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OLNEY THEATRE CENTER

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A NOTE FROM THE ARTISTIC DIRECTOR

Olney Theatre Center is a non-profit arts organization with a mission to create professional theater productions and other programs that nurture artists, students, technicians, administrators, and audience members; to develop each individual’s creative potential using the skill and imaginative possibilities of theater and the performing arts.

Managing Editor: JJ KaczynskiAd Sales: 301.924.4485 x105

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Dear friend of Olney Theatre Center,

When people ask why I chose to program Stephen Sondheim’s 1979 Tony-winning musical thriller Sweeney Todd, I think of two well-known gentlemen: Aristotle and Arnold Schwarzenegger.

Aristotle is simple. We’ve just passed the 2,350th anniversary of Aristotle’s treatise, The Poetics, which is the foundational document of all western entertainment. In it, Aristotle defines tragedy as the story of someone basically good but with a terrible flaw who thereby comes to grief. The structure of the story inspires pity and fear in its audience, which brings about the emotional catharsis that makes you weep when you see a great production of Hamlet (or more likely, when you saw Denzel Washington in the recent movie of August Wilson’s Fences). That’s our Sweeney – a contemporary, flawed tragic hero.

We’ve also just passed the 25th anniversary of the second Terminator movie, in which Arnold Schwarzenegger’s character utters a line nearly as memorable as “to be or not to be”: “Hasta la vista, baby.” After which he thrillingly annihilates a liquid-nitrogen-frozen T-1000 robot-villain with a single gunshot.

You don’t have to be a Terminator (or Arnold Schwarzenegger) fan to realize that there’s almost nothing so satisfying as watching a bad guy get his (or her) comeuppance. Your senses are aroused with fear in the lead-up to the moment when your sense of justice, of good and evil, of right and wrong, is reinforced. And depending on your point of view, Sweeney Todd has plenty of villains.

Stephen Sondheim set out in 1979 to write a musical that would merge the high-minded, emotional tragedy of a revenge story like Hamlet with the low-brow, delicious horror of his favorite film-noir thrillers. Sweeney Todd: The Demon Barber of Fleet Street was based on a 19th-century potboiler about a lunatic barber who killed his clients for financial gain. Sondheim (via Christopher Bond’s 1970 adaptation of the story) turned Sweeney from madman to tragic hero: wronged by a corrupt society in the figure of a hypocritical judge, Sweeney seeks revenge. In pursuit of his rough justice, the vile corruption of 19th century London infects him (and nearly everyone else in the play), and his righteous anger turns the musical into a pulse-quickening bloodbath.

It’s the pervasive depravity of 19th century London that gives the play its socio-cultural resonance: ethical purity doesn’t last long in a world where those at the top ruthlessly exploit those at the bottom. And the story of a strong man dispensing his own justice might just appeal to those in a restless electorate looking for moral clarity after a period of relativism (think Dirty Harry in the wake of the 60’s). But most important, in the figure of Sweeney himself, we see an everyman wronged who, given his environment, turns into an engine of destruction. That we sympathize with this flawed character is what makes the play so stirring, and why it’s warning to us – “isn’t that Sweeney there beside you?” – feels so potent in this troubled age, when madness seems lurking around every corner.

I hope you’ll find we’re at our best with Sweeney, because we’ve assembled some of the most amazing talent you’ll see onstage in 2017 anywhere in the DC area. David Benoit, fresh off the Phantom tour (and not long after he appeared at Studio under my direction in Adding Machine: A Musical) is joined by the legendary E. Faye Butler in a role she’s dreamt of playing for decades as Sweeney and Mrs. Lovett, respectively. And I was able to convince huge stars like Patricia Hurley (right after her triumph as the title role in Mary Poppins) and Rachel Zampelli (last season’s stunning Evita) to take on supporting roles because we were going to have such a great time putting together the show.

I hope you’ll agree that this Sweeney hits all the right notes. Let me know what you think at [email protected]… and get ready for early March, when we announce our 2017-18 season. Hard to believe it’s almost time for Olney Theatre Center’s 80th year!

Onward!

Jason Loewith Artistic Director

mailto:[email protected]


OLNEY THEATRE CENTERDebbie Ellinghaus,

Managing DirectorJason Loewith,

Artistic Director

presents

Opening Night: Saturday, February 4, 2017

New York Casting

Pat McCorkle, CSA - McCorkle Casting Ltd.

Wig and Hair Consultant

Anne NesmithDialect Coach

Zach CampionFight Choreographer

Casey KalebaProjection Designer

Zachary G. Borovay

Costume Designer

Seth GilbertScenic Designer

Milagros Ponce de León^Lighting Designer

Colin K. Bills^Sound Designer

Matt Rowe

Production Stage Manager

John Keith Hall

Director of Production

Dennis A. BlackledgeAssociate Artistic Director

Director of Music Theatre/Additional Orchestrations

Christopher Youstra

featuringDavid Benoit E. Faye Butler Kenneth Derby Patricia Hurley Gracie Jones

Jade Jones Benjamin Lurye Quynh-My Luu Michael J. Mainwaring Alan NaylorJobari Parker-Namdar Thomas Adrian Simpson Adam Strube Janine Sunday

Joseph Torello Melissa Victor Frank Viveros Laura Whittenberger Rachel Zampelli

Director

Jason Loewith

Choreographer

Tommy Rapley

Music Director

Christopher Youstra

^Olney Theatre Center Artistic Associate

SWEENEY TODD is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. 42 West 54th Street, New York, NY 10019

Phone: 212-541-4684 • Fax: 212-397-4684 • www.MTIShows.com

Originally Produced on Broadway by Richard Barr, Charles Woodward, Robert Fryer,Mary Leah Johnson, Martin Richards in Association with Dean and Judy Manos

Book by

Hugh WheelerFrom an Adaptation by Christopher Bond

Originally Directed on Broadway by

Harold PrinceOrchestrations by Jonathan Tunick

A Musical Thriller

SWEENEY TODDTHE DEMON BARBER OF FLEET STREET

Music and Lyrics by

Stephen Sondheim


OLNEY THEATRE CENTERwww.olneytheatre.org

301-924-3400 MuLiTZ-GuDELSKY THEATRE LAB

March 1 – 26

WORLD PREMiERE ADAPTATiON

FIcKLEA FANCY FRENCH FARCE

AdApted by MEg MIrOShNIKfrom the plAy The Double InconsTancyby PIErrE DE MarIvauxdirected by ELEaNOr hOLDrIDgE

My wife Marilyn and I began subscribing to Olney Theatre Center in the early 1980’s. Olney provided excellent productions at a very reasonable cost and was conveniently located as our home was in Wheaton (and later, Burtonsville). Marilyn regarded our evenings at Olney Theatre Center as our best nights out. When she passed two years ago, I felt that her love of Olney Theatre and our memories should be memorialized in some way. I contribute in memory of Marilyn, and I feel there is no better cause to endow and sponsor other than Olney Theatre Center. I support projects like the box office operations upgrades and the upcoming lobby renovation (a new digital display will be presented in memory of Marilyn) to ensure that Olney Theatre’s contributions to the community continue to grow for years to come.

- Paul Henderson

WHY OLNEY THEATRE CENTER MATTERS TO ME

Paul Henderson with Mary Poppinsactors Valerie Leonard and Rhett Guter


Production Stage Manager – JOHN KEiTH HALL**Member, Actors’ Equity Association +Equity Membership Candidate

Conductor/Piano ........................................................................................................................................Doug LawlerFlute, Piccolo, Clarinet........................................................................................................................... George HummelClarinet, Bassoon ......................................................................................................................................Rogelio GarzaTrumpet ...................................................................................................................................................... Chris WalkerTrombone ...................................................................................................................................................Peter FrancisViolin .................................................................................................................................................. Jeffry NewbergerCello .................................................................................................................................................Catherine MikelsonBass ............................................................................................................................................................ Max MurrayPercussion ............................................................................................................................................... Dakota Kaylor

SWEENEY TODD ORCHESTRA

CAST OF SWEENEY TODD (in alphabetical order)

Sweeney Todd ........................................................................................................................................DAViD BENOiT*Mrs. Lovett .......................................................................................................................................... E. FAYE BuTLER*Beggar Woman .................................................................................................................................PATRiCiA HuRLEY*Johanna ................................................................................................................................................ GRACiE JONES*Tobias .................................................................................................................................. MiCHAEL J. MAiNWARiNG*Anthony ............................................................................................................................... JOBARi PARKER-NAMDAR*Judge Turpin ...................................................................................................................... THOMAS ADRiAN SiMPSON*Pirelli .................................................................................................................................................. FRANK ViVEROS*Beadle Bamford ...............................................................................................................................RACHEL ZAMPELLi*Ensemble .....................................................................................KENNETH DERBY*, JADE JONES*, BENJAMiN LuRYE+,

QuYNH-MY Luu+, ALAN NAYLOR+, ADAM STRuBE, JANiNE SuNDAY*,JOSEPH TORELLO*, MELiSSA ViCTOR+, LAuRA WHiTTENBERGER+

UNDERSTUDIESUnderstudies never appear for a listed player unless a specific announcement is made at the time of the performance.

Sweeney Todd - JOSEPH TORELLO*; Mrs. Lovett - PATRiCiA HuRLEY*; Johanna - LAuRA WHiTTENBERGER+; Anthony, Tobias - BENJAMiN LuRYE+;

Judge Turpin - KENNETH DERBY*; Pirelli - ALAN NAYLOR+; Beggar Woman - JANiNE SuNDAY*

Dance Captain – MiCHAEL J. MAiNWARiNG* Fight Captain – JOSEPH TORELLO*

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FICKLEA FANCY FRENCH FARCEMAR 1 – 26Mulitz-GuDelsky theAtre lAb

THE MAGIC PLAYAPR 12 – MAY 7MAinstAGe

TOPDOG/UNDERDOGMAY 17 – JUNE 18Mulitz-GuDelsky theAtre lAb

MY FAIR LADYJUNE 21 – JULY 23MAinstAGe

THURGOODJULY 19 – AUg 20Mulitz-GuDelsky theAtre lAb

Bryan Anthony Wilson as Thurgood Marshall in THURGOOD.Photo by Christopher Mueller


SWEENEY TODD SCENES AND MUSICAL NUMBERS

ACT ITHE BALLAD OF SWEENEY TODD ............................................................................................................Company

NO PLACE LiKE LONDON .........................................................................Anthony, Sweeney Todd, Beggar Woman

THE BARBER AND HiS WiFE ............................................................................................................Sweeney Todd

THE WORST PiES iN LONDON.............................................................................................................. Mrs. Lovett

POOR THiNG ..................................................................................................................................... Mrs. Lovett

MY FRiENDS ............................................................................................................... Sweeney Todd, Mrs. Lovett

GREEN FiNCH AND LiNNET BiRD ............................................................................................................. Johanna

AH, MiSS .......................................................................................................................Anthony, Beggar Woman

JOHANNA .............................................................................................................................................. Anthony

PiRELLi’S MiRACLE ELiXiR ................................................................ Tobias, Sweeney Todd, Mrs. Lovett, Company

THE CONTEST ............................................................................................................................................. Pirelli

JOHANNA ........................................................................................................................................Judge Turpin

WAiT ................................................................................................................................................. Mrs. Lovett

KiSS ME...................................................................................................................................Johanna, Anthony

LADiES iN THEiR SENSiTiViTiES ........................................................................................................... The Beadle

QuARTET ..........................................................................................Johanna, Anthony, The Beadle, Judge Turpin

PRETTY WOMEN ........................................................................................................Sweeney Todd, Judge Turpin

EPiPHANY .....................................................................................................................................Sweeney Todd

A LiTTLE PRiEST .......................................................................................................... Sweeney Todd, Mrs. Lovett

ACT IIGOD, THAT’S GOOD! ............................................. Tobias, Mrs. Lovett, Sweeney Todd, Beggar Woman, Customers

JOHANNA .............................................................................................. Anthony, Todd, Johanna, Beggar Woman

BY THE SEA ........................................................................................................................................ Mrs. Lovett

NOT WHiLE i’M AROuND ......................................................................................................... Tobias, Mrs. Lovett

PARLOR SONGS ...............................................................................................................The Beadle, Mrs. Lovett

CiTY ON FiRE! ............................................................................................................Lunatics, Johanna, Anthony

FiNAL SEQuENCE ..............................................................Anthony, Beggar Woman, Sweeney Todd, Judge Turpin,

Mrs. Lovett, Johanna, Tobias

THE BALLAD OF SWEENEY TODD ............................................................................................................Company

CONNECT WITH US!


OlneyTheatre.org

The Place: London: Fleet Street and environsThe Time: The 19th Century


SPEcIaL ThaNKS TO OurSWEENEY TODD SPONSOrS!

PrODucTION SPONSOrSJoan Dubinsky and Craig Packard

LEaD arTIST SPONSOrSVictor Shargai and Craig Pascal in honor of our friends

E. Faye Butler and Jason Loewith

OPENINg NIghT SPONSOr

crEaTIvE TEaM SPONSOrSBarry and Marie Fleishman sponsoring Jason LoewithSunny and Richard Banvard sponsoring Tommy Rapley

Dick and Priscilla Hoffman sponsoring Christopher Youstra

arTIST SPONSOrSSandy Bieber and Linda Rosenzweig sponsoring E. Faye Butler

Dennis and Holly Blackledge sponsoring gracie JonesHolly Hassett sponsoring Jade Jones

Robert E. Hebda sponsoring Rachel ZampelliPaul Henderson sponsoring David Benoit and Patricia Hurley

Kathleen Quinn sponsoring Benjamin Lurye and Michael J. MainwaringLane and Cheryl Jennings sponsoring Sarah Splaine and the Backstage Team

To learn more about sponsorship opportunities, please contactWesley Meekins, individual Giving Manager,

at 301-924-4485 ext130 or [email protected]


National Players, a program of Olney Theatre Center, are bringing their three-show repertory of hamlet, the Grapes of Wrath, and the

Giver around the country to schools, performing arts halls, community cen-ters, and correctional facilities. National Players empowers learners of all ages to build stronger communities through artistic collaboration, bringing the mission of Olney Theatre Center to a national audience.

Where in the USA are

Follow National Playersas they go on the road.

Tour Stops Now ThruMarch 5, 2017

?

www.nationalplayers.org

ANNE OFGREEN GAbLEs

SAT, MAY 20, 201710 AM, 12:30 PM & 2:30 PM

SUN, MAY 21, 201712 NOON & 2:00 PM

THE HOUsE ATPOOH CORNER

SAT, APRIL 8, 201710 AM, 12:30 PM & 2:30 PM

SUN, APRIL 9, 201712 NOON & 2 PM

Join us at Olney Theatre Center for our

ThEaTEr FOr YOuNg auDIENcES SErIES

OLNEY THEATRE CENTERTICKET PRICES: $15

301-924-3400 • www.olneytheatre.org

Olney Theatre Center makes it easy and affordable to introduce your youngest kids, grandkids, nephewsand nieces to the magic of theater with a series of presentations based on children’s classics.

Olney Theatre Center and Gala Chairs George and Kristie Bradford invite you to

Join us for our Annual GalaSaturday, May 13, 2017

cocktails D dinner D live performances D music D dancing

A silent auction featuring: A Walt Disney World Resort Trip for fourA week’s stay in St. Maarten D Golf lessons with a pro golfer

and many more!

• • • AN EVENiNG OF • • •

• • • • • •

• • • • • •

SavE ThE DaTE

Please contact Debbie Harner,Director of Development, at 301-924-4485ext 103 or email [email protected]

for information on how you or your business can participate in this special and important event.

The annual gala is Olney Theatre’s biggest fundraiser of the year! Funds raised support our theatrical programming and education activities, including our Arts integration partnership

with local elementary and middle schools.

BrETT SchNEIDErAward winning actor and magician,

starring in our production ofthe Magic Play this spring.


David Benoit (Sweeney Todd) is thrilled to make his debut at Olney Theatre Center and to be reunited with Jason Loewith and Chris Youstra. BROADWAY: Jekyll and Hyde (Bishop/Spider), Avenue Q (Nicky/Trekkie), Les Misèrables (Bishop of Digne), Dance of the Vampires. OFF BROADWAY: Forbidden Broadway: Summer Shock!, Forever Plaid (Sparky), Forbidden Broadway: 10th Anniversary, The Big Bang (Jed). NATIONAL/INTERNATIONAL TOUR: The Phantom Of the Opera (Firmin), Young Frankenstein (Inspector Kemp/Blind Hermit), Les Misèrables (Thenardier), Avenue Q, All Shook Up! (Sheriff Earl), Forbidden Broadway (Japan/US), The Captain’s Daughter (Pugachev), The Hermitage (St. Petersburg, Russia).

REGIONAL: Virginia Rep: Fiddler on the Roof (Tevye), Barrington Stage: William Finn’s reworking of Romance in Hard Times (Polly). DC AREA: Studio Theatre: Adding Machine (Mr. Zero) [Helen Hayes Nomination Best Actor]. Special thanks to Seth, Phantom, Jason & Chris for the opportunity to play this dream role. For: Mom and Dad.

E. Faye Butler (Mrs. Lovett) Olney Theatre Center debut. Recent credits include Carousel (Arena Stage), Follies (St. Louis Repertory) and Ghost (Fulton Theatre/Main State Music Theatre). Additional credits with the Kennedy Center, Paramount, Victory Gardens, Goodman Theatre, Arena Stage, Signature Theatre, Center Stage, La Jolla Playhouse, Court Theatre, Steppenwolf, Chicago Shakespeare Theater, Marriott, Dallas Theater Center, Northlight, Philadelphia Theatre Company, Yale Repertory and Pasadena Playhouse. National Tours: Mamma Mia, Don’t Bother Me, I Can’t Cope, Dinah Was, Ain’t Misbehavin’, Nunsense, Nunsense II: The Second Coming. She received the 2016 Guy Adkins Award and 2016 Rosetta

LeNoir Award and was a 2012 Lunt-Fontanne Fellow. Additional awards include Jeff, Black Theater Alliance, Helen Hayes, After Dark, John Barrymore, RAMI, Excellence in the Arts, Ovation, Sarah Siddons Society Leading Lady, Kathryn V. Lamkey and Black Excellence Awards.

Kenneth Derby (Ensemble) has appeared at Olney Theatre Center in The Little Mermaid (Grimsby) and Mary Poppins (Admiral Boom/Bank Chairman). OFF-BROADWAY: Of Thee I Sing (Wintergreen), HMS Pinafore (Dick Deadeye), The Mikado (Pish-Tush). INTERNATIONAL - France, Germany, Austria, Italy: The Phantom of the Opera (André); Sunset Boulevard (Max von Mayerling); La Cage aux folles (Georges); Evita (Perón). REGIONAL: Alabama Shakespeare Festival: Peter Pan; St. Louis Muny: The Music Man; St. Petersburg Opera: A Little Night Music (Fredrik); Greenbrier Valley Theatre: Man of La Mancha (Don

Quixote) and Jesus Christ Superstar (Pilate). DC AREA: Kennedy Center: If All the Sky Were Paper; Red Branch Theatre: Sweeney Todd; InSeries: By Gershwin and Fidelio.

Patricia Hurley (Beggar Woman) is excited to be back at Olney Theatre Center. Previous Olney Theatre Center credits include Mary Poppins (Mary Poppins), Misalliance (Hypatia), Camelot (Guenevere), Triumph of Love (Leonide), Doubt (Sr. James); Peter Pan (Wendy); Fiddler On the Roof (Tzeitel); The Heiress (Maria). REGIONAL: Fulton Theatre: The Spitfire Grill (Percy). DC AREA: Signature Theatre: Merrily We Roll Along (Gussie). Shakespeare Theatre Company: Lady Windermere’s Fan (Lady Stutfield). EDUCATION: BM in Musical Theatre from The Catholic University’s Benjamin T. Rome School of Music.

gracie Jones (Johanna) is happy to be back at Olney Theatre Center. Previous Olney credits include Carousel, The Little Mermaid, Thea in Spring Awakening, Cinderella and The Sound of Music. DC Area: include Arena Stage: Carousel, Born For This; Pallas Theatre Collective: Code Name: Cynthia (Betty Thorpe/Cynthia); Signature Theatre: Beaches (Teen CeCe Bloom), The Threepenny Opera; Toby’s Dinner Theatre: The Wizard of Oz, Anything Goes (Hope). REGIONAL: Alliance Theatre: Born for This. She received her B.A. in theater from the University of Maryland, College Park. www.grcjones89.wix.com/graciejones

Jade Jones (Ensemble) is thrilled to be making her debut at Olney Theatre Center. DC AREA: Mosaic Theatre Company: Charm (Victoria); Ford’s Theatre: 110 In The Shade (Hannah Curtis); Creative Cauldron: Once On This Island (Mama Euralie) [2016 Helen Hayes Outstanding Featured Actress in a Musical nomination], Jazzed and Jaded (solo cabaret); Signature Theatre: Elmer Gantry (Epatha Washington u/s), 2014 Signature Idol winner; Keegan Theatre: Cat On a Hot Tin Roof (Sookey), HAIR (Tribe) [2015 Helen Hayes nomination for Outstanding Ensemble]. EDUCATION: BFA in Theatre from Ferrum College.

WHO’S WHO - CAST


Benjamin Lurye (Ensemble) is excited to return to Olney! OTC: Mary Poppins, Joseph...Dreamcoat, Forever Plaid (2010); Signature: Diner, Sweeney Todd, Revenge of the Understudies; UrbanArias: Blue Viola, Craigslist Cabaret, The Good Friar; Studio Theatre: Carrie; Ford’s Theatre: Hello, Dolly! [Helen Hayes Award-Outstanding Ensemble]; ATMTC: Frog and Toad, Five Little Monkeys, Alexander...Bad Day, James and the Giant Peach; Toby’s Dinner Theatre: Les Misèrables (Enjolras), 1776, Ragtime, Joseph...Dreamcoat (Joseph); 1st Stage: Parfumerie, Floyd Collins. TEACHING: Imagination Stage, ATMTC. EDUCATION: BM in Vocal Performance from the University of Maryland. UPCOMING: My Fair Lady at Olney.

Quynh-My Luu (Ensemble) is thrilled to be making her debut at Olney Theatre Center. REGIONAL: New York Gilbert & Sullivan Players: The Mikado: Re-Imagined (Yum-Yum); Interlakes Summer Theatre: Miss Saigon (Kim); Rocky Mountain Repertory Theatre: The Little Mermaid (Ensemble/Ariel understudy), Titanic (Marion Thayer), Rock of Ages (Ensemble); The Waterside Theatre: The Lost Colony (Featured Soloist). EDUCATION: BA in Musical Theatre from James Madison University in Harrisonburg, VA.

Michael J. Mainwaring 240-994-2849 [email protected]

Grace Chung Photography http://gjcphotography.jimdo.com

Michael J. Mainwaring (Tobias) Geared up for this bloodbath, Michael is so grateful to have the opportunity to be a part of this ferocious production! Other credits include: Arena Stage: Smokey Joe’s Cafe; Signature Theatre: Dreamgirls; Olney Theatre: Godspell; Kennedy Center: In Performance, Lost in the Stars; Ford’s Theatre: Shenandoah, Freedom’s Song; Creative Cauldron: Thunder Knocking at the Door; Adventure Theatre-MTC: Three Little Birds. Other Regional: Harbor Lights Theatre Company: Rent. Michael wants to extend a special shoutout to his family, friends and voice teacher, Kristin Halliday, for their undying support.

Also, a huge thanks to Olney Theatre Center and the entire Sweeney team! #ThereWillBeBlood

Alan Naylor (Ensemble) is very excited to be joining Olney Theatre Center for Sweeney Todd. REGIONAL: MUNY: Miss Saigon, Roman Holiday, Joseph..., Singin’ In The Rain, Godspell; Mcleod Playhouse: Thoroughly Modern Millie (Trevor Graydon). DC AREA: Creative Cauldron: Jacques Brel [Helen Hayes Award for Best Lead Actor in a Musical], Monsters of the Villa Diodati (Percy), Ruthless! (Sylvia); Studio Theatre: Silence! (Dr. Chilton) [Helen Hayes Award nomination for Outstanding Ensemble]; Theatre Alliance: Going to a Place Where You Already Are (Angel); Adventure Theatre-MTC: Caps For Sale

(Peddler); 1st Stage: Bat Boy (Dr. Parker) [Helen Hayes Nomination for Outstanding Ensemble]; SONOVA: Les Misérables (Marius); Monumental Theatre: Urinetown (Lockstock). EDUCATION: MM in Opera Performance from Washington University in St. Louis, BM in Vocal Performance from St. Olaf College.

Jobari Parker-Namdar (Anthony) is honored to be making his Olney Theatre Center debut. Recent credits include: OFF-BROADWAY: The New Victory: Three Little Birds. REGIONAL: The Cleveland Playhouse/Arena Stage: Five Guys Named Moe, The Ensemble Theatre: From My Hometown. DC AREA: Woolly Mammoth: An Octoroon, Imagination Stage: Beauty and the Beast (Lumiere).

Thomas Adrian Simpson (Judge Turpin) Tom is happy to be back at Olney Theatre Center where past performances include Call of the Wild, 1776 (Dickinson), Oliver! and Oh, Coward!. Regional: Arena Stage: My Fair Lady (Pickering), Mary T. & Lizzy K.(Abraham Lincoln), Carousel, Oliver!, A Fiddler on the Roof, The Light in the Piazza; Signature Theatre: The Best Little Whorehouse in Texas (Ed Earl), The Boy Detective Fails; Ford’s Theatre: 1776, Liberty Smith, The Matchmaker; The Washington National Opera: Lost in the Stars; Shakespeare Theatre Company: Candide, The Boys From Syracuse; The Goodman

Theatre: Candide; The Riverside Center: My Fair Lady (Higgins), 9 to 5 (w/ Sally Struthers), Les Misèrables. Television credits: House of Cards, America’s Most Wanted. Tom is a graduate of the UNC School of the Arts.

Adam Strube (Ensemble) is thrilled for his first production with Olney Theatre Center in his new favorite show, Sweeney Todd. Other recent stage credits include Chalice Theatre: South Pacific (Emile de Becque), McLean Community Players: Jesus Christ Superstar (Caiaphas), Packanack Community Players: Les Misèrables (Javert), and The Heights Players: The Mikado (Pish-Tush). Mr. Strube received his undergraduate degree from Ithaca College in NY, and currently sings bass in the U.S. Army Chorus in D.C.

WHO’S WHO - CAST


WHO’S WHO - CAST

Janine Sunday (Ensemble) OLNEY THEATRE CENTER: Avenue Q (Christmas Eve), The King and I (Lady Thiang), You’re A Good Man Charlie Brown (Lucy), Joseph... (Narrator). DC: Kennedy Center: Sweeney Todd. Signature Theatre: Putting it Together: METROSTAGE: Musical of Musicals (June), Closer than Ever. Studio Theatre 2Nd Stage: Jerry Springer: The Opera (Andrea). Red Branch Theatre Co.: Sweeney Todd (Mrs. Lovett). Toby’s Dinner Theatre: Les Misèrables (Fantine), Beauty and the Beast (Belle), Miss Saigon (Kim), Aida (Amneris), Cats (Grizabella) Kiss Me Kate (Kate). AWARDS: American Century Theatre: Danny and Sylvia (Sylvia) [Helen Hayes Nomination]; Toby’s Dinner Theatre: West Side Story (Maria) [Helen

Hayes Nomination], Jekyll and Hyde (Lucy) [Helen Hayes Nomination], Titanic (Alice) [Baltimore Theatre Award], West End Dinner Theatre: Brigadoon (Fiona) [Helen Hayes Nomination], Miss Saigon (Kim) [Baltimore Theatre Award]. Favorite role is Mommy to Trey! Love to Russell.

Joseph Torello (Ensemble) Olney debut! NYC: Carousel (Policeman), Show Boat (Carnival Barker), both at Lincoln Center with the NY Philharmonic and both aired on “Live From Lincoln Center”; Guys & Dolls (Mission Quartet) at Carnegie Hall alongside Nathan Lane and Megan Mullally. Joseph has played “Olin Britt” (barbershop quartet bass) in 9 touring and regional productions of The Music Man, alongside Shirley Jones for 3 of them. Most recently, Joseph played “Big Davey” in Billy Elliot at the Fulton Theatre. Other favorite roles: The Addams Family (Lurch), The Little Mermaid (King Triton), South Pacific (Stewpot),

and Les Misèrables (Bishop).

Melissa Victor (Ensemble) Olney Debut! OFF-OFF BROADWAY: For All My Girls; All Her Faces…; TOURS: Diary of a Worm, Spider and a Fly (Fly/Dance Captain); James and the Giant Peach (Sponge); REGIONAL: Summer Theatre of New Canaan: Hairspray (Dynamite), The Little Mermaid (Ursula); DC Area: Signature Theatre: Jelly’s Last Jam (Swing), U.G.L.Y; Theatre Alliance: Black Nativity (Angel); Toby’s Dinner Theatre: The Color Purple (Ensemble) [Helen Hayes Award Nomination for Outstanding Resident Musical], Hairspray (Little Inez) [Helen Hayes Nomination for Outstanding Ensemble], In The Heights (Ensemble), The Wiz (Ensemble) Upcoming: Studio Theatre: Wig Out!; Education: Bachelors of Music-Catholic University ‘12

Frank Viveros (Pirelli) is thrilled to be making his Olney Theatre Center debut! OFF-BROADWAY: The Yellow Brick Road (Iron Chef). NATIONAL TOUR: The Phantom of the Opera (Ubaldo Piangi). REGIONAL: Hangar Theater: Once on this Island (Agwe); Riverside Theater: Buddy (Apollo); Pacific Conservatory Theatre: Caroline, or Change (Bus/Dryer); TUTS: In the Heights; Stages St. Louis: Ain’t Misbehavin’; Walt Disney World: Finding Nemo The Musical (Bloat); Triad Stage: Ain’t Misbehavin’ (Ken); John W. Engeman Theater: Jekyll & Hyde; Seaside Music Theater: Moby Dick! The Musical (Father Mapple); Zach Theater: Caroline, or Change (Bus/Dryer). EDUCATION: BFA in Musical Theatre from SUNY Fredonia.

Laura Whittenberger (Ensemble) is pleased to make her OTC debut. REGIONAL: Mauckingbird Theater (PA): The Pirates of Penzance (Mabel); Broadway Theater of Pitman (NJ): Sweeney Todd (Johanna); Theater at Monmouth (ME): Ruddigore (Rose); Roxy Regional Theater (TN): Mary Poppins (Mrs. Banks); Clear Space Theatre (DE): She Loves Me (Amalia); Cedar Rapids Opera Theatre (IA): Pinocchio (Olympia/Blue Lady). DC AREA: Toby’s Dinner Theatre: The Pirates of Penzance (Mabel); Baltimore Lyric Opera: Beauty and the Beast (Belle); Red Branch Theater Company: Sweeney Todd (Johanna). ALBUMS: 2016, Never Give All The Heart. FILM: All’s Well That Ends Well (Helena).

EDUCATION: BA English, BM Voice, Indiana University; GPD Voice, Peabody Conservatory.

Rachel Zampelli (Beadle Bamford) is absolutely thrilled to return to Olney Theatre Center after playing Eva Perón in last season’s production of Evita. Other OTC credits: Godspell, Avenue Q. DC AREA: The Kennedy Center: Lost in the Stars (Washington National Opera), The Gift of Nothing. Folger Shakespeare Theatre: Rosencrantz and Guildenstern Are Dead, The Comedy of Errors, Orestes: A Tragic Romp, A Midsummer Night’s Dream; Ford’s Theatre: The 25th Annual Putnam County Spelling Bee, Shenandoah; Signature Theatre: The Gulf, The Fix, Dying City, Brother Russia, Chess, See What I Wanna See, The Happy Time; Studio Theatre 2nd Stage: Bloody, Bloody Andrew Jackson, POP! [Helen Hayes Nomination- Outstanding

Supporting Actress], Jerry Springer: The Opera, Reefer Madness the Musical; Imagination Stage: Beauty and the Beast; No Rules Theatre Company: Stop Kiss; Adventure Theatre-MTC: ‘Twas the Night Before Christmas. UPCOMING: Signature Theatre: Midwestern Gothic (dir. Matthew Gardiner); Shakespeare Theatre Company: The School For Lies (dir. Michael Kahn)


Stephen Sondheim (Music and Lyrics) wrote the music and lyrics for Saturday Night (1954), A Funny Thing Happened On The Way To The Forum (1962), Anyone Can Whistle (1964), Company (1970), Follies (1971), A Little Night Music (1973), The Frogs (1974), Pacific Overtures (1976), Sweeney Todd (1979), Merrily We Roll Along (1981), Sunday In The Park with George (1984), Into The Woods (1987), Assassins (1991), Passion (1994), and Road Show (2008) as well as lyrics West Side Story (1957), Gypsy (1959), and Do I Hear A Waltz? (1965) and additional lyrics for Candide (1973). Anthologies of his work include Side by Side by Sondheim (1976), Marry Me a Little (1981), You’re Gonna Love Tomorrow (1983), Putting It Together (1993/99) and Sondheim on Sondheim (2010). He composed the scores of the flims Stavisky (1974) and Reds (1981) and songs for Dick Tracy (1990) and the television production Evening Primrose (1966). His collected lyrics with attendant essays have been published in two volumes: “Finishing the Hat” (2010) and “Look, I Made A Hat” (2011). In 2010, the Broadway theater formerly known as Henry Miller’s Theatre was renamed in his honor.

Hugh Wheeler (Book) was a novelist, playwright and screenwriter. He wrote more than thirty mystery novels under the pseudonyms Q. Patrick and Patrick Quentin and four of his novels were transformed into films: Black Widow, Man in the Net, The Green-Eyed Monster and The Man with Two Wives. For films he wrote the screenplays for Travels with My Aunt, Something for Everyone, A Little Night Music and Nijinsky. His plays include Big Fish, Little Fish (1961), Look: We’ve Come Through (1961) and We Have Always Lived in the Castle (1966, adapted from the Shirley Jackson novel), he co-authored with Joseph Stein the book for a new production of the 1919 musical Irene (1973), wrote the books for A Little Night Music (1973), a new production of Candide (1973), Sweeney Todd, the Demon Barber of Fleet Street (1979, based on a version of the play by Christopher Bond), and Meet Me in St. Louis (adapted from the 1949 M-G-M musical), contributed additional material for the musical Pacific Overtures (1976), and wrote a new adaptation of the Kurt Weill opera Silverlake, which was directed by Harold Prince at the New York Opera. He received Tony and Drama Desk Awards for A Little Night Music, Candide and Sweeney Todd. Prior to his death in 1987, Mr. Wheeler was working on two new musicals, Bodo and Fu Manchu, and a new adaptation of The Merry Widow.

Christopher Bond (Adaptor), an actor/director/writer, wrote the play Sweeney Todd for the Stoke-on-Trent Experimental Theatre. He took Brecht’s Man Is Man, renamed it Man Eats Man and applied it to the public domain one-act folk play, Sweeney Todd, by George Dibdin Pitt, which was itself taken from the story “The String of Pearls: A Romance” published in Penny Dreadful, the Victorian gossip magazine. In this new approach to the classics, Chris also created the role of Tobias for himself. Later Chris worked with Everyman Theatre (Liverpool) where he wrote/directed Downright Hooligan, Judge Jeffreys, Under New Management and was artistic director of Half Moon Theatre (London) where he directed Sweeney Todd and Trafford Tanzy. His recent production of Alice in the Underground for Chicken Shed, a company of dis abled actors. toured all major UK theatres.

Jason Loewith (Director/Artistic Director) recently directed the co-production of Angels in America: Part I - Millenium Approaches at Round House Theatre. Previous Olney Theatre Center productions include Marjorie Prime, Carousel, the NNPN Rolling World Premiere of Steven Dietz’s Rancho Mirage, Avenue Q and How to Succeed in Business Without Really Trying. Jason won Lucille Lortel, Outer Critics Circle, and Jeff Awards for Best New Musical for Adding Machine: A Musical, which he co-wrote with composer Joshua Schmidt (off-Broadway, 2008). His latest musical is Big Nate: The Musical which premiered in 2013 at Adventure Theatre-MTC, co-written with Olney’s Associate Artistic Director Christopher Youstra. Recent regional work as a director includes the world premiere of Broke (Alliance Theatre, Atlanta), Time Stands Still (Everyman, Baltimore), Crime and Punishment, and Working It Out (Center Stage, Baltimore), Adding Machine: A Musical (Studio Theatre, DC), and a dozen plays for Chicago’s Next Theatre Company, where he served as Artistic Director from 2002-08. Those credits include the Chicago area premieres of Dying City, Defiance, The Long Christmas Ride Home, and Fabulation. He conceived and directed the world premiere of The American Dream Songbook, and produced Chicago premieres by Caryl Churchill, Suzan-Lori Parks, Carson Kreitzer, Sam Shepard, Dael Orlandersmith, and many more. He is a three-time grantee from the NEA for Artistic Excellence, a recipient of support from the Rockefeller MAP Fund and MacArthur’s International Connections Fund, and a TCG New Generations Future Leaders grant. Jason joined Olney as Artistic Director in 2013 after serving four years as Executive Director of the National New Play Network. Jason is the proud recipient of a 2015 Montgomery County Executive’s Award for Excellence in the Arts and Humanities, and serves on the board of Governors for theatreWashington.

Tommy Rapley (Choreographer) is thrilled to be returning to Olney Theatre Center with Sweeney Todd after collaborating with Mr. Loewith on Carousel and How to Succeed in Business Without Really Trying. REGIONAL: Kansas City Rep., St. Louis Rep., Actor’s Theatre of Louisville: The Adventures of Tom Sawyer; Marriott Theatre: The King and I and City of Angels; Hartford Stage Company: Snow Falling on Cedars; Oregon Shakespeare Festival: Willful; The Goodman Theatre: The Matchmaker and A Christmas Carol; Chicago Children’s Theatre: A Year with Frog and Toad, Good Night Moon, The Hundred

WHO’S WHO - CREATIVE

The New Mainstage lobby will feature an upgraded concessions bar with expanded beverage service, digital displays, new furniture and more seating options, along

with a concierge center and gift shop.

Help us build the excitement! Make a gift to support the lobby enhancements.With your support we can create a comfortable, contemporary, and social space

for our patrons to enjoy.•••••••••

To make a gift or for more information on the project, contact Debbie Harner,Director of Development, at 301-924-4485 ext 103 or [email protected]

COMING sOONApril 2017

Enhancing yourexperience at


suggested renderings courtesy of



Dresses; Steppenwolf Theatre Company: Detroit. Tommy is a proud Company Member with The House Theatre of Chicago where he has choreographed or directed over 20 world-premieres including: The Nutcracker, Death and Harry Houdini, The Sparrow, Rose and The Rime, The Great and Terrible Wizard of Oz and The Valentine Trilogy. EDUCATION: BFA in Dance Performance from Southern Methodist University.

Christopher Youstra (Music Director/Associate Artistic Director - Music Theater) As the past resident music director, Mr. Youstra has music directed and conducted around 35 musicals at Olney Theatre Center, including Evita, Carmen: An Afro-Cuban Jazz Musical, Carousel, Godspell, How to Succeed In Business Without Really Trying and Avenue Q. He has also music directed at many of the other local theaters including Ford’s Theatre: The 25th Annual Putnam County Spelling Bee, Little Shop of Horrors; Studio Theatre 2nd Stage: Bloody, Bloody Andrew Jackson, Jerry Springer: The Opera, Pop!, Passing Strange; Studio Theatre: Adding Machine: A Musical; Round House Theatre: Once on This Island, A Murder A Mystery A Marriage, The Summer of ‘42, and The World Goes ‘Round; Toby’s Dinner Theatre: Les Misérables, The Color Purple, Titanic, Beauty and the Beast, Aida, The Producers, Godspell, Rent, Miss Saigon, Ragtime: The Musical, Chicago; Imagination Stage: Rapunzel, Sleeping Beauty, Miss Nelson is Missing; The Kennedy Center Theatre for Young Audiences: Nobody’s Perfect, Chasing George Washington, Dr. Wonderful, Knuffle Bunny; Arena Stage; Burn Brae Dinner Theatre; Montgomery College; American University; Musical Theatre Center; Signature Theatre; and Columbia Center for the Theatrical Arts. Mr. Youstra has been nominated for nine Helen Hayes Awards for Outstanding Music Direction and received the award for Titanic. He is director of music at St. John the Evangelist Parish in Columbia, has worked with both Phoenix Productions and Troika Entertainment national touring company and toured both Europe and Korea with Smokey Joe’s Café. As a composer, Mr. Youstra’s music has been heard throughout the area, including The Dancing Princesses at Imagination Stage, Big Nate: The Musical (with Jason Loewith), the Helen Hayes Awards, the 2014 Summer Hummer, and the opening gala of the ATLAS center.

OLNEY THEATRE CENTER SUMMER STOCK is a one-of-a-kind theater arts program for students in grades 4-6. Students will work with OTC theater artists dai-ly, taking classes in Acting & improvisation, Voice & Sing-ing, Dance & Movement, and Scene Creation. Masterclasses from Guest Artists and special visits to rehearsals of active OTC productions are also on the schedule. At the end of the two-week session, students will perform in a showcase featuring their original scene along with musical theater song and dance: parents and family members are invited!

BEFOrE aNDaFTEr carE avaILaBLE

STOcKSuPEr ThEaTrE aT OLNEY FOr crEaTIvE KIDS

SuMMEr

KIDS MaKE ThEaTEr haPPEN ThIS SuMMEr aT

OLNEY THEATRE CENTER graDES 4-6

FOr INFO aND rEgISTraTIONVisit OlneyTheatre.org/Camp or contact Jason King Jones

Associate Artistic Director/Director of Education301.924.4485 ext 127 • [email protected]

Session One: July 17-28 • Session Two: Aug. 7-18



Colin K. Bills (Lighting Designer) is an Olney Artistic Associate, where he has previously designed Mary Poppins, Evita, Guys and Dolls, Marjorie Prime and Colossal, among others. He is a Company Member at Woolly Mammoth where he has designed over forty-five productions, including Stupid Fucking Bird, Clybourne Park and The Convert. As a Conspirator with the devising company dog & pony dc, he has collaborated in the writing, direction and design of A Killing Game and Beertown. His designs have been seen at Arena Stage, The Berkshire Theater Festival, Centerstage, Contemporary American Theatre Festival, Dallas Theater Center, Everyman Theatre, Ford’s Theatre, Forum Theatre, Imagination Stage, Intiman Theatre, The Kennedy Center, Marin Theatre Company, MetroStage, Opera Lafayette, Opéra Royal Versailles, Portland Center Stage, Round House Theatre, The Smithsonian, Signature Theatre, Studio Theatre, Synetic Theatre, Syracuse Stage, Theater J, The Washington Revels, The Wilma Theater, and the Williamstown Theatre Festival. Colin has won three Helen Hayes Awards and is a recipient of a Princess Grace Fellowship in Theater. He is a graduate of Dartmouth College.

Zachary g. Borovay (Projection Designer) Zak is thrilled to return to the Olney Theatre Center, where he previously designed Carousel. Designs on Broadway include the long-running hit Rock of Ages (also London, Australia, Las Vegas, Toronto, Singapore, Norwegian Cruise Line, National & European tours), Holler If Ya Hear Me, No Man’s Land, Waiting for Godot, Ann (also Kennedy Center), Evita (also National Tour), Lombardi (Drama Desk nom), Elf, A Catered Affair (Drama Desk nom) and Xanadu (also National Tour, Japan). Recent regional credits: Sunday in the Park with George (Huntington Theatre Co., Boston), Smart People (2nd Stage, NYC, Hewes Design Award nom.), Chimerica (Studio Theatre, DC) and The Colored Museum (Huntington Theatre Co, IRNE Award). Additional credits include The Radio City Music Hall Christmas Spectacular, The Creature from the Black Lagoon (Universal Studios Hollywood), Peepshow (Las Vegas) and Voyage de la Vie (RWS, Singapore). Zachary Borovay teaches projection design at Emerson College in Boston and is a member of United Scenic Artists Local 829. He also an accomplished bassist (Berklee College of Music). Visit borovaydesign.com.

Zach Campion (Dialect Coach) is happy to be back at Olney Theatre Center having coached dialects for Angels in America Parts 1 and 2, Dial ‘M’ for Murder, and coaching voice for the National Players Tour ’68. Other area credits include coaching dialect for Hand to God, Chimerica, Terminus, and Between Riverside and Crazy at Studio Theatre, the world premiere The Gulf at Signature Theatre, and When the Rain Stops Falling at 1st Stage Tysons. Upcoming projects include coaching voice for Smart People at Arena Stage and coaching dialects for My Fair Lady at Olney Theatre Center, and Doubt for Quotidian Theatre. Mr. Campion is a certified teacher of Fitzmaurice Voicework® and is a member of the Studio Theatre Acting Conservatory faculty. EDUCATION: MFA in Theatre Pedagogy from Virginia Commonwealth University, BFA in Performance and Production from Texas State University.

Seth gilbert (Costume Designer) is the Resident Costume Designer and Assistant Costume Shop Manager at Olney Theatre Center. Recent credits: OLNEY THEATRE: Angels in America Parts I & II (Associate Costume Designer and Craftsperson), Bakersfield Mist, Dial ‘M’ for Murder, The Producers, Carousel, How to Succeed in Business Without Really Trying [2014 Helen Hayes Award Nomination for Outstanding Resident Musical], A Chorus Line (Associate Costume Designer) [2013 Helen Hayes Award for Outstanding Resident Musical], You’re A Good Man, Charlie Brown, The Sound of Music, Grease, Annie, Forever Plaid. NATIONAL PLAYERS: Tour 68: Grapes of Wrath, Hamlet, The Giver, Tour 66 (Associate Costume Designer): As You Like It; To Kill a Mockingbird. REGIONAL: Woolly Mammoth Theatre Company: Marie Antoinette (Associate Wig Designer) [2015 Helen Hayes Award Nomination for Outstanding Costume Design; Helen Huang]; Theatre 40: The Ghosts of Mary Lincoln. EDUCATION: BS in Costume Design & Technology from the University of Michigan – Flint.

John Keith Hall (Production Stage Manager) OLNEY THEATRE CENTER: Mary Poppins, The Producers. REGIONAL: Virginia Musical Theatre: Miss Saigon, White Christmas. Shadowland Theatre: The Good German, Lend Me A Tenor, The Drawer Boy. Barter Theatre: 40+ productions including: The Lion In Winter, Mother Courage and Her Children, Gypsy, The Odd Couple, The Mousetrap, Steel Magnolias, One Flew Over The Cuckoo’s Nest, The Tempest, The Memory of Water, To Kill A Mockingbird, The Importance Of Being Earnest, Macbeth, Godspell, She Loves Me, Wit, My Fair Lady, and Falsettos. DC AREA: Woolly Mammoth Theatre Company: The Nether, An Octoroon. Signature Theatre: Soon, SCKBSTD, West Side Story. Studio Theatre: Choir Boy, Bad Jews, Water By The Spoonful, Tribes, Torch Song Trilogy, 4000 Miles, The Aliens, Invisible Man, Sucker Punch, Venus In Fur, The Walworth, Legends!, American Buffalo, In The Red And Brown Water, Adding Machine: A Musical, Rock ‘n’ Roll, Grey Gardens, The Road To Mecca, The History Boys.

Casey Kaleba (Fight Director) OLNEY THEATRE CENTER: Dial ‘M’ for Murder, Bakersfield Mist, Neville’s Island, Spring Awakening, Camelot; National Players: Tour 56-present; REGIONAL: Guthrie Theatre: King Lear; DC AREA: Folger Theatre: As You Like It; Julius Caesar, Richard III, Romeo and Juliet, Henry V; Signature Theatre: West Side Story, Road Show,

Session One: July 17-28 • Session Two: Aug. 7-18



Cabaret; Round House Theatre: Angels in America Parts I & II , Stage Kiss, The Night Alive, Ironbound, Bengal Tiger at the Baghdad Zoo; Woolly Mammoth Theatre Company: Guards at the Taj; Castleton Festival: Romeo et Juliette, Otello, The Girl of the Golden West; Rorschach Theatre: She Kills Monsters, Neverwhere; Constellation Theatre Company: Lieutenant of Inishmore [Helen Hayes nomination], Gilgamesh, Zorro. Certified Teacher and Fight Director with the Society of American Fight Directors; audition choreographer for Marvel Universe Live.

McCorkle Casting Ltd. (New York Casting) Over 55 Broadway productions including the current hit On the Town and Amazing Grace. Other casts include the Tony nominated, Broadway production, End of the Rainbow and highly acclaimed off Broadway plays; Tribes and Our Town both directed by David Cromer. A partial list of other Broadway casts include; High, The Lieutenant Of Inishmore, The Glass Menagerie, Cat On A Hot Tin Roof, One Flew Over The Cuckoo’s Nest, The Ride Down Mt. Morgan, Amadeus, She Loves Me, Blood Brothers, A Few Good Men. Notable Off-Broadway projects include; Clever Little Lies, Falling, Freud’s Last Session, Almost Maine, Ears On A Beatle, Down The Garden Paths, Killer Joe, Mrs. Klein, Driving Miss Daisy. Over 50 Feature Films include; Premium Rush, Junction, Ghost Town, Bereft, Secret Window, Basic, The Thomas Crown Affair, The 13th Warrior, Madeline, Die Hard with a Vengeance, School Ties, Splash, End of the Line, Brenda Star, My Man is a Loser, Junction, etc. and 60 projects for television and New media; Twisted (ABC Family pilot), Sesame Street, 27 East, Electric Company, Californication, (Emmy nomination), Hack (CBS), Education of Max Bickford (CBS), 3Lbs (CBS), Barbershop, Chapelle’s Show, Remember Wenn, among many others. The upcoming feature film, Morning Son is currently underway.

Milagros Ponce de León (Scenic Designer) is an Olney Theatre Artistic Associate. Past Olney Theatre credits include Carousel, Once on This Island, and Anna Karenina. Recent regional credits include Imagination Stage/Washington Ballet: The Little Mermaid; Penn State Centre Stage: I.D., The Beaux’ Stratagem, I Love You, You’re Perfect, Now Change; Children’s Theatre of Charlotte/Imagination Stage: 101 Dalmatians. Her work has been seen at Everyman Theatre, Gala Hispanic Theatre, The Kennedy Center/Theatre for Young Audiences, Rep Stage, Round House Theatre, Theatre Alliance, Opera Vivente, and Studio Theatre 2nd Stage. International credits include: Long Day’s Journey into the Night in Lima, Peru. Milagros has received two Helen Hayes nominations in scenic design, holds MFA degrees in Studio Arts and in Scenic Design from the University of Maryland, and a BFA degree in Drawing & Painting from Pontifical Catholic University of Peru. She is a faculty member at Penn State University, and a member of USA-829.

Matt Rowe (Sound Designer) DC AREA: Olney: A Chorus Line; Kennedy Center: Orphie, And The Book Of Heroes, First You Dream (Associate Sound Designer), Snow White, Rose Red (and Fred!), Nobody’s Perfect; MetroStage: The Last Five Years. Signature Theatre: Miss Saigon, Company, The Last Five Years, Shakespeare’s R&J, Dreamgirls, Dying City, The Best Little Whorehouse in Texas, Xanadu, God of Carnage, Brother Russia, Really Really, Hairspray [Helen Hayes nomination], A Second Chance, Sweet Tea: Black Gay Men of the South, The Boy Detective Fails, The Hollow, Side by Side by Sondheim, Art, And the Curtain Rises, Sunset Boulevard, Walter Cronkite is Dead, A Fox on the Fairway, Chess, Sycamore Trees, [title of show], Sweeney Todd, Show Boat, First You Dream: The Music of Kander & Ebb, Dirty Blonde, Giant, The Little Dog Laughed, Les Miserables, Anyone Can Whistle in concert, The Visit, The Happy Time, Kiss of the Spider Woman, Glory Days, Merrily We Roll Along, The Witches of Eastwick. Norwegian Cruise Lines: Million Dollar Quartet, Rock Of Ages.

Debbie Ellinghaus (Managing Director) joined Olney Theatre Center in August 2014. At Olney, she partners with Artistic Director Jason Loewith to lead the staff and execute the mission and vision of the Theatre. She also serves as a liaison to Olney Theatre’s Board of Directors, of which she is a member. Prior to joining Olney, she was the Director of Development at the University of Maryland, College of Arts and Humanities where she raised major gifts to help advance student scholarship and academic programming. From 2005-2011, she was the Senior Associate Director of Development at Yale School of Drama/Yale Repertory Theatre in New Haven, CT. At Yale, she she was part of a university-wide campaign that raised more than $3.8 billion and included transformational gifts for Yale Rep from the Andrew W. Mellon Foundation and the Robina Foundation, which established the Binger Center for New Theatre. Ms. Ellinghaus was the Director of Development at Jean Cocteau Repertory (New York, NY) and held positions at the Guggenheim Museum, the Cathedral School (NY) and the Epiphany School (NY). She has a Bachelor of Arts Degree from the University of Maryland (College Park) and is a graduate of the New Actors Workshop, where she studied with George Morrison, Mike Nichols, and Paul Sills. Since 2013, Ms. Ellinghaus has served as Chair of the Downtown Columbia Arts and Culture Commission, a not-for-profit organization with a mission to preserve the cultural significance of Merriweather Post Pavilion and provide support to other arts and culture organizations in Howard County, MD. She is a board member of the Olney Chamber of Commerce, and in March 2017 will begin her term as a member of the Board of Directors of Medstar Montgomery Medical Center (Olney, MD).

A CONTEXT gUIDE TO

Nothing like the threat of the bogeyman coming to eat you to get the adrenaline going. Nothing like watching someone’s throat get slit onstage to make your stomach clench. We’re chased by a fear and morbid fascination with death, gore, and cannibalism—from the gladiator games to the slasher films constantly popping up in theatres (always a solid bet at the box office). We just keep coming back for more.

In Victorian England there were “penny dreadfuls,” cheap serial publications known for their lurid, gory tales. It was in such a publication, titled “The String of Pearls,” that the character of Sweeney Todd first appeared in 1846. The character of the murderous barber and his pie-making accomplice so caught the public’s imagination that the first play version of Sweeney Todd was staged in 1847, before the last chapter of “The String of Pearls” was even published. There have been countless other versions of the tale since.

Melodramas and gory thrillers dominated Victorian Era entertainment; the Industrial Revolution and accompanying urbanization meant more people were living more closely to one another than ever before, stirring fears of crime. Peacekeeping systems that were once implicit social rules were made explicit in the burgeoning police force. The justice system still lagged behind and doled out harsh punishments. Capitalism encouraged the ‘every man for himself’ mentality. Workers were subject to ‘the daily grind’ of factory labor under appalling conditions. In many rural areas, stories warned of country folk who ventured to London and were ‘eaten up’ by the city.

But while Sweeney Todd emerged in a particular society at a particular point in time, what makes the legend persist is much more primal. We take perverse pleasure in watching someone disregard the most fundamental rules of a functioning society, taking life and death into his own hands. Unthinkable otherwise but compelling voyeuristically.

Sondheim, however, wasn’t interested in the story of Sweeney Todd until he saw Christopher Bond’s play performed in London in 1973. Bond gave the characters missing backstories: now Todd was not merely a deranged thief but a man wronged, come to take revenge on a corrupt world that had betrayed him. In other words, Sweeny Todd was transformed from a maniacal murderer into a tragic hero in the vein of Oedipus and Hamlet. What was merely melodramatic spectacle now had pathos.

Sondheim was so taken by Bond’s version of the tale that he began setting the play to music. As he’s done throughout his career, Sondheim broke new musical ground, and in Sweeney Todd wrote a show that shares more with opera than ‘traditional’ musical theatre. Also drawing on his favorite film thrillers, Sondheim wrote underscoring throughout, to keep up the suspense—and created a musical the likes of which Broadway had never seen. Unlike many of his musicals, Sweeney Todd was embraced immediately and received eight Tony Awards® in its initial run. It remains a highly popular choice among theatres and opera houses alike.

For Sondheim, it was a tale of one man’s obsession. For his collaborator Hal Prince, it was a story about a stratified society creating impotence that lead to rage that leads to murder. For us, it’s those things

and more: a chance to revel in the fun, the gore, tragedy, the incredible music, and most of all the, ahem, delicious thrill of the kill.

– Emily Sorensen, Dramaturg

CONTEXT gUIDE

ScENIc - INDUSTRIALIZATIONBeginning in 1760, the Industrial Revolution brought substantial changes to Great Britain, especially London. Iron and steel replaced wood and stone; coal, steam and electricity provided new sources of energy; machines like the power loom increased production; assembly lines divided labor; faster transportation and communication (in the form of steam locomotives, and radios) increased travel and the exchange of ideas. Thousands of people flooded London to take up manufacturing jobs. Amid all of this progress, individuality and craftsmanship became devalued. Assembly line workers could be easily replaced—and often had to be, as terrible factory conditions led to injuries and illness.

When it came to designing the set for Sweeney Todd, Milagros Ponce de León took inspiration from industry and the idea of London itself as a giant machine grinding down its inhabitants. She wanted to create “a world where the whole environment is like machinery,” an “engine for rage and revenge.” You can see that in the crashing verticals onstage, a type of twisted “Victorian jungle gym.”

Scenic Designer Milagros Ponce de León, Costume DesignerSeth Gilbert, and Lighting Designer Colin K. Bills share their

influences and inspirations for this production of Sweeney Todd.

Set rendering by designer Milagros Ponce de León

Set research: Depiction of industrial London

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cOSTuMES - DIRTVictorian London was infamously filthy. The air was so thick with smog and soot that sheep grazing in Regent’s Park would turn black in a matter of days. Women were advised to wash their faces at least three times a day to appear moderately respectable. “Mud” lined the streets, as London’s working horses produced 1,000 tons of dung a day.

The streets were soaked with urine. A wood paving in Piccadilly was quickly abandoned because the stench of ammonia was so strong—it even discolored shop fronts. Houses were equipped with only a cesspool back by the garden or even in the basement. Graveyards were overflowing with dead bodies. Undertakers would bury them as best they could, but rotting corpses were frequently disturbed, destroyed or dismembered to create more space.

“I’ve tried to choose garments that will greatly contrast the dirt and grime in color so the audience will see how disgusting it was to live in London then. All of the actors will apply a layer of soot to their arms and faces, etc. to highlight the dense air pollution. Even Johanna, who spends most of her time indoors, cannot escape the grit and grime. Her hems are covered in soot and dirt from the fireplaces and floors of the house and a film of dingy dust covers the rest of her person.”—Seth Gilbert, Costume Designer

Ensemble Women Costume Sketch by Designer Seth Gilbert

“Caravaggio’s paintings are defined by the qualities of chiaroscuro—the interplay of light and dark. There is a stark contrast between what is and is not seen in this painting: the background…[Holofornes’] right forearm, brightly lit, is at the center of the painting and is the primary focal point of this work. This kind of focus is unusual, and unsettling—the norm is to highlight facial expression, as this is where we customarily place emotional meaning. Lighting Designers refer to this use of light as ‘selective visibility.’ In that way this painting serves as our inspiration for Sweeney—visually highlighting only small parts of the action—such as a razor lifted above Sweeney’s head, rather than showing the whole event.” —Colin K. Bills, Lighting Designer

LIghTS - GOREAs humans, we have a primal, perverse fascination with blood and gore. After all, in our hunter-gatherer days, violence was common—even just to get food. Civilization changed all that and required us to repress our violent impulses. Now we have limited, particular means of expressing those desires. The history of art reflects that—in the consistent output of slasher films, bloody Grand Guignol theatre (from which Sweeney takes its inspiration), and paintings like “Judith Beheading Holofernes” (1598) by Italian artist Caravaggio.

“Judith Beheading Holofernes” by Caravaggio (1598)

SWEENEY TODD

Melding classical music, opera, film, and theatre techniques into a unique musical style, Sondheim shows arguably occupy their own genre of theatre. Sondheim’s musicals are famous for their deep probing of morally ambiguous characters, caustic and cerebral look at relationships, and often unconventional plot structure. They’re musically complex and lyrically dense, as Sondheim is more concerned with expressing character through song than creating catchy melodies. Sweeney Todd, in particular, defies traditional definitions of ‘musical theatre’; Sondheim refers to it as a “dark operetta,” and it is often performed at opera houses as well as theatres.

SiNGuLARLYSONDhEIM

aBOuT SONDhEIMStephen Sondheim was born on March 22, 1930 in New York City. His parents, Etta Janet and Herbert Sondheim, divorced when he was ten years old. Oscar Hammerstein (who, with Richard Rodgers, wrote The Sound of Music and Carousel among others) became a replacement father figure and indispensable mentor to the young Sondheim. When Sondheim wrote his first musical at age 16, he gave it to Hammerstein to critique. In the afternoon they went over the show together, Sondheim says he “learned more about songwriting and the musical theater than most people learn in a lifetime.”

Sondheim got his professional start writing lyrics for West Side Story and Gypsy. But as he really wanted to write music, he quickly branched out on his own for A Funny Thing Happened on the Way to the Forum. Hal Prince directed many of his early works, including Sweeney Todd, and was instrumental in developing the shows. Later Sondheim worked with James Lapine on musicals such as Into the Woods and Sunday in the Park With George.

Sondheim’s shows were often met with lukewarm critical responses, only to be embraced later as classics, as they kept getting produced around the world. All the while, he’s refined the brilliant wordplay of his lyrics, advanced his harmonies and melodic writing, and increased the musical character specificity. In 2010 to celebrate his 80th birthday, Sondheim had a Broadway theatre named after him.

••• Musical Features oF SwEENEy TODD •••

LEITMOTIFs Musical passages or melodies

that are associated with a certain character. Leitmotifs reappear in the music when the character is onstage. It is an anglicization of the

German “Leitmotiv”, meaning “guiding motif.”

DIEs IRAE A famous Gregorian chant, “Dies Irae” was originally used in the Mass of the Dead and is often used

as a symbol of doom. You can hear it in “Ballad of

Sweeney Todd” and “Epiphany.”

UNDERsCORING Sondheim considered having Sweeney Todd sung through, much like an opera. Instead

he settled on having aminimal amount of dialogue

with underscoring throughout, much like the horror movies

he loved.

CONTEXT gUIDE

Want to know more about Sweeney Todd ? Check out our blog at otc-dramaturgy.tumblr.com. There you can dive into the world of Victorian London, learn about Sondheim’s life,

read Q&As with the cast, and more.


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CORPORATE AND FOUNDATION gIFTSThis list consists of contributions of $250 or more for the period 1/1/16 through 12/31/16

$100,000+

$10,000+

$5,000+

$2,500+

$1,000+Bernard Family FoundationFidelity Charitable Gift Fund

$500+America’s Charities

Brooke Grove Retirement VillageCQI Associates, LLCMedImmune, LLC.

United Jewish Endowment Fund

Matching giftCompanies

Edelman FinancialGEICO Philanthropic FoundationIBM International Foundation

Johnson & JohnsonPEW Charitable TrustsVerizon Foundation

In-Kind DonationsMaryLee AdamsJ. Roger Bentley

Brooke Grove Retirement VillageDebbie and Andrew Ellinghaus

David and Laura EpsteinSusan and Jay Finkelstein

Diane Grimes - In memory of Bill GrimesSuzanne Gust

Mr. Stanley HallMr. and Mrs. Kevin Hasser

Mr. and Mrs. Jason King JonesAnn M. Laurence

Kathryn Lindquist and Terry NewendorpMr. Jason LoewithKathleen QuinnRuth A. Pollack

Michael RicciardellaMargaret T. Roper and Clifford L. Johnson

Linda Rosenzweig and Sandy BieberMartin and Dorothy SachsFrank and Monica Sparber

Deborah Vicino

government Support

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Eugene B. Casey Foundation

Dallas Morse CoorsFoundation

for the Performing Arts

William S. AbellFoundation

$50,000+

George Preston MarshallFoundation

Pettit FamilyCharitable Foundation


INDIVIDUAL gIFTSThis list consists of contributions of $250 or more for the period 1/1/16 through 12/31/16

$500,000 +Bob and Eveline Roberts

$100,000+ Mrs. Eugene B. Casey

$50,000+Mrs. Maggi Root

$10,000+AnonymousSandy Bieber and Linda Rosenzweig Susan and Jay FinkelsteinPaul Henderson in memory of Marilyn HendersonCharles S. Mack and Alice Barrett MackHelen MarshallKathleen QuinnMargaret T. Roper and Clifford L. Johnson

$5,000+Rhonda Friedman and James RaffertyAnonymous - In memory of Kate GibsonMorty and Meghan GudelskySimmel HaimRobert E. HebdaJames D. WarringMr. and Mrs. Stephen Z. KaufmanBill and Babi MeekinsBob and Marlene MitchellMr. and Mrs. Thomas J. Senker Mr. Vernon L. SkinnerPatricia Woodbury

$2,500+Mr. and Mrs. David BottegalM. Charlene DorrianJoan Elise Dubinsky and Craig N. PackardJohn HaugeMs. Winifred E. HerrmannNettie HorneLane and Cheryl JenningsStephen and Mary KleinThe Honorable Karen S. Montgomery and Mr. Harry MontgomeryTony and Connie MorellaJames Pape and Nancy Newman-Pape

Mita M. Schaffer and Tina M. MartinVictor Shargai and Craig PascalJohn R. and Andrea Z. UrcioloDr. and Mrs. Steven C. White

$1,000+Connie and Larry AaronsonSunny and Richard BanvardDeborah and Bruce BermanCathy S. BernardRichard and Rebecca Boker Robert BurkNed CramerEd and Leslie CroninEileen and Paul DeMarcoDebbie and Andrew EllinghausEdith L. EmbreyMaureen and Tom EstrinBarry and Marie FleishmanRobert and Carole FontenroseHal and Karen GordonMrs. Mary GrahamThe William H. Graham, Sr. FamilyDebbie L. HarnerDick and Priscilla HoffmanEric HorowitzMax and Helen Jacobs in memory of William GrahamAndi KasarskyJane Thérèse LarsenMr. Jason LoewithAmy LowensteinJohn and Kathy LyonsPaul and Pat MangusMaggie and Tico McCreadySue Morss In loving memory of Lester Robert MorssSteve C. Phan and Richard J. PosterRobert and Lelia RussellLinda SchwartzRoger and Barbara SchwarzMarlin R. and Alicia B. TaylorKen and Jaki Ulman Adolph VezzaSandy and Alan Wade in celebration of the work of Steve Greene

$500+Matthew and Heather Ahrens Sanford and Bettye Ames

Lynne BarnesHarold M. and Christine A. BartlettMerle and Nancy BigginDennis and Holly BlackledgeTim and Julia BoulayGeorge BradfordJeanne BrushRichard and Joan CurtisSteve Danielson and Dr. Kenneth HoyleMs. Andrea DrimmerDavid DunnBob and Pat FauverBerdie and David FirestoneRobert J. and Liane A. GiardinaWilliam A. Hanson and Gail A. LiebermanHolly HassettMr. and Mrs. James E. Hensley Richard and Debra HughesJon and Michelle HulsizerDavid C. HummBarbara HumphreyMr. and Mrs. Richard JourdenaisLaura KleinThe Honorable Benjamin F. KramerRichard W. LeyRobert E. Liles, IIDavid and Jennifer LubitzJim and Dorie Mangan Mr. William L. Mitchell and Mr. David A. VignoloLisa MixMr. and Mrs. Tommy Mulitz in honor of the Mulitz-Gudelsky FamilyOsborne C. Parchment, PhDAdrienne and Louis SacksKathleen and David Siefken in memory of Lelia Russell Cora and Murray Simpson Family FundLeslie F. Smith and Stacy P. SmithMs. Donna SpieglerRusty Suter in Loving memory of Dick and Nancy ThomasLois Taylor and Stephen Simpson Kate and Craig ThorntonMr. William L. Mitchell and Mr. David A. VignoloJonathan WeissRobert and Sarah WheedletonGeorge A. and Katherine C. Whitehouse


OLNEY THEATRE CENTER THANKS THE FOLLOWINg FOR THEIR gENEROSITY

$250+The Ackland FamilyRay and Michele AliNancy AnastasiSarah Allen and John AndersonGregory and Patricia ArgyrosDean and Jo Aulick Dan Bayne Fran and Harvey BergerGary and Linda BittnerMichael Bloom Jim and Monica Bradford Richard BrushGlen and Robin CameronDr. Thomas A. Clark Patricia CorridonGeorge and Patricia CowperthwaiteEmilie and Monty CrownSuzanne Rotbert and Jim DawsonLarry and Kay DildineThe Ellinghaus FamilyLaura Graham Fetter and Matthew FettersPaul and Marguerite Frampton Dr. Christopher FreyLawrence and Joan FriendLucian and Lynn Furrow Padma GoturJonah Green

Pat GrossFreddi and Dick HammerschlagRob and Shar HellieElizabeth A. HenriksenDick Kafka and Val HildebrandArthur and Laura IbersMary and Larry JudgeElizabeth S. KingStephen and Katharine KovarcikTom LansfordJames LaTorre and Nancy Frohman Barbara LatvanasStephen and Kathleen LeslieThe Lewanda Family Alexander LewinCarol and Tim LeydigMrs. Lillian LitowskyMarcia D. LitwackWes MacAdamFrederick and Betty MarcellMaury and Beverly MarksBarbara Mayo-WellsLisa McKillop in honor of the cast of Mary Poppins Charles and Marilyn MessFrederick and Elizabeth MontgomeryNancy Root MuirConnie NewettNancy M. (Nan) Norton

Solomon Petersen, Jr.Patrick PhillipsWilliam PhillipsSherry RhodesNancy RicksMargaret Ann RossSuzanne Rotbert and Jim DawsonFill and Linda RueggCharlie and Marie SchaubMs. Susan J. ShawhanLinda and Steve SkaletCarl W. Smith and Michael L. BurkeMichael and Camilla SmithGary and Janet SowersDuane and Sylvia StraubCarrie and John TrauthMimi Tygier and Robert RubinDr. and Mrs. Mark A. WallaceMs. Beverly WallingMarc Walton and Toni Stifano-WaltonThomas and Tara WattsHelene Weisz and Richard Leiberman Ms. Halo WinesDeborah and David Yaffe in honor of Linda RosenzweigRay and Ellen Youstra Ms. Suzanne Yuskiw

We thank these individuals for including Olney Theatre Center in their estate plans. Remembering Olney Theatre Center in your estate plans allows you to have a significant impact on our ability to serve future generations of theatre-makers and audiences. To notify us of your planned gift or for information on how you can be a part of our Legacy Society, contact Debbie Harner, Director of Development, at 301-924-4485 ext 103 or [email protected]

1938 LEgacY SOcIETYBob Davis and Henry Schaliziki

Edith L. Embrey Robert E. Hebda Paul HendersonSteve C. Phan and Richard J. Poster Sylvia Platt

Lillian Roehl Maggi Root



THEATER POLICIESLatecomers are seated at the discretion of the house manag-er. Please do not bring food into the theater (beverages are allowed). All buildings are smoke-free. The use of recording or photographic equipment during the show is prohibited. Olney Theatre Center is not responsible for any items left on our campus. All children, including babies, require a ticket. We will ask parents to take their children to the lobby if their behavior is disturbing patrons. Please turn off your cell phone in the theater.

SIgN-INTERPRETED PERFORMANCESSign interpretation is available for the third Thursday eve-ning during a show’s run. The service must be requested two weeks in advance and is based on the availability of qualified interpreters. To request this service, please [email protected].

POST-SHOW DISCUSSIONSJoin the artistic staff and/or invited guests after select Sat-urday matinees for AfterWords. Please call the Box Office at 301.924.3400 for more information on these events.

LISTENINg ASSISTANCEWe offer devices that amplify sound free of charge in ex-change for identification. Please ask the house manager for assistance. (This service is not available on the third Wednesday evening of a show’s run.)

AUDIO-DESCRIBED PERFORMANCESAudio-described performances are offered during the third week of a show’s run on Wednesday evenings. This includes pre-show program notes and descriptions of the action, scenery, and costumes during pauses in the dialogue.

AUDIENCE SERVICES

Every gift makes a difference. Thank you.

TO MAKE A gIFT:• Send your donation to us in the envelope provided in your program• Make your gift online: www.olneytheatre.org/support• Call 301-924-4485 ext 130

MAKE A gIFT TO OLNEY THEATRE CENTER TODAYPatron and community support is vitally important to Olney Theatre Center. Ticket sales cover only 50% of our production and operating expenses. When you make a gift to Olney Theatre, you directly help us to train the next generation of theatre-makers, and make programming

accessible and affordable for our ever-growing and diverse community.

Your contribution allows us to continue to produce the kind of theatre that matters to you.

Photo: Olney Theatre Center production of M

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EXECUTIVE COMMITTEECharles S. Mack .................................................................................................................................... President Susan Finkelstein ................................................................................................................................Board ChairLinda E. Rosenzweig ........................................................................................................................Vice PresidentClifford Johnson ......................................................................................................................................TreasurerRobert Mitchell ......................................................................................................................................SecretaryJennifer Kneeland ............................................................................................................ Immediate Past President

DIRECTORSPhyllis Bottegal • George Bradford • Debbie Ellinghaus • Rhonda Friedman • Robert E. Hebda • Stephen Klein • Jason Loewith

Helen Marshall • William Meekins • Thomas J. Senker • Ken Ulman • Alan Wade • James Warring • Patricia Woodbury

HONORARY BOARD MEMBERSStephen Kaufman • Anthony Morella • Mita M. Schaffer

William H. Graham, Sr. (in memoriam)

OLNEY THEATRE CORPORATION BOARD OF DIRECTORS

ARTISTIC ASSOCIATES

ACTORSEvan Casey • Julie-Ann Elliott • Rick Foucheux • Helen Hedman • Valerie Leonard

Susan Lynskey • Donna Migliaccio • Paul Morella • Jon Hudson Odom • Tracy Lynn OliveraMichael Russotto • Bobby Smith • Stephen Gregory Smith

DIRECTORS, CHOREOgRAPHERS, AND MUSICAL DIRECTORSMichael J. Bobbitt • John E. Going • Derek Goldman • Eleanor Holdridge • Tara Jeanne Vallee • Mark Waldrop

DESIgNERS AND STAgE MANAgERSColin K. Bills • James Fouchard • Misha Kachman • Pei Lee • Josiane M. Lemieux

Milagros Ponce de León • Ivania Stack

ABOUT OLNEY THEATRE CENTER

Olney Theatre Center is an award-winning, nonprofit, Equity theatre. Our mission is to produce and present extraordinary theatre and performance on our four-theatre campus for an ever-more diverse set of audiences in our community, and to educate the next generation of theatremakers to follow in our footsteps. We strive every day to unleash the creative potential of our artists and audiences, and in so doing, become Maryland’s premier center for theatre performance and education. In the past two years, Olney Theatre has produced seven world

or regional premieres, including Andrew Hinderaker’s Colossal (2015 Charles MacArthur Award for Outstanding New Play or Musical), and Jennifer Hoppe-House’s Bad Dog (2015 Steinberg Award nominee). Olney’s shows and educational activities are accessible and affordable, and we strive to provide a thought-provoking and enjoyable theatrical experience.

Olney Theatre Center is situated on 14 wooded acres in the heart of the beautiful Washington-Baltimore-Frederick “triangle,” within easy access to all three cities, and is also home to National Players, America’s longest-running touring company. Olney Theatre Center is led by Artistic Director Jason Loewith and Managing Director Debbie Ellinghaus. For more information, please visit www.olneytheatre.org.

Follow Olney Theatre Center on Twitter @olneytheatre and on Facebook at facebook.com/olneytheatre.

ARTISTICArtistic Director Jason LoewithAssociate Artistic Director/ Director of Music Theater Christopher YoustraAssociate Artistic Director/ Director of Education Jason King JonesArtistic Apprentice Danielle Markowitz

PRODUCTIONDirector of Production Dennis A. BlackledgeAssociate Production Manager/ Company Manager Josiane JonesTechnical Director Stephen M. GreeneShop Foreman Sarah SplaineCarpenters Joseph Caverly, Brad ZieglerResident Scenic Artist Fred ViaCostume Shop Supervisor Jeanne BlandResident Costume Designer/ Assistant Costume Shop Supervisor Seth GilbertMaster Electrician Samantha CampbellAssociate Master Electrician Tyler J. BristowProperties Master Kate BrittinghamResident Sound and Projections Supervisor Eric BosticProduction Management Apprentice Grace K. MurrinCompany Management Apprentice Charlotte CugniniProduction Apprentices Abby Bender, Mackenzie Bunch, Jason Dearing, Anna Feinerman, Jennifer ives, Tosin Olufolabi, Jack Riley, Rebecca Silva Kimberlee Vandenburg, John Ponder White

SHOW STAFFAssistant Director and Choreographer Robert MintzAssistant Music Director Paige RammelkampAssistant Lighting Designer Mary KeeganAssistant Costume Designer Mackenzie BunchAssistant Stage Managers Jack Riley, Rebecca SilvaProperties Assistant Jason DearingDramaturg Emily SorensenDeck Chief Sarah SplaineSound Engineer Ed SolomonA-2 Tosin OlufolabiDraper Kimberlee VandenburgWardrobe Mackenzie Bunch, April Carter, Kimberlee VandenburgDeck Crew Anna FeinermanLight Board Operator John Ponder WhiteFollow Spot Operators Megan Hart, Jennifer ivesAdditional Painting Claire Jones, Courtney Jones, Gracie Jones, Anna MihmAdditional Electrics Stefanie DeHart, Alexander RobertsAdditional Carpentry Jess Bittorf, Stephanie Jo Clark, Mark Hawkinson

OLNEY THEATRE CENTER STAFF

ADMINISTRATIONManaging Director Debbie EllinghausGeneral Manager Fred T. PaulDirector of Finance Chyeslan BusoHuman Resources/ Finance Manager Andrew HurstFacilities Manager Michael Plater

DEVELOPMENTDirector of Development Debbie Harnerindividual Giving Manager R. Wesley Meekins institutional Giving Manager Karen ChalmersMarketing and Development Apprentice Josiah Hernandez

COMMUNICATIONSDirector of Marketing and Communications Joshua FordSales Director Weldon C. BrownBrand Director/ Graphic Designer JJ KaczynskiMarketing Associate Kristina ErwinBox Office Supervisors Chisomo Maluwa, Josh RoseFront of House Managers Nic Lopez, Desirée WardBox Office Associates Judy Abrams, Jessica Comstock, Vince Constantino, Shayla Garfield, Marion Levy Qualls, Rachel Spory-Harper, Emily Townsend

EDUCATIONEducation Programs Manager Kevin HasserArts integration Manager Sara Qureshi Dramaturgy Apprentice Emily SorensenEducation Administration Apprentice Katie Jeanneret

NATIONAL PLAYERSAllyson Boate, Guadalupe Campos, Jered Hobbs, Kenneth Hopkins, Jr., Shawn Morgenlander, Claire Allegra Taylor, Audrey Tchoukoua,Moira Todd, Adam Turck, Alex Turner

SPECIAL THANKSPenn State university - Jason Winfield, Prop MasterGeorge Washington university - John Traub, Technical DirectorBella Faccia - Paul Falcon, PresidentRound House TheatreSignature Theatre

Olney Theatre Center for the Arts is a professional theater employing members of Actors’ Equity Association, the union of professional actors and stage managers in the United States.

Actors’ Equity Association, founded in 1913, represents more than 45,000 actors and stage managers in the U.S. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. Equity seeks to foster the art of live theatre as an essential component of our society.

Olney Theatre Center for the Arts is a member of Theatre Communications Group, the national service organization representing the not-for-profit American theater; the Cultural Alliance of Greater Washington; the League of Washington Theatres; and the Baltimore Theatre Alliance.

The Director and Choreographer are members of the

sPECIAL THANKs TO OUR sEAsON sPONsORs


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