I Do! I Do! - The American Century Theater

Cast in order of appearanceThe Snows, a married couple .........................................Mary Beth LuckenbaughEsther CovingtonSteve LebensChad FornwaltPianists .................... Amy Conley, Laurie Corkey, Alvin SmithsonProduction staffDirector ................................................ Jack MarshallMusical Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tom FullerAssistant Director ....................................Quinn AndersonStage Manager ...................................... Lindsey E. MooreAssistant Stage Manager ............................ Kelly Anne JohnsScenic Design/Master Carpenter ......................Trena Weiss-NullLighting Design ........................................ David WaldenSound Design ...............................................Ed MoserCostume Design .........................................Rip ClaassenProperties Design ...........................Joshua Aaron RosenblumChoreography .............Mary Beth Luckenbaugh, Esther CovingtonSound Board Operator ..................................Danny GloverWardrobe Assistant ................................. Kelly Anne JohnsPublicist/Graphic Design .............................. Emily MorrisonProgram Design .....................................Michael ShermanHouse Manager ...........................................Joli ProvostSpecial thanks to—Katy RinamanDon BartonThe Director would like to thank Grace Marshall, Roundhouse Theatre,Lazy Susan Dinner Theater, Michael DeBlois, and the U.S. Supreme CourtBecome a fan of The American Century Theater on Facebook.Keep up with shows, auditions, volunteer opportunities, podcasts,videos, and more. www.AmericanCentury.orgI Do! I Do! (1966), by Harvey Schmidt and Tom JonesI Do! I Do!, the once popular 1966 Broadway musical by The Fantasticks teamof Harvey Schmidt and Tom Jones, is a paradox. Like its source, a 1951 dramaby Jan de Hartog called The Fourposter, it was intended to be a probing,sometimes sentimental, but at heart realistic examination of the institutionof marriage, using one long and remarkably typical marriage as the “star”of the show. Drama usually arises from the remarkable, not the ordinary,but both the play and its musical adaptation, on the page at least, aimedat entertaining by placing a mirror in front of married couples and handinga guidebook to those who hadn’t taken the leap yet. This was key to bothshows’ success, because the only suspense in such a story would be whichfamiliar event that had already been dramatized in hundreds of other plays,movies, and I Love Lucy episodes the authors would choose to omit.The musical, however, was foiled in its objective by the commercial demandsof Broadway. Producer David Merrick didn’t think an ode to a normalmarriage would put fannies in the seats without help, so two mega-starswere recruited to play “Him” and “Her.” The unremarkable but dramaticmarriage between a minor author and the plucky love of his life came tothe Broadway stage as a series of vignettes and songs performed by theunlikely coupling of the Music Man and Peter Pan—Robert Preston and MaryMartin. Critics, blinded by the star power, missed the goal of the book, andcomplained that the plot was a thin and predictable device to justify songsfor the dynamic duo. Audiences, happy to see two old pros strut their stuff,even though watching them play twenty-year-olds on their wedding nightwas a little, shall we say, creepy, didn’t care.Even so, the show was only a modest hit, running less than two years. WhereI Do! I Do! really took off was in dinner theaters and community theaters,where it was not a star vehicle (no stars!), and thus the real strength andgenius of Schmidt and Jones’ show could shine through. It was aboutmarriage, and although the marriage on stage began in the 19th century, IDo! I Do! would never be anachronistic, because marriage in America hadn’tchanged for centuries, and wasn’t about to change. After all, this was 1966!What could change marriage?Oh, only the pill, the sexual revolution, the divorce rate, women’s liberation,gay rights, changing gender roles . . . and, in dizzying fashion (for some,far too dizzying), the redefinition of marriage itself. Yet the power andsentiment that were always the sturdy spine of the play and the musicalremain. Marriage—every marriage and especially long-lasting ones—is agreat adventure, and like so many American Century Theater shows, whathas changed in the U.S. since the original production makes an old workmore intriguing, not less so. Though some will doubtless disagree, this

production was designed to herald the real message of I Do! I Do! in the mostunequivocal way.Marriage is marriage, and love is love.Of course.—Jack MarshallArtistic Director, The American Century TheaterEsther Covington American Century Theatre credits: One Night with FannyBrice, Babes in Arms, Hellzapoppin’. Regional Theatre: Robert Redford’s SundanceInstitute (Fiddler on the Roof w/Michael Rupert), Jefferson Performing Arts Society(The Buddy Holly Story, The Full Monty), Alhambra Theatre (The Buddy Holly Story),Studio Theatre (Bloody Bloody Andrew Jackson), Baltimore Shakespeare Festival(Mrs. Kemble’s Tempest), Wayside Theatre (Miracle on 34th Street), Toby’s DinnerTheatre (The Buddy Holly Story, Here’s Love, Happy Days, Anything Goes, Dreamgirls),Imagination Stage (Twice Upon a Time), and The Garden National Tour. Favoriteroles include the title role in Calamity Jane, Rhetta (Pump Boys & Dinettes), Meredith(Bat Boy), Baker’s Wife (Into the Woods), Claire (bare), and Bella (Lost in Yonkers).Esther has a Master’s Degree in Theatre.Chad W. Fornwalt’s DC area credits include The Full Monty (The Keegan Theatre),The Sound of Music, A Christmas Carol, Happy Days and Rent (Toby’s Dinner Theater),The Rocky Horror Show (Washington Savoyards), and Cannibal...the Musical(Landless Theatre). NYC: reading of Tears of Heaven. Film: Battlecry (original cast),The Wedding Singer, and Evita.Steve Lebens has previously appeared with The American Century Theaterin Hellzapoppin’, Drama under the Influence, An American Century Christmas,Will Success Spoil Rock Hunter?, Stalag 17, Stage Door, Visit to a Small Planet, TheCountry Girl, Little Murders, Marathon ’33, and J.B. Steve has worked at a numberof Washington area theaters, including Signature Theatre, Studio Theatre, FolgerTheatre, Source Theatre, No Rules Theatre, The In Series, Horizons Theater,and Scena Theatre. He began his professional career at the Guthrie Theater inMinneapolis. In Bogota, Colombia, Steve was the founding artistic director of“Teatro de las Americas” and also appeared at the Teatro Popular. In Karachi,Pakistan, he worked with the Karachi Drama Circle. Film and television: In additionto Law and Order: Criminal Intent, Steve can be seen in the current season of Houseof Cards and in the upcoming feature film, Field of Lost Shoes.Mary Beth Luckenbaugh was last seen on The American Century Theaterstage as Rita Marimba in Marathon ’33. In the DC area, she has appeared in Spot’sBirthday Party (Adventure Theatre MTC), The 25th Annual Putnam County SpellingBee (The Keegan Theatre), Flora the Red Menace (1st Stage), and James Joyce’s TheDead (Quotidian Theatre). Film: Funkomatic (Limitless Films). Mary Beth holds aBachelor of Music in Musical Theatre from The Catholic University of America.Jack Marshall (Director) is the artistic director and co-founder of The AmericanCentury Theater. Among the TACT productions he has directed are the HelenHayes–nominated The Anderson Trial and The Cradle Will Rock (for which hereceived an Outstanding Director nomination), Danny and Sylvia, Moby DickRehearsed, Lady in the Dark, Hollywood Pinafore, last season’s epic Marathon ’33,and the company’s very first production, Twelve Angry Men. He also has authoredor co-authored many original TACT productions, including Paul Morella’s oneman Clarence Darrow show, Laughter at Ten O’ Clock, If Only in My Dreams, TACT’sadaptation of Uncle Tom’s Cabin, Hellzapoppin’, and An American Century Christmas.He is an ethics specialist and attorney, but regards his greatest achievement inthe law as his launching, as a first-year law student, the Georgetown Law CenterGilbert and Sullivan Society, which this year celebrated its fortieth anniversaryas “America’s only theater company with its own law school.” And he dedicateshis work in I Do! I Do! to Grace Marshall, who said those words to him thirty-threeyears ago, and his cup has runneth over ever since.Tom Fuller (Musical Director) has been conducting and performing in musicalsand operettas since 1967, appearing in roles from Charlie Brown in You’re a GoodMan, Charlie Brown to Monostatos, the evil Moor, in The Magic Flute. He hasbeen Musical Director for The American Century Theater productions of Ladyin the Dark, archy & mehitabel, The Cradle Will Rock, Hollywood Pinafore, Dannyand Sylvia, Laughter at Ten O’ Clock, If Only in My Dreams (which he co-authored),One Touch of Venus, Call Me Mister, Hellzapoppin’, and Marathon ’33. He adaptedUncle Tom’s Cabin, created (with Jack Marshall) An American Century Christmas,appeared onstage in the most recent production of Moby Dick Rehearsed, and isthe general musical supervisor for all TACT shows.Quinn Anderson (Assistant Director) is an actress and singer who charmed DCarea audiences in musicals like The Sound of Music (as Maria), Kismet (Lalume),Me and My Girl (Sally), Candide (Cunegonda), Evita (Eva Peron), and many morebefore moving her career and her talents to New York City. Returning toNorthern Virginia several years ago, she has been the target of Director JackMarshall’s efforts to employ her talents on American Century Theater projectsalmost since the company was launched. Finally, he hit on the successfulincentive with an offer to assist him in the direction of the newly-imaginedversion of I Do! I Do!Rip Claassen (Costume Design) has directed, produced, and costumed for TheAmerican Century Theater, Natural Theatricals, Howard University, AmericanUniversity, Bowie State, and other local venues. He has taught theatre and actingat the Institute for the Arts for Fairfax County Public Schools, Duke EllingtonSchool of the Arts, and several other local theatre programs. Rip is ArtisticDirector of Teens ‘n’ Theatre Company and an artistic associate with TACT, wherehe recently directed J.B. and costumed Little Murders and Marathon ’33.

Kelly Anne Johns (Assistant Stage Manager) is a rising senior at George MasonUniversity, majoring in theatrical costume design. This is her first show with TheAmerican Century Theater.Patrick Lord (set design) This is Patrick’s fourth show at The American CenturyTheater. He previously designed sets for Little Murders, The Country Girl, and OneNight with Fanny Brice. Other DC Metro area designs have included We Fight WeDie (Junesong Productions) and the 2011 Source Festival. Patrick also servedas associate designer on The History of Invulnerability (Theater J), The LanguageArchive (Forum Theatre), and Birds of a Feather (The Hub Theatre). He holds a BFAin scenic design from Emerson College in Boston, MA, and is currently pursuinghis MFA at the University of Texas at Austin. More examples of his work can befound at www.patrickwlord.com.Lindsey E. Moore (Stage Manager) is thrilled to be kicking off her first evermusical with this new, re-imagined version of I Do! I Do! With The AmericanCentury Theater, she has been Stage Manager for Voodoo Macbeth, The Show-Off,Marathon ’33, and Stage Door; and Properties Designer for Biography. She workedin stage management in Roanoke, VA for shows including Antigone, The LaramieProject, and The Good Woman of Setzuan. Lindsey is a graduate of RoanokeCollege with a Bachelor of Arts in Theatre and Design.Edward Moser (Sound Design) is a regional audio-production veteran whosedesigns include Long Day’s Journey into Night, A Little Trick, Afterplay, and MasterHarold and the Boys (Quotidian Theatre), Amelia (a Kennedy Center Page-to-Stagereading), and A Christmas Carol, Underneath the Lintel, and Tuesdays with Morriefor Paul Morella. Favorite musical credits include Señor Discretion Himself (ArenaStage), Urinetown (University of Maryland), David in Shadow and Light (Theater J),and Godspell (Olney Theater Center). Favorite designs for The American CenturyTheater include Native Son, Treadwell: Bright and Dark, Visit to a Small Planet, TheCountry Girl, Little Murders, and Marathon ’33.Joshua Aaron Rosenblum (Properties Design) previously designed propertiesfor The American Century Theater production of J.B. He has appeared in TACTproductions as “Lusty” in Marathon ’33 and in Babes in Arms. Recent creditsinclude John Darling in Peter Pan: The Boy Who Hated Mothers (No Rules TheatreCompany) and performances with Synetic Theater, 1st Stage, and PotomacTheatre Company.David Walden (Lighting Design) is a long-time metropolitan-area lightingdesigner whose work has encompassed lighting for dance, opera, drama, andmusicals. David has a long association with Marshall/Fuller/TACT, includingdoing lights for such classics as Moby Dick Rehearsed, The Cradle Will Rock, andLady in the Dark. Most recently, he lit the TACT production of Marathon ’33.Trena Weiss-Null (Scenic Design) designed and built the sets for The AmericanCentury Theater productions of J.B., Life with Father, Dr. Cook’s Garden, The Titans,Happy Birthday, Wanda June, and Cops. She works as a director, designer, andtheatre teacher in professional, community, and educational venues and has aBachelor’s in Acting-Directing and Master’s in both Theatre and Education.Thank you to the many generous donors who provided support fromJune 1, 2012–June 30, 2013.Group Theater Goers ($5,000+)Arlington Commission for the ArtsVirginia Commission for the ArtsEstate of Rosemarie BowieProvincetown Players ($2,500–$4,999)Kevin and Jennifer McIntyreTheater Guilders ($1,000–$2,499)Anonymous (2)The Boeing CompanySeth Carus and Noreen HynesSteven R. Cohen and Mary McGowanDennis Deloria and Suzanne ThouvenelleVivian and Arthur KallenWendy and Bob KenneyEstate of Suzy PlattWes MacAdamPeri N. MahaleyConstance McAdamAndrew McElwaineAnn Marie PlubellVictor ShargaiMercury Theater Backers ($500–$999)John A. ActonCarl and Undine NashDonald Adams and Ellen MalandSheldon WallersteinRobert DuBoisMichael WyckoffJacqueline and Thomas MangerLiving Theater Lovers ($250–$499)James BertineIBM International FoundationRosemarie BowieLaurence A JarvikDavid W. Briggs and John F. Benton Robert KrubsackMarvin and Ellen CantorAngus and Sharon MacInnesKate DorrellMarjorie MayerDr. Coralie FarleeRichard and Dorothy MillerTracy FisherWilliam and Connie ScruggsFootlightsSusan and Ralph ShepardJames and Maria GentleDavid and Willa SiegelLou George and Ellen DempseyRobin Suppe-Blaney and John BlaneyLarry George and Brenda A. Pommerenke Frontis WigginsAlan Herman and Irene SzopoAudrey and Michael WyattAngela HughesThe Players ($100–$249)AARPCheryl Bailey andWilliam M. McClenahan, Jr.Jean and Richard BartonRon Bass and Linda AllenSally Beth BergerDavid and Janet BondMichael BoorsteinElizabeth BorgenMary BurrelliRebecca and Gene ChristyWendy CohenRay ConverseDaniel and Nancy CooperJoe CroninJudy Davis