Happy Birthday, Wanda June - The American Century Theater
Happy Birthday, Wanda June - The American Century Theater Happy Birthday, Wanda June - The American Century Theater
The American Century Theater presents
- Page 2: The American Century Theater Presen
- Page 6: THE COMPANY WILLIAM AITKEN (Harold
- Page 10: DONORS GROUP THEATER GOERS- $5000+
<strong>The</strong> <strong>American</strong> <strong>Century</strong> <strong>The</strong>ater<br />
presents
<strong>The</strong> <strong>American</strong> <strong>Century</strong> <strong>The</strong>ater<br />
Presents<br />
<strong>Happy</strong> <strong>Birthday</strong>, <strong>Wanda</strong> <strong>June</strong><br />
Director<br />
Ellen Dempsey<br />
Set Designer &<br />
Properties<br />
Trena Weiss–Null<br />
by Kurt Vonnegut<br />
March 7 - 29, 2008<br />
Gunston <strong>The</strong>atre II<br />
2700 S. Lang Street<br />
Arlington, Virginia<br />
Producer &<br />
Costumer<br />
Rip Claassen<br />
Lighting Designer<br />
AnnMarie Castrigno<br />
<strong>The</strong> Setting:<br />
Heaven, <strong>The</strong> Ryan apartment, other locales<br />
1970<br />
Stage Manager<br />
Maggie Clifton<br />
Sound Designer<br />
Jake Null<br />
<strong>Happy</strong> <strong>Birthday</strong>, <strong>Wanda</strong> <strong>June</strong> is presented<br />
by special arrangement with Samuel French, Inc.<br />
<strong>The</strong>re will be one 15 minute intermission.<br />
Supported in part by the Virgina Commission of the Arts and<br />
<strong>The</strong> Arlington County Department of Parks, Recreation and<br />
Community Services, Cultural Affairs Division<br />
PLEASE NOTE:<br />
<strong>The</strong> use of recording equipment and/or the taking of photographs<br />
during the performance is strictly prohibited.<br />
Cast (In order of appearance)<br />
Penelope Ryan.................................................................................... Kari Ginsburg<br />
Looseleaf Harper..................................................................................... Joe Cronin<br />
Paul Ryan................................................................ Andrew Newman, Adin Walker<br />
Dr. Norbert Woodly................................................................................ Brian Crane<br />
Herb Shuttle....................................................................................... Brian Razzino<br />
Harold Ryan...................................................................................... William Aitken<br />
<strong>Wanda</strong> <strong>June</strong>......................................................................................... Rachel Weber<br />
Siegfried von Koningswald................................................................... Bill Gordon<br />
Mildred................................................................................... Deborah Rinn Critzer<br />
Production Staff<br />
Producer............................................................................................... Rip Claassen<br />
Director............................................................................................. Ellen Dempsey<br />
Stage Manager.................................................................................. Maggie Clifton<br />
Set Designer.................................................................................. Trena Weiss–Null<br />
Lighting Designer.................................................................... AnnMarie Castrigno<br />
Sound Designer.......................................................................................... Jake Null<br />
Costumer.............................................................................................. Rip Claassen<br />
Properties...................................................................................... Trena Weiss–Null<br />
Board Operator.................................................................................... Bryn Deacon<br />
Wardrobe........................................................................ Izzy Angel, William Angel<br />
Set Construction....................................................... Michael Null, Jonathan Stricts<br />
Caroline Cecot, Kristen Kiselewich<br />
Photographer...................................................................................... Ian Armstrong<br />
Program........................................................................................ Michael Sherman<br />
Program Logo............................................................................... Michael Sherman<br />
ACKNOWLEDGMENTS<br />
Ahmed Niazi, Lou George, Don Barton, Steven Scott Mazzola, Backstage, Inc.,<br />
<strong>The</strong> Arlington County Department of Parks, Recreation, and Cultural Resources,<br />
Cultural Affairs Division, and all others whose names were not available<br />
as this program went to press.<br />
TACT is funded in part by Arlington County through the Cultural Affairs<br />
Division of the Department of Parks, Recreation and Cultural Resources and<br />
the Arlington Commission for the Arts; the Virginia Commission for the Arts;<br />
numerous foundations; and many generous donors.
Artistic Director’s Notes: <strong>Happy</strong> <strong>Birthday</strong>, <strong>Wanda</strong> <strong>June</strong> (1970)<br />
by Kurt Vonnegut<br />
With Kurt Vonnegut’s <strong>Happy</strong> <strong>Birthday</strong>, <strong>Wanda</strong> <strong>June</strong>, we once again enter<br />
the odd realm of plays authored by novelists. Almost no <strong>American</strong> writers<br />
have shown themselves to be equally skilled on the printed page and on the<br />
stage; only one has a legitimate claim to being equally successful in both<br />
mediums. (I’ll reveal that exceptional novelist/playwright later.) <strong>The</strong> rule<br />
works both ways, for the novels penned by great playwrights have seldom<br />
reached the soaring heights of their scripts. Have you read <strong>The</strong> Roman<br />
Spring of Mrs. Stone (Tennessee Williams)? Focus (Arthur Miller)? Good<br />
Luck, Miss Wyckoff (William Inge)?<br />
Probably not.<br />
Why is this true? One reason may be the motivations that drive an author<br />
from one form to the other. High among them are boredom, depression<br />
and ego. In Vonnegut’s case, it was apparently all three: “I felt after I<br />
finished Slaughterhouse Five that I didn’t have to write at all anymore if<br />
I didn’t want to,’’ he wrote in his memoirs, entitled Wampeters, Foma,<br />
and Granfalloons. “It was the end of some sort of career.’’ After he saw<br />
his novel’s film adaptation, which he liked very much, Vonnegut became<br />
enamored of the idea of seeing his characters in the flesh, referring to the<br />
characters in novels as “spooks.” “It’s plays from now on,’’ he announced.<br />
Luckily for the many fans of his novels, the newspaper strike that helped<br />
close <strong>Wanda</strong> <strong>June</strong> and the abundant aggravations of professional theater<br />
soon had him writing books again.<br />
As a novice playwright, Vonnegut didn’t feel any pressure to obey the<br />
requirements of the “well-made play,” and charted his own theatrical<br />
territory. In this his closest equivalent was William Saroyan, one of the most<br />
successful of the breed, who also created plays (including the Nobel Prizewinning<br />
<strong>The</strong> Time of your Life) that broke more rules than they followed.<br />
Vonnegut shared other traits with Saroyan. Both were humorists at heart,<br />
though Vonnegut lacked Saroyan’s creamy sentimental center. Both excelled<br />
at creating memorably quirky characters that could verge on being cartoons<br />
yet still be capable of delivering an emotional jolt.<br />
And both were masters of language. This is not necessarily a virtue for<br />
a playwright. Stage plays communicate in many ways, novels in only<br />
one; language without a strong sense of how the other elements of a stage<br />
production create an emotional response from the audience will lead to an<br />
over-written and over-long bore-fest. Fortunately for Vonnegut, language<br />
was not his only tool, just his sharpest. Jack Kroll, reviewing <strong>Happy</strong> <strong>Birthday</strong>,<br />
<strong>Wanda</strong> <strong>June</strong>’s original production for Newsweek, wrote that Vonnegut’s<br />
mastery of wordplay “shows up” the non-novelist playwrights. “Vonnegut’s<br />
dialogue is not only fast and funny, with a palpable taste and crackle, but it<br />
also means something,” he wrote.<br />
But <strong>Happy</strong> <strong>Birthday</strong>, <strong>Wanda</strong> <strong>June</strong>, Vonnegut’s first play, turned out to be his<br />
most successful by far. This also mirrored Saroyan’s pattern as a dramatist:<br />
the more plays he wrote, the less successful they were. Perhaps there is<br />
a brief period for a novelist when working in a new medium sparks the<br />
creation of fresh and unconventional plays that succeed because of their<br />
authors’ lack of playwriting savvy, rather than in spite of it. Or perhaps it<br />
is just that novelists tend to put their best ideas onto the page rather than<br />
the stage. (This principle seems to hold in the other direction as well, when<br />
established playwrights produce novels. For example, Thornton Wilder,<br />
whose plays included such classics as <strong>The</strong> Matchmaker, <strong>The</strong> Skin of Our<br />
Teeth, and Our Town, published his most successful novel, <strong>The</strong> Bridge of<br />
San Luis Rey, at the very beginning of his career.)<br />
Whatever the reason, it is nearly impossible to be equally successful writing<br />
plays and novels. With <strong>Happy</strong> <strong>Birthday</strong>, <strong>Wanda</strong> <strong>June</strong>, however, Kurt<br />
Vonnegut proved that he belongs with Saroyan, Wilder, and Gore Vidal in<br />
the elite group of <strong>American</strong> writers who did both extremely well…at least<br />
once.<br />
<strong>The</strong> notable exception? It is Ira Levin, who died last year. He wrote four<br />
acclaimed and best-selling novels: A Kiss Before Dying, <strong>The</strong> Boys From<br />
Brazil, <strong>The</strong> Stepford Wives, and, of course, Rosemary’s Baby. He also wrote<br />
a musical and eight plays that played on Broadway, and four of them were<br />
big hits: No Time for Sergeants, Critic’s Choice, Veronica’s Room, and the<br />
Tony-nominated Deathtrap—which <strong>The</strong> <strong>American</strong> <strong>Century</strong> <strong>The</strong>ater will be<br />
producing in the 2008-2009 season.<br />
Jack Marshall,<br />
Artistic Director
THE COMPANY<br />
WILLIAM AITKEN (Harold Ryan) <strong>The</strong> Rorschach <strong>The</strong>atre Company:<br />
Sir Walter Raleigh in Kit Marlowe. <strong>The</strong> <strong>American</strong> <strong>Century</strong> <strong>The</strong>ater: Ned<br />
Crossman in <strong>The</strong> Autumn Garden, Ishmael/Actor in Orson Welles’s Moby<br />
Dick Rehearsed, Herb Lee in Tea and Sympathy, McCarthy/Society<br />
Gentleman in <strong>The</strong> Time Of Your Life, Phil Foley in Paradise Lost, and<br />
Mannion in Mister Roberts. Washington Shakespeare Company as Diego<br />
in <strong>The</strong> Royal Hunt of the Sun, Old Jew in Arthur Miller’s Incident at Vichy<br />
and Dr. Joe Cardin in <strong>The</strong> Children’s Hour. Arena Stage as Robert (u/s)<br />
in Proof. <strong>The</strong> Keegan <strong>The</strong>atre as Juror Ten in Twelve Angry Men, Pedro<br />
in Man of La Mancha, Capulet in Romeo and Juliet, and IRA Officer in<br />
<strong>The</strong> Hostage. He also directed and designed the set for <strong>American</strong> <strong>Century</strong><br />
<strong>The</strong>ater’s production of Eugene O’Neill’s Desire Under <strong>The</strong> Elms.<br />
BRIAN CRANE (Dr. Norbert Woodly) is making his fifth appearance with<br />
<strong>The</strong> <strong>American</strong> <strong>Century</strong> <strong>The</strong>ater (TACT). Previous appearances with TACT<br />
include: the Producer in Hellzapoppin’, the Egg of Head in MacBird!, Harris<br />
in Tea and Sympathy and Felix/Williams in Paradise Lost. Other area roles<br />
include Clotaldo in Life’s a Dream at Journeymen <strong>The</strong>atre, Man (u/s) in <strong>The</strong><br />
Long Christmas Ride Home and Teddy Lloyd/Gordon Lowther (u/s) in <strong>The</strong><br />
Prime of Miss Jean Brodie at Studio <strong>The</strong>atre; and Ralph (u/s) in Frozen at<br />
Studio <strong>The</strong>atre Secondstage. He has been seen at Washington Shakespeare<br />
Company as Lepidus in Caligula, Lodowick in Edward III, and DeNizza/<br />
Manco in <strong>The</strong> Royal Hunt of the Sun.<br />
DEBORAH RINN CRITZER (Mildred) was most recently seen as an<br />
Audience Hellion in TACT’s Hellzapoppin’, Constance Tuckerman in <strong>The</strong><br />
Autumn Garden (TACT), Mrs. Hoadley in Natural <strong>The</strong>atricals’ production<br />
of Herakles and in “An Evening with Dave Brubeck” at Constitution Hall.<br />
Other credits include Fiddler on the Roof (Hodel/Chava/Tzeitel), Pajama<br />
Game (Gladys), Brigadoon, Camelot, State Fair, Oklahoma, musical<br />
reviews Curtain Up and Rhythm of the Night at <strong>The</strong> Timbers Dinner<br />
<strong>The</strong>ater under the musical direction of Tony Award nominee Michael John<br />
LaChiusa, Ismene in Sophocles’ Antigone and Chorus in Euripides’ Electra.<br />
Training: <strong>The</strong> George Washington University, <strong>The</strong> <strong>The</strong>atre School, and <strong>The</strong><br />
Shakespeare <strong>The</strong>atre Company.<br />
JOE CRONIN (Looseleaf Harper) has appeared with many companies<br />
in New York and throughout the Washington area, including Arena Stage,<br />
<strong>The</strong>ater J, the National Players, Olney <strong>The</strong>ater, Rep Stage, Interact <strong>The</strong>ater,<br />
Everyman <strong>The</strong>ater, Washington Shakespeare Company, Washington Stage<br />
Guild, Keegan <strong>The</strong>ater and Spooky Action <strong>The</strong>ater. He has frequently<br />
performed with <strong>The</strong> <strong>American</strong> <strong>Century</strong> <strong>The</strong>ater, playing MacBird in<br />
MacBird!, Gus in Paradise Lost and Nick in <strong>The</strong> Time of Your Life, and<br />
other roles in Moby Dick Rehearsed, Machinal, <strong>The</strong> Robber Bridegroom,<br />
<strong>The</strong> Seven Year Itch and Dear World. Joe has an MFA in acting from the<br />
Catholic University of America.<br />
KARI GINSBURG (Penelope Ryan) Previous TACT credits include: Ah,<br />
Wilderness! (Muriel McComber), Stage Door (Olga) and <strong>The</strong> Crucible<br />
(Mary Warren). Other regional productions include: Spooky Action, Spring<br />
2008: <strong>The</strong> Marriage of Bette and Boo (Bette); Trumpet Vine: As Bees in<br />
Honey Drown (Alexa Vere de Vere); Fallen Angels: Girlfriends (Sally);<br />
Rep Stage: Arcadia (Chloe); Heritage: Equus (Jill Mason); Syracuse Stage:<br />
Eight Reindeer Monologues (Vixen) and Hidden in this Picture (Robert);<br />
<strong>The</strong> Center Company, Round House, Arena Stage, Shakespeare <strong>The</strong>atre,<br />
Adventure <strong>The</strong>ater, Venus <strong>The</strong>atre, eight seasons with <strong>The</strong> Washington<br />
Opera. Various television, film, radio and print credits include: g14<br />
productions, UPN20, WILL Interactive, AAAS, Caryatid Films, Prudential,<br />
<strong>The</strong> Washington Warthogs, Homicide. Kari is an Equity Membership<br />
Candidate.<br />
BILL GORDON (Siegfried Von Koningswald) was last seen as “<strong>The</strong><br />
Cabbie,” and heard as Lt. Buchevski, in TACT’s production of Cops. He is<br />
a founding member and former president of the Firehouse <strong>The</strong>atre Project<br />
in Richmond, Virginia, where his favorite roles include Russell Boam in<br />
<strong>The</strong> Big Slam, Dean Swift in Nebraska, Bob in Women of Manhattan, the<br />
interrogator in Tone Clusters, and Roland Reynolds in the world premiere<br />
of <strong>The</strong> Persistence of Memory. Other roles include Jack Worthing in the<br />
Importance of Being Earnest and Poprischin in Diary of a Madman with<br />
Richmond’s Experiential <strong>The</strong>atre Company; and Uncle Peck in How<br />
I Learned to Drive with ShenanArts in Staunton, Virginia. Bill is also a<br />
former staff member of the <strong>American</strong> Shakespeare Center in Staunton.<br />
ANDREW NEWMAN (Paul Ryan), 12, is making his professional stage<br />
debut in <strong>Happy</strong> <strong>Birthday</strong>, <strong>Wanda</strong> <strong>June</strong>. At age 9, Andrew appeared in Mame<br />
as Peter. He’s also had some modeling gigs in Hong Kong and played<br />
a mass murder’s son in an HBO movie. Andrew is training to become a<br />
professional actor.<br />
BRIAN RAZZINO (Herb Shuttle) was most recently seen as Barberson in<br />
TACT’s production of Cops. Prior to that he appeared in <strong>The</strong> Philadelphia<br />
Story (Stephen Mazzola, Dir.) where he played Dexter Haven and in Edward<br />
III at the Washington Shakespeare Company. Brian completed a year-long<br />
intensive training program with the <strong>The</strong>atre Lab’s Honors Conservatory to<br />
study acting in 2007. At the conservatory, he performed in Othello in one
of his favorite roles as Iago on the Lab’s main stage. He also co-directed<br />
and acted in the one act play Penguin Blues at <strong>The</strong> <strong>The</strong>atre Lab. In addition<br />
to these endeavors, Brian completed shooting the feature length Sci-Fi Film<br />
<strong>The</strong> Photon Effect this last Spring (Spring, 2008 release), in which he plays<br />
the principal villain, Dr. Robert Chase. He will be seen early this summer in<br />
WSC’s production of <strong>The</strong> Romans in Britain directed by John Vreeke.<br />
ADIN WALKER (Paul Ryan), 14, is an eighth grader at the Field School<br />
in Washington. REGIONAL: Ford’s <strong>The</strong>atre: A Christmas Carol (Peter<br />
Cratchit); Washington Ballet: <strong>The</strong> Nutcracker; California Shakespeare<br />
<strong>The</strong>atre: Much Ado About Nothing, Macbeth (Macduff’s son); <strong>American</strong><br />
Conservatory <strong>The</strong>atre in San Francisco: A Christmas Carol (Tiny Tim).<br />
TELEVISION: Homicide: Life on the Street (“Abducted”). LOCAL: Act<br />
Two Performing Arts: A Midsummer Night’s Dream (Puck), Jekyll & Hyde,<br />
Cats (Mistoffelees), 42nd Street (Abner Dillon/featured dancer); Ballibay<br />
Camp for the Performing Arts: You’re a Good Man, Charlie Brown<br />
(Snoopy). TRAINING: Dance—Washington Ballet, D.C. Dance Collective;<br />
Acting—Young Conservatory of <strong>American</strong> Conservatory <strong>The</strong>atre, Act Two<br />
Performing Arts.<br />
RACHEL WEBER (<strong>Wanda</strong> <strong>June</strong>) is 15 years old and attends Dominion<br />
High School. Her credits include: A Christmas Carol, Ford’s <strong>The</strong>atre; Les<br />
Miserables, <strong>The</strong> <strong>The</strong>atre Lab; Red vs. <strong>The</strong> Wolf, Elden Street Players; <strong>The</strong><br />
Adventures of Tom Sawyer, Dominion Stage; Monster in the Closet, <strong>The</strong><br />
Children’s <strong>The</strong>atre; Beauty and the Beast, <strong>The</strong> Children’s <strong>The</strong>atre; Fiddler<br />
on the Roof, Herndon Boosters.<br />
PRODUCTION STAFF<br />
ELLEN DEMPSEY (Director) Directing: MacBird!, It Had To Be You<br />
(TACT), Twelve Angry Men and Unquiet Hearts (Keegan <strong>The</strong>atre), Sweet<br />
Charity, <strong>The</strong> Antigone in Warsaw. Assistant Director: That Championship<br />
Season, Paradise Lost and Moby Dick Rehearsed. Stage Management<br />
credits include Pump Boys and Dinettes, Hamlet, On <strong>The</strong> Verge, Violet, and<br />
A Streetcar Named Desire (US and Ireland). Last seen “on stage” in TACT’s<br />
production of Hellzapoppin’.<br />
RIP CLAASSEN (Producer & Costumer) is a staff member of the <strong>The</strong>atre<br />
Department at Duke Ellington School of the Arts, teaching Improvisational<br />
<strong>The</strong>atre, <strong>The</strong>atre criticism, and running the extra curricular activities. He<br />
has served as the dramaturge in residence at Backstage Inc. for 16 years. He<br />
has guest taught at Bowie State university (costuming), <strong>The</strong> Fairfax County<br />
Public Schools Institute for the arts (Improvisational <strong>The</strong>atre and Comedy),<br />
<strong>The</strong> Maryland State High School <strong>The</strong>atre Festival, and <strong>The</strong> Actors Center.<br />
He is an Artistic Associate with <strong>The</strong> <strong>American</strong> <strong>Century</strong> <strong>The</strong>ater. Rip has<br />
directed for Natural <strong>The</strong>atricals, HITS (which he co-founded), <strong>The</strong> Lincoln<br />
Park Players, Duke Ellington, and is the Artistic Director and founder of<br />
Teens and <strong>The</strong>atre Company. He attended NCDA (National Conservatory<br />
of Dramatic Arts) back in its humble beginnings as the <strong>The</strong>atre School.<br />
ANNMARIE CASTRIGNO (Lighting Design) TACT: Cops, <strong>The</strong> Emperor<br />
Jones. Nominations and awards for Outstanding Lighting Design: Murder<br />
Room (LTA, 2000), Misery (LTA, 2001), Master Class (LTA, 2002), Kiss Me<br />
Kate (TAP, 2003), Evita (Vienna, 2004), <strong>The</strong> Weir (ESP, 2005) and Fiddler<br />
on the Roof (TAP, 2006). AnnMarie holds both community and professional<br />
credits in lighting and electrics at many DC metro area theaters, including<br />
Toby’s Dinner <strong>The</strong>ater in both Columbia and Baltimore, MD.<br />
MAGGIE CLIFTON (Stage Manager) is a recent transplant from North<br />
Carolina. Some of Maggie’s favorite past projects include: Stage and Tour<br />
Manager for Burning Coal <strong>The</strong>atre Company’s production of Travesties<br />
at the Piccolo Spoletto Festival, as well as Costume Design for Bat Boy,<br />
<strong>The</strong> Musical (UNC-G), Lipstick Traces and A Midsummer Night’s Dream<br />
(Burning Coal). This is her first production with <strong>The</strong> <strong>American</strong> <strong>Century</strong><br />
<strong>The</strong>ater, and she is thrilled with the opportunity to work with this great<br />
ensemble cast. When she is not indulging in her love for theatre, Maggie<br />
spends her free time spinning straw into gold.<br />
JAKE NULL (Sound Designer) has musical directed 12 theatrical<br />
productions and has run sound on countless more. He has designed sound<br />
for 3 previous shows and owns and operates his own music business Europa<br />
Studios. He has produced 5 albums and is the musical director for Always<br />
In Christ, a Christian music group. This is his first show with TACT and<br />
looks forward to many more in the future.<br />
TRENA WEISS-NULL (Set and Prop Designer and Construction) most<br />
recently designed and built the set for TACT’s production, Cops, and wrote<br />
and directed Racing Through Aesop in an educational setting. She works<br />
as a director, designer, and <strong>The</strong>atre teacher in professional, community, and<br />
educational venues and has a Bachelor’s degree in Acting-Directing, and<br />
Master’s degrees in both <strong>The</strong>atre and Education. She has recently designed<br />
and built sets for Godspell, Haracles, and Grease and is a member of the<br />
<strong>The</strong>atre History Initiative through the Shakespeare <strong>The</strong>atre and NEH.
DONORS<br />
GROUP THEATER GOERS- $5000+<br />
Arlington Commission for the Arts<br />
Virginia Commission for the Arts<br />
PROVINCETOWN PLAYERS $2,500 - $4,999<br />
Ann Marie Plubell<br />
THEATER GUILDERS $1,000 - $2,499<br />
Anonymous<br />
Arlington Community Foundation<br />
Rebecca & Gene Christy<br />
Robert G. DuBois<br />
Peri Mahaley<br />
Jack & Eleanor Marshall<br />
Constance McAdam<br />
MERCURY THEATER BACKERS $500 - $999<br />
Ellen Maland & Donald Adams<br />
Mr. & Mrs. Alan Branigan<br />
Joya B. Cox<br />
Francis Cunningham<br />
John Dawson<br />
Gloria Dugan<br />
Allison & Craig Fields<br />
LIVING THEATER LOVERS $250 - $499<br />
John Acton<br />
Rick Albani<br />
Peter & Cherry Baumbusch<br />
Barney Black<br />
Marvin & Ellen Cantor<br />
Brian Crane<br />
Suzanne Thouvenelle & Dennis Deloria<br />
Thomas & <strong>June</strong> Hoya<br />
Vivian & Art Kallen<br />
Louis Kriser<br />
Katherine & Robert Krubsack<br />
THE PLAYERS $100 - $249<br />
Deborah Taylor Ashford<br />
Steven & Candice Barrigar<br />
Tom & Loretta Beaumont<br />
Jon Blackman<br />
Ron Brandt<br />
Boris & Earlene Cherney<br />
Sally & Charles Cooper<br />
Savtanter Dillon<br />
Bob & Wendy Kenney<br />
Robert McElwaine<br />
Steve Cohen & Mary McGowan<br />
Loren Platzman<br />
Willa & David Siegel<br />
Sheldon Wallerstein<br />
Janet Reingold & Philip Yasinski<br />
Michael Kahn<br />
William Kolodrubetz<br />
Jacqueline Manger<br />
Jim & Marjie Mayer<br />
Harriet McGuire<br />
Mary Patricia Michel<br />
William Bunting & Virginia Tarris<br />
Geraldine Kuryla<br />
Margaret Mulcahy<br />
Carl E. Nash<br />
Suzy Platt<br />
Mr. & Mrs. A.A. Raizen<br />
Bill & Connie Scruggs<br />
Alan P. Simon<br />
Adam S. Posen & Jennifer A. Sosin<br />
Frontis Wiggins<br />
Bonnie Williams<br />
Annette Zimin<br />
Coralie Farlee<br />
Timothy Farris<br />
Donna Feirtag<br />
Tracy Fisher<br />
Marian Flynn<br />
Sharon Galm<br />
Jean Getlein<br />
Gabriel Goldberg<br />
THE PLAYERS $100 - $249 (cont’d)<br />
William C. Hamilton<br />
Adriana Hardy<br />
Virginia Harris<br />
Alan Herman<br />
Robert Honeygosky<br />
Roger & Katharine Hood<br />
Elaine Howell<br />
Angela Hughes<br />
Sharon Judge<br />
Nancy Kassner<br />
Alan King<br />
Philip & Patricia l;arson<br />
Mary Ann Lawler<br />
Barbara & Wilber Leventer<br />
Constance & Wesley MacAdam<br />
Winnie Macfarlan<br />
Judith & David McGarvey<br />
Thomas McGovern<br />
George & <strong>The</strong>ne Martin Mernick<br />
Doreen Mueller<br />
Donn B. Murphy<br />
THE FEDERAL THEATER FUNDERS $10 - $99<br />
Harry Bacas<br />
Richard & Jean Barton<br />
Patricia Chapla<br />
Ronald Cogan<br />
Walt & Sue Duka<br />
Jim & Laura Farrand<br />
Renee Fischman<br />
Cathleen Garman<br />
James & Maria Gentle<br />
Lois Goodman<br />
Margaret Gough<br />
Madi Green<br />
Bob Griffin<br />
Jack Hahn<br />
Sally & Robert Hoffman<br />
Marta Hopmann<br />
William Kelleher<br />
Peter Kellogg<br />
Charles Kennedy<br />
Robert L. Kimmins<br />
Ronald Lafferty<br />
Mark Linton<br />
Dennis Nollette<br />
Dennis O’Connor<br />
Sherman & Anastasia Pratt<br />
Mr. & Mrs. Henry Raduazo<br />
Morton Rubenstein<br />
Charline Rugen<br />
Sharon Schoumacher<br />
Bill & Connie Scruggs<br />
Carole Shifrin<br />
Joe & Elizabeth Silversmith<br />
Jennie Sinsabaugh<br />
Jean V. Smith<br />
James & Patricia Snyder<br />
Pat Spenser Smith<br />
Kathryn Tatko<br />
Helen Trilling<br />
Jane W. Vanneman<br />
George & KayWagner<br />
Heathcote W. Wales<br />
George Krumbhaar & Lee Zahnow<br />
Gudrun Luchsinger<br />
Terri Lynch<br />
Angus MacInnes<br />
Phoebe K. Masson<br />
Barbara & Kenneth McLean<br />
Anne Meagher<br />
Mitch & Marnie Metzman<br />
Sam & Lynn Miller<br />
Carol Mudrak<br />
Carol Parowski<br />
Sheila Hess & Suzanne Perry<br />
Mr. & Mrs. Cecil Richardson<br />
Glory Sabatier<br />
Henry Shields<br />
Bertha Shostak<br />
Robert L. Spatz<br />
Bernita Starks<br />
Sharman Stephens<br />
Peter & Erika Streng<br />
Sue Swift<br />
Marjorie Townsend<br />
Col. William Wright
<strong>The</strong>re’s Still Time ...<br />
TACT’s 2007-2008 Season continues<br />
Eccentricities of a Nightingale<br />
by Tennessee Williams<br />
April 4 - 26, 2008<br />
Stunt Girl<br />
A Staged Concert Reading of a New Musical<br />
by Tony-Nominated Playwright/Lyricist Peter Kellogg<br />
<strong>June</strong> 26 - 29, 2008<br />
<strong>The</strong> Titans<br />
by Robert McElwaine<br />
July 18 - August 16, 2008<br />
THE AMERICAN CENTURY THEATER<br />
STAFF AND BOARD OF DIRECTORS<br />
Chair: Wendy Kenney<br />
Board: Rebecca Christy, Peter Kellogg, Jack Marshall,<br />
Steven Scott Mazzola, David Siegel, Peri Mahaley,<br />
Ann-Marie Plubell, Loren Platzman.<br />
Jack Marshall, CEO and Artistic Director<br />
Rhonda Hill, Executive Producer<br />
Steven Scott Mazzola, Associate Artistic Director<br />
Brian Crane, Artistic Associate<br />
Ellen Dempsey, Artistic Associate<br />
Rip Claassen, Artistic Associate<br />
Jason Beagle, Artistic Associate<br />
Bill Aitken, Artistic Associate<br />
Virginia Tarris, Director of Development<br />
Ed Bishop, Artistic Associate<br />
Tom Fuller, General Counsel<br />
Becky Hunger, Director of Operations<br />
Jeff Bell, Photographer<br />
Robert McElwaine, Resident Playwright<br />
Michael Sherman, Graphic Artist / Program Design