In the Next Room or The Vibrator Play

Written by Sarah Ruhl
Directed by Carol Youmans
Performance dates: May 3 - 18, 2013
Run time: 2h 30m

It is 1880, a time of wonder and scientific advancements. Edison is bringing the electric light to households and in the home and operating theater of Dr. Givings, his invention, an electric vibrator, is bringing relief from the symptoms of hysteria in both his female and some male patients. While he is a little cool and aloof, the scientist loves his young wife Catherine, now recovering from the birth of their first child and the disappointment of needing a wet nurse to supplement her own ability to feed her. Catherine is fascinated by the therapies in the next room and her curiosity and longing lead to discoveries that change and electrify their lives forever.

About the Playwright

Sarah Ruhl wrote her first play in 1995 while a student at Brown University and is one of the most respected playwrights in contemporary American theater. She was a Pulitzer Prize finalist in 2005 for The Clean House and again for her 2009 play -- In the Next Room, or The Vibrator Play -- which also was a Tony Award nominee for best new play. Among Ms. Ruhl’s prestigious honors are the Helen Hayes Award, the Helen Merrill Emerging Playwrights Award, and a MacArthur Fellowship. Her plays have been produced at six theaters in New York City along with major regional theaters across the country and have been translated into seven languages and performed in five countries. Colonial Players will present another play by Ms. Ruhl, Dead Man’s Cell Phone, as the final production of our 2013-2014 season.

About the Director

Carol Youmans has been a devoted participant in community theater for over 30 years, learning most of what she knows about theater from workshops and experience gained by working on every aspect of theater here at Colonial Players. She has designed sets, lights, costumes and sound; crewed; and served on many boards, most recently as Artistic Director, but formerly as President, Director of Marketing and Community Outreach, Vice President, House Director and others. She has served the past five seasons as a WATCH judge for Colonial Players and works on the Marketing and Box Office teams. She loves directing best. Among her favorites are A Midsummer Night’s Dream with Jim Gallagher at ASGT and Dog Logic, Fences, A Funny Thing Happened on the Way to the Forum, Working, I Hate Hamlet, As Bees In Honey Drown, Macbeth, and The Busie Body here at CP. Thanks to this lovely, bold cast and the techies who have made my dream of In the Next Room come true: Edd, Dick, Julie, Jen, Andy, Connie, and Angie.

Director's Notes

What in the world is going on here?! A little bit of history, a little bit of fun, Sarah Ruhl’s heartfelt play is about men and women typical of their day in Victorian America whose understanding of sex, and particularly of female sexuality, was so benighted that doctors did not believe there was a female sexual response! Most proper men and women felt that sex was an embarrassing physical duty. It was a bit messy and unpleasant but, like birth, necessary for the creation of children and continuation of the species. 1885 was long before the Kinsey Reports, the Hite Report in the ‘50’s and ‘60’s, and the feminist-allied sexual revolution of the ‘60’s and ‘70’s taught Americans about female sexual response and the potential for intimacy and love physically expressed in the joy of sex.

So in 1885, when electricity was revolutionizing American culture, doctors developed electro-massage therapy to improve what had been manual therapies up to that time (actually since Hypocrates’ time!). Massage, usually by nurses and midwives, was prescribed to treat hysteria, depression, nervousness, and other feminine maladies. Doctors attributed these conditions to a congestion of fluids and pressures in the womb which, when released, would restore balance and better mental health. Doctors didn’t connect the therapies or their happy results to normal female sexual response at all. They didn’t know it existed or what was really happening when patients had the relieving paroxysms. This set of facts is the foundation of Sarah Ruhl’s love story about the good doctor and his passionate young wife, who finds in the overheard therapies a key that she instinctively recognizes could unlock the intimacy she longs for with her prim, restrained husband. As he learns to love her in the way her body and heart demand, Dr. Givings’ story, albeit a little shocking as we watch, becomes a joyful affirmation of the beauty of physical love between loving partners. So, please, loosen your corset strings a little and enjoy The Vibrator Play!

~Carol Youmans

The Cast

Mark T. Allen (Mr. Daldry) -- Mark is delighted to be back on stage with The Colonial Players. His previous acting stint was here as Inspector Thomas in The Unexpected Guest. He has worked onstage and behind the scenes at other groups, including Columbia Community Players, Laurel Mill Playhouse, Rockville Little Theatre, and Howard County Summer Theater. Other favorite roles include Tony Scudamore in The Brides of March, Mr. Potter in It's a Wonderful Life and Curtis Appleby in Night Watch. Many thanks to Megan, Ben, the Sprout and the Tuggers for all their support.

Ben Carr (Dr. Givings) -- Ben is excited to be back performing at Colonial Players. Some of his previous roles at CP include Biff Loman in Death of a Salesman, Mike Conner in The Philadelphia Story, Michael Wells in Two Rooms, C.C. Showers in The Diviners, and Hertel Daggett in Dog Logic. He has also performed at Standing O Productions in The Retreat from Moscow (Jamie) and Tracers (Little John) and at Dignity Players as Jake in Stones In His Pocket. He would like to thank Carol and the rest of the cast for making this such a wonderful experience. “Most importantly, I would like to tell my wife, Cassie, that I love you and thank you for giving me the greatest treasure of all...twice!!”

Erin Leigh Hill (Mrs. Daldry) -- After a two year absence, Erin is thrilled to return to the Colonial Players stage in The Vibrator Play. She has thoroughly enjoyed exploring the role of Mrs. Daldry, and considers it one of the most challenging parts she has ever played. Past credits include Sally in Cabaret, Alais in The Lion in Winter, Babs in Mrs. California, and Sarah in Earth and Sky. A reading specialist at an elementary school, Erin loves teaching but considers acting her other passion. She is grateful to a wonderful cast and crew, especially Carol for all of her guidance. Erin would also like to send love to her wonderful husband, Dan, who has blessed her life in more ways than anyone can imagine.

Shirley Panek (Annie) – This is Shirley’s second period-piece with Colonial Players this season. The first was as a Gentlewoman in A Christmas Carol. She has dabbled on the production side of some recent Colonial Players shows, including lighting designer for Trying, Moonlight and Magnolias, and Chapter Two (2012 WATCH nominee) and stage manager/costume seamstress for 1776. But performing on stage is still her favorite, and this show is no exception. Other local productions include The Unexpected Guest, Little Women, Lettice and Lovage, Private Lives and Dog Logic at Colonial Players and 8 and Sight Unseen at Dignity Players. “Thanks to the wonderful cast and Carol, for letting us laugh and play together. Love to Drew, Emma, and Jeff - thanks for all your love and support.”

Aricia Skidmore-Williams (Elizabeth) --This is Aricia’s first production with Colonial Players, and she is beyond thrilled. She was bitten by the acting bug while appearing as an Oompa Loompa as a freshman at Severna Park High School and is happy to see that, despite a hiatus, she is still absolutely in love with theater. She has had an absolute ball working on this production and has learned so much. Aricia would like to thank Carol many times over for giving her the opportunity to do something she loves so very much. She also is incredibly grateful to the rest of the cast for being so warm and welcoming to her. Lastly, a million thanks to her family, particularly to her parents who have always supported her in whatever ridiculous adventure she sets out on. She wouldn't be where she is without them and looks forward to keeping them up many more late nights running lines over and over again.

Lelia Tahaburt (Catherine Givings) -- Lelia is happy to rejoin the Colonial Players team after several years away to finish school and to travel. Her previous roles include Babe in Crimes of the Heart at the Dignity Players as well as Maureen in RENT and Putana in 'Tis Pity She's a Whore at Dartmouth College. Lelia currently works as a math and Arabic tutor when she isn't working in theater. She would like to thank her dog for always being happy to see her when she gets home from rehearsal, and her friends, family, and significant other for being so supportive of her artistic endeavors. Lastly, Lelia thanks the cast, crew, and artistic team of In the Next Room for all of the hard work and fun times.

Paul Valleau (Leo Irving) -- Paul moved to Maryland recently and is thrilled to be cast in his first show at Colonial Players. He appeared in several productions in Iowa and received the award for best actor in a play for his role as Robert in Don't Dress for Dinner. Other roles include Leo Bloom in The Producers, Kent in Reasons to be Pretty, Brandon in Next Fall, and Bob Cratchit in A Christmas Carol. “I look forward to many amazing adventures with a new theater family. I cannot express enough thanks for the fantastic support of all my friends, my mother, and my beautiful fiancee, Kristi. It is their encouragement that keeps me moving and smiling. Thank you all from the comfort of my heart.”

The Production Staff

Terry Averill (Producer) -- Terry has worn many hats at Colonial Players, but this show is his debut as a producer. Terry is now in his second term as president of the Board of Directors. An architect, he has helped plan some of the recent improvements to the theater. Terry has directed four regular season productions for CP, including the opening show for the current season, Sunlight, and the popular 2010 musical I Love You, You’re Perfect, Now Change. He recently appeared as Judge James Wilson in our production of 1776, Terry also is a lighting designer and won a Washington Area Theatre Community Honors award for best lighting design for Earth and Sky. He has also directed and acted in several productions at Bowie Community Theatre.

Julie Bays (Costume Designer) -- Julie has enjoyed Colonial Players since she was a child growing up in Annapolis and has always found it to be a great experience working on shows at CP. Favorite shows she costumed for Colonial Players were Fences, I Hate Hamlet, A Funny Thing Happened on the Way to the Forum, and Little Women. She has costumed many shows for Children’s Theatre of Annapolis and most recently costumed Oliver and To Kill a Mockingbird at Compass Rose Theater. She is thankful for her supportive family.

Jennifer Dustin (Lighting Designer) -- Jennifer has been involved with Colonial Players for more than a decade, working as a lighting assistant, a lighting designer, and a director. Her design credits at CP include A Shayna Maidel and The Diviners. Last year, Jennifer directed Cinderella Waltz, which received three nominations in the 2012 Washington Area Theatre Community Honors competition. She also has directed three short plays at Colonial Players and has designed lighting for Alchemy Theatre at the Greenbelt Arts Center. Jennifer would like to thank her husband and her parents for their continued love and support.

Edd Miller (Set Designer) -- Edd has been designing sets for many years for Colonial Players, including the set for Sunlight, the second show of the current season. He also has acted in and directed many shows since joining CP in 1964. Edd won the 2012 Washington Area Theatre Community Honors award for best direction of a play for Going to St. Ives, which also won awards for best play among the 83 plays judged last year and for best lead actress. Edd also was nominated for The WATCH award for best set decoration for his work on last year’s production of Chapter Two.

Connie Robinson (Properties Designer) -- Connie has previously worked as prop assistant to JoAnn Gidos and credits JoAnn as her CP prop-finding "mentor.” She also was a Colonial Players marketing assistant from 2003-2005, providing graphic design services for two seasons of programs, introducing color to programs for the first time, and designing newspaper ads and rack cards. Connie also served on the CP Planning Committee with Beth Whaley and has worked in the box office. Connie thanks Angie Dey for helping her find props, and also appreciates the confidence Carol and Edd had in her, challenging her to "shake the bushes" for stage props! She appreciates the support and patience from her husband, John.

Andy Serb (Sound Designer) -- Andy showed up at Colonial Players in May, 2009, and the following day found himself operating the sound system for Over My Dead Body. He went on to run sound and lights for Wonder of the World, Little Women, A Christmas Carol, and 1776, and to design sound for The Curious Savage, Chapter Two, Wit, Sister Mary Ignatius Explains It All For You and The Actor’s Nightmare. Andy's initial experience with sound systems was with churches and bands. While attending the U.S. Coast Guard Academy in New London, CT., he managed sound for the academy's praise band, and was lead sound tech and lighting coordinator for Anything Goes, Fiddler on the Roof, Me and My Girl, and Oliver.

Tom Stuckey (Stage Manager) -- Tom’s involvement with Colonial Players began 44 years ago with an appearance as a member of the chorus of Carousel. He gave up acting for the anonymity of offstage work after a sword fell apart piece by piece during a duel in Shakespeare’s Twelfth Night. He has stage managed and worked the tech booth for many shows over the last 44 years. Tom is CP’s vice president and has filled four other board positions. He is editor of the programs for all shows and handles publicity for the Marketing Team.

1776

Music and Lyrics by Sherman Edwards
Book by Peter Stone
Directed by Beth Terranova
Performance dates: March 22 - April 20, 2013
Run time: 2 1/2 hours

The seminal event in American history blazes to life in this wonderful musical. It is the summer of 1776 and congress is ready to declare independence, if only our founding fathers can agree to it. John Adams, Ben Franklin and Thomas Jefferson alternately woo and rage at their fellow delegates as they wrestle with the details of the Declaration and what it will mean to their individual states – their “countries”. Much of the book of this musical is based on actual letters and notes from the convention, more historically accurate than you might think, and the humor, passion and glorious music will make it an indelible history lesson that will fill your heart with pride and joy.

About the Director

Beth Terranova is honored to be directing her favorite musical, 1776, for her 32d outing with Colonial Players. She most recently earned directing kudos at CP for this summer’s One Act Festival favorite, Star Crossed. Previous CP directing efforts include She Loves Me!, Fin and Euba, and the highly acclaimed courtroom drama Hauptmann, for which Beth received the 2009 Washington Area Theater Community Honors (WATCH) award for outstanding director. Other favorite directing jobs include The Diary of Anne Frank (Dignity Players), Thoroughly Modern Millie (Annapolis Summer Garden Theater), A House Full of Fish (Playwrights’ Workshop, Cocoa Beach, FL), and Take Five (Phoenix Youth Theater, Melbourne, FL.) On stage, Beth was most recently seen at CP as Aunt March in Little Women and as Ellen in Two Rooms, which earned her a WATCH nomination for featured actress. She also has numerous backstage credits including producer, stage manager, set designer, and costume designer. She earned WATCH nominations this year for her costume designs for Cinderella Waltz and Going to St. Ives and a WATCH nod as producer of the nominated outstanding play Moonlight and Magnolias. Beth currently serves on the Colonial Players Board of Directors as Production Director, and produces CP’s “News and Cues” newsletter. In all, Beth has pursued her interest in theater on stage, backstage, and behind the scenes for over 40 years in four states and two countries. By day, Beth is a Program Analyst for the Navy’s Enterprise Resource Planning Program here in Annapolis, where she gets to exercise her right brain. But she lives for the left brain workouts theater provides! Beth dedicates her work on this show to her father, who took her to see her very first Broadway show 40-some years ago -- the original production of 1776.

About the Music Director

Theresa Riffle is excited to be working in the capacity of musical director for this production of 1776 and to be working with such an amazing, dedicated and talented cast and production staff. This is her first foray into musical direction at CP. Previously, Theresa has been active both on stage and off in a variety of roles including assistant director for Permanent Collection (Dignity Players) and I Love You, You’re Perfect, Now Change (CP); production manager/sound designer for Sight Unseen (DP); and stage manager/tech for many area productions. Favorite acting roles include Phoebe in Romantic Comedy, Evelyn in Kindertransport, Anna Hauptmann in Hauptmann, and Mrs. Cratchit in A Christmas Carol, all at Colonial Players, and Tuptim in The King and I, Pasadena Theatre Company. Theresa works as an adjunct music faculty member at The Landon School in Bethesda, MD. She is also a singer and multi-instrumentalist in the local Irish band, O’Kane Mutiny. Theresa received her undergraduate music degree from The Ohio State University and is currently pursuing her Masters of Music. She is grateful to Beth for the opportunity to be a part of this wonderful adventure. And, as always, Theresa expresses her love and appreciation to Jeremy and Josh for their boundless love, support and encouragement.

Director's Notes

I first saw 1776 as a young teen. I’m not sure why I was immediately drawn to the show, but the story has become more meaningful to me with each passage in my life.

Throughout the years, I have come to appreciate more and more the enormity of the task our Founding Fathers set out for themselves and how remarkable their achievement was. Without the benefit of instant communications, delegates from widely disparate colonies with differing philosophies, distinct cultures, and divided opinions nevertheless compromised on significant economic, political, and moral issues and agreed to declare independence from a country which was at that time considered by many the most powerful nation in the world. These men of the Second Continental Congress signed a document which was in essence a death warrant if the revolution failed.

When I submitted to direct 1776, I had hoped that in this spring following a major election, audiences would be reminded how the courageous actions of a small group of men laid the foundation for the freedoms we enjoy today. I never anticipated a more serious reference to current events, but the comparison is difficult to ignore. Today, it seems the art of compromise, as well as the courage to act on it, have been lost. I see just the opposite – an increasing polarization of views preventing meaningful progress on critical issues. As I write these notes, we as a nation are nearly halfway through our fiscal year, and still our congressional representatives “piddle, twiddle and resolve,” unable to agree on budget appropriations for the year. As a result, our government employees have been working under a continuing resolution authority for almost six months and will possibly do so for the next six. In addition, we are now facing sequestration cuts through the end of the fiscal year as our president and legislators struggle to find common ground in balancing the budget. Indeed, it does seem “nothing’s ever solved.” Reliving the events of 1776 through this play has led me to wonder -- if independence were the issue before our current Congress, could we ever become the United States of America?

I certainly don’t presume the job of governing the country is easy or the answers are simple. The world is a more complex place 237 years after our country’s founding. I can only imagine the dilemmas and pressures facing our representatives as they grapple with conflicting priorities. But I can’t help landing on my favorite exchange in 1776 and wishing they could all hear it and act accordingly:

JOHN ADAMS: Mark me, Franklin – if we give in on this issue, posterity will never forgive us.

BENJAMIN FRANKLIN: That’s probably true. But we won’t hear a thing, John – we’ll be long gone. And besides, what will posterity think we were – demigods? We are men – no more, no less - trying to get a nation started against greater odds than a more generous God would have allowed. John – first things first! Independence! America! For if we don’t secure that what difference will the rest make?

Indeed.

~Beth Terranova

The Cast

Terry Averill (Judge James Wilson) -- Terry has not acted in a musical since Camelot and Working in Roanoke in the mid-1980s! Time flies. In 2009, he directed a musical, I Love You, You’re Perfect, Now Change, and he’s danced and choreographed a few times. But it’s a real pleasure for him to get back to singing after all these years. It is interesting that in 1776, Terry is playing one of the signers of the Declaration of Independence, the document that the 19th-century abolitionist John Brown (a character he has been portraying at the Smithsonian Institution) believed was the most important document ever written, other than the Bible! “Thanks to Beth and Theresa for casting both me and my partner, Dirk Geratz, a first in all of our years together.”

Nick Beschen (Dr. Lyman Hall) -- Nick has done numerous shows with Colonial Players over the past 20 years, including nine or ten appearances in CP’s A Christmas Carol. Favorite roles include Martin Chalmers in CP’s award-winning show Between Mouthfuls, two roles in Dignity Players’ production of Almost, Maine, and Horatio in Pasadena Theatre Company’’s Hamlet. Nick would like to thank Beth Terranova, our director, for the opportunity to perform in this production and, more than ever, his wonderful partner, Leigh, for all her love and support!! Enjoy the show!!!

Tom Bethards (Lewis Morris) -- Tom is thrilled to make his debut with the Colonial Players in this production. Previously, he has appeared many times with the Washington Revels, including the past three May Revels. He has also performed with Kinobe, the DC Labor Chorus, Orfeia, and several jazz bands in the Baltimore area at locations ranging from Cafe de Paris in Columbia to Germano’s Trattoria in Little Italy. While not making a fool of himself on stage, he enjoys studying jazz piano. He would like to thank, in no particular order, Jennifer Blades, Craig Sparks, Otis and Mandy at the cafe, Greg and Susan Lewis, and his friends and family for all of their support.

Nathan Bowen (Richard Henry Lee) -- Nathan is tru-Lee excited to be back for his third show at Colonial Players! By day, he is an operating budget analyst for the State of Maryland (honest-Lee more interesting than it sounds). You might have seen him before at CP as George in She Loves Me and Paul/Gremio in Kiss Me, Kate. Other local roles have included Will in Oklahoma!, Hero in A Funny Thing Happened on the Way to the Forum, and Samuel in Pirates of Penzance at 2nd Star Productions. At Annapolis Summer Garden Theatre, he has appeared as Moonface in Anything Goes, Billy in Chicago, Smudge in Forever Plaid, Tony in Copacabana, a soloist in Smokey Joe’s Café, Dennis in All Shook Up, and Gabey in On the Town. In September, he married the love of his life, and they live happi- Lee in Arnold with their two cats!

Danny Brooks (John Hancock) -- Danny returns to our stage after appearing in two of last summer’s one-acts, Improvisations and Nighthawks. He is a veteran of more than 75 productions, and his favorite roles include Atticus (To Kill a Mockingbird), Juror #3 (Twelve Angry Men), Whiteside (The Man Who Came to Dinner), Niels Bohr (Copenhagen), Chater (Arcadia), Saunders (Lend Me a Tenor), and Felix (The Odd Couple). Thanks to his family for their love and support.

Rick Estberg (Charles Thomson) -- Rick makes his Colonial Players debut with 1776. He’s just returned from a four-year stint on government business in Brussels, Belgium. Prior to that, he took part in several shows with the Pasadena Theatre Company. His favorite roles include King Pellinore in Camelot, all three ghosts in A Christmas Carol, and Uncle Billy in It’s A Wonderful Life. His job and hobbies revolve around public speaking gigs: he is an accomplished Toastmaster, has given dozens of keynote speeches at security conferences across the country, has provided training seminars in eight NATO nations, and serves as a docent at Ford’s Theatre in Washington, where he has told the story of Lincoln’s assassination to over 45,000 tourists. He wants to thank Beth for giving him this great opportunity to broaden his horizons, and he remains, “your obedient...”

Jim Ferguson (Caesar Rodney) -- 1776 marks Jim’s first time on stage since the mid-’70s, when he participated in a number of locally written shows at Chartwell Country Club in Severna Park. He also took part in skits at various officers clubs while in the military and appeared in Meet Me in St. Louis when he was in high school, 1800 years ago! He dedicates his performance to the memory of Dori, who was a history buff, and thanks his wife, Carol, for putting up with many dinner-less and lonely nights for three months so he could return to the stage in 1776.

Ray Flynt (Ben Franklin) -- Ray is a veteran of more than 60 community theater productions, including Pippin at Colonial Players and The Pirates of Penzance at 2nd Star. His favorite roles include Tony in The Most Happy Fella and Father Farley in Mass Appeal. Ray is the CEO of Travelers Aid International, based in Washington, DC. He is a member of Mystery Writers of America and the author of Brad Frame mysteries as well as the political thriller, Kisses of an Enemy. You can read opening chapters and short stories at www.rayflynt.com. Love to Rebecca!

Dirk Geratz (Painter) -- This is Dirk’s second time on stage with Colonial Players. He last appeared in the 2010 CP production of I Love You, You’re Perfect, Now Change. Prior to that he played several small roles in the 2007 Annapolis Summer Garden Theatre production of Thoroughly Modern Millie. He has also volunteered as a supernumerary with the Annapolis Opera, appearing in Madama Butterfly and Carmen. Dirk is currently Vice President of the Murray Hill Residents Association and, when not volunteering, is an urban planner with the City of Alexandria in Virginia. He thanks his partner, Terry Averill, for all his support and encouragement.

Ron Giddings (Edward Rutledge) -- Ron holds a BA from Loyola College of MD in Theatre and Writing and an MA in Arts Administration from Goucher College. He has appeared in the area with Dundalk Community Theatre, Cockpit in Court, Dignity Players, Annapolis Summer Garden Theatre, Moonlight Troupers, 2nd Star Productions, Colonial Players, Phoenix Festival Theatre, the Maryland Arts Festival, and Standing O Productions. A former Artistic Director of CP and current Education Director, he has directed shows locally for Colonial Players (Shipwrecked!, Wonder of the World, Moonlight and Magnolias, and their inaugural 24-Hour Project: Months on End), Annapolis Summer Garden Theatre (Crazy For You, Sweeney Todd, their 40th Anniversary Celebration, and Urinetown: The Musical, which was awarded the Ruby Griffith Award for Overall Production Excellence in 2007), and Standing O Productions (On the Twentieth Century, The Retreat from Moscow, Counting the Ways, and Mr. Marmalade). “Thanks to my parents, family, and friends for being more supportive than I could ever express.”

Gary Glossop (George Read) -- Gary thanks Colonial Players for allowing him back on stage after so many years. He currently works as a colonial gentleman in Annapolis presenting colonial history at The Hammond-Harwood House, London Towne, and the Historic Annapolis Foundation. This love for history drew him to 1776. He thanks his wife for her love, patience, and support with this obsession for the 18th Century and with the rehearsal schedule.

Eric Hufford (Thomas Jefferson) -- Eric is thrilled to be back on stage at Colonial Players! He was involved in theater during high school and his freshman year of college, where he played Tom in School House Rock Live! He reconnected with his love for theater last summer as Pharoah in Drama Learning Center’s Joseph and the Amazing Technicolor Dreamcoat. Following that, he played Daniel Beauxhomme in Red Branch Theatre’s Once on This Island last October. Colonial Players credits include Sheriff Joe Sutter in Spitfire Grill as well as Fred/Young Scrooge in A Christmas Carol. Most recently he was Jesus in Opera AACC’s Jesus Christ Superstar. “I’d like to give a big thank you to all of my friends who continually come out and support all of my performances; it means a lot to me. Enjoy the show!”

David Merrill (Robert Livingston) -- David is excited to be making his Colonial Players debut. He received his Masters in Voice from Shenandoah Conservatory in Winchester, VA and his Bachelors in Music from Methodist University in Fayetteville, NC. Recent roles include Sam in the opera Street Scene, Don Ottavio in Don Giovanni, Alfred in Die Fledermaus, Camille in The Merry Widow, Edwin in Trial By Jury, Alexis in The Sorcerer, and Lamar in Godspell. Currently, he teaches middle school music and works with the technology team at Severn School in Severna Park. David would like to dedicate these performances to his influential mother, his wonderful girlfriend, his family, and his brother and father, who have both touched the face of God.

Edd Miller (Stephen Hopkins) -- Edd has worked with CP since the mid-sixties as an usher, sweeper, actor, painter, director, designer, whatever was needed/allowed. He feels very at home here. His many Colonial Players credits include: performances in Moon for the Misbegotten and Over My Dead Body; direction of Moon over Buffalo, Two Rooms, and Going to St. Ives; and set design for The Philadelphia Story, Chapter Two, and Sunlight. Edd is a 2012 Washington Area Theatre Community Honors nominee for best direction for Going to St. Ives and for best set decoration for Chapter Two. He feels his greatest reward from his association with CP was meeting his late wife, Dolores. After almost 50 years, he just can’t help it!

Kaelynn Miller (Martha Jefferson) -- Kaelynn is honored to be given the chance to portray such an influential redheaded woman in American history! 1776 actually manages to merge all three of Kaelynn’s passions (and fields of study during college): music, theater, and history. This is Kaelynn’s fourth appearance on the CP stage. Previous credits include A Christmas Carol, Moonlight and Magnolias (2012 Washington Area Theater Community Honors nominee for Outstanding Play), and Little Women. Offstage, she is usually found paying CP’s bills or sewing costumes. By day, she works for a musical instrument accessory wholesaler. Kaelynn sends love to her family for their lifelong support, her friends for their daily entertainment, and Wes for his never-ending patience and encouragement.

Ernie Morton (Dr. Josiah Bartlett) -- This is Ernie’s first appearance on the dramatic stage, for which he has his family to thank (they dragged him to the auditions while he was under the influence of prescription painkillers following surgery). After following his wife, Gwen, daughter, Lyann, and son, Sam, in “treading the boards,” he can no longer be referred to as “the only sane member of the family.” Ernie would like to thank the cast and crew of 1776 for their welcome and encouragement.

Vincent Musgrave (Roger Sherman) -- Vince is happy to be back on the CP stage after his debut, years ago, as Eddie in Blood Brothers. His work has been seen on many local, national, and International stages. Favorite roles include Chad in All Shook Up, Leading Player in Pippin, and Bobby in A Chorus Line. He has worked as a choreographer for shows locally and abroad, and is a recent WATCH Award nominee for his choreography in Rockville Music Theatre’s A Chorus Line. Thanks to the cast and crew of 1776 for their talent, and to Peter for his love and support. Enjoy!

Keith Norris (Samuel Chase) -- Keith is excited to appear in the Colonial Players production of 1776, proudly portraying Samuel Chase, delegate from the State of Maryland. He appeared in 2nd Star Productions’ award-winning production of Mame as well as Damn Yankees, How to Succeed in Business Without Really Trying, Oliver!, and The King and I. He also appeared with Pasadena Theatre Company in 1776, It’s A Wonderful Life, Christmas Story, Jekyll & Hyde, and A Christmas Carol. Most recently, Keith appeared as Jonathan Brewster in Arsenic and Old Lace at Catonsville Dinner Theatre.

Sandra Rardon (Abigail Adams) -- Sandra is happy to make her second appearance with Colonial Players! Some of her favorite previous credits include Shelby Thorpe in CP’s The Spitfire Grill (2012), Diana in Lend Me A Tenor (2011) with Pasadena Theatre Company, Songs For A New World (2011) with Dignity Players, and Miss Sandra in All Shook Up (2009), Vi Moore in Footloose (2009), and Maria in The Sound of Music (2006) with Timonium Dinner Theatre. Sandra also appeared in the U.S. premiere of Girlfriends by Howard Goodall (2003). In addition, her voice may be heard on The Music Man JR. soundtrack produced by Music Theatre International, and on the original U.S. cast recording of Girlfriends. Sandra would like to thank Colonial Players for this opportunity and Shawn Rardon for his patience, understanding, and love! Enjoy!

Joshua H. Riffle (Courier) -- Joshua has recently arrived back from three years training at The Liverpool Institute for Performing Arts, where he received his B.A. (Hons.) in Acting. While at school he appeared as Steve Hubbel in A Streetcar Named Desire, Charlie Baker in The Foreigner, Marcos in Kiss of the Spiderwoman, and Charlie Aiken in August: Osage County. Additionally, Joshua has appeared in many productions for Colonial Players, Dignity Players, Annapolis Summer Garden Theatre, and many other theatre companies in the greater Annapolis area. Joshua would like to thank Beth, and the rest of the production staff for this wonderful opportunity to work for Colonial Players once again.

Rusty Russell (Col. Thomas McKean) -- Rusty does not consider himself a singer, and yet he is zero for ten in picking non-musicals. Four productions of A Christmas Carol at Colonial Players and a half-dozen shows at Annapolis Summer Garden Theatre are the extent of his theater experience. “I was pretty certain that the framers were not inclined to break out in song, yet here I am again ... faking the melody. I heard that they were looking for a bunch of grumpy, near-sighted, bow-legged old men who were willing to wear a wig, so I knew I was a lock. I hope you enjoy the show. I hear it’s pretty good.”

Timothy Sayles (John Dickinson) -- Tim has played a variety of roles at Colonial Players, most recently that of university president Matthew Gibbon in this season’s tense ideological drama, Sunlight. This is his second crack at 1776, having played secretary Charles Thomson for Pasadena Theatre Company in 2010. His most recent musical role was that of Lazar Wolf in 2nd Star Productions’ award-winning 2012 presentation of Fiddler on the Roof. A longtime member of the Sons of the Severn barbershop chorus in Annapolis, Tim supports his stage habit by working as editor in chief of Chesapeake Bay Magazine. He lives in Annapolis and has three indisputably brilliant grown children, two unarguably adorable grandchildren, and two undeniably cute cats. He thanks Beth and Theresa for this wonderful opportunity!

Jeff Sprague (John Adams) -- This is Jeff ’s fourth musical with CP, having appeared in Jekyll & Hyde; Kiss Me, Kate; and I Love You, You’re Perfect, Now Change. He has also appeared in numerous plays for the theater, earning a Washington Area Theatre Community Honors award in 2007 for his role in Kindertransport. Most recently, he appeared last Fall in Sunlight as Vincent. Other musical credits include Dexter the Interpreter in Thoroughly Modern Millie, Edna Turnblad in Hairspray, and Lord Evelyn Oakleigh in Anything Goes, all at Annapolis Summer Garden Theatre. He has also appeared at Dignity Players of Annapolis in several non-musical roles. By day, Jeff is an attorney with the federal government. He sends his thanks to the cast, crew, and production staff, and his love to his beautiful bride, Kathleen. E pluribus unum - out of many, one.

Daniel Starnes (Leather Apron) -- Daniel is thrilled to be in this show, which combines his two favorite subjects: chorus and history. A ninth-grade honor roll student at Southern High School, he participates in all-county and all-state choruses and has appeared in various musical theater productions. Some of his favorite roles have been in Aladdin JR. (Aladdin), The Wizard of Oz (Scarecrow), Annie (Rooster), The Annapolis Chorale’s Sound of Music (Friedrich), and five Colonial Players Christmas productions. When not on stage, Daniel enjoys ping-pong, DC Comics, and video games. Daniel would like to thank his mom and dad for their love, support, and transportation, the entire 1776 production staff, and our Founding Fathers.

Fred Taylor (Rev. John Witherspoon) -- Fred retired in 1996 with more than 30 years of service with DOD, and has been working ever since. Currently, he is “the voice” of the UMBC men’s and women’s basketball programs and works as a tour guide for Watermark. His main hobby is his six grandchildren, whom he loves, and spoils, endlessly. Secondly, he is the Official Town Crier for Annapolis and will be representing the “City of Anne” in the World Invitational Town Crier Championship in Kingston, Ontario in August 2013. Fred has been part of the Colonial Players theater community for many years. He has hung lights, worked backstage, continues to usher, and has appeared on stage in numerous productions. Favorite shows include Arcadia (Jellaby), Busie Body (Everywhere), Rebecca (Frith), Death of a Salesman (Stanley), and the 2012 edition of A Christmas Carol (Marley). Thank you, Beth, for electing me to this “Congress” and making me part of such a talented cast. A gazillion thank you’s also to Theresa, and the entire production crew of 1776. You are the best! Huzzah. New Jersey votes “yea.”

David Thompson (Robert Livingston) -- David is excited to be returning to the Colonial Players stage in 1776! Locally he has been seen in the titular roles of Sweeney Todd and Pippin, Molokov in Chess, Utterson in Jekyll & Hyde, Booth in Assassins and Einstein in Picasso at the Lapin Agile. Thanks so much to Sarah, Violet and Garrett for everything!

Joe Thompson (Andrew McNair) -- Joe got his start Colonial Players as a member of the chorus in the 1969 production of Carousel and most recently designed sound for two of this year’s shows, Sunlight and Trying. In between, he acted, directed and worked on many CP shows and performed in musicals at Annapolis Summer Garden Theatre. He won a WATCH Award for sound design for a soundtrack of original songs he wrote for Bowie Community Theatre’s production of Dearly Departed. Joe also directed the Children’s Theatre of Annapolis production of Beauty and the Beast, first runner up for best musical in the British Players Ruby Griffith Award competition.

Gene Valendo (Joseph Hewes) -- After a lengthy hiatus, Gene returned to the stage in June 2012. He has since appeared with 2nd Star Productions as Mordcha the Innkeeper in Fiddler on the Roof, as Major Quimby in Bloody Murder, as Andrew Carnes in Oklahoma!, and as Dr. Hubert Bonney in It Runs in the Family. Earlier roles included Nicely-Nicely Johnson in Guys and Dolls; Mr. Applegate in Damn Yankees; Ben Gant in Look Homeward, Angel; and President Roosevelt in Annie. He is thrilled to be making his CP debut in 1776, which tops his theatrical bucket list. Gene is a retired naval officer who supplements his meager pension by working as a psychometrist. He is a member of the Sons of the Severn Barbershop Chorus. He wishes to thank his cats for their understanding regarding the decrease in quality lap time caused by his rehearsal schedule.

The Production Staff

Lois Banscher (Properties Designer) -- Continuing in her third season at Colonial Players, Lois has previously collected props for nine CP shows. Lois has filled the stage with authentic props -- such as a horse hair fly swisher/swatter for this show -- that were secured from as nearby as the CP prop room and as far away as England. She is thrilled to be working with Director Beth Terranova, whose love for 1776 is beyond words. Beth dreamed a dream, and this is her dream directorship. It's very special being a part of this 1776 team. Now, if only we could make John sit down!

Robert Bates (Rehearsal Manager) -- RC has designed sets at Colonial Players for On Golden Pond (1998), Blood Brothers (2001), Is There Life After High School? (2002), and Kid Purple (2004). He has also been the stage manager for Arcadia (2002), Rebecca (2004), Assassins (2005), Splendour (2006), and Les Liaisons Dangereuses (2009). RC has also designed or stage managed several shows at Bowie Community Theatre. He is the Technical Director for St. Mark's Players in the current capital city, but is happy to be moonlighting in an older capital city on a show set in an even older one.

Wes Bedsworth (Producer, Sound Designer) -- Wes fell in love with 1776 at a very young age when his parents let him watch the movie on VHS. He subsequently passed many hours enjoying his mother’s copy of the soundtrack on vinyl, evidenced by its current “used” condition. Last year, when CP announced it would be including 1776 in its 64th season, Wes jumped at the chance to be involved. Several people tried talking him into being onstage for the first time in 1776; however, he dodged that long enough to avoid being cast and found his role backstage, both producing as well as engineering the sound and video projections you will experience today. He would like to thank his parents for introducing him to this musical, his sister, aunt, and uncle for coming from PA to see the show, and Kaelynn for being his beautiful real-life Martha.

Amanda Cimaglia (Choreographer) -- Amanda is thrilled to be working at Colonial Players for the very first time! A native Annapolitan, Amanda has performed in and/or choreographed over 50 local and regional theatrical productions. Her performance credits include roles in Chicago, Anything Goes, Cabaret, West Side Story, Thoroughly Modern Millie, Fosse, All Shook Up, and A Chorus Line – to name just a few. Amanda has also choreographed for Annapolis Summer Garden Theatre, St. Mary’s Elementary School, St. Mary’s High School, Annapolis High School, and the U.S. Naval Academy. She has a Bachelor of Business Administration from Loyola University, owns her own consulting business, and currently serves as the volunteer Development and Fundraising Officer for Annapolis Summer Garden Theatre.

Andrea L. Elward (Costume Designer) -- After appearing as The Laundress in A Christmas Carol at Colonial Players last December, Drea is back at CP as costume designer for 1776. Active in the local theater community for over 30 years, she has appeared in the Ruby Griffith Award- winning productions of Enter the Guardsman with The Colonial Players and Mame with 2nd Star Productions. Other credits include featured roles in Jekyll & Hyde, Assassins, Anything Goes, Annie, Me and My Girl, A Funny Thing Happened on the Way to the Forum, Chicago, and A Chorus Line. As a workshop director and choreographer, she enjoyed bringing shows such as The Wiz; You’re a Good Man, Charlie Brown; Godspell JR; and Honk! JR into the lives of young actors in the Annapolis area. In her spare time, Drea can be found singing with the best rocked-up R&B blue-eyed soul band in town, “JoyRide.” She would like to thank her small army of seamstresses for all of their diligence and hard work in sewing and alterations to bring to life the Colonial ladies and gentlemen that influenced and shaped our nation.

Frank A. Florentine (Lighting Designer) -- Frank has an extensive background in lighting design from ballet to museums to special events to show caves. He was lighting designer for 25 years for the Smithsonian Institution National Air and Space Museum facilities in Washington, D.C. and near Dulles International Airport. He also designed lighting for three show caves in Arizona, Oklahoma, and Montana during the last 10 years. At Colonial Players, he was nominated for a 2012 Washington Area Theatre Community Honors award for best lighting design for Chapter Two and also designed lights for Sunlight. Frank designed lighting for the 9-11 Memorial of Anne Arundel County and, for the last 21 years, designed lighting for a sailboat in the Eastport Yacht Club's annual Christmas Parade of Lights. Frank worked in professional theater as a production manager, stage manager, and associate lighting designer and traveled nationally and internationally with several ballet companies, Frank is a Fellow of the Illuminating Engineering Society and Lighting Certified by the National Council of Qualified Lighting Professionals.

Shirley Panek (Stage Manager) -- Shirley has appeared many times on stage at Colonial Players. Over the last year, she has dipped her toes into the production side of things at CP as lighting designer for Chapter Two (2012 Washington Area Theatre Community Honors awards co- nominee for best lighting design), Moonlight & Magnolias, and Trying and now, as stage manager. Shirley would like to thank Beth for her dedication and infectious enthusiasm for the show and Wes for talking her into taking the job. Love to Drew, Emma, and Jeff.

Dick Whaley (Set Designer) -- Dick is back as set designer for 1776 after designing the set in conjunction with Director Ron Giddings for Shipwrecked! Dick has been involved with Colonial Players since 1951 and is the lead carpenter for all of our set construction. He has worked in many capacities in addition to set construction, including serving on the board, ushering, and working in the box office.

1776: Is it Historically Accurate?

Okay, so the members of the Continental Congress didn’t break into song to complain about flies, heat, and John Adams. Conservatives didn’t do a minuet extolling the joys of “well- endower’d wives.” Nor did Martha Jefferson, we can be pretty certain, sing to John Adams and Benjamin Franklin about her husband’s talents as a violinist. After all, when Sherman Edwards and Peter Stone wrote 1776, they were not composing a treatise about a seminal event in American history. They were writing for the Broadway stage, and they took some liberties for dramatic purposes. That raises questions about the historical accuracy of 1776.

Edwards and Stone, who conducted extensive research into 18th-century records, say they treated characters and events as accurately as possible while making changes for dramatic effect.

According to The Columbia Companion to American History on Film by Peter C. Rollins, there are inaccuracies in 1776, “though few are very troubling.” Rollins considered most of them insignificant, but noted some major departures from reality. For example, the removal of a section on slavery during final deliberations is depicted in the musical as the key to the vote on independence, but Thomas Jefferson had agreed to delete that section long before his document was approved. 1776 portrays a cancer-stricken Caesar Rodney returning from his sickbed in Delaware to provide a critical vote for independence. He did, indeed, have a cancer on his nose, but he was not near death and lived for eight more years. Nevertheless, events in 1776 are largely backed by historical records.

Lyrics to the songs sung by Adams and his wife, Abigail, come directly from their letters, which show that Abigail really did plead with John to send pins, while John exhorted the women of Massachusetts to make saltpetre. They did address each other as “my dearest friend,” and John did write a letter listing Abigail’s faults. Similarly, Gen. George Washington’s increasingly gloomy reports about the state of his army come directly from dispatches he sent frequently to Congress. Adams is portrayed in the play as “obnoxious and disliked,” a phrase he used to describe himself in a letter written years later.

Franklin is known to have dozed off during sessions in the humid hothouse that was the congressional chamber. He argued for the turkey as the national emblem and broke ties with his illegitimate son, the Royal governor of New Jersey, because of their disagreement over independence.

Edwards and Stone relied on historical records to flesh out the founding fathers as real people. Maryland’s Samuel Chase was known for his love of food and was referred to as “Old Bacon Face.” Rhode Island’s Stephen Hopkins, who swills rum in the play, had the nickname “Old Grape and Guts” because of his fondness for distilled spirits.

Fourteen years after the Declaration of Independence was signed, Adams wrote to a friend his fear that: “The history of our revolution will be one continual lie from one end to the other. The essence of the whole will be that Dr. Franklin’s electrical rod smote the earth and out sprang General Washington.”

Perhaps if Adams could watch this show, he would be pleased at the way his pivotal role is portrayed in the words and music of 1776. He might even approve of the way Stone and Edwards depicted not just the grand birth of the new nation by giants of the time, but also the foibles and passions and altogether human qualities that made them what they were -- a group of men who accomplished extraordinary deeds.

~Tom Stuckey

Trying

Written by Joanna McClelland Glass
Directed by Darice Clewell
Performance dates: February 8 - March 2, 2013
Run time: 2h 15m

This memorable play is about a strong young Canadian girl hired to be secretary to an irascible old Philadelphia aristocrat who served as Attorney General of the United States under FDR and was Chief Judge at the Nuremberg Trials. Judge Francis Biddle is trying to complete his memoirs within the year he believes he will die. Sarah follows the fourth woman who has quit or been fired from her position. The author was the secretary in the true story. According to the original production notes: “Trying is set in 1967 when Biddle is 81 years old and trying to put his life in order. Elegant, but sharply cantankerous, he struggles with the inevitability of his age and failing health. His wife has forced upon him a new secretary named Sarah, who is all of 25 years old, and the two struggle to find a way to communicate. This richly scripted story illustrates how two strangers, at two dramatically different places in their lives, can unexpectedly and forever influence each other.”

About the Director

Trying is the fourth production Darice Clewell has directed for The Colonial Players. In 2006, she brought Copenhagen to our stage, and prior to that she directed Isn’t It Romantic? and the musical Is There Life After High School? She has appeared in numerous productions here, playing Lotty in Lettice and Lovage, Lottie in Enchanted April, and M’Lynn in Steel Magnolias. She also appeared in The Last Night of Ballyhoo, Splendour, Rumors, Social Security, and The Road to Mecca. Choreographic endeavors were for A Little Night Music (the Ruby Griffith winner for All Round Production Excellence), She Loves Me, Cabaret, Fiorello!, Is There Life After High School?, Red Hot and Cole, Working, and A Christmas Carol. Darice has acted, directed, and choreographed for The Colonial Players for over 25 years and has served on our board of directors several times. She holds a degree in Theatre Arts/Drama from the University of Wisconsin. Directing efforts at other local theaters include Stones in His Pockets and The Shadow Box at Dignity Players. Acting credits outside of CP include Elizabeth Proctor in The Crucible, Amanda Wingfield in The Glass Menagerie, Latrelle Williamson in Sordid Lives, and several roles in The Vagina Monologues. “As always, thanks to my partner in life’s journey, the ever-Trying Jim. And a heartfelt ‘thank you’ to Mike and Karen, my partners in this theater journey; I’m grateful for your trust and indebted to you for your labors.”

Director's Notes

At a time when our national leaders seem to be unable or unwilling to work together for the good of the country, Trying takes us all back to an era when leaders of different opinions, parties, and backgrounds put their nation first. Francis Biddle was one of those leaders. Scion of Philadelphia’s moneyed Main Line, Harvard Law graduate, personal secretary to Chief Justice Oliver Wendell Holmes Jr., Biddle served his country, and his presidents, well: he was U.S. Attorney General under President Franklin Roosevelt and was appointed by President Harry Truman as the chief American judge for the International Military Tribunal at Nuremburg. He strove to uphold justice, especially for the working people on the lower ends of the economic and social structure. As a young lawyer in Philadelphia, he fought to improve the working conditions of Pennsylvania coal miners, and as chairman of the National Labor Relations Board, he prosecuted unfair labor practices.

Trying is about none of this, and all of this. It is about the final year of Biddle’s life, as he works with a young new secretary to get his papers and memoirs in order before he dies. That secretary later penned this beautiful story.

The playwright, Joanna McClelland Glass, revealed that she wasn’t able to approach the writing of Trying as a full-length play until she could see it through the eyes of an older, more mature woman (she was in her 60’s when she wrote Trying). She was then able to see the role Biddle had played as a mentor to her, and her own experiences had equipped her to better understand the pains and difficulties of aging and dying.

Richard Brody, the New Yorker's cinema critic, once noted that “the effective work of memory is the very definition of art.” This play, rather than being based on the playwright’s experience as Judge Biddle’s secretary, is inspired by the time she worked with him. As we delved into the script, we discovered numerous “enhancements” that reveal the superb artistry of Joanna McClelland Glass as a dramatist. While she uses the memory of their conversations and the lessons learned from this man of once-towering intellect, she elegantly shifts dates and details to present a more dramatically rewarding version of their time together. In truth, Biddle passed away on October 4, 1968, while in this play, his death occurs in the second week of June. The artist is at work in this choice: by placing his death in the springtime, the darkness of winter fades as his life comes to an end, and Sarah is on the brink of her own fresh horizons even as spring is in full bloom in Washington.

In the first act, Biddle remarks that “abeyance is a woman’s plight,” and that has certainly been my experience with this play! I’ve wanted to bring Trying to an Annapolis stage since being introduced to it seven years ago. So I am grateful for the opportunity to tell this story of two cultures colliding and then collaborating, of age and youth at odds with one another, of chill turning to warmth, and of winter yielding to spring. It is a story, ultimately, of understanding. It is funny and touching, and reminds us all that no matter how accomplished we are, how rich or poor, we belong to each other.

Because of our proximity to Georgetown, my research team and I have been able to avail ourselves of Biddle’s private papers, and we scouted the house where the Biddles lived. I have thumbed through the judge’s personal datebooks, poured over Katherine Biddle’s countless newspaper clippings, and held the typed (presumably by Glass herself) address list from his desk; one of the entries is the telephone number and address listing for Mrs. Joanna Glass. These excursions have revealed other ways in which Glass “fiddled” with the facts, but in every instance, the dramatic arc of the story is enhanced, and the characters spring to life in a far more compelling manner because she allowed her memories to become art. What fun it has been to do this live-action research of such a prominent citizen!

In the play, Sarah describes the true measure of one’s worth as “the measure of one’s journey.” I have enjoyed the collaboration of many CPers whose friendships I cherish, and whose talents have been invaluable on this journey. Many of these collaborators have traveled with me time and again, a few are recent acquaintances, and I am grateful that even when we collide--as we do!--we ultimately collaborate. For, like Sarah and Biddle, we belong to each other. I ask you to take a moment to read their names and honor their contributions to this production.

Special thanks to Jim Robinson for leading the history research, and to Kurt Dornheim for aiding in the creation of audience forums to help all of us understand the remarkable contributions that Judge Francis Biddle made to our nation and to the world. My deepest gratitude to Heather Quinn and Laurie Nolan, who have been with me from the beginning of this adventure, traveling to the Biddle house in Georgetown, working with the Georgetown University Library to secure permission to review and photograph Biddle’s actual papers, designing and painting our set and furniture, replicating the “genuine articles” of the judge’s diplomas ... the list goes on, and a simple name in a program does not do their talent, work, and creativity justice. No pun intended!

The Cast

Michael N. Dunlop (Francis Biddle) -- Michael is very happy and excited to be returning to The Colonial Players stage. Previous performances here include two seasons of A Christmas Carol, Something's Afoot, Sly Fox, and A Funny Thing Happened on the Way to the Forum and several one-act productions over the years. He was recently seen in Compass Rose Studio Theater's To Kill a Mockingbird and Prince George’s Little Theatre's productions of Deathtrap and Don't Dress for Dinner. He also has been active with Bowie Community Theatre in Daddy's Girl, Dearly Departed, and Dearly Beloved, among other shows over the years. Michael worked closely with Spike Parish's Maryland Traveling Repertory Theater as a cast member in several productions, including The Odd Couple, California Suite, Not Now Darling, The Owl and the Pussycat, and The Foreigner. He went on to serve on the Board of Directors for The Chesapeake Bay Floating Theater. Michael has been a SAG-AFTRA member since 1988 and has acted in film, television, and commercial video productions in the Baltimore/Washington market with a recent role in Veep on HBO. For the past three years, Michael has been working as a standardized patient for the Uniform Services University, the University of Maryland Medical School, and The Johns Hopkins Medical School. This involves role playing various medical cases to train medical students. Other role playing assignments include witnesses for mock trials and diplomats from fictitious countries for attache’ training. He is the owner and operator of Dove Video Productions in Annapolis. This company supports producers with a variety of video services.

Karen Grim (Sarah Schorr) -- Karen holds a BFA in Performance Theatre from High Point University in North Carolina. She has performed professionally in Scranton, PA, for Northeast Theatre Co. and in Los Angeles for The Menander Theatre Co. in addition to her performances here at Colonial Players. While you may have seen her most recently as Percy Talbott in The Spitfire Grill and Amy March in Little Women, Karen is happy to be back on stage in a non-singing role. Some of her favorite roles are Evelyn in the shape of things, Henriette in The Learned Ladies (KCACTF Nomination), JoJo in Seussical (KCACTF Nomination), Abigail in The Crucible, and Peter in Peter Pan (KCACTF Nomination). When Karen is not on stage, she enjoys reading, painting, writing The Colonial Players blog, and photography (mostly taking pictures of her adorable dog, Elvis).She works as the distribution coordinator for Producers, the premier production company in Baltimore, and is thrilled to finally have found a “day job” that allows her to continue to learn all about her passion: film and theater. “I’d like to thank my family and friends for their support and for allowing me to not hold my love of theater in abeyance. These include, but are not limited to, my best friend and editor, Laurel, for inspiring the writer in me by knowing the writer in you; my dear friend Kaelynn for convincing me to audition for this show – I hope I make you proud!; Darice and Mike for a wonderful learning experience both on stage and off; Jim for the endless hours of HGTV I forced you to watch so I could work on my Canadian accent and for always being awesome. You really are the best. And last, but never least, to my mother (Happy 50th Birthday!), I dedicate this performance to you. We West Virginia “girls are known for our grit,” so thank you for teaching me what having “spine” really means.

The Production Staff

Herb Elkin (Stage Manager) – Herb’s most recent CP stage managing credits include: Going to St. Ives (2012), The Diviners (2011), Dog Logic (2010), The Lion in Winter (2010), Over My Dead Body (2009), Two Rooms (2009), and Enchanted April (2008). Prior to becoming active behind the scenes, he appeared on stage in several CP and other area productions. Herb serves on CP's Finance Committee and by day works at the U.S. Naval Academy.

JoAnn Gidos (Properties Designer) -- JoAnn has had a busy theater season, having worked on Bell, Book and Candle, A Christmas Carol and Shipwrecked! at Colonial Players; The Foursome and Master Harold and The Boys at Bay Theatre, and To Kill a Mockingbird at Compass Rose Studio Theater. Trying represents something special because her husband, researcher, and "gofer," Mike, finds it one of the most compelling works he has had the pleasure of introducing to play selection at CP. So: "Lace the skates, and hit the ice, and stay the course."

Laurie Nolan (Co-Set Designer) -- Laurie has been working on sets at CP off and on since the late ‘70's. (Her introduction to sets was working on Royal Gambit, directed by Beth Whaley, with set construction by Dick Whaley.) Recently, she did the sets for Dignity Players’ Almost Maine, Stones in his Pockets, and Crimes of the Heart. Laurie is very happy to be working again with Heather Quinn, after "building a castle" with her for CP's The Lion in Winter. By day, Laurie owns Art Things in West Annapolis.

Meghan O'Beirne (Costume Designer) -- Meghan graduated from Marist College with a degree in fashion design in 2010. She has been pursuing a career in costume design ever since and has interned and designed for other area theaters such as Compass Rose Studio Theater and Annapolis Summer Garden Theatre. Her most recent production was HCC's production of A Christmas Carol, for which she designed the classical costumes. She previously assisted in Colonial Players’ production of Cindrella Waltz by constructing the dress for Mother Magee, and she is thrilled to be working with Colonial Players again! A big thank you to the cast and crew for all their hard work!

Shirley Panek (Lighting Designer) -- Shirley has appeared many times on stage at The Colonial Players, and Trying marks her third foray into lighting design. The first two design experiences were Chapter Two and Moonlight and Magnolias, both at CP. On stage, audiences have seen her most recently in A Christmas Carol (Colonial Players) and Prince George’s Little Theatre’s Unnecessary Farce (Karen Brown). Favorite shows include Almost Maine (at Dignity Players) and, at Colonial Players, The Unexpected Guest (Laura Warwick), Lettice and Lovage (Ms. Framer), Private Lives (Sybl Chase), and Dog Logic (Kaye). Shirley would like to thank Darice for giving her the opportunity to stretch her lighting design wings with two such hardworking and amazing actors, as well as the rest of the production staff and crew. Love to Drew, Emma, and Jeff - the lights that make my life brighter.

Heather Quinn (Co-Set Designer) – Heather is happy to be working on another set with Laurie Nolan (previous work together includes The Lion in Winter) and on another production with Darice Clewell. Heather notes that the set research was particularly interesting because of local resources. “We were able to review Francis and Katherine Biddle’s papers, which are in the Georgetown University Library Special Collections Research Center. The special collections staff was wonderful. We greatly appreciate their help in securing rights from the Biddle estate for select reproductions, which we have used in our show. In addition, we were able to walk by the former Biddle house in Georgetown. We found there is no garage-office today.”

Charlotte Robinson (Producer) -- Charlotte has worked behind the scenes with Colonial Players for 25 plus years, most recently as assistant stage Manager for A Christmas Carol, crew for Spitfire Grill and props mistress for Cinderella Waltz. Many patrons may recognize her as one of the closing night ushers. On occasion, she branched out and worked with Dignity Players (Sordid Lives), Annapolis Summer Garden Theatre (Evita), and Chesapeake Arts Center (Amelia’s Journey). Charlotte thanks all the patrons who make the hard work worthwhile, her CP mentors, and especially all the dedicated, hard-working people who have put together this wonderful production of Trying.

Joe Thompson (Sound Designer) - Joe’s association with Colonial Players dates to 1969 when, as a high school student, he appeared as a chorus member in Carousel. During the intervening years, he has acted, directed, and worked on many CP shows. Earlier this season, he designed sound for Sunlight. During the 2011-2012 season, he appeared in The Diviners and directed Company. A soundtrack of original songs for Bowie Community Theatre’s production of Dearly Departed won him a WATCH award for sound design. For Children’s Theatre of Annapolis, he directed Beauty and the Beast, which was first runner up for best musical in the British Players Ruby Griffith Award competition. Colonial Players has produced three of his short plays as well as six years of Cabaret for Kids, a revue of Joe’s original songs, skits, and poems.

A Complicated Man

Francis Biddle was a man of contradictions (as are most of us, but Biddle’s were far more dramatic owing to his background and his prominence). He was born to an aristocratic Philadelphia family which traced its lineage to the early American colonists and moneyed landowners. Biddle was educated in Ivy League institutions such as Groton School and Harvard and worked almost 30 years as a lawyer in Philadelphia before leaving his lucrative practice to join the administration of President Franklin Roosevelt. He became an ardent proponent of New Deal policies that were enacted to address both the causes and consequences of the Great Depression. In his role as the first chairman of the National Labor Relations Board, he advocated for the unimpeded right of workers to organize labor unions. He was of the opinion that economic and social balance was in the best interest of the country. Perhaps he felt this on a deep personal level, possibly reflected in his statement that government service results:

In some deep sense of giving and sharing, far below any surface pleasure of work well done, but rooted in the relief of escaping the loneliness and boredom of oneself, and the unreality of personal ambition. The satisfaction derived from sinking individual effort into the community itself, the common goal and the common end. This is no escape from self; it is the realization of self.

Biddle went on to serve as a U.S. Appeals Court judge and U.S. solicitor general and was U.S. was attorney general from 1941 until Roosevelt’s death in 1945. Japan bombed Pearl Harbor during his his first year as attorney general, and there was an immediate panic, particularly on the West Coast. Fear of an imminent invasion caused otherwise reasonable people to call for drastic measures to prevent sabotage. The immediate concerns were enemy aliens as well as the thousands of native-born Americans of Japanese descent. To his credit, Judge Biddle strongly opposed the Army’s proposal to forcibly relocate Japanese American citizens to internment camps at interior locations in desolate areas of the western United States. He presented Roosevelt with cogent humanitarian and constitutional reasons for his opposition. When Roosevelt proposed to sign Executive Order 9066 that led to the Japanese internment, Biddle insisted that the president delegate all authority to the War Department, removing the Justice Department from any further involvement. Despite his principled opposition to this internment, Biddle later expressed profound regret over the entire affair.

When Harry Truman became president upon Roosevelt’s death, he brought in Tom Clark as his attorney general, a replacement about as far as was possible from the eastern establishment. Ever the stickler for proper etiquette, Biddle reacted sharply when a presidential secretary notified him of his involuntary “resignation.” He was mollified only when, upon hearing of this faux pas, Truman personally advised him that his services were no longer needed.

The change was not personal with Truman, and just a year later he appointed him as principal American judge at the Nuremburg War Crimes Trials. Judge Biddle and his associates convicted such infamous Nazi officials as Herman Goering, Albert Speer and Rudolph Hess. His service at the war crimes trials was a great source of satisfaction for Biddle, as can be seen in his conversations with Sarah, his secretary in the play. Of course, he often reverts to his snobbish patrician persona when demeaning Sarah’s Canadian prairie upbringing and lack of Ivy League credentials. Biddle likewise betrays a disdain for ordinary civil servants working in their offices, seeming to forget his earlier praise for public service. We are left to wonder just who the real Francis Biddle was – a patrician snob or a man of the people? Maybe he was a bit of both – a complicated man.

~Jim Robinson (Production Dramaturge)

Written by Donald Margulies
Directed by Ron Giddings
Performance dates:
January 11 - 26, 2013
Run time: 90 minutes

The adventurous Louis de Rougemont invites you to hear his amazing story of bravery, survival and celebrity that left 19th century Victorian England spellbound. With the help of two “volunteers,” who make all the costume changes and sound effects and play nearly 100 roles right before your eyes, the audacious autobiographer tells his incredible tale of life on the high seas, in the land of the aborigines and later when he returns home, what happens when he is attacked by scientists and skeptics who don’t believe his story can be true. Explore the elusive lines that waver between truth and good story telling in the setting of a Victorian vaudeville house and the mind of a quintessential spellbinder.

About the Author

Donald Margulies is a prize-winning author and college professor whose plays have been produced in New York and regional theaters across the country. He won the 2,000 Pulitzer Prize for Dinner With Friends, which received lengthy runs Off-Broadway and in Paris and was turned into an Emmy-nominated film for HBO. Sight Unseen and Collected Stories were Pulitzer finalists, and Mr. Margulies won Obie Awards for The Model Apartment and Sight Unseen.

Mr. Margulies was born in Brooklyn and grew up on Coney Island in Trump Village, a housing project built by Donald Trump’s father. His father was a wallpaper salesman and his mother an office worker. Neither had a college education, and the family had a limited income, but they often took their children to Manhattan to attend Broadway plays and musicals, instilling a love of theater in Mr. Margulies. He was an outstanding artist as a child and received a partial scholarship to the prestigious Pratt Institute in Brooklyn. He then pursued a degree in playwriting at the State University of New York and enjoyed his first success during the early 1980s when his play, Found a Peanut, was presented at Joseph Papp’s Public Theatre. He continued to write plays while working as a graphic artist, but his career did not begin to take off until Sight Unseen won an Obie and was a Pulitzer finalist.

Shipwrecked! is a definite departure for Mr. Margulies, whose plays are typically serious dramas based on complex and often difficult human relationships. In 2006, he was commissioned to write a children’s play for South Coast Repertory theater in California for children’s audiences, but his first attempt wasn’t working. “I decided that I wasn’t going to pander in any way and would simply write a rip-roaring yarn,” he said in an interview with broadway.com. “I wanted to write a play that would invite people who had never seen one into the theater and to give them a sense of the excitement I had when I was a kid at my first Broadway shows.”

Mr. Margulies has received grants from the National Endowment for the Arts, The New York Foundation for the Arts, and the John Simon Guggenheim Memorial Foundation. In 2005, he was honored by the American Academy of Arts and Letters with an Award in Literature and by the National Foundation for Jewish Culture with its Award in Literary Arts.

About the Director

Ron Giddings holds a BA from Loyola College of Maryland in Theatre and Writing and an MA in Arts Administration from Goucher College. In the Annapolis area, he has directed shows for Colonial Players (Wonder of the World, Moonlight and Magnolias, and their inaugural 24-Hour Project: Months on End), Annapolis Summer Garden Theatre (Crazy For You, Sweeney Todd, their 40th Anniversary Celebration, and Urinetown: The Musical, which was awarded the Ruby Griffith Award for Overall Production Excellence in 2007), and Standing O Productions (On the Twentieth Century, The Retreat from Moscow, Counting the Ways, and Mr. Marmalade). A former Artistic Director of CP and current Education Director, he recently directed Titanic: The Musical at Loyola College as part of a 100th-year anniversary observance of the ship’s sinking. He wishes to deeply thank the cast and crew of this production. They have been intensely dedicated to the show since day one, and only through their support could this show be a success. “Thanks to my parents, family, and friends for being more supportive than I could ever express.”

Director's Notes

The journey that ends tonight began two years ago while I was attending Lincoln Center’s presentation of War Horse. I was awestruck with the simplicity and imagination used in the production and purchased a DVD on the creative process in the lobby after the show. In the video, one of the designers spoke about a type of theater called “poor theater.” According to Jerzy Grotowski, the founder of “poor theatre,” post-cinema theater was too elaborate and relied heavily on theatrical devices such as light, sound, costume, and sets to add spectacle to the performance. The skills of the actors were overshadowed and became less important. With the addition of sound and color to motion pictures, it was impossible for theater to compete with this new genre. Grotowski argued that there was no point in trying to compete with film, but that theater should rather convert back to its roots. In his words: “If it cannot be richer than the cinema, then let it be poor.” The actor's voice and body skills should be the primary spectacle on stage. In his quest, Grotowski did away with everything that could distract the audience from the actor. No more elaborate sets, lights and sound. The relationship between the audience and the actor became, once more, the emphasis of the production.

For years, I had been drawn to this kind of theater, never knowing that it had a name. I realized that my favorite theatrical experiences, both as participant and as audience member, had this style in common: War Horse, Urinetown, Equus, Coram Boy, john & jen all use this storytelling style. I finally had a name for the theater that I have been drawn to for my entire life. This was theater that exposed the power of the art form.

Fueled by the knowledge of this new revelatory term, I scoured the internet for other theatrical examples and kept coming across Shipwrecked! While this show does use costumes and props and sets, they are there to inspire the acting, not distract from it. Many times this evening, actors will use a single prop (or just a change in posture) to transform themselves completely from one character to the next. So while this production is not strictly within Grotowski’s guidelines, his inspiration is obvious.

Another of Margulies’ inspirations was the James Frey/Oprah Winfrey scandal from 2006. If you don’t remember, Frey’s controversial “memoir,” A Million Little Pieces, was turned into an international bestseller based on Winfrey’s seal of approval. His harrowing battle with drug addiction and prison time was soul-stirring in its description of the author’s redemptive journey. As the book became more popular, details about the validity of its “memoir” claim came into question. After a series of interviews where Winfrey defended Frey, the two met head-to-head on her show. Frey claimed that he had deceived his readers and Winfrey herself by embellishing many of the facts of his journey. He struggled with the emotional truth of what he felt while going through his ordeal and the actual facts. Louis de Rougemont shared a similar fate. Shipwrecked! calls into question which is more valid, what one feels or what is fact. De Rougemont, born Henri Louis Grin, was eventually derided by his doubters, just as Frey was.

Storytelling as a method of communication is at its nature about embellishment and putting your own spin on the “original” story. For millennia, storytellers have been telling their versions of the same stories over and over again, with each story changing with every storyteller, if not with every telling. With Shipwrecked!, Margulies poses an unanswered question of whether de Rougemont, a real-life Don Quixote, is in fact deluded, or whether his tale (as hard as it may be to believe) is true.

Tonight, I believe you will experience the power that story and theater can have. With simplicity and humor, Shipwrecked! challenges audiences to examine truth vs. fiction, reality vs. fantasy, delusion vs. inspiration, all over the course of de Rougemont’s undeniably engaging “entertainment.” It all begins with an empty stage in half-light.

~Ron Giddings

The Cast

John Halmi (Louis de Rougemont) -- John is excited to return to Colonial Players, where he played the roles of Bobby in Company and Valmont in Les Liaisons Dangereuses. He has performed with Live Arts Maryland in Anything Goes (Evelyn), Don Giovanni (Masetto), The Fantasticks (The Actor), and Man of La Mancha (Knight of the Mirrors). Other local credits include The Last Five Years (Jamie, Dignity Players), Mr. Marmalade (Bradley, Standing O Productions), On the Twentieth Century (Oliver, Standing O Productions), and Sweeney Todd (Quartet, ASGT). John originated the lead role of Donald in the West End premiere of Casper, the Musical. Other British credits include The Golden Land at London’s Fortune Theatre and the UK tour of Spider-Man. In New York City, John has performed in several productions with City Center’s acclaimed Encores! Series, Ira Gershwin at 100 at Carnegie Hall, and AmFAR’s tribute to Angela Lansbury at the Majestic Theatre. His credits also include performances at several regional theaters, among them the Goodspeed Opera House and Pittsburgh Civic Light Opera. John is a proud graduate of The University of Michigan’s musical theater program. He teaches mathematics at Severna Park High School, where he also assists with the highly successful annual Rock ‘n Roll Revival. Special thanks to his family, friends, and, of course, to David.

Christina Enoch Kemmerer (Player #1) – Christina is excited to make her Colonial Players debut in Shipwrecked! Christina has performed in theaters around the Baltimore/Annapolis area and in New York, where she earned her MFA in Theatre from Sarah Lawrence College. She has trained in physical theater at the Stella Adler Studio and in improvisation at Boom Chicago in Amsterdam. Christina has been a performer and instructor for the Baltimore Improv Group since 2005 and is a proud member of the troupe GUS, with which she has performed at improv festivals in Chicago, Philadelphia, DC, and Baltimore. When scripted, Christina was most recently seen on stage with Standing O Productions (co-founder) in Mr. Marmalade as Lucy, On the Twentieth Century (Lily Garland), and the U.S. premiere of After the Dance (Helen). Other favorite roles include Little Sally in Urinetown (SLC), Claudius in Hamlet (The Shakespeare Naked), Kim MacAfee in Bye Bye Birdie (Liberty Showcase), Magenta in The Rocky Horror Picture Show (Spotlighters), and Vera Claythorne in And Then There Were None (Spotlighters) for which she was awarded “Outstanding Lead Actress in a Play” in the Best of Baltimore Community Theatre. Off stage, Christina spends her time teaching and directing as the Upper School Theatre Arts Director at the St. Paul’s Schools. She has had so much fun working with this amazing cast and crew. She thanks her dear friend Ron for the opportunity to “play” at every rehearsal. Christina sends her love and thanks to all of her family and friends for their continued love and support. She dedicates this performance to her husband, Eli, for always encouraging her in each adventure she undertakes.

Robert Tucker (Player #2) -- Robert is pleased to be visiting Annapolis from parts up north to make his Colonial Players debut in Shipwrecked! He is even more excited to be returning to the non-musical stage for the first time in five years, and even more than more excited to be directed by a good friend. Robert holds a BFA in Music Theatre and a Masters in General (Arts) Education from The State University of New York at Buffalo. Robert has performed in regional theaters in Upstate New York and community theaters in Central Maryland. Among his favorite roles are The Courier in 1776 and Che Guevara in Evita, both at (Capitol Theater Summerstage) , and Hero in A Funny Thing Happened on the Way to the Forum (UB Department of Theater and Dance). He has also originated the roles of Philopat in Hidden Trials (UB Department of Media Studies), and Leonardo in the Lauren Gunderson play Eye of the Beheld (The New Phoenix Theater). Locally, Robert has been seen as Freddie in Chess (Winters Lane), Fabrizio in Light in the Piazza (Theater Hopkins), Bill in Civil War (Tidewater), and Robert in The Drowsy Chaperone and Fred Barrett in Titanic: The Musical, both at Dundalk Community Theatre. Robert works as an instructor attempting to bring authentic arts experiences to the youth of Harford County. He also has a great love for physical theater. Finally, although he hasn't seen much of her in the myriad rehearsal periods leading up to and including this one, he dearly loves his wife, Amy, for all of her support and encouragement/tolerance.

The Production Staff

Jacki Dixon (Assistant Director) -- Jacki is thrilled to be returning to Colonial Players after a brief hiatus. Her past Colonial Players credits include stage manager for Wonder of the World and Frozen. She also directed The Wrong Package for CP's One-Act Festival. Jacki has been the director for Spalding Theatre Productions at Archbishop Spalding High School for the last three years. She would like to send a HUGE thank you to Ron for all his hard work and dedication to this show - it could not have fallen into more loving and capable hands! She would like to congratulate the cast on a job well done and will forever be envious of their creativity and energy! Enjoy the show!

JoAnn Gidos (Producer/ Properties Designer) -- JoAnn is happy to once again be working with Ron at Colonial Players. “This one is crazy, with props that have Mike and me saying, ‘What are we doing?’ Our family thinks we have lost our minds when we tell them what we are looking for. ‘For the Love of It’ is the answer. New people to meet, friends who help, and new knowledge from a place we never heard of --- worth it all. Thanks go to a husband who can work a computer and do many errands and to Ron for the faith that I will get the job done.”

Alec Lawson (Lighting Designer) -- Alec is a lighting designer/director mostly based in Baltimore. He is happy to be working with Ron Giddings again after the great team they made during Titanic: The Musical. Other lighting design work includes Lysistrata,Stop Kiss, and 1814: The Rock Opera. Alec wishes the cast and crew the best of luck and commends them all for the hard work they have put into the show. For more information on Alec's work or his company, 7 Ronin, check out 7roninproductions.org.

Staci Merhi (Stage Manager) -- Shipwrecked! is Staci’s first experience working with Colonial Players. When contacted about stage managing for Shipwrecked!, she recalls, “ I was elated!” Originally from the Jersey Shore, she recalls stories of her ancestors who operated a puppet playhouse. For a short time, she too entertained with puppets for a Head Start program. In 2004, Staci was a member of Typhoons, an improv group. Her desire to entertain became blotted out as she focused on a career in advertising. This show has rejuvenated her sense of belonging to a theatrical community. “Words cannot express my delight in seeing your smiling faces, enjoying the show!” She’s very grateful Ron brought her on board and is impressed with the dedication of everyone within Colonial Players. Eleanor Roosevelt said, “We must do that which we think we cannot.” “Three actors. .. nearly 100 roles … using over 100 props! …. We did it!” Staci dedicates her efforts to her beloved brother, Aaron, who passed suddenly this year.

Stranger than fiction? Stranger to facts?

As the nineteenth century came to a close, Victorian England was transfixed by the exploits of Louis de Rougemont. From August 1898 to May 1899, The Wide World magazine serialized his stories for readers who awaited each issue, eager to follow his astounding tales of being shipwrecked by a giant whirlpool; of living for 30 years with Australian Aboriginals, who worshiped him as a god; of diving for pearls and discovering gold in New Guinea; of riding on the back of a huge turtle; of seeing flying wombats. De Rougemont’s stories were cleverly written and widely taken as truth. His acclaim was such that he was invited to deliver a lecture in September 1898 to the geography and anthropology sections of the British Association for the Advancement of Science.

But as his fame spread, skeptics began to question his remarkable stories, and the debate raged across England. Were his stories true, or had they sprung from his imagination? Had he, perhaps, embellished the truth? Had he perpetrated a giant hoax? For months, supporters wrote letters to newspapers defending his honesty; critics wrote letters denouncing him as a fraud. For his part, de Rougemont fiercely defended the veracity of his accounts, even when London’s The Daily Chronicle delved into his background and claimed that his real name was Henri Grin. He responded with a letter written under his real name denying that he was de Rougemont and expressing consternation that anyone would think that to be the case. The Wide World capitalized on the furor by publishing a double Christmas edition about de Rougemont’s adventures. The public was entranced. Sales of the magazine and the newspaper soared.

Regardless of the truth of his exploits as de Rougemont, Grin’s earlier life was anything but ordinary. In 1863, at age 16, he left home and became a footman to actress Fanny Kemble, traveling extensively with her and becoming fluent in English. De Rougemnt was a valet in England and a servant to a Swiss banker before becoming a butler for Sir William Robinson, the governor of Western Australia. That job lasted just five months; Lady Robinson found him to be insolent and ambitious.

Grin tried various jobs after that without much success, working as a doctor, an inventor, and a “spirit photographer” taking pictures of ghosts. He married and had seven children with his wife, Eliza, before buying and sailing away in a pearling cutter, Ada. The cutter was found wrecked months later, and when Grin surfaced in Sidney, he claimed to have sailed 3,000 miles from Fremantle and to have been the sole survivor of an attack by Aboriginals. He never returned to his family. He next showed up in New Zealand as a spiritualist, and from there worked his way back to England, where a meeting with Sir J. Henniker Heaton resulted in an appointment with the editor of The Wide World Magazine, George Newnes.

Newnes and de Rougemont were the perfect match. The new magazine had pledged to publish true adventure stories from around the globe, bringing to readers “the almost incredible wonders of the Wide World.” De Rougemont’s story rang true to Newnes. "We have absolutely satisfied ourselves as to M. de Rougemont's accuracy in every minute particular,” Newnes wrote in an introduction to the first installment. Later, as it became clear that every minute particular was not accurate, Newnes broke his vow to publish only true stories and continued the serialization as fiction, noting wryly: “Truth is stranger than fiction, but de Rougemont is stranger than both.”

Play and lyrics by Richard Wade
Music by Dick Gessner
Performance dates:
December 6–16, 2012
Run time: 90 minutes

Colonial Players is pleased to present our traditional holiday show, A Christmas Carol. Warm your heart to the music, characters, and story of Scrooge’s redemption through the visits of the Ghosts of his Christmases Past, Present, and Future. Travel with him through time and the streets of the London of 170 years ago to discover the true meaning of Christmas and rekindle your holiday spirit.

About the Author

Richard Wade has written the book and lyrics for at least a dozen musicals, including A Christmas Carol, which was first produced by The Colonial Players in 1981. He has directed many shows in summer stock, community college, dinner theater, and at Colonial Players, including The Music Man; Inherit the Wind; Hello, Dolly!; Our Town; She Loves Me; The Dresser; Amadeus; Driving Miss Daisy; Private Lives; and A Christmas Carol. He lives in Arnold.

About the Composer

Richard Gessner collaborated with Richard Wade to write the music for A Christmas Carol and also wrote music for Wade’s adaptations of children’s musicals Pinocchio, Puss ‘n Boots, Rumpelstiltskin, and Treasure Island. A popular entertainer in the Annapolis area for many years, Gessner is now retired and living in Florida. He served as musical director for many productions in Maryland, including Carnival, Fiddler on the Roof, and My Fair Lady at Annapolis Summer Garden Theatre and Little Mary Sunshine; The Apple Tree; You’re a Good Man, Charlie Brown; The Contrast; and Carnival at Colonial Players.

About the Director

Jill Sharpe Compton has worked on and off stage for over 50 years since her first role in grade school as one of the “three little kittens who lost their mittens.” Jill met her husband, Roger, during the first A Christmas Carol production at Colonial Players in 1981. They went on to participate in A Christmas Carol for 15 years before moving to New York for 13 years. While in New York, Jill studied musical theater at the Manhattan School of Music, performed in local theater, regional theater, two national tours, and directed the first two musicals at Webb Institute (the elite college of naval architecture). After returning to Maryland, Jill returned to Colonial Players as Hannah in The Spitfire Grill and more recently performed as one of “the Divas” in Jerry’s Girls in Rehoboth, DE and Annapolis Summer Garden Theatre. In real life, Jill has been a physical therapist for many years. She is pleased to be back at Colonial Players and working with her favorite leading man and music director. “Many thanks to the production staff, dance captain, pianist, cast, and many helpers too numerous to mention. All your assistance and hard work are greatly appreciated. God bless you everyone!!”

About the Music Director

After 13 years without a “Hilli-Ho Chirrup” while serving as academic dean of one of America’s best kept college secrets, Webb Institute of Naval Architecture in Glen Cove, NY, Roger Compton (or Bob Cratchit, as he was known for 15 years) is delighted to be back home in Maryland and to be involved again with A Christmas Carol. While in New York, he returned to his primary musical interest (i.e., the musical in musical theater) by founding the Webb Family Singers – a mixed chorus of students and staff, numbering as many as 30 singers (from a total student body of about 80) – and directing the musical aspects of two shows directed by Jill Compton. Do you detect a pattern with this production of A Christmas Carol? Roger sings with the Annapolis Chorale and, with Jill, has founded a community chorus in Prospect Bay, where they reside and enjoy boating on the Bay and golfing.

Director's Notes

2012 is not only the 200th anniversary of the war of 1812, but also the 200th anniversary of the birth of Charles Dickens. Dickens, well known through his writings as an opponent of the social injustices so prevalent in Victorian times, was also a proponent of Christmas. He completed A Christmas Carol in just six weeks, his first complete novel not written in installments, and he helped create many of the Christmas traditions we still celebrate today. Dickens enjoyed hosting holiday revelries that friends and family looked forward to with great anticipation. Like looking forward to unpacking a favorite Christmas ornament every year, we have looked forward with great anticipation to returning to Colonial Players and helping to unwrap A Christmas Carol again.

As Dickens, himself, said:

“I have endeavored in this ghostly little book to raise the ghost of an Idea which shall not put my readers out of humour with themselves, with each other, with the season, or with me. May it haunt their house pleasantly, and no one wish to lay it.

Their faithful Friend and Servant,

C.D.”

The Cast

Ted Dietz (Shopkeeper Brown/Lamplighter) -- Ted is the original drummer for A Christmas Carol and played the show for the first 12 years. You will hear him on the recorded music used for the show this year. He was on stage for two years as one of the Gentleman and is Shopkeeper Brown for this production. In addition to A Christmas Carol, Ted played drums for Tricks, 70 Girls 70, and Fiorello to name a few, was on stage in The Night Thoreau Spent in Jail, and was stage manager for On Golden Pond. When not performing with Colonial Players, Ted sings with the Annapolis Opera Chorus, drums for the Federal City Brass Band, and is a Cantor at St. John The Evangelist Catholic Church in Severna Park. Ted is happy to be with us again as he says, “It just isn’t Christmas without A Christmas Carol at Colonial Players.”

Doug Dillner (Mr. Fezziwig) -- Dr. D. is, once again, pleased to be cast in this fine play. In the past he has played the parts of Scrooge, Marley’s Ghost, and the Undertaker’s Man (as well as some other smaller parts). Being retired from teaching chemistry at the Naval Academy has afforded him more time to be involved in Carol, and he is honored to be cast. He has much to thank his wife for in all the support she gives in his time away from the family for this work. He also wants to thank Jesus Christ for his gifts that he can share with you this evening, for without those gifts (that he says he does not deserve) he could not be with you here. “God bless all of you, and, in closing, as Tiny Tim reminds us, ‘God bless us, every one!’”

Andrea L. Elward (Laundress) -- Drea is a local instructor, entertainer, performer, and recording artist. Active in the local theater community for over 30 years, she has appeared in the Ruby Griffith Award winning productions of Enter the Guardsman with The Colonial Players and Mame with 2nd Star Productions. Other performance credits include featured roles in Jekyll & Hyde, Assassins, Anything Goes, Annie, Me and My Girl, A Funny Thing Happened on the Way to the Forum, Chicago, and A Chorus Line. As a workshop instructor, director, and choreographer, she has enjoyed bringing shows like The Wiz; You're A Good Man, Charlie Brown; Snow White and The Seven Dwarfs; Godspell JR.; and Honk! JR. into the lives of young actors in and around the Annapolis area. In addition to performing on the community theater stage, Drea can be found singing with the best rocked up R&B blue-eyed soul band, “JoyRide.”

Patti Grieb-Poling (Ghost of Christmas Past) -- Patti is happy to once again be part of CP's A Christmas Carol. This is her 12th time appearing in the show, beginning in 1995 as Fred’s wife. Over the years she has played multiple characters including Mrs. Fezziwig, Laundress, Charwoman, Party Guest, Caroler, and the Ghost of Christmas Past. Other recent performances have been with Riverside Theatre in A Christmas Carol, the Musical as Mrs. Fezziwig, Narrator, Solicitor, and Fred’s wife. Patti has also enjoyed performing in several murder mysteries, the last with BCT in the fall of 2011. While acting is a definite lifelong love for her, Patti's main loves are her hubby, Steven, her four fantastic kids, and her grandchildren. Family and her full time job as a dental office manager ensure that she never has a dull moment. She wants to thank everyone in cast and crew for making this such a warm, memorable experience.

Duncan Hood (Scrooge) -- Merry Christmas to you all! This show has a long and venerable tradition, and Duncan is honored to be part of it this year. He thanks Judi, Rick, Jill, Roger, and all of the team for taking a chance and letting him join in this wonderful tradition. Duncan recently appeared in the 2011 Clint Eastwood film J Edgar as the radio announcer. Over the past 20 years, he has performed roles as Emcee in Cabaret, Flint in Something’s Afoot, The Man in 52 Pickup, The Playwright in Enter the Guardsman, Van Sweiten in Amadeus, Jethro Crouch in Sly Fox, Michael in Dancing at Lughnasa, The Narrator in Blood Brothers, Inspector Rough in Angel Street, Hysterium twice and Pseudolus once in three productions of A Funny Thing Happened on the Way to the Forum, Major General in two productions of Pirates of Penzance, Pap in Big River, Porter and Ross in Macbeth, and Dr Kalmar in Studio Theatre’s production of A New Brain. Voiceover credits include national and regional commercials as well as book and industrial projects. Video game credits include three characters in Star Trek, Next Generation; and five characters in Fallout 3 by Bethesda Softworks. Duncan has been an international sailing instructor trainer for the American Sailing Association for 28 years and holds a USCG Master’s license.

Eric Hufford (Fred/Young Scrooge) -- Eric is excited to once again be a part of a Colonial Players production! He was involved in theater during high school up through his freshman year of college, where he played Tom in Schoolhouse Rock Live! He reconnected with his love for theater last summer as Pharaoh in Drama Learning Center’s Joseph and the Amazing Technicolor Dreamcoat. Recent theater credits include Daniel Beauxhomme in Red Branch Theatre’s Once on This Island, Sheriff Joe Sutter in Colonial Players’ Spitfire Grill, and Richard Henry Lee in Pasadena Theatre Company’s 1776. "I'd like to give a big thank you to all of my friends who continually come out and support all of my performances. It means a lot to me. Enjoy the show!"

Ethan Goldberg (Undertakers’s Man, Dick Wilkins, Mistletoe Man) -- Ethan lives the American dream as a student who serves by day and acts by night. He is thrilled to be back at CP for his fourth show. He previously appeared at CP as the wacky busboy guy in She Loves Me, as Mr. Wollcott in The Christmas Doll, and as Jan Warwick In last year’s The Unexpected Guest. Ethan has performed elsewhere in Something’s Afoot at 2nd Star, Anything Goes at ASGT, Rent at Laurel Playhouse, and Urinetown at AACC. To avoid leaving anyone out, Ethan would like to thank everyone at CP for always allowing him to come back and do what he loves. He also wants to take this time to give a special shout out to Sam, Stuart, and Brooke for always being there for him. "Love you guys." Ethan hopes you enjoy the show and wishes everybody a Merry Christmas, but most importantly a Happy Chanukah.

Clifford Jamieson (Young Scrooge/Turkey Boy) Clifford is a 7th grader at Severna Park Middle School. This is his first production with The Colonial Players. Clifford performed in the Children’s Theatre of Annapolis (CTA) productions of Willy Wonka and Alice in Wonderland. He thanks his “Stage Dad” for dragging him to his first audition. He also thanks mother Sarah Jamieson (ensemble in this show) for making everyday life at home a performance. “Walk-er!”

Sarah Jamieson (Fred’s Party Guest/Aunt) -- Sarah is excited to be in her first stage role ever. She is a rehab physician at Anne Arundel Medical Center and has a private practice in Severna Park. Sarah is the mother of two boys, Marston (15) and Clifford (13, Turkey Boy). Sarah enjoys swimming, gardening, and oil painting, and is an avid reader.

Betty Lasner (Mrs. Fezziwig) -- Christmas has always been Betty’s favorite holiday. Being able to help bring A Christmas Carol to life with Colonial Players is a bonus. Betty is delighted to be able to Hilli-Ho with Mr. Fezz again this year. From Aunt Eller in Oklahoma to Diana in California Suite, Felicia in I Hate Hamlet, etc., etc., it has been a blast. Betty has been an RN for over 40 years and is now helping people improve their lives through hypnosis. “Many thanks to everyone, cast and crew, for sharing this time. Merry Christmas!”

Chris Leabhart (Bob Cratchit) -- Chris is thrilled to be doing his second show on the Colonial Players stage. He loves A Christmas Carol and is honored to be playing the same role Kermit the Frog played 18 years ago. He plans to move to Chicago this year to study theater at the Second City, with an end goal of working on Sesame Street. He would like to dedicate this show to his mother because there is NO cussing in it. “Thank you all for joining us on this Haunting Christmas Adventure! Enjoy, God Bless, and Happy Christmas to all!”

Holly Miller (Fanny) --Although this is Holly's first time on stage, technically she was in this show eight years ago in her mommy's tummy! She is having so much fun and hopes this will be the first of many shows for her. In her spare time, she enjoys playing Angry Birds, watching movies, and doing her math homework. She would like to say an extra big thank you to Nana for coming all the way from England to see her first show.

Kaelynn Miller (Belle/Fred's Wife) -- Kaelynn is delighted to be back on the CP stage in such a merry show about her favorite holiday! Previous on stage credits include Moonlight and Magnolias (Miss Poppenghul) and Little Women (Meg), with behind-the-scenes credits on too many shows to name. At CP, Kaelynn serves as Treasurer and Membership Chair. She pays her bills by working as a customer service representative in the music industry, which sort of actually relates to her degree in Music and Vocal Performance. Kaelynn wishes a Christmas season full of hot cocoa and hippopotamuses to all the people who make her smile on a daily basis.

Lesley Miller (Mrs. Cratchit) -- Lesley played Mrs. Cratchit from 2002 to 2005 and is so excited to be back in the role after a seven-year absence. In the 2004 production, she was six months pregnant with her daughter Holly, who is sharing the stage with her this year! Much love to the cast and crew.”I had forgotten how much fun this is!” Big hugs to her hubby Jeffrey, her younger daughter Emma (maybe you can join us next time!), and to her biggest fan - Mum. “Thank you for coming all this way to see us. Bless us all!”

Shirley Panek (Fundraiser) -- Shirley is pleased to be part of such a long-standing Colonial Players tradition. While this is her first turn in A Christmas Carol, she has lent her alto voice to two other CP musicals -- Little Women (Mrs. Kirk/Ensemble), and Is There Life After High School? Audiences may also remember her from other CP shows including The Unexpected Guest (Laura Warwick), Miss Framer (Lettice and Lovage), Sybl Chase (Private Lives), and Kaye (Dog Logic). She'd like to thank both Jill and Roger for a lovely experience and the rest of the talented cast for such fun during rehearsals. Love to Drew, Emma, and Jeff.

Ashley Rolf (Belinda Cratchit) -- Ashley is an 8th grader at Severna Park Middle School. She is delighted to join the cast of A Christmas Carol in her first Colonial Players production. Some of her favorite roles in past shows include Jojo (Seussical/Spartan Lyrical Society) and Oliver (Oliver Twist/Shipley’s Choice Elementary). Ashley is a former chorister for the Peabody Children’s Chorus and currently sings in the Pop Choir at Severna Park Middle. When not performing, she enjoys field hockey, swimming, riding roller coasters, and shopping with friends. Ashley sends special thanks to her voice teacher Deborah Brown for encouraging her to audition for this production. She also thanks her family and friends for their love and support!

Marisa Roper (Martha Cratchit) -- Music isn't really something that Marisa does. It's become more of a lifestyle for her now! She has been involved in theater since fourth grade. Her first role was the Queen of Hearts in her school's production of Alice in Wonderland. She participated in National Youth Choir three years in row. “I would like to thank my wonderful voice teacher Mrs. Brown; my choral conductors, Mrs. Bennet and Mr. Campbell; Mr. Whewell, who taught me everything I know about acting; the wonderful directors here at Colonial Players; and, most of all, my family for being so supportive of me throughout my musical career.

Andrew "Drew" Sharpe (Tiny Tim) - An active 4th grader at Rolling Knolls Elementary, Drew is very excited to be playing in his 2nd production of A Christmas Carol with Colonial Players. Drew first appeared as Boy Ebenezer in the 2010 production. Besides acting, he also enjoys singing. He was selected to sing the youth solo in Mendelssohn's Elijah with The Annapolis Summer Choral Festival this past summer. Drew is a treble singer with the All Children's Chorus of Annapolis and also sings with choirs at church and school. He also plays the piano and the violin. Some of his favorite music groups include: The Beatles, Coldplay, Styx, and Journey. Outside of the arts, he's a normal, active 10-year-old who likes Batman and Legos. He attributes his musical abilities to his family and music teachers. Thanks to the directors for believing in him to play this role! Bless Us....everyone!

Daniel Starnes (Peter Cratchit) - Daniel is a 9th grade honor roll student at Southern High School ,where he most enjoys chorus and history. Over the years Daniel has participated in all-county and all-state choruses. He has appeared in various community theater productions. Some of his favorite roles have been in Aladdin JR. (Aladdin), The Wizard of Oz (Scarecrow), Annie (Rooster), and The Annapolis Chorale’s Sound of Music (Friedrich). Daniel is thrilled to be in his fifth year with the Colonial Players' Christmas productions. Having played Tim, Turkey Boy, Ghost of Christmas Past, and now Peter, Daniel has set a goal to play every speaking male role in his favorite adaptation of A Christmas Carol. Daniel would like to thank this year's directors Jill and Roger Compton, the cast and crew, his voice teacher Marlene Billars, teachers, friends, and family for supporting his desire to perform.

Fred Taylor (Marley/Ghost of Christmas Yet-To-Come) -- Fred is excited to return to the Colonial Players stage, where he has appeared in A Christmas Carol and several other CP productions over the years. He has also performed with Pasadena Theatre Company and St. Mark's Dinner Theater. He failed retirement in 1996 and currently works as "the voice" of UMBC basketball and is a tour guide for Watermark. He is the Official Town Crier for Annapolis and will represent the "City of Anne" in the World Invitational Town Crier Championship in Ontario, Canada in August 2013. He dedicates his performance to all young and young at heart, especially his grandchildren whom he loves endlessly. “To my entire support team from Catonsville to Durham, N.C., and everywhere in between, I Love You ALL. Lastly, to the entire A Christmas Carol production team, backstage crew, and terrific cast, a gazillion thank yous. God Bless Everyone! Merry Christmas!”

Vince van Joolen (Fundraiser/Fred’s Party Guest) -- Vince is making his fifth appearance in A Christmas Carol. Previous roles included the Ghost of Christmas Present, Mr Fezziwig, and the Undertaker’s Man. He has also appeared on the Colonial Theater Stage in The Battle of Shallowford, Death of a Salesman, Jekyll and Hyde, and Company. He sings baritone with the Annapolis Opera Chorus and will appear in Rigoletto in March. He wishes all a "Gelukkig kerstfeest".

Sarah Wade (Charwoman) -- Sarah was most recently seen on the Colonial Players stage in the one-act festival as Ionesco in The Shepherd's Chameleon and Girl in Starcrossed. This summer, she played Bet and Widow Sowerberry in Oliver! at the Compass Rose Studio Theater, as well as sound designing their productions of The Miracle Worker and To Kill a Mockingbird. Her previous roles in A Christmas Carol include Turkey Boy, Martha, and Belle. She would like to thank her friends and family for putting up with the phrase "I can’t, I have rehearsal" all the time. “All my love!”

Ed Wintermute (The Ghost of Christmas Present) -- Ed appeared as the Ghost of Christmas Present in the original production of A Christmas Carol at Colonial Players in 1981 and continued to perform in that show each year except 2007, usually in his original role. He has also appeared as Scrooge, Gentlemen #1 and #2, the Undertaker’s Man, and Mr. Fezziwig. His most recent role at CP was Mr. Laurence in Little Women. CP audiences have also seen him in The Philadelphia Story, Of Mice and Men, Hogan's Goat, Fiorello!, and Macbeth. He regularly performs and sings in productions and concerts in the local theater and music community.

The Production Staff

Lois Banscher (Assistant to the Directors) -- With A Christmas Carol, Lois is undertaking something new as assistant to Director Jill Compton and Musical Director Roger Compton. Now in her third season at Colonial Players, she has previously worked on collecting props for eight CP shows. Lois has filled the stage with authentic props secured from as nearby as the CP prop room and as far away as England. Many thank yous to everyone who has helped along this journey. And, that's no "Walk-er!"

Julie Bays (Costume Designer) -- Julie has enjoyed Colonial Players since she was a child growing up in Annapolis. It has always been a great experience working on shows at CP. Her favorite shows she costumed for CP were Fences, I Hate Hamlet, A Funny Thing Happened on the Way to the Forum, and Little Women. She has costumed many shows at Children’s Theatre of Annapolis and most recently costumed Oliver and To Kill a Mockingbird at Compass Rose Studio Theater. She is thankful for her supportive family.

Wes Bedsworth (Sound Designer) -- Wes has been involved with more than 30 different productions at Colonial Players since he joined CP in 2007. He won the 2010 WATCH award for outstanding sound design for Earth and Sky and has been nominated for best sound design for Hauptmann, Kindertransport, and The Diviners. Wes serves as Operations Director on the CP Board, Technical Director on the Production Team, and as one of the CP Webmasters. He works as a senior systems engineer in Washington, D.C, and also sings in two choirs at his church. Wes would like to thank his parents, sister Susan, and girlfriend Kaelynn for their love and support.

Peter N. Crews (Choreographer) -- Peter has been an active part of the Maryland/Virginia theater community for more than 30 years. He began his training and performing with Children’s Theatre of Annapolis (CTA), earned a BA in Dramatic Arts from St. Mary’s College of Maryland, and has since performed, instructed, and choreographed primarily on the East Coast for both professional and community theater companies. Peter performed on stage at CP in The Sunshine Boys, Closer Than Ever, and Is There Life after High School?. Other choreography credits: Marvelous Wonderettes, Anything Goes, Forever Plaid, Cinderella, Calamity Jane, Wizard of Oz, Bugsy Malone JR., and The Mystery of Edwin Drood. Peter thanks Vince, family, and friends, both far and near, for your unending support. Enjoy!

Harvey Hack (Lighting Designer) -- Harvey has been running and designing lights since 1973, primarily at Colonial Players. His recent lighting credits have included A Christmas Carol (twice), Dearly Departed, Romantic Comedy, The Tale of the Allergist’s Wife, Moon Over Buffalo, The Violet Hour, Over My Dead Body, Two Rooms, Private Lives, Mrs. California, Company, Spitfire Grill, and Going to St. Ives. He has served several times as CP’s Lighting Consultant. Harvey appeared on stage once as a Gentleman in A Christmas Carol. An Arnold resident, he works as a metallurgist doing corrosion engineering for Northrop Grumman Corporation in Annapolis.

JoAnn Gidos (Properties Designer) -- Another year with A Christmas Carol and another delightful experience with this wonderful production. “From the time my grandgirls were participating to the current effort, it's always been so much fun to work with new and old friends as we enter the holiday season. MERRY CHRISTMAS.

Andy McLendon (Stage Manager) -- Andy has worn the stage manager hat for numerous productions at Colonial Players. She is really excited to have the opportunity to work with Jill and Roger Compton for their first directorial venture upon returning to Annapolis. Many thanks to the staff and cast for making A Christmas Carol such a wonderful start to the holidays.

Judi Wobensmith (Producer) -- Judi has been involved in more than 150 productions in the Annapolis/DC area over the last 40 plus years both on and off the stage. She has produced shows at Colonial Players, Annapolis Summer Garden Theatre, and Petrucci’s to name a few. Previous directing credits include: A Christmas Carol (four times at CP), The Music Man, Gigi, The King and I, Carnival, Marriages, Something’s Afoot (at Colonial Players and 2nd Star Productions),The Sunshine Boys, and Mrs. California among others. She has served three terms on the Board of Directors at CP, Annapolis Summer Garden Theatre, and Children’s Theatre of Annapolis and has appeared in various TV commercials and documentaries. Judi spends her spare time working at the House of Delegates in Annapolis. She would like to thank the production staff of A Christmas Carol for performing above and beyond and for their tremendous support!

About the Preshow Music

Mannheim Steamroller creates and performs unique, tasteful, yet very contemporary arrangements of well-known Christmas carols that have been important parts of our Holiday celebrations since Dickens’ time. The lyrics for “Deck the Halls” were written during the initial wave of popularity of “A Christmas Carol.” “Angels We Have Heard on High” was first published in a collection of French carols in 1855. The text of “Joy to the World” was set to a currently known tune in 1839. “God Rest Ye Merry Gentlemen” was explicitly used by Dickens in A Christmas Carol when Scrooge hears it sung jauntily in the street outside of his office and threatens to hit the singer with a ruler if he does not cease immediately. “O Little Town of Bethlehem” was composed in 1868. “Silent Night” was written and first performed on Christmas Eve in 1818. As you enter the theater, please let this music sweep over you and let your 21st Century stress and fast-paced, multi-tasking life “chill.” Return with us to mid-19th Century England.

Written by Sharr White
Directed by Terry Averill
Performance dates:
Oct 26 - Nov 17
Run time: 2.25 hours

Matthew Gibbon, liberal lion and university president, may have finally gone too far in his battle against the politically conservative Dean of the law school - his son-in-law and former protégé Vincent. In a frustrated culmination of a steady program of undermining Vincent’s position at the school, Matthew has vandalized his office and records. Caught between them, Matthew’s daughter Charlotte is desperately trying to protect her father and negotiate a solution against a Board of Regents and faculty up in arms because of his actions. As the play progresses, the differences between the two men become as apparent as America before 9/11 and after. This family drama explores change and the abuse of power within a tight circle of people who, despite loving each other, are rocked by the convictions of their hearts.

To download the production postcard for Sunlight to share with your friends, visit the Downloads page of our website.

About the Playwright

Sharr White is one of the most accomplished authors currently writing for American theater. He won the 2009 Skye Cooper New American Play Prize for Sunlight and a New York Foundation for the Arts Fellowship for Six Years. He will have his Broadway debut when The Other Place opens in January at the Samuel J. Friedman Theater. The Other Place is a recipient of the 2010 Playwrights First Award and the 2011 Blanche and Irving Laurie Foundation’s Theatre Visions Fund Award. An earlier off-Broadway production of The Other Place was an Outer Critics Circle Award nominee for Outstanding New Off-Broadway Play. White’s plays have been produced across the United States and in Europe, including Nationaltheater Mannheim in Germany.

About the Director

Terry Averill got his start as a director for Colonial Players during the 2002 One-Act Play Festival. Since then, he has directed Romantic Comedy, Kindertransport, and the 2010 musical, I Love You, You’re Perfect, Now Change He has appeared on stage at CP in Two Rooms and Earth and Sky. Terry has also designed lights for Colonial Players and won a lighting award for Earth and Sky in the Washington Area Theatre Community Honors competition. Most recently, he acted in a number of productions at Bowie Community Theatre and directed their productions of Language of Angels and Love, Sex and the IRS. Terry is an architect and is in his second term as president of Colonial Players.

Director's Notes

What is it about Sunlight that drew me to direct it? Well, it’s Sharr White’s characters. They are people I know and love. They are members of my family. They are my friends. If I’m honest with myself, they are also part of me. At times they can be narcissists, petty and self-serving. But they are also impassioned, loving, intelligent, and caring individuals Their personal and ethical struggles in the aftermath of September 11 are mine and I believe yours, too.

I love a good debate as much or more than anybody. I’m from a family of eight, and everyone must have their say. Well, in Sunlight, though there is a lot of debate and a lot of posturing as in any family debate, there are real life consequences. We are not merely playing the “who’s got the ticking bomb” game. We are not in a lecture hall, though Vincent would like to draw the comparison as the dean of the law school. No. Real people have died as a result of the attacks on September 11 and as a result of policies enacted by our government following these attacks. What real justification is there for such killing? For torture?

I hope today’s production prompts you to ask yourself about some of the questions America has debated following September 11. Was war in Iraq necessary? How about torture? Is the suffering and inhumanity resulting from war -- whether the war on terror, the two world wars, the Civil War, or any other war morally repugnant to you? Of necessity, innocents die. What justifies war? Revenge? Moral superiority? Personal loss?

Ostensibly, Sunlight is a philosophical and moral debate. But more importantly, it is a personal journey of reconciliation. It is about honesty and acceptance of the many things about those we love that we cannot ever really understand. It reflects the sacrifice of our self or, at the very least, a setting aside of deeply held beliefs when they undermine the love and commitment to family member or close friends.

But honesty is painful for a family or for a country. After September 11, after the loss of a child, after the loss of our innocence, our youthful idealism about ourselves and about America, “How will (we) live again,” as Charlotte asks? Somehow we will endure, we will piece together the remnants of ourselves that the war on terror shattered. That is what we must do. “Sunlight is the best disinfectant,” and with that we can rebuild.

After the show today, I hope you will go home and discuss the intricacies of the play, Share your insights with your family and friends. And with me. Feel free to email me about reactions, your thoughts. What do you believe? Let me know.

~Terry
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The Cast

Millie Ferrara (Maryanne) -- Twenty-one years ago Millie appeared in Colonial Players’ production of The Autumn Garden. Four years ago she appeared in Colonial Players’ highly regarded production of Rabbit Hole. Working with talented casts, crews, and directors made both experiences memorable and enjoyable. Millie is grateful to be working again with a dedicated and talented director and cast. Some of her favorite past roles include Eleanore in The Lion in Winter, Mrs. Erlynne in Lady Windemere’s Fan, Dolly Levi in The Matchmaker, Dr. Livingston in Agnes of God, and Fanny Church in Painting Churches. Millie has been nominated for WATCH awards for her role as Fanny in Painting Churches and Nat in Rabbit Hole. Her most recent roles were in Harvey and Deathtrap. Millie is a retired Prince George’s County teacher, a mother of two, and a grandmother of five. Now if only they lived nearby!

Chelsea Langley-Kolbe (Charlotte) -- Chelsea is a newcomer to Annapolis and is making her Colonial Players debut in Sunlight. She began acting at a very young age, appearing as the Wicked Witch of the West in The Wizard of Oz when she was just 5 years old. When she was 19, she moved to Los Angeles, where she attended The New York Film Academy at Universal Studios, studying Meisner, Acting for Film, Comedy and Improvisation, Textual Analysis, Movement, Voice, and Film Craft. She created numerous short films with fellow students and portrayed Harper Pitt in scenes from Angels in America at The Victory Theater in North Hollywood, CA. “I am thrilled to be returning to the stage as a member of Colonial Players after what has seemed a very long hiatus from acting. My life and love affair with acting can be best described in the words of my favorite artist, Vincent van Gogh”: “If I can succeed in putting some warmth and love into my work, it will find its friends. The point is to continue to work.”

Timothy Sayles (Matthew) -- Tim is delighted to be back on stage at Colonial Players, where he has played a variety of characters in recent years -- from Chicago thug Julius Gatz in Earth and Sky (2010) to the goofy pajama-clad Delbert Snow in last season's Cinderella Waltz. Tim has also worked with 2nd Star Productions in Bowie, most recently in the British murder-mystery spoof Bloody Murder and as Lazar Wolf in Fiddler on the Roof. As a longtime barbershop singer, he has of course crooned "Lida Rose" on stage in The Music Man. A member of the Colonial Players artistic team this year, Tim supports his theater habit by working as editor-in-chief of Chesapeake Bay Magazine. He lives in Annapolis and has three indisputably brilliant grown children, two unarguably adorable grandchildren, and two undeniably cute cats.

Jeff Sprague (Vincent) -- Jeff is happy to be returning to CP. Previously he appeared in Chapter Two; I Love You, You're Perfect, Now Change; Over My Dead Body; Les Liaisons Dangereuses; Kiss Me, Kate; Kindertransport (2007 WATCH Award recipient); and Jekyll and Hyde. His work with other area theatres includes roles in Anything Goes, Hairspray, Thoroughly Modern Millie, Sight Unseen, The Crucible, and Blue/Orange. Like Vincent, Jeff is an attorney, and he works for the U.S. Department of Veterans Affairs in DC. He sends his thanks to the cast, crew, and production team and sends his love to his beautiful wife, Kathleen.

The Production Staff

Lois Banscher (Properties Designer) - With this production of Sunlight, Lois begins her third season as a Colonial Players volunteer, working on props and other CP projects. Her most recent play was Going to St. Ives, which involved scouring the Internet to assemble a collection of blue willow china from across the United States and Great Britain. She continues to enjoy the challenge of the hunt for each play’s props and working with the team. Other shows at Colonial Players include The Curious Savage; I Love You, You’re Perfect, Now Change; Mrs. California (2010 WATCH nomination); The Diviners; Lettice and Lovage; Little Women; and The Spitfire Grill. “I want to thank all of the CP folks who have helped me along the way (and there are many). I will continue to bring the very best that I can to the table. Thank you to my friends who continue to support my efforts and Colonial Players.”

Frank Florentine (Lighting Designer) - Frank’s background includes a wide array of lighting projects from ballet to museums to special events to show caves. He retired as the lighting designer of the Smithsonian Institution National Air and Space Museum on December 31, 2009, after 25 years in that position. Frank has also designed the lighting for three show caves over the past 10 years. He resides in the Annapolis area and has designed lighting for a sail boat in the Eastport Yacht Club's annual Christmas Parade of Lights for the last 20 years. Most recently, he designed the lighting for Colonial Players’ Chapter Two last season and for Anne Arundel County’s 9/11 Memorial. Frank worked in professional theater as a production manager, stage manager, and associate lighting designer and traveled nationally and internationally with several ballet companies, including a 65,000-mile tour with the late Rudolf Nureyev. Frank is a Fellow of the Illuminating Engineering Society and Lighting Certified by the National Council of Qualified Lighting Professionals.

Edd Miller (Set Designer) - Edd has worked with Colonial Players since 1964 in any capacity they would have him: actor, director, crew, sweeper, usher, whatever. This time it is set design that is the assignment, and he gets to apply some of the things he learned as an interior designer. Last season, he also designed the set for Chapter Two and directed Going to St. Ives. Edd has directed and acted in many shows at Colonial Players. Among the shows for which he has designed sets are The Diviners, The Philadelphia Story, Moon Over Buffalo, The Tale of the Allergist’s Wife, and, to go back a ways, I Never Sang for My Father, On Golden Pond, and Blythe Spirit, among others. Edd has chosen color schemes for our lobby, dressing rooms and green room and created the hangings in the lobby.

Kaelynn Miller (Costume Designer) - Kaelynn is back on the designing wagon after spending most of her time last season on the stage instead of behind the scenes. Kaelynn is particularly thrilled that this show has given her the chance to do something at which she excels: shopping with other people's money. Other CP costume design credits include Bits ‘n Pieces, Company, and Inventing van Gogh. She served as Secretary on the Board of Directors, but offered to fill the role of Treasurer when it became vacant this summer. It has proven to be quite the learning experience. With a BA in Vocal Performance and Music from McDaniel College, Kaelynn works by day as a customer service representative for a musical instrument accessory supply company. Many thanks to those who fill her days with kittens and rainbows including, but not limited to, Wes, Adeline, Laurel, and Karen, plus anyone who gives her coffee.

Olga Petrovic (Assistant Director) - Olga made her first appearance at Colonial Players, as well as her first in the United States, as Goneril in last season’s Cinderella Waltz. She performed at Cabaret 13 and Theater Left in her native Serbia and appeared in a short movie at the Center for Visual Communications. She recently completed a class at Center Stage in Baltimore, her first experience with Shakespeare in English. Olga came to the U.S. five years ago to study English and is pursuing a BA in business management. She is gaining her first directing experience as the assistant to Sunlight director Terry Averill. “I am so super excited about this chance, which will give me a broader perspective and understanding of acting. I am really thankful to Terry for giving me this chance.”

Tom Stuckey (Producer) - Tom has been involved with Colonial Players since 1969, when he appeared as a member of the ensemble in Carousel. He was the producer for Going to St. Ives last season and for The Diviners and Company during the 2010-2011 season. He also produced Hauptmann, winner of the award for best play in the annual WATCH competition for community theaters in the Washington area. Tom has held five positions on the CP Board of Directors and is currently vice president. He is also a member of the marketing team, handling newspaper publicity and editing the program for each show.

Joe Thompson (Sound Designer) - Joe’s association with Colonial Players dates to 1969 when, as a high school student, he appeared as a chorus member in Carousel. During the intervening years, he has acted, directed, and worked on many CP shows. Most recently, during the 2011-2012 season, he appeared in The Diviners and directed Company. A soundtrack of original songs for Bowie Community Theatre’s production of Dearly Departed won him a WATCH award for sound design. For Children’s Theatre of Annapolis, he directed Beauty and the Beast, which was first runner up for best musical in the British Players Ruby Griffith Award competition. Colonial Players has produced three of his short plays as well as six years of Cabaret for Kids, a review of Joe’s original songs, skits, and poems.

Bob Walker (Stage Manager) - Bob is returning as stage manager for Sunlight after handling the same duties for Moonlight and Magnolias, the final show of the 2011-2012 season, when the stage ended up littered with peanuts and peanut shells. He is happy that there are no peanuts in Sunlight. Prior to Moonlight and Magnolias, Bob worked in the tech booth handling sound and light cues for Cinderella Waltz and Earth and Sky. By day, Bob works in the Annapolis area maritime business. His association with Colonial Players began when he was asked to help usher, just for a night or two. “If it hadn’t been for that, I never would have met all the wonderful people who make this theater work.”

The United States Post 9/11

Most of us remember precisely where we were on that infamous Tuesday morning 11 years ago. I was a First Lieutenant in the Air Force and was 100 feet under North Dakota on a nuclear alert for the Minuteman III ICBM system. Message traffic was confusing, and for about twenty minutes, I thought the end of the world was pretty close at hand. It wasn’t until I was able to turn on our site TV that I realized that, while nuclear Armageddon might not be forthcoming, a new “reality” was upon us.

It sounds clichéd to say “everything changed that day,” and the fact is, it really didn’t. When you are the big guy in the room, no matter how much you think size will protect you, somebody is going to pick a fight. This is something that isn’t new to our nation. At the end of the 19th century, we had reached our “manifest destiny” of having a republic between the oceans. The objective soon became one of establishing respect for the United States on a world stage. The language of global dominance in this era was that of imperialism. It is what Rudyard Kipling famously dubbed “the white man’s burden.” Western powers formed alliances and jockeyed to have the broadest international influence. This was based on how much land was held and how many people became, willingly or unwillingly, new subjects of the realm. It was a ploy that would lead to the slaughter of a generation of young men in the fetid trenches of France, Belgium, Turkey, and Russia. The United States was not immune to the lure of colonialism in the years preceding the First World War.

Indeed, following the defeat of Spain in the Spanish-American War of 1898, the United States gained control over the Philippines and sought to maintain governance over the islands as a convenient middle point for trade routes with China. Philippine citizens resisted American occupation, and what was dubbed “The Philippine Insurrection” soon ensued. The Philippine rebels used guerilla tactics to kill U.S. troops, and they were deemed savage for not fighting in a “civilized manner.” When one thinks of a colonial militiaman hiding behind a tree in 1775 Massachusetts with sights pointed on a brilliant scarlet coat, the irony is not lost. It is in these Phillippine jungles that water-boarding was invented.

The pretext for the war that would give us control over the Philippines was given to the American people by news agencies that would make Fox or MSNBC seem content-neutral. Sound familiar? This is where America entered the world stage, and the Philippine guerilla of 1902 might have more in common with Mohamed Atta than we care to think. Perhaps, then, we can conclude that the world did not magically change on that fall morning 11 years ago. Perhaps we had just chosen to ignore the nastier parts of it. 9/11, for better or worse, should make us confront that reality.

All of this certainly doesn’t justify what happened in September of 2001. However, as poisonous as the beliefs of an Islamic fundamentalist may be to most Americans, the events of 9/11 must, if nothing else, serve to make us face the reality of America’s place in the world. It should makes us think about what that place is, and what it should be. To add another cliché that Vincent uses in this play, there is no going back.

This production shows the debates that exist when one is forced to confront the reality of America’s position on the world stage in the most personal of ways. We are now the sole superpower. What are we, as individuals, willing to give up to remain in that position? What have we already given up? If America is an exceptional nation, what must be done to maintain such a status? If we do it, do we remain a “beacon for liberty”?

Sunlight won’t give us answers. This production is about questions.

Jeff Sprague (Production Dramaturg)

Written by John van Druten
Directed by Debbie Barber-Eaton
Performance dates:
Sep 14 - Oct 6, 2012
Run time: 2.5 hours

This light hearted 50’s comedy is about what happens when a witch in New York makes a lover of a very conventional man and then has to face the consequences when she really falls in love with him. Gillian Holroyd becomes interested in her upstairs neighbor and tenant and hexes him into falling in love with her. Shep Henderson, her quarry, is mystified, delighted and completely unaware that other worldly forces are at work. Despite the oddness of Gillian’s aunt and brother, themselves an endearingly addled old witch and a fun-loving warlock, Shep is oblivious. He only knows that his life changed when he crossed over Gillian’s threshold. When she realizes that she is falling in love herself, Gillian faces a dilemma: she will lose her considerable powers if she acts on her feelings. Will love prevail?

To download the production postcard for Bell, Book and Candle to share with your friends, visit the Downloads page of our website.

About the Playwright

John van Druten was an English playwright who was just 24 when his first play, Young Woodley, was produced in New York after being banned in England because it was thought to cast a negative light on England’s elite public schools. After the ban was lifted, Young Woodley and seven other plays were produced on London’s West End before van Druten emigrated to the U.S., where he achieved great success in the 1940s and 1950s. His best-known plays in addition to Bell, Book and Candle were The Voice of the Turtle, I Remember Mama, and I Am a Camera, which was the basis for the hit Broadway musical, Cabaret.

About the Director

Debbie Barber-Eaton holds a degree in Musical Theatre from Catholic University and studied the genre of cabaret at Yale. She has worked as a performer and director in local and regional theater and has directed productions for Dignity Players, Annapolis Summer Garden Theatre, Chesapeake Music Hall, and Standing O Productions. As a performer at CP, Debbie received an acting award for her portrayal of Lady Macbeth, and she had the honor of receiving the last directing award that Colonial Players gave for her direction of The Robber Bridegroom in 2000. Directing the 2010 offering of A Christmas Carol was truly a magical experience for Debbie, and she is excited to be weaving another sort of spell on the CP stage with Bell, Book and Candle. Eddie, Casey, Donna, Paul, and Cathy, all my love always. To my fantastic cast and production team: Thank you for sharing your magic with me. And to my beloved Neal Andrew, Happy Anniversary, to the cutest guy who ever wore a kilt!

Director's Notes

Spoiler Alert: Don’t read this before the show if you don’t want to know how the play ends!

Before there was Bewitched, before Wicked and Harry Potter, there was Bell, Book and Candle. The Colonial Players and Bell, Book and Candle are the same age, both having been born during the 1949-1950 season. The play was a smash on Broadway and starred the married acting team of Rex Harrison and Lili Palmer. (Sidebar: Tonight’s offering stars a married couple, as well.) This is CP’s third rendering of English playwright John van Druten’s romantic comedy classic. Colonial Players first presented Bell, Book and Candle during our 5th season in 1953 when CP was working out of the Annapolis Recreation Center on Compromise Street and again in our current location in 1979. After more than half a century, this play still has the ability to charm, amuse, and arouse empathy.

Van Druten's forte was the juxtaposition of the literate, high comedy form to an outsider's confrontation with a majority culture. Bell, Book and Candle is perhaps the richest of van Druten’s works: It interrelates two coexisting cultures -- the magical and the mainstream -- at once mutually wary and deeply attracted. As a kid who grew up adoring the TV show Bewitched, I was surprised at my own reaction when I recently watched the series pilot from 1964. I found myself wondering what never occurred to me back then. Why does Samantha have to give up everything she is in order to be “a good wife” and to be with the man she loves? I realize that times have changed, but boy, the TV show that I loved when I was a kid looks like something else entirely through these older eyes. Naturally, I found myself asking the same question about Gillian, but ultimately came up with a very different answer: Gillian is unhappy with her life as a witch, and she doesn’t give up anything to have the man she loves. She finds something better. That’s what we do (hopefully) when the old ways don’t work for us anymore.

So after all these deep thoughts, after pulling it apart and putting it back together again, I find that I have come full circle in my appreciation for Bell, Book and Candle as a light, appealing, and endearing romantic comedy. So...

Into a large cauldron, whisk together three mid-century witches, one handsome publisher, one disheveled sot, and one naughty cat. Stir in a good dose of humor, a morsel of mayhem and a generous dollop of sexual tension. The resulting brew? A frothy and spellbinding concoction that is the delightful romantic comedy, Bell, Book and Candle, which suggests that love just might be the most bewitching spell of all.

The Cast

Carol Cohen (Queenie Holroyd) -- Carol is grateful to be included in this wonderful, FUN cast and crew. Thanks to all for a great experience. Carol has performed here in Wonder of the World, Jake’s Women, Pippin, Broadway Bound, and I Love You, You’re Perfect, Now Change. She has also appeared on stage at Annapolis Summer Garden Theatre, Dignity Players, The Chesapeake Music Hall, and some Baltimore area theaters. “My love goes out to my family, especially my wonderful husband, Jay, who has stood beside me for 48 years.

Jeffrey Miller (Sidney Redlitch) -- Jeff is no stranger to community and dinner theater and is glad to be back on stage following a seven-year absence due to work commitments. He last appeared at Colonial Players in A Christmas Carol as the Ghost of Christmas Present. Favorite roles include the King in The King and I, Petruchio in The Taming of the Shrew, Miles Gloriosus in A Funny Thing Happened on the Way to the Forum, and Ned Quinn in Hogan’s Goat. Jeff is special projects manager for the Office of Airport Security at BWI. He would like to thank his children -- Brian, Grant, Holly, and Emma -- for the joy they bring to his life and is most grateful for the love and support of his wife, Lesley, the perfect partner.

Jason Vaughan (Nicky Holroyd) -- Jason is delighted to be on stage again at Colonial Players (in a comedy!) and surrounded by an amazing director, cast, and crew. Previous appearances on Annapolis stages include Moon Over Buffalo (Howard), Hamlet, Act VI (Hamlet), Inventing Van Gogh (Bouchard), and The Last Days of Judas Iscariot (Sigmund Freud, Doubting Thomas). He directed Stolen Beer and a Bake Sale for CP’s 2010 One-Act Festival and more recently served as the production manager/assistant director for Dignity Players’ Sordid Lives. He works for the Baltimore National Heritage Area and somehow manages to also do some freelance graphic design work and help MYM Media with their upcoming documentary film, Anthem: The Star-Spangled Banner and the Music of the War of 1812. Jason would like to thank Scott for all his patience and support.

Ali Vellon (Gillian Holroyd) -- Ali is thrilled to return to Colonial Players and to this exceptional role. You might have seen her in On the Town and also as Natalie in All Shook Up with Annapolis Summer Garden Theatre. She has also performed as Bitsy Mae Harling in Sordid Lives and numerous roles in Almost Maine with Dignity Players. She was part of the cast of the groundbreaking staged reading of 8, which also took place at Dignity Players. Ali received a degree from The University of New Mexico in music education before moving to New York City, where she began a professional career. It was there she met her leading man in life, and it changed her life forever. Thanks go out to the cast and crew for being so amazing. Special thanks to Debbie for having so much faith in her and giving her the confidence she needed. (I love you.) She would like to dedicate this show to her parents and extended family for just being in her life and most of all her husband. “I love you more than words can say.” Have fun everyone, and ABRACADABRA!!!!

Jason Vellon (Shep Henderson) -- Jason is so happy to be back at Colonial Players and in such a fun production. He has performed locally with Annapolis Summer Garden Theatre, Moonlight Troupers, Chesapeake Music Hall, Dignity Players, and Standing O. He was also cast in Signature Theatre’s production of Pacific Overtures and currently can be seen on Discovery Channel’s Who the BLEEP did I Marry. Jason is originally from New York City, and that is where he received the majority of his training. He also attended the American Music Dramatic Academy. He currently freelances with Model Service/Goddess and has played numerous roles, including Tony in West Side Story, Larry in Mr. Marmalade, and Ty in Sordid Lives. Jason would like to thank the amazing cast and crew for helping us all shine. A special thanks to Brigette for keeping us all on track and Debbie for giving me such a fantastic role. Jason would like to dedicate this performance to his siblings here in Maryland (“Love you guys.”) and to his wife and leading lady. “There is no one I would rather be on stage with.” Enjoy.

Bridget (Pyewacket) -- Bridget was born in Baltimore in April 2006 and spent her first two months with the friendly staff at the Baltimore SPCA. Bridget was one of six adorable kittens at the time of her adoption, but her green eyes and playful personality made her stand out. Her adoption almost fell through when her human’s parents said no to having a cat in the house. But they changed their minds, and the French family was very happy. Bridget loves to play hide and go seek. Her favorite hiding spots include the chimney flue, inside box-springs, behind the books of a bookshelf, and between the shower curtain and liner.

The Production Staff

Wes Bedsworth (Sound Designer) -- Wes has been involved with over 30 different productions at Colonial Players since he joined CP in 2007. His favorites include Moon Over Buffalo, Kindertransport, Enchanted April, Mrs. California, The Diviners, and Little Women. He won the 2010 WATCH award for outstanding sound design for Earth and Sky and has been nominated for best sound design for Hauptmann, Kindertransport, and The Diviners. Wes serves as Operations Director on the CP Board, Technical Director on the Production Team, and as one of the Webmasters on the Marketing Team. Wes graduated with a B.A. from McDaniel College. When he's not doing electrical work, plumbing, fixing something broken, or automating something at CP, Wes works as a Senior Systems Engineer in Washington, D.C. (This is so he can afford to play at the theater in his free time.) Wes also sings in two choirs at his church. He would like to thank his parents for their support in the form of a subscription to CP (and love), his sister Susan for occasionally putting up with her older brother, and Kaelynn for allowing him to have a second love: playing with power tools at the theater.

Jean Carroll Christie (Costume Designer) -- Jeannie began her association with Colonial Players in 1971 working on Generation. Since then, she has been involved in all areas of theatrical production at CP except for sound design. She has held three positions on the Board of Directors and is currently a Costume Consultant/Wardrobe Curator. She has designed costumes for many shows, most recently for The Spitfire Grill, Frozen, The Violet Hour, and The Christmas Doll. Jeannie has also worked with the town crier of Annapolis, Fred Taylor, creating period attire for him.

JoAnn Gidos (Properties Designer) -- JoAnn is pleased to be supporting Debbie in this delightful piece to open the 2012/13 theater season. She has committed to also supporting A Christmas Carol, Shipwrecked, and Trying at Colonial Players. In addition, she will be working Master Harold and the Boys at Bay Theatre Company and Crimes of the Heart at Dignity Players. This past year her efforts included Wit and Becky’s New Car at Bay Theatre, Lost in Yonkers and Oliver at Compass Rose Studio Theater, Anything Goes at Annapolis Summer Garden Theatre, and The Spitfire Grill and Moonlight and Magnolias at CP. She has been doing props for local theaters for over 25 years and never tires of the challenges involved.

Eric Lund (Lighting Designer) -- Eric's most recent work was with the production of 8 at Dignity Players, where he also portrayed multiple characters in Gross Indecencies, The Laramie Project, and The Exonerated and directed The Vagina Monologues. He recently worked on the documentary film Anthem, chronicling the story behind “The Star-Spangled Banner,” which is scheduled to be shown on Maryland Public Television later this year. He has also walked the boards for Colonial Players in their productions of Rebecca, The Clearing, and various years of A Christmas Carol. He played Andrew at Bowie Playhouse in Someone to Watch Over Me, winner of the Ruby Griffith award, and Eugene in Broadway Bound for Vagabond Players. Production credits at CP include directing Voice of the Prairie and the 1993 and 2000 productions of A Christmas Carol; lighting design for Frozen, Kid Purple, Picasso at the Lapin Agile (also set design), Cabaret, Jacques Brel, and Angel Street; and set design for CP’s The Lion in Winter. Eric has also stage managed many productions at CP and the Annapolis Symphony. Eric would like to thank Debbie for always providing a great experience and his husband, Mickey, for ... well ... basically everything.

Brigette Marchand (Stage Manager) -- Brigette is thrilled to be back at Colonial Players after recently moving back to Annapolis. She has also worked with several other theater companies, including Annapolis Summer Garden Theatre, Bowie Community Theatre, Vagabond Players, and Churchill Theatre. Theater credits include Hauptmann, Dearly Departed, A Shayna Maidel, Sly Fox, The Battle of Shallowford, Rumors, Robber Bridegroom, A Christmas Carol, Good News, and The Butler Did It, to name just a few. Also, she has won an acting award. She would like to thank Debbie for the love and the opportunity to do this show and the cast for making her laugh so hard she cried. A very special thanks to her family and friends for their love and support. Brigette would like to thank her mom and dad, especially, for everything they have done for her in the past year, for making life bearable and reminding her that it's okay to live, love, and laugh! Love to you both.

About Huac, Kinsey, and Pyewacket

When John van Druten’s Bell, Book & Candle opened on Broadway 60 years ago, Kinsey’s report on sex was a hot issue, the House Un-American Activities Committee’s crusade against communism was a fresh wound on the nation’s psyche, and Pyewacket was about to become a very popular name for cats.

The name Pyewacket can be traced to a 1647 woodcut depicting infamous witchhunter Matthew Hopkins with two accused witches and their “familiars.” A familiar is an animal with a special relationship with a witch that helps her carry out magic spells. Familiars are frequently cats, but also dogs, foxes, hares, and other animals. A cat in the woodcut is named Pyewacket; thus, the name of Gillian’s cat in Bell, Book and Candle. During the witch hunt craze, any woman who owned a cat could be suspected of witchcraft and might be burned at the stake.

The House Un-American Activities Committee, referenced in Bell, Book and Candle, was established in 1945 to protect America against the red menace. Claims were made that the government, the entertainment industry, and the news media were riddled with communists working to overthrow our democracy. (There appears to be some truth to the saying that history repeats itself. At the moment, Rep. Michele Bachmann and a few other members of Congress are claiming that members of the Muslim Brotherhood have infiltrated high levels of the U.S. government and are calling for a House committee investigation into alleged Islamic influence in Washington.)

While government was the main focus of HUAC hearings after World War II, the entertainment industry was also targeted. More than 300 actors, directors, and screenwriters were boycotted by the movie studios as a result of charges leveled against them by Joseph McCarthy and his committee. Fearful studio executives responded with a string of anti-communist movies such as Guilty of Treason, The Red Menace, The Red Danube, and I Was a Communist. The blacklisting of accomplished screenwriters continued long after the red scare abated, and some could find work only by using a pseudonym.

In the 1940s, Alfred Kinsey, a zoologist at Indiana University and founder of the Kinsey Institute for Research in Sex, Gender and Reproduction, interviewed thousands of Americans about their views on sex and their sexual practices. The result was two books: Sexual Behavior in the Human Male published in 1948 and Sexual Behavior in the Human Female published in 1953. The publications astounded the American public and were immediately controversial and sensational. The findings caused shock and outrage, both because they challenged conventional beliefs about sexuality and because they discussed subjects that had previously been taboo.

What is the significance of the title of van Druten’s play? It derives from a Roman Catholic excommunication ceremony using those three items. The ceremony is opened with, "Ring the bell, open the book, light the candle." It is closed with, "Ring the bell, close the book, quench the candle."

Information collected by Neal Eaton, Bell, Book and Candle dramaturg.