FUN home MUSIC BY JEANINE TESORI BOOK AND LYRICS BY LISA KRON BASED ON THE GRAPHIC NOVEL BY ALISON BECHDEL
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FUN
home
MUSIC BY JEANINE TESORI
BOOK AND LYRICS BY LISA KRON
BASED ON THE GRAPHIC NOVEL BY ALISON BECHDEL
DIRECTED BY HANA S. SHARIF
2 01 8 – 2 01 9 S E A S ON
SUPERPOPS:
CHRISTINA BIANCO:
WOMAN OF A
THOUSAND VOICES
MARCH 1-3
PORGY AND BESS
APRIL 12-14
LESLIE ODOM JR.
WITH THE BSO
APRIL 26
MOVIE WITH ORCHESTRA:
AN AMERICAN IN PARIS
MAY 3-5
MOVIE WITH ORCHESTRA:
WEST SIDE STORY
JUNE 13, 14 & 16
Presenting Sponsors:
M&T Bank | BGE, An Exelon Company | PNC
Total Wine & More
Supporting Sponsors:
Gordon Feinblatt, LLC | Media Support Services
ABOVE: WEST SIDE STORY
CHRISTINA BIANCO MORGAN STATE UNIVERSITY CHOIR LESLIE ODOM JR. AN AMERICAN IN PARIS
PERFORMS PORGY AND BESS
JOSEPH MEYERHOFF SYMPHONY HALL
BSOMUSIC.ORG | 410.783.8000
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 MUSICAL NUMBERS
DESIGN
Daniel Martin-Minnich 8 DRAMATURGY
Bill Geenen
ADVERTISING
ads @ centerstage.org 14 CAST
BOX OFFICE
4 10 . 332 . 0 0 3 3 17 ARTISTIC TEAM
ADMINISTRATION
ANNUAL FUND
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CENTERSTAGE.ORG
INFO@CENTERSTAGE.ORG
30 CAPITAL CAMPAIGN
37 ARTISTIC CORNER
40 DiNING PARTNERS
42 STAFF
44 AUDIENCE SERVICES
FUN HOME
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 Suzan Garabedian
Box, BCS ignites conversations Sue Hess
Sandra Levi Gerstung
across Baltimore and beyond Murray M.
Andrew Giddens 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,
Fun Home represents many “firsts” both locally and
nationally. It is our first production of 2019, and was the
first show I worked on at The Public Theater back in 2012.
It was the first Broadway musical to center a lesbian story,
and the first Tony Award-Winning musical with women in
both the book writer and composer roles—Lisa Kron and
Jeanine Tesori have spent their entire careers busting
down doors and charging through glass ceilings (see
page 8). For two such master artists to continue their STEP
H
trailblazing by adapting Alison Bechdel’s hit graphic A R T IS A N IE Y B A
T IC D RRA
IR E C
novel is an embarrassment of genius of the highest TOR
magnitude. (Incidentally, if you aren’t already familiar
with the “Bechdel Test” named for Fun Home’s originating
artist, I encourage you to dive down that particular
rabbit hole, starting on page 13 of this program).
Speaking of revolutionary women and “firsts,” it is not lost
on me that our beloved Hana Sharif directs this production
of Fun Home under her new title, Artistic Director of The
Repertory Theatre of St. Louis. Her leadership here in
Baltimore and throughout the national landscape of the
American Theater is unparalleled, and I count myself
lucky to call her friend and colleague. Rest assured, this
will not be the last of Hana’s collaborations with Center
Stage. I look forward to continuing our relationship
here in Baltimore and beyond. Thank you, Hana!
Stephanie Ybarra
Artistic Director
BALTIMORE CENTER STAGE 3
FUN
home
Originally Produced on Broadway by Fox MUSIC BY
Theatricals, Barbara Whitman, Carole
JEANINE TESORI
Shorenstein Hays, Tom Casserly, Paula Marie
Black, Latitude Link, Terry Schnuck/Jane Lane,
The Forstalls, Nathan Vernon, Mint Theatricals,
BOOK AND LYRICS
Elizabeth Armstrong, Jam Theatricals, Delman BY LISA KRON
Whitney, and Kristen Caskey and Mike Isaacson.
BASED ON THE
The world premiere production of Fun Home
was produced by The Public Theater
GRAPHIC NOVEL
Oskar Eustis, Artistic Director BY ALISON BECHDEL
Patrick Willingham, Executive Director
in New York City on October 22, 2013. DIRECTED BY
Fun Home was developed in part at the 2012
HANA S. SHARIF
Sundance Institute Theatre Lab at White Oak
and the 2012 Sundance Institute Theatre Lab
at the Sundance Resort.
4 BALTIMORE CENTER STAGE
JAN 17–FEB 24, 2019
THE CAST ORCHESTRA THE ARTISTIC TEAM
in alphabetical order in alphabetical order
Laura Darrell* Alex Aucoin Hana S. Sharif
Medium Alison Percussion Director
Michelle Dawson* Andy Axelrad Evan Rees
Helen Bechdel Reeds Music Director
& Conductor
Jeffry Denman* Zack Branch
Bruce Bechdel Basses Jaclyn Miller
Choreographer
Liam Hamilton Amelia Giles
Christian Bechdel Violin/Viola Scott Bradley
Scenic Designer
Justin Gregory Lopez* Gerry Kunkel
Roy/Mark/Pete/ Guitars Karen Perry
Bobby Jeremy Costume Designer
MaryAnn Perkel
Molly Lyons* Cello Xavier Pierce
Small Alison Lighting Designer
Evan Rees
Jon Martens* Conductor/ Charles Coes
John Bechdel Keyboards Nathan A. Roberts
Sound Designers
Andrea Prestinario*
Alison Joe Jackson
Hana S. Kim
Music Contractor
Projection Designer
Shannon Tyo*
Joan Sabine Decatur
Production Dramaturg
Sara Bruner
*Member of Actors’ Associate Choreographer
Equity Association
Tiffany Fulson
Assistant Director
Please silence all electronic devices. Captain Kate Murphy*
There will be no intermission. Stage Manager
Danielle Teague-Daniels*
Assistant Stage Manager
Pat McCorkle
Katja Zarolinski
McCorkle Casting, Ltd.
Casting
BALTIMORE CENTER STAGE 5
MUSICAL NUMBERS
“IT ALL COMES
BACK (OPENING)”
Small Alison, Bruce,
Alison, & Company
“WELCOME TO
OUR HOUSE ON
MAPLE AVENUE” “HELEN’S ETUDE”
Helen, Alison, Small Alison, Roy, Bruce,
Alison, Christian, John, Small Alison, Helen,
Bruce, & Roy John, Christian,
& Medium Alison
“NOT TOO BAD”
Medium Alison “PARTY DRESS” “PONY GIRL”
Small Alison, Bruce, Bruce
“COME TO THE Medium Alison,
FUN HOME” & Alison “RING OF KEYS”
John, Christian, Small Alison & Alison
& Small Alison “CHANGING
MY MAJOR” “DAYS AND DAYS”
Medium Alison Helen
“MAPS” “TELEPHONE WIRE”
Alison Alison & Bruce
“R AINCOAT “EDGES OF
OF LOVE” THE WORLD”
Bobby Jeremy Bruce
& Company
“FLYING AWAY
(FINALE)”
Alison, Medium Alison,
& Small Alison
6 BALTIMORE CENTER STAGE
SETTING
WHERE & WHEN
The action spans locations from the
Bechdel house and family owned funeral
home in bucolic Beech Creek, Pennsylvania
(pictured in background) to the campus
of Oberlin College in Ohio and Alison
Bechdel’s contemporary studio space.
It takes place across time and memory
from the 1970s to more recent days.
BALTIMORE CENTER STAGE 7
L
EC H DE
LIS A K
RO N ON B
ALIS
JEANINE TESORI
PAGE to STAGE
THE MAKING OF FUN HOME
BY SABINE DECATUR, PRODUCTION DRAMATURG
THE NOVEL
A radical playwright, a Tony-nominated
composer, and a lesbian cartoonist
walk into a theater…
Fun Home has taken the theater world by
Alison Bechdel describes herself as a
“careful archivist of my own life,” and true
to that characterization, she spent seven
years making sure that each detail she
wrote down in her memoir was just right.
storm since its Broadway debut in 2015. It
In Fun Home—the graphic novel—she
has been lauded across the board for its
recreates photos and furniture, transcribes
innovations of the musical theater form, as
books and letters, and painstakingly recalls
well as for its all-female writing team and
every moment of her interactions with her
its tender representation of queer stories.
family. “A number of people have pointed
But this overnight success certainly didn’t
out to me that the compulsive attention I
happen overnight; the show came out
paid the house while I was doing the book
of a nearly 10-year artistic collaboration
was exactly what my dad had done,” she
between three brilliant artists—Lisa Kron,
says. “If my details were accurate enough,
Jeanine Tesori, and Alison Bechdel. Their
and true enough, and I had worked hard
long and arduous process spanned time,
enough, then my readers could enter my
space, and form as they worked to create
world without reservation, could trust that I
the Fun Home that you see today.
was telling them as much truth as possible.”
8 BALTIMORE CENTER STAGEThe resulting book is a complex and dense LISA KRON & WOW CAFÉ
memoir told through detailed illustrations,
Lisa Kron locates her artistic roots in
poetic language, and a winding journey
the East Village’s WOW Café. WOW
towards Alison’s and her father’s truths.
(originally short for Women’s One
Obviously, the work paid off: when it came
World) is a queer, woman-centric
out in 2006, Fun Home made top rankings
theater collective; it began in the 1980s
across a range of publications and was
as a women’s theater festival and grew
even named “Book of the Year” by Time.
into a center of lesbian theater and a
safe space for queer artists. Kron first
THE MUSICAL encountered WOW when she arrived
Bechdel never suspected that Fun in New York in 1984. “The work there
Home could have a life beyond the was a beautiful mess,” she says,
page. Even after she started getting free from political or aesthetic
commercial interest, it wasn’t until agendas and fueled by the wild
acclaimed playwright-performer Lisa excitement of an audience who had
Kron and Tony-nominated composer never seen themselves reflected….
Jeanine Tesori approached her that I learned to be a lesbian at WOW.
she even considered an adaptation: Through our plays and variety nights
It seemed harmless enough. I had and rent parties and fashion shows
turned down a movie on the grounds and retreats and staff meetings
that if it wasn’t good it would be full of lesbian “process” and
awful to have it out there in the lots of lesbian drama, we made
world, this terrible version of my a place in the world where it was
most intimate history. But a musical? taken for granted that girls like
I was naïve. I thought: if it’s a bad other girls and we could drop the
musical, it will just disappear. explanations and justifications
and become fully human.
Part of Bechdel’s initial hesitation was
also about the representation of lesbians After seeing a show by feminist
in the arts. Historically lesbians, and in performance art troupe and WOW
particular butch lesbians, have been founders Split Britches, Kron joined
reduced to objects of ridicule in popular up with Maureen Angelos, Babs Davy,
culture. But Lisa Kron’s long history of Dominique Dibbell, and Peg Healey to
writing and performing roles for queer form The Five Lesbian Brothers. The
women, including as co-founder of the Brothers write and perform plays not
landmark Five Lesbian Brothers theater just at WOW, but all over the country.
company, was reassuring to Bechdel. WOW Café has influenced Kron’s
work from her collaborations with
From the get-go, we had
the Brothers to her groundbreaking
conversations about butch
autobiographical plays, 2.5 Minute
representation, and how impossible
Ride and Well, and even to her work
that has been historically. When
on Fun Home. In addition to sharing an
you would see lesbians in a play or
interest in memoir and alternative forms
a movie they would be played by a
of storytelling, Kron says that she and
straight actress who didn’t get it, who
Bechdel share a queer mindset: “We
couldn’t quite go there. So we knew
make work that just assumes a lesbian
that was going to be an issue. And I
perspective. For me, that came out of
knew that Lisa would be the person to
what was true at the WOW Café.”
make that happen, if anyone could.
BALTIMORE CENTER STAGE 9Jeanine Tesori And thus with Bechdel’s blessing, in 2009,
Fun Home started its five year journey to
INNOVATES THE FORM Broadway. “It was nothing but problems,” Kron
said of the adaptation process. Bechdel’s
J eanine Tesori is often first. novel is not the obvious choice for musical
The first woman composer theater; its nonlinear structure, its visual and
with two original musicals literary focus, and its highly sensitive subject
running concurrently on matter make it an unlikely candidate. But
Broadway. Part of the first Kron and Tesori saw its theatrical potential
all-female writing team to win and the too-rare opportunity to use musical
a Tony for musical score. And theater to tell a queer story, and they elected
recently, one of the first women to take the risk. From the Ojai Playwrights
composers commissioned by Conference in California to the Sundance
the Metropolitan Opera—for Institute’s Theater Lab in Florida to the
an opera, Grounded, based Public Theater in New York, Fun Home grew
on George Brant’s acclaimed and developed in their capable hands.
play about a female fighter pilot
who, upon getting pregnant, THE CHANGES
goes into drone warfare.
Unlike most classic musical theater, Fun Home’s
Throughout her career, Tesori
storyline is structured around an emotional
continues to innovate, expand,
journey rather than a chronological one. “The
and explode the form, while also
graphic novel is filled with thousands of cells
tackling subtly revolutionary
that tell stories within themselves,” Tesori points
content. From Fun Home to
out. “How is it going to be in a long arc instead
Caroline, or Change to Violet
of in these little bits and pieces? And how are
and even Shrek, she insists
we going to tell that in a theatrical way? It
on engaging with difference,
took the full five years to really figure that out.”
making space on Broadway for
Over the years, they used maps, charts, and
those long-considered “other.”
index cards to test out different story structures,
She uses her craft to push
working to pare down the plot into something
musical theater towards new
that could be performed by one cast and
stories while pushing herself
consumed in one sitting. “With a novel you can
towards new storytelling, often
pick it up and put it down, but with live theater
collaborating with playwrights
the demands of that form are based on the
like Tony Kushner, David Henry
fact that you are holding people’s attention
Hwang, and of course Lisa Kron.
hostage,” Kron says. “You are responsible for
Her sound constantly evolves,
their consciousness.” In the process, scenes
with each score tailored for
were melded together, characters were
a particular story—seeking
combined or omitted, and details of chronology
new ways to be the backdrop,
were smudged—until all that was left was
counterpoint, and balance of
one concise and cohesive act of theater.
the script. “Music, for me, is like
the architecture of a beautiful Kron and Tesori also wrestled with how
thing you're envisioning,” to portray the complex and subtext-filled
Tesori says, “and the way to emotional lives of Bechdel’s characters.
get there is intervallic, it's Bechdel’s caption commentary gives
mathematic. And then there us the subtext, but the creative duo
is the soul and the heart.” was left to fill in the actual text of the
scene. In fact, Lisa Kron says:
10 BALTIMORE CENTER STAGEJeanine Tesori and Lisa Kron during a
rehearsal of Fun Home at the Public Theater.
Photo: Joshua Bright.
There are no scenes in the book of of anger are balanced by stretches
Fun Home. There are moments in time. of vulnerability in the novel, became
There’s a frame where a kid is eating a disproportionately cruel when his violence
bowl of cereal and a parent is leaving was experienced live. Alison, whose queer
and then you have Alison’s narrative identity is clear in the novel, necessitated
voice….That’s not a scene. The story an exploration of what it means to
has to be told through the actions represent a butch lesbian experience.
of characters who are unaware of
Lisa Kron and Jeanine Tesori met these
the defining moment of what’s going
adaptation challenges head-on; even
to happen in the future. What do
after a long developmental process,
they do? What do they talk about?
they attended every preview during
So material had to be generated.
the Off-Broadway run, making edits
Even just the fact of putting bodies right up until opening night. Now, as
onstage required a deeper dive into productions of Fun Home echo across
the characters. Helen, who works well the country, conversations like these
as a supporting character in the book, continue through every directing,
needed more material in order to come design, and dramaturgical choice.
to life theatrically. Bruce, whose fits
BALTIMORE CENTER STAGE 11Photo: Alison Bechdel
THE STAGE
When Bechdel agreed to the musical, she
removed herself from the process, ceding
“I think there should
any creative control. She had actually
nearly forgotten about it until she received
be a kind of therapy
a script and CD in the mail. Luckily, she
was pleasantly surprised by the end
where people hire
result. “That first moment of hearing it: I playwrights and
just felt it was this great gift. I felt seen,”
she says in an interview. “I think there composers to make
should be a kind of therapy where people
hire playwrights and composers to make musical theater of
musical theater of their sad childhoods.”
In some ways, comics and musicals feel
their sad childhoods.”
like a perfect match, Bechdel reflects: “I
wonder if it is because of the way two In a review of Fun Home in its graphic
registers collide. In a musical, you have novel form, writer Sean Wilsey comments
drama and music. In comics, writing and that “the true memoirist's mission, like the
pictures. They operate differently, but novelist's, is not so much establishing
with the same power.” The emotional factuality as getting to the heart and truth
honesty in her captions is reflected in of something.” Lisa Kron and Jeanine
the rawness of music, the heightened Tesori took this sentiment to heart in their
imagery of the drawings comes through in Fun Home; the script is full of details from
fantastical sequences, and the complex Bechdel’s memoir, but their music and lyrics
subtext manifests in the contrast between allow the emotional truth to take center
music and text. From here, it looks like stage. And anyway, as Bechdel says, “even
Fun Home the musical was meant to be. the things they made up feel true to me.”
12 BALTIMORE CENTER STAGEALISON BECHDEL’S
Dykes to Watch Out For
Long before her Fun Home antidote to the prevailing source for The Bechdel Test,
fame, Alison Bechdel was image of lesbians as a measure of gender
best known for her comic warped, sick, humorless, equality in film. In the
strip, Dykes to Watch Out For and undesirable. Or comic strip, one of the
(DTWOF). First published supermodel-like Olympic women decides that in
order for her to see a
in 1983, DTWOF follows pentathletes, objective
movie it must have 1) at
neurotic lesbian Mo and fodder for the male
least one scene 2) in which
her group of friends as gaze.” She committed the
two women talk to each
they go through political radical act of representing other 3) about something
angst, queer discoveries, lesbians as human beings. besides a man. The
career struggles, and Although mostly Bechdel Test has become
romantic drama. Bechdel published in smaller widely used as a feminist
gives readers unique feminist and queer mode of engagement
newspapers, DTWOF with fiction, although its
access to her lesbian world
gained a cult following radical lesbian origins
while also showing just
and today is one of the are rarely recognized.
how normal and everyday
most important artifacts of
these lesbians are. When lesbian culture. Outside
she first started working of the queer community,
on them in the 80s, she though, DTWOF might be
saw her cartoons as “an most recognized as the
Comic strip from Dykes to Watch Out For. Alison Bechdel, ca. 1985.
BALTIMORE CENTER STAGE 13THE CAST
Laura Darrell* Cyrano, The Musical. National
Medium Alison Tours—Mamma Mia! (Donna &
Tanya), Seven Brides for Seven
Baltimore Center Stage:
Brothers (Milly), The Secret
debut. New York—Barrow
Garden, The Music of Andrew
Street Theatre: Sweeney
Lloyd Webber. Chicago—First
Todd (Johanna/Pirelli/BW
Wives Club, Ragtime (Evelyn
Standby); Vineyard Theater:
Nesbit). Regional—Sacramento
Kid Victory (Suze, Official Cast
Music Circus: Mamma Mia!
Album released); NY City
(Donna); Pittsburgh Civic
Center: Encores! The Golden
Light Opera: Mamma Mia!
Apple (Ensemble); Signature:
LAUR
(Tanya), Jekyll & Hyde (Lucy);
Far from the Madding Crowd A DA
RR ELL Grease (Rizzo), A Little
(Liddy); Theatre for the New
Night Music (Petra); Pioneer
City: Ten Ways on a Gun (Kate);
Theatre Company: Evita (Eva
Boomerang Theatre Co.: A
Peron); over 15 productions
Midsummer Night’s Dream
at Westchester Broadway
(Hermia). Regional—Laura
Theatre. TV—Law & Order, All
originated the role of Princess
My Children, 63rd Annual TONY
Anna in Frozen Live at DCA,
Awards (featured performer).
directed by Liesl Tommy. She
Awards—Michelle won a MAC
has also worked at Signature
Award for Best Actress as
Theatre in VA, Bridge Rep
Aldonza in Man of LaMancha
of Boston, Mile Square
at the Arizona Theatre
Theatre, Portland Stage, M IC H
ELLE Company. Education—BFA:
MTLA, Ogunquit Theatre, DAW
SON Carnegie-Mellon University.
LA Rock Opera Co., Good
michelle-dawson.com
Theater, MSMT, among others.
Selected Film/TV—Happy!
Jeffry Denman*
(Sister Lee, Recurring, SYFY),
Bruce Bechdel
Dietland, (Anna/Recurring,
AMC), Creedmoria (Eileen, Baltimore Center Stage: A
Cinequest Best Comedy, dir. Civil War Christmas, Into the
Alicia Slimmer), A Very Special Woods. Broadway—White
Christmas (PBS, nominated for Christmas (Phil Davis, Astaire
N.E. Emmy Award). Sketch/ Award nom), The Producers,
Improv—UCB. Education— Cats, Dream, How to Succeed….
USC (LA), NYU Tisch, and JEFF Off Broadway—Vineyard: Kid
RY D
ENMA Victory (Michael, Drama Desk
BADA (UK). lauradarrell.com. N
Instagram: lauraedarrell. & Outer Critics noms, Best
Supporting); CSC: Passion
(Lt Barri); York Theatre: YANK
Michelle Dawson*
(Artie, Drama Desk nom, Best
Helen Bechdel
Supporting); The Holiday Guys;
Baltimore Center Stage: Keen Company: Children of
debut. Broadway—Spider-man: a Lesser God (James Leeds).
Turn Off The Dark; Mamma Regional—Signature: Kid
Mia!; Ragtime; Show Boat; Victory (Michael, Helen Hayes
14 BALTIMORE CENTER STAGETHE CAST
nom); Westport: Into the Woods Williamstown Theatre Festival:
(Narrator, Connecticut Critics Lempicka (Ensemble). Film/
Award); Portland Stage: Dinner TV—Jesus Christ Superstar Live
with Friends (Tom); Sacramento on NBC (ensemble soloist), Law &
Music: Into the Woods (Baker); Order: SVU (guest star), Learning
Ogunquit Playhouse: Crazy to Drive (mouthy kid).
for You (Bobby), Spamalot (Sir
Robin); North Shore: Crazy for Molly Lyons*
You (Bobby, IRNE Award).
Small Alison
Professional/Other—Jeffry
is also a director and Baltimore Center Stage:
choreographer having worked debut. Regional—Westchester
L IA M
HAM Broadway Theater: Annie
extensively Off Broadway and ILT O
N
regionally including Ogunquit (Orphan Molly), Christmas
Playhouse, Tuacahn Center Voyager (child); The Center for
for the Arts, Cape Playhouse, Performing Arts at Rhinebck:
Music Theatre Wichita, and Fun Home (John). Molly is nine
La Mirada. He is the Artistic years old. She would like to
Director of Denman Theatre & thank Mom, Dad, Abby, Lizzie,
Dance Co and author of the Charlie, Grandma, and Pop Pop
book, A Year with The Producers, for their support. Molly would
a journal of his time in the also like to thank her Manager,
original Broadway company of Tamara Markowitz, her Agent
The Producers. Barry Kolker, and all who have
JUST supported her on this journey.
IN G R
EGO
Liam Hamilton RY LO
PEZ
Christian Bechdel Jon Martens*
John Bechdel
Baltimore Center Stage:
debut. Regional—Charm Baltimore Center Stage: debut.
City Players: A Christmas Broadway—Kinky Boots (Young
Story, The Musical (Schwartz). Charlie, Asia Tour). Other New
Camp—Baltimore Center York—Show & Tell (Jasper); NYC
Stage Spring Camp: Hamilton Tap Crew. Regional—A Christmas
(Alexander Hamilton), West Story (Tap Specialty Boy); Peter
Side Story (Bernardo), Camp Pan (Lost Boy). TV—Happy!
BCS Summer: (ensemble), (Wisemen, SyFy); Evil Lives Here
Musical Artists Theatre: (Investigative Discovery).
MOL Education—Jon attends The
(ensemble). Education— LY LY
ONS
current 6th grader at the Rumson Country Day School.
Waldorf School of Baltimore.
Andrea Prestinario*
Justin Gregory Lopez*
Alison
Roy/Mark/Pete/Bobby Jeremy
Baltimore Center Stage: debut.
Baltimore Center Stage: debut.
Regional—Weston Playhouse:
Off-Broadway—New World
Fun Home (Alison), Guys & Dolls
Stages: Bare (Beto, Matt U/S).
(Sarah Brown); Asolo Rep:
Regional—Asolo Rep: Evita
My Fair Lady (Eliza, dir. Frank
(Che), Ordway Center and
Galati); A.C.T. San Francisco:
Schuster Center: In the Heights
1776 (Martha, dir. Frank Galati);
(Usnavi); 5th Avenue Theatre: JON
MART
ENS
Paramount Theatre Aurora:
Paint Your Wagon (Armando);
RENT (Maureen), My Fair Lady
BALTIMORE CENTER STAGE 15THE CAST
(Eliza); Lyric Opera Chicago:
Oklahoma! (Gertie, dir. Gary
Griffin); Drury Lane Oakbrook:
Gypsy (Louise), Curtains, Sugar,
Seven Brides for Seven Brothers;
Writers’ Theatre: Oh, Coward!;
Boho Theatre Company: Side Baltimore Center Stage operates
under an agreement between LORT
Show (Violet; Jeff Award, and Actors’ Equity Association, the
Leading Actress). Education— union of professional actors and
BFA: Ball State University stage managers in the United States.
(Musical Theatre), The School
at Steppenwolf. Professional— ANDR
EA PR
Co-founder: Ring of Keys, a natl. E S T IN
A R IO
network of queer women and
The Director and Choreographer
TGNC artists working in musical
are members of the Society of Stage
theater. andreaprestinario.com Directors and Choreographers, Inc.,
@andreaprestinario an independent national labor union.
Shannon Tyo*
Joan
Baltimore Center Stage: debut. The scenic, costume, lighting, and
Off-Broadway—The Chinese sound designers in LORT theaters are
Lady, Kentucky, Bikeman, Dear represented by United Scenic Artists,
Edwina. Regional— Barrington Local USA-829 of the IATSE.
SHAN
Stage: The Chinese Lady NON
T YO
(Afong Moy), Broadway Bounty
Hunter (Courtnie/Indigo);
Kitchen Theatre: Bright Half
Life (Vicky), Smart People
Musicians engaged by Baltimore
(Ginny); Geva Theatre: Smart Center Stage perform under the
People; The Old Globe: The terms of an agreement between
White Snake (Crane); Pioneer Center Stage and Local 40543,
Theatre, Music Theatre Witchia, American Federation of Musicians.
Cape Fear Regional: Miss
Saigon (Kim); Northern Stage, Baltimore Center Stage is a
Tuacahn Center, Pioneer constituent of Theatre Communica-
tions Group (TCG), the national
Theatre: The 25th Annual
organization for the nonprofit
Putnam County Spelling Bee professional theater, and is a member
(Marcy). Education—Syracuse of the League of Resident Theatres
University. shannon-tyo.com (LORT), the national collective
bargaining organization of
professional regional theaters.
*Members of Actors' Equity
Association, the Union of
Professional Actors and Stage
Managers in the United States.
16 BALTIMORE CENTER STAGETHE ARTISTIC TEAM
THE ARTISTIC
TEAM
Jeanine Tesori Artists awards; ANVPI/Arena
Artistic Producer at Hartford
Music Stage Residency; grants from
Stage; recently as Program
Broadway—Violet; Caroline, Manager of the ArtsEmerson
Creative Capital and NYFA.
or Change; Shrek the Musical; Ambassador Program; and
A proud founding member
Thoroughly Modern Millie; Twelfth as Developmental Producer/
of Obie and Bessie Award-
Night (LCT); John Guare’s A Tour Manager of Progress
winning theater company The
Free Man of Color. Delacorte: Theatre’s musical The Burnin’.
Five Lesbian Brothers. Has
Mother Courage (starring Meryl Hana also served as co-
served on the boards of the
Streep). Film scores—Nights in founder and Artistic Director
MacDowell Colony, the Lilly
Rodanthe, Every Day. Opera— of Nasir Productions, which
Awards, and the Council of
A Blizzard on Marblehead brings theater to underserved
Dramatists Guild of America.
Neck (libretto, Tony Kushner; communities. Her directing
Glimmerglass); The Lion, The Alison Bechdel credits include: Baltimore
Unicorn, and Me (libretto, Author Center Stage: The Christians,
J.D. McClatchy; Washington Les Liaisons Dangereuses;
Alison Bechdel created the
National Opera). Other— Pride & Prejudice (DCArts:
comic strip “Dykes to Watch
She is the creative director/ Best Director/Best New Play);
Out For,” which ran in lesbian
co-founder of A Broader Regional: Sense & Sensibility,
and gay publications from
Way, an arts empowerment The Whipping Man, Gem of the
1983 to 2008. In 2006, she
program for girls from under- Ocean (six CCC nominations),
gained a wider readership
served communities; the Gee’s Bend (CCC Award Best
with the publication of Fun
artistic director of Encores! Ensemble, two nominations),
Home: A Family Tragicomic, a
Off-Center; and a lecturer Next Stop Africa, Cassie, The
graphic memoir about her
in music at Yale University. Drum, and IFdentity. Hana
relationships with her closeted
Ms. Tesori is a member of has directed numerous
gay father. She followed this
the Dramatists Guild. developmental workshops,
with a second memoir, Are You
including Elyzabeth Gregory
My Mother? A Comic Drama.
Lisa Kron Wilder’s The Chat and Chew
She is also the author of a
Book and Lyrics Supper Club, Janine Nabers’
book on the body and trends
A Swell in the Ground, and
Other plays include Well in physical fitness called The
Marcus Gardley’s The House
(Best Actress Tony nom.), Secret to Superhuman Strength.
That Will Not Stand. Her plays
2.5 Minute Ride (Obie), In the She is the recipient of a 2014
include All the Women I Used
Wake (Best Plays 2010–2011 MacArthur Fellowship.
to Be, The Rise and Fall of Day,
yearbook). Acting includes
and The Sprott Cycle Trilogy.
Mrs. Mi-Tzu/Mrs. Yang in Hana S. Sharif
Hana is the recipient of the
Foundry Theater’s Good Director
2009–10 Aetna New Voices
Person of Szechuan (Lortel Baltimore Center Stage Fellowship and Theatre
Award, Outstanding Featured Associate Artistic Director Communications Group (TCG)
Actress). Honors include Hana S. Sharif is a director, New Generations Fellowship.
Guggenheim, Sundance, playwright, and producer. She serves on the board of
Lark, MacDowell fellowships; She served as Associate directors for the Greater
Cal Arts/Alpert, Helen Merrill, Artistic Director, Director of Baltimore Cultural Alliance
and Doris Duke Performing New Play Development, and and the Sprott Foundation.
BALTIMORE CENTER STAGE 17THE ARTISTIC TEAM
Evan Rees Scott Bradley The Trinity River Plays; Guthrie
Music Director & Conductor Scenic Designer Theater: The Lion in Winter (dir.
Baltimore Center Stage: Kevin Moriarty); ETC: Porgy
Baltimore Center Stage: Pride
debut. Broadway—The & Bess; Hartford Stage: Ma
and Prejudice, The Rainmaker,
Visit. International—Menier Rainey's Black Bottom, Having
Picnic. Broadway—premieres of
Chocolate Factory: Into Our Say; Encores! New York
August Wilson’s Seven Guitars
the Woods (London). Off- City Center: Cabin in the Sky;
(Tony nom. and Drama Desk
Broadway—Theater Row: The The National Black Theatre:
Award for best set design),
Boys From Syracuse; Encores! Dead & Breathing; Two River
Joe Turner’s Come and Gone
New York City Center: A Bed Theater: King Hedley II, Ma
(Drama Desk Award for best
and a Chair; Williamstown Rainey's Black Bottom, Lives of
Set Design). Recent openings—
Theatre Festival: The Visit. Reason, Seven Guitars, Sweet
Virginia Repertory Theater:
Tours—Into the Woods; Blues, Guadalupe in the Guest
West Side Story; Portland Stage,
Chicago; A Christmas Story. Room; Quick Silver Theater
Commonwealth Shakespeare
Regional—credits include Company: Proof; Signature
Co: Loves Labors Lost;
Princeton Festival: A Little Theatre: stop. reset, The Piano
Cleveland Playhouse: Dark at
Night Music; Cardinal Stage: Lesson; PlayMakers Repertory
the Top of the Stairs; Seattle
My Fair Lady. Professional— Company: Trouble in Mind; Mark
Rep: A View from the Bridge;
Member of the musical Taper Forum: Joe Turner’s Come
Cleveland Playhouse: The
theater faculty at Manhattan and Gone. Ballet—Eglevsky
Crucible; Long Wharf Theater:
School of Music. Education— Ballet: Cinderella Ballet Gala.
Brownsville Song; Oregon
Graduate of the Indiana Awards—Best Costume
Shakespeare Festival: Much
University Jacobs School of Design for Dreamgirls (Dallas
Ado About Nothing. Notable
Music. evanreesmusic.com Theater Center) from Black
productions—Seattle Rep:
Theatre Award of Dallas.
Samuel D. Hunter’s A Great
Jaclyn Miller
Wilderness (world premiere);
Choreographer Xavier Pierce
Second Stage: Eurydice by
Baltimore Center Stage: Lighting Designer
Sarah Ruhl and The Notebooks
debut. Regional—Guthrie Of Leonardo Da Vinci by Mary Baltimore Center Stage:
Theatre: The Cocoanuts- A Zimmerman (both Lucille debut. Regional—Oregon
Marx Brother’s Musical; Oregon Lortel noms.). TV—Late Night Shakespeare Festival: Othello,
Shakespeare Festival: Book of with David Letterman (NBC). Shakespeare in Love; The
Will, Sense and Sensibility, Roe Film—Production designer Guthrie: Native Gardens,
(world premiere), Shakespeare for Ang Lee’s Pushing Hands. Harvey, Blithe Spirit; Arena
in Love (US premiere), Twelfth Education—Graduate of Stage: Smart People, Native
Night, The Yeomen of the Guard, The Yale School of Drama Gardens; Steppenwolf Theatre:
Much Ado About Nothing, 1986. Head of Scene The Roommate; Mint Theatre
Fingersmith (world premiere), Design program Virginia NYC: Yours Unfaithfully, A
The Cocoanuts, My Fair Lady, Commonwealth University. Day by the Sea; Cincinnati
The Taming of the Shrew; Playhouse: Misery; Syracuse
Arizona Theatre Company: Karen Perry Stage: Noises Off!; Long
Music Man; Great Lakes Costume Designer Wharf and McCarter: Fences;
Theater/Idaho Shakespeare: PlayMakers Rep: Peter and the
Baltimore Center Stage:
Mamma Mia!, Pride & Prejudice, Starcatcher, 4000 Miles, The
Skeleton Crew. Regional—
Hunchback of Notre Dame. Mountaintop, Detroit ’67; Arden
TUTS: Oklahoma!; Wooly
Asolo Repertory: Roe. Opera— Theatre: Two Trains Running;
Mammoth, Guthrie & Seattle
Portland Opera: Pirates of Arizona Theatre Company:
Rep: Familiar; CTC: Citizen
Penzance (Assistant Director). Outside Mulingar; Olney Theatre
Market; Dallas Theater
Center: The Piano Lesson;
Center: Steel Magnolias, Miller,
Florida Studio Theatre: Fly; Triad
Mississippi, Hair, Dreamgirls, A
Stage: Common Enemy, Red;
Raisin in the Sun, Clybourne Park,
Westpost Country Playhouse: A
18 BALTIMORE CENTER STAGETHE ARTISTIC TEAM
Raisin in the Sun, Thousand Pines; Nathan A. Roberts Wonderful Town (dir. David
Two River Theater Company: Sound Designer Lee); New York City Opera and
Two Trains Running; California Long Beach Opera: Fallujah
Baltimore Center Stage: Animal
Shakespeare Theatre: (dir. Andreas Mitisek). Video Art
Farm, The Christians, Les Liaisons
Everybody, The Glass Menagerie, Installation—Annenberg Space
Dangereuses. Off Broadway—
black odyssey, Fences; Arkansas of Photography: Pearls of the
WP Theater: Natural Shocks;
Shakespeare Theatre: Hamlet, Planet; Baryshnikov Arts Center
TFANA: The Servant of Two
Pippin; Indiana Repertory in NY: Emille. Awards—Princess
Masters; The Acting Company:
Theatre: Pipeline; The Flea Grace Award in Theater
Julius Caesar, Macbeth; The
NYC: Hypeman; A.R.T.: Othello. Design, Helen Hayes Award,
Playwrights Realm: Crane Story,
Theater Bay Area Critics
Dramatis Personae; HERE: Olives
Charles Coes Circle Award, StageScene
and Blood. Regional—Oregon
Sound Designer Shakespeare Festival: The Way
LA Award, Stage Raw Award,
Baltimore Center Stage: SOUL Ovation Awards (multiple
the Mountain Moved, Sense
The Stax Musical, Animal Farm, nominations). Education—
and Sensibility; Dallas Theater
The Christians, Les Liaisons UCLA School of Theater Film
Center/Guthrie Theater:
Dangereuses. Off Broadway— and Television. IG @hana.s.kim
Sense and Sensibility; The Old
Tales of the Washer King Globe: Tokyo Fish Story; Ford’s
(Playwright’s Realm), Servant of Sabine Decatur
Theatre: The Widow Lincoln, Our
Two Masters (TFANA); Robber Production Dramaturg
Town; Yale Repertory Theater:
Bridegroom (Roundabout); Assassins, Accidental Death A recent graduate of Yale
For Peter Pan… (Playwrights). of an Anarchist, The Servant of University, Sabine is a new
Tour—Into the Woods (Fiasco), Two Masters; Hartford Stage: addition to the dramaturgy team
Peter and the Starcatcher (1st Twelfth Night, The Tempest; at Baltimore Center Stage.
National, Networks), Macbeth; Long Wharf Theatre: It’s a She has previously worked with
Julius Caesar (Acting Co.). Wonderful Life. Other—designs the Yale Dramatic Association,
Regional—OSF; Milwaukee Rep; and builds musical instruments, Yale Dance Theater,
Yale Rep; Seattle Rep; Berkeley with a special emphasis on Heritage Theater Ensemble,
Rep; South Coast; The Old flutes and hurdy-gurdies. Oberlin Summer Theater
Globe; Guthrie; Shakespeare Education—MFA, Yale School Festival, Semicolon Theater
Theatre Company; of Drama. Professional— Company, Culture Project,
ArtsEmerson; Wilma Theatre; Director of Undergraduate and the Schomburg Center for
Two River Theater; Williamstown Studies, Theater Studies, Research in Black Culture.
Theatre Festival; Ford’s Theatre, Yale University.
Dallas Theater Center, the Sara Bruner
Huntington. Other—He has Hana S. Kim Associate Choreographer
also designed Puppet UP! at the Projection Designer Baltimore Center Stage:
Venetian in Las Vegas; robotic, Baltimore Center Stage: The debut. Regional—Arena
and aquatic spectaculars Christians, The White Snake. Stage, Berkeley Rep, Repertory
for Royal Caribbean; and, Regional—Public Theater: Theatre of St. Louis, Oregon
collaborated on installations Eve's Song (dir. Jo Bonney); Shakespeare Festival, Great
with artists Ann Hamilton, A.C.T: Sweat (dir. Loretta Lakes Theater (Artistic
Abelardo Morel, and Luis Greco); Geffen Playhouse: Associate), Delaware Theatre
Roldan. Professional—Faculty, Untranslatable Secret of Nikki Company, Idaho Shakespeare
Yale School of Drama. He has Corona (dir. Jo Bonney); South Festival (Artistic Associate),
worked as an associate on many Coast Rep: Little Black Shadows Boise Contemporary Theater.
Broadway shows including Peter (dir. May Adrales); Magic TV/Film—MD’s, Tatoo: A Love
and the Starcatcher (Tony Award Theater: Gangster of Love, Story. Directing—upcoming:
winning Sound Design); Jitney; Grandeur, Dogeaters, Every Oregon Shakespeare
Junk; and To Kill a Mockingbird. Five Minutes (all dir. Loretta Festival: Alice in Wonderland;
Greco). Opera—LA Opera: Great Lakes Theater/Idaho
BALTIMORE CENTER STAGE 19THE ARTISTIC TEAM
Shakespeare Festival: The Mind, Three Sisters, Radio Golf, Danielle also worked on
Taming of the Shrew, Julius The Murder of Isaac, Once on Michael Kors' fashion show
Caesar. Education—BFA, Boise This Island, King Lear. Regional— in Shanghai, China.
State University. Awards—2018 Trinity Rep: Boeing-Boeing;
Princess Grace Fellow (Gant Actors Theatre of Louisville: Pat McCorkle
Gauthier Award, Directing). All Hail Hurricane Gordo*, Katja Zarolinski
The Clean House, Moot the McCorkle Casting, Ltd.
Tiffany Fulson Messenger*, Dracula, The Ruby Casting
Assistant Director Sunrise*, Tall Grass Gothic*, Baltimore Center Stage: A
Baltimore Center Stage: The The Drawer Boy, Amadeus, Wonder in My Soul, King of the
Christians, Twisted Melodies. As You Like It (*premieres at Yees, Cat on a Hot Tin Roof,
Regional—University of Illinois the Humana Festival of New SOUL The Stax Musical, Mobile
at Chicago: Passing Strange American Plays); Contemporary Unit Twelfth Night, Animal Farm,
The Musical, As You Like It, American Theater Festival: Skeleton Crew, Lookingglass
Clybourne Park, The Bluest Eye; The Overwhelming, Pig Farm; Alice, The Christians, Jazz, Les
Madison Street Theatre: In My Totem Pole Playhouse: Over Liaisons Dangereuses, Detroit
Head; Journeyman Company/ 75 productions through 13 ’67, As You Like It, Pride and
Gallery 37: Cats, Thirteen The summer stock seasons. Film/ Prejudice, Marley, One Night
Musical, The Wiz; Oregon TV—Route 30, Route 30 Too!, The in Miami…, Amadeus, Wild with
Shakespeare Company: Sense Father and the Bear, Next Food Happy, Twelfth Night, A Civil War
and Sensibility; Pegasus Theatre Network Star. Professional— Christmas. Broadway—Amazing
Chicago: Shakin the Mess Out Director of Stage Management Grace, On the Town, End of
of Misery. Director credits— at Virginia Tech University. the Rainbow, The Lieutenant of
UIC: The Angry Brigade, A Proud Actors Equity and Inishmore, The Glass Menagerie,
Woman’s World, and an original ASCAP Member. For Whitney Cat on a Hot Tin Roof, One
adaptation of Amiri Baraka’s - with love and gratitude. Flew Over the Cuckoo’s Nest,
Dutchman. Professional— Amadeus, She Loves Me, Blood
Teaching artist at Steppenwolf, Danielle Teague-Daniels* Brothers, A Few Good Men,
Timeline Theatre, and Northlight Assistant Stage Manager etc. Off-Broadway—Clever
Theatre; Program Director at Baltimore Center Stage: Little Lies, Dr. Ruth, Stalking
TimeLine South and August Resident Stage Manager; A the Bogeyman, Freud’s Last
Wilson Monologue Competition Wonder in My Soul, Cat on a Hot Session, Tribes, Our Town, Almost
Outreach Chicago. Tin Roof, SOUL The Stax Musical, Maine and Driving Miss Daisy.
Education—BFA: University of The Christians. Regional—For Over 50 regional theaters—
Illinois at Chicago (Theatre the past 17 years, she has Guthrie, George Street
Performance); Arcadia worked and reprised her role Theatre, Connecticut Rep,
University for Global Studies in as SM with many companies Pittsburgh Public, Barrington
London, England. including: Actors Theatre of Stage. Over 60 films—Senior
Louisville, Clubbed Thumb, Moment, Year by the Sea,
Captain Kate Murphy* 3LD, Lee Strasberg Institute, Child of Grace, Premium Rush,
Stage Manager LAByrinth Theater, Rising Circle Ghost Town, Secret Window,
Baltimore Center Stage: One Theater Collective, Big Apple Tony and Tina’s Wedding, The
Night in Miami…, Next to Normal, Circus, NYU Steinhardt, New Thomas Crown Affair, The 13th
Animal Crackers, Mud Blue Sky, Georges, Working Theater, and Warrior, Madeline, Die Hard III,
The Mountaintop, …Edgar Allan New Dramatists. Last summer School Ties. TV/Web—Planned
Poe, A Skull in Connemara, she wrapped up Bello Mania Parenthood series Talkin’
American Buffalo, Crime & at the New Victory Theater on About, Twisted, Sesame Street,
Punishment, Let There Be Love, 42nd St. Danielle has worked Californication (Emmy nom), Max
The Santaland Diaries, The on two recent workshops: The Bickford, Hack, Strangers with
Importance of Being Earnest, Donna Summer Project (La Jolla Candy, Barbershop, Chappelle’s
Things of Dry Hours, Trouble in Playhouse) and Ain’t Too Proud Show. mccorklecasting.
(Berkeley Rep). Additionally,
20 BALTIMORE CENTER STAGEBALTIMORE CENTER STAGE 21
22 BALTIMORE CENTER STAGE
PROMOTION
The Baltimore Sun’s
SECRET
SUPPER
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BALTIMORE CENTER STAGE 23INDIVIDUALS AND FOUNDATIONS
THANK YOU!
The following list includes gifts of $250 or more made to the Baltimore Center Stage Annual
Fund September 1, 2017 through December 17, 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 Wendy Jachman
represents individual donors Foundation
Francie and John Keenan
who, through their annual
Sandy Liotta and
contributions of $1,500 or Townsend and Bob Kent
Carl Osterman
more, provide special
Keith Lee
opportunities for our artists Charles E. Noell III
and audiences. Society Ken and Elizabeth Lundeen
Sharon and Jay Smith
members are actively
Marion I. and Henry J. Knott
involved through special
events, theater-related ARTISTS CIRCLE Foundation
travel, and behind-the- ($10,000-$24,999) Robert E. Meyerhoff and
scenes conversations with Anonymous Rheda Becker
theater artists.
Paul M. Angell Family Jeanine Murphy
Foundation
SEASON SPONSORS J. William Murray
($50,000+) Peter and Millicent Bain
Dave and Chris Powell
Ellen and Ed Bernard The Bunting Family Foundation
Mr. and Mrs. George M.
Lynn Deering Mary Catherine Bunting Sherman
The Helen P. Denit Department of VSA and
Jane and Larry Droppa Charitable Trust Accessibility at the John F.
Kennedy Center
Terry H. Morgenthaler and Walter B. Doggett III
Patrick Kerins and Joanne Doggett Ellen J. Remsen Webb and
Nancy Dorman and J.W. Thompson Webb
Judy and Scott Phares Stanley Mazaroff
Brian M. and Denise H. Eakes PLAYWRIGHTS CIRCLE
Lynn and Philip Rauch ($5,000-$9,999)
Amy Elias and
The William L. and Victorine Q.
The Shubert Foundation, Inc. Richard Pearlstone
Adams Foundation
Juliet A. Eurich and
The Harold and Mimi Louis B. Thalheimer Taunya Lovell Banks
Steinberg Charitable Trust
Beth and Michael Falcone Bradie Barr and Tollie Miller
PRODUCERS CIRCLE The Fascitelli Family Mr. and Mrs. Douglas L. Becker
($25,000-$49,999) Foundation
Winnie and Neal Borden, The
Daniel and Lori Gahagan Harry L. Gladding Foundation
The William G. Baker, Jr.
Memorial Fund, creator of the Sandra Levi Gerstung
James T. and Francine G. Brady
Baker Artist Portfolios The Goldsmith Family
www.BakerArtist.org Foundation Susan Bridges and Bill Van Dyke
Penny Bank Harry Gruner and Sylvia and Eddie Brown
Stephanie and Ashton Carter Rebecca Henry
The Annie E. Casey Foundation
James and Janet Clauson The Laverna Hahn
Charitable Trust Melissa and Augie Chiasera
The JI Foundation
J. S. Plank and D. M. DiCarlo The Nathan & Suzanne Cohen
Kathleen Hyle Family Foundation Foundation
24 BALTIMORE CENTER STAGEThe Jane and Worth B. Suzan Garabedian Dana M. DiCarlo
Daniels, Jr. Fund Andrea and Samuel Fine, in
Kim Gringas and
Gene DeJackome memory of Carole Goldberg
The Delaplaine Foundation, Inc.
Robert and Cheryl Guth Dr. Matthew Freedman and
Dick Gamper Dr. Gladys Arak Freedman
Sandra and Thomas Hess
Megan M. Gillick Howard and Susan Goldberg
Ralph and Claire Hruban
Fredye and Adam Gross Dr. Neil Goldberg, in
David and Elizabeth J. memory of Carole S. Goldberg
The Hecht-Levi Foundation, Inc. Himelfarb Hurwitz
Goldseker Foundation
Patricia and Mark Joseph, Susan and Steve Immelt
Len and Betsy Homer
The Shelter Foundation
Mr. and Mrs. Joseph M. Joseph J. Jaffa
The John J. Leidy Foundation, Inc. Jennings, Jr.
Murray Kappelman
Rodica Johnson
Maryland Humanities Council Myron Terry Koenig Fund
Francine and Allan Krumholz for Waverly at the Baltimore
John and Kim McCardell
Community Foundation
The Macht Fund of
Laurie McDonald the Associated Barry Kropf
Melissa Newman Jim and Mary Miller Mr. and Mrs. Earl Linehan,
The Linehan Family Foundation
Nora Roberts Foundation Hugh and Leanne Mohler
Diane Markman
Mark and Joanne Pollak Chuck and Paddy Morton
The Meier and Berlinghof
Dorothy Powe, in memory of John and Susan Nehra Families Fund
Ethel J. Holliday Jill and Darren Pratt Marilyn Meyerhoff
The Ida and Joseph Val and Hutch Robbins Morris A. Mechanic Foundation
Shapiro Foundation
Michelle and Nathan Robertson The Rollins-Luetkemeyer
Michele Speaks and Foundation
Charles and Leslie Schwabe
David Warnock Michael Ross
Scott and Mimi Somerville
Donald and Mariana Thoms Renee Samuels and
Scot T. Spencer Jordan Rosenfeld
Joe Timmins and Jodie Kristy
Michael Styer Barbara and Sig Shapiro
Krissie and Dan Verbic
Mr. and Mrs. Harry Thomasian Barbara Payne Shelton
Loren and Judy Western Cheryl Hudgins Williams Mr. and Mrs. Robert N.
and Alonza Williams Smelkinson
Ted and Mary Jo Wiese
Todd M. Wilson and Scott and Julia Smith
Thomas Wilson Sanitarium for
Edward Delaplaine Terri and Bob Smith
the Children of Baltimore City
Paul and Dorothy Wolman Brian and Susan Sullam
DIRECTORS CIRCLE Mr. William J. Sweet and
($2,500-$4,999) DESIGNERS CIRCLE Ms. Geraldine Mullan
Anonymous ($1,500-$2,499) Nanny and Jack Warren, in
Anonymous honor of Lynn Deering
The Lois and Irving Blum
Foundation Stephanie and Vince Baker Sydney and Ron Wilner
Meredith and Adam Borden Patricia Baum, Dr. Richard H. Worsham and
The Baum Foundation Ms. Deborah Geisenkotter
Jan Boyce
The Campbell Foundation, Inc. Young Audiences of
Drs. Joanna and Harry Brandt Maryland, Inc.
The Caplan Family
Diana and Clinton Daly Foundation, Inc.
Mr. Jed Dietz and The Mary and Dan Dent
Dr. Julia McMillan Family Fund
BALTIMORE CENTER STAGE 25COMPANY James and Hillary Aidus Jacobs Jean L. Wyman
($750-$1,499) Kris Jenner and Patricia Yevics-Eisenberg and
Anonymous Susan Cummings Stewart Eisenberg
Diane Abeloff Max Jordan Steve Ziger and Jamie Snead
Tracy Bacigalupo and Shirley Kaufman ADVOCATES
Jake Baker Stephen and Laurie Kelly ($250-$749)
Amy and Bruce Barnett Neil and Linda Kirschner, Anonymous
in honor of Ken and Bradley and Lindsay Alger
Scott and Katherine Bissett
Elizabeth Lundeen Eleanor Allen
Bruce Blum
Andrea Laporte Bernadette Anderson
Leonor and Marc Blum
Jonna and Fred Lazarus The Alsop Family Foundation
John and Carolyn Boitnott
Alan Macksey Alan M. Arrowsmith, II
Michael Borowitz and
Robert and Susan Mathias Meredith C. Atkinson and
Barbara Crain
Mary L. McGeady Joe Sanchez
Dr. and Mrs. Donald D. Brown
Brad Mendelson Deborah and Stephen Awalt
G. Brian Comes and
Raymond Mitchener John Messmore Ayd Transport
Jane and Joe Meyer Mike Baker
Jane Cooper and Philip Angell
Beverly and John Michel Cheri Barr-Griffin
The Cordish Family
Betsy Nelson Jaye and Dr. Ted Bayless Fund
B.J. and Bill Cowie
Roger F. Nordquist, in memory David and Cecelia Beck
Richard and Lynda Davis
of Joyce C. Ward Randi and Adam Benesch
Lawrie Deering and
Lee and Marilyn Ogburn Drs. George and
Albert DeLoskey, The Deering
Family Foundation Dr. Bodil Ottesen Valerie Bigelow
The Honorable and Michael and Phyllis Panopoulos Maureen and Bob Black
Mrs. E. Stephen Derby Jeffrey and Laura Thul Penza Katharine C. Blakeslee
Linda Eberhart Janet Plum, in memory of Cynthia Wyrick Bledsoe
Jeffrey J. Plum Rachel and Steven Bloom, in
The Eliasberg Family Foundation
Stephen Richard and honor of Beth Falcone
Donald M. and
Mame Hunt Amy Grace and Karen Blood
Margaret W. Engvall
The James and Gail Riepe Lisa Blue
Bob and Susie Fetter
Family Foundation,
Genine and Josh Fidler Cliff Booth
in honor of Lynn Deering
José and Ginger Galvez Anne Elliott Brown
Sara and Doug Sampson
Richard and Sharon Gentile, in Michelle Brown
Gail Schulhoff
honor of the Center Stage Sandra and Thomas Brushart
Bayinnah Shabazz, M.D.
Costume Shop Charles and Betsy Bryan
The Earle and Annette Shawe
John Ginovsky and Alma Hays Dr. and Mrs. Arthur Burnett, II
Family Foundation
Stuart and Linda Grossman The Sinksy-Kresser-Racusin Natalie and Paul Burclaff
Tom and Barbara Guarnieri Memorial Foundation Evelyn Cannon and
Linda Hambleton Panitz George and Holly Stone James Casey
Rachel and Ian Heavers Arun and Shilta Subhas June Carr
Betsy and George Hess Henry and Tina Thomas Mr. and Mrs. David Carter
Kelly and Andre Hunter Sabrina Sikes Thornton Jan Caughlan
Harriet S. Iglehart Dr. and Mrs. Frank R. Witter
26 BALTIMORE CENTER STAGEINDIVIDUALS AND FOUNDATIONS
Henry and Linda Chen, Amy and Scott Frew Thomas and Lara Kopf
in memory of Lysl Sundheim Eleanor Frias and Alice Kurs, in memory of
Sue Lin Chong Samuel Robfogel Louis N. Kurs
Mr. and Mrs. Carl F. Christ Dr. Neal M. Friedlander and Joseph M. and
Tracey L. Chunn Dr. Virginia K. Adams Judy K. Langmead
William and Bonnie Clarke Nick and Katherine Garber Mr. and Mrs. William Larson
Grant and Monique Cleverley Mark and Patti Gillen Dr. and Mrs. Yuan C. Lee
Fronda Cohen Ottenheimer Lori and Gene Gillespie Peter Leffman
and Richard Ottenheimer Hal and Pat Gilreath Gregory Lehne
Mary Ellen Cohn Herbert and Harriet Goldman Dr. and Mrs. George Lentz, Jr.
Joan Coley and Lee Rice Mr. and Mrs. W. Kyle Gore Marilyn Leuthold
The Elsa and Stanton Collins Mary and Richard Gorman Dr. and Mrs. Kenneth B. Lewis
Charitable Fund Hannah B. Gould The Ethel M. Looram
Nancy and Charlie Cook Annie Groeber, in memory of Foundation, Inc.
David and Sara Cooke Dr. John E. Adams Amy Macht and George Grose
William Cooke Michael and Susan Guarnieri Dr. Frank C. Marino Foundation
Joe Coons and Stephen and Melissa Heaver Jeanne E. Marsh
Victoria Bradley Peter Hegeman and Mary E. McCaul
Scott and Patricia Corbett Patricia Egan Judy McMullen, in honor of
The Margaret O. Cromwell Sue Hess Terry Morgenthaler
Family Fund Mrs. James J. Hill, Jr., Mary and Barry Menne
Con and Eleanor Darcy in memory of James J. Hill Jr. Mr. and Mrs. Timothy E.
Gwen Davidson Barbara and Sam Himmelrich Meredith
Robert and Janice Davis Gina and Daniel Hirschhorn Tracy Miller and Paul Arnest,
Curt Decker Jean and Lon Homeier, in honor of Stephanie Miller
James DeGraffenreidt and in honor of Phil Rauch Stephanie F. Miller, in honor of
Mychelle Farmer James and Rosemary Hormuth The Lee S. Miller Jr. Family
Lynne M. Durbin and Susan Horn Michael Milligan
John-Francis Mergen The A. C. and Penney Hubbard Faith and Ted Millspaugh
Paula and Franco Einaudi Foundation Tom and Cindi Monahan
Dr. Frank Eisenberg and Mr. and Mrs. Ted Imes Jill Morgenthaler,
Hon. Catherine C. Blake Sally and John Isaacs in honor of Terry Morgenthaler
Deborah and Philip English Dr. and Mrs. Juan M. Juanteguy Bill and Mimi Mules
Peter and Chris Espenshade Ann H. Kahan George and Beth Murnaghan
Rhea Feikin, in memory of John Kane Stephen and Terry Needel
Colgate Salsbury Mary Nichols
Bill and Sue Kanter
Faith and Edgar Feingold Michael and Cristina Niccolini
Lee Kappelman
Gary Felser and Dr. and Mrs. Alex Ober
Richard and Judith Katz
Debra Brown Felser
Alane and George Kimes Charles and
Merle and David Fishman Margaret M. H. Obrecht
Roland King and
Dr. Robert P. and Claire D. O'Neill
Judith Phair King
Janet Fleishman
Mark and Terri Kissinger
Lindsay and Bruce Fleming
Joyce and Robert Knodell
Joan and David Forester
BALTIMORE CENTER STAGE 27You can also read
