When I first read Wendy MacLeod’s The Laugh Track, I knew this was a play I wanted to produce, and I’m thrilled to welcome you to its world premiere.
The Laugh Track is a love letter to the creative team that brought the iconic program I Love Lucy to life in the 1950s. Television was still a new medium at the time, and the choices and decisions made by this show’s creatives shaped the television landscape for decades to come. From filming in front of a live studio audience while using three different camera angles, to depicting an
interracial marriage complete with a real-life pregnancy in its storyline, I Love Lucy not only made history but set the standards.
The Laugh Track paints a human picture as the four figures at its center contend with the social mores of 1950s America—where women were first and foremost expected to be wives and mothers and men felt a responsibility to be the primary breadwinners. Watching these characters juggle their lives and responsibilities, I recognize that while we’ve made progress, we still face many of the same struggles faced 75 years ago. We still can’t have it all, even though we try. Just like the characters in the play, we need to choose what matters most— career, relationships, children, money, laughs...
Here’s to finding your right track.
Anita Stewart, Artistic Director
The Laugh Track
ON STAGE • MAY 6 - MAY 31
This theater operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the Union of professional Actors and Stage Managers in the United States.
*Members of the Actors’ Equity Association, the Union of professional Actors and Stage Managers in the United States.
SETTING
Los Angeles, 1951-1957
CAST
Maddie, a television writer ..... Jenna Krasowski*
Bob, her writing partner....... Josh Odsess-Rubin*
Nellie/Norma ............................. Eve Dillingham
Desi .................................. Luis Rivera-Figueroa*
and Sound Designers in LORT are represented by United Scenic Artists Local USA-829, IATSE.
**The Scenic, Costume, Lighting, ***The Stage Directors and Choreographers Society is the theatrical union that unites, empowers, & protects professional Stage Directors and Choreographers throughout the United States.
The video and/or audio recording of this live production by any means whatsoever are strictly prohibited.
Special Thanks:
Graciela Leahy, wigs by Meghann Mason Adam Thibodeau, and Steven Wooley.
Eddie, NBC/Harry, CBS ............. Peter Gray Lewis*
ARTISTIC & PRODUCTION
Director ..........................Christopher Grabowski
Lighting & Sound Swing ....................... Max Lerin
The Laugh Track was originally commissioned by A Contemporary Theatre, Seattle, WA; Artistic Director, John Langs; Managing Director, Betty Witmer; with support from Carlo and Eulalie Scanduzzi New Play Development Fund.This production is not affiliated with or authorized by the families or estates of the individuals depicted.
PLAYWRIGHT
Wendy MacLeod
Wendy MacLeod’s play The House of Yes became an award-winning Miramax film starring Parker Posey. Basta!, a satiric comedy, was commissioned and performed at The National Theatre of Genoa and Posterity, directed by Ed Sobel, was done in Philadelphia at Villanova Theatre. Women in Jeopardy! premiered at Geva, directed by Sean Daniels, and has since been done around the country. Slow Food, also directed by Sean Daniels, premiered at Merrimack Repertory Theatre and has also had multiple productions. Other plays: Sin (Goodman, Second Stage,) Schoolgirl Figure (Goodman), The Water Children and Juvenilia (Playwrights Horizons), and Things Being What They Are (Seattle Repertory Theatre, Steppenwolf Theatre). A graduate of the Yale School of Drama, she is the James E. Michael Playwrightin-Residence at Kenyon College. She adapted her play The Shallow End into an award-winning short film, directed by Cynthia Silver. Along with composer Joe Kinosian and lyricist Kellen Blair (Murder for Two) she is writing a comic musical about the last days of Napoleon. She is a member of The Tent, a playwrights’ collective founded by Tim Sanford of Playwrights Horizons, and her plays are available through Dramatists Play Service and at Playscripts.com.
DIRECTOR Christopher Grabowski
Christopher Grabowski, Professor of Drama, has been on the faculty for the Vassar College Drama Department since 1994. During this time he has acted as both Director of the Experimental Theater and Chair of the Drama Department. He teaches acting, directing, and collaboration—and he has directed 36 productions for the Experimental Theater.
Portland Stage has been an artistic home for Chris since 1995, where he most recently directed Disgraced, The Importance of Being Earnest, and Tribes.
Chris’s work as a stage director has also been seen at New York Theatre Workshop, Yale Repertory Theatre, Portland Stage Company, The Hangar Theatre, Shakespeare Santa Cruz, The Denver Center Theatre Company, and The Northern Stage Co Additionally, he has directed projects for The Juilliard School, NYU Tisch School of the Arts, The Academy for Classical Acting, the Stella Adler School, Dartmouth College, and UC Santa Cruz. Prior to Vassar, Chris was the Associate Artistic Director of New York Theatre Workshop.
He graduated from the Yale School of Drama, MFA in Directing, where he was Co-Artistic Director of the Yale Cabaret and the Yale Summer Cabaret. He received a BA in Theater Arts from the University of California, Santa Cruz.
Jenna Krasowski* Maddie
Jenna Krasowski is excited to be making her Portland Stage debut! Other theater credits include: The Effect (Off Square Theatre), Broken Thread (Eden Theater Co), Detroit ‘67 (TheatreSquared), Proof (Hudson Stage), Ms. Estrada (The Flea), and Black Tom Island (Premiere Stages). Recent film work includes The Resistance, Empty Nesters, and short film Pretty Doesn’t Hurt, which she also produced. You can hear her voice on many narrative podcasts, including How It Ends, Cryptids, March, and others. To Lucy and Madelyn, and all the funny women who paved the way for us all.
Josh Odsess-Rubin* Bob
Josh Odsess-Rubin is delighted to return to Portland Stage after previously appearing as James in Red Herring. Josh’s recent credits include the world premiere of Ethan Slater and Marshall Pailet’s Marcel on the Train at Classic Stage Company, the role of Hal Prince in the world premiere of Miracle on 55th Street at Pacific Resident Theater, and Tom in The Glass Menagerie at Antaeus, for which he was named Best Actor in a Play by StageSceneLA. Other favorite theater includes Sense and Sensibility and Photograph 51 (South Coast Repertory); Dracula: Comedy of Terrors (Ensemble Santa Barbara); Dunsinane (Marin Theatre Company); Hold Music (Ars Nova); Shayna Maidel (Laguna Playhouse); Miss Bennet, R&J, Long Day’s Journey into Night (American Stage); Comedy of Errors (Lake Tahoe Shakespeare); Animal Crackers, Bad Jews, When the Rain Stops Falling (Cygnet); Imaginary Invalid (A Noise Within); As You Like It (Shakespeare Orange County); My Name is Asher Lev (Ensemble Cincinnati); and Richard II (Yale Repertory). TV: Hacks (HBO), Physical (Apple TV+), This is Us (NBC). BA Yale, MFA UC Irvine. For C & M.
Eve Dillingham Nellie/Norma
Eve Dillingham is thrilled to be making her Portland Stage debut in The Laugh Track. Originally from Montclair, NJ, Eve now resides in NYC and is involved in the production of the concert series Broadway Sings. She is a proud graduate of Syracuse University, where she earned her BFA in Musical Theater. Eve most recently performed in Hello, Dolly! at Olney Theatre Center. Other past roles include Vanda in Venus in Fur, Tess in Sender, Agnes in She Kills Monsters, and Woman 1 in I Love You, You’re Perfect, Now Change. Eve would like to thank the amazing cast and production team, her family, and Resolute Artists Agency.
Casey Killoran* Lucy
Casey Killoran (Lucy) is thrilled to be making her PSC debut in the world premiere of The Laugh Track. A dual US/Irish citizen, Casey has performed at the FAC in Colorado Springs, The Apollo Theater, Lincoln Center, Berkshire Theatre, and the Duke on 42nd Street. TV credits include New Amsterdam, FBI: Most Wanted, Shades of Blue, and Sex and The City. With a passion for independent cinema, Casey has starred in films including Viral Beauty, Motherhood, and most recently The Woman From Hamburg, and her self-produced award-winning projects have been Official Selections at 25+ film festivals. She received her MFA from NYU Tisch Graduate Acting Program. This one’s for all the strong women in her family. caseykilloran.com @caseykill
Luis Rivera-Figueroa* Desi
Luis Rivera Figueroa is an actor born and raised in Puerto Rico. He is excited and grateful to make his debut with Portland Stage Company, and especially honored to portray Desi Arnaz, one of the most influential people in television history and a powerful example of breaking paradigms around what it means to be an immigrant with foreign accent in the United States. Luis’ theater credits include The Glass Menagerie (The Hanover Theatre), La Erre and The Seagull (Teatro Público), A Christmas Carol (Trinity Rep), and Venus in Fur (Aqueo). Film and television credits include Nicky Jam: El Ganador (Netflix), Fantasy Island (FOX), and 23 Hours, among others. Luis holds an MFA in Acting from Brown University/Trinity Rep and a BA from the University of Puerto Rico. He is endlessly grateful to his parents for their constant love and support. Gracias, mami y papi. Los amo.
Peter Gray Lewis* Eddie/Harry
Peter Lewis spent many years working in Offand Off-Off-Broadway theater, appearing on such stages as the Ensemble Studio Theatre, 29th Street Rep, Synchronicity, The Arden Party, The Ohio, Nada, MCC, Home, The Atlantic Theater, The Actors Studio, and The Barrow Group, before appearing in lead and supporting roles in a number of feature films, including Motherless Brooklyn, A Complete Unknown, Stone, Terrifier 3, Untraceable, Greater, The Bourne Legacy, Forgetting Sarah Marshall, Pineapple Express, Down in the Valley, and many others.
Among his many appearances on television, he has appeared in guest starring and recurring roles on The BlackList, Mad Men, 30 Rock, Law & Order SVU, Dirty John: Betty, Interrogation, Person of Interest, Boston Legal, Unforgettable, and several times on the original Law & Order.
He has toured nationally with The Acting Company as Joe in Tennessee Williams’ The Long Goodbye and received a Best Actor nomination from the 29th Annual L.A. Weekly Theater Awards for his portrayal of Andrew in Chuck Mee’s two-character play Lemonade Tous Les Jour, which won the award for Best Ensemble Cast.
And he is especially pleased to be appearing in his sixth Wendy MacLeod play, having appeared previously in The Waiter Station, Lost Colony, Apocalyptic Butterflies, The My House Play (Yale School of Drama), and Things Being What They Are (The Barrow Group).
Charcutemarie
From intimate nights to unforgettable events— Charcutemarie has got your table covered with:
We are creating theater on land that has been cared for by the Wabanaki. We honor their community and invite you to go to the Wabanaki Reach website to learn more about the Wabanaki culture, as well as about restorative justice and truth-telling that is necessary for healing.
We encourage you to learn more about the peoples who cared for the land that you now reside on whether you’re from here in Portland or are visiting from away. For more information about the Wabanaki Confederacy, visit mainewabanakireach.org, and to find out whose land you are on, visit native-land.ca.
We also want to acknowledge that the history of Maine is deeply connected to the institution of slavery in the United States, and that residents of Maine participated in both slavery and the transatlantic slave trade even after slavery was outlawed in the District of Maine. While it may be easy to think of Maine and more specifically Portland as a very White place, we recognize that this is simply not the case and we are working to dismantle these harmful ideas. We encourage our audiences to visit the Abyssinian Meeting House (learn more at abyssinianmeetinghouse.org) or the Eastern Cemetery here in Portland, and to explore scholarship on the subject, like Lives of Consequence by Patricia Q. Wall, to learn more about this oft-neglected part of Maine’s history.
We recognize that the American Theater has also exploited, misrepresented, and excluded communities of Latine, Asian, Indigenous, and Middle Eastern descent for centuries. Portland Stage is recommitting to telling authentic stories from diverse backgrounds that all of our audiences can experience and enjoy.
CENTERSPREAD TOPICS
WE LOVE LUCY: A BRIEF BIOGRAPHY OF LUCILLE BALL
By Skyler Brianna
Lucille Ball was many things. Comedian, actress, producer, studio executive; she was an entrepreneur and a force to be reckoned with. She revolutionized entertainment and television as we know it. In 1940, Ball starred in the movie musical Too Many Girls. It was on this set that she met Cuban bandleader and fellow cast member Desi Arnaz. They soon fell in love and eloped on November 30, 1940, after just months of dating. In 1941, the happy couple purchased a five-acre ranch in Chatsworth, California, that they called Desilu, a combination of their names. Ball signed with major production company Metro-Goldwyn-Mayer (MGM) in the early ’40s, where she was known as “Queen of the Bs” for her continual casting in B-films. In 1942, MGM urged Ball to dye her hair red to stand out in Technicolor film, a look that would become iconic for her.
In 1948, Ball was cast in a lead role in CBS Radio comedy My Favorite Husband. This show was very successful and CBS asked her to develop it for television. In the hope that spending more time together would improve their marriage, Ball agreed to develop the show on the condition that she could cast Arnaz as her husband in the show. CBS was very reluctant to oblige; they were concerned that the public would not believe nor want to see a white “All-American” woman married to a Cuban man.
To confirm public interest in a show about a zany housewife and a Cuban bandleader, Ball and Arnaz went on tour with a vaudeville act, which was produced by their own company (Desilu Productions, founded 1950). Future I Love Lucy writers Madelyn Pugh and Bob Carroll Jr. helped to develop these iconic characters. The act was a hit and I Love Lucy was added to CBS’s lineup. I Love Lucy ran from October 15, 1951, to May 6, 1957. It was the single most popular television show worldwide for four of its six years.
Lucielle Ball and Desi Arnaz
THE DUO BEHIND I LOVE LUCY: A BIOGRAPHY OF MADELYN PUGH AND BOB CARROLL JR.
By Kaushik Raghavan
Madelyn Pugh was born in 1921 in Indianapolis, Indiana, to banker I. Watt Pugh and Louise Huff. She attended Shortridge High School and then attended Indiana University Bloomington’s School of Journalism. She received her first professional writing job with WIRE, an Indianapolisbased radio station, writing short radio segments. She moved to California, and got work as a radio writer for NBC and eventually CBS. In most writers’ rooms, Pugh was usually the only woman, and was usually hired as “the girl writer.”
Bob Carroll Jr. was born in 1918 in McKeesport, Florida. Bob Carroll Jr. got into writing when he happened upon a scriptwriting contest sponsored by the local radio station when he was 21 years old. Carroll then moved to California where he worked as the front desk clerk for CBS Radio and worked his way up the ladder of the publicity department. He met Pugh when she was a writer at NBC and he was a junior writer at CBS. Eventually, they worked together on the CBS radio sitcom The Couple Next Door.
After that experience, Pugh and Carroll started writing for comedian Steve Allen’s radio show. However, they found themselves more interested in writing for My Favorite Husband, Lucille Ball’s new radio show. They submitted a script for the show and were brought onto the team, writing for the show for the remaining two and a half years of its run. In 1951, they were approached by Ball and her husband Desi Arnaz to write for their upcoming comedy show, I Love Lucy. Pugh and Carroll tackled upwards of 39 episodes per season for the entire run of the show, from 1951 to 1957. They were nominated for three Emmy Awards. After I Love Lucy ended in 1957, 13 one-hour long episodes written by Pugh and Carroll were released from 1957 to 1960 under the name The Lucy-Desi Comedy Hour.
Pugh and Carroll continued to work together after the end of The Luci-Desi Comedy Hour. Some of their credits include The Tom Ewell Show, The Paul Lynde Show, and The Mothers-in-Law. They served primarily as executive producers, but also did some writing for Alice, which won them a Golden Globe. In 2005, Bob Carroll worked with Madelyn Pugh one final time, coauthoring Laughing with Lucy, Pugh’s memoir. Carroll passed away at 88 in January 2007 from illness. Pugh passed away at 90 in April 2011. Their partnership was instrumental in the creation of many of the tenets of modern-day sitcoms and TV.
Read more in the Portland Stage PlayNotes, available for free online, or to purchase in the Lobby or Box Office!
PLAYNOTES PERSPECTIVES
AN INTERVIEW WITH THE PLAYWRIGHT & DIRECTOR: WENDY MACLEOD & CHRIS GRABOWSKI
Assistant Director and Dramaturg, Max Lerin, sat down with Playwright, Wendy MacLeod, and Director, Chris Grabowski, to discuss the inspiration for the show, the rehearsal process, and what it means to be funny.
Max Lerin (ML): Wendy, what first inspired you to write this play?
Wendy MacLeod (WM): John Langs, then the artistic director of ACT in Seattle, asked if I had an idea for a play about a famous woman. Inspired by an obituary of Lucille Ball’s head writer, Madelyn Pugh Davis, I’d been developing a TV show about the early days of television, but a light bulb went off when I realized this could be a play. It was the perfect vessel to say what I wanted to say about comedy.
ML: Chris, what excites you most about this production?
Chris Grabowski (CG): I’m very excited to be back here at Portland Stage. This is my 10th production here over all the years that Anita has been Artistic Director, and it’s wonderful to get to continue our long-time collaboration. There is also the reunion aspect of this project—four of us went to grad school together many years ago and some of us have worked together since, but it’s very nice that we all get to work together on this show. I’ve also always admired Wendy’s work but never had a chance to direct it, and when I heard Lucille Ball was a character in this show, I jumped at the opportunity. What I’ve really enjoyed is getting to see the dueling pairs in the play— Lucy and Desi behind the scenes, Maddie and Bob in the writers’ room, and Lucy and Maddie at the heart of the show.
ML: Wendy, there has been so much written about the history of I Love Lucy. What do you feel sets The Laugh Track apart?
WM: My characters were “inspired by” real people; I never set out to write history or biography. But the history offered a lot of firsts: Maddie was one of the first female television writers, Lucy’s pregnancy was [one of] the first-ever seen on television,
and Desi was the first “immigrant” leading man. (Initially, the network insisted that audiences wouldn’t buy Lucy being married to a Cuban even though she was married to a Cuban!) The play celebrates the contributions of women in television, foregrounds the working relationship between an older woman and a younger woman, and shows us that women can be funny.
ML: Chris, what do you feel is at the heart of this play?
CG: Wendy’s writing is so deft—she makes so much happen with so few words and there is clarity of the relationships and shifting allegiances. At the heart of the play is Lucy and Maddie’s relationship—you get to see the generation of women in the business, Lucy being a pioneer, and her mentorship with Maddie.
ML: Wendy, how would you describe your writing process?
WM: I often use painting as a metaphor because it’s like building up the surface of the canvas. I find more and more texture with every draft. The early drafts are more outline than art. Gradually, I discover the play I want to write and figure out who these characters are. I try to give actors “opportunities” —comic and otherwise. A good playwright always leaves room for the actors.
ML: What do you both hope audiences will take away from this production?
WM: I want them to leave with questions. Why IS comedy considered transient or “less than”? What is the difference between a great writer and a hack? Why do men treat funny women like “pals” and pursue boring beauties? Are we still facing the same challenges we see these women facing in the 1950s?
CG: Though it’s fictionalized, this grappling with the uncertain new artform [of television] is the metaphor—we’re always grappling with new technologies and art forms, and the joy of working on this story is seeing how scrappy the artists were in inventing new ground and working with some people resistant to change.
Anita Stewart** (Scenic Designer) has worked as a set and costume designer at leading theaters across the country, including the Guthrie, Seattle Rep, Canadian Opera Company, Minnesota Opera, A.R.T., Steppenwolf, Hartford Stage, Dallas Theater Center, Long Wharf Theatre, New York Theatre Workshop, Boise Contemporary Theater, New Jersey Shakespeare, and Portland Stage. Anita’s desire to play a meaningful role as an artist in a specific community brought her to Portland Stage as Artistic Director, a company for which she had previously done significant freelance design. Anita holds an MFA in Design from the Yale School of Drama.
Kenisha Kelly (Costume Designer) Kenisha Kelly is both a costume designer and lecturer. Kenisha has designed multiple shows with Portland Stage including: Importance of Being Earnest, Native Gardens, and Tribes. She has also designed for multiple venues across the country including; Trinity Repertory, Orlando Shakes, Hangar Theatre, NJPAC, One Year Lease Theatre Company, Stages Repertory and has also held the position of guest artist for Lehigh University in Bethlehem, PA as well as for Long Island University’s School of Performing Arts. Ms. Kelly has also worked for such companies as the Houston Ballet, Houston Grand Opera and the Houston Shakespeare Festival. She presently holds the position of Senior Lecturer of Costume Design at Vassar College in Poughkeepsie, NY.
SeifAllah Salotto-Cristobal**(Lighting Designer) is excited to be making his design debut with Portland Stage Company. He has been telling stories using light and video for the past 16 years. He holds a Bachelor of Arts in Interdisciplinary Humanities from the University of West Florida and a Masters of Fine Arts in Lighting and Projection Design from the University of Missouri-Kansas City where he became one of the first to study projections for performance. His career has taken him across the country and has allowed him to design for many companies in Opera, Dance, and Theatre including Opera Colorado (Denver, CO), Palm Beach Opera (Palm Beach, FL), Tulsa Opera (Tulsa, OK), Unicorn Theatre (Kansas City, MO), Wagon Wheel Center for the Arts (Warsaw, IN), Umbrella Stage Company (Concord, MA), and Theatre at Monmouth (Monmouth, ME). He currently serves as the Assistant Professor of Lighting Design at the University of Southern Maine where he brings his knowledge and experience to help shape the next generation of theatre professionals, focusing on developing complete storytelling.
(**Member of USA)
Seth Asa Sengel (Sound Designer) is a listener and tinkerer from the rural backwoods of Parsonsfield, and has spent decades making theater with creative souls all over our United States. Seth began his sound design journey at Portland Stage decades ago, and has since collaborated on dozens of wonderful productions. Favorites include Murder on the Links, The Play That Goes Wrong, Where We Stand, Last Ship to Proxima Centauri, and The Last Five Years. For more information on Seth, visit www.sethasa. com. Please be kind to others, and to yourself, and tell people you love them. Much Love to Mary Lana.
Laura Judson (Stage Manager) hails from Bloomington, Indiana. With credits from Opera Omaha, Florentine Opera, Wolf Trap Opera Company, Vespertine Opera Company, IU Opera and Ballet Theater, Utah Festival Opera and Musical Theatre, The 5th Avenue Theatre, Seattle Opera, Bainbridge Performing Arts, Stone Soup Theatre, and the Oregon Cabaret Theater, Laura is thrilled to be stage managing at Portland Stage for the first time. Thanks to everyone at Portland Stage, especially the cast, Chris, Rori, Mary Lana, and Myles for your guidance and support.
THANK YOU TO OUR SPONSORS
WRIGHT-RYAN: PLATINUM COMMUNITY ENGAGEMENT SPONSOR
Wright-Ryan is known for their commitment to building high-quality homes throughout Maine. Just like building a fine home, bringing a play to life requires the imagination and skills of a dedicated team, from the playwright who puts pen to paper, to the designers who envision the set, lighting, and costumes, to the carpenters, painters, seamstresses, actors, and artists who make it a reality.
Thank you Wright-Ryan for being our Platinum Community Engagement Sponsor this season, and helping us connect to and share with more of our community.
BERNSTEIN SHUR: GOLD COMMUNITY ENGAGEMENT SPONSOR
A different kind of law firm since its founding in 1915, Bernstein Shur is known for simplifying complex issues and winning through steadfast persistence. With 100+ award-winning attorneys and professionals practicing in more than 20 critical areas and a variety of industries, and core values that are evident in everything they do, it is no surprise Bernstein Shur was named one of Maine’s Best Places to Work for the twelfth time in 2023.
Our corporate partners help us to enrich our community while positioning their companies as cultural leaders. Want to learn more about how a corporate partnership can benefit both your business and the theater you love? Contact Covey Crolius, Development Director, at 207.774.1043 x109.
The Laugh Track by Wendy MacLeod is funded in part by generous support from the Fisher Charitable Foundation, the Libra Foundation, the Maine Arts Comission, the Maine Theater Fund/Maine Community Foundation, the Morton-Kelly Charitable Trust, and the Shubert Foundation.
ANNUAL FUND SUPPORTERS
Executive Producer ($50,000+)
Anonymous
East Point Fund of the Maine Community Foundation
Estate of Kathleen A. Flanagan
Susie Konkel
Estate of Tonda L. Olson
The Shubert Foundation
Anna Marie and John E. Thron Fund of the Maine Community Foundation
Producer ($25,000 - $49,999)
Brooks Family Foundation
Morton-Kelly Charitable Trust
Executive Director
($15,000 - $24,999)
Jane G. Briggs
Roy Cockrum Foundation
Libra Foundation
Migis Hotel Group
Moser Family Foundation
The Onion Foundation
Lincoln and Allison Paine
Seed Moon Foundation
Wright-Ryan Homes
Managing Director
($10,000 - $14,999)
Anonymous
George and Cheryl Higgins
Elizabeth and Christopher Hunt
Maine Community Foundation
Director ($5,000 - $9,999)
Anonymous
Bernstein Shur
Elaine Darwin
Austin and Eileen Farrar
Fisher Charitable Foundation
Mabel Gerquest
Jan and Ed Gerry
Roy A. Hunt Foundation
L.L. Bean
Moriah Moser and Dan Morgenstern, MD
Leonard and Nancy Nemon
Carole Ann Palmer
Kenneth Spirer and Joan Leitzer
Vectorworks
W.H. Demmons, Inc.
Anne Wade and Gil Hagan
Production Manager ($2,500 - $4,999)
Anonymous
Ellen Alderman and William Harwood
Margaret E. Burnham
Charitable Trust
John Cariani
Susan and James Carter
Scott Collins and Ashley Wernher-Collins
Kris and Ken Conant
Diversified Communications
Cornelia Kittredge
Daniel Marra and Barbara Leonard
Sara Murphy and Peter Wetzel
John Ryan and Jenny Scheu
Jennifer Sarah and Joe O’Donnell
Simmons Foundation
Meg Thompson Villarreal
Susanna Weld and Peter Milliken
Backer ($1,000 - $2,499)
Anonymous
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Elizabeth Astor
Tenney and Newell Augur
Mary G. Barthelman
Erik Bergman
Tim Cloudman and Lori Garon
Debra L. Coyman
Doug and Carolyn Davis
Karen Day
Beth De Tine
Elizabeth Ehrenfeld
Karen and Fred Farber
Ken and Cheryl Freye
Charlotte Fullam
Granite Point Foundation
Helaine and D. Brock Hornby
Scott Horton and Leslie Richfield
Lissa Hunter and Kirby Pilcher
Stephen and Suzanne Irish
Jebediah Foundation
Stephen and Carolyn Jenks
Douglas and Cheryl Jones
Dave and Lynn Jourdan
Nancy Kaye
James and Elizabeth Kilbreth
Candice Lee
Calien Lewis and Martha Mickles
Martin Lodish and Kristin Schardt
Maine Community College
William A. McCue
Cristine McMurdo-Wallis and Thomas Eldon Anderson
Irv Meeker
Tom and Marti Meyers
Marta Morse
Todd and Gloria Nicholson
Dean and John Paterson
Carson Pease and Sandy Evans
Larry Perkins
Richard and Carolyn Peterson
Hilary Rapkin and William Stiles
Charles and Melissa Redman
Kenneth Remitz
Maxine Sclar and Robert J. Yamartino
Robert and Valerie Slater
Anita Stewart and Ron Botting
Nelson and Lisa Toner
Nina and Robert Trowbridge
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Investor ($500 - $999)
Anonymous (2) A Friend
Ingrid Avery
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Peter Bennett, Esq. and Wendy Winer
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Tracey Burton and Ken Moller
Donald and Patricia Carter
Carol De Tine and Roger F. Woodman, Jr.
Helen Dickey and David G. Fitz
John and Sandra Donnelly
Leslie Gibbons
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Richard Hanks and Virginia Mackey
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Robin Ishmael
William Jenks
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ANNUAL FUND SUPPORTERS
Marilyn Lalumiere and Ed Reed
Greg Lanou and Tracy
Skillin-Lanou
Harvey and Pamela Lodish
Emily and Dick MacKenzie
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Michael and Lucretia Nelson
Stewart Newell
Ann and Ted Noyes
Judith Parkhill
James and Diane Paterson
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Phillips-Green Foundation
Malcolm and Patti Poole
Carole A. Pope
Rick and Celeste Shinay
Hugh and Mary Smith
Cathy Stankard and Gregg Palmer
Eric and Wendy Suehrstedt
Karen Sumner
Robert and Karen Suva
John Terry and Lisa Cherbuliez
Marcy Brady Tucker Foundation
Louise Valati
Brit and Yasmin Vitalius
Supporter ($250 - $499)
Anonymous
Alice M. Abbott
Maureen Adams
John and Judy Adelman
Paul Ainsworth and Cheryl Berg
Todd Brian Backus and Dr.
Stephen Engel
Esther Berry
Jane V. and John F. Berry
Ben and Judy Bertram
Jim Bowie and Sarah Downs
Norman and Emily
Rand Breitner
Gregory and Mary Caron
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Andrew and Judith Coburn
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James and Susan Cook
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Cathey Cyrus and William Clark
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Jim and Dianne Dean
Donna and Michael Deletetsky
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Edison Press
Laura and Vince Faherty
John Fay
Rol and Averil Fessenden
Terry and Mandy Garmey
Bernard and Phyllis Givertz
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Nancy Harding
Peter Haynes
Roslyn and Steve Hershfield
Kathleen and Herbert Janick
Hugh and Lois Judge
Bud and Wendy Kellett
Dennis and Sandra King
Caroline and Robert Knott
Laurie Lewin
Christine Linnehan
Burke and Judith Long
Mark Love and Marcia Taylor
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Alice Moisen
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Jeremy Moser and Laura Kittle
Paul F. Mueller
Erin and Jonathan Nitschke
Victoria Nolan and Clark Crolius
Richard O’Meara and Christine
Bulsa-O’Meara
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Amy and James Osborn
Charlene and Jerry Petruccelli
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Curtis and Nina Scribner
Robert Scribner and Claire Julian
Kimberly Simmons and Craig Bramley
Elaine and Brian Sipe
David Small and Betty Bricker-Small
Mary Snell and Irwin Novak
Kate and Colin Snyder
Nancy C. Spiegel
Darwin and Kathleen Stanley
Frank C. and Carrie C. Strasburger Fund
David and Kathleen Stuchiner
Gay Tucker
Nancy R. Wade
Ben Weiss
Judy and Norman Wilson
Tom and Willo Wright
Sam and Tracy Zager
FRIEND ($100 - $249)
Anonymous (3)
Janice B. Adler
Nancy Ansheles and Steve Cohen
Isabelle S. Appleton
Martha Arterberry and William Wilson
Robert and Linda Ayotte
Ann Babbitt
Peter and Lyn Ballou
Jane Benesch
Tiffanie Bentley
Nancy Berges
Susan Blake
Nancy Bogg and Mark Kiefner
Dee Dee Bradford
John E. Brandt
Franklin Brooks and Marvin Ellison
Susan Bruce and Rick Hauck
Dan and Dale Bryant
Deborah Buccina
Sarah Campbell and Ted Rand
Constance Cardamone
David Carr
Robin and William Carter
Paul and Stephanie Castle
Peter H. Clough
Mary Collins
Ann Corbey and Steve Painter
Susan Cottle
Mary Anne and David Crawford
Nancy Crowell
Ralph Cryan
Bill Cullen
John A. Cunningham and Valerie Ricker
Dick and Margaret Curran
Richard and Judy Curtis
Lee Dalzell
George and Lynn Davenport
Constance Dehais
Barbara Denker and Doug Dery
Martha Deschaines
Bonnie and Jonathan Dietz
Linda J. Docherty
Mary Doherty
Ann Donaghy and Nancy Gunzelmann
Doane and Melissa Dorchester
Moira Driscoll and David Pence
Mary Lou Dyer
Katherine Dyhrberg
John Edwards
Ms. Jacqueline Ellis
Margie Emmons
Herbert and Alice Ferran
Anne Fisher
David Fluharty and Linda Hjortland
ANNUAL FUND SUPPORTERS
Jean Foy and Richard Evans
Martha Freeman and Richard Barringer
John Funk and Deborah Chase
Susan Garfield and Lynda Mullen
Paul and Deborah Gelardi
George and Martha Gilmore
Elizabeth Goldsmith
Merna Guttentag
Rebecca Halbrook
Tracy Hall
Tori Haring-Smith
Tiffany and Layne Harris
Ann Havener and Richard Estabrook
Janet Henry and Vernon Moore
Alison Hildreth
Brian and Margery Hodgkin
Debra and Tim Honey
Sam Hunneman
Al and Pauline Huntley
Laurie and Tom Hyndman
Mary Iyer
Sandra Jensen and Samuel Broaddus
Angus and Catherine King
David and Linda Kirstein
Anita LaChance
Deborah Lamb
Neil and Cathy Lamb
Denise LaRue and Bob Furman
John F. Leonard IV
Mike and Meg LePage
Andres Llorente
Benjamin Lund
Chris and Carson Lutes
Robert and Kim Lydon
Sarah Mackenzie
Sally Walker Madore
Jane Makela
James Mangan
Elizabeth and David Margolis-Pineo
Ingeborg Marquardt
David and Jeanne Mason
Betts Mayer
Anne McBride
John and June McClean
Jan McCormick
Sheila McGarr
Paula Gibbs McKenney
Bill and Pamela Meserve
Pete and Marianna Mickelson
Bernard Mohr and Karin Wagner
Bruce Moore and Jan Chapman
Kevin Mullen
Robert Murray
Joanne and Paul Naso
Robert and Susan Nielsen
David and Carolyn Sue Nutty
Connie O.
John and Karen O’Brien
Jackie Oliveri
David and Jacqueline Orsmond
Kathleen Pacella and Matthew Taylor
John and Denise Palmer
Richard and Carole Palmer
Heather Payson
Delene Perley
Matthew Pines
Poole Group of Companies
Harry and Anne Pringle
Sam Prout
Hope Putnam
Lenore Rapkin
Frank and Sharon Reilly
Susan and Jock Robie
Michael Rodman
Larry Rubinstein
Manda and Gary Russell
Stephen Ryan and James Bishop
Helen Ryder
Jeff and Susan Saffer
Gwen and James Sartoris
Mike and Pam Schwotzer
Ellen Seidman
Cathy Sengel
Orrin and Linda Shane
Peggy Shapiro
Linda Shary and Jeffrey Logan
Nancy Shaw and John Gilmour
Sarah Smith
Dayle Smith and Victoria Martin-Smith
Alan and Jonell Solander
Mary and Donald St. Germain
Betty and Barry Stallman
Bill and Anne Stauffer
Jacqueline Stowell
Vicki Sullivan
Richard Thomas
Thomas Tierney and Martha Williams
Lorraine and Ralph Twombly
Patricia Vantuyl
Peter and Elizabeth Ventre
Meghan Wakefield
Elizabeth Walsh
Deena Weinstein
Susan and Francis Whitten
Heidi Wierman
Alison Wilkinsom
David and Elise Wilson
James and Jennifer Wolak
Rick and Janet Wolf
Margo Wood and Dwayne Barter
Cynthia Wyatt
Miyabi Yamamoyo
Laura Young and Scott Donohue
Margaret and David Zellinger
Bill and Patty Zimmerman
In Honor of ($250+)
Julia E. Edelstein in Honor of Martin Lodish
Robert and Melissa Johnson in Honor of the Faherty Family
James Marra in Honor of Daniel Marra and Barbara Leonard
Bonnie Nelson Schwartz in Honor of Martin Lodish
Ron and Kathy Silva in Honor of Bud and Cheryl Higgins
Thomas and Jule Whelan in Honor of Todd Nicholson
IN HONOR OF ($100-$249)
The Wacky Readers’ Society (Haley) in Honor of Monica Wood
In Memory of ($250+)
Kelly Cutler in Memory of Barbara J. Cutler
Kelly Cutler in Memory of Hallee Anne
Maria Holloway in Memory of Ann Marie Hagigeorges
IN MEMORY OF RENEE MYHAVER, ASSISTANT BOX OFFICE MANAGER, 2007-2024
