THE AMERICAN CENTURY THEATER presents

by George Axelrod

The American Century Theater presents

About The American Century TheaterThe American Century Theater was founded in 1994. We are a professional nonprofit theater company dedicated to presenting great, important, and worthy American plays of the twentieth century—what Henry Luce called “the American Century.”

The company’s mission is one of rediscovery, enlightenment, and perspective, not nostalgia or preservation. Americans must not lose the extraordinary vision and wisdom of past playwrights, nor can we afford to surrender the moorings to our shared cultural heritage.

Our mission is also driven by a conviction that communities need theater, and theater needs audiences. To those ends, this company is committed to producing plays that challenge and move all Americans, of all ages, origins, and points of view. In particular, we strive to create theatrical experiences that entire families can watch, enjoy, and discuss long afterward.

This program is supported in part by Arlington County throughthe Arlington Commission for the Arts and Arlington Cultural Affairs, a division

of Arlington Economic Development; the Virginia Commission for the Arts;the National Endowment for the Arts; and many generous donors.

September 20–October 11, 2014

Gunston Theatre Two2700 South Lang Street, Arlington

Please—Silence and stow all electronic devices.The video and/or audio recording of this performance by any

means whatsoever is strictly prohibited.

There will be one fifteen-minute and one ten-minute intermission.

Board of Directors Louis GeorgeWes MacAdam Wendy KenneyGabe Goldberg, Madi Green, Vivian Kallen, Jack Marshall, Kevin McIntyre

Chair Vice-Chair Treasurer Board

Staff Jack Marshall Artistic Director

Rip ClaassenBrian CraneEllen DempseyKate Dorrell

Tom FullerRhonda HillSteven Scott MazzolaLindsey E. Moore

Emily Morrison Ed MoserJoli Provost Ginny Tarris

The Seven Year Itch is produced by special arrangementwith Dramatists Play Service.

The action takes place in the apartment of the Richard Shermans,in the Gramercy Park section of New York City.

Act OneScene 1 About eight o’clock on a summer evening

Scene 2 Immediately followingAct Two

Scene 1 Evening, the following dayScene 2 Two hours later

Act ThreeThe following morning

THE AMERICAN CENTURY THEATER presents

by George Axelrodby George Axelrod

Lighting Design Marianne Meadows usa

Set DesignTrena M. Weiss

Sound DesignEd Moser

Production ManagerEd Moser

DirectorRip Claassen

Stage Manager Lindsey E. Moore

Costume Design Rip Claassen

Properties DesignHannah Schneider

CastRichard Sherman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bruce Alan RauscherThe Girl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Carolyn Kashner *Helen Sherman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Emily MorrisonDr. Brubaker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Steve LebensTom MacKenzie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ric AndersenMiss Morris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rachel MurrayElaine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rachel M. LooseMarie Whatever-Her-Name-Was . . . . . . . . . . . . . . Chanukah Jane LilburnePat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Eileen A. FarrellRicky Sherman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ethan Ocasio, Xavier Wolf

* Equity Membership Candidate

The Seven Year Itch, by George Axelrod (1952)When we thought about a 20th century stage comedy that would aptly and nobly represent that genre as The American Century Theater completes its two-decade journey in this, its final season, the first and best play that leapt to mind was George Axelrod’s The Seven Year Itch.

Axelrod (1922–2003), a versatile playwright, screenwriter, and director (who was also represented here at TACT by his Hollywood satire, Will Success Spoil Rock Hunter?, which launched the career of Jayne Mansfield) is the archetypal TACT playwright. He was as celebrated in his day as Terrence McNally or Neil Simon, but as his works were superseded by more recent Broadway hits, and their familiarity faded with new generations of producers and playgoers, he went “out of fashion.” In cases like Axelrod’s, that simply means, “We’ve forgotten how good this guy was, and we’ll suffer for it.”

The Seven Year Itch also exemplifies a large category of neglected masterpieces that TACT has profitably revived: Plays That Became Such Famous Movies That Everybody Forgot They Were Plays First. The film of The Seven Year Itch, of course, was turned into a vehicle for Marilyn Monroe, and not just any vehicle, but the one that provided the image that made her a deathless icon: MM standing over a New York City subway grate, trying to suppress her enthusiastic white dress as it billows up around her.

Despite director and script adapter Billy Wilder’s brilliant cinematic flourishes, the film isn’t as good as Axelrod’s version. For one thing, Hollywood censors made Wilder change the ending to a cop-out. Nonetheless, in the wake of the film’s fame, the reaction of potential theatrical producers when considering The Seven Year Itch became, “Oh, everybody’s seen that!” (but they hadn’t) and, “You have to have Marilyn Monroe,” which is ridiculous. The play never had Marilyn Monroe, and the character, just called “The Girl,” is not especially like Marilyn. Marilyn Monroe just played her that way, and you can hardly blame her.

What really distinguishes The Seven Year Itch, however, among 20th century comedies, is that it’s as funny now as it ever was. We discovered, sometimes to our horror and sadness, that even the best comedies frequently do not age well and lose laughs and relevance with each passing year. Sometimes the reason is that a play was a comic trailblazer, and what was once a gut-busting shock was imitated and exceeded by the

Special thanks to—Don BartonEllie Cain Liz and Lynn Crane-WexlerRachel Erichsen, Olney Theatre Center

Clementine Morrison Eddy Parker, Little Theatre of Alexandria Scott Schneider and Miriam StruckSilver Spring Stage

Production staffDirector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rip ClaassenProduction Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ed MoserAssociate Production Manager . . . . . . . . . . . . . . . . . . . . . . Lindsey E. MooreStage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lindsey E. MooreSet Design and Construction . . . . . . . . . . . . . . . . . . . . . . . . . . . Trena M. WeissCarpenters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Robert Teague, Michael SalmiLighting Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Marianne Meadows usaSound Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ed MoserCostume Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rip ClaassenCostume Design Apprentice/Wardrobe . . . . . . . . . . . . . . Catherine CasinoProperties Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hannah SchneiderAssistant Stage Manager/Board Operator . . . . . . . . . . . . . . . . Chris Beatley ASM/Deck Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rachel LauPublicist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Emily MorrisonProduction Photography . . . . . . . . . . . . . . . . . . . . . . . . . . . . Johannes MarkusPreproduction Photography . . . . . . . . . . . . . . . . . . . . . . . . Angelisa GillyardProgram Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Michael ShermanHouse Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joli Provost

USA = Member, United Scenic Artists

genre it inspired, making once-hilarious gags seem warmed-over clichés. Mister Roberts, which launched the “behind the lines” military spoof, suffered this fate. Other older plays found laughs in conduct that we no longer find funny, like elder abuse and mental illness (The Effect of Gamma Rays on Man-in-the-Moon Marigolds), alcoholism (many), and parental neglect (A Thousand Clowns).

The whole genre of sophisticated “smart set” comedies—American Noel Coward–style plays—mastered by Broadway-conquering playwrights like S.N. Behrman and Philip Barry now seems like science fiction. These kinds of urbane, elegant, witty people simply don’t exist anymore, and it’s hard for modern audiences to believe they ever did. There are the archaic “feel good” comedies, driven by character and plot rather than jokes, which appealed to a slower-paced world where a happy ending and some smiles along the way were reward enough for three hours in a theater. Most common of all the lapsed comedies are those that derive their humor from jokes, characters, references, and situations based upon events and well-known personalities of the times. No matter how well-crafted such plays were, or how much they pleased contemporary audiences, their virtues become undetectable as times and tastes change, as they inevitably must.

For The Seven Year Itch, however, George Axelrod chose an eternally rich comic topic with no expiration date: the fantasies and longings of married, middle-aged men. While such men have been at once ridiculous and sympathetic on stage since the comedies of Plautus, Jonson, and Shakespeare, few writers have exploited their potential, comic or dramatic, more deftly.

As usual, we hope other companies will agree, and give this masterpiece the place in the American stage repertoire it deserves

—Jack Marshall Artistic Director, 1995–2015

Ric Andersen (Tom MacKenzie) previously appeared at The American Century Theater in Bang the Drum Slowly and Abe Lincoln in Illinois (staged reading). Other area roles include Ian Brown in the world premiere of Another Day on Willow Street, Bob Ewell in To Kill a Mockingbird, and Montague in Romeo and Juliet (all, Compass Rose Theater), the Vicomte de Jodelet in The Affected Young Ladies (Capital Fringe Festival), Nils Krogstad in A Doll’s House (Embassy Players), County Attorney in Trifles (MuseFire Productions), and Sentinel Jumper in Jumpers (Washington Shakespeare Company). Ric also performs improv comedy with Precipice Improv Theater.

Eileen A. Farrell (Pat) has appeared in a variety of roles over the years in area community theatres.

Carolyn Kashner * (The Girl) is thrilled to return to The American Century Theater after performing there in Ah, Wilderness! and Marathon ’33. Recent credits in the DC area include The Balcony and The Plague (Scena Theatre); Man of La Mancha, Rent (Helen Hayes Award for Best Ensemble), and National Pastime (The Keegan Theatre); The Last Five Years (1st Stage); Richard III (WSC Avant Bard); Witness for the Prosecution (Olney Theatre Center); A Brief Narrative of an Extraordinary Birth of Rabbits (E.M.P. Collective); James Joyce’s The Dead and The Iceman Cometh (Quotidian Theatre Company); Richard III (NextStop Theatre Company); Failure, A Love Story (The Hub Theatre); and The Wonderful World of Dissocial (Theater Alliance). Carolyn has also performed with the New York Fringe Festival in The Fall of the House of Usher and Exiles from the Sun. Carolyn is an Equity Membership Candidate.

Cast

Who is Richard Sherman? Who are any of us? Is a person his reality, his memories, or his dreams? In this play we meet Richard Sherman and explore these aspects of who he is. What do our dreams tell us about ourselves? How do our memories effect/affect our actions? Is our physical “reality” all there is to us? These questions are what Richard should ask himself, if not Dr. Brubaker. We could all use asking ourselves the same questions.

—Rip Claassen Director, The Seven Year Itch

* Equity Membership Candidate

Download the podcast. Listen in as Artistic Director Jack Marshall discusses The American Century Theater production of George Axelrod’s The Seven Year Itch with Director Rip Claassen and actors Carolyn Kashner (The Girl) and Emily Morrison (Helen Sherman). On the web at americancenturytheater.blogspot.com

Steve Lebens (Dr. Brubaker) has been seen at The American Century Theater in Judgment at Nuremberg, I Do! I Do!, J.B., Marathon ’33, Will Success Spoil Rock Hunter?, Stalag 17, Visit to a Small Planet, Stage Door, The Country Girl, Hellzapoppin’, and Drama under the Influence. Regional: The Guthrie Theater: The Entertainer. DC area: Signature Theatre: Cabaret; Passion. Studio SecondStage: Hot Fudge; The Virgin Molly; Muzeeka; A Clockwork Orange. The Folger: The Merchant of Venice; Playing Juliet Casting Othello; Sherlock Holmes and the Case of the Purloined Patience. No Rules Theatre Company: The Fantasticks. Film: Field of Lost Shoes (opens Sept. 26); King Lear (2015). Television: House of Cards; VEEP; Law and Order/ Criminal Intent; Pigeon the Series.

Chanukah Jane Lilburne (Marie Whatever-Her-Name-Was) has been working professionally in television and film and on stage since she was a little girl. She has worked at The American Century Theater in Babes in Arms (staged reading), Marathon ‘33, and J.B. She is an original member of The Turtle Teens collective in New York City.

Rachel M. Loose (Elaine) is in her third production with The American Century Theater. She previously appeared as Ida/Angel in Marathon ‘33 and in the Ensemble for Babes in Arms (staged reading). Other credits: Shining City (Capital City Players), Sex on the Brain (Forum Theatre), A Christmas Carol (Silver Spring Stage), 7 Lessons on Suicide, The Foley Artist, and The Frustrations of Stoker Pratt (Zero Hour Theatre Company). Rachel is Audience Services Manager at Woolly Mammoth Theatre Company and holds a BA with honors in Drama from Washington College and an MA in Arts Management from George Mason University.

Emily Morrison (Helen Sherman) Theater: Cinderella (The New York Children’s Theatre Festival); DC area—Little Murders and Stage Door (The American Century Theater), The Marriage of Maria Braun and The War of the Worlds (Scena Theatre), Romeo and Juliet (Brave Spirits), But Love Is My Middle Name! (an original one-woman show) and The Pundit (Capital Fringe Festival); Los Angeles—Elizabeth in Richard III: Frankie and Johnny in the Claire de Lune; How I Learned To Drive; Lie With Me. Film: Geographically Desirable, The Nextnik, Blonde in Summer (AFI), Three Sessions, A Family Affair (LAFS). Television: Evil Twins, Who the Bleep Did I Marry?, and I Didn’t Know I Was Pregnant! Emily is publicist for TACT and President of the Board of the Actors’ Center. emilylovemorrison@me.com

Rachael Murray (Miss Morris) DC area credits include: Producer, Bitch: A Play about Antigone (Naked Theatre Company, Capital Fringe 2014);

Assistant Director, tick, tick....BOOM! (Quackensteele Theatre Company); Storyteller, Blood, Bloody Andrew Jackson (Highwood Theatre); Director/Producer, R.U.R. (Naked Theatre Company, Capital Fringe 2013); Director, [title of show] (Annapolis Summer Garden Theatre) and Arsenic and Old Lace (VpStart Crow Productions); Jay-Jay/Prius, Cyanocitta/Collider (Source Festival); Assistant Director, Six Degrees of Separation (VpStart Crow); Mollie Ralston, The Mousetrap (VpStart Crow); and Tiffany, A Prom to Die For! (Mystery Dinner Playhouse). She is an actor at National Children’s Museum, performer for Kids Rock!, teaching artist with Adventure Theatre-MTC, and a founding company member, Naked Theatre Company. She holds a BA in English and Theatre Arts from Virginia Tech.

Ethan Ocasio (Ricky Sherman) is eleven years old and in the sixth grade. This is his first production with The American Century Theater. He played the role of Child in King John (WSC Avant Bard) and has played multiple roles in school productions including Wicked, Frozen, and Much Ado about Nothing.

Bruce Alan Rauscher (Richard Sherman) began his career in “The Biz” right after high school performing as a magician and producing short film comedies. After acting in various productions around the tri-

Theatre), Amelia (a Kennedy Center Page-to-Stage reading), and A Christmas Carol, Underneath the Lintel, and Tuesdays with Morrie for Paul Morella. Favorite musical credits include Señor Discretion Himself (Arena Stage), Urinetown (University of Maryland), David in Shadow and Light (Theater J), and Godspell (Olney Theatre Center). Favorite designs for The American Century Theater include Native Son, Treadwell: Bright and Dark, Visit to a Small Planet, The Country Girl, Little Murders, and Marathon ’33. Since becoming Production Manager for TACT, Ed has produced Come Blow Your Horn, Bang the Drum Slowly, Oh Dad, Poor Dad . . . , Judgment at Nuremberg, and An Evening with Danny Kaye.

Lindsey E. Moore (Associate Production Manager and Stage Manager) has been Stage Manager at The American Century Theater for An Evening with Danny Kaye, Judgment at Nuremberg, Bang the Drum Slowly, I Do! I Do!, Voodoo Macbeth, The Show-Off, Marathon ’33, and Stage Door. She was Assistant Stage Manager for TACT’s Come Blow Your Horn and Oh Dad, Poor Dad . . . and Properties Designer for Biography. Lindsey worked in stage management in Roanoke VA for shows including Antigone, An Evening of Comic Variations by David Ives, The Laramie Project, The Sandbox, The American Dream, and The Good Woman of Setzuan. She earned her BA in Theatre and Design from Roanoke College.

Catherine Casino (Costume Design Apprentice/Wardrobe) was Wardrobe Mistress for The American Century Theater productions of

Rip Claassen (Director, Costume Design) is owner/impresario of The American Backstage Company in Alexandria. A fixture on the Washington theatre scene for many years, Rip has taught theatre and acting at the Institute for the Arts for Fairfax County Public Schools, Duke Ellington School of the Arts, and other local theatre programs. For The American Century Theater, he has directed (Come Blow Your Horn, J.B., Visit to a Small Planet, Babes in Arms, and Life with Father), produced (One Night with Fanny Brice, Native Son, and The Tenth Man), and costumed innumerable shows. Rip founded the Northern Virginia Theatre Festival for high schools, and coaches theatre students seeking admission to competitive programs. He is Artistic Director of Teens and Theatre (TnT), a nonprofit theatre education company.

Ed Moser (Production Manager, Sound Design) is a regional audio-production veteran whose designs include The Veil, Long Day’s Journey into Night, A Little Trick, Afterplay, and Master Harold and the Boys (Quotidian

Production Staff

The Picture of Dorian Grayby Oscar WildeSee highlights from Wilde’s only novel about a haunting portrait that ages with each debaucherous vice that young Dorian entertains.Sunday September 29, 7:00 pm

Warehouse Theater DC645 New York Ave NW WDC 20001BY METRO: MT. VERNON SQ. (Green/Yellow Lines) GALLERY PLACE – Chinatown Exit (Red/Green/Yellow Lines)

INTERNATIONAL. SENSATIONAL. THEATER.

Tickets: scenatheater.org

State area and a brief stint at the American Film Institute to study film production, he traveled to Pasadena California where he attended the American Academy of Dramatic Arts. Returning to the DC area, Bruce resumed working with many area theatre companies, among them: The American Century Theater, Washington Shakespeare Company, Signature Theatre, and Source Theatre. Favorite roles include Joseph Merrick in The Elephant Man, Alan Strang in Equus, Martin in Feeding the Moonfish (SETC award for Best Actor), Clark Storey in The Second Man, Alan Turing in Breaking the Code (ACT award for Best Actor), Edgar in King Lear, Gary/Roger in Noises Off, Rev. Hale in The Crucible, and Edward III in Edward III. Bruce has been honored with a Helen Hayes nomination for Best Actor for his performance as Col. N.P. Chipman in TACT’s production of The Andersonville Trial and a Mary Goldwater Award for acting by The Theatre Lobby. In 2008, Bruce completed a week-long run off Broadway in The Keegan Theatre’s production of Love, Peace and Robbery as part of the 1st Irish Play Festival. This is Bruce’s twelfth production with TACT.

Xavier Wolf (Ricky Sherman) can be seen in Captain America: The Winter Soldier as little Captain America, as a zombie in the upcoming movie Z*Con, as a camper in The Summer Before, and as Eric Freeman in Evil Kin/Investigation Discovery. He also played the Cat in Pinocchio (Mount Vernon Children’s Theater). At ten years old, Xavier has been acting for four years.

AARPRose Kobylinski and Rick AlbaniSally Beth BergerDavid and Janet BondElizabeth BorgenRon and Dorothy BrandtDavid W. Briggs and John F. Benton Kenneth ClineSally H. CooperDan and Nan CooperGloria M. DuganState Senator Barbara Favola

Carl FrettsMargaret GaffenJames and Maria GentleBrenda Pommerenke and Larry GeorgeGabriel Goldberg and Kim RendelsonMadi GreenBob GronenbergJean HandsberryPat and Bruce HarrisonRoxanne Hoare, in memory of Sean R. HoareRoger and Katharine HoodThomas Hoya

The Players ($100–$249)

Richard and Jean BartonRobert DuBoisDr. Coralie FarleeTracy FisherMarian FlynnEdwin FountainBarbara GallagherEdward and Shelley GrossmanIrene Szopo and Alan HermanRhonda HillIBM International Foundation

Margaret E. KennaRaymond KogutConstance McAdamRichard and Dorothy MillerMarie Milnes-VasquezCarl and Undine NashRalph and Susan ShepardDavid and Willa SiegelFrontis WigginsAudrey and Michael Wyatt

Living Theater Lovers ($250–$499)

Thank you to the many generous donors who provided support from September 1, 2013 –September 15, 2014.

Arlington Commission for the ArtsEstate of Suzy Platt

Virginia Commission for the ArtsGroup Theater Goers ($5,000+)

Ellen Maland and Donald AdamsAnonymousArlington Community Foundation

Wendy and Bob KenneyKevin and Jennifer McIntyre

Provincetown Players ($2,500–$4,999)

The Boeing Company Noreen Hynes and Seth CarusMary McGowan and Steven Cohen Suzanne Thouvenelle and Dennis Deloria

The McElwaine-Stroock Fund of the Jewish Communal FundVictor Shargai

Theater Guilders ($1,000–$2,499)

Ellen Dempsey and Louis GeorgeVivian and Arthur KallenWes Macadam

Harriet McGuire and the Troy FoundationSheldon and Marilyn Wallerstein

Mercury Theater Backers ($500–$999)

Judgment at Nuremberg and An Evening with Danny Kaye. She costumed Dracula, A League of Their Own, Arabian Nights, and Antony and Cleopatra for the Lake Braddock Theatre.

Marianne Meadows (Lighting Design), a member of United Scenic Artists Local #829, is the Resident Lighting Designer for the Washington Stage Guild (since 1994) and for Solas Nua (Johnny Meister and the Stitch, Scenes from the Big Picture, and La Corbière). Her designs for The Adding Machine (Washington Jewish Theater), Quills (Woolly Mammoth Theatre), The Chosen (Theater J), and Old Wicked Songs (Studio Theatre) earned her Helen Hayes Award nominations. For The American Century Theater, she has designed Come Blow Your Horn, Beyond the Horizon, and On the Waterfront. Other design credits include A Couple of Blaguards (Ford’s Theatre), The Dead Monkey (Woolly), The Chosen and Miss Margarida’s Way (Studio Theatre), Evita and Songs from a New World (Open Circle Theatre), the Gay Men’s Chorus of Washington (ten seasons), and national tours of Cook, Dixon, and Young (the original Three Mo’ Tenors) and The Acting Company. She received a Theatre Lobby Mary Goldwater Award in 2004.

Hannah Schneider (Properties Design) most recently worked as Stage Manager for Quotidian Theatre’s US premiere of Conor McPherson’s The Veil. She earned her MA in Theatre Arts from Stonybrook University with and BA in Stage Management from Muhlenberg College.

Robert Teague (Carpenter) is working on his first production with The American Century Theater. Previously, he has worked with The Keegan Theatre, primarily as a sound engineer, though he has a long background in set construction. Previous professional productions include National Pastime, Working, Spring Awakening, The Full Monty, and Hair.

Trena M. Weiss (Set Design and Construction) has designed and built the set for numerous productions with The American Century Theater, including Come Blow Your Horn, J.B., Life with Father, An American Century Christmas, Dr. Cook’s Garden, The Titans, Happy Birthday, Wanda June, and Cops. She works as a director, designer, and theatre teacher in professional, community, and educational venues and has a BA in Acting-Directing and MAs in both Theatre and Education.

Become a fan of The American Century Theater on Facebook. Keep up with shows, auditions, volunteer opportunities, podcasts, videos, and more. www.AmericanCentury.org

Susan BarrettMichael and Lissa BarryAllida BlackPatricia BragdonSusan Sonnesyn BrookBoris and Earlene CherneyCharlotte ClearyRonald CoganAndrea CreelJoseph CrossKaren DarnerJudy DavisPam DiramioRobert DrabaWalter and Susan DukaWilliam ErdmannDonna FeirtagJohn FosterMartin L. GandersonClare GibsonJudith GillspieAron GolbergLawrence GordonChristine GregoryArt HauptmanRachel HechtJonathan HelwigDaniel HodesNancy JarvisPhilip JohnThe Marilyn Johnson Sewing Design Studio LLC

Herschel KanterPhil and Mary Jane KlingelhoferRobert KraftKathryn and Robert KrubsackDianne LevineMargaret LorenzDee Brown and Glen MacdonaldOzzi MaskPhebe MassonMarjorie MayerMargaret MeathRuth MitchellToni MullerPamela NashKaren OstensoeEva PatakiCharles and Ruth PerryGerda PiccoPatrick RileyFrancis RocheMarianne SoponisJoyce SuydamRenate WallenbergBarbara WashburnNancy WhiteClifford WhithamTammy WilesBob Skelly and Bonnie WilliamsRaymond WolfeCarol and Henry WolinskyDennis Wright

The Federal Theater Funders ($10–$99)

Donors-in-kind Peter Caress, Brian Crane, Dennis Deloria, Ellen Dempsey, Kate Dorrell, Tracy Fisher, Bill Gordon, Vivian Kallen, Wendy Kenney, Microsoft Corporation, Ed Moser, Loren Platzman, and Bridget Serchak

Carla HubnerRobert KimminsJo Ursini and Ken KrantzDavid LamdinGudrun LuchsingerWinnie MacfarlanGrace Bowen MarshallAlexandra McElwaineGary and Christine MooreJames T. RorkeDiane SchrothCarole Shifrin

Jennifer ShoupAlan and Sarah-Mai SimonBob and Deb SmithGene SmithPatricia Spencer SmithJohn M. and Alison SteadmanDaniel and Margaret SullivanJohn Blaney and Robin Suppe-BlaneyGeorge WagnerPete WalesDoug and Evelyn WatsonPatrick and Linda Wesley

The Players ($100–$249)

Apply the price of tonight’s ticketto a final-season subscription and see—

American Century’s Broadway Hit Parade, March 19–22, 2015A retrospective of songs from favorite TACT musicals,

compiled and scripted by Artistic Director Jack Marshall,directed by Jackie Manger, with musical direction by Tom Fuller

Twelve Angry Men (1964) by Reginald RoseJuly 17–August 8, 2015

Our very first show and first hit,featuring an all-star cast from TACT’s stage history.

Directed this final season by Artistic Director Jack Marshall

Crime and Punishment in America, two one-act plays in repertoryJanuary 9–31, 2015—

Cops (1976) by Terry Curtis Fox, directed by Stephen Jarrett

Hello Out There (1941) by William Saroyandirected by Ellen Dempsey

TH

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THEATER

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