OLNEY THEATRE CENTER MY FAIR LADY · PDF fileWhen I decided to produce Lerner and...

OLNEY THEATRE CENTER

MY FAIRLADYMY FAIRLADY

301.924.3400 OLNEYTHEATRE.ORG 2

A NOTE FROM THE ARTISTIC DIRECTOR

Dear friend of Olney Theatre Center,

When I decided to produce Lerner and Loewe’s 1956 My Fair Lady – thought of by many as “the perfect musical” – I wanted our production to be something special. Not for us, the tired, moth-eaten costumes from a twenty-year old touring production; or simply recreating the Rex Harrison-Audrey Hepburn movie. Olney Theatre Center’s reputation for rigorous explorations of the classics has grown markedly of late, and I wanted to find a director who wouldn’t just serve up the same lukewarm production that you see in community theaters across the country. I knew I’d found that director when Alan Souza and I met a year ago to discuss it over coffee.

“George Bernard Shaw [who wrote the play Pygmalion on which the musical is based], calls it a love story,” Alan told me. “So what happens if they’re really into each other?”

That was the first in a refreshing series of questions and ideas that put us on a journey to the entrancing, magical (and dare I say it? Sexy!) My Fair Lady you’re about to see. The men revolving around Eliza – Higgins, Doolittle, and Pickering – are young and virile. The design, moved a decade forward to 1921, allows for a feminist, fun and alluring costume palette. The stage is exposed, inspired by a boxing ring. And this Eliza is no innocent flower: she’s the daughter of a con-man, and knows how the game is played.

I ask for a vigorous point of view from my directors because sometimes a play or musical has become so well-known over the years that the things that make it a classic – its revolutionary form or surprising content or lush score – have fallen victim to a middling nostalgia: that old chestnut! A strong point of view can help introduce a 60-year old musical to a new generation of audiences, and make it feel fresh to veterans at the same time. By stripping away pre-conceived notions, every word, every note, and every acting beat is there for you to revel in, to enjoy, to celebrate.

Whether this is your first My Fair Lady or your fiftieth, I’ll bet you find it more enjoyable, more accessible, and more satisfying than any production you’ve seen in a good long time (and even more than the beloved 50-year old movie). That’s because Alan is one of the country’s most respected Lerner and Loewe directors, and he is so well-respected because, despite his strong point of view, he above all he respects the words, the music and the ideas. (It’s no surprise that Liza Lerner, Alan Lerner’s daughter, is a huge fan of his work.)

You’ll decide for yourself what this My Fair Lady means to you. But I suspect when Higgins sings his final number, “I’ve Grown Accustomed to Her Face”, you’ll have experienced Eliza and Higgins’ relationship in a new and thrilling way.

Let me know what you think about the show, and about our upcoming season at [email protected]. I love hearing from our audience, and respond to every email I receive!

Olney Theatre Center is a non-profit arts organization with a mission to create professional theater productions and other programs that nurture artists, students, technicians, administrators, and audience members; to develop each individual’s creative potential using the skill and imaginative possibilities of theater and the performing arts.

Managing Editor: JJ KaczynskiAd Sales: 301.924.4485 x105

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Onward!

Jason Loewith Artistic Director

mailto:[email protected]


OLNEY THEATRE CENTERDebbie Ellinghaus,

Managing DirectorJason Loewith,

Artistic Director

presents

Opening Night: Saturday, June 24, 2017

New York Casting

Pat McCorkle, CSA - McCorkle Casting Ltd.Wig Designer

Alexandra PohankaDialect Coach

Zachary Campion

Costume Designer

Pei Lee^Scenic Designer

James Fouchard^Lighting Designer

Max DoolittleSound Designer

Matt Rowe

Production Stage Manager

Trevor A. Riley Director of Production

Dennis A. BlackledgeAssociate Artistic Director

Director of Music Theatre/Additional Orchestrations

Christopher Youstra

THERE WILL BE ONE 15-MINUTE INTERMISSION.The use of recording (audio and video) or photographic equipment during the show is strictly prohibited.

Please silence all electronic devices before the performance begins.

featuringDanny Bernardy Brittany Campbell Ian Anthony Coleman

Warren Freeman Chris Genebach Christina Kidd Alex KidderAshleigh King Julia Klavans Valerie Leonard^ Benjamin Lurye

Jimmy Mavrikes Christopher Mueller Todd Scofield

Director

Alan Souza

Choreographer

Grady McLeod Bowman

Music Director

Christopher Youstra

^Olney Theatre Center Artistic Associate

MY FAIR LADY is presented through special arrangement with Tams-Witmark Music Library, Inc.560 Lexington Avenue, New York, NY 10022

Music by

Frederick Loewe

Adapted from the George Bernard Shaw play

and Gabriel Pascal’s motion picture PygmalionOriginally Directed on Broadway by Moss Hart

MY FAIR LADYBook and Lyrics by

Alan Jay Lerner


OLNEY THEATRE CENTERwww.olneytheatre.org

301-924-3400 MuLITZ-GuDELSKY ThEATRE LAB

JULY 19 - AUG 20

THURGOODBy GeORGe STevenS, JR.DirecteD By WALTeR DALLAS

StArring

BRIAn AnTHOnY WILSOn

“CHARGED WITH A MORAL URGENCY THAT STILL RESONATES TODAY” - The New York Times


Production Stage Manager – TREVOR A. RILEY*Dance Captain – ALEx KIDDER*

*Member, Actors’ Equity Association +Equity Membership Candidate

Conductor/Piano ........................................................................................................................... ANDRA VELIS SIMONFlute, Clarinet ....................................................................................................................................... STEVEN hAASERClarinet, Bassoon ..................................................................................................................................ROGELIO GARZATrumpet, Flugelhorn ..............................................................................................................................BRENT MADSENTrombone ...............................................................................................................................................PETER FRANCISharp .............................................................................................................................................. KRISTEN JEPPERSONViolin ...............................................................................................................................................MADELINE WATSON Violin .............................................................................................................................................. JEFFRY NEWBERGERCello ..............................................................................................................................CAThERINE MIKELSON FRANCISAc Bass ................................................................................................................................................. FRANK hIGGINSPercussion ................................................................................................................................................ ALEx AuCOIN

MY FAIR LADY ORCHESTRA

CAST OF MY FAIR LADY (in order of appearance)

Eliza Doolittle ..............................................................................................................................BRITTANY CAMPBELL*Freddy Eynsford-hill .........................................................................................................................BENJAMIN LuRYE*Mrs. Eynsford-hill ................................................................................................................................AShLEIGh KING*Colonel Pickering .................................................................................................................................TODD SCOFIELD*Professor henry higgins ................................................................................................................. DANNY BERNARDY*George, The Bartender ..................................................................................................................... JIMMY MAVRIKES*Jamie ..................................................................................................................................... ChRISTOPhER MuELLER*harry ..............................................................................................................................................WARREN FREEMAN*Mrs. hopkins ...........................................................................................................................................ALEx KIDDER*Mrs. Pearce ......................................................................................................................................VALERIE LEONARD*Butler .............................................................................................................................................WARREN FREEMAN*Alfred P. Doolittle ............................................................................................................................. ChRIS GENEBACh*Charles, The Chauffeur ........................................................................................................... ChRISTOPhER MuELLER*Mrs. higgins ....................................................................................................................................VALERIE LEONARD*Lord Boxington ................................................................................................................................. JIMMY MAVRIKES*Lady Boxington .......................................................................................................................................ALEx KIDDER*Professor Zoltan Karpathy ...................................................................................................... ChRISTOPhER MuELLER*Mrs. higgins’ Maid .............................................................................................................................ChRISTINA KIDD+Ensemble ...................................... IAN ANThONY COLEMAN+, WARREN FREEMAN*, ChRISTINA KIDD+, ALEx KIDDER*,

AShLEIGh KING*, JuLIA KLAVANS+, JIMMY MAVRIKES*, ChRISTOPhER MuELLER*

UNDERSTUDIESUnderstudies never appear for a listed player unless a specific announcement is made at the time of the performance.

Professor henry higgins - WARREN FREEMAN*; Eliza Doolittle - ChRISTINA KIDD+; Colonel Pickering, Alfred P. Doolittle - ChRISTOPhER MuELLER*;

Freddy Eynsford-hill - JIMMY MAVRIKES*; Mrs.Pearce/Mrs. higgins - ALEx KIDDER*; Onstage Swings - IAN ANThONY COLEMAN+, JuLIA KLAVINS+

UNDERSTUDIESUnderstudies never appear for a listed player unless a specific announcement is made at the time of the performance.

Professor henry higgins - WARREN FREEMAN*; Eliza Doolittle - ChRISTINA KIDD+; Colonel Pickering, Alfred P. Doolittle - ChRISTOPhER MuELLER*;

Freddy Eynsford-hill - JIMMY MAVRIKES*; Mrs.Pearce/Mrs. higgins - ALEx KIDDER*; Onstage Swings - IAN ANThONY COLEMAN+, JuLIA KLAVINS+

The musicians employed in this production are members of and represented by Washington D.C. Federation of Musicians,Local 161-710 of the American Federation of Musicians.

IN THE HEIGHTS Co-produced with Round house Theatre

SEPT 6 - OCT 8, 2017MAINSTAGE

OUR TOWNOCT 4 - NOv 12, 2017MuLITZ-GuDELSKY ThEATRE LAB

ANNIENOv 8 - DEC 31, 2017MAINSTAGE

AUBERGINECo-produced with Everyman Theatre

FEB 7 - MAR 4, 2018MAINSTAGE

EVERY BRILLIANT THINGFEB 28 - MAR 25, 2018MuLITZ-GuDELSKY ThEATRE LAB

THE CRUCIBLEAPR 18 - MAY 20, 2018MAINSTAGE

THE INVISIBLE HANDMAY 9 - JUNE 10, 2018MuLITZ-GuDELSKY ThEATRE LAB

ON THE TOWNJUNE 20 - JULY 22, 2018MAINSTAGE

THE HYPOCRITES’ PRODUCTIONS OF

THE PIRATES OF PENZANCEand H.M.S. PINAFOREJULY 11 - AUG 19, 2018MuLITZ-GuDELSKY ThEATRE LAB

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or call 301-924-3400(Wed - Sun • Noon - 6pm)

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MY FAIR LADY SCENES AND MUSICAL NUMBERS

The Place: London The Time: 1921

ACT IScene 1: Covent GardenWhY CAN’T ThE ENGLISh? .......................................................................................................................higgins

WOuLDN’T IT BE LOVERLY? ............................................................................................................Eliza and Men

Scene 2: Covent GardenWITh A LITTLE BIT OF LuCK ......................................................................... Doolittle, harry, Jamie and Company

Scene 3: Higgins’ StudyI’M AN ORDINARY MAN ...........................................................................................................................higgins

Scene 4: A StreetWITh A LITTLE BIT OF LuCK (Reprise) ...........................................................Doolittle, harry, Jamie and Company

Scene 5: Higgins’ StudyJuST YOu WAIT ...........................................................................................................................................Eliza

ThE SERVANTS’ ChORuS ...................................................................................................................The Servants

ThE RAIN IN SPAIN ................................................................................................... higgins, Eliza and Pickering

I COuLD hAVE DANCED ALL NIGhT ........................................................................... Eliza, Mrs. Pearce and Maids

Scene 6: Oustide AscotScene 7: AscotASCOT GAVOTTE ..............................................................................................................................Full Company

Scene 8: Wimpole StreetON ThE STREET WhERE YOu LIVE ...............................................................................................................Freddy

Scene 9: Higgins’ FoyerScene 10: Ballroom

ACT IIScene 1: Higgins’ FoyerYOu DID IT .................................................................................higgins, Pickering, Mrs. Pearce and the Servants

JuST YOu WAIT (Reprise) .............................................................................................................................Eliza

Scene 2: Wimpole StreetON ThE STREET WhERE YOu LIVE (Reprise) ................................................................................................Freddy

ShOW ME .................................................................................................................................. Eliza and Freddy

Scene 3: Covent GardenWOuLDN’T IT BE LOVERLY? (Reprise) .................................................................................Eliza and the Cockneys

GET ME TO ThE ChuRCh ON TIME ......................................................................................Doolittle and Company

Scene 4: Higgins’ StudyhYMN TO hIM .........................................................................................................................................higgins

Scene 5: Mrs. Higgins’ GardenWIThOuT YOu .......................................................................................................................... Eliza and higgins

Scene 6: London StreetsI’VE GROWN ACCuSTOMED TO hER FACE ...................................................................................................higgins

Scene 7: Higgins’ Foyer


SpeCIAL THAnkS TO OURMY FAIR LADY SpOnSORS!SpeCIAL THAnkS TO OUR

MY FAIR LADY SpOnSORS!

To learn more about sponsorship opportunities, please contactWesley Meekins, Individual Giving Manager,

at 301-924-4485 ext130 or [email protected]

LeAD pRODUCTIOn SpOnSOR

pRODUCTIOn SpOnSORKathleen Quinn

OpenInG nIGHT SpOnSOR

CReATIve TeAM SpOnSORSZachary Campion sponsored by Kathleen Quinn

The work of Pei Lee and the Olney Theatre Center costume shop sponsored by Lane and Cheryl Jennings

ARTIST SpOnSORSDanny Bernardy & Brittany Campbell sponsored by Steve C. Phan and Richard J. Poster

Chris Genebach sponsored by Clifford L. Johnson and Margaret T. Ropervalerie Leonard sponsored by Paul Henderson

Benjamin Lurye sponsored by Hal and Karen GordonChristopher Mueller sponsored by Kathleen Quinn

Ian Anthony Coleman sponsored by Barry and Marie FleishmanChristina Kidd & Ashleigh King sponsored by Nettie Horne


Danny Bernardy (Henry Higgins) Olney debut! NEW YORK: 59e59: Please Excuse My Dear Aunt Sally [Edinburgh Stage Award for Excellence in Acting]; St Luke’s: Cougar the Musical; NY Classical Theatre: Love’s Labour Lost, in addition to productions at Cherry Lane, The York, SoHo Playhouse, and NY Theater Workshop. Nat’l Tour: “Sex Tips…” REGIONAL: Kennedy Center: Shear Madness and principal roles at American Conservatory Theatre, Florida Studio Theatre [Nominee, Best Actor in a Supporting Role for Alabama Story], North Carolina Theatre, Cape Playhouse, Virginia Stage Co,

Delaware Theatre Co, Florida Rep. TV: ABC: One Life to Live, CBS: As the World Turns, commercial work. Member: OYL Theater Company. Carnegie Mellon, BFA.

Brittany Campbell (Eliza Doolittle) is unbelievably stoked to be a part of this amazing cast and production of My Fair Lady! BROADWAY: The Civil War, A Christmas Carol (Grace Smythe). OFF-BROADWAY: For the Last Time (Mariam) [Audelco Award Nomination for Best Lead Actress], Applemondo’s Dreams, Born Blue (Jude). REGIONAL: Little Shop of Horrors (Urchin), Caroline or Change (Washing Machine), Once on This Island (Ti Moune). OPERA: (Metropolitan Opera, Lincoln Center) Eugene Onegin, Stiffelio, Rusulka. FILM: Master of None, She’s Gotta Have it (Spike Lee), Law and

Order SVU, Third Watch, Sesame Street. STUDIO ALBUMS:”Stay Gold Pt 1” (2016) “Heroes” (2014) “Nerd” (2011) [Ourstage Award, Best Pop Vocalist] EDUCATION: Carnegie Mellon University. Love you Mom, T.C, Shayne, and of course, B-rad!Instagram: @BrittanyCampbellMusic.

Ian Anthony Coleman (Ensemble) is thrilled to perform with Olney Theatre Center for the first time! He was last seen in the World Premiere musical Dorians Closet at Rep Stage. Other D.C. Credits include: Arena Stage: Oliver!; Round House Theatre: Father Comes Home From The Wars Parts 1, 2 & 3; Imagination Stage: Wiley and The Hairy Man [Helen Hayes Award, Outstanding TYA Production] and Beauty & the Beast; Constellation Theatre: Peter & The Starcatcher; Creative Cauldron: Once On This Island [Helen Hayes nominee, Outstanding Musical]; Keegan Theatre: HAIR [Helen Hayes Nominee, Outstanding

Ensemble] and A Few Good Men (Irish National Tour). Upcoming: Dreamgirls with Toby’s Dinner Theatre. Ian holds a B.S. from Carnegie Mellon University and completed the Overtures Musical Theatre Institute at Signature Theatre. He is a proud company member of Only Make Believe. www.ianathonycoleman.com

Warren Freeman (Ensemble) NATIONAL TOURS: My Fair Lady, Cats, The Sound of Music. REGIONAL: City Center Encores!, Goodspeed, North Shore, Across the Universe (film). D.C. AREA: American Pops Orchestra (Soloist/Vocal Arrangements), National Broadway Chorus (Associate Conductor), Signature Theatre (Music Director/Arranger). EDUCATION: BFA, Penn State; MM, Shenandoah Conservatory; Currently on voice faculty at Catholic University. Warren-freeman.com

Chris Genebach (Alfred P. Doolittle) is excited to be returning to OTC where he has been seen in Carousel and Awake & Sing!. DC credits include: Mosaic Theatre Company: A Human Being Died that Night, Ulysses on Bottles; Shakespeare Theatre Company: Romeo & Juliet, Henry IV: Parts 1 and 2, Measure for Measure, Two Gentleman of Verona, Julius Caesar (FFA), Cymbeline, King Lear, Titus Andronicus; Woolly Mammoth Theatre Company: Mr. Burns, A Post Electric Play; Folger Theatre: Twelfth Night, Henry V, Othello, Cyrano, Orestes: A Tragic Romp; The Studio Theatre: The Big Meal, Superior Donuts, Shining City. NEW YORK:

Broadway: Manhattan Theatre Club: Shining City; Off-Broadway: The Duke: Rose Rage: Henry VI Parts 1, 2 and 3, MTC: The Other Side. REGIONAL: Everyman Theatre: Death of a Salesman, A Streetcar Named Desire, An Inspector Calls; Goodman Theatre: King Lear; Chicago Shakespeare Theater: Short Shakespeare! Macbeth, Rose Rage: Henry VI, Parts 1, 2 and 3, King John, Short Shakespeare! A Midsummer Night’s Dream, Short Shakespeare! Romeo & Juliet.

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Christina Kidd (Ensemble) is thrilled to make her Olney Theatre Center debut. REGIONAL: Penn State Centre Stage: Next to Normal (Natalie). DC AREA: Arena Stage: The Music Man; Ford’s Theatre: Parade. SUMMER THEATRE: Millbrook Playhouse: Disney’s The Little Mermaid (Ariel), The Rocky Horror Show (Columbia), Rock of Ages; Shenandoah Summer Music Theatre: Crazy for You (Irene), Chicago; Nittany Theatre at the Barn: The Addams Family (Wednesday). EDUCATION: BFA in Musical Theatre from Pennsylvania State University.

Alex Kidder (Ensemble) OFF-BROADWAY: A Dog Story (Davenport). NY THEATRE: NYMF: Crude, To Dance Reading (Dir: Jeff Whiting), Stars and Strikes Reading (Dir: Ray Roderick, Writer: Marc Acito, MD: Michael Dansicker). REGIONAL: Westchester Broadway Theatre: Ragtime (Mother u/s); Courthouse Center Stage: Titanic (Kate McGowan); Mountain Playhouse: Marvelous Wonderettes (Missy - Dir: Chan Harris, Choreo: Jacob Toth); Lake Dillon Theatre Company: The World Goes Round (Woman 2); Kimmel Center Zanna Redux Reading, (Dir. Alan Souza, Writer: Tim Acito, Choreo: Maxx Reed). MANY thanks

to Alan, Grady, the My Fair Lady Team, The Mine, and Lampiasi Talent Management. All my love and forever grateful to my family. www.alex-kidder.com

Ashleigh King (Ensemble) is thrilled to be back at Olney Theatre Center. She has previously appeared at Olney Theatre Center in: Joseph..., Grease, How to Succeed..., Disney’s The Little Mermaid, Godspell, Evita, and Mary Poppins. NATIONAL TOUR: Elephant & Piggie’s: We Are in a Play! DC AREA: The Kennedy Center: Debbie Allen’s Brothers of the Knight, Dreams, Pearl, Pepito’s Story, Elephant & Piggie; Studio Theatre: Torch Song Trilogy, The Rocky Horror Show; Signature Theatre: Hairspray, Dreamgirls; Ford’s Theatre: Ragtime; UPCOMING: In The Heights and Annie at Olney Theatre Center.

Julia Klavans (Ensemble) Olney Theatre Center: Mary Poppins, Guys and Dolls. National Tour: Kennedy Center Theater for Young Audiences: Elephant and Piggie’s We are in a Play!; Adventure Theatre MTC: Jumanji; Constellation Theatre: Absolutely! Perhaps; Flying V Theatre: The Oregon Trail; Unexpected Stage: Zombie Prom; Smithsonian’s Discovery Theater: Seasons of Light; Source Festival: (a love story); National Academy of Chinese Theatre Arts: A Midsummer Night’s Dream. Julia is a proud graduate of Baltimore School for the Arts and University of Maryland, College Park.

valerie Leonard (Mrs. Pearce/Mrs. Higgins) was most recently seen by Olney audiences as Miss Andrews in Mary Poppins, General Cartwright in Guys and Dolls, Judith in Hay Fever, and as Esther in The Price. In previous years, she has performed in over 20 productions at Olney Theatre including such roles as Mrs. Kendall in The Elephant Man, Margrethe in Copenhagen, Anna in Anna Karenina, Ruth in The Homecoming, Amanda in Private Lives, Hannah in The Night of the Iguana, Joy in Shadowlands, and Therese in Therese Raquin [Helen Hayes Award Nomination, Outstanding Lead Actress]. Ms. Leonard’s

most recent DC credit is The How and The Why at Theater J. Some of her other DC area credits include, Arena Stage: Fiddler on the Roof, Guess Who’s Coming to Dinner, Theophilus North, A Man’s A Man; Shakespeare Theatre Company: A Midsummer Night’s Dream, Titus Andronicus, Comedy of Errors; Signature Theatre: Sunday In The Park With George [Helen Hayes Nomination, Best Ensemble], A Fox on the Fairway; Rep Stage: A Lie of the Mind, Hamlet; Catalyst: The Elephant Man [Helen Hayes Award Nomination], Studio Theatre and Potomac Theatre Project. On Broadway, Ms. Leonard appeared in Sir Peter Hall’s An Ideal Husband and in two National Tours as Gwendolyn Pigeon in The Odd Couple (with Tony Randall and Jack Klugman) and as Maggie in Lend Me A Tenor. Ms. Leonard is a proud member of Actors’ Equity and received her MFA from Rutgers University.

Benjamin Lurye (Freddy Eynsford-Hill) is honored to receive his Actor’s Equity membership for this production, at the same theater that gave him his first professional acting job 7 years ago. OTC: Sweeney Todd, Mary Poppins, Joseph and the Amazing Technicolor Dreamcoat, Forever Plaid (2010); Signature Theatre: Diner, Sweeney Todd, Revenge of the Understudies; UrbanArias: Blue Viola, Craigslist Cabaret, The Good Friar; Studio Theatre: Carrie; Ford’s Theatre: Hello, Dolly! [Helen Hayes Award, Outstanding Ensemble]; ATMTC: Frog and Toad, Five Little Monkeys, Alexander...Bad Day, James and the Giant Peach;

WHO’S WHO - CAST


WHO’S WHO - CAST

Toby’s Dinner Theatre: Les Miserables (Enjolras), 1776, Ragtime, Joseph...Dreamcoat (Joseph); 1st Stage: Parfumerie, Floyd Collins. TEACHING: Imagination Stage, ATMTC. EDUCATION: BM in Vocal Performance from the University of Maryland. UPCOMING: A Little Night Music at Signature Theatre. Love to his parents, sister, B&Z, and fiancée Isabella. Follow him at www.benlurye.com.

Jimmy Mavrikes (Ensemble) Olney Debut! DC AREA: Arena Stage: Fiddler on the Roof, Oliver!; Adventure Theatre MTC: Petite Rouge, James and the Giant Peach [Helen Hayes Award, Outstanding Ensemble]; 1st Stage: Bat Boy (Bat Boy) [Helen Hayes Award Nominee, Outstanding Actor in a Musical]; Signature Theatre: Cabaret; Toby’s Dinner Theatre: Into the Woods (Jack), Spamalot; Infinity Theatre Company: She Loves Me (Arpad), Sisters Of Swing. Proud AEA member and B.M. Musical Theatre Graduate of Catholic University. Jimmy also serves as Co-Artistic Director for Monumental Theatre Company.

Thanks to Alan, Chris, Grady, and the whole Olney team for this amazing opportunity.

Christopher Mueller (Ensemble) OLNEY: Carousel, Godspell, Spring Awakening; NEW YORK: LaGuardia Arts: Chess in Concert. DC AREA: Kennedy Center: Camelot in Concert, My Fair Lady in Concert; Ford’s Theatre: Ragtime. Signature Theatre: Titanic, The Fix, Crossing, Miss Saigon, Spin, Brother Russia, Chess, Sweeney Todd, The Hollow, The Boy Detective Fails, Giant, Kiss of the Spider Woman. Shakespeare Theatre: Two Gentlemen of Verona (a rock opera); Arena Stage: Redhand Guitar Workshop, Skindiver Reading; Keegan Theatre: The 25th...Spelling Bee, RENT; Imagination Stage: Dr. Doolittle, Disney’s

Mulan; Adventure Theatre: Rudolph the Red-Nosed Reindeer. www.christophermueller.net

Todd Scofield (Colonel Pickering) Olney Theatre Center: Neville’s Island. Over the past 14 years in DC, he has done numerous shows at Shakespeare Theatre Company, Folger Theatre, and Round House Theatre, as well as shows at Studio Theatre, Theater J, Ford’s Theatre, Adventure Theatre-MTC, and Imagination Stage. Outside of the DC area, Todd worked at Everyman Theatre, Arden Theatre, PlayMakers, Charlotte Rep, and four seasons at North Carolina Shakespeare Festival. Television: Recurring role in Seasons 3 and 5 of The Wire.

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Alan Jay Lerner (Book/Lyrics) American librettist and lyricist who collaborated with composer Frederick Loewe on the hit Broadway musicals Brigadoon (1947), Paint Your Wagon (1951), My Fair Lady (1956), and Camelot (1960) and the film Gigi (1958). Lerner, whose parents were prosperous retailers (Lerner Stores, Inc.), was educated at Bedales School, Hampshire, Eng.; Choate School, Wallingford, Conn.; the Juilliard School of Music, New York City; and Harvard University (B.S., 1940), where he contributed lyrics to Hasty Pudding shows. He wrote more than 500 radio scripts between 1940 and 1942, the year he met Loewe (who had been composing theatrical songs with little success) at The Lambs theatrical club in New York City. One Lerner and Loewe Broadway production failed, and a second had a five-month run before the 1947 success of Brigadoon. My Fair Lady, their fifth musical, based on George Bernard Shaw’s Pygmalion, was an unprecedented triumph in American musical theatre. Produced by Columbia Broadcasting System, it set a record at the time for the longest original run of any musical production in London or New York City, was mounted in more than 20 countries, translated into 11 languages, toured the United States for several years, and was revived several times. The film version (1964) won seven Academy Awards. Brigadoon (1954), Paint Your Wagon (1969), and Camelot (1967) were also made into popular motion pictures. Gigi, Lerner and Loewe’s collaboration directly for film, received nine Academy Awards. Without Loewe, Lerner wrote the book and lyrics for Kurt Weill’s Love Life (1948), and he produced scripts for several films, including An American in Paris (1951), for which he won an Academy Award. He attempted to collaborate with Richard Rodgers in the 1960s, but the partnership did not work out; and Lerner joined the composer Burton Lane for On a Clear Day You Can See Forever, successfully produced on Broadway in 1965 and filmed in 1970. Lerner also collaborated with Lane on Carmelina (1979) and with the composers André Previn on Coco (1969), Leonard Bernstein on 1600 Pennsylvania Avenue (1976), and Charles Strouse on Dance a Little Closer (1983). In 1978 Lerner published an autobiography, The Street Where I Live (the title being an echo of one of the famous songs in My Fair Lady).

Frederick Loewe (Music) German-born American composer and collaborator with Alan Jay Lerner on a series of hit musical plays, including the phenomenally successful My Fair Lady (1956; filmed 1964). Loewe, whose father was a Viennese actor and operetta tenor, was a child prodigy, playing the piano at age 5, composing for his father’s presentations at 7, and at 13 becoming the youngest soloist to appear with the Berlin Philharmonic Orchestra. He received advanced musical instruction from Ferruccio Busoni and Eugène d’Albert. Loewe wrote a popular song, “Katrina,” at age 15, and more than 1,000,000 copies of the sheet music for it were eventually sold. Loewe arrived in the United States in 1924 and worked in a variety of odd jobs for the next 10 years. In 1934 he contributed music to the Broadway play Petticoat Fever, and by 1936 he was writing music for Broadway revues, but he received little acclaim. Loewe collaborated with lyricist Earle Crooker on the musical plays Salute to Spring (1937) and Great Lady (1938), but they similarly failed to gain attention. In 1942 Loewe met Alan Jay Lerner at The Lambs, a theatrical club in New York City, and asked him to work on revising Salute to Spring for a Detroit producer. They continued their collaboration through two failures, What’s Up? (1943) and The Day Before Spring (1945), before achieving success on Broadway with Brigadoon (1947). This was followed by Paint Your Wagon (1951), My Fair Lady, the film Gigi (1958), and Camelot (1960). Personal differences between Loewe and Lerner surfaced during the writing of Camelot, and they suspended their collaboration for more than a decade. They reunited to adapt Gigi for the stage (1973) and to write the score for the film The Little Prince (1974). The score of My Fair Lady was among the most successful ever to emerge from the American musical theatre. More than 5,000,000 copies of the Broadway-cast recording were sold, and, of Loewe’s 16 very different melodies, “I Could Have Danced All Night,” “On the Street Where You Live,” and “I’ve Grown Accustomed to Her Face” underwent innumerable arrangements and renditions. His music ranged from high romance (“If Ever I Would Leave You” from Camelot and “On the Street Where You Live” from My Fair Lady) to lighthearted melodies (“The Night They Invented Champagne” and “Thank Heaven for Little Girls” from Gigi) to subtle settings for nearly spoken songs (“Why Can’t the English?” from My Fair Lady and “How to Handle a Woman” from Camelot).

Alan Souza (Director) is a freelance director whose work has been seen at Drury Lane/Chicago, Laguna Playhouse, New Jersey Repertory, Arkansas Repertory, Walnut Street Theatre, The New Theatre, Maltz Jupiter Theatre, Syracuse Stage, 3-D Theatricals, Human Race Theatre Company, Texas Shakespeare Festival, and the John W. Engeman Theater at Northport, among others. He has been nominated for the Carbonell Award and has received multiple Edgerton Foundation Grants for new works. Alan has directed the original benefit performances on Broadway for the Actors Fund of America and the Christopher Reeve Foundation. He is also a frequent Guest Artist in University Drama Programs throughout the country and a faculty member for the Broadway Dreams Foundation. He is happy to make his Olney debut! In memory of Jack Lee.

WHO’S WHO - CREATIvE

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Grady McLeod Bowman (Choreographer) is new to the Olney Theatre Center. Choreographer: Off-Broadway: The Very Hungry Caterpillar; Capital Rep/Barter Theatre: A Night With Janis Joplin; Gateway Playhouse: Grease; Northern Stage: Beauty and the Beast; Pace University: Godspell; Cape Fear Regional Theatre: Jesus Christ Superstar. Associate Director/Choreographer: Second Stage Theatre: Dogfight; The Old Globe: In Your Arms; Capital Rep/Barter Theatre: A Night With Janis Joplin; Goodspeed: The Great American Mousical; NY Developmental Lab: Top Hat. Grady has also choreographed 2 original contemporary works with students at NC School of the Arts. www.gradymcleodbowman.com

Christopher Youstra (Music Director/Associate Artistic Director - Music Theater) As the past resident music director, Mr. Youstra has music directed and conducted around 40 musicals at Olney Theatre Center, including Sweeney Todd, Evita, Carmen: An Afro-Cuban Jazz Musical, Carousel, Godspell, How to Succeed In Business Without Really Trying and Avenue Q. He has also music directed at many of the other local theaters including Ford’s Theatre: Ragtime; Studio Theatre 2nd Stage: Bloody, Bloody Andrew Jackson, Jerry Springer: The Opera, Passing Strange; Studio Theatre: Adding Machine: A Musical; Round House Theatre: Once on This Island, A Murder A Mystery A Marriage, The Summer of ‘42, and The World Goes ‘Round; Toby’s Dinner Theatre: Les Misérables, The Color Purple, Titanic, Beauty and the Beast; Imagination Stage; The Kennedy Center Theatre for Young Audiences; Arena Stage; Burn Brae Dinner Theatre; Montgomery College; American University; Musical Theatre Center; Signature Theatre; and Columbia Center for the Theatrical Arts. Mr. Youstra has been nominated for nine Helen Hayes Awards for Outstanding Music Direction and received the award for Titanic. He is director of music at St. John the Evangelist Parish in Columbia, has worked with both Phoenix Productions and Troika Entertainment national touring company and toured both Europe and Korea with Smokey Joe’s Café. As a composer, Mr. Youstra’s music has been heard throughout the area, including The Dancing Princesses at Imagination Stage, Big Nate: The Musical (with Jason Loewith), the Helen Hayes Awards, the 2014 Summer Hummer, and the opening gala of the ATLAS center.

Zachary Campion (Dialect Coach) is a freelance voice, speech and dialect coach from San Antonio, TX. Recent credits at Olney Theatre Center include coaching dialects for Sweeney Todd, Angels in America (Parts 1 & 2), Dial ‘M’ for Murder, and coaching voice for National Players Tour 68. Other DC credits include coaching dialect for Hand to God* [Nominated for 6 Helen Hayes awards], Chimerica, Terminus*, and Between Riverside and Crazy at Studio Theatre, and the world premiere of The Gulf* at Signature Theatre. Zach is a certified teacher of Fitzmaurice Voicework® and is a member of the Studio Theatre Acting Conservatory faculty. EDUCATION: MFA in Theatre Pedagogy from Virginia Commonwealth University, BFA in Performance and Production from Texas State University. Voicecoachdc.com *denotes Helen Hayes nominated productions

Max Doolittle (Lighting Designer) DC Area credits include: Woolly Mammoth Theatre Company, Mosaic Theatre Company, Signature Theatre, Forum Theatre, Shakespeare Theatre ACA, Adventure Theatre MTC, Kennedy Center, Pointless Theatre Co, NextStop Theatre. NYC includes: Ars Nova, Juilliard School, New Ohio Theatre, New World Stages. Regional includes Kitchen Theatre Company, Fulton Theatre, Pennsylvania Shakespeare Festival, Florida Grand Opera, Mississippi Opera Studio, and Minnesota Opera. Lighting direction for television includes Anderson Cooper 360, Piers Morgan Live, and TED Talks. Aboard cruise ships: Wine Lovers the Musical. Max is a faculty member at The University of Mississippi. BFA: Ithaca College. MFA: University of Maryland. Member: USA-829. Web: www.maxdoolittledesign.com

James Fouchard (Scenic Designer) previously created sets for Olney’s productions of The Price, The Producers, The Little Mermaid, The King and I, Cinderella, Little Shop of Horrors, Sound of Music, Dames At Sea and Oh, Coward!. Other design credits include the national tours of Can-Can (starring Chita Rivera), Joseph...Dreamcoat (starring Patrick Cassidy), The Show-Off (starring Jean Stapleton), 42nd Street (Asia Tour), Thoroughly Modern Millie, Phantom, Little Shop of Horrors, South Pacific, Sound of Music (USA and Asia), Crazy For You, Grease, Oklahoma!, Singin’ In The Rain and the Charleston production of Porgy and Bess. He has also served as Scenic Supervisor for tours of The Will Rogers Follies, Smokey Joe’s Cafe and Evita (supervised by Harold Prince). Other designs include productions for Papermill Playhouse, Pittsburgh CLO, American Musical Theater, Ford’s Theater, Everyman Theatre, Walnut Street Theater, the John F. Kennedy Center, Peabody Conservatory, Syracuse Stage, Theatre of the Stars, Rep Stage, OperaDelaware, Summer Opera Theater, Opera Columbus, Feld Entertainment, and Harrah’s (Atlantic City and Lake Tahoe). For the past 35 summers, he has served as resident scenic designer at Pennsylvania’s Totem Pole Playhouse. He is a member of United Scenic Artists, and also currently serves as an Artistic Associate for Olney Theatre Center. Visit www.jamesfouchard.com.

http://www.maxdoolittledesign.com/

http://www.jamesfouchard.com/



Pei Lee (Costume Designer) NATIONAL PLAYERS: Macbeth, Comedy of Errors, Odyssey, Romeo and Juliet, Animal Farm, Twelfth Night, The Call of the Wild. OLNEY THEATRE CENTER: Disney’s The Little Mermaid, The Tempest, Cinderella, The 39 Steps, Triumph of Love, The Call of the Wild, Peter Pan, Big River, Democracy, Miracle Worker, Carousel, Copenhagen, and Monster. DC AREA: Forum Theatre: The Last Days of Judas Iscariot [Helen Hayes Award Nomination, Outstanding Ensemble] and Skriker; Rorschach Theatre: References to Salvador Dali Make Me Hot; Catalyst Theatre: 1984; Potomac Theatre Project: No End of Blame; UMBC Theatre Department: GUM; Adventure Theatre MTC: Ugly Duckling, The Jungle Book; Loyola College: Dimly Perceived Threats to the System; Synetic Theatre: Hamlet: The Rest is Silence.

McCorkle Casting Ltd. (New York Casting) Over 55 Broadway productions including the current hit On the Town and Amazing Grace. Other casts include the Tony nominated, Broadway production, End of the Rainbow and highly acclaimed off Broadway plays; Tribes and Our Town both directed by David Cromer. A partial list of other Broadway casts include; High, The Lieutenant Of Inishmore, The Glass Menagerie, Cat On A Hot Tin Roof, One Flew Over The Cuckoo’s Nest, The Ride Down Mt. Morgan, Amadeus, She Loves Me, Blood Brothers, A Few Good Men. Notable Off-Broadway projects include; Clever Little Lies, Falling, Freud’s Last Session, Almost Maine, Ears On A Beatle, Down The Garden Paths, Killer Joe, Mrs. Klein, Driving Miss Daisy. Over 50 Feature Films include; Premium Rush, Junction, Ghost Town, Bereft, Secret Window, Basic, The Thomas Crown Affair, The 13th Warrior, Madeline, Die Hard with a Vengeance, School Ties, Splash, End of the Line, Brenda Star, My Man is a Loser, Junction, etc. and 60 projects for television and New media; Twisted (ABC Family pilot), Sesame Street, 27 East, Electric Company, Californication, (Emmy nomination), Hack (CBS), Education of Max Bickford (CBS), 3Lbs (CBS), Barbershop, Chapelle’s Show, Remember Wenn, among many others. The upcoming feature film, Morning Son is currently underway.

Alexandra Pohanka (Wig Designer) is excited to be designing her first show at Olney Theatre Center. REGIONAL: Lyric Theatre of Oklahoma: Big Fish; Annapolis Opera: Faust, South Pacific, Little Women (upcoming); Round House Theatre: Caroline, or Change. EDUCATION: B.A. in Art History from Oberlin College.

Trevor A. Riley (Production Stage Manager) Olney Theatre Center: The Diary of Anne Frank, Bakersfield Mist, Godspell, A Christmas Carol. DC AREA: Arena Stage: Intelligence, Carousel, Destiny of Desire, Our War. Imagination Stage: The Jungle Book, Jack and Phil: Slayers of Giants, INC, A Year With Frog and Toad, Sinbad: The Untold Tale. Other works with Woolly Mammoth Theatre Company, Studio Theatre, and Taffety Punk.

Matt Rowe (Sound Designer) DC AREA: Olney Theatre Center: Sweeney Todd, A Chorus Line; Kennedy Center: Orphie, And The Book Of Heroes, First You Dream (Associate Sound Designer), Snow White, Rose Red (and Fred!), Nobody’s Perfect. MetroStage: The Last Five Years; Signature Theatre: Miss Saigon, Company, The Last Five Years, Shakespeare’s R&J, Dreamgirls, Dying City, The Best Little Whorehouse in Texas, Xanadu, God of Carnage, Brother Russia, Really Really, Hairspray (Helen Hayes nomination), A Second Chance, Sweet Tea: Black Gay Men of the South, The Boy Detective Fails, The Hollow, Side by Side by Sondheim, Art, And the Curtain Rises, Sunset Boulevard, Walter Cronkite is Dead, A Fox on the Fairway, Chess, Sycamore Trees, [title of show], Sweeney Todd, Show Boat, First You Dream: The Music of Kander & Ebb, Dirty Blonde, Giant, The Little Dog Laughed, Les Miserables, Anyone Can Whistle in concert, The Visit, The Happy Time, Kiss of the Spider Woman, Glory Days, Merrily We Roll Along, The Witches of Eastwick. Norwegian Cruise Lines: Million Dollar Quartet, Rock Of Ages.

Debbie Ellinghaus (Managing Director) was born in Washington, DC. Her mother was a Montgomery County Public School math teacher and her dad was a college professor. She can trace her mother’s family back to the 1500’s when they were ousted from Spain because they were Jewish. Other family ancestry connects her to Eastern Europe. In 1976, her parents moved to Columbia, MD, where she was raised in the “new planned city” built to encourage racial, ethnic and religious harmony in a suburban utopia. Debbie, the oldest of two, did not inherit her dad’s speed on the football field, her mom’s quick serve on the tennis court, or her sister’s strength in the swimming pool; instead she found her feet in the theater, thanks in large part to her grandmother, who took her to see Annie at the Kennedy Center in 1978. But also thanks to her parents, who spent Sunday mornings listening to Broadway show-tunes on the record player before turning on the football game. Despite her suburban upbringing, Debbie longed for the city life. So, upon graduating from the University of Maryland, she moved to New York. In the Big Apple she had many jobs and met many interesting people, including Andrew, whom she married. After getting hitched, they moved to New Haven, Connecticut, where they had their kids, Madeline and Griffin, and spent some years enjoying life in New England. Career and family twists and turns eventually brought them to Howard County where they now live in an old farmhouse



with a backyard view of a cornfield. Debbie volunteers in the community where she lives: as chair of the Downtown Columbia Arts and Culture Commission; and in the community where she works: as a member of the Board of Medstar Montgomery Medical Center and the Olney Chamber of Commerce. She’s frequently found applauding loudly for her daughter, who’s got the “performing bug”; cheering wildly for her son at track meets; grooving to her husband’s music (he’s a drummer in a band); and spoiling her dog, a 75 lb pit-bull rescue. In her down-time she likes to run, swing kettlebells, and do the occasional yoga from the privacy of her own home. Also, thanks to her kids’ interests, she’s attempting to learn to bake and build cities with legos. She’s been employed since age 12 when she had a paper route; thankfully, gigs at universities and non-profit organizations followed. She’s been Managing Director of Olney Theatre Center since August 2014.

Jason Loewith (Artistic Director) grew up in Fairfield, Connecticut, and on weekends he took the train to New York with his family to see shows. His dad was the comptroller of a Formica manufacturing company, and his mom was the first woman in the state to be president of a conservative synagogue. After her parents became ill, she took over their dress shop in a now sadly derelict part of Bridgeport. Jason particularly enjoyed hiding in the poufy dresses on the rack, and selling costume jewelry during the store’s annual sidewalk sale. He inherited his father’s love of numbers, working part-time as a bank teller, and leading Math Team in high school and as a bookkeeper for various nonprofit organizations as an adult. From his mother he inherited a dedication to Jewish causes, joining the international Board of United Synagogue Youth and working at the Jewish Home for the Aged during high school, and serving as chair of Brown University’s Committee for Soviet Jewry as an undergraduate. Jason seriously considered studying to become a rabbi, but the theater intervened, taking him to Santa Barbara, Los Angeles, New York City, Chicago, and finally the Washington, DC region, where he’s been for eight years. Jason has directed some 30 plays, written a handful, managed or produced hundreds, and done just about every other job there is to do in a theater--all of which has helped him learn the value of a dollar, the importance of honesty, and the fact that you do not put a silk suit in either the washing machine or the dryer. On days off, Jason loves to cook (ask him how he learned to make bouillabaisse), hang out with his twelve nieces and nephews, play Civilization, bike and jog (just don’t ask the last time he did either), vacation in faraway places, and listen to music written between 1950 and 1986. He volunteers for local and national arts organizations, and has just begun volunteering for a youth mentoring organization in DC. He lives on Capitol Hill with his partner Ned and their dog Mortimer in a teeny but charming Victorian row house that is majority-owned by Citibank. Jason has been the Artistic Director of Olney Theatre Center since 2013.

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Eliza was not supposed to end up with Professor Higgins. Or so says George Bernard Shaw, author of the play Pygmalion, on which My Fair Lady is based (and the source of most of its dialogue). “The history of Eliza Doolittle,” Shaw writes in his ‘Sequel: What Happened Afterwards,’ is “called a romance because the transfiguration it records seems exceedingly improbable.” That does not mean, however, that as the heroine Eliza must end up marrying the hero, Higgins. No, Shaw insists, she would have married Freddy and run a flower shop with him, while Higgins would remain “a confirmed old bachelor.”

Of course, how firmly Shaw actually believed that is anybody’s guess; by all accounts he was a contrarian who delighted in frustrating expectations, and elsewhere he even contradicted himself. A fascinating polemical figure, Shaw is famous for his intellectual discussion plays, battles of ideas that inspired the adjective “Shavian.” With Pygmalion he ostensibly set out to explore phonetics and arbitrary aspects of class that could be overcome if proper education were available to all.

Yet if we turn to the eponymous and inspirational myth of Pygmalion, we once again encounter a love story. That myth usually begins by describing how the sculptor Pygmalion has come to despise the women around him and so creates a sculpture of his ‘perfect’ woman—and winds up falling in love with her. Goddess Aphrodite then brings his sculpture to life, and they have a blissfully happy marriage.

Despite Shaw’s arguments to the contrary, the script of Pygmalion certainly seems to have hints and more than hints that Eliza and Higgins are attracted to each other. So when French filmmaker Gabriel Pascal adapted Pygmalion for the screen, he worked with Shaw on the screenplay and ultimately created a more ambiguous ending to allow for that possibility. When Lerner and Loewe later adapted Shaw’s play as a musical, they also drew from the film—including that ambiguous ending—and wrote their famous ‘non-love love songs’: “I Could Have Danced All Night” and “I’ve Grown Accustomed to Her Face.”

My Fair Lady might be more readily seen as a love story if Higgins were not so darn misogynist; he’s continually belittling Eliza and ranting against women in general. But considered closely, Higgins seems more disgusted with the subservient role women play than anything else. Indeed, he’s most attracted to Eliza as “a tower of strength, a consort battleship” when she boldly stands up for herself. And Eliza isn’t afraid to do so; she’s a go-getter who asks for what she wants, shrewdly negotiates, and argues with men older and higher class than she is.

It seemed appropriate, therefore, to bump the setting of our My Fair Lady up a decade, so rather than taking place in 1912, it’s the 1920s, when women are discovering all kinds of new freedoms. Women over the age of 30 have just gotten the vote; thousands have joined the workforce (largely thanks to WWI); and, of course, it’s the age of the flapper, the quintessentially liberated woman with her bobbed hair and short skirts and bold makeup. More than ever is out there for the taking, for those women like Eliza who are bold enough to grab it.

Higgins recognizes the fire of a fellow spirit, someone who can and will challenge him. And Eliza is finally seen, truly seen by a fellow person, not only for what she is but also all she has the potential to be. The two may not end up ‘blissfully happy’ together like the myth, but ‘what happens afterwards,’ just like what happens onstage, must be a fiercely stimulating love story.

– Emily Sorensen, Dramaturg

A CONTEXT GUIDE

CONTEXT GUIDE

“THE ESSENTIALS”In designing the set, Jim Fouchard stripped “things down to the essentials” in order to keep the focus on “these two strong characters clashing in their attraction to each other.” He conceived of the space “like a boxing ring, or even a cage fight.” So rather than the traditional, fussy Ed-wardian set, you’ll see locales “reduced down to recognizable parts.” Throughout, we’re “us-ing the same space, lighting it differently, and creating different articulations with the props that are coming in.” We’re “not trundling on any large scenic pieces that we’re not really in-terested in and aren’t helping move the story.” Rather, the focus is very much on the words be-ing said onstage and the evolution of Higgins and Eliza’s relationship.

OUROURset Designer Jim Fouchard, Costume Designer Pei Lee, and Director alan souza on taking a classic musical, originally set at the turn of the 20th Century, and moving it to the1920s for an audience in 2017.

Set Renderings by Jim Fouchard

MY FAIR LADYMY FAIR LADY

As artists, I believe we have an obligation to rethink classic shows in a way that cuts against people’s memories and expectations. What I think we offer, instead, are great stories told from perspectives relevant to our current collective consciousness.

In 1921 women had suffrage in England, at least in theory. But, as is too apparent in our own socio-economic-political environment, rights and privileges continue to be up for interpretation and distortion.

Here though, an emboldened Eliza in far more active pursuit of changing her trajectory, encoun-ters a surprisingly intrigued and aroused Higgins, even as he clings mightily to his diminishing authority. Add to this Shaw’s insistence that he penned a throbbing love story and the outcome seems only determined in metaphorically-pugilistic fashion.”

–Alan Souza, My Fair Lady Director

“THrougH ELIzA’S EyES…”To more clearly tell the story from Eliza’s perspective, costume designer Pei Lee conceived of the characters’ clothing psychologically, utilizing a “tight color palette” to “increase the juxtaposition of different characters.” To reflect Eliza’s growth and arc through the show, we begin essentially in black and white.

“AN EmboLdENEd ELIzA…”

In our first location, Covent Garden, “all the principals, as well as the ensemble, are in this black and white and monochromatic palette.” Wealthy characters, however, are “glossy and shinier,” which “creates a contrast under the stage lights” and “the class system is immedi-ately visible.”

When we get to Eliza’s first test at Ascot, the “costumes in the whole scene literally represent her emotional psyche at the time: everything is vibrant and overwhelming. She’s nervous and excited; everything is oversaturated and more stylized and over-the-top. The hats are big and if you look closely, they’re sort of phonetic sym-bols, and they’re there to remind Eliza not to screw up. It’s for her; it’s how she feels at the time.”

Later on, the “palette becomes more elegant” as Eliza “has become more comfortable with this elegant side of her.” The colors and costumes are “less stylized and harsh.”

Costume Renderings by Pei Lee

MY FAIR LADYCONTEXT GUIDE

WOmEN’S PLACEBefore World War I, men and women operated in very different spheres. Women had no ‘personhood’ under the law, but were entirely covered by their husbands. Things were slowly changing with industrialization as more women worked in factories, and suddenly there was a host of ‘middle class’ women who neither had jobs nor large estates to run—and thus turned to volunteering and politics. The War then employed more women than ever before, both to make up for the men lost to fighting and to provide extra services in munitions factories and hospitals. Once the war was over, women were eager to hold on to their newfound freedom and independence.

The Flapper Magazine (not for old Fogies!), 1922:“she’s independent, full of grace, a pleasing form, a pretty face; is often saucy, also pert, and doesn’t think it wrong to flirt; knows what she wants and gets it, too; receives the homage that’s her due; her love is warm, her hate is deep, for she can laugh and she can weep; but she is true as true can be, her will’s unchained, her soul is free; she charms the young, she jars the old, within her beats a heart of gold; she furnishes the spice of life—and makes some boob a darn good wife!”

RESISTANCEResistance to women’s liberation and suffrage came from all sides. The Women’s National Anti-Suffrage League was founded in 1908, the same year a petition against women having the vote drew 337,018 signatures. Later on in 1910 the organization merged with the Men’s League for Opposing Woman Suffrage to form the National League. Among their founding principles was: “Because the spheres of men and women, owing to natural causes, are essentially different, and therefore their share in the public management of the State should be different.”

SuffrageTTe CiTyOlney Theatre Center’s My Fair Lady is set in London the 1920s, the age of women’s liberation, suffrage, and the iconic flapper (epitome of the “modern” woman). Take a look at some of the features of the times…

THE WOmEN’S SUFFRAgE mOvEmENTThe first organization, London Society for Women’s Suffrage, was formed back in 1867 to campaign peacefully. In 1903, Emmeline Pankhurst formed Women’s Social and Political Union and led women to perform more militant acts: chaining themselves to buildings, throwing bombs, and hunger striking in prison. WWI put all suffrage organizations’ actions on hold. In 1918, women over 30 were granted the vote—largely to make up for the constituent base the Conservative Party lost in the war. It wasn’t until 1928 that all citizens over 21 were able to vote.

Want to know more about My Fair Lady? Check out our dramaturgy blog atotc-dramaturgy.tumblr.com. There you can learn more about the show’s history,

read Q&A’s with the cast, dive into the world of 1920’s London, and more.


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A NOTE FROM THE MANAGING DIRECTOR

Dear Friends,

Because of our summer stock roots, summertime is an exciting and energetic season at Olney Theatre. And we’re looking forward to revving up our engines to create special experiences for theater-goers and theater-makers of all ages.

In the Mainstage you’ll see an inventive re-imagination of My Fair Lady, and over in the Lab you’ll be enthralled by the ingenious one-man story of Thurgood. At the end of June we welcome National Players Tour 69, ten early-career theatre artists who perform and teach throughout Maryland and across the country for an entire academic year. They’ll spend the summer rehearsing Othello, Alice in Wonderland, and The Great Gatsby, and perform each show in September (Othello on the Root Family Outdoor Stage and Alice and Gatsby on the Historic Stage) before heading out on tour. In July and August, OTC Summer STOCK Camp returns with two sessions of learning, performing and creating for kids in grades 4 through 6. (As a parent of

a returning camper, I can say with authority that this camp is unlike any other theater camp in town).

Summer’s end means the beginning of our 80th Anniversary Season! As I look back on our 79th Season, I’m so proud of our artists and staff for their hard work and generous spirit that made the season so memorable. I hope the work you see at Olney Theatre inspires you to expand your heart, imagine bigger, and find empathy and understanding in surprising places.

PS: Don’t miss the opportunity to join Jason and me in London this October for a very specialsix-day Theatre Tour! Please email me if you are interested: [email protected]

With appreciation for your support now and always,

Debbie Ellinghaus

Managing Director

By F. Scott FitzgeraldAdapted for the stage by

Simon LevyDirected by

Amber Paige McGinnis

September 20-24historic Theatre

$20/$10 Olney TheatreCenter Members

By WilliamShakespeare

Directed byJason King Jones

September 2 & 3Outdoors on the

Root Family Stage at Will’s Place

FREE

A world-premiereadaptation of the classic

Lewis Carroll novelAdapted and Directed by

Natsu Onoda Power

September 13-17historic Theatre

$20/$10 Olney Theatre Center Members

National Players, a program of Olney Theatre Center is bringing its three-show repertory across the country to schools, performing arts halls, community centers and correctional facilities. National Players empowers learners of all ages to build

stronger communities through artistic collaboration, bringing the mission of Olney Theatre to a national audience.Before they head out on tour across the country, see National Players 2017-18 repertory.

National Players Homestand

mailto:[email protected]


CORPORATE AND FOUNDATION GIFTSThis list consists of contributions and pledges of $250 or more for the period 8/1/16 through 5/31/17

$100,000+

$10,000+

$5,000+

$2,500+

$1,000+Bernard Family FoundationFidelity Charitable Gift Fund

$500+America’s Charities

Brooke Grove Retirement VillageCQI Associates, LLC.

Kanter Kallman FoundationUnited Jewish Endowment Fund

Matching GiftCompanies

Astra-Zeneca-MedImmune LCCEdelman Financial

GEICO Philanthropic FoundationIBM International Foundation

Johnson & JohnsonPEW Charitable TrustsVerizon Foundation

In-Kind DonationsSandy Bieber and Linda Rosenzweig

Brooke Grove Retirement VillageClyde’s Restaurant Group

Debbie and Andrew EllinghausDavid and Laura Epstein

Dempsey’s of AshtonSusan and Jay Finkelstein

GrillmarxDiane Grimes - In memory of Bill Grimes

Mr. and Mrs. Kevin HasserPaul Henderson

Mr. and Mrs. Jason King JonesAnn M. Laurence

Kathryn Lindquist and Terry NewendorpMr. Jason Loewith

Passion Bakery & CafePotomac River Boat Company

Kathleen QuinnSeasons 52

Southwest AirlinesWalt Disney World Resort

Government Support

Maryland Department ofGeneral Services

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Eugene B. Casey Foundation

Dallas Morse CoorsFoundation

for the Performing Arts

$50,000+

$25,000+

George Preston MarshallFoundation

William S. AbellFoundation

Clark-WincholeFoundation


INDIvIDUAL GIFTSThis list consists of contributions and pledges of $250 or more for the period 8/1/16 through 5/31/17

$500,000 +Bob and Eveline Roberts

$100,000+ Mrs. Eugene B. Casey

$50,000+Mrs. Maggi RootHelen Marshall

$25,000+Anonymous Susan and Jay FinkelsteinBarbara Lynne Kelly Mr. and Mrs. Tommy Mulitz in honor of the Mulitz - Gudelsky Family

$10,000+AnonymousPaul Henderson in memory of Marilyn HendersonMr. and Mrs. Stephen Z. KaufmanCharles S. Mack and Alice Barrett MackKathleen QuinnMargaret T. Roper and Clifford L. Johnson

$5,000+Alec and Lee Aronow Sandy Bieber and Linda Rosenzweig Rhonda Friedman and James RaffertyAnonymous - In memory of Kate GibsonMorty and Meghan GudelskySimmel HaimRobert E. HebdaBill and Babi MeekinsBob and Marlene MitchellMr. and Mrs. Thomas J. Senker Victor Shargai and Craig PascalMr. Vernon L. SkinnerJohn R. and Andrea Z. UrcioloJames D. WarringDr. and Mrs. Steven C. WhitePatricia Woodbury

$2,500+Mr. and Mrs. David BottegalGeorge and Kristie BradfordM. Charlene DorrianJoan Elise Dubinsky and Craig N. PackardDebbie and Andrew EllinghausJohn HaugeMs. Winifred E. HerrmannNettie Horne

Lane and Cheryl JenningsStephen and Mary KleinThe Honorable Karen S. Montgomery and Mr. Harry MontgomeryTony and Connie MorellaJames Pape and Nancy Newman-PapeMr. Robert Russell in Memory of Lelia RussellMita M. Schaffer and Tina M. Martin

$1,000+Connie and Larry AaronsonRichard and Sunny BanvardDr. Patricia BeastonDeborah and Bruce BermanCathy S. BernardRichard and Rebecca Boker Robert BurkThe Chodorow - Resnick FamilyNed CramerEd and Leslie CroninEileen and Paul DeMarcoScott and Athena Dalrymple Edith L. EmbreyMaureen and Tom EstrinBarry and Marie FleishmanRobert and Carole FontenroseHal and Karen GordonMrs. Mary GrahamThe William H. Graham, Sr. FamilyDebbie L. HarnerEric HorowitzLou and Susan Iaquinta Max and Helen Jacobs in memory of William GrahamAndi KasarskyJane Thérèse LarsenMr. Jason LoewithAmy LowensteinJohn and Kathy LyonsPaul and Pat MangusMaggie and Tico McCreadyMr. William L. Mitchell and Mr. David A. VignoloSue Morss In loving memory of Lester Robert MorssSteve C. Phan and Richard J. PosterMargaret Ann RossLinda SchwartzRoger and Barbara SchwarzMarlin R. and Alicia B. TaylorLois Taylor and Stephen Simpson Ken and Jaki Ulman Adolph VezzaSandy and Alan Wade in celebrationof the work of Steve Greene

$500+Matthew and Heather Ahrens Sanford and Bettye AmesLynne BarnesHarold M. and Christine A. BartlettMerle and Nancy BigginDennis and Holly BlackledgeTim and Julia BoulayJeanne BrushRichard and Joan CurtisKaren CuvielloSteve Danielson and Dr. Kenneth HoyleMs. Andrea DrimmerDavid DunnBob and Pat FauverBerdie and David FirestoneRobert J. and Liane A. GiardinaWilliam A. Hanson and Gail A. LiebermanJoan and Doug Groves Holly HassettMr. and Mrs. James E. Hensley Richard and Debra HughesJon and Michelle HulsizerDavid C. HummBarbara HumphreyMr. and Mrs. Richard JourdenaisSean and Laura KleinThe Honorable Benjamin F. KramerRobert E. Liles, IIDavid and Jennifer LubitzJim and Dorie Mangan Lisa MixOsborne C. Parchment, PhDMr. Fred T. Paul Adrienne and Louis SacksKathleen and David Siefken in memory of Lelia Russell Cora and Murray Simpson Family FundLeslie F. Smith and Stacy P. SmithRoger and Carolyn Sorensen Ms. Donna Spiegler Rusty Suter in Loving memory of Dick and Nancy ThomasKate and Craig ThorntonJonathan WeissRobert and Sarah WheedletonGeorge A. and Katherine C. Whitehouse

$250+The Ackland FamilyRay and Michele AliNancy AnastasiSarah Allen and John AndersonGregory and Patricia ArgyrosDean and Jo Aulick


OLNEY THEATRE CENTER THANKS THE FOLLOWING FOR THEIR GENEROSITY

Dan Bayne Fran and Harvey BergerGary and Linda BittnerMichael Bloom Mr. and Mrs. Gene BradfordJim and Monica Bradford Richard BrushMichael Burke and Carl SmithGlen and Robin CameronDr. Thomas A. Clark Patricia CorridonGeorge and Patricia CowperthwaiteEmilie and Monty CrownSuzanne Rotbert and Jim DawsonLarry and Kay DildineThe Ellinghaus FamilyMark B. EpsteinMr. Martin ErlichmanLeroy and Doris Evans Laura Graham Fetters and Matthew FettersPaul and Marguerite Frampton Dr. Christopher FreyLawrence and Joan FriendLucian and Lynn Furrow Mr. Thomas Paul GaskeHoward Glassroth and Jan MolinoPadma GoturJonah GreenPat GrossDavid and Eileen HaleyFreddi and Dick HammerschlagRob and Shar HellieElizabeth A. HenriksenDick Kafka and Val HildebrandCharles and Pamela Hoffman

Mr. Tim and Kristin HoganRandy C. HowesArthur and Laura IbersMary and Larry JudgeCasey KalebaElizabeth S. KingJennifer and Scott KneelandStephen and Katharine KovarcikTom LansfordJames LaTorre and Nancy Frohman Barbara LatvanasCindy Lefkowitz and Phoebe Kent - In memory of our husbands, Arthur Lefkowitz and Robert Kent Stephen and Kathleen LeslieThe Lewanda Family Alexander LewinRichard W. LeyCarol and Tim LeydigMr. Albert LindquistMrs. Lillian LitowskyMarcia D. LitwackGregory and Marina LowenBarry and Ann LublinWes MacAdamFrederick and Betty MarcellMaury and Beverly MarksBarbara Mayo-WellsLisa McKillop in honor of the cast of Mary Poppins Missy McTamney and Bill Dolan Charles and Marilyn MessFrederick and Elizabeth MontgomeryDr. Sarah MoranNancy Root MuirConnie Newett

Nancy M. (Nan) Norton Bill Perkins and Evelyn SandgroundSolomon Petersen, Jr.Patrick PhillipsWilliam PhillipsVirigina RehbehnSherry Rhodes and Dan MazurNancy RicksMr. Dwayne RosenburghSuzanne Rotbert and Jim DawsonFill and Linda RueggMr. Donald SauerKelly and Robert SauerCharlie and Marie SchaubMs. Susan J. ShawhanAlda and Jerry SimpsonLinda and Steve SkaletCarl W. Smith and Michael L. BurkeMichael and Camilla SmithGary and Janet SowersDuane and Sylvia StraubMr. Peter ThreadgillCarrie and John TrauthMimi Tygier and Robert RubinDr. and Mrs. Mark A. WallaceMs. Beverly WallingMarc Walton and Toni Stifano-WaltonArthur Warren and Jim PridgenThomas and Tara WattsHelene Weisz and Richard Leiberman Mr. Jim WilliamsMs. Halo WinesDeborah and David Yaffe in honor of Linda RosenzweigRay and Ellen Youstra Ms. Suzanne Yuskiw

We thank these individuals for including Olney Theatre Center in their estate plans. Remembering Olney Theatre Center in your estate plans allows you to have a significant impact on our ability to serve future generations of theatre-makers and audiences. To notify us of your planned gift or for information on how you can be a part of our Legacy Society, contact Wes Meekins at 301-924-4485 ext 130 or [email protected]

1938 LeGACYSOCIeTY

Scott and Athena Dalrymple Bob Davis and Henry Schaliziki Edith L. Embrey Richard Haas Robert E. Hebda Paul Henderson

Steve C. Phan and Richard J. Poster Sylvia PlattLillian Roehl Maggi Root



THEATER POLICIESLatecomers are seated at the discretion of the house manag-er. Please do not bring food into the theater (beverages are allowed). All buildings are smoke-free. The use of recording or photographic equipment during the show is prohibited. Olney Theatre Center is not responsible for any items left on our campus. All children, including babies, require a ticket. We will ask parents to take their children to the lobby if their behavior is disturbing patrons. Please turn off your cell phone in the theater.

SIGN-INTERPRETED PERFORMANCESSign interpretation is available for the third Thursday eve-ning during a show’s run. The service must be requested two weeks in advance and is based on the availability of qualified interpreters. To request this service, please [email protected].

POST-SHOW DISCUSSIONSJoin the artistic staff and/or invited guests after select Sat-urday matinees for AfterWords. Please call the Box Office at 301.924.3400 for more information on these events.

LISTENING ASSISTANCEWe offer devices that amplify sound free of charge in ex-change for identification. Please ask the house manager for assistance. (This service is not available on the third Wednesday evening of a show’s run.)

AUDIO-DESCRIBED PERFORMANCESAudio-described performances are offered during the third week of a show’s run on Wednesday evenings. This includes pre-show program notes and descriptions of the action, scenery, and costumes during pauses in the dialogue.

AUDIENCE SERvICES

EvERY GIFT MAKES A DIFFERENCE. THANK YOU.

TO MAKE A GIFT:• Send your donation to us in the envelope provided in your program• Make your gift online: www.olneytheatre.org/support• Call 301-924-4485 ext 130

SUPPORT OLNEY THEATRE CENTER’SEDUCATION EFFORTS WITH A GIFT TODAY

Did you know that Olney Theatre is a nationally recognized “teaching theater”? This means we use live theaterto enhance public and private school curricula AND we train the next generation of theater artists to be the

future of our field. We do this through:

ARTS INTEGRATION: a year-long partnership with local schools that teaches elementary and middle school students how to find their own unique voice by writing and performing their own plays. NATIONAL PLAYERS: Olney Theatre’s touring company that brings classic works into the classrooms and community centers of cities and towns all over the country with a special focus on communities with less access to the arts. APPRENTICE TRAINING: every year, 16 early career theater professionals receive a year of free housing on the Olney Theatre campus to experience hands-on training and mentoring in their chosen theatrical specialty. AFFORDABLE AND ACCESSIBLE FAMILY PROGRAMMING: From Mainstage musicals to special presentations of Theatre for Young Audience shows to our popular Summer STOCK camp, Olney Theatre offers an array of affordable options to get the whole family involved!

Contributions to Olney Theatre directly support our education efforts and make a profound difference in the livesof not only young people, but all members of our community from teachers to seniors and families like your own.


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EXECUTIvE COMMITTEECharles S. Mack .................................................................................................................................... President Susan Finkelstein ................................................................................................................................Board ChairLinda E. Rosenzweig ........................................................................................................................Vice PresidentClifford Johnson ......................................................................................................................................TreasurerRobert Mitchell ......................................................................................................................................SecretaryJennifer Kneeland ............................................................................................................ Immediate Past President

DIRECTORSPhyllis Bottegal • George Bradford • Debbie Ellinghaus • Rhonda Friedman • Robert E. Hebda • Stephen Klein • Jason Loewith

Helen Marshall • William Meekins • Thomas J. Senker • Ken Ulman • Alan Wade • James Warring • Irene White

HONORARY BOARD MEMBERSStephen Kaufman • Anthony Morella • Mita M. Schaffer • Patricia Woodbury

William H. Graham, Sr. (in memoriam)

OLNEY THEATRE CORPORATION BOARD OF DIRECTORS

ARTISTIC ASSOCIATES

ACTORSEvan Casey • Julie-Ann Elliott • Rick Foucheux • Helen Hedman • Valerie Leonard

Susan Lynskey • Donna Migliaccio • Paul Morella • Jon Hudson Odom • Tracy Lynn OliveraMichael Russotto • Bobby Smith • Stephen Gregory Smith

DIRECTORS, CHOREOGRAPHERS, AND MUSICAL DIRECTORSMichael J. Bobbitt • John E. Going • Derek Goldman • Eleanor Holdridge • Tara Jeanne Vallee • Mark Waldrop

DESIGNERS AND STAGE MANAGERSColin K. Bills • James Fouchard • Misha Kachman • Pei Lee • Josiane M. Lemieux

Milagros Ponce de León • Ivania Stack

ABOUT OLNEY THEATRE CENTER

Olney Theatre Center is an award-winning, nonprofit, Equity theatre. Our mission is to produce and present extraordinary theatre and performance on our four-theatre campus for an ever-more diverse set of audiences in our community, and to educate the next generation of theatremakers to follow in our footsteps. We strive every day to unleash the creative potential of our artists and audiences, and in so doing, become Maryland’s premier center for theatre performance and education. In the past four years, Olney Theatre has produced eight world

or regional premieres, including Andrew Hinderaker’s Colossal (2015 Charles MacArthur Award for Outstanding New Play or Musical), and Jennifer Hoppe-House’s Bad Dog (2015 Steinberg Award nominee). Olney’s shows and educational activities are accessible and affordable, and we strive to provide a thought-provoking and enjoyable theatrical experience.

Olney Theatre Center is situated on 14 wooded acres in the heart of the beautiful Washington-Baltimore-Frederick “triangle,” within easy access to all three cities, and is also home to National Players, America’s longest-running touring company. Olney Theatre Center is led by Artistic Director Jason Loewith and Managing Director Debbie Ellinghaus. For more information, please visit www.olneytheatre.org.

Follow Olney Theatre Center on Twitter@olneytheatre and on Facebook at facebook.com/olneytheatre.

ARTISTICArtistic Director Jason LoewithAssociate Artistic Director/ Director of Music Theater Christopher YoustraAssociate Artistic Director/ Director of Education Jason King JonesArtistic Apprentice Danielle Markowitz

PRODUCTIONDirector of Production Dennis A. BlackledgeAssociate Production Manager/ Company Manager Josiane JonesTechnical Director Stephen M. GreeneAssistant Technical Director Preston SullivanShop Foreman Sarah SplaineCarpenters Joseph Caverly, Benjamin WerfelResident Scenic Artist Fred ViaCostume Shop Supervisor Jeanne BlandResident Costume Designer/ Assistant Costume Shop Supervisor Seth GilbertMaster Electrician Samantha CampbellAssociate Master Electrician Tyler J. BristowProperties Master Kate BrittinghamResident Sound and Projections Supervisor Eric BosticCompany Management Apprentice Charlotte CugniniCarpentry Apprentices Anna Feinerman, Augustino GamboaCostume Apprentices Daisy howard, Janice RabianElectrics Apprentices Jennifer Ives, Elliot PetersonProduction/Company Management Apprentice Rachel Grandizio Properties Apprentice Jason DearingSound Apprentices Jane Behre, Tosin OlufolabiStage Management Apprentices Rebecca Silva, Thomas Nagata

SHOW STAFFAssistant Music Director Matthew DohmAssistant Lighting Designer Brandi MartinAssistant Stage Manager Rebecca SilvaDeck Chief Sarah SplaineSet Dresser/Prop Crew Jason DearingDramaturg Emily SorensenSound Engineer Ed SolomonWardrobe Daisy howard, Janice RabianDeck Crew Anna Feinerman, Augustino GamboaLight Board Operator Jenna IvesA-2 Jane BehreFollow Spot Operators Josiah hernandez, Elliot PetersonAdditional Electricians helen Garcia-Alton, Cody Petenbrink,Ashley WagonerAdditional Carpenters Noah Beye, Stephanie Jo ClarkAdditional Painter Mary Addison Cole, Anna MihmAdditional Wardrobe Carissa Gilson

OLNEY THEATRE CENTER STAFF

ADMINISTRATIONManaging Director Debbie EllinghausGeneral Manager Fred T. PaulDirector of Finance Chyeslan Busohuman Resources/ Finance Manager Andrew hurstFacilities Manager Michael Plater

DEvELOPMENTDirector of Development Maureen McNeill Individual Giving Manager R. Wesley Meekins Institutional Giving Manager Karen ChalmersMarketing and Development Apprentice Josiah hernandez

COMMUNICATIONSDirector of Marketing and Communications Joshua FordSales Director Weldon C. BrownBrand Director/ Graphic Designer JJ KaczynskiMarketing Associate Kristina ErwinPatron Services Manager Julie ViaBox Office Supervisors Chisomo Maluwa, Josh RoseFront of house Managers Nic Lopez, Desirée WardBox Office Associates Judy Abrams, Jessica Comstock, Shayla Garfield, Marion Levy Qualls, Rachel Spory-harper, Emily Townsend

EDUCATIONArts Integration Manager Sara Qureshi Dramaturgy Apprentice Emily SorensenEducation Administration Apprentices Katie Jeanneret, Elgin Martin

NATIONAL PLAYERSDylan Arredondo, John Austin, Emily Brown, Melissa Carter, Benjamin DeCamp Cole, Claire Floriano, Kelsey Godfrey, Jared Graham, Kenn hopkins, Jr., Simon Kiser

SPECIAL THANKSFord’s Theatre, Round house Theatre, Chautauqua Opera Company, Signature Theatre, Arena Stage

Olney Theatre Center for the Arts is a professional theater employing members of Actors’ Equity Association, the union of professional actors and stage managers in the United States.

Actors’ Equity Association, founded in 1913, represents more than 45,000 actors and stage managers in the U.S. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. Equity seeks to foster the art of live theatre as an essential component of our society.

Olney Theatre Center for the Arts is a member of Theatre Communications Group, the national service organization representing the not-for-profit American theater; the Cultural Alliance of Greater Washington; the League of Washington Theatres; and the Baltimore Theatre Alliance.

The Director and Choreographer are members of the

SPECIAL THANkS TO OUR SEASON SPONSORS


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OLNEY THEATRE CENTER MY FAIR LADY · PDF fileWhen I decided to produce Lerner and...

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Transcript of OLNEY THEATRE CENTER MY FAIR LADY · PDF fileWhen I decided to produce Lerner and...