Welcome!

I am so excited to share PlayMakers production of What the Constitution Means to Me, one of the most significant new plays of the last decade. Heidi Schreck’s deeply personal, hilarious, and wildly theatrical exploration of the American Constitution continues our season-long interrogation of the American Dream.

This play accomplishes so much – with Heidi as our guide, we are invited to question our assumptions about the Constitution and its power over the American people. She charts the journey of three generations of women in her family and beautifully links their lives to millennia of women who struggled, fought and pushed our society “steadily forward and forward and forward… I hope?”

This production marks the Mainstage directing debut for company member Aubrey Snowden who has guided this show with her insight, intelligence, and brilliant theatrical aesthetic. She and her team have mined the tools of the form to create an event that walks the razor’s edge of meta theatricality. And at the center of it all is the fabulous Julia Gibson; from the moment I saw this play years ago I knew we needed Julia to tell this story at PlayMakers. It is truly a(nother) tour de force performance.

While stating the obvious, the timing of this play wasn’t by accident. Elections are always moments for significant shifts. One of the things I love most about this play is its ability to entertain and celebrate our capacity for civic engagement. That’s also one of the things I love about this community: people understand their responsibility to the greater good, and they work hard to uphold those values. Thank you so much for participating in this theatrical debate.

In solidarity,

Vivienne

P.S. VOTE!!!

Table of Contents

Letter from Vivienne

Support PlayMakers

About the Author

Program Notes

Who We Are

Title Page

Actor Bios

Creative Team Bios

Abridged Constitution

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

Heidi Schreck is a writer and performer living in Brooklyn. Her critically-acclaimed play What the Constitution Means to Me played an extended, sold-out run on Broadway in 2019 and was nominated for two Tony Awards. It had subsequent runs at the Kennedy Center in Washington D.C., the Mark Taper Forum, the Guthrie Theater, Seattle Repertory, Theatre and the McCarter Theatre, as well as theatres in Houston, Miami, Omaha, Nashville, Charlotte and Chicago. A filmed version of the play premiered on Amazon Prime Video, and was nominated for a Critics Choice Award, a PGA Award and DGA Award. 

What the Constitution Means to Me was named Best of the Year by The New York Times, The Los Angeles Times, The Chicago Tribune, Time Magazine, The Hollywood Reporter, The New Yorker and more. Schreck’s other plays Grand Concourse, Creature, and There Are No More Big Secrets have also been produced in NYC and all over the country. 

Screenwriting credits include I Love Dick, Billions, Nurse Jackie, Dispatches from Elsewhere and shows in development with Amazon Studios, Plan B and A24. She is the recipient of three Obie Awards, a Drama Desk Award and a Theatre World Award, as well as the Horton Foote Playwriting Award and the Hull-Warriner Award from the Dramatists Guild. Schreck was awarded Smithsonian Magazine’s 2019 American Ingenuity Award, for her work in the Performing Arts.

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Dramaturgy Fellow Series

What The Constitution Is Worth

By Lexi Silva, Dramaturg Associate

As the title suggests, What the Constitution Means to Me examines the symbolic and practical significance of the United States Constitution, while scrutinizing its limitations through the lens of playwright Heidi Schreck’s experience. With the 2024 presidential election approaching, Constitution prompts audiences to consider how the value of a foundational government document measures up in our current political climate. After all, the Constitution is fragile and enormous; a shield and a sword depending on who wields it. A connective tissue between the American people and its government, the Constitution is immeasurably significant in meaning and value. But what about the physical document?   

The recent discovery of a rare copy of the United States Constitution in North Carolina conveniently offers a contemporary point of reference for the perceived value of the Constitution in 2024. According to CBS News, a copy of the Constitution was discovered in a filing cabinet at Hayes Farm, in Edenton, North Carolina in 2022. It is thought to be the only U.S. Constitution of its kind in private hands and is headed to auction. The minimum bid of $1 million has already been made and it is expected to go for a much higher price tag (2024). When the Constitution was sent to Congress for approval on September 18th, 1787, Charles Thomas, the secretary of the Confederation Congress ordered 100 copies to be printed. It is speculated that Thomas signed two copies for each of the 13 states, and only a few are known to exist. The auctioneer, Andrew Brunk, notes that the perceived dollar value of this copy is unknown since the last time a signed copy like this appeared, it sold for $400 in 1891. In 2021, the fine art broker corporation Sotheby’s New York sold a copy of the Constitution printed for the Continental Congress for $43.2 million dollars, so who’s to say what the Hayes Farm copy might sell for. 

We can only presume Charles Thomas requested these copies of the final draft of the Constitution. But that ‘final’ draft was only signed into law because the delegates agreed to James Madison’s plan for ten amendments that altered it to better reflect the people it represented. Even the Constitution was a follow up document to the original Articles of Confederation!  Whatever the cost, the highest bidder will gain ownership of a piece of history – a snapshot of who and what it represented all those years ago. But just as its value has grown over the years, so have the moral values it enshrines. Who’s to say what it will mean to be American in another 250 years, or what it will cost? 

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Program Notes

By Adam Versényi, Dramaturg

Have you ever wanted to spar with your fifteen-year-old self? Jabbing at the choices made then that determine who you are now? Encouraging your younger being to block blows aimed at their vulnerable points? This is the dance Heidi Schreck engaged in when she first wrote and performed What the Constitution Means to Me in 2017.  The play investigates and interrogates her fifteen-year-old self’s excitement in the U.S. Constitution while simultaneously decentering her story to bring forth those the Constitution did not originally include. It was the most produced play in theatres across the U.S. in the 2023/24 season and will likely be among the most produced in this current season.

Schreck’s play explores not only what compelled her about this document as a teenager, but its enduring fascination for us today.  Perhaps the founding document of our republic the Constitution has historically both bound us together and divided us. Is it a “crucible” that provides us with “a severe test of who and what we are” as the young Heidi claims? A “living document” that needs to be interpreted for each context as many constitutional scholars contend? Or must we adhere to the “originalism” of the founders as other constitutional scholars insist? From the Supreme Court’s Dobbs decision in 2022 overturning Roe v. Wade, to the Court’s recent decisions regarding presidential immunity and the separation of Church and State, among countless others, who interprets the Constitution is critical. What the Constitution Means to Me brings these debates alive for us as adult  Heidi recreates her fifteen-year-old self competing in the American Legion High School Oratorical Contest.  Founded in 1938 “to instill a deeper knowledge and appreciation of the U.S. Constitution in high school students,” the Contest has awarded more than $3 million in scholarships to participants at the national level and annually awards hundreds of thousands of dollars of scholarship money at the lower levels of competition. Co-ed from its inception, the first female national champion won in 1951. As the play reaches back in time we join Heidi, all of us reaching forward to today and asking what the Constitution means in the here and now.

In Suzan-Lori Parks’ play Death of the Last Black Man in the Whole Entire World, Parks makes a distinction between “remember me” and “re-member me”, or between historical memory and historical reparation, in terms of African American history in the U.S.  The reaching back and forth in time in Schreck’s What the Constitution Means to Me does something similar as it re-creates, re-constructs, and re-claims Heidi’s relationship—and by extension, ours—to the Constitution. In her speech Heidi utilizes Supreme Court Justice William O. Douglas’ interpretation of the Ninth Amendment to the Constitution (“The enumeration in the Constitution, of certain rights, shall not be construed to deny or disparage others retained by the people”) as a “penumbra.” With that interpretation the play takes us on a journey through the light and dark of U.S. constitutional history but steers us towards no definitive conclusions. Rather, what is revealed is a love and reverence for the Constitution that also acknowledges the damage to our social fabric it has caused. We are left in the grey area between light and dark as the audience judges a debate between the actor playing Heidi and a contemporary teenager over the Constitution’s validity for today. As we approach the end of campaigning during a consequential election, Schreck’s play is a call for humane engagement with both the U.S. Constitution and each other.

PlayMakers production design for What the Constitution Means to Me employs the three-quarter thrust stage of the Paul Green Theatre to emphasize the play’s movement between stasis and action, between the past and the present, and between light and dark with a runway reaching out into the audience. This configuration, we hope, will encourage your participation in the parliamentary debate. Imagine yourself at an ACC sporting event or at a boxing match.  Take sides, cheer on your chosen competitors. The outcome of this theatrical event is not predetermined. As Heidi’s engagement with her teenage experience emboldens her to talk about her full life experience, let your engagement with What the Constitution Means to Me embolden your full experience of the play.  Lean in, feel the pulse, respond.

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What The Constitution Means To Me

by Heidi Schreck

Directed by Aubrey Snowden

Scenic & Costume Designer
Derrick Ivey

Lighting Designer
Tao Wang

Sound Designer
Eric Collins

Vocal Coach
Gwendolyn Schwinke

Dramaturg
Adam Versényi

Stage Manager
Sarah Smiley

Assistant Stage Manager
Aspen Blake Jackson

October 16 – November 3, 2024

Original Broadway Production Produced by; Diana DiMenna, Aaron Glick, Matt Ross Madeleine Foster Bersin, Myla Lerner/Jon Bierman 
Jenna Segal/Catherine Markowitz, Jana Shea/Maley Stolbun Sussman, Rebecca Gold/Jose Antonio Vargas 
Level Forward Cornice Productions, Lassen Wyse, Balsam Nederlander Productions/Kate Lear;

What the Constitution Means to Me was commissioned by True Love Productions;

This production originated as part of Summerworks in June and July 2017, produced by Clubbed Thumb in partnership with True Love Productions. 

West Coast premiere produced by Berkeley Repertory Theatre, Berkley, CA, Tony Taccone, Artistic Director/Susan Medak, Managing Director. 

What the Constitution Means to Me had its Off-Broadway premiere in New York City at New York Theatre Workshop, Jim Nicola, Artistic Director, Jeremy Blocker, Managing Director, 2018

Additional material by: Danny Wolohan

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 Order of Appearance

Heidi/Julia: Julia Gibson*
Legionnaire/Mike: Jeffrey Meanza
Debater: Amari Bullett
Debater: Taryn Melvin

Stage Managers: Sarah Smiley* Aspen Blake Jackson*

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

Setting: 1989 & Current Day

What The Constitution Means To Me will be performed with no intermission.

PROFESSIONAL ACTOR TRAINING PROGRAM

Julia Gibson

Heidi/Julia

PlayMakers: Resident company member in her 12th season. Murder on the Orient Express, Misery, Native Gardens, Yoga Play, Native Son, How I Learned to Drive, Bewilderness, The Cake, Ragtime, My Fair Lady, She Loves Me, Twelfth Night, The Crucible, An Enemy of the People, Into the Woods, Vanya and Sonia and Masha and Spike, Love Alone, Metamorphoses, The Tempest.

Broadway: Stanley, Uncle Vanya, Night Mother.

National Tour: The Exonerated.

Off-Broadway: The Public, Shakespeare in the Park, Manhattan Theatre Club, The Roundabout, Classic Stage Company, New York Theatre Workshop, SoHo Rep, Origin Theatre Company, Irish Rep, The Rattlestick, among others.

Regional: The Alley, American Conservatory Theatre, The Goodman, The Long Wharf, Yale Rep., George Street, The Arden, Milwaukee Rep., Philadelphia Festival Theatre, Dallas Theatre Center, Chautauqua Theatre Company, and elsewhere.

Film/TV: Michael Clayton, Changing Lanes. “Blue Bloods”, “Law & Order”, “Law & Order: Criminal Intent”, “Spin City”, “So Close”, and “One Life to Live”.

Directing includes Rattlestick, Epic Theatre Company, Gulfshore Playhouse, New London Barn, Portland Stage, Juilliard, and NYU.

Education/Other: Currently co-head of the Professional Actor Training Program in the Department of Dramatic Art at UNC-Chapel Hill.  Fox Fellowship recipient, founding member of The Actors Center in NYC and of the National Association of Acting Teachers.  Currently an Institute for the Arts and Humanities Faculty Fellow. URTA Board of Directors.  2020 Carolina Women’s Center Faculty Scholar. Narrated over 175 audiobooks.

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Jeffrey Meanza

Legionnaire/Mike

See PlayMakers Leadership Bio.

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Amari Bullett

Debater

PlayMakers: Mainstage Debut.

Summer Youth Conservatory: The Prom, The Drowsy Chaperone, The 25th Annual Putnam County Spelling Bee.

Community: Little Women, The Boyfriend, Legally Blonde (Chapel Hill School of Musical Arts); High School Musical The Musical One-Act, Frozen Jr., Descendants The Musical One-Act, The Little Mermaid Jr., Into the Woods Jr., The Lion, The Witch, and The Wardrobe (Pittsboro Youth Theater).

School: Radium Girls (Northwood High School); A Midsummer Night’s Dream (Woods Charter School)

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Taryn Melvin

Debater

PlayMakers: Debut.

Community: MuFaro’s Beautiful Daughters, Annie (ANFO); Majesty in the Mirror (VNM Studio); Black Naitivity (Triangle Performance Ensemble).

School: State of Urgency, MuFaro’s Beautiful Daughters, Matilda, Little Shop of Horrors, The Story: African-Americans who made a Difference, Annie (Hillside High School).

Awards:Star Performing Artist of the Year, Triangle Rising Stars Opening Number (2023), DPAC Ambassador.

• Instagram

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Aubrey Snowden

Director

PlayMakers: As You Like It, The Skin of Our Teeth. The Drowsy Chaperone (Co-Director and Choreographer, Summer Youth Conservatory). Antigone, References to Salvador Dalí Make Me Hot, Beast on The Moon (PlayMakers Ground Floor).

Off-Broadway/New York: Sense and Sensibility (Associate, Bedlam); Spill (Associate, Ensemble Studio Theater); Man Solo Festival (Bedlam); Phedra (Access Theatre).

Regional: Little Women (Virginia Theatre Festival); Constellations, Betrayal (The Wilbury Group); Sense and Sensibility (Associate, American Repertory Theater); SeaWife (Associate, White Heron Theater).

University: Marburg (Louisiana State University), Exit Pursued by a Bear (Kenan Theater-UNC), Urinetown, Mr. Burns: A Post Electric Play, The Wolves, The Fairytale Lives of Russian Girls (Kenan Theatre Company, UNC-Chapel Hill); Green (Manhattanville College); Machinal (Brown Trinity).

Education and Training: BA, Manhattanville College; MFA, Brown University/Trinity Rep; Tectonic Theatre Project; SITI Company; National Theater Insititute; LaMama International Director’s Symposium.

Awards: 2019 Motif Magazine Award for Best Set Design; 2019 Schwab Academic Excellence Award at the University of North Carolina-Chapel Hill.

Proud member of The Stage Directors and Choreographers Society.

 aubreysnowden.com

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Derrick Ivey

Scenic & Costume Designer

PlayMakers: Bewilderness (Costume Designer), Bright Star (Costume Designer, Summer Youth Conservatory),The Cake, An Enemy of the People, Love Alone (Actor).

Regional: Designer: Silent Sky (Center Theater); A Doll’s House, Part 2 (RedBird Theater Company); Dancing at Lughnasa, Vinegar Tom, Uncle Vanya, Ragtime (Duke University); Kiss Me Kate (William Peace University);  Life Sucks, Marjorie Prime, Mr. Burns, The New Electric Ballroom, Act a Lady, The Receptionist, Rabbit Hole (Manbites Dog Theater); Pride and Prejudice, Trouble in Mind (Raleigh Little Theater). Actor: Art, Red (RedBird Theater Company); A Christmas Carol (Center Theater); Wakey-Wakey, Mr. Burns…Death of Walt Disney, Nixon’s Nixon (Manbites Dog Theater); God of Carnage, Into the Breeches (Theatre Raleigh); Cabaret, King Lear, Suddenly Last Summer (William Peace University); The Trip to Bountiful (Cape Fear Regional Theater).

Film: Designer: The Voice in Isabel Fleiss’s Office, Keepsake, Cheat Proof.  Actor: The Problem of the Hero, Alamance

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Tao Wang

Resident Lighting & Projection Designer

PlayMakers: The Game, Misery.

Regional: UrbanArias Keegan Theatre, Hattiloo Theatre – Black Repertory Theatre), Taft Theatre, Corbett Theatre, MainStage Musical Theatre and Dance Company, Stauss Theatre.

Film/Events/ TV/ Shows: “Nanjing, Nanjing,” The Universal Beijing Resort, Beijing Olympics Opening Ceremony 2008 and Special Olympics World Games in Shanghai Opening Ceremony, Turandot in Paris, Beijing TV Virtual Reality Interactive Showroom, USITT 2019 National Conference.

Teaching: Assistant Professor and David and Rebecca Pardue Fellow, serving as a Media and Lighting Designer in the Department of Dramatic Arts at UNC, Chapel Hill.

Proud member of United Scenic Artists Local 829; NYC and USITT

www.wangtman.com

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Eric Collins

Sound Designer

PlayMakers: A Wrinkle in Time, Ragtime, She Loves Me, Temples of Lung and Air, The Crucible, We Are Proud To Present…, Peter and the Starcatcher

Regional: Newsies, A Night With Janis Joplin, Gypsy, Jesus Christ Superstar (North Carolina Theatre); Once, Big Fish, Rock of Ages, The Secret Garden (Theatre Raleigh); MacBeth, Lynn Taylor-Corbett’s Dracula and The Little Mermaid (all World Premieres) at Carolina Ballet; The Music Man, Idina Menzel (in concert), Natalie Merchant (in concert) for the North Carolina Symphony; The 39 Steps, Anon(ymous), The (Real) Merry Housewives of Windsor (NC State University Theatre).

A 25-year veteran of the pro audio field, Eric Alexander Collins has worked across the U.S, Europe, and Austrailia in venues from Ceasar’s Palace to the iconic Sydney Opera House. A North Carolina native, today Eric is proud to support the rich theatre community we have here.

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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.

• Instagram

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Adam Versényi

Dramaturg

Dramaturgy: Resident Dramaturg, PlayMakers Repertory Company, 1988–present. Recently: Much Ado About Nothing, Hamlet, The Skin of Our Teeth, Julius Caesar, Native Son, Life of Galileo. 7 Stages; NEA Playwrighting Fellows Program; Theatre Previews at Duke; Critics Panel, IV Hispanic Theatre Festival (Teatro Avante); Florida Studio Theatre; Yale Repertory Theatre; La MaMa E.T.C.; Festival Latino (New York Shakespeare Festival).

Directing: The Nutcracker (PlayMakers); The Agony of Ecstasy; El Día Que Me Quieras; The Black American Dream; Hughie; The Indians Were Angry; Bitter Blood; The Lesson; No Exit.

Publications: The Dramaturgy of Space, Ramón Griffero: Your Desires in Fragments and Other Plays.; The Theater of Sabina Berman: The Agony of Ecstasy and Other Plays; El Teatro en América Latina; Theatre in Latin America: Religion, Politics, and Culture from Cortes to the 1980s.

Other: Fulbright Senior Lecturer, Colombia, South America. Member, Literary Managers and Dramaturgs of the Americas.

Faculty: UNC-Chapel Hill; Deep Springs College; Escuela de Bellas Artes, Universidad de Caldas, Manizales, Colombia; Escuela Nacional de Arte Dramático, Bogotá, Colombia.

Education: DFA, Yale School of Drama.

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Sarah Smiley

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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Aspen Blake Jackson

Assistant 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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UP NEXT

Nov 26-Dec 15

Embark on a whimsical journey with Dizzle Jollyworth, one of Santa’s frontline elves. We find him struggling to find purpose in his North Pole life when he’s dispatched to North Carolina on a special mission – to reignite Christmas magic for a grief-stricken toymaker. Join us for a festive world premiere of a Christmas tale made just for you. 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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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.

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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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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 J. Murphy, Director of Operations
Sarah Tackett, Administrative Operations Associate
Ella Hawn, Work Studies

Development

Kyle Kostenko, Assistant Director of Annual Giving
Lenore Fields, Special Events 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 Manager
Ava Lytle, Cora Willis: Student House Managers Micah Kennel: Student Box Office Manager. Albert Carlson, Alicia Norman, Sophie Taylor, Maggie Thornton: Student Assistants. Swetha Anand, Lynlee Collins, Kali Dao, Tygia Drewhowell, Evan Jeppson, Gali Jones-Valdez, Lindsay Kanipe, Alex Lankford, Leah Page, Kas Perez, Watson Pope, Dani Urgiles, Ava Wells: 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
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

Lighting

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

Props

Lauren Reinhartsen, Properties Supervisor
Sam Gainer, Props Artisan

Leah Jarrell, 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
Jayden Alexander Peszko, 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
Connor Gould, Danielle Mou, Carpentry 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

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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 *
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
Dorothy Heninger 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  
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
Bruce and Dianne Birch Dr. Stephen Shaw Birdsall
Dr. Stephen Shaw BirdsallDr. Stanley Warren Black, III Fiona Brady and Carl Mehling ^ Carolyn and Jackson Breaks 
Peggy Britt Joan Clendenin
Bill Cobb and Gail Perry 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+
Robert and Kathryn Kyle
Douglas MacLean and Susan Wolf
Elaine Mangrum and Michael Freedberg
Holly and Ross McKinney
Herbert and Jean Miller
Cathy O’Connell Bettina Patterson
Raymond James Charitable Endowment Fund
Jean and Joseph Ritok
Kyle and Jenn Smith
Lucy and Sidney Smith
David B. Sontag Karen Levine and Andrew Sisson
Triangle Community Foundation 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)
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
Ann and John Campbell
Philip and Linda Carl
Sam and Michelle Crittenden
David Doll
Bob and Connie Eby
Thorsten A. Fjellstedt
Windi and Roger Glogowski
James P. Gogan ^ Dr. and Mrs. Robert S. Greenwood Elizabeth Grey
Toby and Cheryl Harrell
C. Hawkins ^
David and Leslie Henson Don and Kay Hobart
Michael Maness and Lois Knauff
Anand and Sandhya Lagoo
K.A. and Carol Lawrence Nelda and Douglas Lay  Karen and Stephen Lyons
Dr. and Mrs. Morton D. Malkin
Ed and Connie McCraw
Amy McEntee Mary McMorris and Leonard Santoro
Laurie E. McNeil and Patrick W. Wallace Dr. James C. and Dr. Susan D. Moeser
Fred and Anne Morris +
Linda W. Norris Pat and Mary Norris Oglesby
David and Elizabeth Nuechterlein
Lois P. Oliver David and Mary Ollila Sarah Owens Ariana Pancaldo and Michael Salemi Mark and Eugenea Pollock
Jodi and Glenn Preminger
Elizabeth Raft
Vikram and Susan Rao +
Dr. William W. Smith and Brenda W. Kirby
Susan Stedman and Charles Higgins Jr.
Tim and Judy Taft
Karen and Tom Tierney
Peter Vitale and Stephen Nelson Wegmans Chapel Hill

~ 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.

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The U.S. Constitution

The U.S. Constitution is the fundamental framework of the federal system of the U.S. government.  The Constitution was written and signed by a group of delegates in 1787 and ratified in 1788.  It remains the “supreme law” of the land today.

Preamble

The famous first 52 words of the Constitution introduce the articles and amendments that follow.

Articles 

The seven articles make up the structural constitution, signed on September 17, 1787, and ratified on June 21, 1788. 

Amendments 

There have been 27 amendments to the Constitution, beginning with the Bill of Rights, the first 10 amendments, ratified December 15, 1791. 

Three Branches of Government 

The Constitution separates the powers of the federal government into three branches: 

The Legislative branch (outlined in Article I), or Congress, which makes the laws; 

The Executive branch (outlined in Article II), or the Presidency, which executes the laws; and The Judicial branch (outlined in Article III), or the federal judiciary (headed by the Supreme Court), which interprets the laws.

We the people

of the United States, in Order to form a more perfect Union, establish justice, insure domestic Tranquility, provide for the common defense, promote the general Welfare, and secure the Blessings of Liberty to ourselves and our Posterity, do ordain and establish this Constitution for the United States of America. 

Article I

SECTION 1. All legislative powers herein granted shall be vested in a Congress of the United States, which shall consist of a Senate and House of Representatives.

Article II

SECTION 1. The executive power shall be vested in a President of the United States of America. He shall hold his office during the term of four years, and, together with the Vice President, chosen for the same term, be elected, as follows:

Each state shall appoint, in such manner as the Legislature thereof may direct, a number of electors, equal to the whole number of Senators and Representatives to which the State may be entitled in the Congress: but no Senator or Representative, or person holding an office of trust or profit under the United States, shall be appointed an elector.

Article III 

SECTION 1. The judicial power of the United States, shall be vested in one Supreme Court, and in such inferior courts as the Congress may from time to time ordain and establish. The judges, both of the supreme and inferior courts, shall hold their offices during good behaviour, and shall, at stated times, receive for their services, a compensation, which shall not be diminished during their continuance in office.

Article IV 

SECTION 1. Full faith and credit shall be given in each state to the public acts, records, and judicial proceedings of every other state. And the Congress may by general laws prescribe the manner in which such acts, records, and proceedings shall be proved, and the effect thereof.

Article V 

The Congress, whenever two thirds of both houses shall deem it necessary, shall propose amendments to this Constitution, or, on the application of the legislatures of two thirds of the several states, shall call a convention for proposing amendments, which, in either case, shall be valid to all intents and purposes, as part of this Constitution, when ratified by the legislatures of three fourths of the several states, or by conventions in three fourths thereof, as the one or the other mode of ratification may be proposed by the Congress; provided that no amendment which may be made prior to the year one thousand eight hundred and eight shall in any manner affect the first and fourth clauses in the ninth section of the first article; and that no state, without its consent, shall be deprived of its equal suffrage in the Senate.

Article VI 

All debts contracted and engagements entered into, before the adoption of this Constitution, shall be as valid against the United States under this Constitution, as under the Confederation.

Article VII

The ratification of the conventions of nine states, shall be sufficient for the establishment of this Constitution between the states so ratifying the same.

Amendment I 

Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the government for a redress of grievances.

Amendment II 

A well regulated militia, being necessary to the security of a free state, the right of the people to keep and bear arms, shall not be infringed.

Amendment IX

The enumeration in the Constitution, of certain rights, shall not be construed to deny or disparage others retained by the people.

Amendment XII 

The electors shall meet in their respective states and vote by ballot for President and Vice-President, one of whom, at least, shall not be an inhabitant of the same state with themselves; they shall name in their ballots the person voted for as President, and in distinct ballots the person voted for as Vice-President, and they shall make distinct lists of all persons voted for as President, and of all persons voted for as Vice-President, and of the number of votes for each, which lists they shall sign and certify, and transmit sealed to the seat of the government of the United States, directed to the President of the Senate; — The President of the Senate shall, in the presence of the Senate and House of Representatives, open all the certificates and the votes shall then be counted; — the person having the greatest number of votes for President, shall be the President, if such number be a majority of the whole number of electors appointed; and if no person have such majority, then from the persons having the highest numbers not exceeding three on the list of those voted for as President, the House of Representatives shall choose immediately, by ballot, the President. But in choosing the President, the votes shall be taken by states, the representation from each state having one vote; a quorum for this purpose shall consist of a member or members from two-thirds of the states, and a majority of all the states shall be necessary to a choice.

Amendment XIV 

SECTION 1. All persons born or naturalized in the United States, and subject to the jurisdiction thereof, are citizens of the United States and of the state wherein they reside. No state shall make or enforce any law which shall abridge the privileges or immunities of citizens of the United States; nor shall any state deprive any person of life, liberty, or property, without due process of law; nor deny to any person within its jurisdiction the equal protection of the laws.

SECTION 2. Representatives shall be apportioned among the several states according to their respective numbers, counting the whole number of persons in each state, excluding Indians not taxed. But when the right to vote at any election for the choice of electors for President and Vice President of the United States, Representatives in Congress, the executive and judicial officers of a state, or the members of the legislature thereof, is denied to any of the male inhabitants of such state, being twenty-one years of age, and citizens of the United States, or in any way abridged, except for participation in rebellion, or other crime, the basis of representation therein shall be reduced in the proportion which the number of such male citizens shall bear to the whole number of male citizens twenty-one years of age in such state.

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