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contemporaryamericantheaterfestival AT S H E P H E R D U N I V E R S I T Y 26 T H S E AS O N J U LY 8 - 31 , 20 1 6 THANK YOU ACTORS’ EQUITY FOUNDATION The Contemporary American Theater Festival’s 2016 Season is supported, in part, by the following foundations, corporations, institutions, and government agencies. THE ALFORD FOUNDATION BB&T CITY NATIONAL BANK THE CLEVELAND FOUNDATION DRAMATISTS GUILD FUND OF AMERICA EASTERN WEST VIRGINIA COMMUNITY FOUNDATION IANTHOM FOUNDATION IBM INTERNATIONAL FOUNDATION MATCHING GIFT PROGRAM JANNEY MONTGOMERY SCOTT LLC JEFFERSON ARTS COUNCIL JEFFERSON COUNTY CONVENTION & VISITORS BUREAU The Contemporary American Theater Festival at Shepherd University is proudly affiliated with: Actors’ Equity Association, United Scenic Artists, Society of Stage Directors and Choreographers, National New Play Network, and Theatre Communications Group (TCG). THE NORA ROBERTS FOUNDATION PGPRESENTS, LLC MISSION PFIZER FOUNDATION MATCHING GIFT PROGRAM TO PRODUCE AND DEVELOP NEW AMERICAN THEATER SHEPHERD UNIVERSITY THE VISION SHEPHERD UNIVERSITY FOUNDATION THE ULTIMATE THEATER EXPERIENCE THE SHUBERT FOUNDATION THE TED SNOWDON FOUNDATION, In loving memory of Mrs. Snowdon Durham Byron THE STATE OF WEST VIRGINIA THE HAROLD AND MIMI STEINBERG CHARITABLE TRUST UNITED WAY OF THE EASTERN PANHANDLE THE WEISSBERG FOUNDATION JEFFERSON COUNTY DEVELOPMENT AUTHORITY WELLS FARGO LAURENTS/HATCHER FOUNDATION WEST VIRGINIA COMMISSION ON THE ARTS NATIONAL ENDOWMENT FOR THE ARTS WEST VIRGINIA DIVISION OF TOURISM NATIONAL NEW PLAY NETWORK WEST VIRGINIA HUMANITIES COUNCIL CORE VALUES FEARLESS ART; DARING AND DIVERSE STORIES; A PROFOUND DYNAMIC AMONG THE AUDIENCE, THE ARTIST, AND THE WORK contemporaryamericantheaterfestival AT S H E P H E R D U N I V E R S I T Y ED HERENDEEN TABLE OF CONTENTS PEGGY MCKOWEN CATF INSTITUTIONAL FUNDERS . . . . . . . . . . . . . . . . . . . . . . . . INSIDE FRONT COVER Founder & Producing Director Associate Producing Director GABRIEL ZUCKER Director of Communications and Marketing VICKI WILLMAN Director of Development JOSHUA MIDGETT General Manager LETTER FROM THE PRODUCING DIRECTOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 LETTER FROM THE PRESIDENT OF THE BOARD . . . . . . . . . . . . . . . . . . . . . . . . . 6 BOARD OF TRUSTEES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 LETTER FROM THE PRESIDENT OF SHEPHERD UNIVERSITY . . . . . . . . . . . . . 10 SUPPORT CATF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 MAJOR CONTRIBUTORS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 2016 COMPANY LIST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 THE REPERTORY AND PROGRAM NOTES: Contemporary American Theater Festival at Shepherd University P.O. Box 429 Shepherdstown, WV 25443 PEN/MAN/SHIP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 NOT MEDEA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 THE WEDDING GIFT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 20TH CENTURY BLUES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 THE SECOND GIRL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 800.999.CATF www.catf.org ABOUT THE 2016 COMPANY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 CATFatSU @thinktheater EDUCATIONAL OPPORTUNITIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 • A GOU R M E T M A R K ET P L ACE • ART AT THE FESTIVAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 LECTURES AND SPECIAL EVENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 IN-KIND SUPPORTERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 2016 FELLOWS, INTERNS, & APPRENTICES . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 CATF CONTRIBUTORS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 PRODUCTION HISTORY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 ADVERTISERS’ INDEX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 FESTIVAL SCHEDULE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . INSIDE BACK COVER 2 THE PRESS ROOM SERVING DINNER WEDNESDAY - MONDAY 5PM TO CLOSE SUNDAY BRUNCH 10:30AM TO 2:30PM SUNDAY DINNER 4PM - 8PM 129 W. GERMAN STREET 304.876.8777 Featuring artisanal cheeses, WV wine and food, fresh coffee beans, local chocolates, linens, bath & body products and more . . . 103 W. Ge rman Stre et | 304.876.1106 From the Founder & Producing Director ED HERENDEEN WELCOME to the Contemporary American Theater Festival. Welcome to the future of the American Theater. The future isn’t just a place we will go this summer; it’s a place that we will experience together. The future spends the summer in Shepherdstown, West Virginia. It is my pleasure to introduce you to new work by Christina Anderson, Allison Gregory, Chisa Hutchinson, Susan Miller, and Ronan Noone. I want to personally thank each of these playwrights for giving us the opportunity to bring their new plays to life at our Theater Festival. They are the reason that we are gathered together this summer. We are a playwright-inspired theater. And we are proud to share these stories with you. ED HERENDEEN We are dedicated to producing and developing new American theater. Our core values: Fearless Art; telling daring and diverse stories; and creating a profound dynamic between the audience, the artists, and the work. This is who we are and what we do. I love producing new plays. New plays are produced without a safety net of tradition. New plays do not have a production history to fall back on. New plays are risky…And I love taking risks with new work. I am ruthless and passionate in my pursuit of new plays. I am not interested in producing minor works. I am inspired by our 2016 playwrights. I am compelled to share their new plays with you because I am constantly looking to maintain the heat and energy of new American literature for the stage. This season’s repertory is jet fuel that pumps adrenaline into my heart. The American theater persists because of new plays. And on behalf of the entire 2016 Theater Festival Company, I want to personally thank you for joining us this summer. You play a vital role in our important and necessary mission. Thank you for sharing our passion for creating new work. Thank you for sharing our belief that writing matters. Producing new work matters. Thank you for your ongoing and continued support. We are thrilled that you are here to experience a tsunami of creative energy by these five extraordinary, living American playwrights as we ascend into the next 25 years. The work continues… Welcome DR. MARY J.C. HENDRIX A very warm welcome to our new partner, friend, and leader. Enjoy! Ed Herendeen, the CATF Board of Trustees, and the CATF Staff & Company 4 Welcome from the President of the CATF Board of Trustees RB SEEM “A theatre, a literature, an artistic expression that does not speak for its own time has no relevance.”—Dario Fo WELCOME to the Contemporary American Theater Festival at Shepherd University. The 2016 season is going to be an exciting journey of new American plays that will challenge you, excite you, and make you question your own beliefs! We will continue to initiate conversation and create a sense of community as we embark on our next RB SEEM 25 years of producing unparalleled theater. Our vision is to create “the ultimate theater experience.” This ultimate theater experience extends beyond the plays and post-show discussions and includes the conversations you have with family, friends, fellow patrons, and the artists themselves. The Contemporary American Theater Festival is a unique experience that is truly immersive and allows you to be a part of the creative process. My sincere appreciation goes out to the staff, the playwrights, the artists, the designers, our supporters, and the Board of Trustees – these people make it happen! I also want to extend a special welcome to the new Shepherd University President, Dr. Mary Hendrix. Our partnership with Shepherd University allows us to do what we do best – produce world-class theater. Finally, you are why we are here. Your support and continued insistence that we remain bold, fearless and true to our mission is what sustains us year after year. On behalf of the Board of Trustees, I welcome and thank you for giving us the chance to speak for our time. 6 2016 Contemporary American Theater Festival BOARD OF TRUSTEES RB SEEM MARELLEN AHERNE EX OFFICIO STEPHEN G. SKINNER PRESIDENT CHRISTOPHER AMES DOW BENEDICT MARY HELEN STRAUCH SCOTT WIDMEYER VICE PRESIDENT JON AMORES HONORARY BOARD S. ANDREW ARNOLD JENNY EWING ALLEN JASON AUFDEM-BRINKE SHARON J. ANDERSON SECRETARY MARTIN BURKE BETH BATDORF ROBIN BERRINGTON ELLEN CAPPELLANTI KAREN RICE ALLISON MARINOFF CARLE CARMELA CESARE TREASURER ROBERTA DEBIASI, MD BRIDGET COHEE JAMES EROS BILL DRENNEN PAUL GARRARD MARY CLARE EROS DR. MARY J.C. HENDRIX THOMAS S. FOSTER ED HERENDEEN ANN HARKINS PETE HOFFMAN LILY HILL DIMETRA LEWIN CATHERINE IRWIN TRIPP LOWE JUDITH KATZ-LEAVY PEGGY MCKOWEN SUSAN KEMNITZER KAKIE MCMILLAN KATHA KISSMAN NOAH MEHRKAM STANLEY C. MARINOFF, MD SUSAN MILLS TIA MCMILLAN JEANNE MUIR PATRICIA RISSLER ANDREW D. MICHAEL AUDREY ROWE JOYCE CAROL OATES CHRISTOPHER E. SEDLOCK MICHAEL PROFFITT RICK SHAFFER MICHAEL SANTA BARBARA SYLVIA BAILEY SHURBUTT LYNN SHIRLEY 8 KEVIN STRUTHERS KIRSTEN TRUMP MARJORIE WEINGOLD LISA YOUNIS EMERITUS BOARD RONALD JONES SHIRLEY MARINOFF* LINDA RICE* * in memoriam A Letter from the President of Shepherd University DR. MARY J.C. HENDRIX WELCOME to Shepherd University and to the Contemporary American Theater Festival that we so proudly host each summer. The longstanding partnership between Shepherd and CATF has enriched our community for more than a quarter of a century. The Center for Contemporary Arts is home to Shepherd’s Department of Contemporary Art and Theater, a unique combination of the visual and performing arts centered in one beautiful complex. The Center for Contemporary Arts houses art and graphic design classrooms, studios - including the L. Dow Benedict Sculpture Studio named in honor of a beloved and longtime faculty member and dean - set and costume shops, and the Stanley C. and Shirley A. Marinoff Theater, where you will DR. MARY J.C. HENDRIX have the opportunity to see several of this season’s plays. We are grateful to Dr. Marinoff and his family for their support of CATF, Shepherd University, and the arts. The arts thrive because of support by generous and thoughtful donors. Since its inception in 1991, CATF has been led by the remarkably talented Ed Herendeen. He developed the Festival in order to produce and develop new American theater and to celebrate playwrights both established and “upcoming.” A whirlwind of energy and artistic vision, Ed is directing two of the five plays being presented this season. I hope you will take advantage of all that is offered by the Theater Festival, historic Shepherdstown, and Shepherd University during your time with us this summer. CATF evinces Shepherd’s dedication to excellence, innovation, and opportunity. We are extremely proud to be a partner of the Contemporary American Theater Festival. Outside Dining • Menus Featuring Local Farm Produce Sunday Brunch • Rathskellar Pub with Weekend Entertainment With many best wishes, The Bavarian Inn has proudly won many awards, including a AAA Four Diamond and Wine Spectator’s “Best of” Award of Excellence. 304.876.2551 • WWW.BAVARIANINNWV.COM 10 164 SHEPHERD GRADE ROAD • SHEPHERDSTOWN, WV 25443 Supporting 20th Century Blues THE STAGING TEAM CATF’S OVATION SOCIETY STAGING TEAM CONTRIBUTORS CATF wishes to acknowledge the extraordinary inaugural members who have provided for the PRODUCER’S CIRCLE Marvin F. Weissberg IMAGINE reading the script for a new play, knowing it could be a vital part of the American theater canon, but knowing too that the AGENT’S CIRCLE Marellen Aherne, In memory of Laurence D. Bory Mina Goodrich & Lawrence K. Dean The McMillan Family Lisa M. Poulin annual budget just couldn’t support it. This is what Ed faced with Susan Miller’s 20th Century Blues. Clearly the play was stunning, but it called for unusual technical expenses and a cast that included five women who were over sixty years old. CATF uses a repertory model, which often involves casting actors in more than one production in an effort to contain costs. But the other plays in the 2016 season didn’t call for women in this age group (few scripts do!). This created a dilemma: the Festival could either choose not to present this wonderful work for fear of expense, or it could risk MARELLEN AHERNE WITH PLAYWRIGHT SUSAN MILLER AND CATHERINE IRWIN producing it at significant - and possibly detrimental - cost. Enter The Staging Team, a collective formed to fund the daring and dynamic. Led by Catherine Irwin and Marellen Aherne, this group banded together to support work that could only be realized through contributions over and above the Festival’s regular operating budget. It has made a commitment to raise the money required to produce 20th Century Blues. The Staging Team includes Jim Eros, Ann Harkins, Tia McMillan, Susan Mills, Rick Shaffer, Emma Stokes, and Rose Wayland. Many have joined the effort to raise the money for this year. We know that others will help us to meet and exceed our goal to support the production of this wonderful play. Now imagine knowing your contribution has supported the world premiere of this fabulous play, 20th Century Blues, right here in Shepherdstown. That’s the joy - and pride - everyone associated with The Staging Team feels. The Contemporary American Theater Festival has always been about forging a bond between the audience and the artist. The Staging Team is a prime example of this relationship. Why not join us? Catherine Irwin & Marellen Aherne Staging Team Co-Chairs 12 DIRECTOR’S CIRCLE Ellen Cappellanti Catherine Irwin Michelle Olson & Scott Sudduth Shepherd University Foundation Joanne Wadsworth Allan & Marjorie Weingold ARTIST’S CIRCLE Bridget Cohee Liz Dunst James & Mary Clare Eros Paul Garrard Ed & Sue Herendeen Lily R. Hill Susan Mills Mary O’Hara Elizabeth Penna Robert Pullen & Luke Frazier RB Seem Rick & Sheila Shaffer Dr. Ray & Sylvia Shurbutt Lee & Patricia Stine Mary Helen & Robert Strauch Linda & Alexander Wanger Victoria Weagly & Polly Kuhns Scott Widmeyer As of June 21, 2016 Vicki Willman & Sue Wert, In memory of our parents; Charles & Helen Wert & Glenn R. Willman future of the Festival in their estate plans. Jenny Ewing Allen Jeffrey Longhofer & Jerry Floersch PATRON’S CIRCLE Dr. Stanley C. Marinoff Mary Bell & Sandy Jenkins Ann Kelley Christy Lissa A. Cobetto Donna J. Dean & John L. Meyer THE ED HERENDEEN FUND FOR CONTEMPORARY THEATER Erdem & Joan Ergin Ronald & Ann Gephart Ann M. Harkins CATF extends its sincere gratitude to the following Stephen & Linda Hood individuals and businesses for their leadership in Judith W. Katz-Leavy supporting this critical endowment fund for future James McNeel artistic initiatives and programming. Lex & Pam Miller Stan & Wendy Mopsik Louise Potter Jill Schatken, In honor of Susan Miller, her play, & CATF Skip Adkins Andrew Michael Jenny Ewing Allen Robert Myers in honor of Catherine Irwin John & Joyce Allen Matthew & Jan Birch The Sedlock Family Sondra Birch & Lawrence Hamer Carrie Singer Emma J. Stokes Martin Burke & Barbara Spicher Marie Tyler-McGraw Hank & Dale Walter Rose Herr Wayland Conoco Phillips Company Paul & Lisa Welch Ann M. Harkins Jack & Martha Young Margaret & Fontaine Hooff FRIEND’S CIRCLE Anonymous Gary Horowitz Roy & Gay Cima Ernest & Joan Johnston John King Karen & Douglas Kinnett Harriet K. “Mandy” Staffa MajorGiving.com Elisabeth Staro Tia & Robert McMillan 13 Lisa M. Poulin in honor of Joan Marie & Normand Poulin Proffitt & Associates Architects Stephen Skinner Robert Stein & Gina Daddario Kirsten Trump Elizabeth Tyson in honor of Catherine Irwin Mikki Van Wyk in honor of Jenny Ewing Allen The 2016 Season is generously supported by these Support the Contemporary American Theater Festival FESTIVAL FRIENDS THE ANNUAL FUND: FESTIVAL FRIENDS THINK THEATER. THINK SUPPORT. GIVE TODAY! PRODUCER’S CIRCLE As a nonprofit arts organization, the Festival does not cover its costs through ticket sales alone. In order to bridge Marvin F. Weissberg | Henry K. Willard II the gap between earned income (ticket sales) and the Festival’s total budget, CATF depends on grants and donations from businesses and individuals like you. Peter Emch | Mina Goodrich & Lawrence K. Dean | Patricia Rissler & James Rogers PLAYWRIGHT’S CIRCLE A contribution to CATF is an investment in the future of the American theater. Contributors to CATF’s annual fund campaign (“Festival Friends”) receive unique opportunities to connect with the art and the artists that make it. Help us to continue producing unparalleled theater by making a donation. Give today in support of bringing compelling stories and ambitious new theater to life. Marellen Aherne | Terry Hong & Gregor Bailar | Rick & Sheila Shaffer AGENT’S CIRCLE Jenny Ewing Allen Visit CATF.ORG/donate to learn more about donor benefits and to make a tax-deductible contribution. Beth Batdorf & John Bresland | James & Mary Clare Eros | Paul Garrard Paul Kessler & Elizabeth Nicholas Allison Marinoff Carle RB Seem DID YOU KNOW? | | Mary J.C. Hendrix Peggy McKowen Dr. Stanley C. Marinoff | Robin Berrington | | | Drs. Roberta DeBiasi & Mark Cucuzzella Pete Hoffman | Thomas & Billie Horst Kakie & Andrew McMillan | Susan Mills | | Tia & Bob McMillan Jeanne Muir & Jim Ford | Karen & William T. Rice Robert & Mary Helen Strauch | Michael Weller Eileen Andary, In memory of Robert G. Andary | Sharon J. Anderson & Adrienne Haddad Drs. Ray & Sylvia Shurbutt | | Scott Widmeyer DIRECTOR’S CIRCLE For each dollar of support CATF receives, 89 cents is invested in producing the art on our stages during the Jon & Linnsey Amores Festival, and only 11 cents is leveraged for advertising Andrew Arnold & Carmela Cesare and fundraising. Arlene Friedlander Thanks to our partnership with Shepherd University Catherine Irwin your gift goes a long way toward making the risky Anita M. Difanis & Richard W. Krajeck and passionate pursuit of new plays possible. | | | | Martin Burke & Barbara Spicher Benjamin Baker & James Gatz ONLINE BY P H O N E BY MA I L ( C H E C K O R C R E D I T C A R D ) WWW.CATF.ORG/DONATE CALL 304.876.5240 PO BOX 429 SHEPHERDSTOWN, WV 25443 14 | | Toni A. Ritzenberg Donna Roberts | | Stephen Skinner & Jeffrey Gustafson Joanne Wadsworth | | Ellen Cappellanti | Frederic & Anna D’Alauro Ann M. Harkins | Ed & Sue Herendeen | Judith W. Katz-Leavy Dimetra & Lucien Lewin | | Warren Gump Donald H. Hooker, Jr. & Mary I. Bradshaw Irene Nichols, In memory of Phyllis Kresan Founder & Producing Director Ed Herendeen, playwright Chisa Hutchinson, and Dr. Stanley Marinoff snap a selfie at CATF’s Buzz Party benefit. THREE WAYS TO DONATE: | | | Andrew D. Michael Michelle Olson & Scott Sudduth | | Helen & Ed Moore Lisa M. Poulin | Michael Proffitt Joan Shugoll, In loving memory of Eugene Shugoll | Peter & Victoria Smith | Alyse & Steve Steinborn Allan & Marjorie Weingold Bolded listings indicate donors who increased their contribution by 10% or more in comparison to the previous season. July 3, 2015 – June 21, 2016 15 CATF’s contributors list continued on page 82 2016 Contemporary American Theater Festival COMPANY LIST ED HERENDEEN PRODUCING DIRECTOR PEGGY MCKOWEN ASSOC. PRODUCING DIRECTOR GABRIEL ZUCKER DIR. OF COMM. & MARKETING VICKI WILLMAN DIRECTOR OF DEVELOPMENT JOSHUA MIDGETT GENERAL MANAGER TRENT KUGLER DIRECTOR OF PRODUCTION CHASE MOLDEN PRODUCTION SUPERVISOR PLAYWRIGHTS CHRISTINA ANDERSON ALLISON GREGORY CHISA HUTCHINSON SUSAN MILLER RONAN NOONE DIRECTORS May Adrales*** Ed Herendeen*** Courtney Sale Lucie Tiberghien*** Shaun McCracken, ASSISTANT DIRECTOR Aaron Anderson, FIGHT DIRECTOR Theresa M. Davis, EDUCATION DIRECTOR Pat McCorkle, CASTING DIRECTOR Katja Zarolinski, CASTING ASSOCIATE Kirsten Trump, DIALECT COACH DESIGNERS Trevor Bowen, COSTUME DESIGN Therese Bruck, COSTUME DESIGN Peggy McKowen, COSTUME DESIGN** Mfon-Abasi Obong, ASST. COSTUME DESIGN John Ambrosone, LIGHTING DESIGN** Tony Galaska, LIGHTING DESIGN D.M. Wood, LIGHTING DESIGN** Christian Specht, ASST. LIGHTING DESIGN Hannah Marsh, PROJECTION DESIGNER David M. Barber, SET DESIGN** Jesse Dreikosen, SET DESIGN Kris Stone, SET DESIGN** Victoria (Toy) Deiorio, SOUND DESIGN** David Remedios, SOUND DESIGN** Nathan A. Roberts, SOUND DESIGN** STAGE MANAGERS Debra A. Acquavella, PRODUCTION STAGE MANAGER* Maribeth Chaprnka, STAGE MANAGER* Lori M. Doyle, STAGE MANAGER* 16 Jason Pacella, STAGE MANAGER* Lindsay Eberly, ASST. STAGE MANAGER* Emily Pathman, ASST. STAGE MANAGER ACTORS Betsy Aidem* Jason Babinsky* Rachael Balcanoff Ben Chase* Brian D. Coats* Franchelle Stewart Dorn* Kathryn Grody* Margaret Ivey* Bianca Laverne Jones* Ted Koch* Nafeesa Monroe* Alexandra Neil* Edward O’Blenis* Joey Parsons* Mary Suib Damian Thompson* Cathryn Wake* Jessica Wortham* PRODUCTION STAFF Joshua Frachiseur, TECHNICAL DIRECTOR Zack Hiatt, TECHNICAL DIRECTOR CJ Glowacki, TECHNICAL DIRECTOR Lindsey Kelley, TECHNICAL DIRECTOR Kristen Rosengren, LEAD CARPENTER Kathryn Blakeslee, CARPENTER Travis Fouche, CARPENTER Joe Kurzawa, CARPENTER Sean Milito, CARPENTER Stephanie Shaw, COSTUME SHOP MANAGER Marjorie Baer, COSTUME CRAFTS Barbara Blackwood, STITCHER Abigail Kiker, CUTTER/DRAPPER Rebecca Huguet, COSTUMING FIRST HAND Cordelia Rios, STITCHER/ DRESSER George Horrocks, MASTER ELECTRICIAN John Newman, MASTER ELECTRICIAN Bridget Williams, MASTER ELECTRICIAN Samuel Vawter, FESTIVAL CHARGE ARTIST Sebastien Oliveros-Tavares, PAINTER Jessica Carpenter, PAINTER Jessilynn Lawson, PAINTER Chase Molden, PROPS MASTER Katelin Ashcraft, ASST. PROPS MASTER Brianna Colombo, PROPS CARPENTER Angela Zylla, PROPS SOFT GOODS ARTISAN Jaechelle Johnson, SOUND DEPT. HEAD Sydney Yates, BOX OFFICE INTERN Madison St. Amour, BUSINESS MANAGEMENT INTERN Liz Kent, BUSINESS MANAGEMENT INTERN Sydney Hill, COMPANY MANAGEMENT INTERN Nicholas Denninger, COMPANY MANAGEMENT INTERN Kurt Engh, COMPANY MANAGEMENT INTERN COMPANY MANAGEMENT APPRENTICE Haley Hubbard, COSTUME INTERN Kayla Lindsay, COSTUME INTERN Emily Greene, COSTUME INTERN Chandler Blount, COSTUME INTERN Connor Perkins, ELECTRICS INTERN Elizabeth Jean Kennedy, Adam Neely, ELECTRICS INTERN Samantha Cotton, Candace Kenney, PATRON SERVICES MANAGER Alyssa Crump, ASST. BOX OFFICE MANAGER CREATIVE TEAM Jen Rolston, GRAPHIC DESIGN Michael McKowen, SEASON IMAGES Seth Freeman, PHOTOGRAPHER FELLOWS, INTERNS, & APPRENTICES Mikayla Bartholomew, ACTING INTERN Tyler John Fauntleroy, ACTING INTERN Tre’ Henley, ACTING INTERN Ariane Ireland, ACTING INTERN Ciara Monique McMillian, ACTING INTERN Vincent Ramirez, ACTING INTERN Ana Cackley, BOX OFFICE INTERN Madolyn Friedman, STAGE MANAGEMENT INTERN Ryan Kane, STAGE MANAGEMENT INTERN DeAnna Keys, STAGE MANAGEMENT INTERN OBSERVERS & UNDERSTUDIES Vinecia Coleman Nell Komlos Cait Robinson Bryan Staggers Brandon Sieck, COSTUME INTERN ELECTRICS INTERN Gabrielle Tokach, STAGE MANAGEMENT INTERN John McCarrick, ADMINISTRATIVE STAFF COMPANY AND EVENTS MANAGER* Jesse Lumsden, SCENERY INTERN Ian Robertson, SOUND FELLOW Zack Bowen, SOUND INTERN Paula Halpern, SOUND INTERN Emily Cuerdon, MARINOFF INTERN CANDIDATES Tre’ Henley Casey Otto FRONT OF HOUSE INTERN Claire Malkie, HOUSE MANAGER/FOH INTERN Megan West, HOUSE MANAGER/FOH INTERN Hunter Strauch, MARKETING INTERN Sophia Adsit, PAINTS INTERN Victoria Bielstein, PAINTS INTERN Casey Otto, PAINTS AND FRONT OF HOUSE APPRENTICE Rachel D’Amboise, PRODUCTION MANAGEMENT INTERN Jon Wyand, PRODUCTION MANAGEMENT INTERN Jessica McClanahan, PROPS INTERN Emma Robinson, PROPS INTERN Trevor Stanchfield, PROPS INTERN Justen Zhao Zhang, PROPS INTERN Katherine Metzler, SCENERY INTERN 17 This Theater operates under an agreement between the League Of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. *Actors’ Equity Association **United Scenic Artists ***Stage Directors and Choreographers Society A WORN WHALING SHIP ON THE ATLANTIC OCEAN. SEPTEMBER THRU NOVEMBER, 1896. IN MAY, THE SUPREME COURT UPHELD THE JIM CROW LAWS (“SEPARATE BUT EQUAL”) AS CONSTITUTIONAL. CAST: pen/man/ship CHARLES BOYD BRIAN D. COATS CECIL EDWARD O’BLENIS RUBY HEARD MARGARET IVEY JACOB BOYD DAMIAN THOMPSON SHIP CREW MIKAYLA BARTHOLOMEW TYLER JOHN FAUNTLEROY VINCENT RAMIREZ CHRISTINA ANDERSON This is a big play with a small cast. It deals with black/white, rich/poor, male/female, young/old, free/slave, and gay/straight issues… do you need a bigger boat? Ed Herendeen described this play as “Mutiny on the Bounty” meets “12 Years a Slave” meets “Roots” meets “Moby Dick.” How would you describe it? One of the first things Lucie Tiberghien, who is directing the play, asked me was, “How big is this boat?” When this play was produced at the Magic Theater in San Francisco, interns built a dramaturgy wall and filled it - in the shape of a boat - with all the images and themes that the play addresses. It took up the whole wall, reaching into the ceiling. The first time I saw that wall, I thought: “This is a huge play.” I would describe the play as an examination of exceptionalism, and the ripple effect of a fatal encounter. I wrote this play around the time George Zimmerman was to be charged with shooting Trayvon Martin. No one is 100% sure how that encounter went down except for the two men who were involved and one of them was dead. I was fascinated that in our century with all these cameras and devices that this was still possible. The only real evidence we have of this encounter is a scream that is heard over a 9-1-1 call. Explain the title of your play, pen/man/ship. SET DESIGN KRIS STONE STAGE MANAGER LORI M. DOYLE COSTUME DESIGN TREVOR BOWEN ASSISTANT STAGE MANAGER LINDSAY EBERLY LIGHTING DESIGN TONY GALASKA ORIGINAL MUSIC AND SOUND DESIGN VICTORIA DEIORIO DIALECT AND VOCAL COACH KIRSTEN TRUMP STAGE MANAGEMENT INTERN EMILY CUERDON CASTING DIRECTOR PAT MCCORKLE, CSA CASTING ASSOCIATE KATJA ZAROLINSKI TECHNICAL DIRECTOR CJ GLOWACKI FIGHT DIRECTOR AARON ANDERSON by christina anderson Directed by lucie tiberghien Researched, interviewed and edited by Sharon J. Anderson, CATF Trustee/Professional Story Listener and Creative Director www.sharonjanderson.com An Interview with the Playwright SETTING & TIME: Performed with one intermission. Contains strobe lighting effect, violence, and theatrical haze. pen/man/ship received its world premiere at San Francisco’s Magic Theatre in May of 2014. When I was doing research on the time period of this play, I came across a lot of journals and letters because that is how people communicated and made notes of their existence. I knew someone was going to be keeping a log on the ship. Then I came across the word, “penmanship.” I wouldn’t have figured out that title if I hadn’t seen that word. I want the titles of my plays to reflect the engines of my plays. This play takes place after slavery, emancipation and the Jim Crow laws, but before the Civil Rights movement. You go back in time to make your point about exceptionalism. Why go back in time? How does that make it relevant for today? The kernel of this play started as an assignment in grad school. The theme was the trope of a “fallen woman.” I was already looking at that time period and what was happening to black people. Then I had a residency at Magic Theater where I was surrounded by water because Magic is right next to the Golden Gate Bridge. Every day whenever I pulled into the parking lot, the water and the breeze would hit my face; something I never experienced when I was growing up in Kansas—a land-locked state. Beautiful boats would go by, and I had never actually been in a boat. Actually, I’ve never been on a ship. At the same time, the Trayvon Martin incident happened and the argument of exceptionalism came into play. Zimmerman’s lawyers were saying that he was Hispanic so this wasn’t a black/white issue. Then Trayvon’s parents were saying that he was a good kid. So I started looking at the history of exceptionalism in communities of color around 1890. How do you illustrate “exceptionalism” in continued on page 28 Christina Anderson’s plays include The Ashes Under Gait City (CATF 2014), Good Goods, Man in Love, Blacktop Sky, Hollow Roots, and H ow to Catch Creation.Her work has appeared at Magic Theatre, P enumbra, Yale Rep, A.C.T., The Public Theater, Crowded Fire, and other theaters all over the country. American Theater Magazine selected Anderson as one of the fifteen up-and-coming artists “whose work will be transforming America’s stages for decades to come.” For two consecutive years, her plays have appeared as one of the top recommendations on The Kilroy’s List, an annual industry survey of excellent new works by female playwrights. Awards and honors include 2015/16 Aetna New Voices Fellow (Hartford Stage), 2011/12 Playwright-in-Residence at Magic Theater (National New Play Network), two PONY nominations, 2011 Woursell Prize Finalist (University of Vienna), National Playwrights’ Conference residency at the O’Neill, Schwarzman Legacy Scholarship awarded by Paula Vogel, three Susan Smith Blackburn nominations, Lorraine Hansberry Award (American College Theater Festival), Van Lier Playwriting Fellowship (New Dramatists), Wasserstein Prize nomination (Dramatists Guild), and Lucille Lortel Fellowship (Brown University). Born and raised in Kansas City, KS, Christina obtained her B.A. from Brown University and an M.F.A. from the Yale School of Drama’s Playwriting Program. She’s an Assistant Professor of Playwriting at SUNY-Purchase College. www.christinaandersonwriter.com 19 An Interview with the Playwright SETTING & TIME: ALLISON GREGORY CCA 112, THIS NIGHT. CAST: NOT MEDEA WOMAN JOEY PARSONS CHORUS RACHAEL BALCANOFF JASON BEN CHASE SET DESIGN JESSE DREIKOSEN TECHNICAL DIRECTOR LINDSEY KELLEY COSTUME DESIGN PEGGY MCKOWEN STAGE MANAGER MARIBETH CHAPRNKA LIGHTING DESIGN JOHN AMBROSONE STAGE MANAGEMENT INTERN MADOLYN FRIEDMAN SOUND DESIGN DAVID REMEDIOS ASSISTANT LIGHTING DESIGN CHRISTIAN SPECHT CASTING DIRECTOR PAT MCCORKLE, CSA CASTING ASSOCIATE KATJA ZAROLINSKI FIGHT DIRECTOR AARON ANDERSON MAGICIAN CONSULTANT DAVID GARRARD Performed with no intermission. Not Medea is produced at Contemporary American Theater Festival as a part of a National New Play Network Rolling World Premiere. Other partnering theaters are B Street Theatre (CA) and Perseverance Theatre (AK). www.nnpn.org. by allison gregory Directed by courtney sale an nnpn rolling world premiere Researched, interviewed and edited by Sharon J. Anderson, CATF Trustee/Professional Story Listener and Creative Director www.sharonjanderson.com Have your children seen or read this play? No, they haven’t. Very early on in the process, my daughter (who was then 13 years old) read the part of the Chorus. My initial intention was to write a one-woman play, then suddenly the Chorus just showed up and started talking. I had my daughter read the part because the Chorus is representative of a much younger voice. That said, the character of the Chorus is not my daughter. The “Chorus” just showed up? Yes, it really threw me. My goal was to write a play that basically investigated intimate moments in an epic story. What is more epic than Medea? And what is more intimate than motherhood? Everything was going great, the Woman was talking up a storm, and then this character—the Chorus—just showed up and barged her way into the play. Then when Jason showed up, I knew all bets were off. Is this voice inside of you? Outside of you? Is it your muse? I can’t tell you exactly except that I trust that it is the part of me that knows more than my research or my planning or my structured brain. It is the part of me that is impulsive and usually comes from a very honest and visceral place. I trust that. Your play will be in Studio 112, CATF’s smallest venue. Ed says that we love it when people walk out of there, “really fucked up.” Are you hoping for the same result with Not Medea? I’m excited about that space because of the meta-theatricality of the play. It will unseat people. Some people will question it. Some will be annoyed. Some will be uncomfortable. Ultimately, I hope people will be drawn in, and if not empathetic to this character’s situation, more understanding of it. The original play Medea includes this famous line: Of all the creatures that have life and reason, we women have the worst lot.” Is this still true? No. I think we are in a hard-fought moment. Now there is an embracing of womanhood, and that includes motherhood and wifehood and parenthood and loverhood ... all of the “hoods.” We are owning it. I hate when people ask, “Can women have it all and still be happy?” No one ever poses that question to men so can we just get that stupid phrase off of the table? Everybody fights. Men and women fight for what they want. The trick is to figure out if getting what you want really makes you happy. Medea got what she thought she wanted, and it made her the winner, but also supremely, supremely unhappy and it devastated her world. Here are some lines from Not Medea: “There’s a certain insanity to being a mother.” “Children are sometimes a burden.” “Parents are most of the time filled with dread.” Are you a stressed-out mother? continued on page 30 Allison Gregory’s plays have been produced and developed all over the country and include Forcing Hyacinths (Julie Harris Playwriting Award; South Coast Repertory Playwrights Award); Fall Off Night (Garland Award); Cliffhouse (Gregory Award nomination, Best New Play), Burning Bridget Cleary (Seattle Times Best New Play), and uncertain terms (Carbonell Award nomination), among others. She is thrilled to have CATF producing Not Medea, a National New Play Network Rolling World Premiere. Allison has received commissions, grants, and development from South Coast Repertory, ACT Theatre, The Kennedy Center, Oregon Shakespeare Festival, Indiana Repertory Theatre, The New Harmony Project, The Skirball-Kenis Foundation, Seattle Repertory Theatre, Seattle Children›s Theatre, Childsplay, The Empty Space, Seattle›s Arts and Cultural Affairs, Seattle Dramatists, Northwest Playwright›s Alliance, and Hedgebrook Playwright›s Foundation. Ms. Gregory also writes for young audiences and her plays include Go Dog, Go!, adapted from the P.D. Eastman book and co-written with Steven Dietz; Even Steven Goes to War (Zoni Best New Script Award; AATE and UPRP awards; Kennedy Center New Visions/New Voices selection); The Robber’s Daughter (Teater Pinokio, Poland), and Junie B. in Jingle Bells, Batman Smells!, based on the popular book series by Barbara Park. Ms. Gregory lives in Austin and Seattle with her husband playwright Steven Dietz, and her understanding kids, Ruby and Abraham. www.allisongregoryplays.com 21 Researched, interviewed and edited by Sharon J. Anderson, CATF Trustee/Professional Story Listener and Creative Director www.sharonjanderson.com An Interview with the Playwright SETTING & TIME: A FAR OFF PLACE. SO FAR IN THE FUTURE, IT’S STUPID. CHISA HUTCHISON CAST: NAHLIS MARGARET IVEY BESHRUM DAMIAN THOMPSON ONJAH NAFEESA MONROE KAMSUH BIANCA LAVERNE JONES TOROSH BRIAN D. COATS DOUG JASON BABINSKY TRANSLATING ATTENDANT EDWARD O’BLENIS ATTENDANTS MIKAYLA BARTHOLOMEW TYLER JOHN FAUNTLEROY TRE’ HENLEY CIARA MONIQUE MCMILLIAN VINCENT RAMIREZ SET DESIGN DAVID M. BARBER PRODUCTION STAGE MANAGER DEBRA A. ACQUAVELLA COSTUME DESIGN PEGGY MCKOWEN STAGE MANAGER JASON PACELLA LIGHTING DESIGN D.M. WOOD PRODUCTION ASSISTANT EMILY PATHMAN ORIGINAL MUSIC & SOUND DESIGN NATHAN A. ROBERTS & CHARLES COES STAGE MANAGEMENT INTERNS RYAN KANE, DEANNA KEYS PROJECTION DESIGNER HANNAH MARSH CASTING DIRECTOR PAT MCCORKLE, CSA CASTING ASSOCIATE KATJA ZAROLINSKI FIGHT DIRECTOR AARON ANDERSON TECHNICAL DIRECTOR ZACK HIATT A WORLD PREMIERE by chisa hutchinson Directed by may adrales Performed with one intermission. Contains strong language and nudity. Supported, in part, by grants from the Laurents/Hatcher Foundation and the National Endowment for the Arts. sponsored by lawrence dean and mina goodrich 22 Special thanks to Lark Theater and the Writer’s Theater of NJ. Audiences are going to be challenged by The Wedding Gift for several reasons. One, it features full-frontal nudity. Two, the actors speak in a language you created, often without the benefit of a translator for about 30-40% of the play. That being said, the audience is facing an even deeper, more profound challenge. How would you describe that challenge? The intention behind the language is to disorient the audience so it experiences a world that parallels the main male character - Doug. Doug is human, but he’s treated like an animal, a pet, a male concubine, eunuch … he’s basically a slave. The challenge of the play is to be able to identify with the slave; to forge an empathetic connection with Doug. You say this play is about what it means to be “the other.” It’s just not blacks among whites or whites among blacks, but also gays among straights, transgendered among males and females … even sick people among healthy people. We all have to learn to speak a language that others don’t always understand. You would know that, of course, because of your multiple sclerosis. Absolutely, and I hope that audiences will be able to fill in the blanks for themselves, i.e., “This is the thing that makes me ‘the other.’” Are you concerned that some in the audience won’t get the heart of this message - empathy for the slave or “the other” because of the nudity? Won’t some walk out of the theater saying, “Doug was naked,” instead of “I care for Doug?” Doug is not naked during the entire play. It may become a little distracting, but in one scene it is totally necessary for Doug to be naked. I never use nudity in a gratuitous way. Like with Dead and Breathing two years ago at CATF, it’s all about the vulnerability of that character in that moment, that sense of exposure, that helplessness. Having someone naked standing in front of you is totally different from seeing someone totally naked on screen. You are forced to think about the choice the writer made. You have to grapple with it emotionally. Two years ago you said that you “wrote plays to make myself and others like me more visible.” When I wrote The Wedding Gift, I had in mind all these movies and plays that depict slavery in a hyper-literal way, i.e., “This is EXACTLY what it was like! Here are the scars and here is the blood … look at it!” That’s one way to come at it. But, ironically, I feel like it’s desensitizing and distancing. It makes it very safe for folks to respond, “Oh look how horribly they were treated so, so long ago. Isn’t it great that we don’t do that anymore?” Black people are still chained today. Look at all the police brutality. I recently wrote a short play that was intended to be a reading of the names of women fatally brutalized by police, or women who had mysteriously died in police custody. After extensive research, the list turned out to be all women of color. I thought, “Wow, that’s telling. You cannot be in your skin without being targeted. Your skin makes you a bulls-eye; a magnet for that kind of violence.” It’s really hard to be confronted with the fact that my own skin is a prison. At one point in the play, Doug says, “You consider me an animal, something less than you, but I’m supposed to trust you continued on page 34 Chisa Hutchinson is tickled to bits to return to the Contemporary American Theater Festival after that wild-ass premiere of her play Dead And Breathing. Other works, including She Like Girls, Sex On Sunday, The Subject, Dirt Rich and Somebody’s Daughter, have been presented by such venues as City Parks’ Summerstage, the Lark, the National Black Theater, the New Jersey Performing Arts Center, Rattlestick and Atlantic Theater Company. Chisa’s won a GLAAD Award, the John Golden Award for Excellence in Playwriting, a Lilly Award, a New York Innovative Theatre Award, the Paul Green Award, a Helen Merrill, the Lanford Wilson, and has been a finalist for the highly coveted PoNY Fellowship. She’s also been a Lark Fellow, a Dramatists Guild Fellow, a resident at the William Inge Center for the Arts, a New York NeoFuturist, and a staff writer for the Blue Man Group. Currently, she is a Humanitas Fellow, Resident Playwright at Second Stage Theater, and a proud fourth-year member of New Dramatists. (B.A. Vassar College; M.F.A NYU – Tisch School of the Arts). www.chisahutchinson.com 23 An Interview with the Playwright SETTING & TIME: THE PRESENT DURING A TED TALK. AND FOUR MONTHS EARLIER OVER THE COURSE OF A DAY IN NYC. CAST: es 20th Century Blu DANNY BETSY AIDEM BESS MARY SUIB SIL ALEXANDRA NEIL GABBY KATHRYN GRODY MAC FRANCHELLE STEWART DORN SIMON JASON BABINSKY SET DESIGN DAVID M. BARBER ASSISTANT TO THE DIRECTOR SHAUN MCCRACKEN COSTUME DESIGN THERESE BRUCK PRODUCTION STAGE MANAGER DEBRA A. ACQUAVELLA LIGHTING DESIGN D.M. WOOD STAGE MANAGER JASON PACELLA ORIGINAL MUSIC & SOUND DESIGN NATHAN A. ROBERTS & CHARLES COES PROJECTION DESIGNER HANNAH MARSH TECHNICAL DIRECTOR ZACK HIATT sponsored by the staging team After reading 20th Century Blues, I wondered if you planted a tape recorder in my living room the day before I had three friends over, and surreptitiously recorded our conversation? I have tape recorders planted in every living room of every woman and every person. Actually, I wasn’t there, but I’m so glad you think I was. No. While my friends can certainly relate to it, it’s not based on any specific conversation or people that I know. I really wanted to create characters that were very specific who, at the same time, spoke to many, many people. PRODUCTION ASSISTANT EMILY PATHMAN I wanted to write about women, time, and age. What I first needed to do was find a world in which those things would be just part of it, but they wouldn’t be the story. STAGE MANAGEMENT INTERNS RYAN KANE, DEANNA KEYS 20th Century Blues is a comedy about the blues. How does that work? CASTING DIRECTOR PAT MCCORKLE, CSA The characters in this play have spent most of their lives in the 20th century. It was also a time in which so many major Performed with one intermission. A WORLD PREMIERE by susan miller Directed by Ed Herendeen SUSAN MILLER Did the idea for this play come from a conversation you had with friends? CASTING ASSOCIATE KATJA ZAROLINSKI Thanks to Jane Krensky for use of her artworks “Mirror, Mirror on the Wall...” and “Take Five.” Learn more about the Staging Team on page 12. Researched, interviewed and edited by Sharon J. Anderson, CATF Trustee/Professional Story Listener and Creative Director www.sharonjanderson.com things happened - history was made - and in the play, the characters are wondering: Does history now ever get made? In an essay on comedy and tragedy, Samuel Taylor Coleridge wrote that comedy was “more useable and more relevant to the human condition than tragedy.” What do you think of that? Comedy in the sense I’m reading it and in the history of theater is more telling about the human condition. It is more revealing because tragedy is inescapable. I look at it in the larger picture of the world. I opened the paper today and I see an earthquake - a natural tragedy. Then read on … the tragedy of people who live in poverty, the tragedy of families who’ve lost loved ones in a war. Within that, are the individual human stories which have to balance against that—and there you can find some humor. I’m not sure that makes comedy more “useable,” though. Let me put it the way Joni Mitchell might say it: in her song “People’s Parties” from her album, “Court and Spark,” she sings, “Laughin’, cryin’/you know it’s the same release.” Is it? I think it comes from the same place … an absolutely natural unforced true emotion that provokes either. It’s honest and you can’t avoid it. When you go to that place, it is really authentic. Humor, first of all, is accessible … Now, from instinct, I want people to enter my work - this play in particular, but all of my work in a way that allows them to live within it and take the ups and downs that the play provides. Once they are able to laugh, once they are able to think, “Oh, I recognize that in that person” … if laughter and tears both come from this absolutely distinctive place where you fabricate them … and if I provide something to laugh about at first, then I feel like we have a genuine trip that we’re going to take together. When people saw the title and description of my play, My Left Breast, they probably thought, “Oh my god, this is about breast cancer” (of course, it’s about more than that). The first thing I do in that play (or whoever is performing it) is to come out dancing to rock-and-roll music. Then I stop, the music stops, and I say, “That’s what I continued on page 36 Susan Miller is the recipient of two Obies, a Guggenheim Fellowship, and The Susan Smith Blackburn Prize for her plays A Map Of Doubt And Rescue and My Left Breast. Her play, Average American, won 2nd Prize in the Arch & Bruce Brown Playwrights Competition and was recently given a staged reading at The Blank Theatre in L.A. She was a Core Writer at The Playwrights Center in Minneapolis, and her work has been done by The Public Theatre, Second Stage, The Mark Taper Forum, New York Stage & Film, ATL’s Humana Festival, Ojai Playwrights Festival, Naked Angels, The O’Neill Playwrights Conference, City Theatre of Miami, etc. Other plays: Nasty Rumors And Final Remarks, The Grand Design, It’s Our Town, Too, Confessions of a Female Disorder, Reading List, Cross Country. Miller is Executive Producer/Writer of the acclaimed Indie webseries, Anyone But Me, for which she received the Writers Guild of America Award, as well as a Webby Nomination. To date, the series has 50 million views worldwide and can be seen on Hulu, Fullscreen & YouTube. She also created the webseries, Bestsellers, and was a Consulting Producer/Writer on Showtime’s The L Word and ABC’s Thirtysomething. www.susanmillerplaywright.com 25 KITCHEN OF THE TYRONE’S SUMMER HOME, ON A DAY IN AUGUST 1912. SCENE 1: BEFORE BREAKFAST – 7:11A SCENE 2: AFTER BREAKFAST – 8:50A SCENE 3: LATER IN THE MORNING – 10:42A SCENE 4: BEFORE LUNCH – 12:24P SCENE 5: LUNCH – 1:12P SCENE 6: AFTER LUNCH – 2:28P SCENE 7: AFTER THE DRIVE TO TOWN – 6:43P SCENE 8: LATE NIGHT – 12:37A SCENE 9: BEFORE BREAKFAST – 7:16A The Second Girl CAST: BRIDGET CONROY JESSICA WORTHAM CATHLEEN MULLIN CATHRYN WAKE JACK SMYTHE TED KOCH SET DESIGN KRIS STONE STAGE MANAGER LORI M. DOYLE COSTUME DESIGN THERESE BRUCK ASSISTANT STAGE MANAGER LINDSAY EBERLY LIGHTING DESIGN TONY GALASKA ORIGINAL MUSIC AND SOUND DESIGN VICTORIA DEIORIO DIALECT AND VOCAL COACH KIRSTEN TRUMP STAGE MANAGEMENT INTERN EMILY CUERDON CASTING DIRECTOR PAT MCCORKLE, CSA CASTING ASSOCIATE KATJA ZAROLINSKI TECHNICAL DIRECTOR CJ GLOWACKI ASSISTANT TO THE DIRECTOR SHAUN MCCRACKEN by ronan noone Directed by Ed Herendeen sponsored by peter emch Performed with no intermission. 26 Researched, interviewed and edited by Sharon J. Anderson, CATF Trustee/Professional Story Listener and Creative Director www.sharonjanderson.com An Interview with the Playwright SETTING & TIME: RONAN NOONE The Second Girl has been described by some critics as, “Downton Abbey meets Eugene O’Neill.” What do you think of that? It’s easy to quickly label this as “Downton Abbey” because it is set in the same time, though it is set in a different country and the mores in England are quite different than the mores in New England. That house—the Monte Christo cottage (also known as Eugene O’Neill’s Summer House)—is a lot smaller than Downton Abbey. The kitchen there no longer exists and when it did, it was very small. There wasn’t enough room to swing a cat. Also, the characters in this very small kitchen probably have more familiarity with their employers than anyone in Downton Abbey had with theirs. You have said, “My personal experience is all over this play in terms of what it means to come to the New World culturally isolated—and when it becomes your home.” What did it mean for you to come to America culturally isolated in 1994? I thought it might be as simple as getting on a plane, landing somewhere, and starting again. But, of course, it was more complicated. I had to learn to adapt to the American lifestyle while accepting the fact that I had left my home and was beginning to lose touch with my family in terms of what’s tactile—the ability to be around them at the kitchen table at a regular Sunday dinner. When did America become your home and how did you know it had become your home? You begin to accept it five years into being an immigrant. I went back two or three times and each time I went back, what once had been familiar to me became a little more unfamiliar. When I returned, the America that had once been unfamiliar was now something I relied on in terms of comfort and stability. You once said, “A playwright goes back whence he came.” As a playwright, you do mine your own life story in terms of how it’s going to inform the narrative. But I’ve always considered anything I’ve written as a purgation of the spirit, a way for me metaphorically to explain how I live, how I see the world, and how I imagine others might see the world. Hopefully then I see some resonance so others can take something home from the story. There are three characters in this play: Bridget, a displaced person; Cathleen, a dreamer (and the Second Girl); and Jack, a realist who you describe as “certainly aware of how fragile we are and how finite we are.” How do you obtain that kind of awareness? Jack’s over 40. When I turned 40, I started to be aware of my own mortality. Jack’s also had tragedy in this life, up close and personal, and he has regrets because of that. All of those things inform how time passes and how we begin to look at time. You’ve said, “When something bothers me I have to write about it.” What was bothering you that you had to write, The Second Girl? continued on page 38 Ronan Noone’s plays have been produced in theaters across America. Other recent productions have taken place in the UK (London and Edinburgh), Spain, Canada, the Philippines, and Ireland. His full-length and one-act plays are published by Samuel French, Smith and Kraus, Baker Plays, and Dramatists Play Service. He has received 3 Independent Reviewers of New England (IRNE) Awards for Best New Play; the Boston Theatre Critics Association’s Elliot Norton Outstanding Script Award; a Kennedy Center National Playwriting Award; a 2014 Edgerton New American Play Award and a 2015 ATHE Award for Excellence in Playwrighting. His essay on theatre, Being Afraid to Breathe, is published by the Princeton University Library Chronicle LXVIII. His play The Second Girl will be featured and published in the upcoming edition (fall 2016) of the Eugene O’Neill Review. Noone has also developed work for television with Pretty Matches Productions and the reality TV-based production company, High Noon Entertainment. His 2014 Live Action Short The Accident was shown at the Boston International Film Festival and the Montclair Film Festival. He is an Assistant Professor (adj.) at Boston University’s MFA program in Playwriting and a member of the Dramatist’s Guild. www.ronannoone.com 27 CHRISTINA ANDERSON, continued from page 19 GALLERY your play? With the character of Charles. He has earned the trust and “camaraderie” of white people to give him access to this ship, money and job. He also kind of sits on his “throne” because of that. He has allowed these gifts and opportunities to inflate his ego. This has also made him believe that he’s above a lot of people, which in a way, leads to his downfall. character comes from a very unique period. Back then, church was also a place for political conversations and strategy. When Jim Crow and all the lynching and murders were happening, a sect of black people turned its back on religion and Christianity and become atheist. In Ruby’s eyes, when people turned to prayer to seek an answer from the Lord, they needed to be reminded about church oppression. Let’s talk about Ruby. In this play, she’s described as “pure darkness” or “darkness on this ship,” etc. Is she the conscience of this play? Is she the devil? Earlier in the play, Ruby says, “The religion you practice is a belief used to confine the thoughts and spirits of colored people even after the Emancipation set us free.” She is not the devil. In my ship research, I learned how poorly women were treated, and was fascinated by that. I knew that there was going to be a protest on this ship, and I knew that I wanted Ruby to lead it. Is that why she changes the word, “light” in a scripture verse to the word, “darkness”? Why? Because I wanted to push against this narrative of women being trouble on a ship. I wanted to write a different story. I was interested in a woman becoming the voice for these men because in so many ship narratives, women get tossed around like coins. I was writing this play before Black Lives Matter, by the way. Three women created the kernel of the Black Lives Matter movement. Ruby says, “Hope damages us. It weakens one of the most powerful tools we humans possess: doubt. When we doubt, we question then we seek answers. Humans achieve knowledge, enlightenment.” Hope damages us…really? Yes, Ruby’s a tough woman. But I don’t believe hope damages us. Ruby as a It’s twofold. Ruby is trying to demote the sacredness of scripture, and she’s also saying, “I can have a belief of my own.” The notion of darkness and light travels throughout the play. The sun blisters down on the upper level of the ship. The lower level is dank and dark. Charles reaches his descent in the pit of the ship. Even at the end of the play, there’s darkness. When I was writing the play, I knew that we would never get off that ship. We would not see the characters board that ship, and we would not see them get off because I wanted that space of limbo. In an Atlantic article entitled, “There Is No Post-Racial America,” Ta-Nehisi Coates writes, “We should seek not a world where the black race and white race live in harmony, but a world in which the terms black and white have no real political meaning.” What do you think of that? How in the hell are we going to do that? I could say that it would be awesome. A couple of years ago, I wrote a solo show called Hollow Roots. It’s about a woman who looks to be black to us and over the course of the play, we find out that she’s lost her blackness and now represents the start of post-racism. It was when Obama was taking office and white people were saying, “Wait! Wait! This means this society is post-racial!” Only white people were talking about it. They weren’t talking about the repercussions of this for people of color. I wanted to write this play from this black women’s point of view and her losing her identity. 125 W German (Next to Press Room) Just 15 minutes from the festival. Surrounded by Civil War history and many other local attractions and activities. Because race has a huge history of oppression in it, it’s going to be tough to get to that place. I don’t know if that place is as much of a utopia as we say it is. That was what I was wrestling with in that solo piece. I’m working on a companion piece right now because here we are eight years later and we have Black Lives Matter. There’s a huge investment in the upcoming generation of black people to hold on to blackness for their dear life. Stay with us in our exclusively private, 19th century style farmhouse inn atop our panoramic 95 acre mountain ridge. You have said that you want to, “create the kind of theater that will ignite change.” We take “Ignite” is a pretty potent verb. I do a ton of research and pull historical references for my plays because I think we’re living in a time period where our memory of oppression, violence and tragedy is just so short-term. We can’t learn if we keep forgetting, especially with something like pen/man/ship. People always ask, “Were people really trying to build penal colonies in Liberia as the play narrates?” Actually, my research was about penal colonies in Australia. Still, no one ever says, “That’s ridiculous. They couldn’t build a penal colony in Liberia.” They all say, “I didn’t know that.” In terms of igniting change, I don’t think my plays will start a revolution, but I do continued on page 30 28 [email protected] Enjoy spectacular views falling away to nearby Virginia, West Virginia and Pennsylvania. www.antietamoverlook.com • 301-432-4200 sides yours Bespoke fine jewelry By appointment 304 350 0268 arnold & bailey attorneys at law 304-725-2002 arnold and bailey.com s. andrew arnold, esq. GreGory a. Bailey, esq. Christina Anderson, continued from page 28 hope when someone sees my work that it sparks a conversation, that it sparks a way of thinking, that it sparks them going back, reading things, and asking questions. God forbid that we ever again come up against something like Jim Crow. But if we are in a place where we remember and learn lessons, we’ll react differently. Sarah Ruhl —a playwright you admire —has said, “I think a person has to believe in something or search out some kind of faith… either you know why you live or it’s all small unnecessary bits.” Why are you living? I’m living to be a writer. I’m living to be a teacher. I’m living to be a black woman in the year 2016. I’m living to be a partner, a daughter, a member of my community. I’m living to speak. I’m living to breathe, to hold somebody’s hands, to hold somebody up. I’m living to lean on somebody. Is there a question you wish an interviewer would ask you? I wish someone would ask me, “Is there something that’s not in your bio that you would want people to know about you?” Is there a question you would refuse to answer? I would refuse to answer any question asking me to speak out against any black artist. Maria Irene Fornes said, “We can only do what is possible for us to do. But still it is good to know what the impossible is.” What’s the impossible for you? Thinking small is impossible for me. Writing small is impossible for me. ALLISON GREGORY, continued from page 21 Is there a mother who isn’t stressed out? I think that’s part of the territory. Kathryn Hepburn once said: “Being a housewife and a mother is the biggest job in the world, but if it doesn’t interest you, don’t do it. It didn’t interest me, so I didn’t do it. Anyway, I would have been a terrible parent. The first time my child didn’t do what I wanted, I would have killed him.” I completely identify with that. Steven, my husband, and I talk about our bad parenting moments or days. The moments often stretch into days. We’ll talk about it and say, “Yeah, I wasn’t proud of that.” We are parents who everyday are trying to be better parents. Luckily, kids are hopeful and forgiving. Let me follow up with an Anne Sexton quote: “All I wanted was a little piece of life, to be married, to have children. I was trying my damnest to lead a conventional life, for that was how I was brought up, and it was what my husband wanted of me. But one can’t build little white picket fences to keep the nightmares out.” That’s really powerful. There’s this assumption that when you settle down and have kids, you somehow fall into these conventions, and frankly, my experience of it was and continues to be that there’s no settling down when you have kids. Everything comes up and everything falls apart. It’s a huge disruption on a daily, often minute-by-minute, basis. And I’m not talking about losing a child. I’m talking about the day-to-day of trying to be a parent. Losing a child is so unfathomable to me that I was able to go there in this play because I knew it wasn’t me. I hoped in writing it, I would take part of that experience with me and have a little bit more occupying the whole of what life is. God willing, we don’t all lose a child, but we might have a bigger footstep in the world if we did. The Woman in this play says this about theater: “… it’s people-powered. It’s storytelling around the campfire…we’re all surrounded by darkness.” The darkness I’m talking about is, in a way, a protective darkness. We don’t always see what’s coming at us. Metaphorically, if you are at a campfire, you are in a circle of light, but are surrounded by darkness. There’s something terribly exciting about that, and you share things that you wouldn’t share sitting across from one another in a restaurant or sitting in a car chatting about the errands you need to run. The campfire might bring out other parts of ourselves: our wonder, our dread— all of what we don’t talk about on a daily basis. At the end of this play, you write: “The gods always have a plan… the gods find a way to do what they want, against your expectations.” Do they? I think that’s what life is. My world is being determined in spite of me. We are searching for control, we are searching for our path in the world, but our path is going to happen in spite of us. I don’t mean that as a futile thing or karma. I just mean that we’re a piece of the universe. Let’s be honest with ourselves. The world happens to us. What this play is talking about is that we don’t always have control, we don’t always have the best idea, we don’t always make the best decisions. How do you balance that with this line from Not Medea: “Make your own nature, not the advice of others, your guide in life.” continued on page 32 30 Relax • Renew • Revitalize MASSAGES • FACIALS • PEDICURES MANICURES • WHIRLPOOLS • SUGAR SCRUBS MUD WRAPS • STEAM BATHS REFLEXOLOGY • HERBAL STEAM WRAPS AROMA STONE MASSAGE • REIKI WWW.ATASIASPA.COM 41 CONGRESS STREET • BERKELEY SPRINGS, WV • 304-258-7888 • 877-258-7888 l iv e m u s i c * d a i l y s p e c i a l s * p a i r i n g e v e n t s call now for reser vations (304) 876 -1030 come see us be f ore or a f ter the show @ 117 e . ger man st shepherd stown , w v fresh, local, creative american food and fare w vdomestic.com Allison Gregory, continued from page 30 That’s the conflict of being alive. That is the struggle of the humanity. If you don’t have control or a say, why do anything? That doesn’t work. We do make our luck by being prepared, by being good people, by being honest, but I do think there’s an element of fate and luck; a large part of our living that we don’t get to decide. Euripides, who wrote Medea, said, “Question everything. Learn something. Answer nothing.” That’s great. Is that in a play? It would be a great bumper sticker. You also write plays for children … I started out writing for adults, and it wasn’t until I had written three or four adult plays that I wrote a children’s play. Children’s plays are much harder to write than adult plays because you are writing for a much larger audience. You are writing for the children, then you are also writing for parents, their siblings, their grandparents, the teachers - all the gatekeepers. There is also much more judgment. With an adult play, I can write that vaguely metaphorical monologue that you don’t really know what it’s about, but it’s got a cool tone and mood and some great ten-dollar words in it. I cannot do that in a children’s play. I have to stay on story. If I go off story, I will hear immediately from my audience. They will squirm or talk or stand or say out loud their opinion, whereas an adult audience is better trained. They will just sit quietly and go to sleep. The playwright, Lanford Wilson, once said, “Nobody’s safe around a writer.” Are you safe to be around? You just made me wince because that’s so true. Ask my family. What distinguishes CATF from other theater groups/festivals? It starts with Ed and his relentless energy, tireless vision, stubbornness, and excitement about what theater can be. CATF plays are so daunting. This festival is fearless. It is challenging, but there is also a deep humanity there. That is what CATF does so well. Is there a question you wish an interviewer would ask you? Honestly, I don’t know of a question. Is there a question you would refuse to answer? Yes … what are your children’s names? After Theater Join Us for Dinner Maria Irene Fornes said, “We can only do what is possible for us to do. But still it is good to know what the impossible is.” What’s the impossible for you? To not write. A while back, I was feeling very down and frustrated. I was so depressed about what wasn’t happening in my career, I thought, “Okay, I’m just going to stop writing because it’s making me unhappy.” Then I thought about what would make me less unhappy: writing and not having my plays done or just not writing? And I realized that I would be much more unhappy if I wasn’t writing than if I was writing and my plays weren’t getting done. It was a good place to come to: I just better write. maryland great theater deserves great wine! Savor our food and wine, take a tour or just unwind. Our unique environment and unparalleled service allows guests to slow down and celebrate the good life. open everyday 11am-6pm · friday 11am-9pm + music in the vineyards free concert series (every friday night from 6-9pm) bigcorkvineyards.com 32 Relax with a special cocktail and enjoy a cozy British pub atmosphere 4236 Main Street Rohrersville, MD 21779 (only 20 minutes from CATF) The Devonshire Arms C a f e a n d P u b 107 S. Princess Street • Shepherdstown 304 876 1977 CHISA HUTCHISON, continued from page 23 Chisa Hutchison, continued with my life?” No, it doesn’t. I’ve definitely been in that position, maybe not with the police, but definitely with doctors. Recently, I had a horrible reaction to some MS medication. I had palpitations and trouble breathing and was drifting in and out of consciousness because I couldn’t get oxygen. My face went numb, my hands went numb… I actually had to be carried into the ER. The nurse in the emergency room said out loud—she probably thought I couldn’t hear her— “Ehhck… drama queen junkies.” I wanted to say, “Hey, I can hear you.” This person was supposed to be saving my life, but was making a quick judgment about whether or not my life was worth saving. You trust your doctors, you trust police officers, you trust firemen, you trust teachers—these positions come with inherent trustworthiness. When you see someone you’re supposed to trust thinking, “that doesn’t apply to me,” it’s sobering, it’s discouraging, to put it kindly. It’s infuriating. Did you begin with phonetics—what the words sounded like? That’s where the character Doug is in my play. He’s confronted with this reality, “I’m really helpless here. I have no power here.” So The Wedding Gift is also about power and the fact that none of us can really control anything? For Doug and for a lot of us, especially brown folks, it would be enough just to be in control of our own bodies; to not have our bodies policed or tampered with. It would just be enough to be in control of our own personal situations, to have some agency, if nothing else. I don’t need power. I just need the freedom to be me. Let’s talk about the vocabulary of this play. Does your made-up language have a name like, English, Spanish, French? I did. I had every intention of making the language just gibberish, but I’m a word nerd, man, and really geeked out. Then I thought if I’m not going to provide subtitles or translations, there has got to be some recognizable words. You have to know the word, shimseh. You have to know that that’s Doug; that’s his position in the world, what they consider him, the pet. There are other words that people will recognize. Let’s look at the personal pronouns: I, you, we, they, she, he, it. In your made-up language they translate to Esh, Tesh, Kesh, Desh, Sesh, Besh, Vesh. How did you assign the consonant at the beginning for each one of those? Desh just sounds like “they” to me. Sesh is very feminine so I assigned it to “she.” The “b” in Besh sounded very aggressive so I assigned it to “he.” Then I kind of ran out of consonants that made sense. People who are multi-lingual have read the play and have asked me if I studied some language that I absolutely never studied. Or they tell me that the language is constructed just like German. Aren’t languages all pretty much constructed the same way? They all have those pronouns, for example. Toni Morrison has said, “We die. That may be the meaning of our lives. But we do language. That may be the measure of our lives.” It’s certainly true for writers. I’m writing play number 14 or 15, so I definitely feel like I’m measuring my life out in language. 34 You have said that you “see theater not only as a profession, but a priority, period.” Why a priority? Theater is a great way to teach a lesson or to foster empathetic connections that make it easier for all of us to survive and be happy. The quickest way to do that is live narrative. Theater can do things that engineering can’t do, that medicine can’t do… …that poetry can’t do? Yes, in a way. Not to bash the genre, but poetry is definitely for lovers of words… … and theater is for lovers of … Story. Film and television are pretty close seconds, but again, there’s nothing like having a live shaman in front of you presenting some truth about life and how to live it or how not to live it. It’s more visceral. I’m constantly surprised by theater and it’s capacity to speak to specific, individual situations. That’s why I will never get tired of playwriting. I recently watched a short video of you talking about fragility. In it, you say, “Me and fragility—we cool. It gives us the opportunity to be our most creative, innovative, resourceful selves. As long as we acknowledge and embrace that we are fragile, we give ourselves the power to do amazing things.” It’s said that “necessity is the mother of all invention,” but necessity springs out of a place of fragility and vulnerability. We don’t like feeling like we can’t do things. We will do whatever it takes to not feel fragile, to not feel weak. We will do anything to give us an advantage. If people didn’t have diseases like MS, they wouldn’t be compelled to exercise whatever muscle it is that helps us to create; that drives doctors and researchers to come up with a solution to MS. Jung said, “There’s no coming to life without pain.” YES! THAT! EXACTLY THAT! If you just felt perfectly fine all the time, where’s your motivation to do anything? Where’s your passion? Where’s that thing you live for? There wouldn’t be anything if we weren’t dissatisfied with ourselves about something; if we weren’t unsettled by our own fragility. What distinguishes CATF from other theater groups and festivals? My experience with CATF with my play, Dead and Breathing two years ago is my absolute favorite production experience so far. It’s the fearlessness, the devotion… more than just the financial resources. The people who work at CATF are just so determined to make sure that the production is true to the playwright’s vision. And they work tirelessly. The results are always beautiful. Is there a question you wish an interviewer would ask you? Not really. I like going along for the ride. The interviewer is driving and you just respond. Is there a question you would refuse to answer? I haven’t encountered one yet. I’m a pretty open book. Maria Irene Fornes said, “We can only do what is possible for us to do. But still it is good to know what the impossible is.” What’s the impossible for you? Considering where this country is, I would say trying to convince someone who is voting for Trump to not vote for him. Some people’s minds will never change no matter how many plays you write. I realize this when I read comments related to Trump or Black Lives Matter. You fight the good fight. You try to be rational and present a different perspective, but some people’s minds won’t be changed, period. That’s sad, but that won’t stop me from trying. D’ACCORD BOUTIQUE Appalachian Studies AT S H E P H E R D U N I V E R S I T Y A bridge to the community Contact Dr. Sylvia Bailey Shurbutt APPALACHIAN STUDIES COORDINATOR, SHEPHERD UNIVERSITY [email protected] www.Shepherd.edu/Appalachian European Design Elements for the American Lifestyle 135 West German Street Shepherdstown 304.876.8003 • www.daccordboutique.com SUSAN MILLER, continued from page 25 did on the night before I went to the hospital—I danced.” As the author and performer, I want everyone to know that whatever happens in this play—or whatever happens in “20th Century Blues”—you can laugh. And after all the laughing, if I’ve done it right, if I’ve set the tone, then when I dip down into something or stop the action, you will know that it’s okay to cry or be moved. Stop. Take a breath. Mac, a character in the play says, “I don’t know how to be an old woman.” Does anyone know how to be an old woman? Aside from problems related to specific situations, these characters, these women are getting older. How do you do that? Because suddenly you’re in a category. I think we do that all of our lives. Danny (another character in the play) responds to Mac, “Do you think a twenty-year-old knows how to be twenty?” Older people have been to the younger place already. Younger people haven’t been to the older place. It’s a conversation. At the end of the play, Danny asks, “Are we really willing to sacrifice a generation each time it grows old?” When people get older and reach a certain point in life, they can be dismissed, neglected, or diminished because of preconceived notions. I do think that society is addressing this more now because boomers are very outspoken and will not go gently into that dark night. Susan Miller, continued window. When the characters were younger self-starters or artists—they were in a precarious position because artists always are. Your work may or may not be recognized. If you go to veterinarian school (as the character Gabby does) and become a vet, you can work until you can’t work anymore. You have that skill. Then there’s the character, Mac, who rises up the ranks of the newspaper world. Who would have ever predicted this current, wild, wild media world would run into so much difficulty? That makes those characters very different. Age plays a part for these characters, but not for all of them. They each have their own individual struggles and their own individual way of being in the world that may have nothing to do with age except that big question, “How long will I be in the world?” In an exchange between Mac and Danny, Mac says, “I don’t want anyone to look at me and think I’ve appropriated real suffering.” Danny responds with this challenging statement, “Because the only valid representation of the human condition is in the cruelest of situations.” How can we nurture more patience and empathy for everyday brokenness? The “forgotten word” in your play is the word, precarious. Why? Danny has dealt with issues such as, “Is it worthy of me to take pictures of people in a community theater green room as opposed to being a war photographer?” She’s come to a point of thinking that depicting human beings in any situation is valid and eye opening. If you let people look at your face and see what’s really there, that’s generous. That’s a gift. I wanted the forgotten word to open a What about this line from the play, “Don’t 36 spend your life trying to forgive yourself. That’s the biggest load of crap ever disguised as spiritual healing.” Isn’t forgiving yourself Therapy 101? I love these characters. I get to be able to say things through them. In other plays, I haven’t had quite the fun with characters that I’ve had with the characters in “20th Century Blues.” We can look at ourselves over a period of time and think, “Oh my god, we were so hot! We were so pretty! I was so thin!” But we can also think, “Oh my god, the mistakes I made, the things I did!” Someone might respond, “You have to get over that.” These movements toward forgiving yourself, loving yourself— you just get to a point where you don’t want to go there anymore. You make mistakes. You don’t have to see them that way. It can be spiritually healing to say, “That’s a load of crap.” One of the things you advised young playwrights was, “to find your voice and be true to that voice.” How do you do that? Do you have any 21st century blues? I now have a grown son, so I’d say that I have 21st century worries. The blues are now more personal, the worries are more global. I don’t really know. I think the century is too new. My biggest blues are a deep, deep sorrow that my parents are gone, that certain people have passed, that friends, mentors, family members— there’s a navigation that has to happen in the world without them. This is a play written by a woman with all women characters with the exception of Simon. Why is a man [Ed Herendeen] directing it for the first time? My first instinct was for a woman to produce the play. Then I met Ed. The questions he asked about it, what he saw in it, what he felt from it were very exciting to me. I felt a real connection and understanding from him. He didn’t try to sell me on his directing it. He just asked questions, and based on this I decided the play needed to be in the hands of this great person. Is there a question you wish an interviewer would ask you? Why, in the world of Snapchat, Twitter, the ability to make art on an iPhone, celebritydriven casting on and off Broadway, the restrictive amount of new work a theatre can actually produce in one season, reviews that can close you down in a heartbeat—WHY do you write plays? Or are you just a crazy person? Is there a question you would refuse to Yes. Joe Papp, who was producing one of my plays for the Public Theater, taught me (or tried to teach me) not to do interviews before an opening…I don’t know if I’ve ever been in a situation where I would refuse to answer a question, but I probably would refuse to answer any question that might impinge upon someone else. Maria Irene Fornes said, “We can only do what is possible for us to do. But still it is good to know what the impossible is.” What’s the impossible for you? For most of the plays that I have written— some more than others—I am most interested in writing the play I don’t think I can pull off. 25 extraordinary years For a writer it’s asking, “How do I distinguish myself?” Sometimes people don’t find their voice. In an art form like the theater you actually rely on that other character in the play—the audience—to let you know if you have your voice. There’s no formula. It’s a very cool thing when people say, “Of course, that’s a Susan Miller line,” even though my plays are all different and populated by different characters. If you write something and you feel satisfied yourself — not because it’s perfect — but because you simply like it, say that: “I like it.” That’s pretty cool. answer? CUSTOMIZED BUSINESS SOLUTIONS, ACCOUNTING & FINANCIAL SERVICES Outsourced CFO • Management Consulting Tax • Bookkeeping • Payroll BRIAN ROMINE | TONY PRICE 304.707.0283 • Shepherdstown bringing you Contemporary American crafts RONAN NOONE, continued from page 27 Ronan Noone, continued I certainly understood after about 20 years in America that I had a particular guilt about having left behind my family and culture. So I had to answer that, but I didn’t want to reconcile it with Catholic guilt or any other kind of guilt. I wanted to reconcile it with myself, to understand why I made that choice and why it was the right choice. That was part of the reason I needed to write the play. watching a dance; when you walk away recognizing that something has occurred inside of you emotionally and you don’t have the vocabulary to explain it. You walk away not knowing why you are crying. I would like that to happen in the work that I do. I look for the moment when an audience is connected emotionally and doesn’t understand why there may be tears rolling down their faces or smiles. I also needed to write the play to show that I understood that America offered me a lot of opportunities. The mantra I attacked the play with was an old Yeats’ phrase, “The joy is in the struggle.” You have quoted John Berryman, “We must travel in the direction of our fear.” What direction are you traveling in now? Why is the joy in the struggle? When Beckett was asked by a young writer about the best way to go about writing, he turned to the writer and said, “Despair young and never look back.” You can make a choice between Beckett or Yeats. You can think the joy is in the struggle or despair young and never look back. I chose joy is in the struggle. I also find that oftentimes coming from an Irish background, you can find the despair quicker than you can find the joy. For me—and I’m not saying this for everybody— America is a place where I can find the joy easier than I can find the despair. You have said, “A storyteller wants to explain the ineffable… I want to create something that gives you a feeling; that helps you make sense of the world, that puts shape on the ineffable, that is relevant, that lives beyond me—that is part of my definition of success.” What do you see as the ineffable? I can’t answer that because it’s ineffable. The ineffable is when you walk away from Sometimes I’m not aware that I’m traveling in the direction of my fear, but when I do become aware of it, and I recognize that I may be walking away from it, I change my perception and seize the challenge and consider going towards the fear. I think it’s a very brave thing to do. The thing that all writers become most proud of—even if they are never published—are facing the things that we fear. You have said, “A piece of music can define the tone of a play”—What piece of music would define “The Second Girl”? When I was writing it, I had to listen to a particular piece of music. The name of the album was “Divenire” by Ludovico Einaudi. Perhaps it doesn’t really capture, “The Second Girl,” but I had it on in the background as I was writing. You say that writing a play requires so much “emotional heft” that you’re completely exhausted but still need to put pen to paper. I spend more time thinking about the next play I’m going to write than I do writing it. The first draft will come out in about 10 days, but I probably spend about a year and a half thinking about it: the characters, 38 the structure, the best opening line. Between family and teaching, my life is busy and I have to find a window when I can’t be disturbed, so I need to have everything in place before I attack the page. What’s the best opening line of a play you’ve ever heard? It’s from the first play I ever saw, and because of that it had a profound effect on me. It’s a play called, “Conversations on a Homecoming,” by Tom Murphy—a well-known playwright in Ireland. It takes place in a bar and is similar to “The Iceman Cometh.” The year was 1985 and the town hall was packed—probably 300 people, including the Canon of the town. In 1985, Ireland was a very theocratic society and most everybody was emotionally restrained. A bar had been built on the stage and the play opened with a character walking up to a customer at the bar and saying, “Howya Bolix!” That may not be the exact opening line, but that’s how I remember it, which may be even better. For the Irish, this opening line is a slander. But that line set the tone for everybody in that audience to say, “We’re going to see something that we recognize in all of our bars, but we would never say if a priest was present.” Needless to say, the Canon walked out of the town hall as soon as he heard the line. At 15 years old, that influenced me to say, “Oh, you can put anything you like on the stage.” It was like sinning without committing a sin. You were able to actually wallow and enjoy the irreverent nature of the stage—the way it represented life. In life we put on a lot of masks, whereas the stage unmasks the hypocrisy. I found that fascinating. Any comment on how the topic of immigration has become a major talking point in the 2016 presidential election? America as a place that gave me a lifeguard. If I were drowning, America would save me. I wrote an introduction to “The Second Girl” which the Eugene O’Neill Review will publish in the fall along with the entire play. At the end of the introduction, I mention that I don’t think we can look at “The Second Girl” without looking at the sacrifices that the characters Bridget, Cathleen and Jack have made. On the backs of our ancestors— those who crossed the Atlantic in cargo ships and those who went to Ellis Island with one suitcase and those who ride on top of freight trains in Mexico on their way to America hoping to make a fresh start—the sacrifices of immigrants like this built the America I see today. What distinguishes CATF from other theater groups/festivals? I know that it can be controversial— how you look at America—but I still see It takes on a play and gives it a second life. Also, the festival is done in repertory— acting in two different plays over a month— which is fantastic. There’s something old school about it, but at the same time, something now, today. It actually feels seminal. Is there a question you wish an interviewer would ask you? I don’t think so. Is there a question you would refuse to answer? I’m sure there is, but I don’t know what it is. Maria Irene Fornes said, “We can only do what is possible for us to do. But still it is good to know what the impossible is.” What’s the impossible for you? It’s impossible for me to become the President of America because I wasn’t born here, but I still like the idea of the challenge. It seems impossible to me to write an epic play, which I want to do in a few years. That’s the impossible I want to work towards—an epic, grand, “Angels-inAmerica”-type piece. More than that, something like, “The Iceman Cometh” or “Death of a Salesman”—something epic that leaves you, even if it’s sad, wallowing in the ambition of it. And always, of course, pointing you toward the ineffable. Uncommon Vernacular The Early Houses of Jefferson County, West Virginia 1735-1835 John C. Allen, Jr. Unique Menu of Sweets and Savories Organic, Responsibly Sourced Herbs Workshops and Classes High-quality Medicinal Herbal Products House-blended Teas and Syrups Holistic Health Consultations 140 E GERMAN STREET, SHEPHERDSTOWN 304.870.4527 Available in Shepherdstown at Four Seasons Books AMERICAN CONSERVATION THE 2016 COMPANY DEBRA A. ACQUAVELLA* currently on faculty at the Yale School of Drama and Brown University. www.mayadrales.net Production Stage Manger Deb is delighted to be back at CATF for her eleventh season. No stranger to new play festivals, Deb spent fifteen seasons working as the Production Stage Manager of Actors Theatre of Louisville, where she stage managed dozens of premieres in the Humana Festival of New American Plays. Other regional credits include four seasons at Baltimore’s Center Stage, The Huntington Theatre, Trinity Repertory Company, Studio Arena Theatre, The Shakespeare Theatre Company, Barter Theatre and Breath and Imagination by Daniel Beaty at Boston’s Paramount Theatre. On Broadway, Deb was PSM of the long-running Metamorphoses at Circle in the Square, Master Harold…and the boys and Jane Eyre, The Musical. Off-Broadway credits include Radio Macbeth, directed by Anne Bogart; Falsettos at Playwrights Horizons; The Thing About Men at the Promenade Theatre; and Metamorphoses at Second Stage Theatre. In the off-season, Deb is the Head of the Stage and Production Management Program in the Performing Arts Department at Emerson College in Boston. Working professionally at CATF with her students is the best of both worlds! FILM FESTIVAL Engage. Inform. Inspire. BETSY AIDEM* Actor 20TH CENTURY BLUES BROADWAY: All The Way (opposite Bryan Cranston; Tony Award for Best Play), as well as Beautiful. OFF-BROADWAY: Nikolai and The Others, Road (Lincoln Center) Dreams of Flying, Celebration and Sea of Tranquility (Atlantic), The Metal Children and Mary Rose (Vineyard), Crooked (Women’s Project), Stone Cold Dead Serious (Edge), Good Thing (The New Group), The Butterfly Collection (Playwrights Horizons), Five Women Wearing the Same Dress (MCC), Steel Magnolias (Lortel), A Lie of the Mind (Promenade), Balm in Gilead (Circle Rep and Minneta Lane – Drama Desk Award Ensemble). REGIONAL: All The Way (American Repertory Theater, IRNE nom), Mama’s Boy (Good Theater), Miss Julie (Portland Stage), The Killing of Sister George (Long Wharf), Circle Mirror Transformation (Huntington), Sweet Bird of Youth, The Sugar Syndrome, A Midsummer Night’s Dream and As You Like It (Williamstown), The Miser (Hartford Stage), The Whore and Mrs. Moore and The Golden Age (Dorset), God of Carnage and Jolson Sings Again (George Street Playhouse), The Seagull, The Cherry Orchard, Platanov and Ivanov (Lake Lucille). INTERNATIONAL: 1000 Airplanes on the Roof, Seven. FILM: Irrational Man, Margaret, You Can Count on Me, James White, The Bleeding House. TV: The Americans, Rescue Me, The Big C, Nurse Jackie, Law and Order (7 appearances). She received an OBIE for Sustained Excellence of Performance. Upcoming: Mama’s Boy (George Street). MAY ADRALES*** Director THE WEDDING GIFT May Adrales is a freelance theatre director based in New York City. Her work has been seen at South Coast Rep, Lincoln Center Theater, Signature Theatre, Manhattan Theater Club, The Goodman Theater, Actors Theatre of Louisville, Portland Center Stage, Syracuse Stage, Cleveland Playhouse, Oregon Shakespeare Festival, Pioneer Theatre, Milwaukee Rep and Two River Theater. She is a Drama League Directing Fellow, Women’s Project Lab Director, SoHo Rep Writers/Directors Lab and NYTW directing fellow, and a recipient of the TCG New Generations Grant, Denham Fellowship and Paul Green Directing Award. She proudly serves as an Associate Artist at Milwaukee Repertory Theatre. She is a former Director of On-Site Programs at the Lark Play Development Center and Artistic Associate at The Public Theatre. MFA, Yale School of Drama. She has directed at NYU, Bard College, Juilliard and Fordham University. She is JOHN AMBROSONE** Lighting Designer NOT MEDEA CATF: On Clover Road, Everything You Touch, Uncanny Valley, H2O, Barcelona, The Exceptionals, We Are Here, Race, Yankee Tavern, Farragut North. Broadway: The Old 40 35 FILMS, 4 VENUES, 6 DAYS SHEPHERDSTOWN, WV WWW.CONSERVATIONFILM.ORG OCTOBER 21-23 & 28-30, 2016 Congratulations to CATF on your 26th season! JASON BABINSKY* Actor Neighborhood. Off Broadway: Uncanny Valley (59E59 St. Theatres), Nocturne (New York Theatre Workshop). US Tour: The King Stag. Regional Theatre: American Repertory Theatre, Alley Theatre, Arena Stage, Brooklyn Academy of Music, Capital Repertory, Clarence Brown Theatre, Coconut Grove Playhouse, Hartford Stage, Long Wharf Theatre, McCarter Theatre, Merrimack Repertory, People’s Light & Theatre, Philadelphia Theatre Company, PlayMaker’s Repertory Company, Prince Music Theatre, Ridge Theatre, Royal George Theatre of Chicago, Trinity Repertory Company, and Virginia Stage Company. International Designs: Sao Paulo, Brazil; Strasbourg, France; Berlin, Germany; Tokyo, Japan; London, England; Leon, Mexico; Singapore; Moscow, Russia; and Taipei, Taiwan. Professional Affiliations: John is a member of the United Scenic Artists Local 829, United States Institute for Theatre Technology. Teaching: Head, MFA/BA Lighting Design at Virginia Tech. 20TH CENTURY BLUES / THE WEDDING GIFT Jason Babinsky returns to CATF after appearing in One Night and North of the Boulevard. Broadway: Billy Elliot (and 1st Nat’l Tour) and Ghost. NY and Regional: Caucasian Chalk Circle and Man’s a Man (Classic Stage Company), Five Mile Lake - East Coast Premier (McCarter Theater), Williamstown Theater Festival, Huntington Theater, Paper Mill Playhouse, Utah Shakespeare Festival, Stageworks Hudson (Stockholm by Bryony Lavery-US Premier), Bomb-itty of Errors (St. Louis Rep. -- Kevin Kline Award for Best Actor), Goodspeed Opera, Pioneer Theater. Film/TV: The Good Wife, Unbreakable Kimmy Schmidt, The Knick, House of Cards, Madam Secretary, Blue Bloods, Person of Interest, Unforgettable, Forever, American Odyssey, The Daily Show, Halal in the Family (Peabody Award - Excellence in Digital Storytelling ), I Love You... But I Lied, Contagion, Law Abiding Citizen, You Don’t Know Jack (HBO), and the upcoming films, A Cure for Wellness directed by Gore Verbinski, and The Wizard of Lies (HBO) directed by Barry Levinson. Thanks to Ed. And always thanks and love to D, Howie, and Mona. AARON ANDERSON Fight Director Aaron is thrilled to be returning to CATF. It is his absolute favorite place to pretend to beat people up. Otherwise his resume is pretty standard: he’s a former US Army explosive ordinance specialist with two terminal degrees and three university appointments (at Virginia Commonwealth University: Department of Theatre, Department of Internal Medicine, and School of Business Executive MBA). He is internationally certified as a fight director with the Society of American Fight Directors and the British Academy of Stage and Screen Combat and has taught at universities and theaters across the United States and Europe including the Banff Center for the Performing Arts, London’s City Literary Institute, the Denver Center for the Performing Arts, London’s Italia Conti School of Performing Arts, Northwestern University, The University of Illinois, North Carolina School of the Arts, and the University of Hawaii. Favorite shows at CATF include On Clover Road, Everything You Touch, H2O, Heartless, Modern Terrorism: Or They Who Want to Kill Us and How We Learn to Love Them, Scott and Hem in the Garden of Allah, Barcelona, Captors, Gideon’s Knot, In a Forest Dark and Deep, Ages of The Moon, Lidless, Fifty Words, History of Light, Farragut North, The Overwhelming, Stick Fly, and Pig Farm. PADDLE AND POUR TOURS Area’s best paddling locations paired with local breweries, wineries and a distillery d- nd Prou - Maryla Good for les” Ya! What “A Near historic Harper’s Ferry, WV Family Owned & Operated Since 1972 rivertrail.com/packages/food-drink • 301-834-9950 RACHAEL BALCANOFF Actor NOT MEDEA Marathon • Half Marathon • 10k • 5k • Kids Fun Run Rachael Balcanoff is a Brooklyn-based Actor and is grateful to be a part of the CATF family this summer! Previous Credits include: The Christians (Playwrights Horizons), Liminal (NY Fringe Festival), Won’t Be A Ghost: The Chelsea Manning Story (the Drama League Prelude Festival), Our Town, Urban Legend, and Remix 38 (Actors Theatre of Louisville/ The Humana Festival), A Class Act (The Robert Moss Theatre), Tommy by The Who, A Christmas Carol with James Taylor, and Finian’s Rainbow (The Berkshire Theatre Festival). This Theater operates under an agreement between the League Of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. *Actors’ Equity Association **United Scenic Artists ***Stage Directors and Choreographers Society October 1, 2016 42 freedomsrun.org 304.876.1100 | tworiverstreads.com Open summer evenings until 8pm in downtown Shepherdstown DAVID M. BARBER** this summer, Mikayla thanks David Toney, Ed Herendeen, her family, and God for making it all possible. Set Designer THE WEDDING GIFT / 20TH CENTURY BLUES For CATF: Everything You Touch, On Clover Road, One Night, North of the Boulevard, H2O, Scott and Hem in the Garden of Allah, Modern Terrorism, Captors, In a Forest Dark and Deep. Off-Broadway: ’Tis Pity She’s a Whore, Women Beware Women (Red Bull Theatre Co.), The Most Deserving - world premiere (Women’s Project Theater), The Orphans’ Home Cycle - world premiere (Signature Theatre Co.), The Vandal - world premiere (The Flea), A Simple Heart (Classic Stage Co.), TOKIO Confidential - world premiere (Atlantic Stage 2). Off - Off Broadway: Rattlestick, Chashama, HERE, The Ohio, Chekhov NOW Festival, many others. Regional: Denver Center, Hartford Stage, Center Stage (Baltimore), American Repertory Theater, Pittsburgh Public, Cleveland Public, Alabama Shakespeare, Two River Theater Co., Barrington Stage Co., Idaho Shakespeare, Great Lakes Theater, Jacobs Pillow, others. Television: E! Entertainment, The TODAY Show, Football Night in America (Art Director), Fashion Mega Warriors, Woodstock ’99 (Production Designer). Film: Day 39, All Relative, Also Lies, Double Header (Production and Costume Designer). Other: Ringling Brothers, Barnum and Bailey Circus (Art Director), Conni’s Avant Garde Restaurant (Production Designer/ Ensemble member). Awards: Drama Desk, American Theatre Wing Henry Hewes Award, Connecticut Critics’ Circle Award, Denver Ovation Award, Denver Critics’ Circle, Westword’s “Best of Denver” List, Prague Quadrennial ’99. www.davidmbarber.com TREVOR BOWEN Washington County Museum of Fine Arts Costume Designer pen/man/ship CATF: We Are Pussy Riot, Dead and Breathing, Race, We Are Here, Eelwax Jesus 3D Pop Music Show, Inana, The History of Light. Twin Cities credits: Bright Half Life, Prep, The Gospel of Lovingkindness, Death Tax, and the road weeps, the well runs dry (Pillsbury House Theatre); Charm, DJ Latinidad’s Latino Dance Party, An Octoroon, Pussy Valley, HIR, Colossal and Passing Strange (Mixed Blood Theatre); Nina Simone: Four Women, My Children! My Africa!, The Color Purple and The House on Mango Street (Park Square Theatre); Romeo and Juliet and Henry IV, Part 1 (Ten Thousand Things Theatre); Lullaby, All is Calm, Steerage Song: The Tour and Our Town (Theater Latte Da); The Glass Menagerie, Statements After an Arrest Under the Immorality Act, In The Blood (Macalester College); U/G/L/Y, Choir Boy (Guthrie Theater). Trevor has an M.F.A. in Costume Design from West Virginia University. THERESE BRUCK Costume Designer Photo by Scott Cantner 20TH CENTURY BLUES / THE SECOND GIRL For CATF, Therese has most recently designed On Clover Road, The Full Catastrophe, North of the Boulevard and Uncanny Valley. Therese is thrilled to return to CATF where she designed early works like Betty the Yeti, and The Nose. Currently Therese is the Costume Director for NYU’s undergraduate program at Tisch, and recently was the Costume Manager for the internationally renowned Blue Man Group. New York credits include The Sum of Us (with Tony Goldwyn), Demonology (with Marisa Tomei), Arts and Leisure (directed by Joanne Akalitis), Down the Road (with Eric Stoltz), Veins and Thumbtacks (directed by Ethan Hawke), A Life in the Theater (with F. Murray Abraham) and The Suffering Colonel (directed by Matthew Broderick). Regional designs include Picnic (with Blythe Danner, Jane Krakowski, Gwyneth Paltrow, and Tony Goldwyn) and Moonstone (with James Naughton), both at Williamstown Theater Festival, and Always Patsy Cline (with Sally Struthers) in Las Vegas. Therese resides in NJ with her husband, actor MIKAYLA BARTHOLOMEW Acting Intern PEN/MAN/SHIP / 20TH CENTURY BLUES Mikayla is a senior BFA Performance Major at Virginia Commonwealth University. President of the Shafer Alliance Laboratory Theatre Board in Richmond, Virginia, this year, Mikayla took a step off stage to focus on directing. In partnership with SALT, she developed her own production of The Vagina Monologues, raising money for domestic and sexual assault victims in partnership with Eve Enlser’s V-Day organization, and also Assistant Directed the World Premiere of Medea Myth by Brandon Sterrett at TheatreLAB. While acquiring her degree, Mikayla’s previous acting credits include The Metal Children, Macbeth, Like Wonderland, The Vagina Monologues, Arabian Nights, and many more. Overjoyed to be an Acting Intern at CATF 44 Museum Hours Tue – Fri: 9am–5pm Saturday: 9am–4pm Sunday: 1pm–5pm Monday: closed #1 Attraction in Hagertown according to TripAdvisor.com FREE Admission, Parking, and Docent Tours 401 Museum Drive, Hagerstown, MD 21740 301-739-5727 www.wcmfa.org SAMANTHA COTTON* Patrick Boll. She is delighted to return to CATF, where theater artists are supported and theater magic happens! Company & Events Manager Samantha Cotton is thrilled to lead the Company Management team for her second full season at CATF. She is a graduate of Ithaca College, where she received a Bachelor of Arts degree in Stage Management. Samantha has worked as a Production Assistant on The Visit (Broadway, Lyceum Theatre). Off-Broadway credits include The Way West (LAByrinth)Uncanny Valley (CATF in NYC) and You Got Older (Page 73). Regional credits include On The Town, Scott & Hem in the Garden of Allah (Barrington Stage Company), Around the World in 80 Days, and Other Desert Cities (Hangar Theatre). MARIBETH CHAPRNKA* Stage Manager NOT MEDEA Maribeth is happy to be returning to CATF, where her previous productions include The Full Catastrophe, We Are Pussy Riot, One Night, North of the Boulevard, H2O, In a Forest, Dark and Deep and Captors. Other credits include The Kennedy Center: Flowers Stink!, The Gift of Nothing, Elephant and Piggie’s We Are in a Play!, Jason Invisible, American Scrapbook. Woolly Mammoth Theatre Company: Zombie: The American, We Are Proud to Present..., Stupid Fucking Bird, Civilization (all you can eat), Everyman Theatre: Ruined, The Glass Menagerie. Round House Theatre: Bengal Tiger at the Baghdad Zoo, Young Robin Hood, Crown of Shadows, Pride and Prejudice, Fahrenheit 451, Hotel Cassiopeia, Redshirts, The Director: The Third Act of Elia Kazan, Jon Spelman’s Frankenstein. Annapolis Opera: Carmen. Summer Opera Theatre Company: The Impresario, Suor Angelica, Rigoletto, and Cendrillon. Pittsburgh Opera (ASM): The Barber of Seville, Lucia di Lammermoor, Turandot, Dialogues of the Carmelites. Michigan Opera Theatre (ASM): Madame Butterfly. She is a graduate of the University of Maryland in College Park. BRIAN D. COATS* Actor pen/man/ship / THE WEDDING GIFT NY Theater includes: On the Levee (World Premiere, Lincoln Center/ LCT3), The Merry Wives of Windsor, Two Gentlemen of Verona (Public Theater/ NY Shakespeare Festival), Puddn’head Wilson (The Acting Company), plus Ensemble Studio Theatre, Working Theater, and Cherry Lane Theater. Regional Theater includes: the world premiere of Theresa Rebeck’s The Nest (Denver Center Theatre), Seven Guitars (Two River Theater), Fences, A Raisin in the Sun (Geva Theatre Center), Distant Fires (People’s Light and Theatre-Barrymore Award), The Odd Couple (Cape Playhouse/ Geva) and the adaption of Ralph Ellison’s Invisible Man (Huntington Theatre/Studio Theater-Helen Hayes Award). TV credits include: Law & Order, Law & Order: SVU, JAG, Blue Bloods, The Sopranos, Boardwalk Empire and Luke Cage on Netflix. BEN CHASE* Actor NOT MEDEA New York: [A]Loft Modulation (Access Theater), May 39th (The Drama League/TBG), Un-Tamed (Nat’l Black Theatre), The Sun Experiment (NY Int’l Fringe). Regional: The Comedy of Errors, Red Velvet (Shakespeare and Company), Vanya and Sonia and Masha and Spike (Syracuse Stage), Two Gentlemen of Verona, Julius Caesar (Shakespeare on the Sound) A Christmas Carol (Trinity Repertory Company), Romeo and Juliet (Commonwealth Shakespeare Company). Readings and Workshops include: Naked Angels, Rattlestick Playwrights Theater, MCC, and the Lark. Film: Jim: The James Foley Story, Lazarus Rising, Maybe in Moscow. TV: Mysteries of Laura, Difficult People. MFA: Brown/Trinity. VICTORIA DEIORIO** Sound Designer and Original Music pen/man/ship / THE SECOND GIRL Victoria (toy) Deiorio is thrilled to be making her CATF debut. Off-Broadway: Two Point Oh (Primary Stages), The Bluest Eye (Steppenwolf at The Duke Theatre); Cassie’s Chimera (Joe’s Pub at The Public); Arnie the Doughnut (NY Music Theatre Festival); Ophelia (NYC Fringe Fest); The God of Hell (Actor’s Studio; Associate); Dedication or the Stuff of Dreams (Primary Stages; Associate); Live Girls (Urban Stages; Associate); Luminescence Dating (Ensemble Studio Theatre; Associate); and Boy (Primary Stages; Associate). Regional: Oregon Shakespeare Festival, The 46 visi t HAGE N W O RST unty, md o c n o t ing & wash ay Call toodur for y FREE uide! Visitor G 888-257-2600 | VISITHAGERSTOWN.COM experience! Live performances, Museum of Fine Arts in Downtown Hagerstown. Come for the History, Stay for the Fun! Goodman, Steppenwolf Theatre, Court Theatre, Victory Gardens, Northlight Theatre, LA Theatre Works, Center Stage (Baltimore), Syracuse Stage, Geva Theatre, Cleveland Playhouse, Delaware Theatre Company, People’s Light and Theatre, Chautauqua Theatre Company, Indiana Repertory, Maltz Jupiter Theatre, American Players Theatre, Milwaukee Rep, Milwaukee Shakespeare, Birmingham Children’s Theatre, and many others. Film: Thump, The Interview, and One Sunday Afternoon (We Make Movies). She is the first woman to have been nominated for 13 Joseph Jefferson Awards - winning 7 - and she has received 2 After Dark Awards. Victoria is the head of Sound Design at DePaul University. For more information visit: www.victoria-sound-design.com Manager on Broadway for The Visit (Kander/Ebb/McNally, starring Chita Rivera & Roger Rees) and You Can’t Take It With You (starring James Earl Jones). Other past Broadway credits include: The Mystery of Edwin Drood (revival), Fela, Jane Eyre: The Musical, Say Goodnight, Gracie, and 11 shows (and many Galas and Staged Readings) for The Roundabout Theatre Company. Regionally, Lori has served as PSM on multiple productions at Baltimore’s Center Stage, The La Jolla Playhouse, The Westport Country Playhouse, The Huntington Theatre Company, and Actors Theatre of Louisville, and Off-Broadway with 2econd Stage Theatre Company, The NY Shakespeare Festival, The Lambs Theatre Company, Circle Rep, and The American Jewish Theatre. Also, Lori has enjoyed considerable travel as PSM/Show Caller for 80+ Events & Corporate Meetings with 32 different Production Companies. FRANCHELLE STEWART DORN* Actor JESSE DREIKOSEN 20TH CENTURY BLUES Set Designer Franchelle Stewart Dorn has played leading roles at the Shakespeare Theatre Company, Arena Stage, The American Conservatory Theater, Yale Repertory Theater, Long Wharf, Great Lakes Theater Company, Cleveland Playhouse, Arizona State Theatre, Chautauqua Theatre, The Guthrie, OSF and at both The State and Zach theaters in Austin. She was seen recently off-Broadway in the Lortel nominated ‘Tis Pity She’s a Whore. Fran has also been seen on Law and Order, and in such films as Die Hard With a Vengeance, Chances Are and Raise the Titanic. She can also be seen on one of PBS’ longest running series: Literary Visions. She fondly remembers appearing on NBC’s ANOTHER WORLD. Fran has been nominated for seven Helen Hayes Awards and has been the recipient of three. She has also won The Austin Critics’ Circle Award for her performances in Who’s Afraid of Virginia Woolf?, Mrs. Warren’s Profession, Edge of Peace, and recently for her title role in Medea. She has more than 400 voice-overs and on-camera appearances to her credit. She received her acting training at the Yale School of Drama and is a past head of the acting program in the Department of Theatre and Dance at the University of Texas, Austin, where she is a senior professor. Ed, Fritz, Amani and Mary are her life. NOT MEDEA Jesse Dreikosen is very excited to be back designing at the Contemporary American Theater Festival. He previously designed the world premiere of Uncanny Valley by Thomas Gibbons, which opened at CATF and played Off-Broadway at 59E59 Theaters in New York City. He is currently the Head of Design and Technology at the University of Idaho. He received his MFA in scene design from Purdue University and a BFA in theatre design from Viterbo University in La Crosse, Wisconsin. Before joining the University of Idaho Theatre Arts Department he was the Head of Design & Production at Florida International University. He also worked as the resident set designer for three seasons at New Theatre in Coral Gables, Florida. He also designs for such theatres as The Alabama Shakespeare Festival, The Shakespeare Theatre of New Jersey, The Texas Repertory Theatre Company, The Texas Shakespeare Festival, The Mint Theater Company, The Red Fern Theatre Company, The Ohio Theater, The Renaissance Theatre, The Cinnabar Theater and The 6th Street Playhouse in Santa Rosa, California. He is currently the Vice-Commissioner of Education in the Scene Design & Technologies Commission for The United States Institute for Theatre Technology (USITT) and the National Vice-Chair of Design, Technology and Management for The Kennedy Center American College Theatre Festival. He has received both regional and national awards for his designs. LORI M. DOYLE* Stage Manager – Marinoff Theater It’s Lori’s 8th CATF season, (that’s 16 shows plus an NYC Uncanny Valley takeover!) and she couldn’t be happier to be here. Since her last CATF show in 2014, Lori has served as Production Stage 48 TV Worth Watching Maryland Public Television Visit us online at mpt.org LINDSAY EBERLY* love and support of his wonderful wife Nicole and perfect daughter Corina. Assistant Stage Manager - Marinoff Theater CATF: WE ARE PUSSY RIOT, The Full Catastrophe, Dead & Breathing, The Ashes Under Gait City, Modern Terrorism, Scott & Hem in the Garden of Allah, The Insurgents, Ages of the Moon, Inana, and The Eelwax Jesus 3-D Pop Music Show. NY: Carnegie Hall’s West Side Story. Baltimore Center Stage: The Secret Garden, Pride & Prejudice, 4000 Miles, After the Revolution, It’s a Wonderful Life, Amadeus, Twelfth Night, A Civil War Christmas, Animal Crackers, Beneatha’s Place, Clybourne Park, The Mountaintop, The Completely Fictional...Final Strange Tale of E.A. Poe. Berkshire Theater Festival: A Thousand Clowns, Homestead Crossing. Huntington: Circle Mirror Transformation. Royal Court: Haunted Child. Love to Mom & Dad, thanks for everything. 2015-2016 SEASON Voted Frederick’s Best Theatre Group ~ Frederick Magazine 2013 – 2015 Janney Montgomery Scott LLC proudly supports thinktheater 2016 and the Contemporary TONY GALASKA Lighting Designer pen/man/ship / THE SECOND GIRL Tony Galaska is in his third season with The Contemporary American Theater Festival. Company design credits: World Builders, The Ashes Under Gait City and Dead and Breathing. Tony has worked professionally with companies such as Toy Box Theatre Company, The Gallery Players, Wings Theatre Company, Metropolitan Playhouse, New Perspective Theatre Company, The Shakespeare Theatre of New Jersey (eleven seasons) and The Texas Shakespeare Festival (five seasons). Tony is currently Associate Professor of Lighting Design and Head of Design and Production at Florida International University in Miami. He received his MFA in lighting design from Purdue University, a BFA from The University of Wisconsin-Stevens Point and an A.A. from The University of Wisconsin-Waukesha. Tony is also currently the Vice-Chair of Design, Technology and Management for The Kennedy Center American College Theatre Festival Region IV. TYLER JOHN FAUNTLEROY Acting Intern pen/man/ship / THE WEDDING GIFT Tyler is a fourth year Theatre major with a concentration in Performance at Virginia Commonwealth University. His most recent credits at VCU include Junta High, where he performed the monologue History Lesson, Urinetown: the Musical, and Macbeth. This is Tyler’s first time working with CATF and he is grateful to God to be a part of the cast in these wonderful shows. American Theater Festival at Shepherd University and recognizes their dedication to producing and developing new American theater. By Richard Bean A MET Original Production Sep 11 – Oct 4 Oct 23 – Nov 15 and rts in Cou Germa y d Ran St. By Mark KATHRYN GRODY* Actor By Nina Raine 20TH CENTURY BLUES BROADWAY: Scapino. OFF-BROADWAY: Fishing, Museum, Top Girls, The Marriage of Bette and Boo, Nasty Rumors and Final Remarks, Museum, 49 Years (with Estelle Parsons), Endgame (with Alvin Epstein), The Oak Tree, Seven Jewish Children, The Woman Who Lost Her Head, The Penetration Play, A Model Apartment, Falling Apart.... Together. OFF OFF-BROADWAY PLAYS: Canary, I Feel Your Pain (Performance Art Biennial), My Inner Soul, Victoria Robert’s Cartoon (Dixon Place). PLAYWRIGHTS: Donald Margulies, Tina Howe, Christopher Durang, Michael Weller, Susan Miller, Caryl Churchill, Winter Miller, Tim Crouch, Zuzka Kurtz, Theresa Rebeck, Liz Swados, Andrea Kuchlewska, Leila Buck, Charline Spektor. DIRECTORS: Evan Cabnet, Peter Gill, Max StaffordClark, Liz Magic Laser, Rachel Chavkin, Michael Barakiva, Josh Hecht, Estelle Parsons, Jerry Zaks, Charlotte Moore, Jack Hofsiss, Bob Balaban, Timothy Near. FILM: Parents, Harry and Walter Go To New York, My Bodyguard, The Lemon Sisters, Another Woman, Reds. TV: The Sunset Gang w/Uta Hagen, JOSH FRACHISEUR Technical Director – Marinoff Theater Josh is the Professor of Scenic Design at Northern State University, and is happy to join CATF for a fourth year. Some of his recent work includes serving as Technical Director for Idaho Shakespeare Festival, the Great Lakes Theater Festival, and 2014’s Uncanny Valley. He has had the pleasure of designing scenery for Idaho Theater for Youth and Shakespeariance tours. He also served as the scenic designer for Great Lakes Festival’s outreach tours Before the Storm and Seeing Red. Other theater credits include technical director for Glyn Maxwell’s premiere of Wolfpit and Broken Journey for the Phoenix Theatre Ensemble of New York. He also served as touring technical director for Arkansas Repertory Theatre, including the tour of Romeo and Juliet which was part of the NEA’s Shakespeare in American Communities initiative. Josh has also served as Professor of Theatre for West Virginia University and scenic carpenter and props artisan for the daytime drama As the World Turns. Josh is blessed by the 50 Janney Montgomery Scott LLC provides personalized comprehensive wealth management, financial planning, portfolio and investment solutions for affluent clients across multi-generations. Dec 4 – Jan 3 Feb 12 – Mar 6 Sheila Shaffer, CFP® 1255 23rd St., NW, Suite 810, Washington, DC 20037 www.shaffermcgreevyspainhour.com | [email protected] Member: NYSE, FINRA, SIPC | Music by Thom Huenger Script by Sarah Shulman Lyrics by Thom Huenger and Sarah Shulman By Tracey Letts May 20 – Jun 12 Apr 8 – May 1 31 W PATRICK STREET FREDERICK MD 21701 • 301.694.4744 • MARYLANDENSEMBLE.ORG Execution of Private Slovak w/Martin Sheen. Nominated for a Drama Desk award for her 3-character solo show, A Mom’s Life, Obies for The Marriage of Bette and Boo and Top Girls, all at the Public Theatre. The narrative version of A Mom’s Life was published by Avon. Her essays have appeared in iVillage, The Mountain Record, Harper’s Bazaar and Oprah magazines. Kathryn is currently working on a play called An Unlikely Bunch of Characters with Bulelani Mabutyana and Xolisa Xolani Kapakanti, who are theatre makers from Cape Town, South Africa. She is an advisory member of The Team and a Usual Suspect with NYTW. Kathryn works with Jewish Voice For Peace, Search For Common Ground, and American Jewish World Service. Society by Eric Conger, a world premiere produced by the Walnut Street Theater in Philadelphia. Among the plays he has directed at the Contemporary American Theater Festival are the following world premieres: Whores by Lee Blessing; Miss Golden Dreams: A Play Cycle and Bad Girls by Joyce Carol Oates; Compleat Female Stage Beauty by Jeffrey Hatcher (which was commissioned by CATF and later produced as the film Stage Beauty); Carry the Tiger to the Mountain by Cherylene Lee; Octopus by Jon Klein; Jazzland by Keith Glover; Dear Sara Jane by Victor Lodato; The Ecstasy of Saint Theresa by John Olive; The Occupation by Harry Newman; What Are Tuesdays Like? by Victor Bumbalo; From Prague by Kyle Bradstreet; Gidion’s Knot by Johnna Adams; and Still Waters and Psyche Was Here by Lynn Martin. Other CATF directing credits include: Ages of the Moon, The God of Hell, and The Late Henry Moss by Sam Shepard; Fifty Words by Michael Weller; Race by David Mamet; Farragut North by Beau Willimon; The Overwhelming and White People by J.T. Rogers; Mr. Marmalade by Noah Haidle; In A Forest, Dark and Deep and Wrecks by Neil LaBute; Blessing’s Thief River; and Below the Belt, Gun-Shy, and Something in the Air by Richard Dresser. TRE’ HENLEY Acting Intern THE WEDDING GIFT Tre’ Henley is originally from Columbia, Maryland. He is a senior at Shepherd University studying to receive a Degree in Sports Communications, along with a Minor in Theater. At Shepherd, he has studied educational theater and is excited to serve as an intern and perform in his first professional theater production. Previous stage credits include The Resurrection of Christ and A Raisin in the Sun. Ed has also worked at The Milwaukee Repertory Theatre, The Missouri Repertory Theatre, The Old Globe, The Lyceum Theatre, and the Williamstown Theatre Festival. In 1999, CATF was presented with the Governor’s Award for Excellence in the Arts and, in 2012, the Governor’s Award for Leadership in the Arts. Ed was honored with the College of Fine Arts Distinguished Alumni Award in Theater from Ohio University (from which he received his MA in Directing) and has served on the Admissions Committee for New Dramatists and as a panelist for the National Endowment for the Arts. Since 2011, he has served on the board of Theatre Communications Group (TCG), the national service organization for American theaters. ED HERENDEEN*** Producing Director and Director 20TH CENTURY BLUES / THE SECOND GIRL Ed Herendeen founded the Contemporary American Theater Festival in 1991 in Shepherdstown, West Virginia with the mission to produce and develop new American theater. Through his leadership, and operating under an AEA LORT D contract and an annual budget of over one million dollars, the Theater Festival has produced 105 new plays – including 40 world premieres and nine commissions – and has gained a reputation as one of America’s most important producers of new work. Hosted on the campus of Shepherd University, CATF sells over 13,000 tickets to its four-week rotating repertory season of five new plays and attracts a national audience from 35 states to the region. Each summer, the Festival generates a local economic impact of over $2.1 million dollars to West Virginia’s Eastern Panhandle. Recently, Ed’s directing credits include The Eclectic www.OperaHouseLive.com Intimate Venue • Great Selection of Craft Beer & Wine • Rent the Opera House for All Occasions ZACK HIATT Technical Director – Frank Center Zack is currently pursuing an MFA degree in Technical Production at Florida State University. His previous experience includes over a decade in the film industry, working on productions like August: Osage County and This is the End, serving as, (among other things), Art Director, Lead Man, and Gang Boss. He is honored to be working with the Contemporary American Theater Festival. UPCOMING SHOWS: Colebrook Road with The Gypsy Ramblers 7/15 • A Louisiana Saturday Night Dance Party with CJ Chenier & The Red Hot Louisiana Band & with T’Monde 7/16 • Locust Honey with John R. Miller 7/22 • Meschiya Lake & The Little Big Horns 8/4 • The Black Lillies with Herb & Hanson 8/5 Larry (NPR’s Mountain Stage) & Sandra Groce 8/27 • Nasar Abadey and the SUPERNOVA Trio 9/10 • Buckwheat Zydeco 9/14 • And, MORE! PROUD PARTNER OF CATF Congratulations on your 26th Season! 52 304.876.3704 131 W. German Street Shepherdstown, WV 25443 “This is the best sounding room I've ever heard” ~ Ralph Stanley GEORGE HORROCKS she leads summer abroad programs for high school students with the Experiment in International Living. Master Electrician – Frank Center George is a recent graduate of the theatrical production department from Ithaca College where he worked on numerous main stage productions, including How to Succeed in Business Without Really Trying (ME), Little Women (TD), and You Can’t Take it With You (ME). He has worked in several regional theatres including the Williamstown Theatre Festival in Williamstown, Massachusetts, the Bay Street Theatre in Sag Harbor, New York, and the Finger Lakes Musical Theatre Festival in Auburn, New York. George is currently the Master Electrician at the Maltz Jupiter Theatre in Jupiter, Florida, where he is excited to return for his second season. JAECHELLE JOHNSON Sound Department Head Jaechelle is a recent graduate of the University of North Carolina School of the Arts, where she studied Sound Design for the Theatre. This is her second summer with CATF. She has worked with the Weston Playhouse Theatre Company and designed for Peppercorn Theatre’s 2013 summer season, as well as the Cirkus Theatre Project at UNCSA. Selected sound technician credits include: Lady Patriot and Searching for Willie Lynch (2013 National Black Theatre Festival); Into the Woods, Dying for It, and Misalliance (UNCSA); and Red (Triad Stage). Jaechelle would like to thank her amazing mother who is her main supporter and anyone else that has helped along the way. ARIANE IRELAND Acting Intern U/S THE SECOND GIRL / NOT MEDEA While acquiring her BFA in performance at Theatre VCU, her mainstage credits included Urinetown, Pride & Prejudice, One Flew Over the Cuckoo’s Nest, Junta High, and Man of La Mancha. Ariane is beyond thankful to God to be a part of the innovative hardworking community of CATF. JOIN US ON A JOURNEY OF LAUGHTER AND DISCOVERY SUBSCRIPTIONS START AT $150! SEPT 7 thru OCT 9 WAIT UNTIL DARK BY FREDERICK KNOTT ADAPTED BY JEFFREY HATCHER OCT 26 thru NOV 27 BIANCA LAVERNE JONES* THE ROOMMATE Actor THE WEDDING GIFT MARGARET IVEY* Actor pen/man/ship / THE WEDDING GIFT New York credits include Measure for Measure and Dominique Morisseau’s Mend (Epic Theatre Ensemble), as well as performances with The Negro Ensemble Company, The Pearl Theatre Company, and Ma-Yi Theater Company. Regionally, Margaret has appeared in Richard III, All My Sons, Stargirl (People’s Light); As You Like It (Georgia Shakespeare); Les Misérables (Aurora Theatre); Good People (Ensemble Theatre Cincinnati); A Christmas Carol (Cincinnati Playhouse); Rent and Almost, Maine (Papermill Theatre); A Christmas Carol and workshops of Janine Nabers’ Serial Black Face and Annie Bosh is Missing (Alliance Theatre). Film/Television: 18 (directed by Michelle Bossy), Discharged (directed by Joy Jorgensen). Training: B.A. Theatre, University of Southern California; British American Drama Academy in Oxford, England; the American Theatre Wing’s SpringboardNYC. Margaret is a teaching artist and a mentor with Epic Theatre Ensemble, and LINDSEY KELLEY Technical Director – Studio 112 Lindsey Kelley (Technical Director, Not Medea) is a Hattiesburg, Mississippi native and a new arrival to CATF. Her selected past credits include Rock of Ages (Props Master, Carpenter) at the 54 BALTIMORE/DC PREMIERE BY JEN SILVERMAN DEC 7 thru JAN 8 DOT BALTIMORE/DC PREMIERE BY COLMAN DOMINGO FEB 1 thru MAR 5 MEGAN ANDERSON and BETH HYLTON in A Streetcar Named Desire. Photo by ClintonBPhotography. Bianca Laverne Jones is thrilled to make her Contemporary American Theater Festival debut. Bianca was the face of Time Warner Cable commercial Check Out, Start Over for 2015. Off-Broadway: McReele (Roundabout Theater). Regional: Disgraced (Asolo Repertory), King Lear (Chicago Shakespeare Theater), Mountaintop (City Theatre), Seeds Of Abraham (Signature/Billie Holiday), A Civil War Christmas (Long Wharf). Bianca has also performed at the Williamstown Theater Festival, St. Louis Black Rep, National Black Theater Festival, Classical Theater of Harlem, and various others. Recent film credits include How to Tell You Are Dating A Douchebag (Sundance 2016), Blue Angel with Stanley Tucci, americanmother, and The Jump (Martha’s Vineyard Film Festival 2016). Bianca received training from University of North Carolina School of the Arts, SUNY Purchase, and Yale School of Drama. Bianca will begin her Master training in Directing at LAMDA in the fall. Roosevelt Boh Thomas and Sherry Lurry Memorial Scholarship CHARLES DICKENS’ BALTIMORE/DC PREMIERE GREAT EXPECTATIONS ADAPTED BY GALE CHILDS DALY MAR 22 thru APR 23 LOS OTROS BALTIMORE/DC PREMIERE MUSIC BY MICHAEL JOHN LACHIUSA BOOK AND LYRICS ELLEN FITZHUGH MAY 17 thru JUNE 18 NOISES OFF BY MICHAEL FRAYN EVERYMAN THEATRE GREAT STORIES, WELL TOLD. EVERYMANTHEATRE.ORG | 410.752.2208 Every Gift Makes a Difference in the Lives of Our Students Shepherd University Foundation Visit us online at: www.ShepherdUniversityFoundation.org If you think you hear the country calling, you are probably right. Virginia Samford Theatre in Birmingham, AL, Equivocation (Technical Director) at the University of Alabama, and Machinal (Technical Director) at the University of Southern Mississippi. Lindsey attended The University of Southern Mississippi, where she graduated magna cum laude from the Honors College and finished her thesis, Into the Willows: A Creative Project in Props Design for USM’s ‘Wind in the Willows’, a project for which she was also nominated to compete at the Kennedy Center’s American College Theatre Festival Region Four conference. This fall she will be working at the Alabama Shakespeare Festival as the assistant technical direction intern. HANNAH MARSH TED KOCH* MCCORKLE CASTING, LTD Projection Designer – Frank Center Hannah Marsh returns to CATF for her 3rd Season! Last year her work was seen in Everything You Touch by Sheila Callaghan. After CATF she worked on a World Premiere by Callaghan, Women Laughing Alone With Salad (Wooly Mammoth). Other Regional credits include: Glass Menagerie (Asst. Design, Ford’s Theatre); A Lump Of Coal For Christmas (Adventure Theatre); The Fix (Signature Theatre); Girlstar (Asst. Design, Signature Theatre); The Me Nobody Knows, and The Lost World (University of Maryland, College Park). Actor PAT McCORKLE, (C.S.A.), Casting Director KATJA ZAROLINSKI, Casting Associate THE SECOND GIRL Broadway credits include: The Pillowman, Death of a Salesman, Cat on a Hot Tin Roof, Elling. National Tours: Frost/Nixon and Death of a Salesman. Off-Broadway and Regional credits include: Boy (Keen Company/EST), Abundance (TACT-Member), Wait Until Dark (Geva Theatre), The Seagull (Huntington Theatre), Scott and Hem (Barrington Stage), Strange Interlude (Shakespeare Theatre), Donnybrook! (Irish Rep.), Born Yesterday, God of Carnage (Pittsburgh Public), Snow Falling on Cedars (Hartford Stage), Meshugah (Naked Angels), Sweet Bird of Youth (Williamstown Theatre), True West (Arena Stage, Helen Hayes nomination for Best Actor), A Streetcar Named Desire (Buffalo Studio Arena), Whisper House (The Old Globe), All’s Well (The Goodman Theatre). Television credits include: Blindspot, Elementary, The Americans, Person of Interest, The Good Wife, Gossip Girl, The Sopranos, The West Wing, Law & Order, Ed. Films include: Cold Souls, Webcam, Hannibal, Englishman In New York, Strangers, Love to Leenya, Autumn in New York, Dinner Rush, Jack and Evelyn. Broadway: Over 50 productions including; On The Town, Amazing Grace, End of the Rainbow, The Lieutenant of Inishmore, Cat on a Hot Tin Roof, One Flew Over The Cuckoo’s Nest, Amadeus, She Loves Me, A Few Good Men. Off-Broadway: Highlights; Clever Little Lies, Shear Madness, Tribes, Our Town (Barrow Street), Freud’s Last Session, Toxic Avenger, Almost Maine, Driving Miss Daisy. Feature films: Year by the Sea, Premium Rush, Ghost Town, The Thomas Crown Affair, Die Hard with a Vengeance, School Ties, etc. Television: Twisted, Humans for Sesame Street, Hack (CBS), Californication (Emmy omination), Max Bickford CBS), Chappell’s Show, Strangers with Candy, Barbershop, and many more. www.mccorklecasting.com PEGGY MCKOWEN** Associate Producing Director Costume Designer NOT MEDEA / THE WEDDING GIFT Peggy McKowen’s association with the Theater Festival began in 2006, when she designed the costumes for Mr. Marmalade by Noah Haidle and the world premiere of Keith Glover’s Jazzland. She joined the full-time staff the following year. As designer, her work at CATF has included costumes for 1001 by Jason Grote, H2O by Jane Martin (directed by Jon Jory), and Scott and Hem in the Garden of Allah by Mark St. Germain; sets for From Prague by Kyle Bradstreet, Wrecks by Neil LaBute, and Gidion’s Knot by Johnna Adams; and sets and costumes for Dear Sara Jane by Victor Lodato and The Insurgents by Lucy Thurber. Her freelance work has been seen in New York with the Phoenix Theatre TRENT KUGLER Production Manager Trent Kugler has worked at CATF since 2009. He is a transplant from Ohio where he earned a B.F.A. in Theater Design/Technology from Otterbein University. Before moving to the area with his wife, Mayme, he was the Assistant Technical Director at Studio Theatre in Washington, D.C. A photographer and builder of robots and other small electronic contraptions, he has served as Technical Director for the departments of art, theater, and music at Shepherd University since 2010. 56 MAGAZINE Whistling Wind Farm Bed & Breakfast 290 Falling Springs Road Shepherdstown, WV 25443 304-702-5525 [email protected] www.whistlingwindfarmbedandbreakfast.com www.facebook.com/whistlingwindbedandbreakfast the new f word Arts | Culture | Events free online subcsription : fluent-magazine.com FOUR SEASONS BOOKS JOSHUA MIDGETT Ensemble and Gateway Playhouse, and in California on Libby Larsen’s opera, Every Man Jack. As resident designer for the Obie-award-winning Jean Cocteau Repertory, Peggy designed the Darius Milhaud-scored version of Brecht’s Mother Courage and Her Children, Nobel prize-winning poet Seamus Heany’s The Cure at Troy, and several productions directed by the late Eve Adamson. Regional theater work has been seen at Arkansas Repertory Theatre, Tennessee Repertory Theatre, Texas Shakespeare Festival, and the Dallas Shakespeare Festival. She designed Romeo and Juliet, one of six tours of the National Endowment for the Arts’ series Shakespeare in the American Communities. Peggy’s international design work has been seen at the B.A.T. Studio Theatre (Berlin), the Teatro Alfa Real (Sao Paulo, Brazil), and for the E.T.A. Hoffmann Theatre in Bamberg (Germany). Additionally, she designed the first full-length English speaking production of The Tempest performed in Beijing, China. Peggy holds an MFA from the University of Texas (Austin), and has taught theater and humanities at Shepherd University; Dickinson College; Dickinson College/London; and West Virginia University, where she was Chair of the Division of Theater and Dance for five years. She has been a member of the Shepherdstown Rotary Club; directed the intra-state event, Antietam Remembrance Walk; produced Rumsey Radio Hour, the annual fundraiser for the Shepherdstown Visitors Center; and currently serves on the Arts Advisory Council for Hagerstown Community College. In recognition of her work as both theater designer and administrator, Peggy has recently been featured in Live Design and Wonderful West Virginia magazines. Production work has been captured in American Theater magazine; The New York Public Library Videotape for the Theater on Film and Tape Archive; The New York Times, Back Stage, New York Magazine; Wall Street Journal and in the texts: The Theater Experience and Theatre: The Lively Art. She is a member of United Scenic Artists 829. General Manager Joshua joined the Theater Festival staff in 2015 after completing his graduate studies at American University in Arts Administration. During his time in the District of Columbia, he worked with a handful of arts organizations in various capacities, including the DeVos Institute of Arts Management (then housed at the Kennedy Center), GALA Hispanic Theatre, Young Playwright’s Theatre, and American University’s Greenberg Theatre. While at American, Joshua studied abroad as a part of the University’s Certificate in International Arts Management program, spending a semester at Victoria University of Wellington studying Tourism Management. He also served as the Financial Chair for the Emerging Arts Leaders Symposium, an organization housed within the University that is dedicated to inspiring conversation among current and future leaders in the arts about the spectrum of concerns facing the industry. Prior to his time in the Mid Atlantic, he worked as a company and residence manager for companies such as the Utah Shakespeare Festival, the Glimmerglass Festival, Dorset Theatre Festival, and the Peterborough Players. His theatrical management career began, however, at the Trinity Repertory Company, where he served as a management intern. His undergraduate studies were at Keene State College in southwest New Hampshire, where he earned a Bachelor’s of Art in both Directing and Economics. CHASE MOLDEN Production Supervisor Chase graduated from Otterbein College in Westerville, OH with a BFA in Theatre Design/Technologies. He first started working with CATF back in 2005 while still in college. This will be his 6th season with CATF. During the year, Chase works as the Technical Director with the School of Arts and Humanities for Shepherd University. Other credits include The Barter Theatre, The Albany/Berkshire Ballet Company, The Pennsylvania Renaissance Faire, and The Shakespeare Theatre of New Jersey. He would like to thank his girlfriend, Jess, for her support and patience through all of the late nights. CIARA MONIQUE MCMILLIAN Acting Intern THE WEDDING GIFT Ciara Monique McMillian is originally from Jackson, Mississippi. She is a recent graduate from Virginia Commonwealth University where she received a BFA in Theatre Performance. While attending VCU, she had the opportunity to be part of both professional and educational theatre. Her credits include The Color Purple, Vanya, Sonya, Masha, and Spike and The Colored Museum. She is excited to be working with CATF and hopes to continue to do so in the future. 58 Matching people & books since 1991 Located in the heart of downtown historic Shepherdstown, Four Seasons Books offers a unique selection of quality new, used, and discount books. 116 W. German Street, Shepherdstown www.fourseasonsbooks.com (304) 876-3486 Monday-Thursday 10:00 am-6:00 pm Friday-Saturday 10:00 am-8:00 pm Sunday 12:00 pm-5:00 pm Jacob Rohrbach Inn Bed & Breakfast at the Antietam Battlefield 138 W. Main Street | Sharpsburg, Maryland 21782 301-432-5079 | www.jacob-rohrbach-inn.com NAFEESA MONROE* Southern College, went on for a MFA at The University of Alabama, and interned at the Alabama Shakespeare Festival in Montgomery. He currently resides in Louisville, KY, and spends most of his time as the Master Electrician at Actors Theatre of Louisville. John has also worked as a freelance electrician, lighting designer, carpenter, scenic designer, adjunct professor, political canvasser, tech support technician, and high school substitute. He is very pleased to have the opportunity to return to CATF, and to fill his summer by helping to make these great new plays. Actor THE WEDDING GIFT Nafeesa Monroe is delighted to make her Contemporary American Theater Festival debut with this incredible group of creatives. Her Off-Off Broadway theatre credits include: Hello Herman (Backhouse Theatre Co.). Regional: Disgraced (Pittsburgh Public Theatre); To Kill A Mockingbird (Queens Theatre); Julius Caesar (Folger Theatre); Hamlet (Annapolis Shakespeare Company); Love’s Labour’s Lost and Mother Courage (Shakespeare & Company); As You Like It (L.A. Women’s Shakespeare); and Miami Lights (Theatreworks). Her film and television credits include: I’m Through with White Girls, The Bold and the Beautiful, and The Jamie Foxx Show. As a spoken word artist, Nafeesa has opened for Jewel, appeared on HBO’s Def Poetry, and performed alongside bestselling author Neale Donald Walsch. She is a graduate of The Meisner School of Acting and received her MFA from The Shakespeare Theatre Company’s Academy for Classical Acting at George Washington University. Nafeesa is the founder and Artistic Director of “Classics in Color: An INclusive Theatre Company” www.ClassicsInColor.com EDWARD O’BLENIS* Actor pen/man/ship / THE WEDDING GIFT Edward O’Blenis is happy to make his CATF debut. Regional: Title role in Othello (Cape Fear Regional Theatre); A Midsummer Night’s Dream (Actors Theatre of Louisville); The Old Settler, A Member of the Wedding (directed by Joanne Woodward at The Westport Country Playhouse); The Piano Lesson (The Delaware Theatre Company); The Birds, Richard the Second (Yale Repertory Theatre); The Two Gentleman of Verona,The Tempest (The Nebraska Shakespeare Festival); Twelfth Night (The Hampton’s Shakespeare Festival); Train to 2010 (Crossroads Theatre Company); Fabulation (People’s Light and Theatre); Informed Consent (Gulf Shore Playhouse); Tamer of Horses (Passage Theatre Company); The Good Counselor (Premiere Stages); Peter Pan (Intiman Theatre); Lobby Hero (New Century Theatre); Hamlet (Actor’s Shakespeare Project); Clybourne Park (Hangar Theatre); Pink and Say, The Invisible Man, A Wrinkle in Time (Seattle Children’s Theatre_. New York Theater: Uncle Vanya (Target Margin Theatre); Tall Grass; Spring Awakenings; Einstein’s Dreams; Hamlet; Home Affairs; Big Trouble in Little Hazard; Say you Love Satan, Planet Heart. TV: L&O SVU, Bill Nye the Science Guy. Film: Eden, Proud, On the Outs. Awards: A Fox Fellow Rcipient. Education: Graduate of the Yale School of Drama. ALEXANDRA NEIL* Actor 20TH CENTURY BLUES Broadway: Tom Stoppard’s Rock’n’Roll, Stephen Belber’s Match. Off-Broadway: Lincoln Center Theater, The Barrow Street Theater, EST, SoHo Rep, Theater at St. Clements, LaMama, ETC. Regional: Now or Later by Christopher Shinn (The Huntington Theater Company), In by Bess Wohl (The Pioneer Theater), also Alley Theater, Houston, Syracuse Stage, Actors Theater of Louisville, Cincinnati Playhouse in the Park, the Philadelphia Theatre Company, others. Film: Listen Up Philip, The Longest Week, Twelve, Simon Killer, Afterschool, NoNames, Something’s Gotta Give, others. Television: Madoff, Blacklist, Forever, all the Law and Orders, Madigan Men, The Sopranos, One Life to Live, Texas, others. PLEASED TO BE A CONTINUING SPONSOR OF THE CONTEMPORARY AMERICAN THEATER FESTIVAL BUSINESS | EMPLOYMENT | ENERGY | LITIGATION WWW.STEPTOE-JOHNSON.COM Susan Brewer, CEO THIS IS AN ADVERTISEMENT Experience theatre all year long at SHENANDOAH CONSERVATORY! THE ADDAMS FAMILY SUMMER 2015 THE ADDAMS FAMILY SUMMER 2015 ROMEO AND JULIET FALL 2015 JASON PACELLA* Stage Manager THE WEDDING GIFT / 20TH CENTURY BLUES Regional Theatre: One Night, North of the Boulevard (Contemporary American Theater Festival); Steel Hammer, Café Variations (SITI Company); The Odyssey, The Tempest, Total Bent workshop, Jane Says workshop (The Public Theater); The Glory of the World (Brooklyn Academy of Music); Cardboard Piano, Dot, Dracula, A JOHN NEWMAN Master Electrician – Festival and Marinoff Theater John comes from Alabama, almost all of it really. He grew up in Florence, studied Theatre and Computer Science at Birmingham- EXPLORE UPCOMING PERFORMANCES AT 60 CO N S E RVATO RY P E R FO R M S.O R G WINCHESTER, VA CITY OF ANGELS SPRING 2016 Christmas Carol (Actors Theatre of Louisville). Off-Broadway: Scenes from a Marriage (New York Theatre Workshop). Other Credits: The Shakespearean Jazz Show (the cell); Chasing Ballerinas (United Solo), and two seasons at Totem Pole Playhouse. Film/TV: The 70th Annual Tony Awards, NBC’s Peter Pan Live!, The Wiz Live!. Education: B.F.A. in Stage and Production Management from Emerson College. on a show called Blacklist, which consists of segments from August Wilson’s “Pittsburg Cycle Plays.” During his last few years in college, he worked with the 48 Hour and 77 Hour Film Festivals, where he appeared in two short films: Have You Been to Istanbul and Bee Considerate. More than anything in the world, Vincent has a deep passion for his faith in God and the trust he has for his personal process. JOEY PARSONS* DAVID REMEDIOS** Actor Sound Designer NOT MEDEA NOT MEDEA Theatre: A Midsummer Night’s Dream (The Pearl Theatre/Hudson Valley Shakespeare Festival - Drama League Nomination); StupidF**king Bird, The Rivals, Figaro, The Misanthrope, Wittenberg (The Pearl); A Little Journey (The Mint Theater); Blithe Spirit (SyracuseStage); Gidion’s Knot, Dear Sara Jane, Fifty Words (CATF); God of Carnage (Arizona Theatre Co./ San Jose Rep - San Francisco Bay Area Theatre Critic’s Circle Award: Outstanding Principal Actress); Rabbit Hole (Pittsburgh Public/Hartford TheatreWorks); Dead Man’sCell Phone (Hartford TheatreWorks); The Shape of Things (St. Louis Rep.); The Tempest, As You Like It, Richard III, The Winter’s Tale, The Merry Wives of Windsor, Two Gentlemen of Verona (HVSF); Comedy of Errors, Measure for Measure (Yale Rep.). Television: The Mysteries of Laura, Law & Order: SVU, Law & Order: Trial By Jury, Third Watch, Deadline. Film: Lightning Jack. MFA: Yale School of Drama. Thank you to my family, blood and chosen. David Remedios has designed sound for CATF’s On Clover Road, Everything You Touch, North of the Boulevard, One Night, Scott and Hem in the Garden of Allah, Modern Terrorism, Captors, In a Forest, Dark and Deep, The Insurgents, We Are Here, Inana, The Eelwax Jesus 3-D Pop Music Show, Yankee Tavern, and Farragut North. Recent credits include Orlando (Opera House Arts); Moving Day! (MIT’s Centenary Celebration); Freud’s Last Session and Broken Glass (New Repertory Theatre); Home of the Brave and Out of the City (IRNE Award nomination; Merrimack Repertory Theatre); I and You (Merrimack Rep and 59E59); Violet (SpeakEasy Stage Company); The Winter’s Tale (Actors’ Shakespeare Project); Buyer & Cellar (Lyric Stage of Boston); The Flick (Gloucester Stage); 77% (Vineyard Playhouse); and Women in Jeopardy! (Geva Theatre Center and Cape Playhouse). David’s work has been heard regionally at Huntington Theatre Company, American Repertory Theatre, The Studio Theatre, Portland Stage, Theatre for a New Audience, among many others, and internationally at festivals in Bogotá, Paris, Hong Kong and Edinburgh. Awards: Independent Reviewers of New England, Connecticut Critics’ Circle, and the Boston Theater Critics Association’s Elliot Norton Award. remediossound.com VINCENT RAMIREZ Acting Intern pen/man/ship / THE WEDDING GIFT Vincent Ramirez just graduated from VCU (Virginia Commonwealth University) with a BFA in theatre. Before attending VCU, he was featured in an independent film entitled Troop 491: The Adventures of the Muddy Lions. He gained a passion for the arts by working on this project. During his time at VCU, Vincent has been blessed enough to appear in many of VCU’s Mainstage and SALT Productions (Student based projects) such as The Colored Museum, One Flew Over the Cuckoo’s Nest, Man of La Mancha, Frankenstein: Dawn of a Monster, Cicada Summer, Julius Caesar, This is How it Goes, and Mud. He also spent time with Theatre Lab, located in Richmond, VA, working NATHAN A. ROBERTS** Original Music and Sound Design THE WEDDING GIFT / 20TH CENTURY BLUES Nathan A. Roberts is a multi-instrumentalist, composer, instrument-maker, and sound designer who specializes in creating original music and soundscapes for plays, often live onstage. He composed the title song for last season’s production of Everything You Touch at CATF. Other regional credits include: Tokyo Fish Story (The Old Globe), Sense and Sensibility (Dallas Theater 62 DO. DON’T JUST DREAM. P.O. Box 5000 Shepherdstown, WV 25443 304-876-5212 www.shepherd.edu/admissions CATF2016ad_Half_7.5x3.687.indd 2 more than 75 12 $8 million 4 $38.8 million undergraduate programs NCAA Division II athletic teams research and program grants thousand students annual scholarship and financial aid 4/28/16 12:43 PM Center), In the Next Room (Syracuse Stage), Accidental Death of an Anarchist (Yale Rep/Berkeley Rep), The Widow Lincoln and Our Town (Ford’s Theatre), Twelfth Night and The Tempest (Hartford Stage), The Servant of Two Masters (Seattle Rep, Guthrie Theater, Shakespeare Theatre, Yale Rep), Macbeth (The Acting Company/Guthrie Theater), It’s a Wonderful Life (Long Wharf Theatre), Third, On Borrowed Time, and Electric Baby (Two River Theatre). Nathan earned his MFA from the Yale School of Drama, and teaches in the Theater Studies program of Yale University. University of Mississippi, Ole Miss. She is currently the costume shop manager for The City Theatre Company and works as a freelance costume designer in Pittsburgh, PA. Thanks to Peggy, Ed and the CATF family for four great summers. Love to family and friends for their support and traveling so far to enjoy the art of theater with us! KRIS STONE** Set Designer pen/man/ship / THE SECOND GIRL COURTNEY SALE Kris lives for the living playwright – designs for premieres have been seen at the following NYC theaters; Playwrights Horizon, Second Stage, LCT3, Rattlestick, New Victory (Drama Desk Nomination, Brundibar), Ars Nova (Lortel Nomination, Outstanding Musical, The Wildness), Joyce, Cherry Lane, La Mama, and Women’s Project. Regional: Hartford Stage, Huntington, Yale Rep, Old Globe, Long Wharf, Actors Theatre of Louisville, Williamstown Theatre Festival, Lyric Opera Baltimore, the Florentine, Nashville and Tulsa Opera companies, Opera Memphis, Opera Cleveland, and Chicago Opera Theatre. Internationally: Abbey Theatre, Project Theatre Dublin, Riverside - London, Wiesbaden Festival - Germany, Dublin and Edinburgh Theatre Festivals, Royal Theatre -Tasmania, and Mermaid Arts Center - Bray, Ireland. Near and dear remain: Cusi Cram’s A Lifetime Burning (Primary Stages; director, Pam MacKinnon), Jenny Schwartz’s God’s Ear (Vineyard/ NewGeorges at CSC; director, Anne Kauffman), Dan LeFranc’s Troublemakrer (BerkeleyRep; director, Lila Neugebauer), Hundred Days, a rock opera by The Bengsons (ZSpace - San Francisco; director, Anne Kauffman), and Set/Projections for J.T. Rogers’ Blood and Gifts (La Jolla Playhouse – regional premier; director, Lucie Tiberghien). Upcoming: A new musical for The McKittrick Hotel NYC, Jane Eyre (Cincinnati Playhouse), Sister Carrie (The Florentine Opera/tours) and Night Kitchen by Philip Glass and Maurice Sendak (2019 Manchester International Festival; director, Phelim McDermott). www.kristonedesign.com Director NOT MEDEA Courtney Sale is a director with a strong interest in new plays and devised work. She served as the Associate Artistic Director at Indiana Repertory Theatre for three seasons where select directing credits include the world premiere of James Still’s April 4, 1968: Before We Forgot How to Dream, The Mountaintop, The Mousetrap, Jackie & Me, and The Giver. Other credits include Mr. Burns, A Post-Electric Play and On Clover Road (Phoenix Theatre in Indianapolis), Zen Prayers & Songs (written and performed by Kirk Lynn at Fusebox Festival), and The Tempest and Twelfth Night (Heartland Rep). She has developed new work at Denver Center, NW Playwrights at Seattle Rep, New Harmony, The Orchard Project, Write Now, Groundswell and New Plays for Young Audiences at NYU/Provincetown Playhouse. Courtney is the incoming Artistic Director at Seattle Children’s Theatre. She will next develop a new Sherry Kramer play at Dorset Theatre Festival. MFA, UT Austin. BFA, Cornish College of the Arts. STEPHANIE SHAW Costume Shop Manager Stephanie Shaw is returning to CATF for her fourth season as the Costume Shop Manager. She received her BFA in Theatre Design and Technology from WVU (Let’s go Mountaineers!) and her MFA in Costume Design and Technology from Purdue University. Stephanie has served as costume shop manager and costume technologist for Purdue University, The University of Maryland, Weston Playhouse, Texas Shakespeare Festival, North Shore Music Theater, Des Moines Metro Opera, as well as the Instructional Assistant Professor of Costume Technology for the MARY SUIB Actor 20TH CENTURY BLUES Many years ago in Chicago at the Goodman Theatre School, Mary knew she wanted to be an actor, but life interfered. But she held on to her goal while raising a family, working as a psychologist with the schools and a few other distractions. 64 But.... she always enjoys creating characters in a wide range of theatre venues. During just the past year she appeared in the films Shooting the Prodigal and Great Wave, as well as The Cripple of Inishmaan. She even played a gentleman in a cross-gender production of The Importance of Being Earnest. She has directed readings of new plays for more than ten years with Playwrights Forum. She also wrote and performed a one-woman show about Frances Perkins at the Katzen Center in DC. Waverly Gallery, Cat on a Hot Tin Roof, August: Osage County, and All My Sons rank as some of her favorite stage appearances. At GIFT, the Georgian International Festival of Theatre in Tbilisi, she performed Eugene O’Neill’s Before Breakfast and found that audiences needed little translation because of the universal quality of that play. And now she is delighted to be at CATF in this very interesting play. SHEPHERDSTOWN LIQUORS (Milwaukee Rep); Water by the Spoonful by Quiara Alegria Hudes (Arden Theater); Blood and Gifts by JT Rogers (La Jolla Playhouse); Blind and The Pavilion by Craig Wright (Rattlestick Theater Company and CATF); Hoodoo Love by Katori Hall (Cherry Lane Theater); Great Falls and Flag Day by Lee Blessing (Humana Festival and CATF); as well as A Small Melodramatic Story and Geometry of Fire by Stephen Belber (LAByrinth Theater Company, Rattlestick). Lucie was born in Switzerland, raised and educated in France, and moved to New York City after she graduated college to pursue her directing career. • Largest selection of craft, domestic, and international beers in the area • Your favorite spirits from around the world… and West Virginia! • Fine wines and more Conveniently located at the intersection of Washington and Princess, just two blocks from German Street. “If you can’t find us, you’ve probably had enough!” GABRIELLE TOKACH Patron Services Manager Gabrielle Tokach is an arts management graduate student at George Mason University. She served on the Executive Committee of the Graduate Arts Management Society. Gaby graduated from West Virginia Wesleyan College, where she studied both musical theatre and arts administration. She has worked with Arvold Casting and Scrappy Cat Productions and volunteers with nonprofit organizations, contributing to their marketing and public relations efforts. This fall, she will be interning with Woolly Mammoth Theatre Company. DAMIAN THOMPSON* Actor pen/man/ship / THE WEDDING GIFT Off-Broadway: The Anthem, Around the World in 80 Days, By the Dawn’s Early Light, Mad Woman of Chaillot. Regional: Marley (Baltimore Center Stage); Macbeth, Whipping Man (Arkansas Repertory Theatre); Fly (Ford’s Theatre/ Pasadena Playhouse); The Brother/Sister Plays (Portland Playhouse); Merchant of Venice, Twelfth Night and As You LIke it (Colorado Shakespeare); A Midsummer Night’s Dream (Pennsylvania Shakespeare). Film: English Vinglish. TV: The Player, Story of A Gun, and others. Education: MFA, University of Delaware; BFA, University of Evansville. Facebook: Damian Thompson Actor. Open until 10:00 PM Thur-Fri-Sat 304-876-2100 | 202 E. Washington Street SAMUEL VAWTER Festival Charge Artist Sam is a Scenic Designer and Scenic Artist based in New York City. In addition to freelancing around the city, he has worked as a scenic artist at the Santa Fe Opera, Weston Playhouse, and Irish Repertory Theatre. When not painting, he assists a handful of designers on regional and Off-Broadway shows, for which he spends his time drafting and building scale models. www.samvawter.com LUCIE TIBERGHIEN*** Director pen/man/ship Lucie Tiberghien is honored to be back at CATF for a 7th season. Recent world premieres: Blueprints to Freedom by Michael Benjamin Washington (Lajolla Playhouse, and Kansas City Rep) and The Other Thing, by Emily Schwend (Second Stage). Other credits include Soldier X by Rehana Mirza (Ma-Yi Theater Company, NY); The Ashes Under Gait City by Christina Anderson, and We are Here by Tracy Thorne (CATF); Love in Afghanistan by Charles Randolph Wright (Arena Stage); and Don’t Go Gentle by Stephen Belber (MCC Theater). Other selected productions: The Invisible Hand, by Ayad Akhtar CATHRYN WAKE* Actor THE SECOND GIRL Cathryn Wake is thrilled to be making her CATF debut. Off-Broadway: The Fantasticks. Regional: The Glass Menagerie (Pittsburgh Public Theater), The Other Josh Cohen (Paper Mill Playhouse), The Seedbed (NJ Rep, World Premiere). 66 Walk to Restaurants, Shops, and Theater Private Baths • Full Breakfast www.ThomasshepherdInn.com 304.876.3715 • 888.889.8952 Other recent credits: Lincoln Center American Songbook Gala (Alice Tully Hall), Jane Austen’s Pride & Prejudice (Workshop, New World Stages), The City of Ember (Workshop, TBMS), Richard II, Hamlet (LAMDA), She Loves Me, Woyzeck (Pace University), Adam Guettel In Concert (Schimmel Center). Television: Glee, Unbreakable Kimmy Schmidt (Featured Vocalist), America’s Got Talent. Cathryn received her BFA from Pace University and is an alumna of the London Academy of Music and Dramatic Art. www.cathrynwake.com program and successfully met or exceeded annual contributed budget goals to secure in excess of $8.1 million in support of the orchestra’s concerts, educational programs, events, and community outreach initiatives. Vicki was first drawn to the development profession through volunteering with a community orchestra and public radio station while simultaneously working alongside her father in the operation of a commission agency for Greyhound Bus Lines in Bismarck, ND. Following her father’s retirement, she joined the development staff of Prairie Public Broadcasting as a Corporate Support Associate. Vicki’s rebuilding of the radio network’s sponsorship base led to successive positions with Wisconsin Public Television in Madison, WI, and Maryland Public Television (MPT) in Owings Mills, MD. BRIDGET WILLIAMS Master Electrician – Studio 112 Bridget Williams is a third year lighting design M.F.A. in the Department of Theatre, Drama, and Contemporary Dance (IU). She received her B.F.A. in stage management from Western Michigan University in May 2014. For IU Theatre: Bloody, Bloody Andrew Jackson (Master Electrician), Antigone (Master Electrician), In the Red and Brown Water (Master Electrician), Romeo and Juliet (Programmer), Noises Off (Lighting Designer), Mr. Burns, a Post Electric Play (Lighting Designer), Hammer and Nail dance concert (Lighting Designer), Sing To Me Now (Lighting Designer), Encounters and Collisions winter dance concert (Lighting Designer), M. Butterfly (Assistant Lighting Designer). For Cardinal Stage Company: Brighton Beach Memoirs (Programmer), Mary Poppins (Assistant Lighting Designer), Peabody (Lighting Designer), Hairspray (Associate Lighting Designer), Shrek (Associate Lighting Designer). For Indiana Repertory Theatre: Bridge and Tunnel (Assistant Lighting Designer), To Kill a Mockingbird (Assistant Lighting Designer). For Indiana Festival Theatre: As You Like It (Master Electrician), The Gentleman From Indiana (Lighting Designer). Prior to joining MPT, she briefly held other development positions in her native North Dakota with The Sacred Heart Benedictine Foundation and at her alma mater, the University of Mary, where she earned her BS in Music Education. Vicki has served as a music panelist for the Maryland State Arts Council, performs regularly as a timpanist with the Frederick (MD) Symphony Orchestra, and following a 3-year term as the congregation’s senior warden she currently chairs the finance committee and assists in stewardship activities at St. Mark’s Episcopal Church in Boonsboro, MD. —The New York Times SAVE THE DATE season 27: july 7-30, 2017 D.M. WOOD** Lighting Designer THE WEDDING GIFT / 20TH CENTURY BLUES Previous Designs for CATF: We Are Pussy Riot / The Full Catastrophe (2015), One Night / North of the Boulevard (2014), Heartless / A Discourse on the Wonders of the Invisible World (2013), In a Forest Dark and Deep / Captors (2012), Ages of the Moon / The Insurgents (2011), The Overwhelming / Pig Farm (2008), 1001 / The Pursuit of Happiness (2007), Mr. Marmalade / Sex, Death and the Beach Baby (2006). Recent credits include: the World Premiere of 4.48 Psychosis (Royal Opera House - Lyric Hammersmith), Maria Stuarda (Seattle Opera), Kansas City Choir Boy (Kirk Douglas Theatre, L.A.), La Bohème (Boston Lyric Opera), Don Giovanni (Bergen Nasjonale Opera Norway), Norma (Gran Teatre del Liceu - Barcelona, Spain), Anna Bolena (Lyric Opera of Chicago), Silent Night, Don Bucefalo and Salomé (Wexford Festival Opera - Ireland), Euryanthe (Bard Summerscape), Lab Favorite (Oper Graz, Austria), The Importance of Being Earnest (Northern Ireland Opera), L’Enfant et les Sortilèges (The Bolshoi), Il trittico (Royal Opera House - Convent VICKI WILLMAN Director of Development Vicki Willman joined the Theater Festival’s professional staff in January 2016 following over two decades of progressively responsible fundraising positions in the performing arts, public radio and television, eldercare, and higher education. Prior to joining CATF, she served for eleven years as Director of Development with the Maryland Symphony Orchestra (MSO) based in Hagerstown, MD. Through working with management, board leadership, and volunteers, during her tenure the MSO professionalized its development 68 Shepherdstown’s Most Diverse Menu featuring Local Ingredients, Ice cream, Free wifi, Wednesday Open Mics, Outdoor Dining, Pet Friendly, Beer & Wine, and Lots of Fun! 200 e high street 304.876.1920 open DAILY 11am - 9pm www.bluemoonshepherdstown.com GABRIEL ZUCKER Garden), Candide and The Importance of Being Earnest (Opéra National de Lorraine - Nancy, France), El Chico de Oz (Teatro Municipal - Lima, Peru), and Wild Swans (World Premiere: Young Vic, London and A.R.T.). Ms. Wood received the U.K.’s 2012 Knight of Illumination Award for her design of Suor Angelica (Royal Opera House, Covent Garden). Upcoming designs include: The 39 Steps (Actors Theatre of Louisville), L’heure espagnole | Gianni Schicchi (Opéra National de Lorraine), Star Wars en Concert (Orchestre National de Lyon), Don Giovanni (Northern Ireland Opera), and Le Nozze di Figaro (Boston Lyric Opera). Director of Communications and Marketing Gabriel Zucker has been active in the arts for nearly 25 years. Before joining CATF in 2015, he served as the Senior Manager for SMART Marketing, a Chicago-based company that builds audiences through subscription sales and fundraising initiatives. There, he was responsible for the staffing, development and administration of as many as twenty active campaigns with performing arts groups located all over the country. Under his leadership, SMART grew nearly 20% annually, transforming it from a small firm working seasonally, to a nationallyrecognized organization operating year-round. Gabriel is also a former Theatre Artist and member of Actors’ Equity. Regional stage appearances include The Shakespeare Theatre and Baltimore’s Center Stage. Additionally, he’s participated in projects for the Discovery and Learning Channels, taught voice and movement and served as a casting associate. JESSICA WORTHAM* Actor THE SECOND GIRL Jessica Wortham is thrilled to be making her CATF debut. A frequent collaborator on new plays (The O’Neill, New Dramatists, The Lark, Ensemble Studio Theatre), she has originated roles in the world premieres of Informed Consent with Cleveland Play House and Geva Theater Center; The Ruby Sunrise and No. 11 (Blue & White) with Actors Theatre of Louisville’s Humana Festival, and off-Broadway in Green Girl at the Public Theater and Bone Portraits at Soho Rep. Regional highlights include A Servant of Two Masters and Othello at the Pittsburgh Public Theater; Henry VIII (All Is True) at the Shakespeare Theatre of New Jersey; The Understudy and Black Pearl Sings! (BATCC Award for Best Leading Performance) with San Jose Rep; The Book Club Play with Geva Theater Center; Educating Rita with Florida Rep, Twelfth Night and Crime and Punishment with Actors Theatre of Louisville; An Enemy of the People at Gulfshore Playhouse. International work includes Crimes of the Heart with Vienna’s English Theatre and Cat on a Hot Tin Roof with English Theatre Frankfurt. She has also appeared on the FX series The Americans. Jessica is a member of Merrimack Repertory Theatre’s Patriot Program of Associated Artists and earned her MFA from Brown University/Trinity Rep. 伀甀琀爀愀最攀漀甀猀 眀漀爀氀搀 瀀爀攀洀椀攀爀攀 戀礀 䨀攀渀 匀椀氀瘀攀爀洀愀渀 䘀爀漀洀 挀攀氀攀戀爀愀琀攀搀 䌀栀椀氀攀愀渀 瀀氀愀礀眀爀椀最栀琀 䜀甀椀氀氀攀爀洀漀 䌀愀氀搀攀爀渀 吀栀攀 氀攀最攀渀搀愀爀礀 匀攀挀漀渀搀 䌀椀琀礀ᤠ猀 昀椀爀猀琀 愀氀氀ⴀ戀氀愀挀欀 攀渀猀攀洀戀氀攀 Prior to his foray into theatre and film, he had a career in publishing. Gabriel spent several years at the helm of a creative writing program offered through McGraw-Hill’s Continuing Education Center. During his tenure with the company, he developed new assignments for the school, streamlined the curriculum for its Fiction and Non-Fiction writing courses, and helped students successfully market their work through his evaluation of their manuscripts. Gabriel earned his MA in the Performing Arts from Emerson College and holds a BA in English and Philosophy from the College of Wooster. 一攀眀 昀爀漀洀 伀戀椀攀 䄀眀愀爀搀ⴀ眀椀渀渀攀爀 䌀氀愀爀攀 䈀愀爀爀漀渀 圀伀伀䰀䰀夀 䴀䄀䴀䴀伀吀䠀ᤠ匀 70 ㈀ 㘀ⴀ㈀ 㜀 匀䔀䄀匀伀一 㘀㐀 䐀 匀吀 一圀Ⰰ 圀䄀匀䠀䤀一䜀吀伀一Ⰰ 䐀䌀 ㈀ 㐀 圀伀伀䰀䰀夀䴀䄀䴀䴀伀吀䠀⸀一䔀吀 ⼀⼀ ㈀ ㈀ⴀ㌀㤀㌀ⴀ㌀㤀㌀㤀 ARTAT THE FESTIVAL CHRISTIAN BENEFIEL: SWELL MICHELLE BINEGAR SUSAN CARNEY MICHAEL MCKOWEN At a certain depth, the movement and force of open water is muted. The eerie beauty of the diffused light is calming. In this place, we feel weightless. But this sensation is finite. Our movements ultimately draw us back to the turbulent surface, where the mass of our body again feels heavy and insignificant against the forces of the environment. This body of work represents an exploration in the emotional connection between a mother and child. These images of my sons, Isaac and Gabriel, reflect the connection only a mother can have. I have tapped into their inner personalities and captured what I see as their true spirits. Each image is a reflection of elements and profound experiences that created this bond. Sometimes being a painter can be an isolated and somewhat lonely existence. I truly welcomed the opportunity (and challenge) to indirectly collaborate with five other artists—the 2016 playwrights. My goal: to interpret their vision and ideas in painting. This is the product of a unique collaboration between myself and Ed Herendeen. Our goal was to develop a collection of three-dimensional mixed media art works: physical interpretations of text and emotion conjured by the scripts. These large-scale works served as the basis for the final images selected to express the essence of each play. CCAII / ROOM 116 (PHAZE II GALLERY) CCAI / ROOM 113 HALLWAY OF CCAI FRANK CENTER GALLERY MICHAEL TIMOTHY DAVIS: BADGERHOUND STUDIO AND GALLERY with Scott Cawood and Emily Vaughn THE COMPANY WE KEEP Susan Carney, Sarah Huntington, Dave Kiser, and Neil Super Featuring original paintings and drawings, fine art prints, and sculpture by local artists. An Exhibition of Paintings, Prints, Photographs & Turned Wood OPENING RECEPTION: Saturday, July 9, 5-7pm OPENING RECEPTION: Saturday, July 16, 5-9pm 110 W German Street, Shepherdstown 304.263.6028 www.badgerhoundgallery.com July 14 - 17, 2016 Shepherdstown Community Club 102 E German Street, Shepherdstown Michael Timothy Davis 72 Neil Super 73 THE BADGERHOUND GALLERY EDUCATIONAL OPPORTUNITIES CLASSES • WORKSHOPS • SHOWS OPENING RECEPTION JULY 9TH, 5-7PM New paintings by Michael Timothy Davis Featuring work by Emily Vaughn and Scott Cawood SUMMER 2016 SHOW: 110 W German Street | BadgerhoundGallery.com Gallery Hours Sat and Sun 11-5 or by Appointment | 304.261.6028 CATF/U CATF welcomes America’s college students to Shepherd University. See shows on a college budget! We offer affordable housing, meal options, workshops, THE COMPANY WE KEEP An Exhibition of Paintings, Prints, Photographs & Turned Wood Susan Carney, Sarah Huntington, Dave Kiser, and Neil Super July 14 – 17, 2016 OPENING RECEPTION Sat, July 16th, 5pm–9pm discussions, and artists meet & greets. LEARN MORE: WWW.CATF.ORG/CATFU Shepherdstown Community Club 102 East German Street Shepherdstown DRAMATISTS GUILD FUND The Dramatists Guild Fund has been a resource to dramatists and non-profit theaters for more than 50 years. Our very own Chisa Hutchinson (The Wedding Gift) is part of the Traveling Masters program, a national outreach program that sends prominent dramatists across the country giving students, theater professionals, and the public first-hand experience with renowned artists. Painting Inspired by 20th Century Blues by Shepherdstown Artist Susan Carney. After the Dual, oil on panel, 24” x 25” LEARN MORE: WWW.DGFUND.ORG/PROGRAMS/#TRAVELINGMASTERS HostelYOUTH! PROVEN RESULTS WITHOUT ALL THE DRAMA The HostelYOUTH are back! CATF’s theater immersion program for high school Shepherdstown School of Dance www.shepherdstownschoolofdance.com studnets returns for its fifth year and will have two sessions (July 20-22 & 2729) during the 2016 season. Housing, meals, workshops with CATF artists, and performance tickets are all included in the package. LEARN MORE: WWW.CATF.ORG/HOSTELYOUTH ROAD SCHOLARS CATF has partnered with Road Scholars to provide educational adventures that further inspire learning and friendship through theater. Registrants attend shows, discuss dramatic themes and the production process with actors and staff, take part in workshops on writing, acting and directing, and experience “Shepherdstown School of Dance is committed to exclusive programming. keeping the art and discipline of classical dance alive LEARN MORE: WWW.ROADSCHOLAR.ORG S 74 T U D I O Marketing Communications • studio105.com in our community” talktheater LECTURES AND SPECIAL EVENTS LECTURES POST-SHOW DISCUSSIONS SATURDAYS AT 4:30 PM IN REYNOLDS HALL | 109 N KING STREET | FREE Distinguished guest speakers discuss issues raised in the plays in this popular lecture series. JULY 9 JULY 16 JULY 23 JULY 30 THE CONTEMPORARY AMERICAN THEATER FESTIVAL PLAYWRIGHTS BEHIND THE MAGIC OF CATF SCENERY (FRANK CENTER) MENTORSHIP: NURTURING THE EMERGING PLAYWRIGHT BEHIND THE MAGIC OF CATF SCENERY (MARINOFF THEATER) CATF IN CONTEXT SATURDAYS AT 10:00 AM IN CCA 2, ROOM G03 | 62 W CAMPUS DRIVE | FREE A scholarly approach to the repertory. Requires reservations. JULY 9 JULY 16 JULY 23 JULY 30 THE FESTIVAL DESIGNERS A SCHOLARLY LOOK AT LONG DAY’S JOURNEY INTO NIGHT AGEISM IN THE WORK PLACE AND MULTIPLE DISCRIMINATION DRAMATURGY AND DIALOGUE SATURDAY SALONS SATURDAYS AT 10:30 PM AT DOMESTIC | 117 E GERMAN STREET | FREE Enjoy a late-night drink, lite fare, and discussion with CATF Staff. (Additional cost for food and drinks.) JULY 16, 23, & 30 FRIDAY FILMS FRIDAYS AT 2:00 PM AT THE OPERA HOUSE 131 W GERMAN STREET | PAY AT THE DOOR See a film that complements the play-going experience. Just stay in your seats after a show and ask the actors anything! | FREE JULY 13 JULY 14 JULY 20 JULY 20 THE SECOND GIRL / FOLLOWING THE 8 PM SHOW pen/man/ship / FOLLOWING THE 8 PM SHOW NOT MEDEA / FOLLOWING THE 6:00 PM SHOW THE WEDDING GIFT / FOLLOWING THE 8:30 PM SHOW JULY 21 20TH CENTURY BLUES / FOLLOWING THE 8:30 PM SHOW STAGE READINGS SERIES TUESDAYS AT 6:30 PM IN THE MARINOFF THEATER 62 WEST CAMPUS DRIVE | FREE JULY 19 THE POETRY OF FRANK X WALKER JULY 26 WELCOME TO FEAR CITY BY KARA LEE CORTHRON Actor Franchelle Stewart Dorn speaks with Founder and Producing Director Ed Herendeen at the 2016 Company picnic. LUNCH & ART BREAKFAST WITH ED Enjoy a catered lunch with members of the 2016 CATF company. Learn about their careers, the creative process, and go behind-the-scenes of plays you see on stage. Approximately 60 minutes, light lunch provided. Join CATF Founder and Producing Director Ed Herendeen for breakfast to discuss the Season and learn more about the inner workings of the Festival. Includes continental breakfast. Seating is limited. DATES:12:30PM JULY 8, 14, 15, 22, 29 AT DATES: THURSDAYS AND SUNDAYS AT 10AM JULY 10, 14, 17, 21, 24, 31 PLACE: CCA II ROOM G03 / 62 WEST CAMPUS DRIVE PLACE: CCA II ROOM G03 / 62 WEST CAMPUS DRIVE TICKETS: $30 PER PERSON. PURCHASE REQUIRED IN ADVANCE. TICKETS: $25 PER PERSON. PURCHASE REQUIRED IN ADVANCE. JULY 15 LONG DAY’S JOURNEY INTO NIGHT JULY 22 MEDEA JULY 29 A WALK ON THE MOON 76 77 THANK YOU... The work you see on stage would not be possible without the generosity, time, and “in-kind” support of so many individuals, businesses, and organizations. We applaud the following: Chris Ames Jayne Angle Jason Aufdem-Brinke & Georgetown University Mayor Jim Auxer Wally Babington The Bavarian Inn Todd Beckwith, Sylvia Keseckler, & Brian Mann Dow Benedict Jim Besser John Bresland CATF Board CATF Honorary Board CATF Season Ushers City Theatre Company Costume Rentals of Minneapolis Nancy Veronica Dilworth Michael Dove Seth Freeman Photography Nina Fritz Annette Gavin & the JCCVB Commissioner Amy Goodwin Ann Halavik, Plan-IT Payroll Dr. Mary J.C. Hendrix, Shepherd University President Sue Herendeen Holzman, Moss, Bottino Architechture Jefferson Distributing Company Jefferson High School Karen Kinnett Mona Kissel Tom & Michelle Maiden, Insurance Outfitters Dr. Stanley C. Marinoff Pastor John J. Mason Chief John McAvoy Pat McCorkle McDonald’s Mellow Moods Paul Morgan NYU Undergraduate Program Old Opera House Theatre Company Adam Paige Pressed Flower Progressive Printing Kaela Pumroy Joyce Rankin & everyone at BB&T Shepherdstown Jen Rolston at Eden Design Royalicious Bagels Shaharazade’s Exotic Tea Room Shenandoah University Shepherd University Campus Police Shepherdstown Farmer’s Market Shepherdstown Sweet Shop Eric Schuler & Shepherd University Facilities Management Delegate Stephen Skinner Rhonda Smith Senator Herb Snyder Texas Shakespeare Festival Senator John Unger Douglas Vaira and everyone at domestic Sheila Vertibo Virginia Commonwealth University Reverend Anne O. Weatherholt Elissa Woodbrey & Shepherd University Residential Life Yount, Hyde & Barbour, P.C. Katja Zarolinski THANK YOU to these businesses for sponsoring our 26th Season Special Events: City National Bank Janney Montgomery Scott, LLC PGPresents, LLC Premier Catering by Bagel-liscious National Museum of Women in the Arts Northern Eagle, Inc. Michelle Olson Wells Fargo Scott Widmeyer 78 Thank You to Our Housing Hosts: Jenny Ewing Allen Steve & Rebecca Ayraud Adam Booth Pat & Charlie Brown Martin Burke & Barbara Spicher Clarion Hotel & Conference Center Pete Hoffman Catherine Irwin Tracy Leskey Laurin & Phyllis Letart Michael Maranda Heather & Don Marshall Jeanne Muir & Jim Ford Diane Niedzialkowski Quality Inn Pat & Lee Stine Mary Stanley Meg Spurlin The Thomas Shepherd Inn Deb Tucker Whistling Winds Bed & Breakfast Joe & Beth Yates OUR MEDIA PARTNERS The Journal Newspapers www.Journal-News.net The Observer www.WVObserver.com Prettyman Broadcasting www.wepm.com www.lite975.com The Shepherdstown Chronicle www.ShepherdstownChronicle.com The Spirit of Jefferson www.SpiritofJefferson.com WRNR Talk Radio www.TalkRadioWRNR.com WSHC - SU Radio www.897wshc.org Historic Home For Sale The 2016 FELLOWS, INTERNS, & APPRENTICES Shepherdstown, WV Professional Nail Care for Ladies and Gentlemen Thank You to SHIRLEY A. MARINOFF FUND FOR EDUCATION for sponsoring our Intern Program. The Contemporary American Theater Festival Mon-Sat 10am-7pm Sunday 11am-6pm Located in the oldest town in WV, the Abraham Shepherd House, listed on the National Register of Historic Places, is adjacent to one of the oldest gristmills in the state. This 1759 brick Federal offers over 3600 square feet with 5 bedrooms, original heart pine floors and doors throughout, 3-story spiral staircase, 5 fireplaces, original wooden windows, and large library. Updated with the latest conveniences: granite countertops, stainless steel appliances, jetted tub. Spacious yard with mature landscaping, brick smokehouse and patio. Southern exposure on quiet street. 2 blocks to stores, fine dining, Opera House, University, park, and Potomac River. 10 minutes from train station for commuting to DC. $709,000 is committed to the education and training of future theater professionals. In 1991, the Intern Program began with five interns and three apprentices in the production department. Now in Paula Miller, Broker Assoc. CATF’s 26th Season, the program continues to (304) 724-2000 x1601 Office | (304) 671-1404 Cell [email protected] thrive, offering positions each year in artistic, administrative, and technical areas. To date, over 375 students and recent graduates have 116 E. German Street Shepherdstown, WV 25443 Steve DuBrueler, Broker Independently owned and operated. Equal Housing Opportunity. completed the program with many pursuing TD NAILS & SPA Adam Miller, Realtor® (304) 724-2000 x1609 Office | (304) 582-3606 Cell [email protected] • Appointments & walk-ins welcome • Refreshments and hot towel and hand massage with every service • Gift certificates available • Our guarantee — if you’re not happy with your results, we’ll fix it or refund your money 207 S Princess Street, Shepherdstown 304-707-0644 www.tdnailswv.com professional careers in theater. Each year, professional theater artists and administrators make a commitment to mentor these budding artists. This summer, CATF is proud to have 46 members of its Intern Program working in Administration, Company Management, Costumes, Electrics, House Managment, Paints, Performance, Props, Scenery, Sound, and Stage Management. 2016 Fellows, Interns, & Apprentices: (Top-Bottom, Left-Right) Ryan Kane, Jon Wyand, Ariane Ireland, Maddie Friedman, Zack Bowen, Jesse Lumsden, Adam Neely, Brandon Sieck, Tre’ Henley, John McCarrick, Sydney Hill, Jessica McClanahan, Trevor Stanchfield, Nicholas Denninger, Emily Greene, Chandler Blount, Connor Perkins, Ciara Monique McMillian, Tyler Fauntleroy, Mikayla Bartholomew, Kurt Engh, Vincent Ramirez, Ian Robertson, Justen Zhao Zhang, Mfon-Abasi Obong, Cordelia Rios, Rachel D’Amboise, DeAnna Keys, Emily Cuerdon, Katherine Metzler, Madison St. Amour, Liz Kent, Paula Halpern, Kayla Lindsay, Emma Robinson, Lisa Kennedy Not Pictured: Haley Hubbard, Hunter Strauch, Ana Cakley, Sydney Yates, Claire Malkie, Megan West, Candace Kenney, Sophie Adsit, Victoria Bielstein, Casey Otto Past CATF interns and fellows have gone on to Through the generous support of Dr. Stanley C. Marinoff and his daughter Allison Marinoff Carle, Shepherd University students are acknowledged for their exceptional work during the Festival. The Fund is designated to support Shepherd University students who have an interest in theater performance, production, or administration. work in theaters across the country including the Actors Theatre of Louisville, Arena Stage, Guthrie Theatre, Indiana Repertory Theatre, Seattle Repertory Theatre, Woolly Mammoth Theatre, Blue Man Group, Cherry Lane Theatre, Wooster Group, the Studio Theatre, and many, many more. The 2016 Shirley A. Marinoff apprentices: Casey Otto & Tre’ Henley 80 Beyond Words. WeAreTheObserver.com CONTINUED FROM 15 JULY 3, 2015 – JUNE 21, 2016 OUR DONORS KEEP GIVING ARTISTS CIRCLE Victoria Weagly & Polly Kuhns Fredrick & Christine Andreae Gregory & Rosann Anselmi Paul & Lisa Welch Michael J. Armstrong Beth & Pat Winkler David & Jane Blanchard PATRON’S CIRCLE Rich & Burma Bochner Vicki Willman & Sue Wert Anonymous Eli & Sara Burke Jo Allen Bridget Cohee Tom & Kathleen Altizer James Campbell & Nancy Hooff Dorothy Andrake Anthony & Nancy DeCrappeo Mr. & Mrs. Douglas Arnold Liz Dunst John Arrington & Linda King Erdem & Joan Ergin Dick Ashton & Mildred Smith Ray & Robin Fidler Cathryn Astin Joan D. Firestone & Merle Kailas Jason M. Aufdem-Brinke Lawrence Franks & Ellen Berelson Steve & Rebecca Ayraud Stanley & Marilyn Gabor Renee Shaffer Galvin, In honor of Rick & Sheila Shaffer Steven Barrigar Mary Bell & Sandy Jenkins Ann C. Birk, MD Frona Hall Richard & Mindy Bodenhamer, In honor of Paul Garrard & Nelson Smith Lily R. Hill L. T. & Judith Bowles Nancy Jenks Mara Bralove & Ari Fisher Jonathan Kelinson Thomas & Sandy Bresnahan Allan Kennedy & Isa Engleberg Susan Brown & Arthur Wineburg Toby Gluckstern Frederique Legrain David & Katy Culp Penelope & Alex Dann Beth Davis Deanna Dawson Donna J. Dean & John L. Meyer John F. X. & Ann Delaney Anne DeVaughn Alison Drucker & Thomas Holzman Sharon Dubble & William Richkus Sandra Dusing Sylvia Eggleston Wehr Alice K. Epstein Coralie Farlee Harvey Fernbach, MD David & Elaine Fishman Josephine Franklin Sara Hope Franks Efrem Osborne & Elena Furman Stanley & Marilyn Gabor James Gentle Ronald & Ann Gephart Beryl Gilmore Alan & Helene Goldberg Jack Goodman & Laurie Effron Steven Grant Stephen Hanze Marlene & David Hawe Thomas Henderson James Heegeman Heidi & Bill Henson Bill & Betse Hinkley Linda Holand, In honor of Jen Rolston, Patrick Shunney & Sam Shunney Paul Hollinger Al Honick Stephen & Linda Hood Elizabeth Howard, In honor of Sharon J. Anderson & Adrienne Haddad Monica & William Lingenfelter M.A. Mahoney Yolanda & Frank Bruno Sheila Manes Susan R. Buswell James McNeel Susan & Dixon Butler Lex & Pam Miller Alfred Munzer & Joel Wind Morris J. Chalick, MD, In memory of Shirley Marinoff Mary O’Hara Ann Kelley Christy Elizabeth Penna Bruce & Wilma Classon Robert Pullen & Luke Frazier Douglas & Barbara Cobb Dr. Mark & Merrill Shugoll Lissa A. Cobetto Nelson Smith Wayne Coleman Angela Sosdian & Bill Senseney Penny Cordish Lee & Patricia Stine Mr. & Mrs. Kevin Corrigan Kirsten Trump Mary Costello Linda & Alex Wanger Edward Cragg John Burns & Dianne Rawl Bolded listings indicate donors who increased their contribution by 10% or more in comparison to the previous season. 82 RC Howes John L. & Gail Howell Ruth B Hurwitz Paul & Susan Hyman Carolin & Thomas Johnson Daniel & Ann Kasprzyk Jack Kendall & James Puglisi Stephen Kent John King Jim & Faith Kirk Barbara Kirkpatrick Robert & Barbara Kott Barbara Krimgold Beverly & Frank Kristine Standford & Lynne Lamberg Roberta Larkin Allan & Sondra Laufer Charles Lawson Beth Leaman William Lindgren Barry Linkner Dr. & Mrs. Steven & Paula Lipsius, In honor of Allan & Marjorie Weingold Sonya Livingston Mark A. Longo Lisbeth Loughran Tamera Luzzatto & David Leiter Earle J. Maiman The Mandy & David Team, LLC Curtis Mason Ellen D. Mayer Tom Mayes & Rod Glover Henry & Chris McEntee Margaret McMichael William & Denise McNeel Noah & Hilary Mehrkam Diane Melby Elizabeth Merricks Norman & Nancy Metzger Patricia Mirr Stan & Wendy Mopsik Judy Mullins & Neil MacMillan, In honor of Sharon J. Anderson & Adrienne Haddad David Neverman Audrey & Rob Nevitt Emma J. Stokes Louise Novotny Marie & Andy Strauss Virginia Nuessle Harry & Ruth Strauss Raymond V. O’Connor, Jr. Robin Talbert & Bruce Goldstein Amanda & Robert Ogren George & Judith Tenley Richard & Nadine Osborn Eleanor & Pete Pella Robert Tobias & Susan Meader Tobias Daniel Poth Jack & Carol Topchik Louise Potter Marie Tyler-McGraw Chazz & Donna Printz Sydney Vance Barbara Pryor Marc Viscardi, In honor of Michael Porto & Kevin Moore Steven & Cynthia Puckett, In memory of Mabel Puckett Hank & Dale Walter Sherry & Bill Rawls-Bryce, In honor of Tom Mayes & Rod Glover Donald & Natalie Wasserman Markley Roberts Virginia Weight William H. Rough Elissa Ruback, In honor of Julie Heifetz Dr. Stephen M. Sachs & Sally A. Bohn Barbara Sandrisser Contributions Key: PRODUCER’S CIRCLE PLAYWRIGHT’S CIRCLE AGENT’S CIRCLE DIRECTOR’S CIRCLE ARTIST’S CIRCLE PATRON’S CIRCLE FRIEND’S CIRCLE $10,000+ $5,000-$9,999 $2,000-$4,999 $1,000-$1,999 $500-$999 $100-$499 TO $99 Kristen Vorhes George Purvis Margaret Ann Ross While we make every effort to provide a complete and accurate acknowledgement of our contributors, if we have made an error, please accept our apologies and contact Vicki Willman, Director of Development, at [email protected] or 304.876.5683. Nan Beckley John & Katherine Bedinger Bettymerle Berkow Elaine & Paul Berstein, In honor of Julie Heifetz Raj Bery Ginger Bevard Barbara Binder Paul Blackburn, In honor of Robin Berrington & CATF Timothy & Katherine Blaser, In honor of Julie Heifetz John Bonbright Jamie Bosley Martha Bouis Kathy & Arthur Branch Janet Breslin Albert & Anne Briggs Marcia Brooks Betsy Brown Jennifer Burdick Charles Burt Gary & Jan Butler Hugh & Jan Campbell Randy Carswell Michele Childs Tammy & Stan Chinchek Ron & Gay Cima Mary Clohan Robert Clyman Deborah Coburn Victor & Maria Cohen Barbara & Martin Wasserman Rose Herr Wayland Jung Weil Judith Weintraub Gerald Willett Karl Wolf Patricia Yates Jack & Martha Young Jill Schatken Robert & Karen Zelnick Philip Scibilia FRIEND’S CIRCLE The Sedlock Family Anonymous Sharon Segal, In honor of Tom Mayes & Rod Glover Anonymous, In memory of Steve Glendenning Anne Selinger & Nyles Charon Toni Acton Christine & Duane Seppi Walter Ailes Dr. Suzanne Shipley Eleanor Allen Robert & Eileen Shugoll Jane & Robert Anthony Carrie Singer Sharon Arden & Frank Tufareillo Fran Skiles Duane Arenales Delacey Skinner Richard Arentz Elizabeth Smith, In honor of Rick & Sheila Shaffer Laura Atwood Shannon Sollinger Cal & Annie Austin, In memory of Bob Regenold Peter & Lois Spreen Terrence Averill Frederick & Audrey Stahl Margaret Ayres Loretta Stanish Charlotte & Michael Baer James & Patricia Stemmle Pat Barnes David Stevens Karen Bates Judith Stitzel Marjorie Battaglia 83 Paul Cohen Fronda Cohen Ottenheimer Carol Coley Concordia Church Women Cathy Costantino, In honor of Ann Harkins Charlie & Pamela Crum Anne Cummings Marguerite Cyr Julia Davis Donald & Marit Davis Peggy & Bob Dennis Mimi Dickinson Takako Dickinson Yvonne Dixon John & Katherine Dropp Jeanne Duffy Sharon & Theodore Eisenstat Nicole Fauteux & Robert Simon Nancy Feldman Barbara Fox Lisa Freeman Paul Frydrychowski Caryn Gervasoni Adam Giammarinaro Heather Gibson Amy Glancy Kimberly Godwin Rochelle Gomes Dr. & Mrs. David H. Goodman David Gorsline Bruce & Susan Grace Marcel LaFollette & Jeffrey Stine Kyle Meyer David Schon Nancy & Jamie Gregory Claude & Barbara Migeon Jeff & Mary Jo George Schragg Hans & Virginia Gruenert Rhonda F. Lang, In honor of Julie Heifetz Lenore Donna Miller Marsha Semmel William Hannon Katia Lathrop Elvi Moore Juanita & Melvin Hardy Robert & Dale Latiff Ann Mundell Michael Sheppard & Dayna Spoto Polly Harrison Sondra Laufer Thomas C. Murphy Diane Silas Elizabeth B. Hass-Hill, In honor of Lily Hill Lesley Lavalleye Nancy Simon Donald & Gwen Lehman Jennifer & Hans Mykytyn, In honor of Julie Heifetz Barbara S. Hawkins & Stephen G. Singer Christine Lepine Karen F. Nelson Linda & Kirby Smith Robert A. Lessey Jane Northern Rhoda Sommer & Don Friedman Gordon & Beverly Hawkins Bernard & Betty Leob, In honor of Julie Heifetz Agnes S. Nuval Harriet K. Staffa Raymond V. O’Connor, Jr., In honor of Paula Lelansky Elizabeth Staro Kathryn O’Toole Vernon Stoltz Rebecca Heagy Lesley Simmons Julie Heifetz & Jack Ruback Isabel & Stanley Levin, In memory of Marvin Gibian Alan Helgerman Mr. & Mrs. T.C. Lewandowski Karen & John Olive Sidney Lewis Emanuel Strauss Constance Heller Anna Olsson Diane R. Liff Kevin & Courtney Struthers Linda & Jay Herson Vivian Otteman Kevin Lloyd Wafa Sturdivant Wendell Holland Laura London Robert Suggs Diana Horvat Max Page, In honor of Tom Mayes & Rod Glover Sam & Levi Houkom Clara Lovett Wendy Luke John & Carol Szymkowicz Helena & William Hunter Eleanor Palmer, In honor of Marjorie & Allan Weingold Marissa & James Huttinger Helga Lumpkin Dilys Parry Debbie Jackson Lisa Lutz Ralph & Delores Pecora Shelley & Tom Jennings David Lyman & Susan Stakes Stephen & Harriet Pearson Mark Joelson Susannah Lynch Susan Pellish Betsy F. Johnson Peggy Macknight Scott & Charlene Phillips D. Liane Jones Harvey Maisel & Andrea Boyarsky Maisel Ruth Pitlick Cynthia Mancini Kelly Price John & Nancy Mannes Judy Lynn Prince Ellen Mansueto Elisabeth R. Raymond Kaitlyn Van Riper, In honor of Julie Heifetz Robert & Deborah Hefferon Dawn Jones Sara Jones Elaine Kahn Andrea Kane, In honor of Julie Heifetz Russell & Karen Pittman Sam Steinberg Ann Sullivan Jessica Tava Richard & Myra Thayer Susan Topping Joseph P. Toscano, Jr. Robert Tracy & Martha Gross Rita Twist Ann Unitas, In honor of Kathy & Tom Altizer Lily Valle Julie & Richard Marcis Richard Reise Debbi Waters Jeffrey & Deidre Kass Jo & Marty Margolis Jo Ricks & Jeffrey Clark Phyllis Weinberg James Kempf Martin Marinoff Kay & Fred Rickles Louise Weiner Ann Kennedy Patricia Mathews Laura Ritzenthaler Ellen Weiser Sue Kennedy Dallas Mathis Janet W. Roberson Kay Lynn Wheeler Patricia Kent Victoria McCormick Sonya Robinson Margaret Willingham Mary Kentis Anne McCulloch Ruth Rondberg Mary Willy John King Kevin McDonald Joan & Lu Rudel Linda Winslow Heather Koslov & Grant Goodman Pat & Peggy McKee D.M. Ryan Robert & Carole Winter Richard McKee Joe & Shelby Sachetti Marcia Witt Roger Kostmayer Tyler McMillan & Robert Brumfield Jessica Sanderson Sheri H. Wolfe Diane Scheper Jacqueline Melonas Betty Ann Schmidt, In honor of Julie Heifetz Ronald N. Young, In honor of Julie Heifetz Susan P. Kroiz-Krieger & Hirsch Krieger Chris Kuser & Mary Fortuna Paul M. Mendelman, MD Bolded listings indicate donors who increased their contribution by 10% or more in comparison to the previous season. 84 Richard Zorowitz PHOTOS BY CHRIS WEISLER A Fun Place to Dine Before or After the Show In the Heart of Historic Shepherdstown 304-876-8477 • 112 West German Street • www.bistro112.com 1991-2016 115 plays. 43 world premieres. 10 new play commissions. 80 writers. 56 plays by women; 59 by men. PRODUCTION HISTORY 2010 The Eelwax Jesus 3-D Pop Music Show by Max Baker & Lee Sellars Lidless by Frances Ya-Chu Cowhig Breadcrumbs by Jennifer Haley Inana by Michele Lowe White People by J.T. Rogers 2016 pen/man/ship by Christina Anderson Not Medea by Allison Gregory The Wedding Gift by Chisa Hutchinson 20th Century Blues by Susan Miller The Second Girl by Ronan Noone 2015 World Builders by Johnna Adams Everything You Touch by Sheila Callaghan On Clover Road by Steven Dietz WE ARE PUSSY RIOT by Barbara Hammond The Full Catastrophe by Michael Weller 2009 The History of Light by Eisa Davis Yankee Tavern by Steven Dietz Dear Sara Jane by Victor Lodato Fifty Words by Michael Weller Farragut North by Beau Willimon 2014 The Ashes Under Gait City by Christina Anderson One Night by Charles Fuller Uncanny Valley by Thomas Gibbons North of the Boulevard by Bruce Graham Dead and Breathing by Chisa Hutchinson 2008 Stick Fly by Lydia R. Diamond A View of the Harbor by Richard Dresser Pig Farm by Greg Kotis WRECKS by Neil LaBute The Overwhelming by J.T. Rogers 2013 A Discourse on the Wonders of the Invisbile World by Liz Duffy Adams Modern Terrorism, or They Who Want to Kill Us and How We Learn to Love Them by Jon Kern H2O by Jane Martin Heartless by Sam Shepard Scott and Hem in the Garden of Allah by Mark St. Germain 2007 Lonesome Hollow by Lee Blessing My Name is Rachel Corrie from the writings of Rachel Corrie, edited by Alan Rickman and Katharine Viner The Pursuit of Happiness by Richard Dresser 1001 by Jason Grote 2006 Augusta by Richard Dresser Jazzland by Keith Glover Mr. Marmalade by Noah Haidle Sex, Death and the Beach Baby by Kim Merrill 2012 Gidion’s Knot by Johnna Adams The Exceptionals by Bob Clyman In a Forest, Dark and Deep by Neil LaBute Captors by Evan M. Wiener Barcelona by Bess Wohl 2011 From Prague by Kyle Bradstreet Race by David Mamet Ages of the Moon by Sam Shepard We Are Here by Tracy Thorne The Insurgents by Lucy Thurber 2005 Sonia Flew by Melinda Lopez The God of Hell by Sam Shepard American Tet by Lydia Stryk Father Joy by Sheri Wilner 86 2004 Flag Day by Lee Blessing Rounding Third by Richard Dresser Homeland Security by Stuart Flack The Rose of Corazon by Keith Glover 2003 Whores by Lee Blessing Bright Ideas by Eric Coble The Last Schwartz by Deborah Zoe Laufer Wilder by Erin Cressida Wilson 2002 Thief River by Lee Blessing Silence of God by Catherine Filloux The Late Henry Moss by Sam Shepard Orange Flower Water by Craig Wright 2001 Tape by Stephen Belber The Occupation by Harry Newman The Ecstasy of Saint Theresa by John Olive The Pavilion by Craig Wright 2000 Something in the Air by Richard Dresser Mary and Myra by Catherine Filloux Miss Golden Dreams, A Play Cycle by Joyce Carol Oates Hunger by Sheri Wilner 1999 Coyote on a Fence by Bruce Graham Compleat Female Stage Beauty by Jeffrey Hatcher Tatjana in Color by Julia Jordan The Water Children by Wendy MacLeod 1998 Gun-Shy by Richard Dresser Interesting Times by Preston Foerder Carry the Tiger to the Mountain by Cherylene Lee BAFO by Tom Strelich 1997 Lighting Up the Two Year Old by Benjie Aerenson Below the Belt by Richard Dresser Demonology by Kelly Stuart 1996 Tough Choices for the New Century by Jane Anderson The Nina Variations by Steven Dietz The Nose by Elizabeth Egloff Octopus by Jon Klein Bad Girls by Joyce Carol Oates 1995 Betty the Yeti by Jon Klein Maggie’s Riff by Jon Lipsky Psyche Was Here by Lynn Martin Voir Dire by Joe Sutton 1994 What are Tuesdays Like? by Victor Bumbalo Shooting Simone by Lynne Kaufman Spike Heels by Theresa Rebeck Forgiving Typhoid Mary by Mark St. Germain 1993 A Contemporary Masque by Stephen Bennett Dream House by Darrah Cloud Alabama Rain by Heather McCutchen Black by Joyce Carol Oates 1992 The Baby Dance by Jane Anderson The Swan by Elizabeth Egloff Still Waters by Lynn Martin Static by Ben Siegler 1991 Accelerando by Lisa Loomer Welcome to the Moon by John Patrick Shanley 87 thinktheater Season 26: July 8-31 ADVERTISERS’ INDEX Antietam Overlook Farm. . . . . . . . 29 Appalachian Studies at Shepherd University . . . . . . . . . . . . 35 Arnold & Bailey. . . . . . . . . . . . . . . . 29 Jacob Rohrbach Inn. . . . . . . . . . . . 59 Janney Montgomery Scott, LLC . . 51 Jefferson Arts Council . . . . . . . . . 47 Jefferson County CVB & Shepherdstown Visitors Center. . . . . . . BACK COVER AT S H E P H E R D U N I V E R S I T Y PAY-WHAT-YOU-CAN WEEK ONE Shepherd University Admissions . . . . . . . . . . . . . . . . . . . 63 ! Shepherd University Foundation . . . . . . . . . . . . . . . . . . . 55 Shepherd Village . . . . . . . . . . . . . . . 31 Skinner Law Firm. . . . . . . . . . . . . . 85 THE PLAYS ARE NEW AND TIMES ARE TOO! DOUBLE CHECK YOUR SCHEDULE. ** OPENING NIGHT ^ FOLLOWED BY A POST-SHOW DISCUSSION pen/man/ship BY CHRISTINA ANDERSON MARINOFF THEATER | CCA II | 62 WEST CAMPUS DRIVE RUN TIME: 120 MINUTES FRI 7/8 10:00 am PREVIEWS: JULY 3-7 VENUE TIMES HAVE CHANGED! American Conservation Film Festival . . . . . . . . . . . . . . . . . . . 41 contemporaryamericantheaterfestival 12:00 pm pen/man/ship 20TH CENTURY BLUES 2:00 pm PEN/MAN/SHIP SECOND GIRL NOT MEDEA 2:30 pm BLUES WEDDING GIFT SUN, 7/3 7:30PM • WED, 7/6 8:30PM TUE, 7/5 6PM • WED, 7/6 6PM • THUR, 7/7 6PM THE SECOND GIRL 4:30 pm 6:00 pm TUE, 7/5 8PM • THUR 7/7 8PM THE WEDDING GIFT LUNCH & ART NOT MEDEA** BOX OFFICE OPENS ONE HOUR PRIOR TO CURTAIN AT EACH VENUE. FIRST COME, FIRST SERVE. 8:00 pm BLUES 8:30 pm BLUES** WEEK TWO TUES 7/12 WED 7/13 THUR 7/14 FRI 7/15 THE WEDDING GIFT 12:00 pm NOT MEDEA BY CHISA HUTCHINSON Studio 105. . . . . . . . . . . . . . . . . . . . . 75 12:30 pm LUNCH & ART LUNCH & ART FRANK CENTER STAGE | 260 UNIVERSITY DRIVE RUN TIME: 90 MINUTES 2:00 pm SECOND GIRL PEN/MAN/SHIP FRIDAY FILM Susan Carney. . . . . . . . . . . . . . . . . . 75 20TH CENTURY BLUES 2:30 pm WEDDING GIFT BLUES BY SUSAN MILLER 4:30 pm TD Nails & Spa . . . . . . . . . . . . . . . . . 81 FRANK CENTER STAGE | 260 UNIVERSITY DRIVE RUN TIME: 120 MINUTES 6:00 pm Theater J. . . . . . . . . . . . . . . . . . . . . . 41 THE SECOND GIRL 6:30 pm BY RONAN NOONE 8:00 pm SECOND GIRL^ PEN/MAN/SHIP^ SECOND GIRL Thomas Shepherd Inn. . . . . . . . . . . 67 MARINOFF THEATER | CCA II | 62 WEST CAMPUS DRIVE RUN TIME: 120 MINUTES 8:30 pm WEDDING GIFT BLUES WEDDING GIFT Mountain Heritage Arts & Crafts Festival. . . . . . . . . . . 59 Tonic. . . . . . . . . . . . . . . . . . . . . . . . . 39 BREAKFAST WITH ED 10:30 pm Boonsboro on the Square. . . . . . . . . 7 The Observer . . . . . . . . . . . . . . . . . . 81 Two Rivers Treads . . . . . . . . . . . . . 43 Coldwell Banker. . . . . . . . . . . . . . . . 81 Old Opera House Theatre. . . . . . . 65 Beyond Comics. . . . . . . . . . . . . . . . 59 Big Cork Vineyards. . . . . . . . . . . . . . 33 Bistro 112 . . . . . . . . . . . . . . . . . . . . . 85 Blue Moon Café . . . . . . . . . . . . . . . 69 Boonsboro EDC. . . . . . . . . . . . . . . . . 57 D’Accord Boutique. . . . . . . . . . . . . . 35 Laughing Hat . . . . . . . . . . . . . . . . . . 67 Maryland Ensemble Theatre . . . . . 51 Maryland Public Television. . . . . . 49 Maryland Symphony Orchestra. . 45 Opera House Live. . . . . . . . . . . . . . 53 Visit Hagerstown . . . . . . . . . . . . . . 47 Whistling Wind Farm Bed & Breakfast . . . . . . . . . . . . . . . . 57 EPBC Outdoors. . . . . . . . . . . . . . . . . 79 Price Romine PLLC . . . . . . . . . . . . . 37 Woolly Mammoth. . . . . . . . . . . . . . . 71 Seth Freeman Photography. . . . . 47 Freedom’s Run . . . . . . . . . . . . . . . . 43 German Street Coffee & Candlery . . . . . . . . . . . . . . . 3 Hollywood Casino. . . . . . . . . . . . . . . 81 Shenandoah Conservatory. . . . . . . 61 THUR 7/21 NOT MEDEA The Press Room. . . . . . . . . . . . . . . . . 3 Four Seasons Books. . . . . . . . . . . . 59 WED 7/20 12:00 pm domestic . . . . . . . . . . . . . . . . . . . . . . 31 River & Trail. . . . . . . . . . . . . . . . . . . 43 TUES 7/19 FRIDAY FILM WRNR. . . . . . . . . . . . . . . . . . . . . . . . 65 2:00PM | OLD OPERA HOUSE 131 WEST GERMAN STREET 6:30 pm ROOM G03 | CCA II | 62 WEST CAMPUS DRIVE 8:00 pm SECOND GIRL LECTURE 8:30 pm WEDDING GIFT^ DISTINGUISHED GUEST SPEAKERS DISCUSS ISSUES RAISED IN THE PLAYS AT THE POPULAR talktheater LECTURE SERIES. 10:30 pm MARINOFF THEATER | CCA II | 62 W CAMPUS DRIVE Shepherdstown School of Dance. . . . . . . . . . . . . . . . 75 DESIGN BY EDEN DESIGN www.edendesignco.com NOT MEDEA^ A SCHOLARLY APPROACH TO THE CATF REPERTORY. FREE BUT REQUIRES RESERVATION. JOIN CATF FOR STAGE READINGS OF NEW PLAYS. SEASON IMAGES BY MICHAEL MCKOWEN BLUES CATF IN CONTEXT READING Shepherdstown Liquors . . . . . . . . . 67 PEN/MAN/SHIP 2:30 pm 4:30 pm REYNOLDS HALL | 109 NORTH KING STREET PHOTOS BY SETH FREEMAN, JOSHUA MIDGETT, & HUNTER STRAUCH 2:00 pm 6:00 pm WEEK FOUR SECOND GIRL PEN/MAN/SHIP WEDDING GIFT BLUES LECTURE NOT MEDEA NOT MEDEA SECOND GIRL PEN/MAN/SHIP BLUES SAT 7/23 SUN 7/24 CONTEXT BREAKFAST NOT MEDEA NOT MEDEA SECOND GIRL NOT MEDEA FRIDAY FILM NOT MEDEA PEN/MAN/SHIP SECOND GIRL BLUES WEDDING GIFT LECTURE NOT MEDEA NOT MEDEA PEN/MAN/SHIP PEN/MAN/SHIP PEN/MAN/SHIP BLUES^ BLUES SECOND GIRL WEDDING GIFT SALON TUES 7/26 WED 7/27 12:00 pm THUR 7/28 FRI 7/29 NOT MEDEA SAT 7/30 SUN 7/31 CONTEXT BREAKFAST NOT MEDEA NOT MEDEA SECOND GIRL PEN/MAN/SHIP LUNCH & ART 12:30 pm 2:00 pm SECOND GIRL 2:30 pm WEDDING GIFT domestic | 117 EAST GERMAN STREET 4:30 pm 6:00 pm NOT MEDEA PEN/MAN/SHIP NOT MEDEA FRIDAY FILM NOT MEDEA WEDDING GIFT BLUES LECTURE NOT MEDEA NOT MEDEA READING SECOND GIRL WEDDING GIFT 8:00 pm PEN/MAN/SHIP SECOND GIRL SECOND GIRL 8:30 pm BLUES WEDDING GIFT WEDDING GIFT 10:30 pm NOT MEDEA BLUES ENJOY A LATE-NIGHT DRINK, LITE FARE, AND DISCUSSION WITH CATF STAFF. catf.org FRI 7/22 10:00 am 6:30 pm NOT MEDEA READING SALON 800.999.CATF SUN 7/17 BREAKFAST LUNCH & ART 12:30 pm PRESENTED FREE OF CHARGE: NOT MEDEA SAT 7/16 CONTEXT SALON 12:30PM | CENTER FOR CONTEMPORARY ARTS II ROOM G03 | 62 WEST CAMPUS DRIVE Point Park University . . . . . . . . . . . 67 WEDDING GIFT** WEDDING GIFT Uncommon Vernacular. . . . . . . . . 39 Dickinson & Wait Craft Gallery. . . . 37 Fluent. . . . . . . . . . . . . . . . . . . . . . . . . 57 NOT MEDEA BREAKFAST PG Presents, LLC. . . . . . . . . . . . . . . . 9 Ricco Gallery. . . . . . . . . . . . . . . . . . 29 WEEK THREE NOT MEDEA 10:00 am The Devonshire Arms . . . . . . . . . . . 33 Everyman Theatre. . . . . . . . . . . . . 55 10:00AM | CENTER FOR CONTEMPORARY ARTS II ROOM G03 | 62 WEST CAMPUS DRIVE BREAKFAST LUNCH & ART Washington County Museum of Fine Arts. . . . . . . . . . . 45 NOT MEDEA PEN/MAN/SHIP PEN/MAN/SHIP** SECOND GIRL** Steptoe & Johnson . . . . . . . . . . . . . 61 Bavarian Inn . . . . . . . . . . . . . . . . . . . . 11 LECTURE NOT MEDEA 6:30 pm TUE, 7/5 8:30PM • THUR, 7/7 8:30PM 10:00 am Jefferson Distributing. . . . . . . . . . . 79 NOT MEDEA 12:30 pm STUDIO 112 | CCA I | 92 WEST CAMPUS DRIVE RUN TIME: 90 MINUTES Badgerhound Studio. . . . . . . . . . . . 75 NOT MEDEA SUN, 7/3 7PM • WED, 7/6 8PM Spirit of Jefferson. . . . . . . . . . . . . 69 Jefferson County Development Authority. . . . . . . . . 63 SUN 7/10 BREAKFAST NOT MEDEA BY ALLISON GREGORY Atasia Spa. . . . . . . . . . . . . . . . . . . . . 31 SAT 7/9 CONTEXT PEN/MAN/SHIP BLUES SALON C H A R L E S T O WN • H A R P E R S F E R RY • S H E P H E R D S T O W N You love Shepherdstown for its theater festival… there are so many other reasons to come back to visit, explore and enjoy Jefferson County. www.DiscoverItAllWV.com visitjeffersoncountywv www.Shepherdstown.info shepherdstownvc PHOTOS BY CHRIS WEISLER
