Written by Lynn Nottage
Directed by Eleanore Tapscott
Performance Dates:
October 22 – November 13, 2021
Run time: 2h 20m
(including intermission)

Our second show of the season takes us to the Golden Age of Hollywood and shines the spotlight on Vera Stark, a headstrong African American maid and aspiring starlet. Vera’s life is transformed when she’s cast in a trailblazing role… in a movie starring her boss. Decades later scholars and historians grapple with Vera’s legacy in Hollywood and the impact race had on her controversial career. This spritely, sly satire is a journey through Vera’s seventy-year life and a sharp take on race and culture — both in the past and today.

About the Playwright

Lynn Nottage is a Pulitzer Prize-winning playwright and a screenwriter. Her plays have been produced widely in the United States and throughout the world. Sweat (Pulitzer Prize, Obie Award, Susan Smith Blackburn Prize, Tony Nomination, Drama Desk Nomination) moved to Broadway after a sold out run at The Public Theater. Other works: 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!. For By The Way, Meet Vera Stark, she was the recipient of the Lilly Award and earned a Drama Desk Nomination. She is a graduate of Brown University and the Yale School of Drama. She wrote the book for the Arena Stage production of the new musical, Toni Stone.

About the Director

Eleanore Tapscott is a classically trained actress and director, and a major fan of Lynn Nottage's work. Eleanore has directed for various metroDC theatres including Little Theatre of Alexandria, Port City Playhouse, Aldersgate Church Community Theater, The Arlington Players, Reston Community Players, and Dominion Stages. Most recently, she directed Toni Morrison's The Bluest Eye (Dominion Stages) and August Wilson's Fences (Little Theatre of Alexandria). She thanks the CP board for the opportunity to stage this funny and thoughtprovoking play. Upcoming productions include Radio Golf (Peace Mountain Theater), Playing Juliet, Casting Othello (Providence Players), Purlie Victorious (ACCT). She encourages audience members to learn more about Vera's amazing story and career by visiting Rediscovering Vera Stark (http://www.meetverastark.com/welcome.html).

Director's Notes

I was thrilled to have the opportunity to direct By the Way, Meet Vera Stark, a funny but moving look at racial stereotypes and misogyny in Hollywood, using different mediums with the language and style of 1930s screwball comedies. The play also provides an insightful look at the power and transcending force of media. Growing up, my parents (particularly my mother) would constantly admonish me to not believe everything you see in the movies (or on television), as it is all make-believe. The reason for this admonishment was to avoid the fate of hapless children who thought they could jump out of a window and fly like Superman or project cobwebs and scale tall buildings like Spiderman. Such is the power of film. In this play, Nottage suggests had not the Hays Code been implemented, “the whole trajectory of Hollywood would have been different, [and possibly race relations] in America would have been different because the representations of people of color and particularly of women would have been much more expansive.” And what pray tell is the Hays Code? Between the introduction of sound pictures in 1929 and the enforcement of the Motion Picture Production Code (commonly known as the Hays Code), Hollywood enjoyed a brief period during which there was little or no censorship of subject matter and visual imagery. In these pre-code films, bad folks got away with their misdeeds, women were sexual, and African American characters were fully dimensional and interacted with white characters as a friend or confidante rather than a maid. All that changed with the arrival of the Hays Code, which implemented harsh restrictions on the subject matter and visual imagery -- including violence, sex, criminal activity, obscenity, religion, and race -- depicted in films. One clause in the code forbade the depiction of miscegenation, or “the mixing of different racial groups through marriage, cohabitation, sexual relations or procreation.” Post-code films show African Americans as stereotypes, and talented black actors and actresses (many with vaudeville and Broadway credits) found themselves jockeying for these limiting roles. Those who became successful playing these roles were frequently scorned. (Hattie McDaniel, the first African American to win an Oscar for her portrayal of Mammy in Gone with the Wind, famously responded to such criticism by saying, “Why should I complain about making $7,000 a week playing a maid? If I didn’t, I’d be making $7 a week being one.”) Theresa Harris, an African American actress who appeared in over 80 films (pre and post-code) was an inspiration for Vera Stark. Although Vera Stark is fictional, her journey is that of Harris and many other black actresses who found their way to Hollywood looking for their chance to be a star. They found if they wanted to survive, given their limited opportunities, they would have to put on the mask and be slaves and maids. But at what cost? How much of one’s true identity should be sacrificed to pursue a life-long dream? 

— ELEANORE TAPSCOTT

 

The Cast

Rick Estberg (Frederick Slasvick / Brad Donovan) - After a 3 1/2 year theater layoff, Rick is so excited to be back with CP in his seventh show. His favorite roles include Luigi Gaudi in Lucky Stiff, Max Tarasov in Superior Donuts, John in Calendar Girls, and Ziggy in Side Man. He recently retired from NSA with 45 years of government service and now spends most of his time tending his Eastern Box Turtles, traveling (most recently to Aruba, Hawaii, the Florida Keys, and the giant redwoods of California), and playing piano. He dedicates his performance to his two sons: Robb and Charlie.

Colleen Isaiah (Anna Mae Simpkins / Afua Assata Ejobo) - Colleen is thrilled to perform her debut role with The Colonial Players. After a year of virtual shows, returning to live theatre heightens her delight and gratitude for this experience. Her favorite past roles include Mary in The Blob (a local, original musical), Andy Lee in 42nd Street, Sid Sawyer in Tom Sawyer, and Sonia in Vanya and Sonia and Masha and Spike. Offstage, she loves watching The Great British Baking Show and filling her home with adorable projects from Pinterest.

Tracy McCracken (Lottie McBride / Carmen Levy-Green) - Tracy is excited about her first production with The Colonial Players. She has done four shows for Memorial Players in Baltimore: The Wizard of Oz, Into the Woods, A Christmas Carol, and Ragtime. She appeared in Hair for Guerilla Theatre Front and in two productions for On the Road Theater – Those Cute Boys and Negro Water. Tracy played Motormouth Maybelle in Purple Light Theatre Company’s Hairspray. She appeared in Silhouette Stages’ 9 to 5 - The Musical, and as Anastasia in Baltimore Rock Opera Society’s Amphion. Tracy is thankful to Steve, Maura, India, Kateri, and her family for their love and support.

Joseph T. Smithey (Leroy Barksdale / Herb Forrester) - Joseph is honored and excited to make his debut with The Colonial Players. He has acted on and off since 2014, most notably as a co-star in the award-winning independent mockumentary, Rock & Bowl Express. During the pandemic, Joseph continued to hone his skills through his completion of the 2020 Honors Acting Conservatory at The Theatre Lab in Washington, D.C., appearing in several virtual and a couple of onstage performances. Joseph is grateful for the hard work of all of his colleagues involved in By the Way, Meet Vera Stark and cannot wait to perform for live audiences once again!

Ashley Simon (NËE Spooner) (Vera Stark) - Ashley is delighted to take the stage as Vera Stark, marking her sixth production with The Colonial Players. Ashley previously played Ginger Reed in the 2020 production of Book of Days, as well as Ranger Wilson in the 2017 production of Shiloh Rules. She is so very thankful that CP has continually given her the opportunity to play characters with last names. Ashley would like to recognize the tireless work of the cast and production team – you’re all rockstars! As always, Ashley is grateful to her mother, family, and friends for their love and encouragement. She would especially like to thank her supportive and loving husband who encouraged her to return to the stage and eagerly took on “daddy daycare” during rehearsals. You are such a blessing to Clara and me!!

Sarah Wade (Gloria Mitchell) - Sarah is thrilled to be back onstage with By the Way, Meet Vera Stark. Prior CP credits include Elaine Harper in Arsenic and Old Lace; Honey in Who's Afraid of Virginia Woolf? (WATCH award winner for Best Supporting Actress); Gabriella in BoeingBoeing; Cecily Cardew in Ernest in Love; twins Sabine and Isabelle in The Liar; multiple roles in A Christmas Carol; Catherine in These Shining Lives; the Star-to-be in Annie; Jessica in Communicating Doors; and Kitty in Taking Steps. She directed the 2019 production of A Christmas Carol and is pleased to direct it again this year. She has also been behind the scenes as a sound designer for Love, Loss, and What I Wore; Sex with Strangers; Calendar Girls; Watch on the Rhine; and Side Man. "Thanks to everyone for understanding that I can't, I have rehearsal. Love always to Eric."

Tom Wyatt (Maxmillian von Oster / Peter Rhys-Davies) Tom is grateful for the chance to appear on The Colonial Players stage once again, having performed in Casa Valentina, in 2018 and before that when he was in high school (in the previous century). Favorite roles include Buddy in Follies, Ira in The Tale of the Allergist's Wife, Lloyd Dallas in Noises Off, Rooster in Annie, Frederick in Enchanted April, and eight roles (all "WASPS") in The Dining Room. As a director and choreographer in Baltimore, his recent shows include Titanic - the Musical, The Drowsy Chaperone, and Little Women (Dundalk Community Theatre); and Sister Act, The Secret Garden, and Curtains (Cockpit In Court). During the day, Tom works at medical schools (Johns Hopkins University, the University of Maryland, and Georgetown) helping student doctors improve their communication skills and focus on the needs of the patient.

 

 

 

The Production Staff

Alex Brady (Lighting Designer) Alex has been designing lighting in Annapolis and Baltimore since 2002. He has been nominated for the WATCH Award for Outstanding Lighting Design multiple times, most recently for 33 Variations and Who’s Afraid of Virginia Woolf? at The Colonial Players. He recently directed The White Rose at CP. Brady served as the resident lighting designer for the AACC Dance Company for 15 years and works with various local theaters and high schools. He is an alumnus of the Graduate Institute at St. John's College and also teaches for the Arts Department at Anne Arundel Community College.

Ben Cornwall (Sound Designer) Ben has been working since 2000 with The Colonial Players, where he found a love for sound design working on Of Mice and Men. Since then he's designed many shows, most recently, Casa Valentina. “I'm glad we are able to do live theatre again! Welcome back!”.

Hannah Housley (Stage Manager) Hannah is very excited to take on the role of stage manager for By the Way, Meet Vera Stark after working as crew previously for many other shows at The Colonial Players. She is very grateful to Ernie Morton and Andy McLendon for m.

Barbara Marder (Producer) Barbara is pleased to again be working with a production for The Colonial Players. As an ardent fan of the work of playwright Lynn Nottage and enamored of shows using mixed media and mixed time sequence, she is excited to be a part of the production company for By The Way, Meet Vera Stark. The enthusiasm and dedication of the cast combined with the knowledge and skill of director Eleanore Tapscott make the process of building this show a delight. Over the last 30 plus years Barbara has served in a variety of roles for The Colonial Players from Board member to director to show producer. Since retiring from Anne Arundel Community College, where she directed numerous plays and musicals as well as serving as chair of Performing Arts, Barbara has enjoyed a variety of volunteer activities, including work with the American Association of University Women, recording for the Maryland Library for the Blind, teaching ESOL for Centro de Ayuda in Annapolis, and working part time as a standard patient for area medical schools.”

Christina McAlpine (Costume Co-Designer) “It is a blessing to be back designing and creating at the theatre!” After an unforgettable year, Christina was excited and daunted at the challenge when she was asked to do this wonderful show. However, she knew she had to commit after discovering the show was a Lynn Nottage play with 1930’s gowns and glamour! Previous costume design credits at CP include: co-designer for Casa Valentina (Watch nominated); It’s a Wonderful Life: A Live Radio Play; The Cripple of Inishmaan; Boeing-Boeing; (Watch Nominated for Makeup); Dead Man’s Cell Phone; and The Curious Savage. Christina holds a BFA in Theatre from the University of West Florida. During the day she works in the veterinary field and is a proud foster kitten mom who works with animal rescues in the Baltimore area. She would like to thank her fellow costumer, Linda for all the positive energy and creativity; our director, Eleanore for being such a lovely human; Amy and Beth for your sewing skills; our fabulous production team, and all our actors for being so positive and kind! Special thank you to her partner, Yanick, for all your love and support.

Edd Miller (Set Designer) Edd has a long history with The Colonial Players as a director, actor, set designer, and volunteer in other areas. His most recent set design was for Maytag Virgin, which he also directed. Other recent design credits were for Vanya and Sonia and Masha and Spike, Calendar Girls, and Good People, another production he directed. Edd was nominated for a Washington Area Theatre Community Honors set design award for Chapter Two and won a 2012 WATCH award for best direction of a play for Going to St. Ives, which also won awards for best play (out of 83 plays judged) and for best lead actress. Edd has acted in and directed many other shows since joining CP in 1964. His most recent onstage appearance was as Justice Robert Shallow in The Merry Wives of Windsor.

Linda Swann (Costume Co-Designer) Linda is enjoying her stint as co-costume designer for this incredible show. It has been a blast playing with live barbie dolls again and working with such incredibly talented individuals. She would like to thank God for this opportunity to play, Christina for keeping her organized, and the director, cast, and crew for their trust during this adventure. Enjoy the show.