DIRECTED BY DANIELLE A. DRAKESMUSIC DIRECTION BY WIL LEWIS III

NOVEMBER 2-19, 2017

BY LANIE ROBERTSON

REP STAGEPRESENTS

LADY DAY AT EMERSON’S BAR AND GRILL

by Lanie Robertson

Directed by Danielle A. DrakesMusical Direction by Wil Lewis III

Scenic Design Costume Design Lighting Design Mollie Singer Benjamin Kress Jay Herzog‡

Sound Design Properties Design Dramaturg Mark Smedley Mollie Singer Lisa Wilde Production Stage Manager

Julie DeBakey Smith*

CAST(In Order of Appearance)

Billie Holiday . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Celeste Jones*Jimmy Powers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Wil Lewis III

ACTORS’ EQUITY ASSOCIATION (AEA), founded in 1913, represents more than 45,000 actors and stage managers in the United States . Equity seeks to advance, promote and foster the art of live theatre as an essential component of our society . Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. AEA is a member of the AFL-CIO, and is affiliated with FIA, an international organization of performing arts unions . The Equity emblem is our mark of excellence .

Setting: Emerson’s Bar and Grill in south Philadephia .Time: Midnight of a night in March,1959 .

LADY DAY AT EMERSON’S BAR AND GRILL is presented by special arrangement with SAMUEL FRENCH, INC .

** Member of Actors’ Equity Association, the professional union of Actors and Stage Managers in the USA .

** Equity Membership Candidate . ‡ Member of United Scenic Artists , Local USA 829, I .A .T .S .E .

This production uses the Artis Engagement Services of the University Resident Theatre Association .

Welcome to LADY DAY AT EMERSON’S BAR AND GRILL

At this time we’d like to remind you of the following:

n The use of photographic equipment or recording devices of any kind are strictly prohibited .

n In the interest of safety please take a moment to note the location of the nearest emergency exit .

n To avoid distraction to the performers and fellow audience members please turn off all electronic devices including cell phones .

n Text Messaging is not permitted during the performance .

n Drinking and eating are not allowed in the theatre .

n The actors will be using the theatre aisles . For your safety and the safety of the performers, please remain seated during the performance .

n There is no intermission .

SONG LIST

1 . “I WONDER WHERE OUR LOVE HAS GONE” by Woodrow Johnson .

2 . “WHEN A WOMAN LOVES A MAN” by Bernard Hanighen, Gordon Jenkins & Johnny Mercer .

3 . “WHAT A LITTLE MOONLIGHT CAN DO” BY Harry Woods .

4 . “CRAZY HE CALLS ME” by Bob Russell and Carl Sigman .

5 . “GIMME A PIG FOOT” By Wesley Wilson .

6 . “BABY DOLL” Bessie Smith .

7 . “GOD BLESS THE CHILD” by Arthur Herzog Jr and Billie Holiday .

8 . “FOOLIN MYSELF” by Jack Lawrence and Peter Tinturin .

9 . “SOMEBODY’S ON MY MIND” by Billie Holiday and Arthur Herzog Jr .

10 . “EASY LIVIN’” by Robin & Ralinger .

11 . “STRANGE FRUIT” by Lewis Allan .

12 . “TAINT NOBODY’S BIZ-NESS” by Porter Grainger & Everett Robbins .

13 . “DON’T EXPLAIN” by Billie Holiday and Arthur Herzog, Jr .

14 . “DEEP SONG” by Douglas Cross and George Cory .

FROM THE PRODUCING ARTISTIC DIRECTOR—

i·con (ī′kŏn′)noun

One who is the object of great attention and devotion; an idol .

There is no argument that Billie Holiday, born Eleanor Fagan, is an American icon . Her life was complicated, complex and by most accounts, a deep and constant struggle . I have a bit of a fascination on what we as spectators layer on those we deem as our icons; how we long for the truth yet are so easily susceptible to defamation. How often do we place such figures high up on pedestals only to await their fall from grace? Too often I would say . And how does our labeling of someone as icon strip away their humanity?

Lady Day at Emerson’s Bar and Grill is an imagined final concert of the great artist . It is part tribute and part biography intertwined with the craftsmanship of one of the greatest entertainers of all time . But the play is also a history lesson, a stark reminder that we cannot separate the musician from the woman of color who existed amidst constant racial prejudice .

When asked about Ms . Holiday, activist/academic/author Angela Davis said:

“(Billie Holiday) almost single-handedly changed the politics of American popular culture and put the elements of protest and resistance back at the center of contemporary black musical culture . The felt impact of Holiday’s performance of “Strange Fruit” is as powerful today as it was in the 1940s .”

I hope that as you sit in the smoky dark showroom of Emerson’s Bar & Grill you can do two things . One to be lost in the beauty, talent and grace of the icon Billie Holiday, and two, open your heart to the complex politics and oppression of the woman Eleanora Fagan .

— Joseph W. Ritsch — Producing Artistic Director

DIRECTOR’S NOTES—

Who are we without our race women?

Black art is subversive . It transforms popular culture . It changes perspectives . In our society, our artist’s’ job is to tell a story with an authenticity that challenges and rivals our reality . Today, that job is as important as ever .

Billie Holiday considered herself to be a race woman . As a black woman and an artist—I ask, how could she not be? Billie’s songs were more than subversive, they also offered uniquely privileged insights to her African American audience about our dominant culture . Listen to our songbird put all bets on the table combining our historical past and theatrical present . Listen to this black woman perform for us as an oral historian and we invite you to know some of her experience .

As Americans, our songs are an undeniable catalyst for cultivating its social consciousness . Listen to this black woman .

— Danielle A. Drakes, Director

PRE-SHOW LECTURE“Baltimore Jazz.”

Moderated by Dr . Lisa A . Wilde

Saturday November 18, 2017 at 12:30 p.m.Location: Monteabaro Recital Hall

This event is free and open to the public.

CONTINUING THE CONVERSATION . . .

CELESTE JONES* (Billie Holiday) is making her Rep Stage debut . Credits include: Nessa in District Merchants (Folger Theatre); Dove and Others in Conference of the Birds (Folger Theatre); Daisy/Nunkie in Gleam (Center-stage); Nia in In the Red and Brown Water (Pillsbury/Guthrie Theatre); Estrella in Life’s a Dream (Ten Thou-sand Things Theatre); Sophie in Ruined (Mixed Blood Theatre); TiMoune in Once on this Island (Ten Thousand Things Theatre) . Training: Children’s Theatre Company Performing Apprentice, British American Drama Acad-emy, Howard University .

WIL LEWIS III (Jimmy Powers) See Creative Team for bio .

WHO’S WHO IN THE CAST—

Meet the Playwright—

Lanie Robertson writes about iconic artists and the societal issues they faced in Nasty Little Secrets, Alfred Stiegletz Loves O’Keeffe, and Woman Before a Glass . His plays have been produced internationally and at the Alley Theatre, Arena Stage, Delaware Theatre, Edinburgh Festival, Festival d’Avignon, George Street Playhouse, Kennedy Center, Old Globe, Philadelphia Theatre Company, Playwrights Horizons, Primary Stages, Theatre de la Huchette, Theatre Petite Montparnasse, Theatre Silvia Montforte, Vineyard Theatre, Virginia Stage, Walnut Street Theatre, Westside Arts, and Williamstown Theatre Festival . Current plays include Nobody Lonesome for Me and The Gardener . Recently he completed his first novel, Monkey to the Solution . He’s a member of the Dramatists Guild, Writers Guild, East; and the Societe des Auteres et Compositeurs Dramatiques .

Danielle A. Drakes (Director) is a DC based theater practitioner thrilled to be making her Rep Stage debut . As the founder/producing artistic director of theHegira she successfully created space for plays by and about women of color, including playwrights Suzan-Lori Parks, Jacqueline Lawton, Paige Hernandez, Carla Ching, and Nandita Shenoy . She recently directed A Song for Coretta and Trojan Women (Bowie State University); Breath, Boom, Miss Evers Boys, and Mixed Babies (How-ard University); Paige in Full, Deep Belly Beautiful (theHegira) . Regional: Havana Hop (Cleveland’s Playhouse Square) . As an actor she has worked with Ford’s Theatre, The Kennedy Center, Taffety Punk and African Con-tinuum Theatres .

Wil Lewis III (Music Director/Jimmy Powers) is a musician, singer, song-writer, music arranger and actor from Lansing, Michigan has made the world his office. Being apart of differ-ent music scenes has offered him mul-tiple trips to Europe (Germany, Italy, Austria, Croatia, Slovenia, Romania, Poland, France, Luxembourg, Neth-erlands, England) across the United States, and in diverse sections of the Caribbean . Was last seen on stage as Ram’s Dad in HEATHERS: The Musical, Mitch Mahoney in The 25th Annual Putnam County Spelling Bee, and has been the Musical Director for shows including Dreamgirls, Ain’t Misbehavin’, Applause, The Wiz, Little Shop Of Horrors, Smokey Joe’s Cafe, and Pippin . Has also been seen local-ly on stage as TonTon Julian in Once On The Island, Gary Coleman in Av-enue Q, and musical directed Next To Normal, Tick Tick Boom, and Triumph Of Love . Will be traveling Germany

with The Original USA Gospel Singers and Band, and as the Musical Director for Der Kleine Horrorladen (Little Shop Of Horrors in German).

Benjamin Kress (Costume Design) Rep Stage: H2O, Technicolor Life. Regional: Endgame (Baltimore Center Stage, Mobile Unit /Associate Cos-tumer and Designer); Detroit ‘67, Next to Normal (Baltimore Center Stage/Assistant Designer); Wait Until Dark, Outside Mullingar (Everyman Theatre/Designer); A Streetcar Named Desire, Death of a Salesman, Blithe Spirit, Ru-ined (Everyman Theatre/Assistant De-signer); Edith Can Shoot Things and Hit Them, The Zero Hour (Iron Crow Theatre/Designer); The Elephant Man (The Collaborative Theatre); Ragtime (Bay View Music Festival) . Opera: La Boheme (Bay View Music Festival) . Collegiate: Macbeth, Bus Stop (Loyola University Maryland); Peter Pan (Notre Dame of Maryland University) . Education: BA in Drama and Psychol-ogy from Kenyon College .

Jay Herzog‡ (Lighting Design) has designed lighting for many shows at Rep Stage and is always pleased to return . In 2000 he won the Helen Hayes award for the Rep Stage pro-duction Ambrosio . Jay is a professor at Towson University and the resident lighting designer at the Everyman The-atre where he has just completed his 53rd design and 21st season with the company . Born in Brooklyn, NY, Jay has had the opportunity to work with wonderful mentors and was inspired by many designers . He has designed over 400 productions . Most recently Jay has had a life changing experience . In January of 2015, immediately after he finished lighting The Whale at Rep

CREATIVE TEAM—

Stage, due to a rare disease he had a living liver transplant at the University of Maryland . Jay now volunteers for the advocacy of organ transplants .

Mollie Singer (Scenic and Proper-ties Design) Recent Credits include: Julius Caesar (Chesapeake Shake-speare Co ., Properties) The Heidi Chronicles (Rep Stage, Properties), Alice and the Book of Wonderland (Annapolis Shakespeare Company, Scenic Design), The Tempest (Chesa-peake Shakespeare Company, Prop-erties) Dorian’s Closet (Rep Stage, Properties), The Fantasticks (Chesa-peake Shakespeare Company, Prop-erties), What Every Girl Should Know in Rep with Dry Land (Forum The-atre, Properties), H2O (Rep Stage, Properties), Richard III (Chesapeake Shakespeare Company, Properties), American Hero (Rep Stage, Prop-erties), Anne of the Thousand Days (Chesapeake Shakespeare Compa-ny, Properties), Hunting and Gather-ing (Rep Stage, Scenic Design), The 25th Annual...Spelling Bee (HCC Art’s Collective, Scenic Design/Properties), Antigone Project: A Play in 5 Parts (Rep Stage, Properties), Technicolor Life (Rep Stage, Properties), Sunset Baby (Rep Stage, Properties, Asst . Costume Design), Blithe Spirit (Every-man Theatre, Asst . Scenic Design), The Revelation of Bobby Pritchard (Iron Crow Theatre, Scenic Design), Venus in Fur (Rep Stage, Properties), The Understudy (Everyman Theatre, Asst . Scenic Design), Between Trains (Towson University, Scenic Design) .

Mark Smedley (Sound Design) Design credits include Rep Stage’s Dorian’s Closet . He is also a veteran with the company, as he is also the

Associate Technical Director for the Horowitz Center . Previous design credits include Dreamgirls, Sister Act, Into the Woods, Ragtime, Peter Pan, Show Boat, and Hairspray .

Julie DeBakey Smith* (Stage Man-ager) Rep Stage credits include: The Heidi Chronicles, Dorian’s Closet, H2O, American Hero, The Other Place, Technicolor Life, The Balti-more Waltz, The Whale, Sunset Baby . Other credits include: Guys & Dolls, Grounded (Olney Theatre Center); Under the Skin, Grounded, Tribes, Crimes of the Heart, Red, The Beaux Stratagem, Topdog/Underdog, God of Carnage, August: Osage County, Heroes, Time Stands Still, You Can’t Take it With You, A Tribute to Dorothy Fields, Pygmalion, A Tribute to Johnny Mercer, All My Sons, Shipwrecked!, Our Town, The Mystery of Irma Vep, The Soul Collector, I Am My Own Wife (Everyman Theatre); King Lear, The Malcontent (Academy for Classical Acting); Urinetown, Spring’s Awaking, A Midsummer Night’s Dream (Arts Collective ). Education: BA from Uni-versity of Maryland Baltimore County .

Brittany L. Federici ** (Assistant Stage Manager) is thrilled to be a part of Rep Stage’s 25th anniversary! Brit-tany is currently a student at the Uni-versity of Maryland, Baltimore County, and will be graduating this December with a BA in Theatre Design & Produc-tion and a Minor in Economics . Recent productions include: The Heidi Chroni-cles (Rep Stage); The Mail Order Bride (UMBC); It’s a Wonderful Life: A Live Radio Play (Annapolis Shakespeare Company); and The Amish Project (UMBC), directed by Rep Stage Artis-tic Director Joseph W . Ritsch .

DRAMATURG NOTES— Billie Holiday in BaltimoreBefore Beyonce, there was jazz legend Billie Holiday and her inspiration, Bessie Smith – artists, social activists, and fashion and lifestyle icons at a time when they encountered Jim Crow restrictions in travel, at venues and in their daily life in the intersectionality of gender, race, and class discrimination . And they did it performing as the sole women fronting all-male and, at times, all white bands and orchestras with no women or women of color supporting them .

Billie Holiday has deep roots in Baltimore . Her parents were from Baltimore and she said she was born there but she was most likely born in Philadelphia . Soon after her birth in 1915, she and her mother moved back . In her autobiography, Lady Sings the Blues, she writes of scrubbing front stoops in Fells Point . She was sent to the House of Good Shepherd for Colored Girls at Calverton Road and Franklin Street at the age of 9 for nine months because of truancy . In his Baltimore Sun article celebrating the centennial of her birth, Tim Smith writes “The 200 block of Durham Street in Canton where she lived boasts Holiday murals, mosaics and painted screens, and has hosted Holiday-themed events . “Even though she was born in Philadelphia, we claim her,” says Thomas Saunders, 57, a longtime operator of tours to the city’s African-American heritage sites . “She grew up in Fells Point, and she would come back and sing at the Club Tijuana and Royal Theatre on Pennsylvania Avenue .”

In 1985, James Earl Reid was commissioned to create a statue of Billie Holiday which now stands in the troubled neighborhood of West Lafayette Street . The statue was re-dedicated in 2015 on the occasion of her centennial and the images at the base which Reid said were originally censored had been added . The images included a crow tearing apart Holiday’s iconic gardenia, in reference to Jim Crow laws, a lynched man, a baby with an umbilical cord and the inscription “God Bless the Child” in reference to one of her most famous songs . “My message and what I believe is the message of Billie Holiday’s songs,” Reid writes, “is that the black man is in trouble and at risk from the day he is born until the day he dies . The artist must serve suffering, as well as beauty.”

This play depicts Billie Holiday at the lowest point in her life in 1959, a black female artist who struggled out of poverty, was abused economically, physically and racially and sought relief from suffering in opioids. It is through her artistry and the theater’s imagination that we can serve the beauty as well . — Lisa A Wilde, Production Dramaturg

All concerts held at the Jim Rouse Theatre, ColumbiaCall 410-465-8777 or visit www.columbiaorchestra.org for ticket information.

THE COLUMBIAO R C H E S T R A

SUBSCRIPTION SERIESSYMPHONIE FANTASTIQUE, 12/2 at 7:30pm

Adams: The Chairman Dances; Rodrigo: Concierto de Aranjuez; Berlioz: Symphonie Fantastique

BEETHOVEN & BRAHMS, 1/27 at 7:30pmFulton: Deadlock; Beethoven: Piano Concerto No. 3; Brahms: Symphony No. 2

SYMPHONIC POPS, 4/14 at 7:30pm; 4/15 at 3pmTHE FRENCH CONNECTION, 5/19 at 7:30pm

Ravel: Bolero; Dukas: Sorcerer’s Apprentice; Ravel: Daphnis & ChloeFAMILY SERIES

FAMILY HOLIDAY CONCERT, 12/16 at 10:30amYOUNG PEOPLE’S CONCERTS, 3/17 at 10:30am & 1pm

CHAMBER SERIES – FREE!10/29/17, 3pm at St. Francis of Assisi Parish, Fulton2/11/18, 3pm at Glenelg United Methodist Church

6/10/18, 3pm at Howard County Center for the Arts

1977-2017

REP STAGE STAFF— Joseph W. Ritsch (Producing Ar-tistic Director) in addition to directing the Rep Stage productions of Venus in Fur, Sunset Baby, Technicolor Life, and Antigone Project: A Play in 5 Parts, The Other Place, Dorian’s Closet, Jo-seph recent directing credits include The Amish Project (UMBC Department of Theatre); Pride & Prejudice (Catholic University School of Drama), the multi-ple Helen Hayes nominated production of OLIVER! (Adventure Theatre) and The Understudy (Everyman Theatre) as well as choreography for the dance sequence in the recent production of DOT (Everyman Theatre) . He holds an MFA in theatre from Towson Uni-versity, a BA in Theater & Dance from The School of Performing Arts at The University of Maine, and completed his initial graduate studies in the acting track at the Professional Program at Playwrights Horizons in New York City . He has worked as a principal ensemble member with Jane Comfort and Com-pany, one of the industry’s premiere movement theatre ensembles, where he received critical acclaim for his work in both the Village Voice and the New York Times for his multiple roles in S/He and for the title role of Macbeth in Cliff Notes Macbeth . With the company, Jo-seph performed in several NY seasons at The Joyce Theatre and DTW, as well as two national tours and a tour to Paris, France . As a founding member and former Associate Artistic Director of Baltimore’s Iron Crow Theatre, his work includes his original play about the Jeffrey Dahmer murders, Apart-ment 213 . The production was named by Baltimore City Paper as one of the “Top 10 productions” of the Baltimore 2010-2011 Professional Theatre Sea-son . The project was developed at the prestigious WordBRIDGE Playwrights

Lab in June 2010 . As a director with the Iron Crow, Joseph garnished ad-ditional attention with Iron Crow’s pro-duction of Love and Human Remains which J . Wynn Rousuck, of WYPR, chose as one her “top 10” favorites of the Baltimore season . As an actor his work has been seen in New York, Van-couver, Philadelphia, Washington DC and Baltimore . Joseph is a proud mem-ber of the Stage Directors and Chore-ographers Society (SDC) . Upcoming directing projects include All She Must Possess (Rep Stage) and Machinal (UMBC) . www .josephwritsch .com

Zheyan Damavandi (Business Man-ager) is in her 5th season with Rep Stage . She has previously worked in marketing, office management, and graphic design at Todd Alan Printing, Howard County Public School Sys-tem, Fairfax County Government Cen-ter . She has also served on Children’s Time Preschools board of education for 5 years . She holds a Bachelor of Arts in Graphic Design from Mary-mount University .

Seth Schwartz (Production Manag-er) has previously worked as produc-tion manager for Carroll Community College . Seth has worked in other var-ious technical and management roles at venues that include Round House Theatre, The Shakespeare Theatre, Olney Theater Center, Imagination Stage, The Shakespeare Factory, Hedgerow Theatre, 1812 productions and the Folger Shakespeare Library . Seth holds a Bachelor of Fine Arts De-gree from the University of the Arts in Philadelphia .

Lisa A. Wilde (Dramaturg) is in her 18th season serving as the Rep Stage dramaturg . She is a Professor of The-atre at Howard Community College .

At Rep Stage, she directed Vita and Virginia and currently directs the Play Reading Series and the Pre-Show Lecture Program . She has previously worked at Center Stage in Baltimore and Young Playwrights, Inc . in New York, and has taught at Goucher Col-lege, Towson University, and at the Olney Theatre Center . She holds a doctorate in dramaturgy and dramat-ic criticism from the Yale School of Drama . She served as the region 2 Chair of Dramaturgy for the Kennedy Center American College Theater pro-gram for six years and has received the Kennedy Center’s prestigious Gold Medallion Award for commitment to and excellence in theater education .

Jenny Male (Resident Fight Director) is a director, vocal coach, and fight & dance choreographer in the DC/Bal-timore area . Her recent directing and

choreography credits include Spring Awakening, The 25th Annual Putnam County Spelling Bee, Avenue Q, and Into the Woods (Red Branch Theatre Company), Argonautika, Twelfth Night, A Christmas Carol, A Chorus Line, Noises Off, and Urinetown (Howard Community College), and Lilly’s Purple Plastic Purse and Mike Mulligan and His Steam Shovel (Children’s Theatre of Charlotte) . Jenny is Artistic Director of the epic outdoor drama Tecumseh! and Coordinator of the Theatre program at Howard Community College . She is a Certified Teacher with the Society of American Fight Directors and has served as the violence consultant for Rep Stage since 2006 . DC/Baltimore fight & movement credits include Mac-beth, Romeo and Juliet, Yellowman, Venus in Fur, Hamlet, August: Osage County, The Taming of the Shrew, and A Midsummer Night’s Dream .

Brooklyn RiderFEBRUARY 17

Benjamin Grosvenor, pianoMAY 5

Simone Dinnerstein, piano with Telegraph Quartet

NOVEMBER 12(Linehan Concert Hall at UMBC)

Tempest TrioAPRIL 15Calefax

MARCH 10

So PercussionJANUARY 20

17-18 CHAMBER MUSIC SERIES410-997-2324 | www.candlelightconcerts.orgSmith Theatre | Horowitz Center | Howard Community College

STAFF FOR REP STAGEProducing Artistic Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Joseph W . RitschFounding Artistic Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Valerie LashBusiness Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Zheyan DamavandiProduction Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Seth SchwartzResident Dramaturg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Lisa A . WildeResident Fight Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jenny MaleResident Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Julie DeBakey SmithSeason Production Apprentice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Brittany FedericiPhotography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Katie Simmons-BarthProgram Cover Artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Esther Wu

TECH AND BUILD CREWAssistant Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Brittany FedericiCarpentry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Rena Brault, Sarah Stepanik, Matt StrakaElectrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Matt StrakaScenic Artist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kristin BrainLight Board Operator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Jameson ButlerSound Board Operator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Matt StrakaFollow Spot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Yaw Owusu

HOROWITZ CENTER STAFFDirector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Janelle BroderickTechnical Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dave BlachowiczAssociate Technical Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Mark SmedleyMaster Electrician . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Eric MooreAudience Services Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Julie JonesAudience Services Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Raine Bode, Ally Cribbs, Allison Dreskin, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Diana Forbus, Linwood Milan, Melissa Paper-Garthoff, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Kathy Verheul, Lisa Yerrid .

SPECIAL THANKS TO:

Baltimore Center Stage

And, our patrons and friends .

We value your support!

Rep Stage is supported by a grant from the Maryland State Arts Council, an agency dedicated to cultivating a

vibrant cultural community where the arts thrive .

CONCERT SERIES2017 - 2018 CONCERT SERIES

TICKETS AND INFORMATION Horowitz Center Box Office 443-518-1500howardcc.edu/concerts | hccconcertseries

FACULTY CONCERTS

Accordare Piano Duo – A “GRAND” Invitation to the Dance: A Pianistic Evening at the Ballet Sat., Nov. 4, 2017 at 7:30 pm

Innovative Colors Sat., Nov. 11, 2017 at 7:30 pm

The Lyric Brass Quintet – Revolutionary BrassSat., Nov. 18, 2017 at 7:30 pm

Fun Evening With Duos and TrioSat., Feb. 24, 2018 at 7:30 pm

GUEST ARTIST CONCERTS

Chris Vadala in ConcertSun., Nov. 5, 2017 at 4:00 pm

“Prince of Instruments” – A Talk by Ronn McFarlaneFri., Feb. 16, 2018 at 12:00 noon

Ronn McFarlane in ConcertSun., Feb. 18, 2018 at 4:00 pm

Santiago Rodriguez in ConcertSat., April 21, 2018 at 7:30 pm

Story by Jean ShepherdAdaped by Joseph Robinette

31 W PATRICK STREET FREDERICK MD 21701 • 301.694.4744 • MARYLANDENSEMBLE.ORG

DECEMBER 1 – 23

FRIENDS OF REP STAGE

DIRECTOR’S CIRCLE ($4,000 & UP)Howard County Arts CouncilHoward County GovernmentValerie LashMaryland State Arts Council

BENEFACTOR ($1,000 - $3,999)AnonymousBarbara J . BiceJohn & Donna CooksonValerie LashJames & Linda LoeschHelen B . MitchellChristopher PuinColumbia Film SocietyWilliam & Lorraine Tropf

ANGEL ($500 - $999)Suzanne BealRobin Bridges George & June HigginsSteven & Candace Hutcheson Douglas Lea & Robert Fontaine Elizabeth & Kenneth LundeenHal & Toby OrensteinAlan & Pamela Ray James & Karen Trennepohl

STAR ($300 - $499)AnonymousAlan & Sue EwingMatthew Freedman & Gladys ArakPatrick McAfee & Elke Reuning-Elliott Karen J McDonaugh Sue Morss William & Elizabeth PearceWilliam & Kathleen Pence William & Paula Phillips Barbara Russell Stephen & Sue Sternheimer Philip Vilardo & Lisa Wilde Gregory & Virginia Yates Henry & Nancy Yee

PATRON ($150 - $299)Roy & Susan Appletree Stephen & Janet Kimberling John & Susan Lyons

Alan & Patricia McLaine Nicholas Sommese & Kathryn Hogue James Baker & Elizabeth Lancaster Melissa Cunha Banach Bruce Blum Lloyd Knowles & Elizabeth BoboRobert & Mary Ann Buchmeier Susan R . BuswellDavid & Mary CarterValentinas & Rasa Drazdys Les & Margaret GesellJames & Patti Gillespie Arnold & Martha GrafJames & Deidra Kelly Valerie W . Kitch Paul & Moira LarsenBeth Leaman Dennis & Faith Mauro-Huse Ronald A . Mayer Richard & Christine Philps John & Carol Roberts The Hugh & Carole Ross TrustStephen Singer & Barbara HawkinsScott & Julie Sokolowski Tim & Ellen Sosinski Susan Spencer Silvia B . Stanford Eric P . Stewart Suzanne Suter-Lowe Anita Wilcox

DONOR ($75 - $149)Margaret R . Armitage Paul BarrettGiora & Mirrell BendorGerald BermanJames & Lee Blue Maryanne B . Bongiovani Thomas & Patricia CosgroveLarry Feidelseit John & Dorothy Foellmer Sheila FrankJean & Penny Friedberg Neil Gordon Donald & Kristin Grue Larry Hughes & Pamela Isabel Michael & Carolyn KelemenRichard & Elaine King

Every effort has been made to ensure that this list of contributors is correct and complete for the time period: July 1, 2016 through September 15, 2017. If your name has been omitted, misspelled, or otherwise listed incorrectly, please accept our apologies and inform us by calling the HCC Educational Foundation, 443-518-4450 so that a correction can be made.

Jesse & Ruby SchneiderStephen & Christine Sharpe Glennor Shirley Laura SteeleSidney Trieger Jim & Margot Vincent Ute Von MehlemPatricia Williams

TAKE A SEAT DONORSJuliette T . Benton TrustDr . Samuel BerkowitzElizabeth Bobo & Lloyd KnowlesBarbara BrickmanBrian & Angel C . Burba (2)Bruce T . CasteelRichard Chapman & Beckie MilhelicGertrude H . Crist (2)Columbia Film Society, Inc .Janet & Mark CullisonDavid A . Dalrymple (2)James H . & Adrienne DavisMack Kingsmore & Mary Ellen DuncanEdward & Anita L . DworkinPatricia M . GrimAndrea Morris GruhlFarida P . GuzdarJohn & Kate HetheringtonHoward BankHoward County BalletHoward County General Hospital (3)Padraic & Ellen Kennedy (2)Lawrence M .S . & Phyllis Kroger (2)Valerie E . Lash (4)John (JK) Lea & Claire LeaDouglas Lea & Robert FontaineKen & Elizabeth Lundeen (2)Hank & Lee MandelbaumHenry & Darlene MillerHelen B . MitchellBruce Nelson (2)J . Stephen Noble & Nancy G . Hiteshew (4)Toby OrensteinJennifer RadeSteven W . & Lee SachsMichael Stebbins (2)Edward SteinhouseThe Joseph & Catharine Tarr Charitable FoundationNancy Tarr HartKarl C . & Holly H . ThomasPatricia VanAmburgLisa A . Wilde & Philip VilardoGregory and Virginia Yates

DONOR ($75 - $149) Audrey B . Kunkler Leonard Lazarick, Jr . & Maureen E . Kelly Macy’s, Inc .Robert R . Marietta Kevin Maroney Richard MarriottRussell & Mary Louise McCallySharon A . McKinleyStephen & Adrien MeskinElsa Orley Ponce Stephen & Sandy Reading Stanley & Dotty Rodbell Martha A . Rosen Eugenia Somers Mark T . SoutherlandDavid Tannous Marcia ThomasDavid & Judy GlaserEd Wood & Dee Sullivan Tom Wright & Beth Singer

SUPPORTER (UP TO $74)Peter Laurance Axelrod Clyde & Gloria Ballard Ellen W . Blackwell Ronald J . BottomlyJackie BrooksNorma Cohen Robin M . CuddyWilliam & Eva Duff Jay FriedmanNancy GallowayRalph & Jane Geuder Werner & Andrea Gruhl Jinet Hamlin O . Maurice Haynes Aaron HeinsmanCheryl Henderson David HigginsPatricia Joy Marie LaPorte Douglas Lea & Robert FontaineCliff & Marion Leitao Otto & Barbara Lewis Ralph & Kathie LillieGilbert H . Lovell Edward & Donna Mack Joseph & Virgie Mason Jeremy Mayo Lynn McCloskeyRoger Meade & Sherrie BlackLarry & Lane E . Page Clifton P . QuinnRobert & Theresa RahikkaAllen & Kaethe Schick

JOBS FOR TECHNICIANS!HCC’s NEW Entertainment Technology degree offers 1-year certificate and 2-year degree programs that prepare students for in-demand jobs

in the presentation industry.

HCC’s Entertainment Technology program partners with organizations within the industry to ensure a smooth transition from training to employment.

Entertainment Technology Program

Need more information?Visit howardcc.edu/entech or contact Bill Gillett, wgillett@howardcc.edu

DIRECTED BY JOSEPH RITSCHBY SUSAN MCCULLY

FEBRUARY 8-25, 2018

COMING NEXT