WELCOME
M. LANCISI
It’s amazing to me that Everyman Theatre is celebrating it’s 35th anniversary. What an incredible journey it has been. From our early days as an itinerant company performing in borrowed spaces throughout Baltimore, to landing our first long term home on Charles Street where we produced plays for 16 wonderful years, to this gorgeous theatre which opened more than 12 years ago, Everyman has evolved, grown, stretched, and has become the beacon and home to some of our city’s finest theatre makers, artists, craftspeople, and audiences. Welcome to Everyman.
Opening our 35th anniversary season with August Wilson’s The Piano Lesson is fitting. We know August Wilson is among the finest of American playwrights, and his landmark play The Piano Lesson is already an American Classic. His body of work, including his ten plays chronicling African American life in the twentieth century, represent playwrighting of the highest order employing fascinating narrative, history, symbolism and visionary storytelling evoking a legacy of the struggles and joys that life has dealt to the people of his plays and beyond. And yet his plays resonate with all audiences. They are plays that surely will withstand the test of time and will remain important well into the future.
It is an honor to join our fellow theatre companies here in Baltimore by participating in the “August Wilson Celebration,” presenting all ten plays in his American Century Cycle in order. What an incredible undertaking and opportunity for all of us to treasure right here in our city. Although August Wilson’s plays, or most of them anyway, take place in Pittsburgh, they might just as well be set right here in Baltimore. They feel familiar, local, and authentic as if you could see them playing out in any number of neighborhoods in our great city. I hope you get a chance to see the rest of the plays in Mr. Wilson’s cycle. Learn more about it at bmoreaugustwilson.org
Enjoy the show!
Vincent M. Lancisi Founder, Artistic Director
OUR MISSION
Everyman Theatre provides transformative experiences through professional theatre that are welcoming, relevant, and affordable to everyone, featuring a Resident Company of Artists.
WE’RE GLAD YOU’RE
MANAGING DIRECTOR
MARISSA LAROSE
Welcome to the 35th season at Everyman!
One of the things I’m most inspired by is our dedication to crafting unique and authentic stories, productions, and programs from the ground up. It’s easy to see the artistry on stage carried out by our Resident Company and guest actors, but there’s even more behind the scenes to create the costumes and build the props – and design the ads, pitch the stories, and create student curriculum.
Every production you see on Everyman’s stage has been uniquely crafted for one-of-akind storytelling. The set didn’t come on a semi-trailer and isn’t going to the next big city after. It was designed and built for the Everyman stage by our incredibly talented staff of artists and artisans. The average production takes over 3,500 hours to design and build. To create a show like The Piano Lesson, our teams start working together 6-9 months in advance of performances, long before the actors begin rehearsing. The director and designers assemble and ideate to design a custom visual telling of the story. When designs are complete, our staff translates those designs to construction drawings, draped fabric and swatches, paint elevations, and light and sound plots – and the team gets to work fabricating.
Meanwhile our marketing team complements and amplifies the onstage storytelling – designing and creating graphics, show art, visual and audio ads, descriptions, taglines, and planning campaigns – spending over 2,000 hours on an average production. Patron Services prepares for audiences – prepping the lobby, seating, tickets, scheduling ushers, and crafting our custom show cocktails. The education team designs curriculum to correspond with the show, creates student study guides and coordinates partnerships. Philanthropy masterfully shares the story of creating the show and hosts donors at rehearsals. Finance processes invoices and sets up over 100 employees a year on our payroll.
There is so much creativity radiating in these walls on a regular basis – it’s our incredibly talented staff of artisans crafting from the ground up every day that makes Everyman truly Built in Baltimore.
Marissa LaRose Managing Director
AUGUST WILSON'S THE PIANO LESSON
Directed by Paige Hernandez
CAST
BOY WILLIE
RJ BROWN
MARETHA (alternating)
PAYTON CROSIER
MECCA ROGERS
LYMON
LOUIS E. DAVIS
AVERY
MACK LEAMON
WINING BOY
KENYATTA ROGERS
BERNIECE
CHINAI ROUTTÉ
DOAKER
JEFFERSON A. RUSSELL
GRACE
MECCA VERDELL
RUNTIME: Approximately 2 hours and 30 minutes plus one 15-minute intermission.
SETTING: 1930s Pittsburgh, PA.
Resident Company Member
The Cast and Stage Manager are members of the Actors' Equity Association.
AUGUST WILSON'S "The Piano Lesson" is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. www.concordtheatricals.com
CREATIVES
SET DESIGN
DANIEL ETTINGER
COSTUME DESIGN
DAVID BURDICK
LIGHTING DESIGN
ALBERTO SEGARRA
SOUND DESIGN
DAVE REMEDIOS
WIG DESIGN / HAIR CONSULTATION
DENISE O'BRIEN
FIGHTS & INTIMACY
GERRAD ALEX TAYLOR
DRAMATURGY
ROBYN QUICK
STAGE MANAGER
HANNAH LOUISE JONES
PIANO RECORDINGS
WILL LEBOW
QUINCY PHILLIPS
This production is sponsored by & Paco and Tina Rodriguez
The videotaping or making of electronic or other audio and/or visual recordings of this production and distributing recordings or streams in any medium, including the internet, is strictly prohibited, a violation of the author(s)’s rights and actionable under united states copyright law. For more information, please visit: https://concordtheatricals. com/resources/protecting-artists
Wilson's The Piano Lesson (2025)
CAST BIOS
RJ BROWN [he/him] (BOY WILLIE) [EVERYMAN THEATRE]: Primary Trust [TV/FILM]: He has worked extensively in television and film with select credits that include: 13 Reasons Why, The Carrie Diaries, The Frontrunner, The Equalizer, and The Blacklist, Poker Face. Recently, he can be found in the feature film Parasomnia premiering later this year. [NEW YORK] Manhattan Theater Club: King James; Ensemble Studio Theater: Mope. [REGIONAL]: Studio Theater: Suzanne Lori Parks' White Noise; in addition to numerous productions at St. Louis's The Muny. [EDUCATION]: BFA, University of Michigan Ann Arbor. He would like to dedicate this performance to his beautiful wife.
PAYTON CROSIER [she/her] (MARETHA) [REGIONAL]: Empowerment Academy: The Grinch, The Lion King Jr., Annie Jr.; Arena Players: The Jungle Book, The Lion King Jr, The Wiz; First Baptist Church of Glenarden: Someway Somehow. [EDUCATION]: Everyman Theatre, Arena Players, Baltimore School for the Arts (TWIGS).
LOUIS E. DAVIS [he/him] (LYMON) [EVERYMAN THEATRE]: Primary Trust [REGIONAL]: Mosaic Theater Co: Monumental Travesties (Chance), Bars & Measures (Bilal) & Charm (Donnie); Olney Theatre Center: Dance Nation (Luke); WSC Avant Bard: Topdog/Underdog (Booth) [2020 Helen Hayes Award for Outstanding Lead Performer in a Play]; Theater Alliance: Word Becomes Flesh (Ensemble) & Dontrell Who Kissed the Sea (Robby); Folger Theatre: The Merry Wives of Windsor (Host) & Second Shepard’s Play (Ensemble); Solas Nua: The Frederick Douglass Project (Ensemble); Imagination Stage: The Freshest Snow Whyte (Pop Lock). [TV]: We Own This City (HBO). [EDUCATION]: BFA Theater Arts, Howard University; [INSTAGRAM]: @thekid_kinglou
MACK LEAMON [he/him] (AVERY) [REGIONAL]: Arena Stage: A Raisin in the Sun; Vortex Theatre: Jitney; Dominion Stage: King Hedley II; Providence Players of Fairfax: Playing Juliet/Casting Othello; Peace Mountain Theater: Radio Golf; Little Theatre of Alexandria: Fences; Strand Theater Co: Detroit ’67; The Finest Performance Foundation: Heard it Through the Grapevine – Motown Moments Tribute; Spotlighters Theatre: Two Trains Runnin’; Port City Playhouse: Coming Home, Stick Fly, Blues for an Alabama Sky; Castaways Repertory Theater: A Raisin in the Sun; DC Fringe Festival: The Big A – Scenes from a Vanishing Landscape. [EDUCATION]: BA Lincoln University.
CAST BIOS
KENYATTA ROGERS [he/him] (WINING BOY) [EVERYMAN THEATRE]: Topdog/Underdog, A Raisin in the Sun. [REGIONAL]: Ford’s Theatre: Fences, Death of a Salesman, Jitney; Round House Theatre: The Tempest, Gem of the Ocean, Father Comes Home from the Wars, Two Trains Running, Glengarry Glen Ross, Amadeus, A Wrinkle in Time, Eurydice, A Lesson Before Dying; Arena Stage: King Hedley II, Ma Rainey’s Black Bottom; Baltimore Center Stage: Tiny Beautiful Things, Our Town; Woolly Mammoth: Fever/Dream, Rocket to the Moon; Olney Theatre Center: Colossal, Venus; Folger Theatre: Comedy of Errors. Theatre Alliance: Insurrection…Holding History [EDUCATION]: MFA Acting, University of Pittsburgh, BA English, Clark Atlanta University. [TEACHING]: University of Maryland School of Theatre, Dance, and Performance Studies.
MECCA ROGERS: [she/her] (MARETHA) [REGIONAL]: Ford’s Theatre: Fences. In Series: From U Street to the Cotton Club. [VOICEOVER/TV/FILM]: Graphic Audio, Ford’s Theatre, DC Office of Television, Film, Media, and Entertainment. [EDUCATION]: DC International School.
CHINAI ROUTTÉ [she/her/QUEEN] (BERNIECE) [EVERYMAN THEATRE]: (Resident Company Member): POTUS: Or Behind Every Great Dumbass Are Seven Women Trying To Keep Him Alive; You Can’t Take It With You. [OFF BROADWAY]: Rattlestick Theater: Room Enough (For Us All); Fire This Time Festival: Dream Awake and Room Enough. [REGIONAL]: Cleveland Playhouse and Round House Theatre: The Trip to Bountiful; Alliance Theatre and Alabama Shakespeare Festival: The Nacirema Society Requests the Honor of Your Presence at a Celebration of Their First One Hundred Years; Alliance Theatre: In the Red and Brown Water; 14th Street Playhouse: For Colored Girls…; First Stage: Don’t Tell Me I Can’t Fly. [FILM]: The Day Before Christmas; I Never Said Goodbye; The Sound of Light; Air Junie; Process; St. Peter Street. [EDUCATION]: Stillman College. Love & Light GCR.
CAST BIOS
JEFFERSON A. RUSSELL [he/him] (DOAKER) [EVERYMAN THEATRE]: Resident Company Member): Primary Trust, Crumbs from the Table of Joy, Jump, The Lion in Winter, Sense and Sensibility, The Skin of Our Teeth, Flyin’ West, Pipeline, Agatha Christie’s Murder on the Orient Express, Aubergine, The Soul Collector, Gem of the Ocean, Someone Who’ll Watch Over Me, Hedda Gabler, Blues for an Alabama Sky, Heathen Valley. [REGIONAL]: American Stage Theatre: Fat Ham, Chesapeake Shakespeare Co.: Joe Turner’s Come and Gone; Signature Theatre: Daphne’s Dive; American Players Theatre: The Recruiting Officer, Our Country’s Good; Olney Theatre: Aubergine; Milwaukee Rep: Two Trains Running; Baltimore Center Stage/Cincinnati Playhouse: Shakespeare in Love; Ford’s Theatre: Fences, Ragtime; Pioneer Theatre Co: Fences; Cincinnati Playhouse: A Christmas Carol, Two Trains Running, Jitney; Marin Theatre Co: Fetch Clay Make Man, The Convert; Dallas Theatre/Goodman Theatre: Trinity River Plays; Hangar Theatre: The Piano Lesson; Round House: Father Comes Home From The Wars, Two Trains Running, Ironbound, Fahrenheit 451, Amadeus; Woolly Mammoth: Clybourne Park; Arena Players: The Meeting, Flyin’ West; Rep Stage: Sunset Baby; Folger: The Tempest; Gulfshore Playhouse: Race; [NATIONAL TOURS]: Kennedy Center: Harlem, Color Me Dark; [EDUCATION]: Hampton University, BA, (Sociology/Criminal Justice), GWU: MFA, Academy of Classical Acting. He is a former Baltimore police officer and a founding member of GALVANIZE, a network for Artists of Color.
MECCA VERDELL [she/her](GRACE): [EVERYMAN THEATRE]: Debut. [REGIONAL]: Chesapeake Shakespeare Company: Joe Turner's Come and Gone (Molly Cunningham), Romeo and Juliet (Juliet), Macbeth (Porter, Witch, Murder). Artscentric: For Colored Girls (Lady in Red). [AWARDS]: Internationally winning spoken word artist: Brave New Voices, Cuban Embassy Poetry Slam.
MEET THE DIRECTOR PAIGE HERNANDEZ
PAIGE HERNANDEZ [she/her] (DIRECTOR) [EVERYMAN
THEATRE]: (Resident Company Member, Associate Artistic Director): is a multidisciplinary artist who has over two decades of experience in arts administration, creating new works, directing, producing and performing. Her journey at Everyman spans twenty years with performing or directing in more than a dozen shows including the Queens Girl trilogy, Dinner and Cake and Crying on Television. She is the recipient of an Individual Artist Award from the Maryland State Arts Council as well as four Helen Hayes nominations for choreography, directing and performance. Paige has also been named a “classroom hero” by The Huffington Post, a “Citizen Artist Fellow” with the Kennedy Center, “40 under 40” by the Washington Post and one of “Six Theatre Workers You Should Know” by American Theatre Magazine. Her work on inclusive spaces and theatre-based trauma informed practices has received international acclaim and garnered her such acknowledgement as the inaugural Victor Shargai Leadership Award and a repeat keynote speaker and presenter for Disney. In 2023, Paige was appointed to the Maryland State Arts Council by Governor Wes Moore. Paige was recentl-y named one of the Top 5 Most Produced Artists for Theatre for Young Audiences. She is elated to be the Associate Artistic Director of Everyman Theatre in her hometown of Baltimore, MD. With her company B-FLY ENTERTAINMENT, Paige continues to develop and tour original work internationally.
MEET THE PLAYWRIGHT
AUGUST WILSON
AUGUST WILSON (April 27, 1945 – October 2, 2005) authored Gem of the Ocean, Joe Turner’s Come and Gone, Ma Rainey’s Black Bottom, The Piano Lesson, Seven Guitars, Fences, Two Trains Running, Jitney, King Hedley II, and Radio Golf. These works explore the heritage and experience of African-Americans, decade-by-decade, over the course of the twentieth century. His plays have been produced at regional theaters across the country and all over the world, as well as on Broadway. In 2003, Mr. Wilson made his professional stage debut in his one-man show, How I Learned What I Learned. Mr. Wilson’s works garnered many awards including Pulitzer Prizes for Fences (1987); and for The Piano Lesson (1990); a Tony Award for Fences; Great Britain’s Olivier Award for Jitney; as well as eight New York Drama Critics Circle Awards for Ma Rainey’s Black Bottom, Fences, Joe Turner’s Come and Gone, The Piano Lesson, Two Trains Running, Seven Guitars, Jitney, and Radio Golf. Additionally, the cast recording of Ma Rainey’s Black Bottom received a 1985 Grammy Award, and Mr. Wilson received a 1995 Emmy Award nomination for his screenplay adaptation of The Piano Lesson. Mr. Wilson’s early works included the one-act plays The Janitor, Recycle, The Coldest Day of the Year, Malcolm X, The Homecoming and the musical satire Black Bart and the Sacred Hills.
Mr. Wilson received many fellowships and awards, including Rockefeller and Guggenheim Fellowships in Playwrighting, the Whiting Writers Award, 2003 Heinz Award, was awarded a 1999 National Humanities Medal by the President of the United States, and received numerous honorary degrees from colleges and universities, as well as the only high school diploma ever issued by the Carnegie Library of Pittsburgh. He was an alumnus of New Dramatists, a member of the American Academy of Arts and Sciences, a 1995 inductee into the American Academy of Arts and Letters, and on October 16, 2005, Broadway renamed the theater located at 245 West 52nd Street - The August Wilson Theatre. Additionally, Mr. Wilson was posthumously inducted into the Theater Hall of Fame in 2007.
Mr. Wilson was born and raised in the Hill District of Pittsburgh, Pennsylvania and lived in Seattle, Washington at the time of his death. He is immediately survived by his two daughters, Sakina Ansari and Azula Carmen Wilson, and his wife, costume designer Constanza Romero.
AUGUST WILSON’S TRANSFORMATIVE HISTORICAL REVISIONS: A Conversation with Dramaturg Khalid Long
Everyman Theatre’s production of The Piano Lesson is presented as part of the Baltimore August Wilson Celebration. Resident dramaturg, Robyn Quick, talks with the celebration’s dramaturg Khalid Long about the city-wide presentation of Wilson’s American Century Cycle, the powers of August Wilson, and The Piano Lesson.
RQ: Several theatre companies, including Baltimore’s Center Stage, have produced all ten plays that August Wilson wrote to chronicle African American life in the twentieth century. But this is the first such effort by multiple members of a theatre community. Can you talk about the vision behind the Baltimore August Wilson Celebration and why Baltimore is a fitting place for a collaborative project to produce these plays?
KL: Although each play in Wilson’s ten-play American Century Cycle, except for Ma Rainey’s Black Bottom, which is set in Chicago, is set in Pittsburgh, Pennsylvania, Wilson viewed his work as a 400-year-old autobiography that documented the African American experience beyond Pittsburgh. African Americans, no matter where they are from, can watch a Wilson production and see themselves, their history, and their lived experiences reflected on stage. Bringing all 10 plays to Baltimore is a way to honor Black history and culture, especially today when anti-Blackness is widespread and continues to devalue Black people across every sector of society, from education to the arts. Therefore, for Baltimore’s performing arts community to stage Wilson’s complete works demonstrates a dedication to Black people, who comprise the majority of the city’s population.
RQ: Prior to being invited to serve as the dramaturg of the Baltimore August Wilson Celebration, much of your scholarship and teaching as a university professor has centered around Wilson’s writing. What draws you to his plays?
KL: For some time now, I have been deeply interested in how playwrights use history as a backdrop for their plays. In other words, I research and write about playwrights who document history through performance, particularly histories that have been omitted from traditionally written (historical) texts. To quote scholar Joyce Scott Hope, “Wilson’s plays are transformative historical revisions that serve to impact the collective African American and national memory.” Other playwrights have done this type of revisionist and reparative work through drama, however, August Wilson is a leader in this effort. I often teach Wilson and other playwrights through this framework because I want students to see theatre as something beyond mere entertainment, and for marginalized communities, theatre is a practical means of expression and enlightenment. And, for me, Wilson is a playwright whose work centers on a commitment to social change through reflection – a reflection of what was that helps to determine and shape the future.
RQ: For those audience members who may be hungry to learn more about Wilson, I invite you to share the news of your latest publication on the playwright.
KL: Ahh, YES! Alongside my brilliant co-editor, Dr. Isaiah Matthew Wooden, I just published a critical anthology, August Wilson in Context, with Cambridge University Press. It is one of the more recent scholarly studies focused on Wilson and his American Century Cycle. The book features 30 chapters with fresh insights from some of today’s leading scholars of American theatre that highlight how Wilson remains relevant to American theatre today. My co-editor and I worked hard to make the book accessible to those new to his dramas, as well as to scholars who regularly study and teach Wilson.
RQ: Let us attend to Wilson’s transformative historical revisioning in The Piano Lesson. Joyce Scott Hope points to the function in the play of the piano itself, not only as a family artifact, but also as an archive of the history and legacy of slavery. How do you see The Piano Lesson as opening up questions about how we are to understand and engage with this legacy?
KL: The Piano Lesson encourages audiences to reflect on how the legacy of American slavery has impacted the characters, both personally and collectively. While the main characters, Boy Willie and Berniece, brother and sister, contemplate what to do with a piano that has been in their family for three generations since their ancestors were enslaved, the play's primary focus is on the burden of slavery that descendants of enslaved Blacks have had to bear. As the play is set in 1936, Boy Willie and Berniece are, to some degree, removed from the period of enslavement that their ancestors faced, and yet, they are faced with the task of remembering and honoring the past. In this respect, Wilson’s plays can be considered what scholar Patrick Maley, has referred to as neo-slave narratives. In his scholarship, Maley has suggested that neo-slave literature illustrates the legacy of slavery within contemporary literature, thereby showing the relationship between modern culture and ancestors who were once enslaved. In this vein, Wilson explores the legacy of slavery as a means to probe its impact rather than offering a solution for what to do with it. What we witness, then, is brother and sister brooding over a cultural heritage that is both wounding and impactful.
RQ: Another way that the past is present in The Piano Lesson is through expressions of spirituality, which theatre historian Harry Elam has referred to as “memory codes” that resurrect and reconnect “African and African American past with the present, forging a way, for the future.” How do you see the spirituality in The Piano Lesson as reflecting this dynamic?
KL: In all of his plays, Wilson questions traditional practices of spirituality, especially Christianity. This does not mean that Christianity is absent from his plays. On the contrary, we see characters like Rose in Fences and Avery in The Piano Lesson practicing conventional religious values. However, Wilson also challenges traditional Christian dogma by incorporating African-derived spiritual practices into his plays, thereby connecting his characters to an Africanist past. The relationship Wilson’s characters have with the Africanist, past, however, is not static, but rather functional. A great example of this occurs toward the end of The Piano Lesson, when Berniece finally plays the piano and, in doing so, summons the spirits of her ancestors. The piano itself serves as a link to the past, as the carvings depict the history of the Charles family. Thus, when Berniece plays the piano, she not only recalls the family by calling out their names, but she also explicitly asks them to help exorcise Sutter’s ghost. In summoning her ancestors, Berniece demonstrates the importance of staying connected to the past, for they are guardians who may protect the current generation. This scene exemplifies the profound significance of African spiritualism and its profound influence on African American culture, which is a prominent feature in Wilson’s dramas.
RQ: What do we have to look forward to in the rest of the August Wilson Celebration?
KL: One of the benefits of the August Wilson Celebration is that the people of Baltimore get the chance to see all 10 plays in the American Century Cycle in order. For some, this will be like watching a documentary of African American history live. That's a real treat! I do want to add, however, that each play stands on its own. So, one does not have to see the cycle in its entirety to grasp the magnitude of Wilson’s brilliant and poetic writing. Besides the performances, audiences can participate in workshops, post-show discussions, and other events that help deepen their understanding of Wilson’s work.
BIBLIOGRAPHY
Elam, Harry Justin. The Past as Present in the Drama of August Wilson. University of Michigan Press, 2009. Joyce Scott Hope, “’Emancipated Century’: Remapping History, Reclaiming Memory in August Wilson's Dramatic Landscapes of the 20th Century” in August Wilson's Pittsburgh Cycle: Critical Perspectives on the Plays. ed. Sandra G. Shannon. Jefferson, North Carolina: McFarland & Company, Inc., Publishers, 2016.
PAPA BOY CHARLES (b. 1795)
MAMA OLA (b. 1876)
BOY WILLIE (b. 1906)
MAMA ESTER (b. 1802)
PAPA BOY WILLIE (b. 1819) the wood sculptor
ORIGIN: Sunflower County AT PRESENT: Pittsburgh, 1936
MAMA BERNIECE (b. 1826) sold for piano
PAPA BOY WALTER (b. 1847) sold for piano at age 9
BOY CHARLES (b. 1879)
BERNIECE (b. 1879)
MARETHA (b. 1925)
WINING BOY (b. 1880)
NELLIE (b. 1855)
DOAKER BOY (b. 1881)
CRAWLEY (b. 1896)
Playbill. The Piano Lesson. Walter Kerr Theatre. 16 April 1990. https://playbill.com/production/the-piano-lesson-walter-kerr-theatre-vault-0000010056
MAMA
JOIN
US IN THE
CITYWIDE CELEBRATION OF THE LEGACY OF AUGUST WILSON
Each play represents a decade, offering a vivid narrative of the African-American experience throughout the twentieth century. Despite its potential, staging all of Wilson’s plays in chronological order has never been realized — until now.
Vincent M. Lancisi, Founder, Artistic Director | Marissa LaRose, Managing Director
EVERYMAN THEATRE: THE FOUNDATIONS OF
BUILDINGS WE’VE CALLED HOME
From the time Everyman Theatre first arrived in Baltimore in 1990, we’ve maintained the core values of people, community, and excellence while producing theatre of the highest artistic standards.
SCAN for additional ways to support Everyman Theatre.
As we celebrate our 35th Anniversary, we invite you to share some memories of the integral chapters in our ongoing story. Join us as we continue the legacy.
1990 ST. JOHN'S CHURCH
Everyman Theatre’s journey of delivering Great Stories, Well Told began with its first production
– The Runner Stumbles – in the winter of 1990 at Saint John’s Church in Charles Village Baltimore.
A CAREER BUILT TO LAST
The Runner Stumbles starred Kyle Prue, who joined the company with this first show and is presently one of Everyman’s longest tenured executives, currently serving as Producing Director in addition to roles onstage (like this season's 'ART').
1994 A PLACE OF OUR OWN
In 1994, our founder, Vinny Lancisi, found a dedicated space for Everyman when it moved into 1727 North Charles Street, which would become the Theatre’s home for 18 years as the organization began to gain prominence in the Baltimore theatre scene.
In January 2013, Everyman Theatre moved into Baltimore’s historic Empire Theatre building at 315 W. Fayette Street with the record-breaking production of the Pulitzer Prize-winning drama, August: Osage County.
Vincent M. Lancisi, Founder, Artistic Director | Marissa LaRose, Managing Director
CREATIVE TEAM BIOS
DAVID BURDICK (Costume Design) [EVERYMAN THEATRE]: (Resident Costume Designer) Recent highlight's include The Mystery of Irma Vep: A Penny Dreadful, And Then There Were None, POTUS, A Midsummer Night’s Dream, The Book Club Play, Dial M For Murder, Harvey, Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery, The Lion in Winter, Sense and Sensibility, Behold, A Negress, The Skin of Our Teeth, Flyin West, Steel Magnolias, An Almost Holy Picture, Agatha Christie’s Murder on the Orient Express, and over 20 more productions.
[OFF-BROADWAY]: 59E59: The Lucky Star. [REGIONAL]: Baltimore Center Stage: A Wonder in My Soul, Looking Glass Alice, Jazz, Amadeus, Next to Normal, Animal Crackers, The Final Strange Tale of Edgar Allen Poe, An Enemy of the People, The Rivals, Caroline or Change, Mrs. Warren’s Profession, Private Lives, Les Blancs, The Piano Lesson, Picnic, and others. Olney Theatre Center: The Diary of Anne Frank [OPERA]: Boston Lyric Opera: I Puritani. Cincinnati Opera: Don Giovanni. Tulsa Opera: Tosca, Carmen, The Barber of Seville, Fidelio. Eastman School of Music: The Rape of Lucretia. Dayton Contemporary Dance: Lyric Fire [OTHER]: Baltimore Symphony Orchestra: Holiday Spectacular.
DANIEL ETTINGER (Set Design) [EVERYMAN THEATRE]: (Resident Set Designer): Recent highlights include THE MYSTERY OF IRMA VEP: A PENNY DREADFUL, Queens Girl: Black in the Green Mountains, POTUS, A Midsummer Night’s Dream, Dial M for Murder, The World Goes ‘Round, Jump, Crying on Television, Behold, A Negress, The Skin of Our Teeth, Everything is Wonderful, The Importance of Being Earnest.
[OFF-BROADWAY]: 59E59: The Lucky Star; The Blue Angel Theatre: Pageant; Roundabout Theatre Company: A Man For All Seasons, Room Service; The York Theatre Company: Talley’s Folly, Luv. [REGIONAL]: Woolly Mammoth: You for Me for You, Eclipsed, Vigils, Recent Tragic Events, Kiki and Herb, Starving, The Mineola Twins; Olney Theatre Company: Annie, Mary Poppins, The Piano Lesson, Bakersfield Mist;
Rep Stage: Falsettos, All She Must Posses, Dorian’s Closet, H2O, Venus in Fur, Mrs. Warren’s Profession; Barter Theatre: Hamlet, Thoroughly Modern Millie, She Loves Me, and over 100 other productions.
ALBERTO SEGARRA (Lighting Design) [DMV]: Mosaic Theatre: Andy Warhol in Iran; Theatre J: Your Name Means Dream, Studio Theatre: The Scenarios, Folger Theatre: Romeo & Juliet; 1st Stage: The Nance (Helen Hayes nomination); Solas Nua: The Honey Trap (Helen Hayes Award); Kennedy Center/Theatre Alliance: Look Both Ways (Helen Hayes nomination); Olney Theatre Center: The Joy That Carries You (Helen Hayes nomination); Theatre Alliance: Blood at the Root (Helen Hayes Award). [REGIONAL]: Alley Theatre: Baskerville: A Sherlock Holmes Mystery, Maltz Jupiter Theatre: The Lehman Trilogy, Cleveland Playhouse: What the Constitution Means to Me, Alliance Theatre: Business Ideas, Village Theatre: Camelot: The Musical.
VINCENT M. LANCISI (Founder, Artistic Director) founded EVERYMAN THEATRE in October of 1990 and has directed 58 productions including Edward Albee's Who's Afraid of Virginia Woolf?, Dial M For Murder, The Sound Inside, The Lion in Winter, Cry It Out, Agatha Christie’s Murder on the Orient Express, Dinner With Friends, Sweat, Aubergine, M. Butterfly, Noises Off, Dot, Death of A Salesman, Under the Skin, Blithe Spirit, Deathtrap, Tribes, The Glass Menagerie, The Beaux’ Stratagem, August: Osage County, You Can’t Take It With You, Stick Fly, All My Sons, Two Rooms, Rabbit Hole, The Cherry Orchard, Doubt, Much Ado About Nothing, The Cone Sister, And a Nightingale Sang, The School for Scandal, A Number, Amadeus, Cat on a Hot Tin Roof, Buried Child, The Last Night of Ballyhoo, A Delicate Balance, Hedda Gabler, Proof, Uncle Vanya and The Last Five Years. As a freelance director, he directed True West for Rep Stage in Columbia, MD. In addition to his work at Everyman, he has taught acting and
directing at Towson University, University of Maryland, Catholic University, Howard Community College, and at Everyman Theatre. He is a member of the Society of Stage Directors and Choreographers. Vincent sits on the boards for the Bromo Tower Arts & Entertainment District and the Market Center Merchants Association. Vincent holds his undergraduate degree in Theatre from Boston College and his master’s degree in Directing from The Catholic University of America.
DAVID REMEDIOS (Sound Design) [EVERYMAN THEATRE]: Berta, Berta. [RECENT]: TheaterWorks Hartford and Theater J: Your Name Means Dream; Merrimack Repertory Theatre: What You Are Now, Lady Day…,The Search for Signs of Intelligent Life…; Commonwealth Shakespeare Company: A Christmas Carol, The Winter’s Tale; 59E59: Redeemed; Contemporary American Theater Festival: Tornado Tastes Like Aluminum Sting; INTAR: The Hours Are Feminine [REGIONAL]: Northern Stage, Arizona Theatre Company, Huntington Theatre, Portland Stage, City Theatre, Alley Theatre, Trinity Rep, Geva, American Repertory Theatre, CenterStage, Theatre for a New Audience, among many others. [AWARDS]: Elliot Norton, Independent Reviewers of New England, Connecticut Critics Circle. remediossound.com.
GERRAD ALEX TAYLOR (Fights & Intimacy) is an award-winning director and Head of the BFA-Acting Program in the Department of Theatre at the University of Maryland, Baltimore County. In 2024, Gerrad joined colleague Lizzi Albert to take on the roles of Co-Artistic Directors of Perisphere Theater in Montgomery County, MD. Recent Fight and Intimacy Direction includes [REGIONAL]: Studio Theatre: Fat Ham; Arena Stage: The High Ground; Chesapeake Shakespeare Company: Joe Turner’s Come and Gone, Macbeth, The Oresteia.Other Directing credits include [EVERYMAN THEATRE]: (Script Tease): Glitter in the Glass. [REGIONAL]: Perisphere Theater: The America Play, Time Is On Our Side; Washington Stage Guild: My Children! My Africa!; Chesapeake Shakespeare Company: Romeo and Juliet, Dracula, A Midsummer Night’s Dream.
August Wilson's The Piano Lesson (2025)
DENISE O’BRIEN (Wig Design) [EVERYMAN THEATRE]: Over 20 productions, highlights include: THE MYSTERY OF IRMA VEP: A PENNY DREADFUL, Who's Afraid of Virginia Woolf?, The Book Club Play, Crumbs from the Table of Joy, Dial M For Murder, The Chinese Lady, Harvey, Sense and Sensibility, The Skin of Our Teeth, Steel Magnolias, Berta, Berta, Radio Golf, The Importance of Being Earnest, Everything is Wonderful, Intimate Apparel, Long Days Journey into Night, and more. [REGIONAL]: Baltimore Center Stage: Pride and Prejudice, Amadeus, Animal Crackers, Into The Woods, Matchmaker, Poe: Yale Repertory Theatre: The Moors, Peerless, A Streetcar Named Desire, A Winter’s Tale, These!Paper!Bullets!, Dear Elizabeth, War, Arcadia, Hamlet, Pop, Notes From Underground, Black Dahlia, Eurydice: Helen Hayes Theatre: The 39 Steps: Hartford Stage: Summer And Smoke, 8 x Tenn: The Long Wharf Theatre: Front Page, Private Lives, We Won’t Pay, Travesties, Ain’t Misbehavin’: McCarter Theatre: Uncle Vanya, Phaedra Backwards, She Stoops To Conquer, Mrs. Warren’s Profession: The Public: Measure for Measure: Shakespeare Theatre (DC): Hamlet, King Lear: University Of DE Rep Theatre: To Kill a Mockingbird, Wait Until Dark, Heartbreak House, Millionaires, The Patsy: Westport Playhouse: She Loves Me. Winner of the 2001 Eddy Award for Design Excellence for Seattle Opera’s production of Wagner’s Ring Cycle. Honored by the Daytime Emmy Awards for contributions to the Emmy Award Winning Achievement for Hairstyling Un Ballo In Maschera, PBS. MiddleMarch Films: Dolly Madison, America’s First Lady, PBS.
ROBYN QUICK (Dramaturgy): [EVERYMAN THEATRE]: (Resident Dramaturg): Recent highlights include: The Revolutionists, Everything is Wonderful, Sense and Sensibility, The Lion in Winter, A Doll’s House, Crumbs from the Table of Joy, A Midsummer Night’s Dream, POTUS, Who’s Afraid of Virginia Woolf, and The Mystery of Irma Vep. She has also worked as a dramaturg for the Baltimore Shakespeare Festival, Playworks, and the New Russian Drama Festival. Robyn Quick has
presented at numerous national and international conferences, and has been published in American Theatre, The New England Journal of Theatre, Slavic and East European Performance, Theatre Studies, and the Routledge Companion to Dramaturgy. Her dramaturgy has been recognized by the Literary Managers and Dramaturgs of the Americas with the Elliot Hayes Award for Excellence in Dramaturgy and by the Kennedy Center American College Theatre Festival with the Gold Medallion. [TEACHING]: While serving as a Senior Fulbright Scholar in Russia, she taught at the Russian State University for the Humanities and directed at the Playwright and Director Center in Moscow. She is a professor in the Department of Theatre Arts at Towson University. [EDUCATION]: She holds a Ph.D. in theatre studies from the University of Michigan.
HANNAH LOUISE JONES (Stage Manager) is delighted to return to her hometown of Baltimore and Everyman in a new way for this stunning play. Select stage management credits include: My Black Job Productions/ The Tank; Lot #18; Ars Nova: The Lesson [NEW YORK STAGE AND FILM]: The Ninth Woman, The Heart. She is a recent MFA graduate of the David Geffen School of Drama, where her credits included Ain’t No Mo’, Cactus Queen, The Misanthrope and Furlough’s Paradise. She thanks her incredible family and friends for their love and support.
AUGUST WILSON'S THE PIANO LESSON PRODUCTION STAFF
ASSISTANT STAGE MANAGER
Tiffany Ko
PRODUCTION ASSISTANT/ YOUNG ACTOR SUPERVISOR
Lanoree Blake
CARPENTERS
Charlie Woods
Jupiter Lam-Bright
Charles Whittington
ELECTRICIANS
Griffin DeLisle
Melissa Martinez
Max Simon
Maya Strauss
Martin Sundiata
Peri Walker
LIGHT BOARD
PROGRAMMERS
Maisie Stone
LIGHT BOARD OPERATORS
Melissa Martinez
Maisie Stone
PROJECTIONS
PROGRAMMER
Marcus Maia
SOUND BOARD OPERATOR
Martin Sundiata
SOUND/VIDEO TECHNICIAN
Charley Gray
WARDROBE SUPERVISOR
Lucy Haag
RUN CREW
Sharon Zheng
ASSISTANT COSTUME DESIGNER
Ben Argenta Kress
COSTUME ASSOCIATE
Amy Forsberg
This Theatre 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.
The director is represented by Stage Directors and Choreographers Society.
The set, lighting, and sound designers are represented by United Scenic Artists, Local USA 829 of the IATSE.
EVERYMAN THEATRE RESIDENT COMPANY
ACTORS
Megan Anderson
Felicia Curry
Deborah Hazlett
Helen Hedman
Paige Hernandez
Beth Hylton
Hannah Kelly
Katie Kleiger
Wil Love
ARTISTS
Tony Nam
Bruce Randolph Nelson
Tuyết Thị Phạm
Zack Powell
Kyle Prue
Chinai Routté
Jefferson A. Russell
Carl Schurr
Yaegel T. Welch
Daniel Ettinger | Scenic Design
David Burdick | Costume Design
Harold F. Burgess II | Lighting Design
Pornchanok Kanchanabanca | Sound Design
Gary Logan | Dialects
Lewis Shaw | Fights & Intimacy
Cat Wallis | Stage Management
Robyn Quick | Dramaturgy
WHY DO WE HAVE A RESIDENT COMPANY?
Only a handful of theatres nationwide feature an ensemble of professional actors that perform regularly each season. They are the core of Everyman Theatre. Because of their distinctive familial bond, history and trust of each other, company members can jump deeply into meaningful relationships onstage. Our artists push each other to deliver the highest caliber of work.
Learn more about our Resident Company members by visitng everymantheatre.org or scanning the QR code.
Actors pictured in order listed below.
BOARD OF DIRECTORS
Everyman Theatre is governed by a dedicated group of community volunteers, our Board of Directors.
EXECUTIVE COMMITTEE
W. Bryan Rakes, President
Mark Paul Lehman, Vice President
Donald Thoms, Secretary
Walter Doggett III, Treasurer
Meadow Lark Washington, CARES Chair Vic Romita, Appointee
DIRECTORS
Anthony Evans
Christian Ventimiglia
Christopher Uhl
Deborah Jennings
Dorothy H. Powe
Drew Tildon Reis
Edie Brown
Eileen O’Rourke
Ellie Wang
Gina Hirschhorn
Jennifer Litchman
Larry Fishel
Leland Shelton
Lisa Harris Jones
Marissa LaRose
Marjorie McDowell
Mark Yost
Michael Styer
Sandy Laken
Sarasi Desikan
Sandra Levi Gerstung
Susan Flanigan
Tony Nam
Vincent M. Lancisi
GOVERNMENT, FOUNDATIONS, FUNDS AND CORPORATIONS
Gifts listed here support were received between April 1, 2024 and July 31, 2025.
VISIONARY $50,000+
Paul M. Angell Family Foundation
Baltimore County Commission on Arts and Sciences
Downtown Partnership of Baltimore France-Merrick Foundation
Gallagher, Evelius & Jones, LLP
Maryland Department of Education
Maryland Department of Housing and Community Development
Maryland Department of Labor
Maryland State Arts Council
Mayor Brandon M. Scott & The Mayor’s Office of Recovery Programs
The Shubert Foundation
William G. Baker, Jr. Memorial Fund creator of the Baker Artist Awards, www.bakerartistawards.org
SEASON PRODUCER
$25,000–$49,999
Bertoli-Mansfield Fund
David and Barbara B Hirschhorn Foundation
Galanthus Foundation
Jacob and Hilda Blaustein Foundation Inc.
RESIDENT COMPANY
SPONSOR
$10,000 - $24,999
Abell Foundation, Inc.
American Trading and Production Corporation
BGE
Bunting Family Foundation
Goldsmith Family Foundation
Joseph and Harvey Meyerhoff Family Charitable Funds
National Endowment for the Arts
P. Flanigan & Sons
T. Rowe Price Foundation
Truist
Venable Foundation
University of Maryland, Baltimore
EXECUTIVE PRODUCER
$5,000–$9,999
Anonymous
Bank of America Foundation
Helen S. And Merrill L. Bank Foundation
Helen Pumphrey Denit Trust
Phyllis and Joe Johnson Foundation
John J. Leidy Foundation
Lord Baltimore Capital Corporation
Harvey M. Meyerhoff Fund Inc.
Nora Roberts Foundation
Romita Solutions
Earle and Annette Shawe Family Foundation
Transamerica Foundation
PRODUCER $2,500–$4,999
Harry L. Gladding Foundation
Lois and Philip Macht Family Philanthropic Fund
Harry L. Gladding Foundation
ASSOCIATE PRODUCER
$1,000–$2,499
Anonymous
Hecht-Levi Foundation
IBM Corporation
The Mead Family Foundation
Sally S. Decatur and H. Miller Private Foundation
DIRECTOR $250–$999
Actors’ Equity Foundation
Constellation Brands
Taylor Foundation Inc.
MATCHING GIFT COMPANIES
American Trading and Production Corporation
Bank of America
Black & Decker
Exelon Foundation
IBM Corporation
International Monetary Fund
McCormick & Co.
Network for Good
Norfolk Southern
T. Rowe Price
Truist
IN-KIND SUPPORT
City Seeds
Lord Baltimore Hotel
University of Maryland, Baltimore
LEAD CORPORATE PARTNER
MAJOR SUPPORT FROM
COVER ART DESIGNED BY Jacob Kemp / TALISMAN
INDIVIDUALS
Gifts listed here support Everyman Theatre's Annual Fund and were received between April 1, 2024 and July 31, 2025.
For complete list of donors at Playwright Level ($120+) and above, please visit 'Our Supporters' page on our website.
VISIONARY $50,000+
Susan W. Flanigan* and George Roche
Gina* and Dan Hirschhorn
Irene Mansfield
Bryan* and Jennifer Rakes
SEASON PRODUCER
$25,000–$49,999
Dr. Larry* and Nancy Fishel
Susan W. Flanigan*
James A.C. and Maureen A. Kennedy Charitable Fund
Susan and John Nehra
Dorothy H. Powe* in Memory of Ethel J. Holliday
Vic* and Nancy Romita
RESIDENT COMPANY SPONSOR
$10,000 - $24,999
Anonymous
Brenda K. Ashworth and Donald F. Welch
Ed and Ellen Bernard
Chris DiPietro
Jennifer C. Engel
Shirley T. Hollander †
Karen and David Hutcheon
Paul Konka and Susan Dugan-Konka
Mark and Sandy* Laken
Kenneth C. and Elizabeth M. Lundeen
Lisa Harris Jones* and Sean Malone
Mary and Jim Miller
Paco and Tina Rodriguez
Stephen and Maureen Shaul
Bob and Terri Smith
Michael B. Styer*
Donald* and Mariana† Thoms
EXECUTIVE PRODUCER
$5,000–$9,999
Shaun Carrick and Ronald Griffin
Diann and David Churchill
Judy Shub-Condliffe and Jack Condliffe
Sarasi Desikan* and Sal Dhanani
Jerry and Carol Doctrow
Walter B. Doggett III* and Joanne Doggett
Curt Lind and Linda Ettinger
Sandra Levi Gerstung*
Sandra D. Hess
Jean Jacocks
Mark Paul Lehman* and Kurt Davis
Brian and Eileen O'Rourke*
Nancy and David Paige
John and Marsha Ramsay
Mark Yost* and Kevin Galens
PRODUCER $2,500–$4,999
Anonymous (3)
George and Frances† Alderson
Patricia Bettridge
Winnie and Neal Borden
Courtney Bruno
David Cane
Paul and Kathleen Casey
Ross and Michele Donehower
Donald Hicken
Nancy King
Barry Kropf
Francine and Allan Krumholz
Marissia LaRose* and Travis Andrews
Wil Love and Carl Schurr
James MacNicholl and Sara Lombardo
Martin Kenneth McQuage
Terry H. Morgenthaler and Patrick J. Kerins
Tim Nehl and Joy Mandel
Dr. and Mrs. Crossan O'Donovan
Ed and Jo Orser
Reid Reininger
Jim and Laura Rossman
Hugh Silcox
Ronnie Silverstein
Louis B. Thalheimer and Juliet A. Eurich
Ruth Lawson Walsh
Howard and Elizabeth Walsh and Family
Meadow Lark Washington* and Joe Washington
ASSOCIATE PRODUCER
$1,000–$2,499
Anonymous (7)
Ronald† and Baiba Abrams
James and Ellen Adajian
Emile A. Bendit and Diane Abeloff
Allyson Black Woodson
Michael Booth and Kristine Smets
Susan Chomicz Bowman
Richard Bozzelli
A. Stanley and Dorah Brager
Livio and Diane Broccolino
David Brown
Edie* and Stan Brown†
Jeanne Brush
Diane E. Cho and David W. Benn
Harlan and Jean Cramer
Karen and Ronald Erler
Arlene Falke
David and Merle Fishman
Susan Sachs Fleishman
Debra and Maurice Furchgott
Caroline Griffin and Henry E. Dugan, Jr.
W. Robert Hair and Steven J. Ralston
Carol and Joe Hamilton
Alan and Trisha Hoff
James F. Hart
Ann H. Kahan
Shirley A. Kaufman
Evelyn S. Krohn
Timothy and Gabrielle Lawrence
Paul and Jill Levine
Gayle Levy and Martin Barber
Lynne and Larry Lichtig
Fred and Judy Lobbin
Linda and Jim Loesch
Marjorie* and Scott McDowell
Kathleen Howard Meredith
Barry Mersky and Elizabeth Trexler
David Mintzer and Cinda Hughes
Steven Morris
Dr. Mike Myron and Linda Weisfeldt
Ken and Ellen Nibali
Andrew and Sharon Nickol
Patricia S. and Robert J. Orr
Patricia Palmer
Gary and Leslie Plotnick
Mark and Joanne Pollak
Elenor Reid
Drew* and Ryan Reis
Elaine Richman and Ralph Raphael
Sue Shaner and John Roberts
John and Sarah S. Robinson
Nancy Dalsheimer Savage
Dr. Alan Schwartz and Dr. Carla Rosenthal
Lisa Scotti
Harvey and Debbie Singer
Bob and Jackie Smelkinson
Joaneath A. Spicer
Ruth and Chuck Spivak
Susan Spencer and John Spencer
Shale D. Stiller and Honorable Ellen M. Heller
Sheldon and Victoria Switzer
Eileen and Philip Toohey
Elizabeth Trimble
Christian Ventimiglia*
Rose Viscardi
Ellie Wang*
Lissa Abrams and Abe Wasserberger
Maria Wawer
Barbara Coleman White
Wolman Family Fund
Joseph and Valerie Yingling
Carol Yoder
DIRECTOR $500–$999
Anonymous (7)
Walter and Rita Abel
G. Caleb Alexander
Brad and Lindsay Alger
Ray and Carroll Apodaca
Dr. Sania Amr
Dale Balfour
Ray and Day Bank
Robin Banks
Gayle Barney and Jean Savina
Craig Bober and Rachel Burgan
John and Carolyn Boitnott
Michael Borowitz and Barbara Crain
August Wilson's The Piano Lesson (2025)
Jan Boyce
Jeffrey Budnitz and Siobhan
O'Brien Budnitz
Paul and Jane Brickman
Lew and Vicki Bringman
Peter and Eileen Broido
Sara and Duncan Brown
Kristen Cannito
Evelyn Cannon and James Casey
Jan Caughlan
Arnold Clayman
Fred Cogswell
David and Marcia Cohen
Samuel Cohen and Joan Piven
Stiles Colwill
Will and Carol Cooke
Judith Cooper
Betty and Stephen Cooper
Cindy Conklin and Bob Merbler
Greg and Martha Cukor
Barbara Dent
Nancy Dickinson
Gwen DuBois and Terry Fitzgerald
Carol Eakin-Burdette
Neil and Deborah Eisenberg
Bill Eggbeer
Donald and Margaret Engvall
Don Firmani and Janet Esch
Donna Flynn
Benedict Frederick
Beth Gansky
Suzan Garabedian
Saralynn and Sheldon Glass
Sue Glick
Susan Goetze and Janet Colman
Herbert and Harriet Goldman
Dorothy Gold and Jim Wolf
Marci Gordon and Andrew Barnstein
Hannah and Thorne Gould
Donald M. and Dorothy W. Gundlach
Robert and Cheryl Guth
Richard Manichello and Margo Halle
Fritzi K. and Robert J. Hallock
William Hamilton and Paula Jackson
Suzanne Hill
Hope Hollander
Greg Huff and Pamela Pasqualini
Jessica Iannetta
Deborah Ingle
Deborah Jennings*
Harold Kanarek
Mr. and Mrs. D. Brooks Kitchel II
Ann and David Koch
Larry Koppelman and Liz Ritter
Harriet and Jay Kramer
Ron and Marianne Kreitner
Toni and Evan Krometis
Dr. and Mrs. Rudolf Kuppers
Jessica Lanzillotti
Drs. Moira and Paul Larsen
Colleen Martin-Lauer and Mark Lauer
Jonna† and Fred Lazarus
Gregory Lehne
Marie Lerch
Peter Levy and Diane Krejsa
Freddi Lipstein and Scott Richard Berg
Bruce Lindstrom
Michael and Lois Mannes
Jeanne E. Marsh
Bruce R. Nelson and Richard Goldberg
Linda Nevaldine
Elaine Niefeld
Drs. Mary O'Connor and Charles King
Thomas L. and Leslie V. Owsley
Hilary Paska
Justine and Ken Parezo
William and Susan Paznekas
Dr. Fred Pearson
Judy and Scott Phares
Anne Marie Richards
Bill and Susannah Rienhoff
Naomi Robin and Gerald Gleason
Daniel Rodricks and Lillian Donnard
Bess Rose
Dr. Nathan Rosen
Kristin Rowles and Paul Ferraro
Robert Russell in memory of Lelia Russell
Eleanor Schwark
Robert Sears
Thomas Seidman
Joan Seiffert
Amy Seto
David and Sarah H. Shapiro
Temmie and Ronald Shade
Patricia Smeton
Norma Snow-Goldberg
Damie and Diane Stillman
Lynne Stuart
Dr. Ellen Taylor and Mr. Bruce Taylor
Josephine Raney
Francisco Rodriguez
Ian Tresselt and Joseph Rooney
Susan and Hutch Vernon
Louise Wagner
Thomas Weyburn
Peggy Widman
Donald and Jerriann Wilson
Peter Ayers Wimbrow, III
MONTHLY SUSTAINING DONORS
Joyce Duffy-Bilanow and Stephen Bilanow
Jan Boyce
David and Marcia Cohen
Neil and Deborah Eisenberg
Anne Efron
Bruce and Lisa Field
Ira Gooding and Kristen Vanneman-Gooding
John and Susan Hailman
W. Robert Hair and Steven J. Ralston
Catherine Hammond
James F. Hart
Paul M. Holmes
Deborah Ingle
Fred and Judy Lobbin
Hannah Mazo
Marjorie* and Scott McDowell
Mary C. Plaine
Dr. Alan Schwartz and Dr. Carla Rosenthal
Drew* and Ryan Reis
Becky and Joe Richardson
Judi and George Seal
Linda and Kirby Smith
Susan Truitt
Peggy Widman
Margaret Williams
YOU MAKE THEATRE HAPPEN.
Everyman Theatre is a welcoming and inclusive space for everyone – audience members, students, artists, volunteers, staff, and trustees – to experience art and be part of a positive community where all can be treated with kindness and respect.
In order to make this a reality we need your help in upholding our core values and creating a space that allows everyone to fully participate in the transformative experience of live theatre.
WE BELIEVE THAT…
• Everyone is deserving of kindness and respect
• All individuals deserve to feel welcomed and included in the work we do
• It’s our collective responsibility to maintain a safe and supportive environment
• Theatre provokes thought and inspires dialogue, which builds our capacity for empathy, understanding, and connection
• It’s our collective responsibility to oppose racism by consciously, purposefully, and continually striving against racial biases and the systemic structures that perpetuate them
• We must take a united stance against all forms of oppression or marginalization, and recognize that although discomfort may be productive, cruelty never is
WE INVITE YOU TO…
• Embrace a mindset of goodwill and extend courtesy to others
• Immerse yourself fully in the performance – applaud, shed a tear, laugh out loud, and express your emotions freely
• Embrace your fellow audience members’ reactions and cherish the fact that theatre is a shared journey
• Make a deliberate effort to confront your own biases, and partner with us in putting these beliefs into action. We are all learning - help us maintain a positive community and culture of collaboration
• Share your feedback and experiences with us, as we are continually looking to improve
WE WILL NOT TOLERATE…
• Discrimination, harassment, or any form of speech/behavior that threatens the safety or well-being of others
• Unwanted invasion of another person’s physical space
• Refusal to comply with staff instructions or disregarding the theatre’s policies
Any conduct that contributes to a dangerous or hostile environment will be taken seriously. If you witness or experience a violation of the values and expectations outlined above, please alert one of our staff members. Everyman takes this feedback very seriously and will take action to protect our community.
Thank you for joining us and being a part of the Everyman Family!
GRATITUDE FOR THOSE BEFORE US
We honor the Indigenous Piscataway, Lumbee, and Cherokee people of Baltimore City and the unceded ancestral lands of the Piscataway on which Everyman Theatre resides. This acknowledgement does not take the place of authentic relationships with Indigenous communities, but serves as a first step in honoring the land we occupy and as an act of resistance against the erasure of their histories. For more information: https://native-land.ca/ and http://baltimoreamericanindiancenter.org
LEADERSHIP
Founder, Artistic Director
Vincent M. Lancisi
Managing Director
Marissa LaRose
ADMINISTRATION
Producing Director
Kyle Prue
Director of Finance + Human Resources
Larry Bright Finance + Human Resources Associate
Robin Fraker
Facilities + Operations Manager
J.R. Schroyer
Assistant Managing Director
Sean McComas
ARTISTIC
Associate Artistic Directors
Paige Hernandez
Noah Himmelstein
Tuyết Thị Phạm
PHILANTHROPY
Directors of Philanthropy
Charisse Paige
Lauren Saunders
Associate Director of Institutional Giving
Elliott Kashner
Philanthropy Operations & Events Manager
Caitlyn Hooper
MARKETING & COMMUNICATIONS
Director of Marketing & Communications
Alexander Cortes
Associate Director. Communications & Partnerships
Corey Frier
Associate Director of Marketing Operations
Jordyn Farthing
Assistant Director of Marketing
Madeline ‘Mo’ Oslejsek
Multimedia Manager
Lindsay Pedersen
Marketing Coordinator
Jalice Ortiz-Corral
Front of House Manager
Ashley Brooks
Audience Services Coordinator
Michelle Payton
Patron Engagement Associates
Andromeda Bacchus, Davin Banks, Tyrel Brown, Rae Dorsey, Mel Gabel, Ja’Net Jones, Kate Appiah
Kubi, Sarah Lohrfink, Elizabeth Malvo, Derrell Owens, Thom Purdy, Kelsey Schneider, Acell Spencer, Becca Stafford, Teddy Sherron III, Majenta Thomas
PRODUCTION
Director of Production
Amanda M. Hall
Production Manager
Cat Wallis
Technical Director
Trevor Wilhelms
Assistant Technical Directors
Brandon Ingle
Ren Brault
Scene Shop Manager
Sarah Blocher
Lead Carpenter
Joe Martin
Scenic Charge Artist
Jill Koenig
Properties Artisan
Michael Rasinski
Costume Director
David Burdick
Head of Wardrobe
Lucy Wakeland Haag
Lighting Supervisor
Juan M. Juarez
Lead Electrician
Maisie Stone
Audio/Video Supervisor
Andrew Gaylin
EDUCATION
Director of Education
Joseph W. Ritsch
Education Operations Manager
Arianna Costantini
Teaching Artists
Ally Ibach, Beth Hylton
Carole Graham Lehan
Chinai Routté ,Christy Brooks, Deborah Hazlett, Diana Gonzalez Ramirez, Fatima Quander, Hannah Jeffrey, Isaiah Harvey, Jenny Male, Joseph Ritsch, Julia Brandeberry, Khalid Bilal, Kimberley Lynne, LaKeshia Ferebee, Lanoree Blake, Lauren Jackson, Lucius Robinson, Megan Anderson Prue, Melissa Freilich, Patricia Hengen-Shields, Raecine Singletary, Susan Stroupe, Tarshai Peterson, Tyrel Brown, Teresa Spencer
