October 16 - November 16, 2014 Kalita Humphreys Theater

October 16 - November 16, 2014
Kalita Humphreys Theater
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DTC2
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D a l l a s T h e ater Ce nter
FILLER HPV-C
2014-2015 SEASON
Driving Miss Daisy................. 5
Cast, Creative Team.............. 7
Artist Bios................................8
DTC Leadership..................... 11
Driving Miss Daisy
A Personal Journey............... 12
Fear Itself: Alfred Uhry
and the Jewish Question
in Atlanta................................ 13
A window Into Jewish/Black
Relations During the Time of
Driving Miss Daisy................. 15
An Active Mind:
Daisy’s Hassan El-Amin........ 16
A Christmas Carol................. 18
Board of Trustees................ 22
The Benefactors................... 23
Friends@DTC..................... 24
Impact Creativity................. 26
corporate contributors...... 28
institutional contributors.... 29
Staff....................................... 30
Guild...................................... 31
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FY15 ACC 2014 Onstage.indd 1
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te r
31:01 PM
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D a l l a s T h e ater Ce nter
Kevin Moriarty
Artistic Director
present
Heather M. Kitchen
Managing Director
Present
Annalee Jefferies
in
DRIVING MISS DAISY
by Alfred
Uhry
with
James Crawford
scenic designer
Peter Hicks
production manager
Hassan El-Amin
costume designer
Claudia Stephens
stage manager
Barb Hicks
Megan Winters
lighting designer
Aaron Johansen
sound coordinator
local casting
Brian McDonald
Laura Colleluori
incidental music
Robert Waldman
directed by
Joel Ferrell
Dallas Theater Center’s Production Staff is responsible for the sets, costumes, lighting,
props, furniture, scenic painting, sound, special effects, and/or wigs used in this production.
Driving Miss Daisy was first produced Off-Broadway by Playwrights Horizons, New York City, in 1987.
It was subsequently produced by Jane Harmon/Nina Keneally, Ivy Properties, Ltd./ Richard Frankel
Gene Wolsk/Alan M. Shore and Susan S. Myerberg in association with Playwrights Horizons, Off-Broadway in 1987.
Driving Miss Daisy is presented by special arrangement with Dramatist's Play Service, Inc., New York.
DTC would like to thank
and
Dallas Tourism Public Improvement District
for their generous support.
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D a l l a s T h e ater Center
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D a l l a s T h e ater Ce nter
cast, c REatI VE tEaM
CAST
Daisy Werthan ............................................................................................... ANNALEE JEFFERIES*
Hoke Coleburn ...................................................................................................HASSAN EL-AMIN*♦
Boolie Werthan ................................................................................................ JAMES CRAWFORD*
CREATIVE TEAM
Stage Manager .................................................................................................... MEGAN WINTERS*
Assistant Costume Designer ........................................................................ AMANDA MacARTHUR
Production Assistant ............................................................................................ ANNA BARANSKI*
this play takes place from 1948 to 1973, mostly in Atlanta, georgia.
Driving Miss Daisy will be performed without an intermission.
* The Actors and Stage Managers employed in this production
are members of Actors’ Equity Association, the Union of
Professional Actors and Stage Managers in the United States.

Member, Brierley Resident Acting Company
The scenic, costume, lighting and
sound designers in LORT Theatres
are represented by United Scenic
Artists, Local USA-829 of the IATSE.
This theater operates under an agreement with Actors’ Equity Association, the Union of Professional Actors &
Stage Managers in the United States. DTC is a member of the League of Resident Theaters; a constituent of
Theatre Communications Group (TCG), the national organization for the nonprofit professional theater; the Dallas
Chamber of Commerce; and the Dallas Convention & Visitors Bureau.
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AR T IsT B I Os
James Crawford (Boolie
Werthan) is very happy to return
to DTC where he has appeared
in many shows, including Arsenic
and Old Lace; Pride & Prejudice;
Joe Egg; The Real Thing; Twelfth
Night; The Importance of Being
Earnest; Our Town; A Christmas
Carol; and Inexpressible Island.
Other favorite roles include Mike
in Good People; George in Who’s Afraid of Virginia
Woolf?; (Water Tower Theatre); Benedick in Much Ado
About Nothing (Trinity Shakespeare); and C.S. Lewis in
Shadowlands (Contemporary Theatre of Dallas). He is the
Head of Acting in the Division of Theatre at SMU.
HassaN eL-amIN (Hoke
Coleburn) is a member of the
Brierley Resident Acting Company
and community artist at DTC,
where his acting credits include:
Les Misérables; Sherlock Holmes:
The Final Adventure; A Raisin in
the Sun; Clybourne Park; FLY;
The Odd Couple; King Lear; A
Christmas Carol; God of Carnage;
The Wiz; Henry IV; and Death of a Salesman. Regional
Credits: Fences; Seven Guitars; Radio Golf; Jitney; Blues
for an Alabama Sky; The Lion King; The Tempest; Julius
Caesar; Othello; Stick Fly. Theaters: Kennedy Center; Mark
Taper Forum; Goodman; Arena Stage; Guthrie; Alliance;
Huntington; Denver Center; Portland Center Stage; Trinity
Repertory; Milwaukee Repertory; San Diego Repertory;
Penumbra; Colorado, Oregon, and Utah Shakespeare
Festivals. Education: MFA, University of Delaware.
aNNaLee JefferIes
(Daisy Werthan) Ms. Jefferies
is very happy to return to DTC
where she last appeared in the
one-woman show the Blonde,
the Brunette, and the Vengeful
Redhead. She spent 20 years
as a resident company member
at Alley Theatre (1986-2007).
Some of her favorite roles were in
A Streetcar Named Desire, Angels in America, Bad Dates,
One Flew Over the Cuckoo’s Nest, Hedda Gabler, Danton’s
Death, Orpheus Descending, Moon for the Misbegotten,
and most recently, The Old Friends. Annalee was in the
nine-hour trilogy of Horton Foote’s Orphan’s Home Cycle
in New York, directed by Michael Wilson, which won the
Drama Desk award and the Tony Award® for “Theatrical
Event of the Season” of 2010. She played Violet in Suddenly,
Last Summer (Westport Country Playhouse, Best Performer
award Ct.), Hannah in Night of the Iguana (Hartford Stage,
Best Actress award, Ct.), and Amanda in The Glass
Menagerie (Kansas City Rep.), which was among the Wall
Street Journal’s best ten productions of 2009. She toured
England in John Barton’s ten-hour epic Tantalus, directed
by Sir Peter Hall, and was a resident company member
for three years at Arena Stage (1978-1981). Film: Hellion
(Sundance, SXSW); Arlo and Julie (SXSW); The Sideways
Light (world premiere this fall); The Girl (Sundance);
Monsters; Violets Are Blue; and No Mercy. Television: Dallas
(2013), PBS American Experience War of the Worlds, 2013.
Ms. Jefferies trained at the Royal Academy of Dramatic Art,
London, and currently lives on a farm in Brenham, Texas.
JAN 1-FEB 1
Kalita Humphreys Theater
featuring brierley resident
acting company member
CHRISTIE VELA
$18 TICKETS ON SALE NOW!
DallasTheaterCenter.org (214) 880-0202
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D a l l a s T h e ater Ce nter
aRtI st B I Os
ALfred UHrY (Playwright) is the only playwright ever
to win the Triple Crown: an Oscar, a Tony, and a Pulitzer
Prize. He began his career as a lyric writer under contract
to the late Frank Loesser. In that capacity he made his
Broadway debut in 1968 with Here's Where I Belong. He
then wrote the book and lyrics for The Robber Bridegroom
and was nominated for a Tony Award®. He followed that
with five re-created musicals at the Goodspeed Opera
House. In 1987 his first play, Driving Miss Daisy, opened
at Playwrights Horizons Theatre in New York. It was
subsequently moved to the John Houseman Theatre, where
it ran for over 1300 performances. The play earned many
awards, including the Outer Critics Circle Award and the
1988 Pulitzer Prize for Drama. For the film version, he won
an Academy Award and the film itself was voted Best Picture
of the Year. Other films include Mystic Pizza and Rich in
Love. Mr. Uhry's second play, Last Night of Ballyhoo, which
was commissioned by the Cultural Olympiad for the 1996
Atlanta Olympics, opened on Broadway in February 1997. It
has been chosen Best Play by the American Theatre Critics
Association, The Outer Critics Circle, and the Drama League,
and the 1997 Tony Award®. He worked on Parade, a musical
play about the Leo Frank case, with music and lyrics by
Jason Robert Brown and directed by Harold Prince. His film
projects include a new adaptation of Dodsworth for Time
Warner, Cut Flowers for Miramax, and Taft, commissioned
by Morgan Freeman.
JOeL ferreLL (Director/Choreographer) is Associate
Artistic Director at DTC, where his directing/choreography
credits include: The Rocky Horror Show; Joseph and the
Amazing Technicolor® Dreamcoat; Cabaret; A Christmas
Carol (2005-2009, 2011, 2012). DTC directing credits include:
Clybourne Park; Red; God of Carnage; Dividing the Estate;
reasons to be pretty; The Laramie Project: Ten Years Later;
and Cotton Patch Gospel (starring its creator Tom Key). DTC
choreography credits include: It’s a Bird... It’s a Plane... It’s
Superman; A Midsummer Night’s Dream; The Who’s Tommy;
and My Fair Lady. DFW Credits: Gruesome Playground Injuries
(Second Thought Theatre);Who’s Afraid of Virginia Woolf?, and
The Baltimore Waltz (Stage West); the premiere of Huck Finn
by Lee Trull (Classical Acting Company). Mr. Ferrell is a former
Artistic Director of Casa Mañana Musicals Inc. in Fort Worth,
Texas. He has worked extensively around the country for
Portland Center Stage, Papermill Playhouse, Ford’s Theatre,
Lyric Theater of Oklahoma and North Shore Music Theatre,
among others.
Peter HiCKs (Set Designer) has been working in
regional theatre for forty years, primarily as the long time
Resident Designer for Meadow Brook Theatre in Michigan,
then Resident Designer for the Alabama Shakespeare
Festival. Other theatres that have staged his work include
the Attic and Actors’ Alliance Theatres in Detroit; St. Louis
Repertory Theatre; Pioneer Theatre in Salt Lake City; Court
Theatre in Chicago; Atlanta’s Alliance Theatre and DTC.
CLAUdiA stePHens (Costume Designer) Selected
designs at DTC since 1997: Dividing the Estate; A
Midsummer Night’s Dream; Back Back Back; Glengarry
Glen Ross. Ft. Worth Opera: Before Night Falls (World
Premiere); Angels In America. Big Dance Theatre: Comme
Toujours (Bessie Award Winner). NYC: Associate Designer,
Broadway, Neil Simon’s Jakes Women and Lost In Yonkers.
Playwrights Horizons, Dance Theatre Workshop, PS 122,
Primary Stages, CSC, Soho Rep., Juilliard Manhattan
School of Music. Regional: Portland Opera, Oregon and
Utah Shakespeare Festivals, St. Louis Repertory; Cincinnati
Playhouse, Cleveland Playhouse, Denver Center, Merrimack
Theater, Dallas Shakespeare Festival; others. MFA,
Carnegie Mellon. Professor, SMU.
AArOn JOHAnsen (Lighting Designer) DTC: Oedipus
el Rey; Red; The Second City Does Dallas; A Christmas
Carol. Before moving to Dallas six years ago, Aaron received
his B.S. in theatre design and technology with an emphasis
in lighting design from Ball State University. By day Aaron is
Master Electrician for Dallas Theater Center. Lighting credits
include: Ruth, Turn of the Screw and Macbeth (Kitchen Dog);
Pluck the Day (Second Thought Theatre);Baby, the Musical
(PFamily Arts); 2010-2011 Gala and numerous parties and
dinners (DTC); Hair; J.B.; Coppelia; Cabaret; Erratica; The
Colored Museum and numerous dance pieces (Ball State).
BArB HiCKs (Production Manager) served as the
Costume Shop Manager at Dallas Theater Center for
many years prior to, most recently, leading the Costume
Department at the Alabama Shakespeare Festival. She
is enjoying her second season back at DTC, leading the
Production Department through the exciting and thrilling
adventure that is in store.
MegAn winters (Stage Manager) DTC: Sherlock
Holmes: the Final Adventure; Oedipus el Rey; Clybourne
Park, Red, Tigers Be Still (SM); FLY, The Elaborate Entrance
of Chad Deity, The Tempest (ASM);Dividing the Estate, The
Trinity River Plays, A Christmas Carol (PA). NYC Workshop:
FLY (ASM). Second Thought Theatre: Thom Pain (based
on nothing) (PSM). Shakespeare Dallas: Comedy of
Errors (ASM). She worked the Grand Opening of the AT&T
Performing Arts Center and has also enjoyed working for
the Olney Theatre Center and the Seaside Rep. Megan is,
by day, the Interim Production Stage Manager at the Dallas
Theater Center. Love to the fam for always supporting me
on this crazy journey.
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Da l l a s The ater Ce nter
DTC LEADERSHI P
KEviN MOriArTy is the
artistic director of Dallas Theater
Center, where his work as a
director includes: It's a Bird ... It's
a Plane ... It's Superman; The Who's
Tommy; The Wiz; A Midsummer
Night’s Dream; Henry IV; The
Tempest; Fat Pig; Next Fall; his
original adaptation of A Christmas
Carol; Oedipus el Rey; and most
recently, Sherlock Holmes: The Final Adventure. Since 2007
he has led DTC through many new initiatives, including the
move into the Wyly Theatre; the creation of the Brierley
Resident Acting Company; an extensive series of new play
productions; community collaborations with North Texas
Food Bank, Dallas Holocaust Museum, Dallas Museum of Art,
and most of the region's theater companies; and multi-year
partnerships with Booker T. Washington High School for the
Visual and Performing Arts and SMU Meadows School of the
Arts. Before joining DTC, Kevin served as the artistic director
of the Hangar Theatre in Ithaca, NY, for seven years. From
2002-2007 Kevin was the Head of Directing for the Brown
University/Trinity Rep MFA Program in Providence, RI, and he
was an Associate Artist at Trinity Rep Company. He made his
operatic directing debut with The Lighthouse for The Dallas
Opera in 2012, and is directing The Marriage of Figaro in their
2014-2015 season. Kevin has served as a public school music
teacher at La Crescent High School in La Crescent, MN, and
as an Associate Professor at Brown University. Kevin is the
Vice-Chair of the Dallas Arts District; a member of the Boards
of Trustees for the Booker T. Washington Advisory Board,
Theatre Communications Group, and the National Alliance
for Musical Theatre; a member of the Dallas Assembly; a
recipient of a Drama League directing fellowship; and a
graduate of the University of Wisconsin.
HEATHEr M. KiTCHEN
joined Dallas Theater Center
as managing director in 2011.
She is now beginning her 41st
season of professional theater.
Before joining DTC she served
as executive director of American
Conservatory Theater in San
Francisco for 14 seasons where
she oversaw the growth of the
budget from $11 million to more than $19 million. Heather
led A.C.T.’s first endowment campaign, which surpassed
its $25 million goal by more than $6 million. She served
as general manager of The Citadel Theatre in Alberta,
Canada, production manager at Theatre New Brunswick,
and worked as a stage manager and / or a production stage
manager at many major theaters across Canada including
The Stratford Shakespearean Festival, The Citadel
Theatre, The Neptune Theatre, Theatre Plus, The New Play
Centre and Canadian Stage Company. Heather has guest
lectured about stage and general management extensively
throughout her career at more than a dozen universities
including Stanford University, UC Berkeley, SMU, and the
Universities of, Waterloo, Western Ontario and Guelph. Her
consulting career has centered on education accreditation
and theatre management. Clients have included Presidio
Graduate School and Bay Area TheatreSports, and The
University of Western Ontario. Heather holds an Honours
Bachelor of Arts from the University of Waterloo and a
Masters of Business Administration from The University
of Western Ontario’s renowned Richard Ivey School of
Business. Heather is also an avid amateur musician who
plays piano, flute and classical guitar.
PLEASE NOTE
Food and beverages are welcomed inside the theater for this production. The
use of photography and recording devices is only permitted when actors are
not present. The video and/or electronic recording of this performance by
any means whatsoever is strictly prohibited. Please turn off all electronic
devices such as pagers, cellular phones, watches, etc. The Kalita Humphreys
Theater is equipped with state-of-the-art assisted listening equipment
for patrons with special hearing needs. Please see the House Manager for
more information.
d allas t h e ate r ce n te r
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Uhry claims that he always wanted to write a play,
but "didn't have the time or the guts or this or that".
Why, then, would he start exploring such a personal
part of his past at age fifty when he had no history
of "opening himself up" through his writing? Part of
the answer may be found in his quiet, somewhat
fearful childhood, growing up as part of a Jewish
family in the deep south.
Uhry's family had a direct connection to the Leo
Frank case. Leo Frank was a young Jew from New
York who worked in Uhry's uncle's pencil factory
and was lynched by a mob after having been
falsely accused of the murder of a young girl. This
amazing story of early 20th century anti-semitism
is the subject of the musical Parade, for which Uhry
won a Tony Award® for best book in 1998. Parade
completed a trilogy for Uhry of deeply personal
plays (Daisy being the first, and The Last Night of
Ballyhoo being the second), that invite an audience
into the world of Southern Jewish families and their
struggle to embrace their heritage and assimilate
into a predominantly Christian culture.
a personal journey
Director Joel Ferrell
on Alfred Uhry's
autobiographical play.
"Write what you know" goes the very
familiar saying. Alfred Uhry was fifty when
Driving Miss Daisy opened at Playwrights
Horizons in New York in 1987. It was
an autobiographical play about Uhry's
maternal grandmother and her driver.
Until then, Alfred Uhry had not written
anything so "close to home". Having had
a somewhat rocky career as a lyricist and
librettist, he had been teaching English
for many years to support his wife and
four daughters.
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a l llal as sTThe
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aterCenter
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Driving Miss Daisy explores a relationship between
two people who both have to move cautiously in
their communities and lives. Both Daisy and Hoke
have witnessed the horrors of bigotry and hatred;
he as an African American man and she as Jew
of German decent. Their paths have not been the
same, but they have both steeled themselves to
life's inevitable pain. Their journey spans the years
before, during and after the civil rights movement,
when their already complex cultural lives where
changing radically.
Alfred Uhry wrote what he knew when he sat down
to pen Driving Miss Daisy. He knew fear, he knew
isolation, and he knew the deep human need to
connect and love. Daisy started a personal journey
for Alfred Uhry that has given audiences a beautiful
and sometimes tragic picture of the America he
knew as a child. Whatever caused him to begin the
journey, we can be thankful that he has provided
us another unique perspective on our checkered,
remarkable, collective history.
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Alfred and
Joanna Uhry
His house of worship was the singularly-named The Temple, the institution of choice for the German Jews
who settled in Atlanta. Later came other Jews with Eastern European roots who founded Conservative and
Orthodox synagogues in Atlanta, but they were shunned by the German Reform Jews.
Alfred speaks of his family's insularity. "Germans are clannish, Southerners are clannish and Jews are
clannish. As Southern German Jews we had a triple whammy. We felt a need to have other people below
us, and so we lorded it over Eastern European Jews. Some German Jews called these other Jews `kikes.'"
Uhry's Passover experience was limited to one model seder at Sabbath School. Christmas was observed
with a tree and big family dinners. There was one distinction between Jews and gentiles in Atlanta and it
was this: Jews don't put stars on the tops of their Christmas trees.
"My parents told us to keep a low profile. Don't speak loudly, and don't be pushy. We tried to appear as
non-Jewish as possible, but our noses gave us away. My Jewish face was the cross I had to bear, so to
speak," says the author.
The one part of Jewish tradition that seeped through his parents' filter was charity: "We always were urged
to help less fortunate Jews with monies for orphanages and for refugees." His parents also taught an
appreciation for culture and took him to see plays in New York. When he went away to college, to Brown,
Uhry found an Episcopalian girl and married her. Alfred and Joanna have four grown daughters whom he
describes as shiksas. Speaking of crosses to bear, Alfred recently discovered a new one when he attended
his granddaughter's christening. "It broke my heart," he says, "and my wife said `What did you expect?
This is what you get.'
"Joanna always encouraged me to remember my Jewish roots. She would have raised our children Jewish
if I felt strongly about it at that time. But I wasn't proud of my Jewishness. I didn't give them a spiritual
identity because I had none to give. Joanna felt the kids should have some religious education, so we sent
them to a Unitarian church. "Now I'm trying to work out my confusion." Recently Uhry began to make
Seders in his home. He credits Joanna: "She pushes me. She always says, `Realize that you're Jewish and
do something about it.'"
Excerpted from the piece by Steve Cohan, courtesy of Totaltheater.com
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Da l l a s The ater Ce nter
A window into Jewish/Black relations
during the time of Driving Miss Daisy
Over the course of their lifetimes, Driving Miss Daisy characters Daisy and Hoke experienced an incredible amount
of history. Both were born within years of the end of the Civil War, lived through decades of intense discrimination
against blacks and Jews, and by the end of their lives were able to be part of the height of the Civil Rights movement
of the 1960s. The play itself takes place from 1948 up until the early 1970s, and is deeply rooted in playwright Alfred
Uhry’s own experiences growing up Jewish in Atlanta. Both Alfred’s and his mother’s experiences are reflected
very personally in the characters Boolie and Daisy, while the evolution of those characters’ relationship to Hoke
offers us a window into Jewish/black relations at the time.
Georgian scholars have written extensively about the history of the relationship between blacks and Jews in Atlanta.
“Some historians argue that prejudice against African Americans shielded Jews in the South from discrimination.
Certainly this is the case in comparison with American racism and European outbreaks against the Jews
culminating in the Holocaust. Yet Jews and blacks have been linked ambiguously in the South since the
mid-nineteenth century, and the eras of the greatest racism coincide with the rising specter of anti-Semitism.
In Atlanta, as elsewhere, some Jewish peddlers, merchants, and landlords conducted business with African
Americans, often extending credit and courtesies contrary to common usage. Jews also were the first to hire
blacks as clerks and in other positions. These not only were good business practices but also reflected a
sense of association brought about by similar historical experiences of persecution. Although the Jews were
in a better position to become upwardly mobile, Jewish immigrants and African Americans shared poverty
and resided in the same neighborhood during the early twentieth century. At the same time, more-affluent
Jews employed African Americans as domestic servants.
Although most Atlanta Jews remained silent concerning black rights—the majority out of fear, but some
out of acceptance of southern racial mores—a few condemned discrimination during the 1920s and 1930s,
especially through the Atlanta Urban League. When Rabbi Jacob Rothschild, provided leadership against
discrimination, in 1958 the synagogue joined the ranks of those bombed. Still, thereafter black-Jewish relations
seemed to remain more positive on the local level than nationally, as partly reflected in the establishment
of the Atlanta Black-Jewish Coalition and numerous examples of positive interaction in government, and in
1962 doctors Irving and Marvin Goldstein built the Americana, the first integrated hotel in the city (excerpted
from the New Georgia Encyclopedia).”
Understanding the character Hoke independently requires more historical context. Research into the play reveals
that Hoke’s parents were almost certainly slaves, as we know that Hoke was born in 1888 and grew up on a farm
north of Macon—north of Macon, there had been a large plantation. After they were freed, many slaves who had
worked there stayed to farm and live on the land. The following years, Hoke’s childhood and early adulthood, were
some of the most difficult decades in Georgia’s history. Discrimination against blacks was hateful and violent,
particularly in Georgia. In fact, between 1882 and 1930, Georgia had one of the highest instances of lynchings in
the country, with its toll of 458 lynch victims exceeded only by Mississippi’s 538.
While the violence did eventually decline, throughout the 100+ year period between the end of the Civil War and the
passage of the Civil Rights Act in 1964, racial discrimination did not diminish and tensions remained high. Statesanctioned segregation of all public spaces—from schools to churches to water fountains—became the norm. In
privately owned establishments the reality of racism was often more severe, with blacks being denied admission to
many restaurants, clubs, and businesses of all kinds. Legally, black Georgians were not even considered citizens:
they could not vote, they had no right to trial by jury, and when they did appear in court they were even sworn in
on a separate bible.
Author Lillian Smith reflected on this systemic culture of racism and the way that it was adapted and performed
by southerners in her 1943 book Killers of the Dream:
“From the time little southern children take their first step they learn their ritual, for Southern Tradition leads them
through its intricate movements. And some, if their faces are dark, learn to bend, hat in hand; and some, if their
faces are white, learn to hold their heads up high. Some step off the sidewalk while others pass by in arrogance.
Bending, shoving, genuflecting, ignoring, stepping off, demanding, giving in, avoiding... So we learned the dance
that cripples the human spirit, step by step by step, we who were white and we who were colored, day by day,
hour by hour, year by year until the movements were reflexes and made for the rest of our lives without thinking.”
Even though the Civil Rights Act and the Voting Rights Act were passed in 1964 and 1965, respectively, many
areas of Georgia didn’t actually begin to de-segregate until well into the 1970s. (This was not uncommon. In fact,
Dallas was not fully desegregated until 1971.) Hoke retired in the early 1970s, meaning that he had spent his entire
working life in a segregated Atlanta. However, Georgia was finally reaching a turning point. Just three short years
later in 1974, Atlanta elected its first black mayor, Maynard Holbrook Jackson Jr.—who, interestingly enough, was
preceded by Sam Massell, Atlanta’s first Jewish mayor.
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An ACtive Mind:
Daisy's
Hassan el-Amin
As rehearsals began for
Driving Miss Daisy, Hassan el-Amin
shared a bit his story with us—how he
became a part of dtC's acting company
and how he prepares to inhabit the role
of Hoke Coleburn.
You've been a part of DTC's Brierley Resident Acting Company since it was reinstated in 2008. How did
you some to be the only member of the company not from the DFW area? I was moving to Dallas because
of family and planning to make it my home, so while I was performing at the Oregon Shakespeare, I
searched the internet to gather information about the theater scene in the Dallas area. I discovered that
Kevin Moriarty had just been hired as the new Artistic Director for DTC and the article also mentioned
his intention to start a acting company. Equipped with information I went to the DTC website and gather
the name of every department head put together an audition DVD, because I couldn't do this in person,
and sent a letter of introduction and the DVD to each one and Lee Trull contacted me by phone, said he
had received my DVD and was impressed with my talent and the rest as they say, is history. That's how
it happened.
Tell us a bit about what lead you to acting—did you grow up knowing the stage was your destiny? Well,
growing up creative expression has always been a part of my life. I've always had an active mind, I actually
thought I would be a writer I had an uncanny knack to create stories off the top of my head and lyrics
to songs. I always had a new song or story for my grandmother every time she would grace us with her
presence. But the big influences of music were very prominent in our household because my mother loved
music and she loved to sing, she has a great voice, so singing was something I loved to do. Growing up
I sang with singing groups, church choirs, high school chorus, bands... you name it, I sang with it. There
was a point that performance on stage was an intricate part of my life and I transitioned into the world of
theater through my love of music as a vocalist and yes, on stage is where I wanted to be.
How does your life experience help you prepare to play the role of Hoke? Can you relate to his experiences?
Do you feel a relationship to him? Unfortunately racism is a part of the fabric of our society and I have
personally experienced the sting of it. I've lived in places where because of the color of my skin I've been
called derogatory names and been perceived as “less than.” But even in the midst of that I've established
friendship with people who look just like the individuals spewing all the words of hatred. The place where
I have the greatest connection to the character of Hoke is in my personal life. Hoke is real for me in my
grandfather, Iredmon Tarver or in my maternal great-uncles, Uncle Kay Willard or Uncle Arbray. They
actually lived these situations and shared their experiences.
How will you connect this character to today's audiences in Dallas? I believe that learning and discovering
how to blend the world of differences is an ongoing challenge for everyone. When we encounter someone
or something that doesn't align itself with our norm and our comfort area it challenges us to make an
adjustment to the confinements of our thinking and broaden our boundaries of possibility.
What do you want audiences to take away from the show? I believe that this period play, as sweet and
lovable as it is, is a great teaching tool on humanity, acceptance, race and love and that these are obstacles
we face every day.
16
Da l l a s The ater Ce nter
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18
Da l l a s The ater Ce nter
PROTECTING THE WILDEST
JUNGLES ON THE PLANET.
MAIN STREET. PRESCHOOL. THE PLAYGROUND. The environment isn’t
just some far off place. It’s the lawn under our feet, the food on
our plate, and the air we breathe. To learn more, go to NRDC.org.
And help protect the jungle creatures in your backyard.
Because the environment is everywhere.
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Da l l a s The ater Ce nter
Dallas Theater Center
A highlight this season is
the world premiere of
Stagger Lee, a musical
that takes its title from the
century-old folk song that
became a Number One
R&B hit for Lloyd Price
in 1959. The story spans
the 20th Century, tracing
mythical characters in
their quest to achieve the
American Dream.
The deep-seated themes
of racism and the raw
power of human will are
sure to give you chills.
And the music—from
Joplin-inspired tunes
to R&B and hip-hop—
will definitely get
your feet moving.
Stagger Lee was partially developed in
workshops in collaboration with the Meadows
School of the Arts, Southern Methodist University
in Dallas, Texas as a part of Will Powers’
Meadows Prize residency.
pRESEnTS
Book and Lyrics by will
Power
Power and Justin ellington
directed by Patricia Mcgregor
Music by will
Jan 21 – feb 15 wyly theatre
$18 TICKETS ON SALE NOW!
DallasTheaterCenter.org
(214) 880-0202
Associate Producing Partner
J.P. MORGAN (CHASE)
Assistant Producing Partner
Haynes and Boone, LLP
A presentation of the
Kimberley and Scott Sheffield
Musical Theater Series
BOa R D Of tR ust E E s
Rebecca Fletcher*
Chair
Tina Barry*
President
Julie Hersh*
Executive Vice President
James Waters*
Secretary
Curt FitzGerald*
Treasurer
Kenneth Bernstein*
Past President
Drew Alexandrou
Jennifer Altabef*
Stephanie Anderson
Larry Angelilli
Ashley Berges
John F. Bergner
Missy Boone
Beverly Bowman
Jeff Bragalone*
Diane M. Brierley^*
Randy Brown
LaRhonda Brown-Barrett
Barrett N. Bruce
Nan-Elizabeth Byorum‡
Molly Byrne
Ramir Camu
Mrs. W. Plack Carr^
Kay Cattarulla
Jeanne Marie Clossey
‡ Auxiliary Member
Thomas Codd
Chad Cook
Paul M. Cooke, Jr.
Linda P. Custard^*
William A. Custard^
Arlene J. Dayton^
Rusty Duvall
Lauren Embrey
Mrs. Robert Ted Enloe III^
Robert Ferguson
Don Glendenning*
Bill Graue*
Eric Harmon
Craig Haynes
Pilar Henry*
Matt Hickey*
Ann Hobson
Marguerite Hoffman
Roger Horchow
John Howell
Paul Howell
Kate Crosland Juett^
Susan Kaminski
Suzan Kedron
Heather M. Kitchen
Maya Leibman
Brett Levy
Larry Mandala
Ronald M. Mankoff
Rosemarie Marshall‡
Mrs. Eugene McDermott^
Deborah McMurray
Kevin Moriarty
Lyn Muse
Dawn Neufeld
Brent Nicholson
Dan Odom
Scott Orr
* Executive Committee Member
Yvette Ostolaza
Tracy Preston
Terri Provencal
Kersten Rettig
Frank A. Risch^*
Deedie Rose^
Larry Schoenbrun
Kim Sheffield*
Bart Showalter
Andy Smith*
Alex Smith*
Hamilton Sneed
Melissa Stewart
Stewart Thomas
Robert Tonti
Dan Waldmann
Sarah Warnecke
James E. Wiley, Jr.*
Donna M. Wilhelm*
^ Life Member | Members as of 9/29/14.
DTC's Project Discovery Wins the National Arts and
Humanities Youth Programs Award from the White House!
Project discovery, DTC’s signature education program, provides in-depth theater experiences for thousands of
teens (many of whom are considered "at-risk") from 35 North Texas high schools. Since 1986, Project Discovery
has helped over 265,000 students and teachers to experience and study the finest in live, professional theater.
Dallas Theater Center provides this program in full, at no charge to the school (including tickets, teacher training,
study guides, student pre-show workshops and buses) for every production during the school year.
“Through these programs,
young people are discovering
their creative voices,
developing a stronger sense of
who they are as individuals,
and gaining a deeper
understanding of the world
around them...”
© Ralph Alswang
–First Lady Michelle Obama
(pictured at right with Project Discovery participant
Emily Sanchez and Rachel Hull, DTC’s Director
of Education and Community Enrichment, at the
National Arts and Humanities Youth Program Award
presentation ceremony)
dallas theater Center needs your support to fully fund our award-winning
educational programming. to make a donation, or to sponsor a participating
school, please contact dtC's development office at (214) 252-3912.
22
Da l l a s The ater Ce nter
InDIVIDua L cO ntRI B utO Rs
THE BENEFACTORS are the heart of Dallas Theater Center’s family of contributors.
For more than 30 years, members have enjoyed special events and behind-the-scenes opportunities.
DIReCToRS' CIRCLe
$50, 000+
Diane and Hal Brierley*
Julie and Ken Hersh
The Muse Educational
Foundation
Deedie and Rusty Rose*
Kimberley and Scott
Sheffield
Donna M. Wilhelm*
PLATI N U M CI R C L e
$25, 000+
Bess and Ted Enloe*
Rebecca and Barron
Fletcher
Helen and Frank Risch
Anne and Alex Smith
Karen and Jim Wiley*
Dee and Charles Wyly*
Go LD C I RC L e
LeA D eRS H I P
$15, 000- $24 , 9 9 9
Jennifer and Peter Altabef
Tina and John Barry
Mickie and Jeff
Bragalone
Randy Brown
Molly Byrne
Sara Fraser Crismon
Mona and Bill Graue
Jennifer and Matt Hickey
Angela D. Paulos*
Ruth Robinson and Family*
Go LD C I RC L e
$10, 000- $14 , 9 9 9
Jill and Al Anderson
Anne and Larry Angelilli
Missy• and David Boone
Ana and Don Carty
Kay and Elliot Cattarulla
Mr. Harris Clark
Mr. and Mrs.
William A. Custard*
Rusty and Bill Duvall
Carol and Don•
Glendenning
Marguerite Hoffman
Roger Horchow
Angela and John Howell
Kate and Dana Juett*
Helen K. and Robert G.
McGraw
Susan and Bill
Montgomery
Vicki and Kent Newsom
Katherine and Bob Penn
Melissa and Paul Stewart
Sarah and Don Warnecke
SI LV eR
$ 5 , 0 00 - $ 7 ,4 9 9
Stephanie Anderson
Penny and Tony Atkiss
Jill Bee-Philip Theodore
Bee Charitable Trust
Kenneth Bernstein
and Barbara Clay
Bev and Bruce Bowman
Alice and Michael Brown
David Brooks
Joni and Bob Cohan
Jocelyn and George
Fenton
Susie and Curt
FitzGerald
Madeline and Michael
Freberg
Rita Sue and Alan Gold
Stephen Goldmann
Stephanie and Eric
Harmon
Catherina and Craig
Haynes
Hegi Family Foundation
Ann and Lee Hobson
Alicia and Paul Howell
Sandra Johnigan
and Don Ellwood
Leslie and Bob Krakow
Brett and Lester Levy
Carol and John Levy
Shelley and Brian Maher
Joy and Ron Mankoff
Nancy Cain Marcus
Dr. and Mrs. Tom Mayer
Deborah McMurray✦
and Glen Davison
Kevin Moriarty
Paula and Scott Orr
Yvette Ostolaza and
Peter Dewar
Barbara and Jon Page
Stephen Penrose
Vin and Caren Prothro
Foundation
Catherine and Will Rose
David and Stephanie
Russakov
Elizabeth and Bart
Showalter
The Ted and Shannon
Skokos Foundation
Lynne and Robert Tonti
Marnie and Kern
Wildenthal
Tricia and Mike Wortley
B R oNZe
L eA DeRSHIP
$ 3 , 0 00 - $ 4 ,9 9 9
Diana and Jack Addams
Teresa and Drew
Alexandrou
Kim J. Askew
LaRhonda and Michael
Barrett
Barbara and Mason Brown
Tamara and David
Campbell
Tim Chase
and Eric Powell
Shelley and Thomas Codd
Marry McDermott Cook
Fanchon and Howard
Hallam
Robert Kendall
Mr. and Mrs.
J. Luther King, Jr.
Heather M. Kitchen
Kay and Gene
Lunceford
Juli and Larry Mandala
Nesha and George Morey
Pam and Brent
Nicholson
Margaret and Casey
Olson
Celia and Larry
Schoenbrun
Lolita and Ernest Sims
Daniel Waldmann
and Giles Davidson
Mr. and Mrs.
J. McDonald Williams
BRo NZe
$ 2 ,0 0 0 - $ 2 ,9 9 9
Mary Anne and David
Alhadeff
Dr. and Mrs. Kenneth
Altshuler
John F. Bergner✦
Kath and Gene Bishop
Amy and Burton Brillhart
Ellen and Barrett Bruce
Colin Campbell
Cal and Clare Buie Chaney
Diane and Charles
Cheatham
Paula Johnson Clancy
Nita and Cullum Clark
Jeanne Marie Clossey
Liz and Bill Cook
Janie and Paul Cooke
Michael Corman
and Kevin Fink
Mason and Allen
Custard
Arlene J. and
John W. Dayton
Tina Deuber
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Family Foundation
Jeanne and Sanford
Fagadau
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Susan and Woodrow
Gandy
Dr. Craig and Karen
Goodman
Sarah and Frank Hamlin
Pilar and Jay Henry
Nancy Hodge
and Douglas Orr
Rusty and John Jaggers
Yon Yoon Jorden
Ellen Key
Susan and Robert L.
Kaminski
Maya Leibman
and Robert Gross
Janeva and Phil
Longacre
Rosemarie Marshall
Katy and Ken Menges
Kathleen A. Messina
and Gary W. Goodwin
Carol Meyer
Vicki C. and Hicks B.
Morgan
Charlene and Tom Norris
Dan Odom
Jay Oppenheimer✦
and Dolph Haas
Mr. David Pfeil
Tracy Preston
Terri Provencal
Kersten Rettig
and Clark Knippers
Phyllis and Rod Riggins
Diane and John Scovell
Abigail and Andrew
Sinwell
Andy Smith
and Paul von Wupperfeld
Hamilton Sneed
Gay and William
Solomon
Cynthia and Stuart
Spechler
Michelle and Stewart
Thomas
Elizabeth and Stephen
Suellentrop
Frances and James
Waters
Jane A. Wetzel
Angela Wommack
and Ted Casey
Mr. and Mrs. Michael
Young
* Founding Member
• Co-Chairs, Individual Giving
Member, Gay and Lesbian
Fund of Dallas
✦
Members of all Individual
Contributor groups as of
8/31/14. Thank you for
all gifts received after
the print deadline.
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Being our FRIEND
comes with BENEFITS!
In the last year, over 500 of your fellow theater goers
have joined Friends@DTC, where they've enjoyed
special perks like free drinks, free parking, and
invitations to special events, all while helping support
DTC. Thank you, to all of our FRIENDS!
Make Your Big Entrance... Join Friends@DTC Today!
Friends@DallasTheaterCenter.org
Sweethearts: $1000 - $1999
Steven Alsedek
Adam Bonneau
Charlotte and Mel Booth
Kelle Buresh
Rhonda and Kirk Chandler
Mr. and Mrs. Richard Cree, Sr.
Tracey and David Denney
Judy and James Gibbs
Kathleen and Robert Gibson
Dr. Mark Hupert
and Mr. Mark Lombard
Lolisa Laenger
Linda and John McFarland
Jim Davis Miller
Wilson Nash and Markus Maguire
Bridget Russell
Leslie and Howard Schultz
Linda and Mark Shirley
Lisa K. Simmons
Sandy Singer
Salle Stemmons
Greg Swalwell and Terry Connor
Janice and Athol Ware
BFFs: $500 - $999
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Jill and Rollin Andreas
Linda and Robert Appel
Ida Jane and Doug Bailey
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Vanessa Benavides
and Sheila Bryant*
Dee and John Bert
Rudy Beuttenmuller
Mara Richards Bim and Brett Bim
Brenda and Rodney Birkens
Susan and Shawn Bonsell
Tim Bray
Dr. Anne Bromberg
Karen and Edwin Bruning
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Betsy and Richard Eiseman
Kristy Ekleberry
Kimberley Elting
and Stewart Cohen
Melissa and Trevor Fetter
Susan and Michael Fortin
Read and Steven Gendler
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allas T
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heater
ater Center
Ce nter
Clifford Ginsberg
Fish Greenfield and Thom Maciula
Gregory Grosh
John and Lorraine Gurun
Liz and Tom Halsey
Renee and Micky Harrison
Grover Hartt, III and Charles Foster*
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Christine Ho
Shelli and Keith Howlett-BNI
Debbie and David Johnson
Melinda and James Johnson
Janet and Tom Keckeisen
Morgan and Ronald Kerridge
Joan and Jack Kickham
Anna and John Koepke
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Diana and Geoff Newton
Lametra and James Off
Patricia and Daniel O’Reilly
Denise and Larry Pollis
Pat and John Priest
Evelyn and William Raecke
Rachel and Hampton Richards
Carol and Frank Riddick
Mary and Joseph Ring
Mary and Tim Ritter
Jose R. Rivas, MD
Marie and Charles Rosenfeld
Jim Roundtree
Sarah Samaan
John Shaffer
B.K. and Mark Sloan
Beth and Michael Sneed
Jyll and Hugh Spears
Venise and Lawrence Stuart
Brenda Truitt
Marcia Joy Varel
Gae Whitener and Michael Connolly
David Winkler
SuperFriends: $200 - $499
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Heather and Ray Balestri
Delia Banchs
Mary Beth Bardin
Mervyn Benjet
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Jan and Stuart Black
John Blizzard
Allison and Chris Bovard
Brenda and Stuart Brand
Carl Buck
Judy and Tom Butts
Steven Campanini
Troy Cobb, D.V.M.
Susan and Christian Cooper
Susan and Robert Cronin
James Dagnon
Sherri and Dee Daniel
Denise Darab
Debra Demuth and Peter Gottlieb
Madeline Dvorocsik
Deborah and Donald Dykstra
Margaret and Robert Ellis
Alfredo Flores
Cheryl and John Formes
Maxine Frampton and Greg Spencer
Cheryl and Jere Freel
Gerda and Geoffrey Polma
Lynne and Gil Glover
Donna Gray
Sue Gray
Karen Gregory
Jackie and Gary Griffith
John Randy Hall
Barbara and Bruce Harvey
Rue and Tuck Henry
Trudy and Charles Hess
Stephen Hill
Al Hill
Bertha Hinojosa
Sylvia and Michael Hood
Kaki and Shelton Hopkins
Kathy Howe
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Jamie Jennings and George Lee
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Joyce Sanders and Robert Lebovitz
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Lorraine Sear and John McCafferty
Ann and Irwin Sentilles
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Christine and Raji Singh
Brenda L. Smith
Mary Ann Staab
Jo Heinz Staffelbach
and Andre Staffelbach
Jean Stoner
Ann Stuart
Lynne and Robert Thompson
Joann and Robert Tobey
Shari and Jay Tobin
Rebecca and Brad Todd
Walker Trigg
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Pamela and Lewis Waber
Elizabeth Wahlquist
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Jusy and Perin Warren
Jim Weiss
Dean Wendt
Ann and Bob Whitehead
Ginger Wilhelmi
Friends: $75 - $199
Ann Abernathy
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Heidi Adams
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De Lyla Alexander
Linda Altick
Orman Anderson
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Anonymous
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Fonda and Jay Arbetter
Katy and Mike Arbour
Marian Avalos
Fumon Ayers
Marcia Bacon
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Robert J. Balint
Jessica Barnett
Judson T. Bauman
Mary and Eric Beasley
Leslie and Robert Beatty
Dr. and Mrs. Steven A. Bell
Kathy Bellinger
Dan Berebitsky*
Laurie Berger
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John Birch
Trey Birkhead
Jennifer Bishop
Brendan Blackwell
Dianne Blakeney
Cindy Blue
Christine and Brent Bolding
Denise and Gregory Boydston
Terrance Boykin
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Betty and George Briggs
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N.E. Byorum
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and Steven Goldfine
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Marcie Guidry
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Holly and James Hands
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Kathy and John Herring
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Laura Kirklen
Gene Klassen and Jay Scott
Janet Klosterman
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Joahna Kuiper
Dona Lach
Kelly Lane
Britten LaRue
Lawrence Lassiter
John Lauer
Kathleen and Frank Lauinger
Eileen Lavine
Alicia and Greg Lensing
Betsy Lewis
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JoNell and Jody Lindh
Barbara Lindsay
Robert and Ginger Loshelder
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Meyling Ly
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Jill and Edward Lynch
Barbara and Michael Lynn
Kate Lyon
Lynne Mabry
Lora Machkovech
Kristi Madden
Nathan Mallory
Marty Marks
Sonia Marlow
Gail and Guillermo Marmol
Lisa Marshall
Nancy and Tom Mason
Judy and John Mathis
Nick Mathis
Scott Matteson
Jimmie Mayhew
Eileen and Don McAleenan
Terri and Randy McClellen
Debra McComas
Randall McComas
Mary and Mike McDonough
Wayne McHenry
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Gwendolyn McMillan-Lawe
Nancy Meier
Michelle Mendez
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Deb and Ron Moss
Guru and Shashi Motgi
Susan Mueller
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Eric Nadler and Anh-Hong Tran
Melanie Nance
Judy Nash
Mary Nawrocki
Jim Neitzel
Kathryn Nelson
Victoria and Christopher Newell
Carol and James Newman
Spaulding Newton
Kate and Tom Neylon
Nick Nicholas
Jana Nobles and Colin Martin
Paul Nolte
Mike Northrup
Celilia and Tim Norwood
Sybil and Lyle Novinski
Melinda Nugent
Salvatore Olimpio
Faith and Mike O’Neill
Christianne and Gerard Papazian
Karen and Harry Parker
Debra and Steve Pascoe
Sally Peden
Chris and William Peirson
Benjamin Pena
Rick Perdue
Jesusita and Armando Perez
Karen Person
Carol and Jon Pettee
Nancy Phillips
William Pickard
Luis Pina
Billy Pinson Jr
Annette and Steven Pipes
Joe Pizzurro
Dr. and Mrs. Melvin R. Platt
D.K. Pollard
Wendell Potts
Phyllis and Jerome Prager
Cori Pratt
Barbara Presnall
Glenda Priolo
Stacy Pritt
Kelly Proctor
Sarah Puckett
Reed Randel
Karen Raskopf
Cinde Rawn
Crispin Reedy
Craig Reese
Joy Reily
Carolyn Reindollar
Lynne Richardson
Becky and Bill Riggins
Jose Rios
Rusty Rippamonti
Ann and Duane Roberts
John Roberts
Stella and James Robertson
Michelle Rodriguez
William "Billy" Rodriguez*
Mr. and Mrs. Dick Rogoff
Patricia Rooney
* Member of the Gay and Lesbian Fund of Dallas
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cO R PO RatE cO n t RIButORs
CoRPoRATe CoNTRIBUToRS
Support for Artistic, Educational and Outreach Programs and Event Sponsors
$50,000+
Pioneer Natural Resources
$30,000+
brierley+partners
Kimberly-Clark Corporation
Pier 1 Imports
$15,000+
Dr Pepper Snapple Group
Godwin Lewis PC
Highland Park Village
MoneyGram
Northern Trust
Wells Fargo
$10,000+
Brown-Forman
Deloitte
Gardere Wynne Sewell LLP
Hallett & Perrin, P.C.
Haynes and Boone, LLP
Jackson Walker, L.L.P.
K&L Gates LLP
Locke Lord LLP
Luther King Capital Management
Macy's Foundation
Munck Wilson Mandala, LLP
NCH Corporation
Neiman Marcus
PwC
Sidley Austin, LLP
Tenet Healthcare Corporation
Thompson & Knight Foundation
Vinson & Elkins, L.L.P.
Wiley Property Ltd.
Winstead PC
additional support provided by the
Gay and Lesbian Fund for Dallas
$5,000+
Baker Botts, L.L.P.
Citi Private Bank
Ernst & Young LLP
ExxonMobil
Grant Thornton LLP
Lincoln Property Company
Mercury One
Mitchell Gold + Bob Williams
National Corporate Theatre Fund
SunTx Capital Partners
Texas Oncology
$2,500+
Akin Gump Strauss
Hauer and Feld LLP
Ben E. Keith Company
Higginbotham
Schweickert & Company
TravisWolff
Whole Foods Market
$1,000+
Cartier
Catapult Health
Gold Metal Recyclers
t. howard + associates
architects inc.
Target
SeASoN SPoNSoRS
IN-KIND & MeDIA DoNoRS
BDO USA, LLP
Cartier
Chocolate Secrets
Choice Technologies
Combes & Associates, P.C.,
Certified Public Accountants
Deborah McMurray Associates
Enterprise Rent-a-Car
Equinox Highland Park
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20
D
Da
allas T
The
heater
ater Center
Ce nter
Highland Park Village
HYATT house
Komali
Lucy Walling/A Rose in Bloom
M.A.C
McKinsey & Company
Mr. and Mrs. John P.
McNaughton and Family
Modern Luxury
The Original Cupcakery
PaperCity
Patron Magazine
Philips Vari-Lite
Salum
The 4th Wall Gallery
The Boardroom
The Crescent Club
WRR
Inst It ut IOn a L cOntRI B utO Rs
Dallas Theater Center is supported, in part, by the City of Dallas Office of Cultural Affairs,
TACA, the Texas Commission on the Arts and the National Endowment for the Arts.
$300,000+
Hoblitzelle Foundation
The Moody Foundation
$25,000+
Carl B. & Florence E. King Foundation
The Sapphire Foundation, Inc.
$200,000+
The Meadows Foundation
$15,000+
City of Dallas Office of Cultural Affairs
Texas Commission on the Arts
$100,000+
Embrey Family Foundation
Hillcrest Foundation
The Andrew W. Mellon Foundation
The Shubert Foundation, Inc.
TACA
$10,000+
Chiles Foundation
Dallas Tourism Public Improvement District
The Stemmons Foundation
$75,000+
Harold Simmons Foundation
$5,000+
The Theodore and Beulah Beasley Foundation
Harry S. Moss Foundation
National Alliance for Musical Theatre
$50,000+
Communities Foundation of Texas
The David M. Crowley Foundation
Edgerton Foundation
National Endowment for the Arts
TACA Donna Wilhelm Family New Works Fund
$1,000+
Louise W. Kahn Endowment Fund
of the Dallas Foundation
endOwMent fUnd
Art i s ti C
The Charles Peter Bock Fund
The G. B. Dealey Fund
edU C Ati O n &
OU treAC H P r O g r A M s
The Theodore and Beulah Beasley Foundation, Inc.
William Randolph Hearst Fund
Meadows Foundation
g e n erAL
Sara Birge Fund
The Wyly Fund for Administrative Excellence
Diane and Hal Brierley Fund
The Roberta Coke Camp Fund
Joan and Coley Clark Fund
Lyndhurst Foundation
Mr. and Mrs. William A. Custard Fund
Arlene J. and John W. Dayton Fund
The Dallas Theater Center Guild Fund
Bess and Ted Enloe Fund
Hamon Fund
Heldt Fund
Mr. and Mrs. Richard C. Johnson Fund
Carol and John Levy Family Fund
Eugene McDermott Foundation
Anonymous Fund
The Paul Raigorodsky Fund
Mr. and Mrs. Robert C. Stack Fund
The Waldo E. Stewart Fund
Theater Support Fund
Luther King Capital Management
sCHOLA rsHiP
Winifred D. Caldwell Scholarship Fund
The Dr. Anson L. Clark Memorial Scholarship Fund
Johnny George Scholarship Fund
Preston Jones Scholarship Fund
Carl B. and Florence E. King Scholarship Fund
The Zelma Naylor Scholarship Fund
The Edythe W. and Henry X. Salzberger
Scholarship Fund
Dora and Robert D. Stecker Scholarship Fund
Shakespeare Study Club Scholarship Fund
Ot H er
The Frank Nick Scholarship for Creative Greatness
The Alan M. May Fund
d allas t h e ate r ce n te r
29
sta ff
LeAdersHiP: Artistic Director, Kevin Moriarty; Managing Director, Heather M. Kitchen;
Manager of Board Relations, Diversity Initiatives and Executive Operations, Martha-elena López
AdMinistrAtiOn: General Manager, Alfred Butler; Associate General Manager, dhyana Colony;
Company Manager, Zarinah washington; Operations Manager, darrell niedert; Facilities Maintenance
Technician, Albert gonzales; Computer Consultants, Choice technologies
ArtistiC, edUCAtiOn And COMMUnitY enriCHMent: Associate Artistic Director, Joel ferrell;
Playwright-in-Residence / SMU Meadows Prize Commission, will Power; Director of New Play Development,
Lee trull; Local Casting Director/Artistic Assistant, travis Ballenger; Director of Education and Community
Enrichment, rachel Hull; Manager of Education Programs, Mara richards Bim; Manager of Community
and Audience Engagement, dayron J. Miles; Master Teacher, Christie vela; Community Artists, daniel
duque-estrada, Hassan el-Amin; Education and Community Programs Apprentice, Laura Colleluori;
Commissioned Playwrights, roberto Aguirre-sacasa, Kristoffer diaz, Aaron Loeb, Kim rosenstock
diAne And HAL BrierLeY resident ACting COMPAnY: Michael (Kieran) Connolly, daniel duqueestrada, Hassan el-Amin, Chamblee ferguson, tiffany Hobbs, Liz Mikel, sally nystuen-vahle, Alex
Organ, Brandon Potter, Christie vela, steven Michael walters
deveLOPMent: Director of Development, Antay Bilgutay; Manager of Corporate Relations and Events,
robin rose; Manager of Foundation and Government Relations, Jill Underwood; Annual Fund Manager,
Blair Crane; Donor Services Associate, Patricia Kirven; Development Office Coordinator, daniela diBenedetto
finAnCe And ACCOUnting: Assistant Controller, Leia vanLue; Staff Accountant, stephanie galanos;
Finance Intern, Melissa gonzales; Independent Audit Firm, BdO UsA, LLP
MArKeting And COMMUniCAtiOns: Director of Marketing and Communications, Brad Pritchett;
Associate Director of Marketing and Communications, Micah Mcdade; Director of Publications,
Amy L. webber; Director of Public Relations, Kelsey g uy; Digital Media Manager,
eric Martinez; Marketing Coordinator, shannon Jones; Tessitura Analyst, traci McKinney;
PR / Social Media Intern, Ally van deuren; Web Developer, Chris Koller / idealgrowth; Production
Photographer, Karen Almond, Ticketing Services, At&t Performing Arts Center
PrOdUCtiOn: Production Manager, Barb Hicks; Associate Production Manager, Joshua scherr;
Production Management Assistant, samantha goessner Technical Director, Matthew McKinney; Associate
Technical Director, rick Miller; Shop Foreman, Zac goodwin; Carpenters, Jim Ackley, Bruce nuttall;
Stage Operations Manager, squeak Henderson; Deck Carpenter, nyla walker; Interim Production Stage
Manager, Megan winters; Stage Management Apprentice, elle tausch; Costume Shop Manager, Jennifer
Ables; Assistant Costume Shop Manager, Chris spencer; Draper, Amanda Hendrickson; First Hand, Kyle
everett; Stitcher, Melissa Perkins; Wardrobe Supervisor, Mattie O’neal; Head Dresser, Alett gray; Wig
and Make-Up Technician, nicole Alvarez; Properties Master, John slauson; Assistant Properties Master,
nicole gaignat; Properties Carpenter, Michael Chemycz; Paint Charge, sergey Chernomorets; Master
Electrician, Aaron Johansen; Assistant Master Electrician, Meike schmidt; Kalita Humphreys Master
Electrician, soren Haroldson; Sound Supervisor, Brian Mcdonald; Microphone Technician, Ashton
Mcwhirter
sKOKOs LeArning LAB: dylan Asher; Mikaela Brooks; Ailyah Christian; Madison Chu; dante
flores; Kelsey ford; taylor grant-gates; tyra Harris; Audrey Keen; nasya King; victoria Lennox;
Brandi Mcleain; Lindsey Meyers; Joan Milburn; Michael Orazco; Annabel Puff-Heffernan; sterling
ross; Chancy wiggins; Carson wright; tatum Zeko
fOr tHis PrOdUCtiOn: Dresser, Jackie Barrett; Carpenter, elizabeth vaughan
30
Da l l a s The ater Ce nter
Learn about play
development “from
page to stage,” interact
with DTC actors and
staff, and maybe even
act in a Guild-produced
performance! Enjoy
long-term and new
friends at themed events in elegant private homes and
other interesting locales, and through service projects
benefiting Dallas Theater Center! Membership levels begin
at $60.00. Please visit www.dtcguild.org for more
about “life beyond the stage.”
Life beyond the stage
Co-Presidents
Nan-Elizabeth Byorum
Rosemarie Marshall
Vice Presidents
VP Finance, Treasurer
Don Warnecke
VP Membership, Yearbook
Vicki Newsom
Sarah Warnecke
VP General Meetings
Michelle Mew
VP Special Events
Kathleen “Al” Lohr
VP Media/Newsletter
Susan Gregory
VP Theater Services
Sue Brown
Recording Secretary
Karen Zvonecek
Corresponding Secretary
Pat Pace
Historian
Robert Drechsler
Parliamentarian
Madeline Freberg
Producer ($1,000)
Rosemarie Marshall
Vicki and Kent Newsom
Kimberley and Scott Sheffield
Mary Ann Staab
Sarah and Don Warnecke
Patron ($500)
Diane and Hal Brierley
Molly Byrne
Linda and Bill Custard
Dorothy and Steve Davis
Julie and Ken Hersh
Carol and John Levy
Judy and J.C. Mathis
Stephanie and David Russakov
Supporter ($250)
Anne and Larry Angelilli
Tina and John Barry
Ken Bernstein and Barbara Clay
Missy and David Boone
Suzanne Caruso
Patti and John Cody
Benita and David Dick
Rebecca and Barron Fletcher
Madeline and Michael Freberg
Alicia and Paul Howell
Angela and John Howell
Kate and Dana Juett
Susan and Bob Kaminski
Desni Kramer and Anthony Kuehler
Betsy and Steve Myers
Pam and Brent Nicholson
Karol Omlor
Sherry and David Sivils
Anne and Alex Smith
Jean Stoner
Karen and Jerry Zvonecek
As of 9/29/14.
Thank you for all gifts received after the print deadline.
Advocate ($125)
Joe Abbey
Jill and Al Anderson
Beth and Don Averitt
Judy Birchfield
Trey Birkhead
April and Michael Bosworth
Mickie and Jeff Bragalone
Deborah and Nigel Brown
Sue Brown
Nan-Elizabeth Byorum
Paula Clancy
Florence Cox
Mary Lee Cox
Susan Gregory and Robert Drechsler
Marsha and John Durney
Susan Falvo
Barbara and Larry Florer
Rocky Ford
Tila Tuimalealifano Foss
Jane Gardner
Barbara and Abe Goldfarb
Lorraine and John Gurun
Marilyn Halla
Harriet Halsell
Sue and Phil John
Sylvia and David Kidd
Laurie and Bob Kidder
Teresa and Luther King
Betsy and Keith Kinney
Martha and Ken Latimer
Kristie Leatherberry
and Greg Konstans
Kathleen “Al” and Richard Lohr
Camile Long
Leria and Greg McConeghy
Mrs. Eugene McDermott
Barbara and Sam McKenney
Deborah McMurray
Kathy Messina and Gary Goodwin
Carol Meyer
Jay Oppenheimer and Dolph Haas
Barbara and Jon Page
Judy Pollock
Sue Prather
Glenda Priolo
Andrea and Keith Redmon
Sarah Roby
Martin Rubin and William Dooley
Betty Secker
Venise and Larry Stuart
Brenda Truitt
Leigh and Bob Webb
Donna Wilhelm
Ginger Wilhelmi
dDallas
allas tThheeate
aterr ce
Cennte
terr
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23
Did You Know?
Young people who participate in the arts
for at least three hours on three days each
week through at least one full year are:
• 4 times more likely to be
recognized for academic achievement
• 3 times more likely to be elected
to class office within their schools
• 4 times more likely to participate
in a math and science fair
• 3 times more likely to win an award
for school attendance
• 4 times more likely to win an award
for writing an essay or poem
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Da l l a s The ater Ce nter