushering at the Strand
were indescribable torment to me as an Theatre on Broadway. All the while I kept
individual but of immense value to me on writing, writing, not with any hope of
as a writer for they gave me first-hand making a living at it but because I found
knowledge of what it means to be a small no other means of expressing things that
wage earner in a hopelessly routine job. seemed to demand expression. There was
[Eventually,] I went back South to live with never a moment when I did not find life to be
my grandparents in Memphis. Then I began immeasurably exciting to experience and to
to have a little success with my writing. I witness, however difficult it was to sustain.
became self-sufficient [and] for a couple
of years afterwards I did a good deal of From a $17 a week job as a movie usher I was
traveling around and I held a great number suddenly shipped off to Hollywood, where
of part-time jobs of great diversity. It is MGM paid me $250 a week. I saved enough
hard to put the story in correct chronology money out of my six months there to keep me
for the last 10 years of my life are a dizzy while I wrote The Glass Menagerie. I don’t
kaleidoscope. I don’t quite believe all that think the story from that point on requires
has happened to me, it seems it must have any detailed consideration.
happened to five or ten other people.
This essay originally appeared on the jacket of the
My first real recognition came in 1940 when I record album Tennessee Williams: Reading from
received a Rockefeller fellowship and wrote His Works (Caedmon Records, 1952).
BALTIMORE CENTER STAGE 13KOCH ON CAT Q&A WITH SCENIC
DESIGNER ADAM KOCH
Where do you begin with a play as iconic as this?
Along with director Judy Ivey, we started with the root and heart of the play:
the script, the characters, and, ultimately, the emotional spectacle of a romance
trapped within a dysfunctional family. Judy’s personal style and her directing
approach are so beautiful, so respectful of the actor’s process—so my task was
to sculpt a room around her sensitive, grounded vision of the Pollitt family.
Williams can be notoriously precise, What specific points of reference or
even tyrannical, in his stage directions inspiration did you use?
and scenic descriptions; where do you A few of the most iconic and romantic
take guidance from this, and how do you plantation homes of the South were of
find freedom? course acknowledged in the inspiration
On one hand, I believe a creative team and design process: Nottoway House,
should have the freedom to design and Ashland Belle Helen, and Oak Valley.
develop productions in every conceivable As well as, in stark artistic contrast, the
way for the sake of fresh theater-making. On modern fabric sculptures of Korean artist
the other hand, when it comes to designing Do Ho Suh, which unknowingly capture
for Williams, I think he can be trusted the atmosphere of a current-day Williams
to imagine his play in the appropriate setting (the BCS production team
atmospheric, physical setting. I tried to mine even took an investigative field trip to
all of his important intentions and translate Washington to see them in person).
them through our 2018 imaginations, so
that ghost of Williams’ vision is still intact,
transformed into its latest incarnation.
14 BALTIMORE CENTER STAGEOther than a footprint required by the logistics of the play’s action,
what storytelling elements did you hope to add in the design?
I think some of the enduring grandeur of story, it can be a gilded cage of sorts.
Cat is its classic Southern plantation I was also interested in evoking the sense
setting and the human backdrop of the of mystery and delicacy, evasion and
large distinguished family. I wanted to concealment that I find in the story—a
underscore both the pleasure and the voyeuristic realism that then explodes.
pressure of such a royal American family. So I wanted the set to evoke all that at the
It is fun to be rich, but, as depicted in the same time, beautifully and confusingly.
Was there any particular challenge you feel like you had to tackle?
The biggest challenge was developing we needed, I essentially imagined and
a floor plan of the bedroom, bathroom, designed the entire Pollitt house to come
hallway, and wraparound porch that up with the small part of the house we see
made sense, as it relates to the rest of the in the play.
house. To discover the bedroom plan that
How do you avoid telling the whole story right off the bat the first time the lights go on?
This is critical! It is so disheartening to beautiful, breezy palace of a room helps
see a set that “answers all the questions” put the struggle in more contrast: “why are
from the outset of the play: for example, they sad?” say, or “who could be unhappy
a depressed character living in a gray, in such a beautiful place?” Right from
bleak room leaves nothing to imagine the start, our questions become aligned
and nowhere to go emotionally. Instead, with the characters’ questions, and we all
I love designs that generate questions, discover together.
not answers. In our case, creating a soft,
BALTIMORE CENTER STAGE 15THE CAST
Charlotte Booker* Winning Season; Major Dad
Big Mama (series regular), Homeland,
Unforgettable, American
Baltimore Center Stage: As
Odyssey, Oz, Third Watch, One
You Like It. Broadway—Born
Life to Live, Law & Order, GirlTalk.
Yesterday (both revivals). Off-
Video Game—Grand Theft Auto
Broadway—Fugue (directed by
V. Education—MFA: The Old
Judith Ivey); Leave Me Green;
Globe/University of San Diego.
Take Me Back; Five Genocides;
Ten Chimneys; Bitch! (which she
Nina Brothers
also wrote); Deathbed; Psycho
Dixie
Beach Party. National Tour—
CHA
Born Yesterday (Billie Dawn RLOT
TE BO
Baltimore Center Stage:
OK ER Camp BCS: Lost and Found
stb). Regional—Lots of leading
roles, all over, for over 30 years. (ensemble). Regional—
Film—Inside Llewyn Davis; Memorial Players: Into the
Brazzaville Teenager; Love and Woods (children's chorus).
Support. TV—Power (recurring); Camp—Charm City Players:
Bluebloods; Gaffigan; Boardwalk Annie (Annie), Single Carrot
Empire; Law & Order, CI (twice); Theatre: Where the Wild
Murphy Brown; Chicago Hope; Things Are (Wild Thing #2).
Hi, Honey, I’m Home, and many Education—current 4th grader
others. at The Mount Washington
School in Baltimore.
Rod Brogan* ROD
BROG
RAN
Gooper Paul DeBoy*
Reverend Tooker
Baltimore Center Stage:
King Lear. Broadway—MTC: Baltimore Center Stage:
Mauritius. Off-Broadway—Irish debut. Broadway—Broadhurst:
Rep: Beyond the Horizon, The Mamma Mia!; Manhattan
Burial at Thebes; Mint: Mary Theatre Club: Sight Unseen
Broome; Irondale: Treasure (cover). Off Broadway—
Island. Select Regional— Second Stage: Eurydice; St.
Guthrie: The Cocktail Hour; Clement’s: Edwin, The Story of
City Theatre: The Night Alive, Edwin Booth; 30th St. Theatre:
Ironbound; Old Globe: Engaging Ferguson; NYMF: Swiss Family
N IN A Robinson. Tours—North
Shaw, Pentecost, Antony and BROT
HERS
Cleopatra, The Two Noble America: Mamma Mia!; FPA:
Kinsmen, Pericles, As You Like Martin Luther on Trial. Regional—
It, Much Ado About Nothing; Syracuse Stage/The Wilma:
TheatreWorks Silicon Valley: The Christians; Indiana Rep:
Other Desert Cities, Outside Appoggiatura; Denver Center:
Mullingar; CATF: Scott and Hem; All the Way; CATF: Everything
Syracuse Stage: Doubt; Bard is Wonderful, We Will Not Be
Summerscape: Judgment Day. Silent; Rep Theatre St. Louis:
Tour—Doubt. Film/TV—The The 39 Steps, The Pillowman
16 BALTIMORE CENTER STAGETHE CAST
(and 15 others); The Pioneer Alexis Hyatt*
Theatre: My Fair Lady, The Real Mae
Thing; Cincinnati Playhouse:
Baltimore Center Stage: debut.
Sylvia, The Clean House, Caine
Regional—Florida Studio
Mutiny; The Olney: Blithe Spirit.
Theater: Constellations, How to
Film/TV—All four Law & Orders,
Use a Knife; NJ Shakespeare
The Blacklist: Redemption, Royal
Theater: To Kill a Mockingbird;
Pains, The Following, A Dirty
Gulfshore Playhouse: Boeing,
Shame. IG—@pauladeboy
Boeing, The Liar, All My Sons,
The Games Afoot; Northern
Stephanie Gibson*
Stage: Blithe Spirit, Amadeus,
Maggie PA U L
DEBO M. Butterfly, No Sex Please,
Y
Baltimore Center Stage: We’re British, The Importance of
debut. Broadway— Charlie Being Earnest. Film/TV—Orange
and the Chocolate Factory is the New Black. Education—
(Cherry Sunday), Cinderella BFA: University of the North
(Gabrielle), Spamalot, The Carolina School of the Arts.
Addams Family. National
Tours—A Chorus Line (Judy Jim Ireland*
Turner); Happy Days (Lori Beth). Doc Baugh
Other New York—City Center
Baltimore Center Stage: debut.
Encores!: Anyone Can Whistle;
Off Broadway—Jewish
54 Below: Glitter, Goblets &
Repertory Theater: The Shawl
Gatos (One Woman Show).
STEP
H A N IE (w/ Dianne Wiest, dir. Sidney
Regional—Cape Playhouse: G IB S
ON Lumet); Chashama 42nd St:
Cabaret (Sally Bowles);
Motherbird by Craig Lucas
Theatre Under the Stars: Into
(original cast); The Lion:
the Woods (Baker’s Wife);
Ephemera. Regional—Arena
MUNY: Young Frankenstein
Stage: Every Tongue Confess
(Inga); Bucks County
(w/ Phylicia Rashad, dir. Kenny
Playhouse: Rocky Horror Show
Leon); The Repertory Theater
(Janet); La Mirada: Empire
of St. Louis: All My Sons; The
(Frankie Peterson). TV/Film—
Walnut Street Theater:
Happy! (recurring role of Pixley,
Philadelphia, Here I Come!;
SYFY); Person of Interest (CBS);
Philadelphia Area Repertory
Up All Night (NBC); The Union
Theater: Twelfth Night (dir.
(dir. J. Thibodeau); Flamingo ALEX
IS H Y
ATT
Gregory Doran, RSC), Wilma
Love (dir. AJP); The Audition
Theatre: Macbett; Arden
(Seth & Avi); You Must Be Joking
Theatre: Man and Superman;
(dir. Jake Wilson); Performance
Orlando Shakespeare Theater:
on 67th Annual Tony Awards
King Lear, Julius Caesar, Taming
(CBS); David Letterman (CBS),
of The Shrew, Race, Yankee
Live with Kelly and Michael
Tavern. TV—Blue Bloods, Bull,
(ABC). Web—Dates, Mates
The Mysteries of Laura, Mercy,
& Clean Slates (Co-Writer
Law & Order.
alongside Julie Lubeck); Rare
Birds of Fashion (dir. Lily-Hayes
Kaufman); SNAFU. Education—
BFA: Cincinnati College-
Conservatory of Music. J IM IR
ELA ND
@StephGib1
BALTIMORE CENTER STAGE 17Leonardo Manni Bit Player (dir. Mark Levinson),
Buster Dish (dir. Isabele Teitler) Home
Is Where the Heart Aches (dir.
Baltimore Center Stage: debut.
Julien Levi), Deja View (dir.
Regional—Baltimore School for
Phillip Van), Hank and Asha
the Arts: The Nutcracker (Party
(dir. James Duff), Si Nos Dejan
Child), Expressions (dancer).
(dir. Celia Rowlson-Hall), The
Education—Baltimore City's
Audition, and Gray Dog (dir.
Tunbridge Public Charter
Celia Rowlson-Hall), Mrs.
School; Baltimore School for the
Tenderfoot Takes a Lover (dir.
Arts: TWIGs Program.
LEON Melissa Tomjanovich), Shadows
ARDO
MAN
Cynthia Miller NI and Lies (dir. Jay Anania), Year
Sookey One (dir. S.G. Past), and MA
(Venice, Tribeca Film Fest, dir.
Baltimore Center Stage:
Celia Rowlson-Hall). Awards—
debut. Regional—Spotlighters
Ernie Award (Best Actor), Henry
Theatre: Love, Loss, and What I
Award (Best Actor nom) Napa
Wore; Rockville Music Theatre:
Valley FILM Fest (Best Actor),
Spamalot (ensemble). Other—
Slamdance (Audience Award).
Strand Theater Company
Professional—Teacher/
(upcoming): Detroit '67
Director. Education—Andrew
(Dramaturg). Film—Family First.
is a graduate of The South
Other—DC Capital Fringe: CYN
T H IA
M IL L
Carolina Governor's School
Hawaii Nei (Stage Manager). ER
for the Arts and Humanities
Education—MA: The Johns
and The University of North
Hopkins University.
Carolina School of the Arts.
Andrew Pastides* andrewpastides.com
Brick
David Schramm*
Baltimore Center Stage: debut. Big Daddy
Off Broadway—
David Schramm has had a
59 E59: Lovesong; Barrow
career full of firsts. As a young
Group: Makeout Session.
apprentice he helped to create
Regional—Magic Theatre:
ANDR
Actors of Louisville, which grew
Fool for Love, Goldfish; Denver EW P
A S T ID into Actors Theatre of Louisville,
Center: Tribes; Merrimack ES
one of the most respected
Rep: Half and Half and Half;
regional theatres in the country.
Two River Theatre: The Glass
He was among the first class
Menagerie, Tartuffe; The
of the Julliard School’s Drama
Cleveland Playhouse: The
Division, the now infamous
Chosen; The Arizona Theatre
Group I: (fellow Group-Iers
Co.: Molly's Delicious; Theatre
include Patti LuPone, Kevin
Alliance: Gross Indecency: The
Kline, Gerry Gutierrez, Mary
Three Trials of Oscar Wilde. TV/
Lou Rosato, and David
Film—Blue Bloods (CBS), Law
Ogden Stiers). Also under the
& Order (NBC), Suits (USA), D A V ID
SCHR guidance of John Houseman,
Boardwalk Empire (HBO), The AMM
18 BALTIMORE CENTER STAGEthose graduates were founding
members of The Acting Co.
now in its 47th season. Debuts
include The Boys Next Door
(Norman), Other People’s Baltimore Center Stage operates
Money, The Robber Bridegroom under an agreement between LORT
and Actors’ Equity Association, the
(Clement), and the American
union of professional actors and
premiere of two Ayckbourn stage managers in the United States.
plays, Man of the Moment and A
Chorus of Disapproval. Classic
roles include Prospero (twice), JA CK
ST. P
IE R R E
Brutus, Angelo Boyet, and The Director and Choreographer
King Lear directed by John are members of the Society of Stage
Directors and Choreographers, Inc.,
Houseman. Movies include
an independent national labor union.
Ragtime, Johnny Handsome, A
Shock to the System, and Let It
Ride. TV—too many guest spots
(often as killer-of-the-week)
The scenic, costume, lighting, and
to mention, most prominently
sound designers in LORT theaters are
on Working Girl (w/ Sandra represented by United Scenic Artists,
Bullock) and eight seasons as Local USA-829 of the IATSE.
Roy Biggins on NBC’s Wings.
Jack St. Pierre
Sonny
Baltimore Center Stage: debut. Musicians engaged by Baltimore
Other—Aldersgate Church Center Stage perform under the
terms of an agreement between
Community Theater: Seussical Center Stage and Local 40543,
Jr. (JoJo); Mount Vernon American Federation of Musicians.
Children’s Community Theater:
Baltimore Center Stage is a
Charlotte’s Web (Gander), constituent of Theatre Communica-
Grease: School Version tions Group (TCG), the national
organization for the nonprofit
(Ensemble); Metropolitan
professional theater, and is a member
School of the Arts: The Sound of the League of Resident Theatres
of Music (Ensemble). Film/ (LORT), the national collective
bargaining organization of
New Media—Cinnamon professional regional theaters.
(Connor), One Three Seven
Films; Clownfish (S1; E5);
Thank an Educator (Student);
Genereckless (Young Connor).
*Member of the Actors'
Equity Association.
BALTIMORE CENTER STAGE 19THE ARTISTIC TEAM
THE ARTISTIC
TEAM
Tennessee Williams won a Pulitzer before also being Acting credits include:
Playwright translated successfully to Broadway—Bedroom Farce
Tennessee Williams was born film—as were The Rose Tattoo, (with David Schramm), Piaf,
Thomas Lanier Williams in Orpheus Descending, The Night Steaming, Hurlyburly, Precious
Columbus, Mississippi, in 1911. of the Iguana, Suddenly Last Sons, Blithe Spirit, Park Your Car
Unhappy with everyone’s Summer, and Sweet Bird of in Harvard Yard (Tony nom),
tendency to call him simply Youth. Later, lesser-known plays Voices in the Dark, Follies, The
“Tom,” he eventually sought include THIS IS (An Heiress (Tony nom), The
more distinction under the Entertainment), Vieux Carré Audience. Regional—Long
name “Tennessee.” Unique (1977), A Lovely Sunday at Crève Wharf Theatre: Fireflies
and distinctive by any name, Coeur (1978–79), and Clothes (Grace); ACT-San Francisco:
and still arguably the for a Summer Hotel (1980). The Birthday Party (Meg); The
most-performed of American Williams died in 1983 in New Glass Menagerie (Amanda,
playwrights, Williams wrote York, having apparently choked Lucille Lortel Award). She also
some 70 plays, 15 film scripts, on the cap of a pill bottle. co-stars in the web series The
two novels, and an Accidental Wolf. Film—Over 40
Judith Ivey films including Devil’s Advocate,
autobiography, as well as
Director
essays, poems, and short Washington Square, Mystery,
stories. His most famous works Baltimore Center Stage: debut. Alaska, Brighton Beach Memoirs,
appeared on stage and film Directing—recent credits Love Hurts, Compromising
throughout the 1940s and include the Public Theatre in Positions, What Alice Found,
1950s, and number among the Maine: The Ladies Foursome; Flags of Our Fathers, A Bird of
great classics of American North Coast Rep and Laguna the Air, Big Stone Gap, Cortez,
theater; drawing deeply on Playhouse in California: Through a Glass Darkly. TV—
autobiographical detail and Chapatti; Alliance Theatre: Designing Women; The Long, Hot
Southern culture, Williams Steel Magnolias, Carapace Summer; What the Deaf Man
developed a distinctively poetic (world premiere, Bass Award Heard (Emmy nom); Rosered;
naturalism to explore such nom); Pasadena Playhouse and Nurse Jackie; A Person of
explosive topics as sexuality, Second Stage-NYC: Vanities Interest; White Collar; Grey’s
desire, psychology, class, and The Musical; Snapple Anatomy; Law & Order: SVU; The
gender construction. After the Theatre-NYC: Secrets of a Family; Bloodline; Instinct.
epochal success of The Glass Soccermom; Second Stage- Awards—Tony Award and the
Menagerie in 1944 came A NYC: The Butcher of Baraboo; Drama Desk Award for
Streetcar Named Desire in 1947, Cherry Lane Theatre: Fugue; Steaming and Hurlyburly, the
which won the Pulitzer Prize and Primary Stages-NYC: Southern Obie Award for The Moonshot
cemented Williams’ stature. In Comforts; Northlight Theatre- Tape, and countless others for
1953, Camino Real was Chicago and Laguna her stage and film work.
commercially unsuccessful; but Playhouse: Bad Dates; Falcon Recipient of the Texas Medal
in 1955, Cat on a Hot Tin Roof Theatre-CA and Darryl Roth for the Arts and inducted in the
Theatre-NYC: More. Texas Film Hall of Fame.
20 BALTIMORE CENTER STAGETHE ARTISTIC TEAM
Adam Koch Angels 1 & 2, Pink Panther 1 & 2, Company, Playmaker’s
Scenic Designer Nobody’s Fool, Stepmom, The Repertory Company, Prince
Baltimore Center Stage: debut. Pope of Greenwich Village, Die Music Theatre, Ridge Theatre,
Off Broadway—Rooms: A Rock Hard With A Vengeance, Three Royal George Theatre of
Romance. International— Days of the Condor, Bowfinger, Chicago, Theatre Squared,
Dreamgirls (Seoul). Regional— Shaft, The Secret of My Success. Trinity Repertory Company,
Signature Theatre: Kiss of TV—Smash, Bernard and Doris. and Virginia Stage Company.
the Spiderwoman (Helen Awards—Nominated for two Academic—Head of Lighting
Hayes nomination); Serenbe Emmys, three Costume Design Design (Virginia Tech).
Playhouse: Titanic (outdoor), 1st Guild Awards, A Drama Desk johnambrosone.com
Stage: Bat Boy (Helen Hayes Award, and an Obie.
Victoria Deiorio
nomination); Ford’s Theatre;
John Ambrosone Sound Designer
Goodspeed Musicals; Paper
Lighting Designer Baltimore Center Stage:
Mill Playhouse; Tuacahn
Amphitheatre; The Repertory Baltimore Center Stage: Amadeus, Mud Blue Sky, The
Theatre of St. Louis; Music debut. Broadway—David Mountaintop, Working It Out.
Theatre of Wichita; Cincinnati Mamet’s The Old Neighborhood. Off-Broadway—Sheen Center:
Playhouse; Geva Theatre Off-Broadway—New York Nine Circles; St. Clement’s
Center; Fulton Theatre; Lyric Theatre Workshop: Nocturne; Theatre: A Christmas Carol;
Theatre of Oklahoma; Maltz 59E59 Theaters—Uncanny Active Theatre: Two Point
Jupiter Theatre; Ogunquit Valley. Tour—The King Stag. Oh; Joe’s Pub at the Public
Playhouse; Syracuse Stage; International—Teatre Municipal Theater: Cassie’s Chimera;
Bucks County Playhouse; and (Sao Paulo, Brazil); France 3 Steppenwolf at The Duke:
Portland Stage. Other—For Television Studios (Strasbourg, The Bluest Eye; NYMTF: Arnie
the past five years Adam and France); Theatro Des Westens the Doughnut; NYC Fringe
Steven Royal have jointly (Berlin, Germany); Tokyo Festival at The Connelly:
designed theater, film, and Globe Theatre (Japan); Royal Ophelia. Regional—Oregon
live events across the country Court and Royal Shakespeare Shakespeare; The Goodman;
including the official events theaters (London); Manuel Steppenwolf; Hartford Stage;
for New York City Pride. Doblado Theatre (Leon, Long Wharf Theatre; Syracuse
adamkochassociates.com; Mexico); Festival of the Arts Stage; Cincinnati Playhouse;
Instagram: @instadamkoch (Singapore); Moscow Art Cleveland Playhouse;
Theatre (Russia); Taipei Chautauqua Theater
Joseph G. Aulisi National Theatre (Taiwan). Company; Indiana Repertory;
Costume Designer Regional—American Repertory Milwaukee Repertory; and
Baltimore Center Stage: Theatre (45+ productions as many other theaters in and
debut. Long history in Resident Lighting Designer), around Chicago, NY, and LA.
design for theater and film. Alley Theatre, Alliance Awards—Nominated for 13
Broadway—30+ shows have Theatre, Arena Stage, Brooklyn and awarded seven Joseph
been directed by Jerome Academy of Music, Capitol Jefferson Awards, two After
Robbins, Michael Bennett, Repertory, Clarence Brown Dark Awards, and a SALT
Gower Champion, Harold Theatre, Coconut Grove Award. Professional—Head of
Pinter, Gene Saks, and Playhouse, CATF, The Gravity Sound Design for The Theatre
numerous others. Film—50+ Project, Hartford Stage, Long School at DePaul University in
include Noah Baumbach’s The Wharf, McCarter, Merrimack Chicago, and Co-Chair of the
Meyerwitz Stories, Ang Lee’s Billy Repertory, North Shore Music Theatrical Sound Designers
Lynn’s Long Halftime Walk and Theatre, People’s Light & and Composers Association.
Taking Woodstock, Charlie’s Theatre, Philadelphia Theatre victoria-sound-design.com
BALTIMORE CENTER STAGE 21THE ARTISTIC TEAM
Kendall Simpson Sordelet Ink/ Christians. Regional—For the
Composer Rick Sordelet past 17 years, she has worked
Fight Director and reprised her role as SM
Baltimore Center Stage: debut.
with many companies including:
Regional—Alliance: Sheltered Rick and his son, Christian
Actors Theatre of Louisville,
(dir. Kimberly Senior); The Kelly-Sordelet, are the
Clubbed Thumb, 3LD, Lee
Temple Bombing (dir. Jimmy creators of Sordelet Ink.
Strasberg Institute, LAByrinth
Maize), Steel Magnolias, Baltimore Center Stage: Theater, Rising Circle Theater
(dir. Judith Ivey), In Love and Shakespeare in Love, Jazz, Collective, Big Apple Circus,
Warcraft (dir. Laura Kepley), The White Snake, Les Liaisons NYU Steinhardt, New Georges,
Warrior Class (dir. Eric Ting), Dangereuses. Broadway—72 Working Theater, and New
The Whipping Man (dir. Alex shows including The Lion King, Dramatists. Last summer she
Greenfild), Bike America (dir. Beauty and the Beast, Eclipsed. wrapped up Bello Mania at
Moritz von Stuelpnagel), Apples National Tours—Beauty and the New Victory Theater on
and Oranges (World Premiere, the Beast, Les Miserables. 42nd St. Danielle has worked
A. Uhry/dir. Lynne Meadow), International—53 productions on two recent workshops: The
I Just Stopped By to See the including Tarzan, Aida, The Lion Donna Summer Project (La Jolla
Man (dir. Ron Parson), Broke King, Beauty and the Beast, Ben Playhouse) and Ain’t Too Proud
(dir. Jason Loeweth), False Hur Live (Rome and European (Berkeley Rep). Additionally,
Creeds (dir. Wendy Goldberg), tour). Opera—The Met Opera: Danielle also worked on
Eurydice (dir. R. Garner); Cyrano (w/ Placido Domingo), Michael Kors' fashion show in
Georgia Shakespeare: As You Shanghai, China.
Don Carlo (dir. Nicholas
Like It, Hamlet, Much Ado About Hytner); The Royal Opera
Erin Edelstein*
Nothing, Love’s Labour’s Lost, House; La Scalia (Milan). Film—
Assistant Stage Manager
Metamorphoses, The Tempest, A The Game Plan, Dan in Real Life,
Winter’s Tale, Romeo and Juliet, Baltimore Center Stage: debut.
Brave New Jersey, LIV, Hamlet.
Antigone (musical, R. Garner/K. Regional—Gretna Theatre:
TV—CBS: Guiding Light (Chief
The 39 Steps, She Loves Me,
Simpson). Music for Dance— Stunt Coordinator for 12 years);
It Shoulda Been You, Tarzan;
Atlanta Symphony Orchestra: Kevin Can Wait. Instructor—
Fulton Theatre: Other Desert
Papillon; Emory Dance: Path, Yale School of Drama.
Cities, Les Miserables, Young
Island, We the Living, Inside Awards—Edith Oliver Award for
Frankenstein; Meadow Brook
the Crevice, Carnival Mask. Sustained Excellence from the Theatre: Next To Normal, A
Music for Film/Video—Zelda Lucille Lortel Foundation; Jeff Christmas Carol. Education—
(Sesame Street); Under the Award for Outstanding Fight Penn State University: BFA
Boardwalk (Georgia Aquarium); Director for Romeo and Juliet Theatre and Communications
The Promotion; Twin Set; The at the Chicago Shakespeare Arts and Sciences. Member—
Voicemaker; The Etiquette Man; Theater. Author—Buried Actors Equity Association and
The Initiate. Commissions— Treasure, Choices. Stage Managers Association.
Southern Progression (Chamber sordeletink.com
Music America); Within Reach Bailey Bass
(Dekalb Symphony Orchestra); Gavin Witt Assistant Director
Island (Vega Quartet); Production Dramaturg Baltimore Center Stage:
Professional—Music Director debut. Director—Fredonia
(See page 27)
Dance Department at Senior Thesis: Constellations
Emory University. Danielle Teague-Daniels* by Nick Payne; Fredonia One
Stage Manager Act Festival: Shit-House Crazy
by Julie Akeret. Assistant
Baltimore Center Stage:
Director—Shellscrape Theatre
Resident Stage Manager;
Co.: Miss Julie; Walter Gloor
SOUL The Stax Musical, The
22 BALTIMORE CENTER STAGEMainstage: Daisy Pulls It Off, The
Illusion. Education—State University of
New York at Fredonia, BA Theatre Arts
and BS Public Relations.
Pat McCorkle
Katja Zarolinski
McCorkle Casting, Ltd.
Casting
Baltimore Center Stage: SOUL The
Stax Musical, Mobile Unit Twelfth
Night, Animal Farm, Skeleton Crew,
Lookingglass Alice, The Christians,
Jazz, Les Liaisons Dangereuses, Detroit
’67, As You Like It, Pride and Prejudice,
Marley, One Night in Miami…, Amadeus,
Wild with Happy, Twelfth Night, A Civil
War Christmas. Broadway—Amazing
Grace, On the Town, End of the Rainbow,
The Lieutenant of Inishmore, The Glass
Menagerie, Cat on a Hot Tin Roof, One
Flew Over the Cuckoo’s Nest, Amadeus,
She Loves Me, Blood Brothers, A Few
Good Men, etc. Off-Broadway—
Clever Little Lies, Dr. Ruth, Stalking
the Bogeyman, Freud’s Last Session, DRINK LOCAL.
Tribes, Our Town, Almost Maine and
Driving Miss Daisy. Over 50 regional
theaters—Guthrie, George Street
Theatre, Connecticut Rep, Pittsburgh
Public, Barrington Stage. Over 60
films—Senior Moment, Year by the Sea,
Child of Grace, Premium Rush, Ghost
Town, Secret Window, Tony and Tina’s
Wedding, The Thomas Crown Affair,
The 13th Warrior, Madeline, Die Hard
III, School Ties. TV/Web—Planned
Parenthood series Talkin’ About, Twisted,
Sesame Street, Californication (Emmy
nom), Max Bickford, Hack, Strangers with DRINK UNION.
Candy, Barbershop, Chappelle’s Show.
mccorklecasting.com
Tap Room Hours:
Thurs-Fri: 5-10PM
*Member of the Actors' Equity Sat-Sun: 12-5PM
Association, the Union of
Professional Actors and Stage
BEER UNITES!
Managers in the United States. 1700 Union Ave. Baltimore MD, 21211
BALTIMORE CENTER STAGE 23KING OF THE YEES
OCT 25—NOV 18
ALL BY LAUREN YEE
IP
E M B ERSH A WONDER IN
M AGES MY SOUL
P A C K
N
ARE O
NOV 29—DEC 23
L E N OW! BY MARCUS GARDLEY
SA
FUN HOME
JAN 17—FEB 24
MUSIC BY JEANINE TESORI
BOOK AND LYRICS BY LISA KRON
BASED ON THE GRAPHIC NOVEL
BY ALISON BECHDEL
INDECENT
FEB 28—MAR 31
BY PAULA VOGEL
HOW TO CATCH
CREATION
MAY 2—MAY 26
BY CHRISTINA ANDERSON
CENTERSTAGE.ORG 410.332.0088
24 BALTIMORE CENTER STAGEGIVE THEM
A HAND.
DLA Piper proudly supports Baltimore
Center Stage and your production of
Cat on a Hot Tin Roof. We salute your
commitment to artistic excellence
in Baltimore.
dlapiper.com
Jay Smith, The Marbury Building, 6225 Smith Avenue, Baltimore, MD 21209 | DLA Piper LLP (US) is part of
DLA Piper, a global law firm, operating through various separate and distinct legal entities. Further details
of these entities can be found at www.dlapiper.com. | Attorney Advertising | MRS000110476
BALTIMORE
CENTER STAGE
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IN OUR COMMUNITY.
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Center Stage in its work to engage, educate, and inspire.
Learn more about the work we’re doing in the community.
troweprice.com/responsibility
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BALTIMORE CENTER STAGE 25THE BALTIMORE SUN’S
UPCOMING
// EVENTS
WOMEN TO WATCH
// October 11 //
Baltimore Museum of Art // 6pm-8:30pm //
The Baltimore Sun and its sponsors are proud to present
the third annual “Women to Watch” networking event
in celebration of its glossy magazine highlighting the
most inspiring and intriguing women in the region.
BaltimoreSun.com/2018WomenToWatch
SECRET SUPPER
// November 5 // 7pm-10pm //
The Baltimore Sun invites you to experience an extraordinary menu
at one of the city’s top restaurants. We just can’t tell you where…
yet. Each ticket is all-inclusive. Your four-course meal, specialty
cocktail and wine pairings are included in the cost of your ticket,
along with tax and gratuity.
BaltimoreSun.com/SecretSupper
BaltimoreSun.com
26 BALTIMORE CENTER STAGELEADERSHIP
LEADERSHIP
Executive Director consulted in fundraising, board
development, executive
MICHAEL ROSS
search, and strategic planning
Michael Ross returned to for theaters nationwide. He has
Baltimore Center Stage in been a panelist for the
2016, after having served as National Endowment for the
managing director from 2002 Arts, Theatre Communications
to 2008. In between he was Group, and New England
managing director of Westport Foundation for the Arts, among
Country Playhouse. Previously, others, and was an adjunct
he was managing director of professor in The Yale
Long Wharf Theatre, general University School of Drama
manager of Hartford Stage, Theater Management
program officer/project Program. He currently serves
director at National Arts on the Board of the Burry
Stabilization, and worked with Fredrik Foundation and
Baltimore Opera Company Maryland Citizens for the Arts.
and Alley Theater. Michael has
Artistic
Associate Artistic Director Associate Director,
Director of Dramaturgy
HANA S. SHARIF
Hana S. Sharif is a director, GAVIN WITT
playwright, and producer. She Gavin Witt came to Baltimore
served as Associate Artistic Center Stage in 2003 after
Director, Director of New Play 15 years in Chicago as an
Development, and Artistic actor, director, dramaturg,
Producer at Hartford Stage; translator, and teacher. As
recently as Program Manager of well as working as a dramaturg
the ArtsEmerson Ambassador at BCS, he has translated or
Program; Developmental adapted some dozen plays
Producer/Tour Manager of and helped develop new work
Progress Theatre’s musical The all over the country. In addition
Burnin’; and as co-founder and to freelance directing in
Artistic Director of Nasir Chicago and elsewhere, BCS
Productions. Directing credits directing credits include Twelfth
include: Baltimore Center Night, the 50th Anniversary
Stage: The Christians, Les Decade Plays, dozens of
Liaisons Dangereuses; Pride & play readings, many Young
Prejudice; Regional: Sense & Playwrights Festival entries,
Sensibility, The Whipping Man, and a short film. A graduate
Gem of the Ocean, Gee’s Bend, of Yale and the University of
Next Stop Africa, Cassie, The Chicago, he teaches on the
Drum, and IFdentity. Her plays Humanities faculty at Peabody
include All the Women I Used to Conservatory, having served
Be, The Rise and Fall of Day, and on the advisory boards of
The Sprott Cycle Trilogy. several theaters and spent
Hana is the recipient of the more than a decade as a
2009–10 Aetna New Voices regional vice president of
Fellowship and Theatre LMDA, the national association
Communications Group (TCG) of dramaturgs, before
New Generations Fellowship. recently joining its board.
BALTIMORE CENTER STAGE 27INDIVIDUALS 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 Laurents /Hatcher Foundation Sandy Liotta and Carl Osterman
represents individual donors
Charles E. Noell III Ken and Elizabeth Lundeen
who, through their annual
contributions of $1,500 or Sharon and Jay Smith Marion I. and Henry J. Knott
more, provide special Foundation
opportunities for our artists
ARTISTS CIRCLE Robert E. Meyerhoff and
and audiences. Society
($10,000-$24,999) Rheda Becker
members are actively
involved through special Anonymous Jeanine Murphy
events, theater-related
The William L. and Victorine Q. J. William Murray
travel, and behind-the-
Adams Foundation
scenes conversations with Dave and Chris Powell
theater artists. Paul M. Angell Family
Foundation Mr. and Mrs. George M.
SEASON SPONSORS Sherman
Peter and Millicent Bain
($50,000+) Ellen J. Remsen Webb and
The Bunting Family Foundation
Ellen and Ed Bernard J.W. Thompson Webb
Mary Catherine Bunting
Lynn Deering
The Helen P. Denit PLAYWRIGHTS CIRCLE
Charitable Trust ($5,000-$9,999)
Jane and Larry Droppa
Ms. Nancy Dorman and Taunya Lovell Banks
Terry H. Morgenthaler and Mr. Stanley Mazaroff
Bradie Barr and Tollie Miller
Patrick Kerins Brian M. and Denise H. Eakes
Mr. and Mrs. Douglas L. Becker
Judy and Scott Phares Amy Elias and
Richard Pearlstone Winnie and Neal Borden, The
Lynn and Philip Rauch Harry L. Gladding Foundation
Juliet A. Eurich and
Louis B. Thalheimer James T. and Francine G. Brady
The Shubert Foundation, Inc.
The Fascitelli Family Susan Bridges and Bill Van Dyke
The Harold and Mimi Foundation
Sylvia and Eddie Brown
Steinberg Charitable Trust Daniel and Lori Gahagan
The Goldsmith Family The Annie E. Casey Foundation
PRODUCERS CIRCLE Foundation Melissa and Augie Chiasera
($25,000-$49,999)
Harry Gruner and
The Nathan & Suzanne Cohen
The William G. Baker, Jr. Rebecca Henry
Foundation
Memorial Fund, creator of the The Laverna Hahn
Baker Artist Portfolios Charitable Trust The Jane and Worth B.
www.BakerArtistAwards.org Daniels, Jr. Fund
J. S. Plank and D. M. DiCarlo
Penny Bank Family Foundation The Delaplaine Foundation, Inc.
Stephanie and Ashton Carter Wendy Jachman Walter B. Doggett III and
James and Janet Clauson Francie and John Keenan Joanne Doggett
The JI Foundation Townsend and Bob Kent Beth and Michael Falcone
Kathleen Hyle Keith Lee Dick Gamper
28 BALTIMORE CENTER STAGEMegan M. Gillick Sandra and Thomas Hess Andrea and Samuel Fine, in
memory of Carole Goldberg
The Hecht-Levi Foundation, Inc. Ralph and Claire Hruban
Dr. Matthew Freedman and
Patricia and Mark Joseph, David and Elizabeth JH Hurwitz Dr. Gladys Arak Freedman
The Shelter Foundation Susan and Steven Immelt Howard and Susan Goldberg
The John J. Leidy Foundation, Inc. Mr. and Mrs. Joseph M. Dr. Neil Goldberg, in
Maryland Humanities Jennings, Jr. memory of Carole S. Goldberg
Francine and Allan Krumholz Goldseker Foundation
John and Kim McCardell
The Macht Fund of Len and Betsy Homer
Melissa Newman
the Associated Harriet S. Iglehart
Nora Roberts Foundation
Jim and Mary Miller Joseph J. Jaffa
Dorothy Powe, in memory of Hugh and Leanne Mohler Barry Kropf
Ethel J. Holliday
Chuck and Paddy Morton Mr. and Mrs. Earl Linehan,
Blanche and Theo Rodgers The Linehan Family Foundation
John and Susan Nehra
The Ida and Joseph Diane Markman
Shapiro Foundation Lawrence C. Pakula,
in memory of Sheila S. Pakula Marilyn Meyerhoff
Michelle Speaks and Morris A. Mechanic Foundation
Jill and Darren Pratt
David Warnock
The Rollins-Luetkemeyer
Val and Hutch Robbins
Donald and Mariana Thoms Foundation
Michelle and Nathan Robertson
Krissie and Dan Verbic Michael Ross
Charles and Leslie Schwabe Renee Samuels and
Loren and Judy Western
Scott and Mimi Somerville Jordan Rosenfeld
Ted and Mary Jo Wiese
Scot T. Spencer Barbara and Sig Shapiro
Thomas Wilson Sanitarium for Barbara Payne Shelton
the Children of Baltimore City Michael Styer
Mr. and Mrs. Robert N.
Cheryl Hudgins Williams
Smelkinson
DIRECTORS CIRCLE and Alonza Williams
($2,500-$4,999) Robert and Terri Smith
Mr. Todd M. Wilson and
Anonymous Mr. Edward Delaplaine Brian and Susan Sullam
The Lois and Irving Blum Paul and Dorothy Wolman Mr. William J. Sweet and
Foundation Ms. Geraldine Mullan
Linda Woolf
Mr. and Mrs. Harry Thomasian
Meredith and Adam Borden
Nanny and Jack Warren, in
Jan Boyce DESIGNERS CIRCLE
honor of Lynn Deering
($1,500-$2,499)
Drs. Joanna and Harry Brandt Sydney and Ron Wilner
Anonymous
Diana and Clinton Daly Dr. Richard H. Worsham and
Stephanie Baker
Mr. Jed Dietz and Ms. Deborah Geisenkotler
The Campbell Foundation, Inc.
Dr. Julia McMillan Young Audiences of
The Caplan Family Maryland, Inc.
Susan Garabedian Foundation, Inc.
Sandra Levi Gerstung The Mary and Dan Dent
Kim Gringas and Family Fund
Gene DeJackome Winnie DePalma
Robert and Sheryl Guth Dana M. DiCarlo
BALTIMORE CENTER STAGE 29You can also read
