Welcome! 

I’m so excited for this PlayMakers 2024/2025 season – a thrilling year of plays that each in its own way celebrates and wrestles with the power of the American Dream. The nature of the American Dream is always worth exploring, but especially over an election year that asks each of us to take stock of where we are and where we hope to be. To kick off this endeavor, we turn once again to the work of the incomparable and brilliant Lynn Nottage in her stunning play, Crumbs from the Table of Joy.

Set in New York during the 1950s, the play centers on Ernestine, a young woman wrapped up in the intoxicating magic of Hollywood films as an escape from the realities of the world around her. An idealized version of American life pulls and develops into a longing for all that “might” be. I think this longing captures a true essence of the American Dream – the desire to be seen, to improve, the drive to progress. Sometimes that longing is full of hope and energy, other times full of fear and exhaustion (come back for the brilliant Death of a Salesman later this season!)

The theatre, especially the live theatre, brings us together from our vastly different lives and allows us to experience another’s story—another’s dream—as a group. As we sit together in the dark, there is an anonymity and leveling of the playing field that makes us all just alike during the “two hours traffic of our stage.” There’s nothing quite like allowing a well told story shift the focus off ourselves and onto the lives of others. It’s a shared experience that then often sends us home understanding something new about ourselves.

Under the guidance of the brilliantly insightful PlayMakers company member Tia James, she and her team have crafted something beautifully rendered, deeply felt, and remarkably humane. There is a great deal of hope to share here. My hope is that this story works some magic upon you and piques your curiosity to come reflect on the American Dream with us at PlayMakers all season long.

Warmly,

Vivienne

Table of Contents

Letter from Vivienne

Support PlayMakers

About the Author

Program Notes

Who We Are

Title Page

Actor Bios

Creative Team Bios

PlayMakers Staff

Friends of PlayMakers

Corporate and Foundation Partners

Desktop Computer Version of playbill available here

Welcome, welcome, welcome!

We are so happy to have you in this space with us.  

When I first immigrated to the United States in 1994, America seemed like a land of bounty – full of wonder and opportunity under the banner of “The American Dream.” After living here for over 30 years, I’ve learned that this dream means very different things to different people. As our society evolves, we grapple with questions about whether that opportunity is equally afforded to all, what success truly means, what we value, and how we balance rugged individualism with collective responsibility. 

This season at PlayMakers, we invite you to join us on a journey that promises to challenge, entertain, and inspire. The American Theatre provides a unique space to explore the American Dream – where ideas come to live and breathe, allowing the nuances of our shared ideals and our differences to be examined. What a gift to our community that we have a company like PlayMakers to offer this space for reflection, dialogue, and change.  

We hope you will continue to join us throughout this season and beyond. Your support is crucial in bringing these powerful stories to life, enriching our community, and protecting the magic of live theatre. Share your experiences here with your friends, follow us on social media, and consider a donation – however you choose to support, we are truly grateful to have you with us this season. 

Peace,

Jackie Tanner, Chair

PlayMakers Advisory Council

Jackie Tanner, Chair

Betsy Blackwell, Patrick Brennan, Deborah Gerhardt, Susan Gross, Amy Guskiewicz, C. Hawkins, Zach Howell, Lillian Jenks, Duncan Lascelles, Stuart Lascelles, Robert Long, emeritus, Graig Meyer, Julie Morris, Paula Noell, Jodi Patalano, Diane Robertson, Wyndham Robertson, Haley Swindal, Jennifer Werner, Mike Wiley

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About the Author

Nottage recently premiered Floyd’s at the Guthrie theater. She wrote the book for the world premiere musical adaptation of Sue Monk Kidd’s novel The Secret Life of Bees, with music by Duncan Sheik and lyrics by Susan Birkenhead. It premiered at the Atlantic Theatre Company in May 2019, directed by Sam Gold. Upcoming work includes an opera adaptation of her play Intimate Apparel composed by Ricky Ian Gordon, commissioned by The Met/Lincoln Center Theater. She wrote the book for the musical MJ, featuring the music of Michael Jacks on, which premiered on Broadway.

Other plays include Mlima’s Tale (Public Theater); By The Way, Meet Vera Stark (Lilly Award, Drama Desk Nomination); Ruined (Pulitzer Prize, OBIE, Lucille Lortel, New York Drama Critics’ Circle, Audelco, Drama Desk, and Outer Critics Circle Award); Intimate Apparel (American Theatre Critics and New York Drama Critics’ Circle Awards for Best Play); Fabulation, or The Re-Education of Undine (OBIE Award); Crumbs from the Table of Joy; Las Meninas; Mud, River, Stone; Por’knockers and POOF! Her play Sweat (Pulitzer Prize, Evening Standard Award, Obie Award, Susan Smith Blackburn Prize, Tony Nomination, Drama Desk Nomination) moved to Broadway after a sold-out run at The Public Theater. It premiered and was commissioned by the Oregon Shakespeare Festival American Revolutions History Cycle/Arena Stage. Inspired by her research on Sweat, Nottage developed This Is Reading, a performance installation based on two years of interviews at the Franklin Street, Reading Railroad Station in Reading, PA in July 2017. 

Nottage is the recipient of a MacArthur “Genius Grant” Fellowship, Steinberg “Mimi” Distinguished Playwright Award, PEN/Laura Pels Master Playwright Award, Merit and Literature Award from The Academy of Arts and Letters, Columbia University Provost Grant, Doris Duke Artist Award, The Joyce Foundation Commission Project & Grant, Madge Evans-Sidney Kingsley Award, Nelson A. Rockefeller Award for Creativity, The Dramatists Guild Hull-Warriner Award, the inaugural Horton Foote Prize, Helen Hayes Award, the Lee Reynolds Award, and the Jewish World Watch iWitness Award. Her other honors include the National Black Theatre Fest’s August Wilson Playwriting Award, a Guggenheim Grant, Lucille Lortel Fellowship and Visiting Research Fellowship at Princeton University. She is a graduate of Brown University and the Yale School of Drama. She is also an Associate Professor in the Theatre Department at Columbia School of the Arts. 

Nottage is a board member for BRIC Arts Media Bklyn, Donor Direct Action, Dramatist Play Service, Second Stage and the Dramatists Guild. She recently completed a three-year term as an Artist Trustee on the Board of the Sundance Institute. She is a member of the Dramatists Guild, WGAE, and the American Academy of Arts and Letters. She is currently an artist in-residence at the Park Avenue Armory.

Learn more: www.lynnnottage.com

Preliminary costume renderings by Sabrina Guillaume-Bradshaw.

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Dramaturgy Fellow Series

An Introduction to the 2024/25 Season

By Lexi Silva, Dramaturg Associate

Welcome back to PlayMakers! Campus is buzzing, traffic on Franklin Street is notably worse, and there’s a frenetic, youthful energy about town that can only mean one thing: school is back in session. As I enter my second year as Dramaturgy Fellow for the Department of Dramatic Art and PlayMakers Repertory Company, I find myself reflecting on the year that’s passed, with an enthusiastic eye towards the season to come. Last year featured plays that showcased the complexities of human experiences and connection through a diverse array of voices and genres. The 2024/25 season is much the same but is intentionally united in a mission to interrogate the American dream and democracy from different perspectives across time. In a society where social media and targeted ads allow us to curate our own ideological echo chambers, I believe this season can do what theatre does best: facilitate an opportunity for people from different walks of life to engage with ideas that challenge us, delight us, surprise us, and affirm us of our shared humanity.  

Fall at PlayMakers kicks off with Crumbs from the Table of Joy by a contemporary giant in the American theatrical canon, Lynn Nottage. Crumbs explores the American dream through the perspective of a young Black woman in 1950’s New York. Ernestine navigates complicated family dynamics, social and personal adversity, and the trials and delights of girlhood. Crumbs is the third of Nottage’s plays that PlayMakers has programmed in recent history following Intimate Apparel (2016/17) and Clyde’s (2023/24), and if you’ve had the opportunity to see either production, it’s clear as to why PlayMakers keeps revisiting her work. 

Next up is What the Constitution Means to Me by Heidi Schreck, a hilarious and heartfelt dive into the history of the Constitution that considers our political history from intergenerational perspectives, and even integrates a live debate at the end of each show! Constitution closes just two days before the upcoming presidential election and is sure to leave patrons both introspective and inspired by the play’s capacity to interrogate history taking care to maintain its sense of humor. 

Ushering in the holiday season is PlayMakers new play commission by North Carolina gems, Howard Craft and Mike C. Wiley, The Christmas Case of Hezekiah Jones. Both silly and sincere, Hezekiah is a celebration of Chapel Hill that highlights the integral presence and influence of Black culture and history in the area. A modern and magical tale about a small business staying afloat in an ever-changing economy, Hezekiah is a love letter to local communities and a reminder that grief and joy can coexist. 

Each of these works creates an opportunity to explore the tragedies and triumphs inherent to the pursuit of the American dream; a theme that will continue in next spring’s lineup of Death of a Salesman by Arthur Miller, Confederates by Dominique Morrisseau, and Little Shop of Horrors by Alan Menken and Howard Ashman. This season is a mashup of tones and perspectives that is diverse in its representation of identities and experiences–an important standard to uphold in any season, particularly one that focuses on America, where seemingly endless opportunity is largely gate-kept on the basis of sex, class, race, and ability. While theatre mirrors our joy and resilience, I am most compelled by its ability to mobilize thought into action. I’m excited to see the conversations and actions our upcoming season will spark in this brilliant community. Cheers to the year ahead! 

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Program Notes

By Jacqueline E. Lawton, Dramaturg

This year, PlayMakers Repertory Company is contemplating the American Dream, and the role that Democracy plays in our republic. It is a bold and daring vision that not only asks each of us to consider who we are as a nation and who we could be, but also what we are willing to do to ensure future generations will have fundamental freedoms, civil liberties, and a voice in future elections. And there is a no one better to launch our season than two-time Pulitzer Prize winning playwright Lynn Nottage, whose talent, insight, and versatility make her one of the most prolific and consequential writers of our time.  

Nottage is the author of several plays including Intimate Apparel; Ruined; Sweat; By the Way, Meet Vera Stark; MJ: the Musical; and Clyde’s. She is a graduate of Brown University and the Yale School of Drama. It was at Yale University where she began writing political plays and became an activist working to raise awareness for a variety of issues that impacted her fellow students. After graduation, she worked in the press office at Amnesty International for four years. Her commitment to justice and human rights carried over into her writing life. In a recent interview, she shared the following about her plays and characters:  

“They’re all stories about people who are marginalized. People who are struggling with identity. People whose identities have been erased. They’re about working people who felt incredibly marginalized and unseen, and about how they can assert themselves in a landscape that refuses to recognize their dignity.” 

First produced Off-Broadway in 1995, Crumbs from the Table of Joy was Nottage’s first major production. It must be noted that she does something quite rare and courageous with this play. She centers the story on a 17-year-old Black girl named Ernestine Crump. For two hours, audiences are asked to consider the life and dreams of a young Black girl. This doesn’t happen often in the American Theatre. In a recent interview with All Arts, Nottage explains her decision to do this: 

“Crumbs” … marked the beginning of my professional life in the theater. I had the opportunity to center the voices of Black girls, which at the time was a true rarity on the American stage. The play also reflects my desire to merge the personal and the political in ways that can be both entertaining and enlightening.”  

Crumbs from the Table of Joy takes place in Brooklyn in 1950.  The title of the play is inspired by Langston Hughes’ short poem, “Luck”: 

Sometimes a crumb falls from the table of joy, 
Sometimes a bone is flung, 
To some people love is given, 
To others only heaven. 

Hughes’ poem reflects the stark reality of the American Dream in the 1950s.  It was during this time that America saw the dawn of the Cold War and the Korean War, the crusade against Communism, and a revitalization of the civil rights movement. The United States emerged from World War II as a major superpower both a defender of democracy and capable of brute military force.  The economy and babies were booming. The GI Bill paved the way to a middle class for many Veterans and suburbs were built on the outskirts of cities across the country. American families had greater access to new cars, manufactured products, and affordable television sets. The fight against racial oppression, discrimination, and segregation escalated and entered the mainstream of American life. Nottage does a masterful job weaving complex issues of race, class, gender, and religion into the world of the play and the lives of her characters.  

In Crumbs from the Table of Joy, we are introduced to Earnestine who dreams of being a movie star and desperately wants to be part of a revolution to the change the lives and circumstances for Black people in America. We also meet her younger sister, Ermina, who loves her big sister, is determined to find love, and breathes in the vibrant life of the city. They live with their father, Godrey, a spiritual seeker who is mourning the loss of his wife, Sandra, and is eagerly trying to find a way forward for his daughters. Like a tornado, Sandra’s sister Lily Ann enters their lives to help raise the girls. She is a strong-willed, independent, passionate woman who is fighting for justice and civil rights in the Communist Party. The girls are also introduced to a much quieter storm in Gerte, a German woman from a small town outside of Berlin, who dreams of a better life in America and finding love in the syncopated rhythms of jazz. In their own way, they are each searching for their own voice, their own way of being in the world, and their own piece of the American Dream.  

At the first rehearsal for Crumbs from the Table of Joy, artistic director Vivienne Benesch read another poem by Langston Hughes’ entitled, Democracy. The following stanza resonates with deeply with Nottage’s play and her character’s desires: 

“I tire so of hearing people say, 
Let things take their course. 
Tomorrow is another day. 
I do not need my freedom when I’m dead. 
I cannot live on tomorrow’s bread.” 

Freedom, that hard-fought, hard-won state of being that cannot take that for granted. It’s no wonder we are focusing so intently on the American Dream. We’re in an election year. Elections are powerful, consequential, and transformative. Each of us has it within our power to shape the future of this country with one vote. As you take in Ernestine’s story, we hope that you consider what the American Dream means to you, your loved ones, your neighbors, your community, and, most importantly, to the citizens among you that you have yet to meet. And we hope to see you at the theatre again soon!  

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Crumbs from the Table of Joy

by Lynn Nottage

Directed by Tia James

Scenic Designer
Jan Chambers

Costume Designer
Sabrina Guillaume-Bradshaw

Lighting Designer
Kathy A. Perkins

Sound Designer & Composer
G Clausen

Vocal Coach
Gwendolyn Schwinke

Dramaturg
Jacqueline E. Lawton

Stage Manager
Aspen Blake Jackson

Assistant Stage Manager
Sarah Smiley

September 11 – 29, 2024

World Premiere Production by The Second Stage Theatre, May 1995. Artistic Director Carole Rothman, Producing Director, Suzanne Schwartz Davidson, with a grant from the Lila Wallace-Reader’s Digest Fund.

“Crumbs from the Table of Joy” is presented by special arrangement with Broadway Licensing, LLC, servicing the Dramatists Play Service imprint. (www.dramatists.com)

The video or audio recording of this performance by any means is strictly prohibited.

The Professional Theatre of the Department of Dramatic Art Kathryn Hunter-Williams, Chair, Vivienne Benesch, Producing Artistic Director Produced in association with the College of Arts and Sciences The University of North Carolina at Chapel Hill

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Actor Bios

in Alphabetical Order

Gerte Schulte: Elizabeth Dye
Ernestine Crump: Jadah Johnson
Lily Ann Green Jasminn Johnson*
Godfrey Crump: Nate John Mark
Ermina Crump: Mengwe Wapimewah

Stage Managers: Aspen Blake Jackson* Sarah Smiley*

*Appearing through an Agreement between this theatre and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Time & Place: 1950s Brooklyn

Crumbs from the Table of Joy will be performed with a 15-minute intermission.

PROFESSIONAL ACTOR TRAINING PROGRAM

Elizabeth Dye

Gerte Schulte

PlayMakers: Company member in their second year of UNC’s Professional Actor Training Program with the Department of Dramatic Art. The Game, Much Ado About Nothing. The Taming, Stupid F**king Bird (PlayMakers/DDA Ground Floor).

University: Cabaret, Animal Farm, Three Sisters, Violet, Henry IV Part One (University of Evansville).

Education: BFA Theatre Performance at the University of Evansville.

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Jadah Johnson

Ernestine Crump

PlayMakers: Company member in their second year of UNC’s Professional Actor Training Program with the Department of Dramatic Art. The Game (u/s perf.), Much Ado About Nothing. Stupid F*king Bird (PlayMakers/DDA Ground Floor).

Regional: Too Heavy For Your Pocket (New Horizon Theatre).

University: Bad Ass Signal (Point Park University); The Motherfcker
with the Hat, Ruined (Florida School of the Arts).

Film: Detention (Student film); S.Q.U.A.D (Student film).

Education: B.A Theatre Arts Performance and Practices at Point Park University.

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Jasminn Johnson

Lily Ann Green

PlayMakers: Debut.

Broadway: Ain’t No Mo.

Off-Broadway/New York: The Slow Dance (59E59); Blues for an Alabama Sky (Keen Company); King Lear (NY Classical Theater).

Regional: Tornado Tastes Like Aluminum Sting (CATF); Blues for an Alabama Sky (Barrington Stage Company); Twelfth Night (Shakespeare on the Sound).

Film: Motherland (Upcoming). 

Television: “The Politician,” “The Equalizer”.

Education: The Juilliard School 

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Nate John Mark

Godfrey Crump

PlayMakers: Company member in their second year of UNC’s Professional Actor Training Program with the Department of Dramatic Art. Fat Ham, Much Ado About Nothing. Stupid F**king Bird (PlayMakers/DDA Ground Floor).

Regional: Party People (Actors Theatre of Louisville); Nollywood Dreams ( Open Book Theatre); Head Over Heels (Ringwald Theatre); Taming of the Shrew (Idaho Shakespeare Festival); Othello (The Acting Company/NY); 12th Night (Shakespeare in Detroit).

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Mengwe Wapimewah

Ermina Crump

PlayMakers: Company member in their second year of UNC’s Professional Actor Training Program with the Department of Dramatic Art. Fat Ham, Much Ado About Nothing. The Lifespan of a Fact, Stupid F**king Bird (PlayMakers/DDA Ground Floor).

University: Recycling Theater (Stella Adler Studio of Acting); The Quiet Zone (Stella Adler Studio of Acting).

Film: NCWC (Pace University); Sisyphus (Pace University); Vices (JG Filmworks); Out of Luck (RK Productions).

Education: BFA Acting for Film, Television, Voiceovers, and Commercials at Pace School of Performing Arts

Tia James

Director

PlayMakers: Company member for six seasons. Actor: Much Ado About Nothing, Clyde’s, Hamlet, Blues for an Alabama Sky, A Wrinkle in Time, Julius Caesar, Native Son. Vocal coaching includes Misery, They Do Not Know Harlem, The Legend of Georgia McBride, Stick Fly, Ragtime, How I Learned to Drive, Life of Galileo, Bewilderness, She Loves Me, Skeleton Crew, Sherwood, Jump, Your Healing is Killing Me. Director: How I Learned What I Learned, As You Like It, Macbeth (PlayMakers Mobile), and Constellations (PlayMakers Ground Floor).

Broadway: The Merchant of Venice.

Off-Broadway / New York: The Winter’s Tale, The Merchant of Venice (Shakespeare in the Park).

Regional: Much Ado About Nothing (Commonwealth Shakespeare Company); Richard III (Allentown Shakespeare); Loving and Loving (Stella Adler Studios); Much Ado About Nothing (Two River Theatre); Civilization [All You Can Eat] (Woolly Mammoth Theater).

Television: “Nurse Jackie,” “Treme.”

Teaching / Coaching / Directing: UNC-Chapel Hill, NYU Graduate Acting, NYU Dance, Atlantic Acting School, Montclair University.

Education / Awards: MFA NYU Tisch Graduate Acting Program, BFA Virginia Commonwealth University; Miller Voice Method Teacher Certification. Recipient of the 2014 NYU Graduate Acting Diversity Mentorship Scholarship, 2003 Kennedy Center American College Theatre Festival, Irene Ryan Acting Scholarship winner for Best Actor; 2019 Michael Chekhov/Zelda Fichandler Scholarship.

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Jan Chambers

Scenic Designer

PlayMakers: Company member for 17 seasons and professor in the Department of Dramatic Art at UNC-Chapel Hill. Productions include Fat Ham, Much Ado About Nothing, They Do Not Know Harlem, Yoga Play, As You Like It, Skin of Our Teeth, Julius Caesar, Dairyland, How I Learned to Drive, Skeleton Crew, Leaving Eden, A Christmas Carol, The Cake, The May Queen, Sweeney Todd, 4000 Miles, Vanya and Sonia and Masha and Spike, The Making of a King: Henry IV & V, A Raisin in the Sun, Red, Metamorphoses, The Tempest, Angels in America and Nicholas Nickleby, among others.

Regional: A Brittle Glory: The History Plays, Hamlet, Cyrano de Bergerac, Sunday in the Park with George, Pericles (Guthrie Theatre); Asylum (Only Child Aerial Theatre at Circus Now International Contemporary Circus Exposure); Pericles, Hamlet (Folger Theatre); Pericles, Henry V (Oregon Shakespeare Festival); North: A Love Letter, The Reckoning, It Had Wings, The Narrowing, Out of the Blue (Archipelago Theatre/ Cine).

Member of the United States Institute for Theatre Technology and of United Scenic Artists, Local 829.

 janc@email.unc.edu | https://janchambers.sites.oasis.unc.edu/ 

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Sabrina Guillaume-Bradshaw

Costume Designer

PlayMakers: Fat Ham.

Off-Broadway/New York: Elements of Humanity: Garments of San Juan Hill (Lincoln Center); Mary Speaks (The Sheen Center for Thought and Culture); Mirrors (New York Theater Workshop); Black Exhibition (The Bushwick Starr); Drama League- DirectorFest (New Ohio Theater).

Regional: Fat Ham (Cincinnati Shakespeare Company); Hotel Berry (Tantrum Theater); Mufaro’s Beautiful Daughters (Lincoln Community Playhouse).

Education: Sabrina received her M.F.A. in Design and Technical Production from Brooklyn College.

Award: Opera America- Robert L.B. Tobin Director-Designer Prize, 2021

www.SabrinaBianca.com

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Kathy A. Perkins

Lighting Designer

PlayMakers: They Do Not Know Harlem, Edges of Time, Count, Mr. Joy, Trouble in Mind, Surviving Twin, A Raisin in the Sun, Clybourne Park, The Parchman Hour.

Broadway: Trouble in Mind.

Regional: American Conservatory Theatre, Arena Stage, Berkeley Repertory, Seattle Repertory, St. Louis Black Repertory, Alliance, Goodman, Steppenwolf, Baltimore Center Stage, Alabama Shakespeare Festival, New Federal Theatre, Mark Taper, Yale Repertory, Actors Theatre of Louisville, and People’s Light.

Education: In 2007 she was inducted into the College of Fellows of the American Theatre. She received her BFA from Howard University and her M.F.A. from the University of Michigan.

Other Credits: Kathy is the editor of seven anthologies focusing on women both nationally and internationally, including Selected Plays: Alice Childress. She is a senior editor of the Routledge Companion to African American Theatre and Performance. Kathy is faculty Emerita at the University of Illinois at Urbana-Champaign and the University of North Carolina at Chapel Hill. In 2022 she received the New York City Henry Hewes Design Award. In 2016 she served as a theatre consultant for the Smithsonian National Museum of African American History and Culture’s inaugural exhibition “Taking the Stage”.

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G. Clausen

Sound Designer & Composer

PlayMakers:  How I Learned What I Learned, Native Son, Skeleton Crew. 

Off-Broadway: Syncing Ink (Apollo Theater). 

Regional: I Am Deliverd’t (Co-Pro Dallas Theater Center and Actors Theatre of Louisville); Twisted Melodies (St. Louis Repertory); PYG or The Misedumacation of Dorian Belle (Studio Theatre); Queen of the Night (Victory Gardens Theater); My Wonderful Birthday Suit, The Snowy Day and Other Stories by Ezra Jack Keats (Children’s Theatre of Charlotte); The Revolutionists, Rebellious, The 39 Steps, Member of the Wedding, Dirty Blonde, Fences, Don Juan, The Mystery of Irma Vep, And Then There Were None, A Christmas Carol, Two Wolves and a Lamb (Triad Stage); The Piano Lesson, Too Heavy for Your Pocket, How I Learned What I Learned, Intimate Apparel, A Raisin in the Sun, Hooded, or Being Black for Dummies (Pyramid Theatre Company); Welcome to Arroyo’s, Baskerville: A Sherlock Holmes Mystery (Cape Fear Regional Theatre).  

Education: MFA in Sound Design from UNCSA. BS in History/Minor in African American Studies from Iowa State University. 

gclausen.com

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Gwendolyn Schwinke

Vocal Coach

PlayMakers:  Company member in her seventh season. Voice/Dialect Coach: The Game, Murder on the Orient Express, Fat Ham, Much Ado About Nothing, Clyde’s, Emma, Native Gardens, Blues for an Alabama Sky, Yoga Play, Dairyland, Native Son, Julius Caesar, As You Like It, The Skin of Our Teeth, A Wrinkle in Time. Actor: Murder on the Orient Express, Much Ado About Nothing, The Skin of Our Teeth, As You Like It.  

International: Voice/Text/Dialect/Somatic Coach: Macbeth, Twelfth Night, As You Like It, Roman Daggers, The Winter’s Tale (Prague Shakespeare Company), Company season training (Queensland Shakespeare Ensemble). 

New York & Regional: As Voice & Text Coach: Seven seasons with Shakespeare & Company. Oxford Shakespeare Festival, Frank Theatre, Cheap Theatre, Atlantic Stage. Actor: Carlyle Brown & Company, Oxford Shakespeare Festival, Frank Theatre, Red Eye Collaboration, Minnesota Shakespeare Project, Atlantic Stage, Old Creamery Theatre, Illinois Shakespeare Festival. Playwright: Plays developed and/or produced by Seattle Repertory Company, Cherry Lane Theatre, The Playwrights’ Center, Red Eye Collaboration, Judith Shakespeare Company, Jungle Theatre. 

Teaching: David G. Frey Fellow/Assistant Professor of Voice & Speech at UNC-Chapel Hill, Faculty Member at Shakespeare & Company and Prague Shakespeare Company, Designated Linklater Voice Teacher and Teacher Trainer, Guild-certified Feldenkrais Teacher. Voice & Speech Trainers Association Board of Directors.

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Jacqueline E. Lawton

Dramaturg

PlayMakers: Company member in her 9th season and associate professor in the Department of Dramatic Art at UNC-Chapel Hill.

Regional Dramaturgy: Actors Theatre of Louisville’s Humana Festival of New American Plays, Arden Theater, Arena Stage, Denver Center for the Performing Arts, Ensemble Studio Theater, Ford’s Theatre, Goodman Theatre, Horizons Theater, Interact Theatre, Kennedy Center VSA Program, Rorschach Theatre, Round House Theatre, the Stratford Festival, Theater J, Virginia Stage Company and Woolly Mammoth Theatre Company.

Broadway Dramaturgy: Good Night, Oscar (Belasco Theatre).

Playwright: Anna K; Behold, a Negress; Blackbirds; Blood-bound and Tongue-tied; Deep Belly Beautiful; The Devil’s Sweet Water; Diola; Edges of Time; Freedom Hill; The Hampton Years; Hotel Berry, Intelligence; The Inferior Sex; Love Brothers Serenade; Mad Breed; Noms de Guerre; So Goes We; and The Wonderful Wizard of Oz. 

Education/ Affiliations: MFA in Playwriting, University of Texas at Austin; James A. Michener Fellow. TCG Young Leaders of Color, National New Play Network (NNPN), Arena Stage’s Playwrights’ Arena, Center Stage’s Playwrights’ Collective, and the Dramatist Guild of America.

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Aspen Blake Jackson

Stage Manager

PlayMakers: Murder on the Orient Express, Much Ado About Nothing, Clyde’s, They Do Not Know Harlem, Native Gardens. The Prom, The Drowsy Chaperone, The 25th Annual Putnam County Spelling Bee (Summer Youth Conservatory).

Aspen is thrilled to be returning for her third mainstage season. She graduated from The University of North Carolina at Chapel Hill with a BA in Vocal Performance and Dramatic Arts. Aspen has also thoroughly enjoyed spending the last three summers serving as the Production Stage Manager for our Summer Youth Conservatory program of which the most recent production, The Prom was a hit!

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Sarah Smiley

Assistant Stage Manager

Sarah returns to Chapel Hill from Charlottesville, VA where she spends summers as production manager for the Virginia Theatre Festival.  This will be her 13th season with PlayMakers, since first joining the company in 2005. Sarah has worked professionally for over 30 years in the entertainment and theatrical industries, in theme parks and road houses in eight states and the U.K. She is a member of Actors’ Equity Association and has been active in USITT and the Stage Managers’ Association.  She received her M.F.A. from the University of Iowa.

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UP NEXT

Oct 16-Nov 3

An exploration of the history of the Constitution turns into a hilarious and heartfelt journey into American identity. From teenage debates to adult reflections, this unforgettable tour de force will leave you feeling patriotic and energized. Brace yourself for laughter, a touch of chaos, and a front-row seat to democracy like you’ve never seen. Learn more.

PlayMakers Flex Pass
Still Available!

The PlayMakers Flex Pass is always the perfect fit. Decide what you want to see when you want to see it.

Lock in your savings now and decide later when you get a Flex Pass. Redeem your passes online anytime or let our Box Office know when you’re ready to get a show on your schedule.

Do you want just the classics? Or just the new shows you’ve never seen?

Want to bring a friend to What the Constitution Means to Me in the fall, then the whole family for The Christmas Case of Hezekiah Jones?

Want to see it all, but need to wait to find the right partner and date for each one?

Fully customize your experience with 6, 8, or 10 Passes — mix and match to design the ideal season for you!
Flex 6: $264
Flex 8: $352
Flex 10: $440

Get Started! Visit www.playmakersrep.org

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Jump to: Letter from Viv | Support PlayMakers | Program Notes | Who We Are | Title Page | About the Author | Actor Bios | Creative Team Bios | General Information | PlayMakers Staff | Friends of PlayMakers | Corporate and Foundation Partners

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Our Mission

PlayMakers Repertory Company is North Carolina’s premier professional theatre company, proudly in residence on the dynamic campus of the University of North Carolina at Chapel Hill. Our mission is to produce relevant, courageous work that tells stories from and for a multiplicity of perspectives. We believe that theatre can have a transformational impact on individuals and entire communities, and we are committed to the journey of becoming an anti-racist organization whose work is accessible to all. Inextricably linked to UNC’s Department of Dramatic Art, PlayMakers is devoted to nurturing and training future generations of artists and audiences.

Our Vision

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Antiracism Accountability Statement

At the heart of PlayMakers Repertory Company’s mission is the belief that theatre has the power to transform individuals and entire communities. There is no more aspirational or urgent a use of that power than working to dismantle the systems of oppression, white supremacy, and racism that pervade American life and consume the American Theatre. PlayMakers continues to assess and evaluate our own practices in order to embed equitable, antiracist policies into strategic planning, our mission, and our operations.

PlayMakers Repertory Company, and those of us who work here, commit to the following:

• To work intentionally to create an antiracist culture in our company.
• To continually educate ourselves on the ways in which we can combat racism locally and nationally as we move to create an inclusive, diverse, and equitable sense of belonging for every one of our constituents.
• To demonstrate our values through action in our policies, practices, and procedures.

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Land Acknowledgment

We acknowledge that the Center for Dramatic Art is located on the unceded lands of one or more of Abiayala’s (the Americas’) original sovereign nations, the name(s) of which have not yet been affirmed. The unjust acquisition of these Indigenous lands came about through a history of racism, violence, dispossession, displacement, and erasure of cultures by settlers as part of the larger, land-centered project of settler colonialism.

As we look to the future, may. webuild upon the memories and goodwill of all who walked and labored here before us with truth, integrity, and honor. Learn more: UNC American Indian Center

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PlayMakers is…

(American Theatre Magazine), PlayMakers Repertory Company is North Carolina’s premier professional theatre company, proudly in residence on the dynamic campus of the University of North Carolina-Chapel Hill. The professional company was founded in 1976, growing out of a storied 100-year tradition of playmaking at Carolina. 

“One of America’s Best Regional Theatres”

At the very heart of the PlayMakers experience is one of the nation’s last remaining resident theatre companies, made up of accomplished performers, directors, designers, artisans, and technicians, and supported by exceptional graduate students in UNC’s Department of Dramatic Art. Our company works side by side with guest artists from all over the world and our alumni include Pulitzer Prize, Tony®, Emmy®, and Grammy Award® winners. 

Creating Tomorrow’s Classics, Today

Producing Artistic Director Vivienne Benesch is continuing PlayMakers’ tradition of producing vibrantly reimagined classics, large-scale musical theatre, and significant contemporary work, but is also broadening the company’s reach to become a home for new play development and a true hub of social and civic discourse in the region. Her first seven seasons have already given life to twelve important new American plays.  

A Hub of Engagement

PlayMakers seeks to provoke thought, stimulate discussion, and push the boundaries of the theatrical form in everything we do. Whether through our intimate @PLAY series, our mainstage offerings or our virtual line-up, we look for opportunities for direct, dynamic engagement between audiences, artists, and thinkers. We also offer a host of unique engagement opportunities designed to enrich our audience’s experience of the live arts.    

Theatre for the People

PlayMakers Mobile is an initiative that seeks to contribute positively to the civic and social life of our region by taking world-class theatre out of our building and into the community. We create a streamlined production of a play and take it to schools, transitional housing facilities, and long-term treatment facilities around the Greater Triangle area. And best of all, it’s all free of charge. 

Passing the Torch

PlayMakers’ award-winning Summer Youth Conservatory is the only professionally supported training program of its kind in the region. The Theatre Quest program provides camps to area middle school and high school students, while the Theatre Intensive and TheatreTech programs allow Triangle high schoolers to apprentice directly with professional directors, choreographers, musical directors, and technicians, culminating in a professional quality production on the PlayMakers mainstage for the whole community to enjoy.  

Eliminating Barriers

With a commitment to eliminating barriers for attendance, PlayMakers offers All Access performances for our patrons living with disabilities. We also offer accessible $20 tickets for all performances and ticket prices are reduced to just $10 for UNC students. For more information, please contact prcboxoffice@unc.edu.

Jump to: Letter from Viv | Support PlayMakers | Program Notes | Who We Are | Title Page | About the Author | Actor Bios | Creative Team Bios | General Information | PlayMakers Staff | Friends of PlayMakers | Corporate and Foundation Partners

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PlayMakers’ 2024/25 Season is Made Possible in Part by Grants from

Foundation Support

National Endowment for the Arts, North Carolina Arts Council, The Shubert Foundation, Fidelity Foundation, Orange County Arts Commission, The Strickland Family Foundation, UNC Parents Council

Additional Funding for Guest Artists is Provided by

Jeffrey Hayden Guest Lectureship Fund, Robert Boyer and Margaret Boyer Fund, Louise Lamont Fund, Emeriti Professors Charles and Shirley Weiss Fund

Corporate Council

Craven Allen Gallery & House of Frames, Larry’s Coffee, Mediterranean Deli, Bakery, and Catering, Metal Supermarkets Raleigh, Pineapple Sol Catering, Pinsieline Properties LLC, University Florists, Vimala’s Curryblossom Cafe

Associates

Glasshalfull, Infinium Spirits

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PlayMakers Repertory Company is a program of the Department of Dramatic Art, The College of Arts and Sciences, and The University of North Carolina at Chapel Hill. The North Carolina Arts Council, a division of the Department of Cultural Resources, recognizes PlayMakers as a professional theatre organization and provides grant assistance to this organization from funds appropriated by the North Carolina General Assembly and the National Endowment for the Arts. PlayMakers is a beneficiary of the Elizabeth Price Kenan Endowment and the Lillian Hughes Prince Endowment.

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PlayMakers Repertory Company is a Member of Theatre Communications Group (TCG), the national organization for the American theatre.

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This Theatre operates under an agreement between the League Of Resident Theatres (LORT) and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

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The scenic, costume, lighting and sound designers in LORT Theatres are represented by United Scenic Artists, Local USA-829 of the IATSE.

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The Director and Choreographer are members of the Stage Directors and Choreographers Society, a national theatrical labor union.

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Jump to: Letter from Viv | Support PlayMakers | Program Notes | Who We Are | Title Page | About the Author | Actor Bios | Creative Team Bios | General Information | PlayMakers Staff | Friends of PlayMakers | Corporate and Foundation Partners

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Administration

Vivienne Benesch, Producing Artistic Director

Artistic

Jeff Aguiar, Director of Engagement
Tracy Bersley, Movement Coach/Choreographer
Chelsea James, Producing Assistant
Tia James, Vocal Coach
Gregory Kable, Dramaturg
Jacqueline E. Lawton, Dramaturg
Jeffrey Meanza, Associate Artistic Director
Mark Perry, Dramaturg
Gwendolyn Schwinke, Vocal Coach Lexi Silva, Dramaturgy Fellow
Adam Versényi, Dramaturg
Andrew Wade, Assistant to Producing Artistic Director

Management

Lisa Geeslin, Accountant
Charisse Holloway, Admin Support Specialist
Zoë Lord, Company Manager
Maura Murphy, Director of Operations
Sarah Tackett, Administrative Operations Associate
Ella Hawn, Work Studies

Development

Kyle Kostenko, Assistant Director of Annual Giving
Lenore Fields, Special Gala Coordinator

Marketing & Audience Services

TJ Carr, Graphic Designer and Marketing Associate
Rebecca Edmonds, Audience Services Associate
Hannah LaMarlowe, Marketing Specialist
Thomas Porter, Box Office Manager
Rosalie Preston, Director of Marketing & Sales
Jenna Zottoli, Audience Services Associate
Lucy Albanil-Rangel, Marketing Work Studies
Albert Carlson, Box Office Assistant
Maggie Thornton, Front of House Assistant
Swetha Anand, Lynlee Collins, Kali Dao, Tygia Drewhowell, Evan Jeppson, Lindsay Kanipe, Micah Kennel, Alexa Lankford, Leah Page, Watson Pope, Cora Willis, Box Office and Front of House Work Studies

Department of Dramatic Art

Kathryn Hunter-Williams, Chair and Associate Professor

FACULTY

Milly Barranger, Professor Emerita
Vivienne Benesch, Professor of the Practice
Tracy Bersley, Associate Professor
Pamela Bond, Assistant Professor
James Bray, Teaching Assistant Professor
Jan Chambers, Professor
McKay Coble, Professor
Jeffrey Blair Cornell, Associate Chair, Teaching Professor
Ray Dooley, Professor Emeritus
Samuel Ray Gates, Associate Professor
Julia Gibson, Professor
Douglas Hall, Associate Professor
David Hammond, Professor Emeritus
Rachel Hynes, Teaching Assistant Professor
Letitia James, Assistant Professor 
Gregory Kable, Teaching Professor
Jacqueline E. Lawton, Associate Professor
Triffin Morris, Professor of the Practice
David Navalinsky, Professor
Bobbi Owen, Distinguished Professor Emerita
Laura Pates, Teaching Assistant Professor
Kathy Perkins, Professor Emerita
Mark Perry, Teaching Associate Professor
Rachel E. Pollock, Lecturer
Bonnie Raphael, Professor Emerita
Michael Rolleri, Professor
Gwendolyn Schwinke, Assistant Professor
Lexi Silva, Dramaturgy Fellow
Aubrey Snowden, Teaching Assistant Professor
Craig Turner, Professor Emeritus
Adam Versényi, Professor 
Tao Wang, Assistant Professor

Administration

Weston Barker, Program Specialist
Lucas Branch, KTC Technical Director
Jocelyn Chatman, Costume Inventory Specialist
Lisa Geeslin, Accounting Technician
Taylor McDaniel, Student Services Manager
Karen Rolleri, Business Coordinator
Jamie Strickland, University Manager

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Production

Michael Rolleri, Production Manager

Costumes

Amy Evans, Costume Shop Manager
Marissa Lupkas, Wardrobe Supervisor
Matthew Mallard, Assistant Costume Director
Triffin Morris, Costume Director
Rachel Pollock, Costume Craftsperson
Costume Production Graduate Students:
Manda Apony-Moriarty, Jillian Gregory, Kris Kingsolver, Jessica Land, Bailey Mae Doran, Zachery Morrison, Sally Rath
Jessica Land, Crafts Assistant
Ellie Steever, First Hand/Stitcher
Katherine Craig, Costume Shop Work Study
Arcadia Hilton, Clara “Hock” Hockenberry, Undergraduate Assistants
Natasha Harm, Wardrobe Assistant Work Study
Georgia Wood, Costume Stock Assistant

Hannah Andrews, Naomi Eckhaus, Susan Newcomer, Ellie Steever, Volunteers

Lighting

Benjamin Bosch, Electrics Supervisor
Nick Rodgers, Production Swing for Lighting & Sound

Props

Lauren Reinhartsen, Properties Supervisor
Sam Gainer, Props Artisan

Marissa Romano, Props Undergraduate Assistant
Cami Crocker, Lydia McRoy, Evan Wilker, Work Studies

Stage Management

Aspen Blake Jackson, Stage Manager
Sarah Smiley, Stage Manager
Sarah Patisaul, Production Assistant

Sound

David Bost, Sound Supervisor
Kee Meh, Nubia Orellana, Madison Ugan, Work Studies

Scenic

Brandon “Bruce” Hearrell, Production Carpenter
Gwendolyn Van Denburg, Alec Westmoreland, Production Carpenters
Corrinne LaVergne, Scenic Artist
Laura Pates, Technical Director
Diane Zimmerman, Scenic Charge Artist
Technical Production Graduate Students:
Rachel Van Namen, Joel Ernst, Benjamin Fink, Roark
Charlene Nguyen, Gabrielle Shulikov, Veta “Koa” Torres, Scenic Painting Work Studies

PlayMakers’ Resident Acting Company

Jim Bray
Jeffrey Blair Cornell
Samuel Ray Gates
Julia Gibson
Kathryn Hunter-Williams
Tia James
Gwendolyn Schwinke

Professional Actor Training Program:

Reez Bailey, Matthew Donahue, Elizabeth Dye, Jadah Johnson, Nate John Mark, Mengwe Wapimewah

For this Production

Jump to: Letter from Viv | Support PlayMakers | Program Notes | Who We Are | Title Page | About the Author | Actor Bios | Creative Team Bios | General Information | PlayMakers Staff | Friends of PlayMakers | Corporate and Foundation

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THERE HAS NEVER BEEN A MORE IMPORTANT TIME TO SUPPORT PLAYMAKERS AND THE ARTS

PlayMakers Repertory Company is a nonprofit theatre. We rely on the generosity of our community to continue delivering the Broadway-quality theatre you love. If you believe in the transformative power of theatre as much as we do, please consider making a tax-deductible donation to help theatre thrive.

You can help support and sustain all our work, both on stage and off, by making a tax-deductible gift which enables us to:

• Bring innovative, entertaining, and relevant theatre to the Triangle
• Serve students across the state through our award-winning educational programs
• Engage with our audiences through artist and community conversations
• Remain flexible, safe, and better prepared for the future

Every gift, big or small, makes a huge difference!

Ways to Give

Online

Donate

Phone or Email

Kyle Kostenko, Assistant Director of Annual Giving
kostenko@unc.edu

919.445.1282

Mail

Send your check to:
Kyle Kostenko
PlayMakers Repertory Company Development Department
Joan H. Gillings Center for Dramatic Art
CB 3235
Chapel Hill, NC 27599-3235

PlayMakers is grateful to the members of the Friends of PlayMakers for their generous support. For more information about how to join this dynamic group of supporters, call the Assistant Director of Annual Giving Kyle Kostenko at 919.445.1282 or visit us at playmakersrep.org.

Donate

Friends of PlayMakers

Director’s Circle ($10,000+)

Anonymous
Betsy Blackwell and John Watson Jr. *
Cindy and Thomas Cook 
David G. Frey ~
Joanne and Peter Garrett
Fidelity Charitable Gift Fund
The Farley Fisher Gift Fund
Deborah Gerhardt
Joan Gillings ~
Cynthia Strickland Graham 
Susan and Dustin Gross
Garrett Hall and Zachary Howell
T. Chandler and Monie Hardwick
Mrs. Frank H. Kenan ~
Thomas S. Kenan III *
North Carolina Arts Council 
Paula Noell and Palmer Page
John and Debra Ratliff 
Wyndham Robertson
Coleman Ross
Schwab Charitable
Shubert Foundation
The Robert Strickland Family Foundation 
The Robertson Foundation 
T. Rowe Price Program for Charitable Giving 
Vanguard Charitable Endowment Program
Alan H. Weinhouse
Jim and Bonnie Yankaskas 

Angel ($5,000–9,999)

Anonymous
Patrick Brennan and Lillian Jenks
Thomas and Holly Carr 
Charities Aid Foundation of America 
Munroe and Becky Cobey 
Amy and Kevin Guskiewicz + 
Mr. and Mrs. Matt Hapgood
Kim Kwok
Prentice Foundation
H. Edward and Phyllis Wright

Investor ($2,500–4,999)

Anonymous 
Alicia and Bill Allred 
Richard and Deirdre Arnold ^
Ed and Eleanor Burke ^ 
Adam Cifu 
Susan E. Hartley
Carol Hazard and Winston Liao
Johnson & Johnson Matching Gift Program 
Susan J. Kelly
Duncan and Stuart Lascelles
D.G. and Harriet Martin
Louis and Jodi Patalano
Nick and Amy Penwarden
Pinsieline Properties LLC 
Robert and Tobi Schwartzman + 
Mrs. Carol Smithwick 
Jackie and James Tanner 
UNC Parents Council 
Jennifer Werner
Jennifer and Sandy Williams
Katie Woodbury

Page to Stage ($1,500–2,499)

David and Judy Adamson
Mary Altpeter +  
Andrew and Katherine Asaro ^ 
Vivienne Benesch 
Steve Benezra ^
Ed and Eleanor Burke ^
Ed and Virginia Cockrell +
Cornell University Foundation 
Mrs. Linda Whitham Folda and Dr. Jaroslav Thayer Folda, III 
John and Diane Formy-Duval
Dana and Robert Greenwood 
Hugon Karwowski and Joanna Karwowska ^
Dr. Catherine Kuhn and Glenn Tortorici
Shirley and Tom Kunkel 
Metal Supermarkets Raleigh
Paul and Linda Naylor
Abigail Panter and George Huba
Jay and Cris Preble
David Price 
The Shelby Family Foundation 
Carole L. Shelby
Dr. William L. Stewart
The Rev. Wendy R. and W. Riley Waugh + 
Michael Weil and Peggy Link-Weil
Roger and Marlene Werner 

Partner ($1,000–1,499)

Anonymous (4)
Michael and Marie Andreasen
Jeremy Arkin and Marian Fragola
Dr. Stephen Shaw Birdsall
Carolyn and Jackson Breaks 
Joan Clendenin
Julie and M. Brian Daniels 
Dr. Carrie Donley and W.P. Gale ^
Shelley Earp
Dr. and Mrs. John P. Evans
David J. Howell
Robert Huddleston
Dr. Moyra Kileff and Mr. Brian Kileff 
Jack Knight and Margaret Brown
Katie Kosma+
Thomas and Shirley
Robert and Kathryn Kyle
Douglas MacLean and Susan Wolf
Elaine Mangrum and Michael Freedberg
Holly and Ross McKinney
Herbert and Jean Miller
Bettina Patterson
Raymond James Charitable Endowment Fund
Philip Rhodes Jr.
Kyle and Jenn Smith
Lucy and Sidney Smith
Karen Sisson and Andrew Levine
Carol Uphoff
J. Stephen and Denise Vanderwoude, in honor of John Vanderwoude +
Dr. Jesse L. White
Derek and Louise Winstanly
Paul and Sally Wright
David and Heather Yeowell

Backer ($500–999)

Anonymous (3)
Keith and Iris Archuleta +
Brent Bailey and Tammy Hoffmeister
Susan and Tony Barrella
Deborah Barrett and Charles Kurzman
Adam C. Beck ^
John W. Becton and Nancy B. Tannenbaum
Shula and Stephen Bernard
Patricia Beyle
Frank Binkowski
Keith Burridge and Patricia Saling
Cliff and Linda Butler
Philip and Linda Carl
Dr. Patricia C. Crawford
David Doll
Bob and Connie Eby
Thorsten A. Fjellstedt
Friday Morning Music Study Club +
Windi and Roger Glogowski
Eve B. Goldschmidt
Elizabeth Grey +
Toby and Cheryl Harrell
C. Hawkins ^
Don and Kay Hobart
Michael Maness and Lois Knauff
William W. Kohr
Anand and Sandhya Lagoo
Karen and Stephen Lyons
Dr. and Mrs. Morton D. Malkin
Ed and Connie McCraw
Mary McMorris and Leonard Santoro
Dr. James C. and Dr. Susan D. Moeser
Fred and Anne Morris +
Pat and Mary Norris Oglesby
David and Elizabeth Nuechterlein
Mark and Eugenea Pollock
Jodi and Glenn Preminger
Elizabeth Raft
Vikram and Susan Rao +
David B. Sontag
Susan Stedman and Charles Higgins Jr.
Tim and Judy Taft
Triangle Community Foundation
Karen and Tom Tierney
Peter Vitale and Stephen Nelson

~ indicates deceased 

^ indicates PlayMakers Sustainer 

+ indicates Summer Youth Conservatory Supporter 

This list is current as of August 1, 2024. If your name is listed incorrectly or not at all, please contact the PlayMakers Development Office at 919.962.4846. We will ensure you are recognized for your
thoughtful support.

Jump to: Letter from Viv | Support PlayMakers | Program Notes | Who We Are | Title Page | About the Author | Actor Bios | Creative Team Bios | General Information | PlayMakers Staff | Friends of PlayMakers | Corporate and Foundation Partners

Jump to: Letter from Viv | Support PlayMakers | Program Notes | Who We Are | Title Page | About the Author | Actor Bios | Creative Team Bios | PlayMakers Staff | Friends of PlayMakers | Corporate and Foundation Partners