The American Century Theater presents

Gunston Theater II2700 South Lang Street, Arlington VA

September 17–October 16, 2010

Produced by special arrangement with Samuel French, Inc.

The American Century Theaterpresents

There will be two intermissions.There will be cigarette smoking onstage.

Please—Silence and stow cell phones and other distracting devices. The use of recording equipment and taking of photographs

during the performance are strictly prohibited.

DirectorWilliam Aitken

ProducerRip Claassen

Stage ManagerDavid Olmsted

Technical Director/Scenic Design

Jameson Shroyer

Lighting DesignSteven L. Barker

Sound DesignIan Armstrong

Costume DesignRip Claassen

Properties DesignAnndi Daleske

Scene synopsisAn Orthodox Synagogue in Mineola, Long Island

Act 1 Before the Morning Prayers

Act 2 Scene 1, The Morning Prayers Scene 2, Before the Afternoon Prayers

Act 3 The Exorcism

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About The American Century TheaterThe American Century Theater was founded in 1994. We are a professional nonprofit theater company dedicated to presenting great, important, and worthy American plays of the twentieth century—what Henry Luce called “the American Century.”The company’s mission is one of rediscovery, enlightenment, and perspective, not nostalgia or preservation. Americans must not lose the extraordinary vision and wisdom of past playwrights, nor can we afford to surrender the moorings to our shared cultural heritage.Our mission is also driven by a conviction that communities need theater, and theater needs audiences. To those ends, this company is committed to producing plays that challenge and move all Americans, of all ages, origins, and points of view. In particular, we strive to create theatrical experiences that entire families can watch, enjoy, and discuss long afterward.

Wendy KenneyAnn Marie Plubell Kimberly GinnDavid T. Austern, Richard Barton, Elizabeth Borgen, Rebecca Christy, Vivian Kallen, Jack Marshall, Kevin McIntyre, Kim-Scott Miller

Board of DirectorsChair

Vice-Chair Treasurer

Board

StaffJack Marshall

Jason M. BeagleRip ClaassenBrian Crane

Ellen DempseyKate Dorrell

Tom Fuller

CEO and Artistic DirectorBill GordonRhonda HillSteven Scott MazzolaDavid OlmstedGinny Tarris

Cast, in order of appearanceHirschman (the Cabalist) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Craig MillerSexton . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joe CroninSchlissel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ron SarroZitorsky . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mick TinderAlper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stephen RourkeForeman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Richard FiskeEvelyn Foreman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kari GinsburgArthur Brooks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Steven QuartellHarris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . James SvatkoRabbi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Matthew MeixlerKessler Boys . . . . . . . . . . . . . . . . . . . . . . . Brendan Haley and Jim CalleryPoliceman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bill Gordon

Production staffDirector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . William AitkenProducer . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rip ClaassenStage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . David OlmstedAssistant Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jim Callery Technical Director/Scenic Design/Master Carpenter . . . . Jameson ShroyerLighting Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Steven L. BarkerLighting Assistants . . . . . . . . . . . . . . Ashley Swiger and Barbara MaltsevaSound Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ian ArmstrongCostume Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rip ClaassenWardrobe Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jessica BranchProperties Design/Scenic Painting . . . . . . . . . . . . . . . . . . . . Anndi DaleskeSound Board Operator . . . . . . . . . . . . . . . . . . . . . . . . . . . . Grant Marshall Production Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kyler SchmitzMaster Electrician . . . . . . . . . . . . . . . . . . . . . . . . . . . . AnnMarie CastrignoProgram Design and Cover Art . . . . . . . . . . . . . . . . . . . . Michael ShermanProduction Photography . . . . . . . . . . . . . . . . . . . . . . . . . . . Dennis DeloriaArchivist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kim-Scott Miller

The Tenth Man (1959) by Paddy ChayefskyEugene O’Neill, Arthur Miller, and Tennessee Williams are the consensus Big Three of American 20th-century stage drama, but a different triumvirate of dramatists deserve credit—or perhaps the blame—for pointing the way to the future. Their names are Rod Serling, Reginald Rose, and Paddy Chayefsky, and they were the first great writers to take their imaginations to the new medium of television. What is often referred to today as the Golden Age of Television could just as accurately be called the Serling, Rose, and Chayefsky Era.The three men wrote small, cramped, intimate stories that took place in locker rooms and jury rooms, two-room apartments, bedrooms, kitchens, and jail cells. Their brand of drama was made for close-ups, and it bred a new style of acting far removed from the grand flourishes of the Barrymores and Tallulah Bankhead. It called for new kinds of stars, too—actors who looked and behaved like real people, not movie stars. The three had some things in common. All were fierce liberals and heralds of social justice, wary of power and corruption, enemies of bigotry in all of its forms, and believers in the power of truth and courage. They were also different, especially in style: Rose, the master of unremarkable, spare language that seemed like it could have been overheard in any office or household; Serling, a poetic master of metaphor and irony; and Chayefsky, the most versatile of them all. He specialized in passionate, soaring monologues, often delivered by characters who were angry and frustrated. The most cynical and audacious of the three, he was also the most sentimental: Paddy believed in love, but he was also wary of it. He was also wary, unlike Rose and Serling, of idealism. Most of all, however, Paddy Chayefsky could really write. He could pack so much color and controversy in his dialogue that he sometimes ignored character: everyone he created was, in some way, Paddy, and sounded like it. His facility with words sometimes resulted in too much of a good thing, but it was always fun listening.Rose (Twelve Angry Men), Serling (Requiem for a Heavyweight), and Chayefsky (with Marty) each finished the Golden Age of Television having contributed one iconic live TV drama. Then Chayefsky took a different path. Unlike Reginald Rose, who continued to concentrate on television work to the end of his career (though he lived to see his teleplay of Twelve Angry Men become a stage standard), and Serling, who dabbled in films and theater but whose greatest successes were on the small screen, Chayefsky eventually decided that his words and aspirations needed a larger palette. After his adapted teleplay of Marty became an Academy Award–winning movie, he concentrated on writing for the screen, with an occasional foray into playwriting. Alone among the Golden Age trio, he had a successful Broadway hit—two of them in fact: The Middle of the Night (1956), which

continuedNorthern Virginia Community College/Loudon CST 251 Students

Jackie AltmanBackstage, Inc.Don BartonCharlotte tClearyIsraeli Accents, Rockville, MarylandMartha Karl

Peg LorenzMarianne MilianStephenie OvermanSterling PlaymakersSteve TaylorPatricia Tinder

Special thanks to—

was an adaptation of one of his teleplays, and The Tenth Man. Chayefsky also surpassed Serling and Rose by authoring three classic movie scripts—for The Goddess, Hospital, and Network. He was just hitting his artistic stride, some feel, when he was cut down by cancer at the age of 58.The best 21st-century writers now follow Paddy and Reginald and Rod’s example to where money and fame are: television. It is hard to counter the argument that the best dramatic writers today write for TV, not the stage. The Tenth Man gives us a wistful glimpse of what might have been if Chayefsky, and maybe Serling and Rose, too, had set out to create a new Golden Age of Theater, rather than giving most of their best work to other media. Alas, it was not to be. —Jack Marshall, Artistic Director

Paul Danaceau, originally cast as Foreman, rehearsed with the cast for several weeks before he was stricken with serious illness. He had been looking forward to playing the role Jacob Ben-Ami, the father of a longtime family friend, originated in the 1959 New York production of The Tenth Man. Our thoughts, prayers, and best wishes go out to Paul and his family. —The Tenth Man cast and production staff and The American Century Theater family

Jim Callery (Younger Kessler Boy) See Production Staff.Joe Cronin (Sexton) appeared with The American Century Theater as Father in Life With Father, MacBird in MacBird!, Looseleaf in Happy Birthday, Wanda June, and many other roles. He recently worked with the Bay Theatre in Annapolis as Burgess in Candida and Wilson in Harvey. Last year’s Capital Fringe audiences saw him in the title role in the critically acclaimed Captain Squishy’s Yee Haw Jamboree. Washington/Baltimore appearances include Arena Stage, Theater J, National Players, Olney Theatre Center, Rep Stage, Solas Nua, Interact Theater, Everyman Theatre, Washington Shakespeare Company, Washington Stage Guild, Keegan Theatre, and Spooky Action Theater. NYC appearances: Heritage Theatre. Joe earned an MFA in acting from the Catholic University of America. Richard Fiske (Foreman) is a newcomer to the stage despite his age, having spent most of his professional life in (or under) ships as a Navy engineer and diver. He began acting as a movie extra (his elbow was clearly visible in Body of Lies), followed by small movie speaking roles, finally realizing that an adrenalin junkie really belongs in the theatre.Kari Ginsburg (Evelyn Foreman) has appeared with The American Century Theater as Rita in Will Success Spoil Rock Hunter?, Penelope Ryan in Happy Birthday, Wanda June, Muriel McComber in Ah, Wilderness!, and Mary Warren in The Crucible. Other notable roles include She in Every Young Woman’s Desire and Leona Dawson in Small Craft Warnings (Washington Shakespeare

Company), Alexa Vere de Vere in As Bees in Honey Drown (Trumpet Vine Theatre Company), Chloe in Arcadia (Rep Stage), Jill Mason in Equus (Heritage Theatre Company), and Robert in Hidden in this Picture (Syracuse Stage). She has performed with Fallen Angels Productions, The Center Company, Round House, Arena Stage, Shakespeare Theatre, Adventure Theatre, Venus Theatre, and eight seasons with the Washington National Opera. Kari’s non-theatre credits include g14 productions’ Reservation, Cox Communications 20/10 commercials, as well as projects for UPN20, WILL Interactive, AAAS, Caryatid Films, Prudential, and The Washington Warthogs and Homicide. Bill Gordon (Policeman) last appeared with The American Century Theater as Phil McCabe in the concert reading of Babes in Arms. Previous TACT roles include Hoffy in Stalag 17, “Jingle Bill” Gordon in An American Century Christmas (for which he also designed and ran sound), Von Konigswald in Happy Birthday, Wanda June, and The Cabbie and Lt. Buchevski in Cops. Other TACT sound design credits include The Titans and Life With Father. Other local stage credits include Boo in Spooky Action Theatre’s production of The Marriage of Bette and Boo. Bill produces TACT’s “Before the Curtain Is Raised” podcast series and podcast programs for the American Shakespeare Center in Staunton, Virginia.Brendan Haley (Older Kessler Boy) was Production Intern on The American Century Theater production of Seascape. He is a recent graduate of Virginia Tech’s Theatre Arts and Cinema program.Matthew Meixler (Rabbi) last appeared with The American Century Theater as the SS Guard and McCarthy in Stalag 17. A graduate of New York University’s Tisch School of the Arts, he studied first in the Meisner Extension, then in the Classical Studio, and appeared as Trinculo in The Tempest, Gloucester in King Lear, and the Old Shepherd in The Winter’s Tale. Matt is an original member of the New York Neo-Classical Ensemble, where he appeared as Arviragus in Cymbeline and as Francis Flute in A Midsummer Night’s Dream. Craig Miller (Hirschman, the Cabalist) is making his third appearance with The American Century Theater. He played Charlie in Seascape and Harry Kaye in Will Success Spoil Rock Hunter? His most recent performance was as Chris in O’Neill Theatre’s production of Anna Christie. Since returning from ten years of acting and directing in Europe in the 1970s, Craig has performed in over 100 productions in the DC area. He received his formal theatre training at San Jose State University and the Royal Academy of Dramatic Art in London.Steven Quartell (Arthur Brooks) is pleased to make his DC metro area debut with The American Century Theater. Born and raised in the Midwest, Steven received his BFA in Acting from Millikin University. His favorite roles include Valentine Coverly in Tom Stoppard’s Arcadia and one of three men in The Complete History of America . . . Abridged. Stephen Rourke (Alper) is a fourteen-year veteran of stage, film, and television productions in Baltimore, Washington, New York, and Croatia, and recently completed filming The Most of Things, an independent film currently in post production. He most recently appeared on stage as Tubby Wadlow in the Ruxton Players’ production of Hobson’s Choice. He is also the Maryland representative for the League of Historic American Theatres.

William Aitken (Director) has previously directed Stalag 17 and Desire Under the Elms for The American Century Theater. Onstage with TACT, he has played General Curtis LeMay, Adlai Stevenson, Anatoly Dobrynin, and Rodion Malinovsky (The Titans), Harold Ryan (Happy Birthday, Wanda June), Ned Crossman (The Autumn Garden), Ishmael/ Actor (Orson Welles’s Moby Dick Rehearsed), Herb Lee (Tea and Sympathy), McCarthy/Society Gentleman (The Time of Your Life), and Phil Foley (Paradise Lost). On other area stages, he has played Sir Walter Raleigh in Kit Marlowe (Rorschach Theatre Company); Diego in The Royal Hunt of the Sun, Old Jew in Incident at Vichy, and Dr. Joe Cardin in The Children’s Hour (Washington Shakespeare Company); Robert (u/s) in Proof (Arena Stage); Baylen in Glengarry Glen Ross, Juror Ten in Twelve Angry Men, Pedro in Man of La Mancha, Capulet in Romeo and Juliet, IRA Officer in The Hostage, The Bear in Elizabeth Rex, and Scanlon in One Flew over the Cuckoo’s Nest (Keegan Theatre).Rip Claassen (Producer, Costume Design) has been a fixture on the Washington theatre scene for many years, perhaps best known as dramaturge at Backstage, Inc. Rip has taught theatre and acting at the Institute for the Arts for Fairfax County Public Schools, Duke Ellington School of the Arts, and other local theatre programs. For The American Century Theater, he has directed (Life With Father), produced (Native Son), and costumed innumerable shows, most recently Stalag 17 and Will Success Spoil Rock Hunter? Rip founded the Northern Virginia Theatre Festival for high schools and provides coaching to theatre students seeking admission to competitive college theatre programs, the Virginia Governor’s School for Humanities and Visual and Performing Arts, roles in community and professional theatres, and other

Ron Sarro (Schlissel) has appeared with The American Century Theater in four productions, including 10 characters in Hellzapoppin’ alone. His numerous professional credits include Bela Zangler in Crazy for You, Major General Stanley in Pirates of Penzance, Smee in Peter Pan, and Scrooge in A Christmas Carol. Ron’s credits include principal roles at Olney Theatre Center, Chesapeake Music Hall (Annapolis), Chesapeake Fine Arts Theater (Baltimore), Burn Brae, West End, and Way Off Broadway Dinner Theaters, and Theatre by the Sea in Rhode Island.James Svatko (Harris) played Geneva Man in TACT’s production of Stalag 17. Other credits include Larry in Immoral Combat (McLean Drama Company; Alden Theatre and the 2009 Capital Fringe Festival) and ensemble in Julius Caesar (Shakespeare Theatre Company). Film credits include Harold Wagner in Til Deaths Do Us Part (Merge Films) and Frank Catalano in Disorganized Crime (Big Moustache Productions).Mick Tinder (Zitorsky) has appeared in The American Century Theater productions of The Eccentricities of a Nightingale, Stunt Girl, An American Century Christmas, and Native Son. He has also worked with Keegan, Signature, Ford’s, Olney, and West End Theatres. He has served as director, executive producer, and/or stage manager for various productions around the DC area and is constantly striving to break his performance records, harassing the Congress in his perennial role as John Adams in 1776.

competitive programs. He is Artistic Director of Teens and Theatre (TnT), a nonprofit theatre education company. David Olmsted (Stage Manager) has worked backstage with The American Century Theater for over two years—as Stage Manager for Life With Father and Treadwell: Bright and Dark and Assistant Stage Manager for Will Success Spoil Rock Hunter? and Native Son. David made his first onstage appearance with TACT as Horney in Stalag 17 and is a member of the TACT staff.Ian Armstrong (Sound Design) has designed sound for The American Century Theater productions of Stalag 17, Desire Under the Elms, and Drama Under the Influence. Other recent designs include The Children’s Hour (Washington Shakespeare Company), Bad Hamlet (winner, best experimental play, 2009 Fringe Festival), the world premiere of Photograph 51 (Active Cultures Theatre), Low Level Panic (Story Theater), and Songs for a New World (Open Circle Theatre). He designed I French Kissed a Zombie, and I Ain’t Scared of Your Brother Neither in Los Angeles and Enter the Poet for CollaborAction Theatre in Chicago. He is a graduate of The Corcoran School of Art and The Catholic University of America.Steven L. Barker (Lighting Design) is an adjunct professor of theatre for Northern Virginia Community College and resident designer for Crossroads Dance, Vpstart Crow Productions, and Pied Piper Theatre. Recent designs: Hamlet for VCP, Disney’s Beauty and the Beast for PPT, and Six Degrees of Separation (2010 WATCH Nomination) for Taking Flight Theatre.Jessica Branch (Wardrobe Assistant) was Wardrobe Mistress for the TACT production of Stalag 17. A longtime admirer of the theatre, Jessica is grateful for the opportunity to integrate her sewing skills into the performing arts.Jim Callery (Assistant Stage Manager) last worked with The American Century Theater as Sound Board Operator for Stalag 17. Other backstage credits include: Musical of Musicals: The Musical, Glorious, Jeffrey, and Love! Valour! Compassion! (Dominion Stage), Follies and The Producers (The Arlington Players), and Dog Sees God (Little Theatre of Alexandria, Capitol Fringe Festival).Anndi Daleske (Properties Design) has previously been Properties Designer for The American Century Theater production Treadwell: Bright and Dark and Scenic Designer for TACT’s Stalag 17. She has designed costumes, sets, or props for the Shakespeare Festival at Tulane, The Jefferson Performing Arts Society, The Summer Lyric Theatre, St. Mark’s Players, Olney Theatre Center, and the DC Fringe Festival, among others. Some favorite shows include Fiddler on the Roof (props, puppets, and masks), A Comedy of Errors (costumes), Cymbeline (set), Bad Dates (props), and Seneca’s Medea (shadow puppets and props). She earned her MFA in Theatrical Design from Tulane University.Grant Marshall (Sound Board Operator) was Sound Board Operator for The American Century Theater concert reading of Babes in Arms.Jameson Shroyer (Set Design/Technical Director/Master Carpenter) was Technical Director/Master Carpenter on The American Century Theater productions of Will Success Spoil Rock Hunter? and Stalag 17. He is Assistant Technical Director at Olney Theatre Center and has worked as TD/Master Carpenter for various theatre companies in DC and Virginia.

Bob and Wendy KenneyProvincetown Players ($2,500–$4,999)

AnonymousArlington Community FoundationRebecca and Gene ChristySteven R. Cohen and Mary McGowanRobert DuBois

Vivian and Arthur KallenPeri MahaleyDonald Adams and Ellen MalandEleanor MarshallSheldon and Marilyn Wallerstein

Theater Guilders ($1,000–$2,499)

Linda Allen and Ron BassCheryl Bailey and William M. McClenahan, Jr.Sally Beth BergerElizabeth BorgenR.G. BowieRon BrandtAlan and Susan BraniganDavid Briggs and John F. BentonMarvin and Ellen CantorGerald ChapmanBoris CherneyRobyn DennisGloria Dugan

Scott DurlooJanet and Marty FaddenDr. Coralie FarleeJames and Maria GentleLarry George and Brenda PommerenkeJean F. GetleinKimberly GinnGabe GoldbergVirginia HarrisStephen HarrisonAlan Herman and Irene SzopoRhonda HillRobert HoneygoskyRoger and Katharine Hood

The Players ($100–$249)

Thank you to the many generous donors who provided support from September 1, 2009 through August 31, 2010.

Arlington Commission for the ArtsVirginia Commission for the Arts

David T. AusternGroup Theater Goers ($5,000+)

John ActonNoreen Hynes and Seth CarusTracy Fisher

Constance McAdamPatricia PayneThe Plubell Firm

Mercury Theater Backers ($500–$999)

Jean and Richard BartonPete and Cherry BaumbuschJim Bertine and Sharon GalmJoya CoxDennis Deloria and Suzanne ThouvenelleEllen Dempsey and Lou GeorgeAdriana HardyThomas HoyaAngela HughesMarjie MayerConstance McAdam

Alexandra McElwaineAndrew and Barbara McElwaineRobert J. and Mark L. McElwaineHarriet McGuireSuzy PlattAnn Marie PlubellWilliam and Connie ScruggsDavid and Willa SiegelMarcia Neuhaus SpeckGinny TarrisFrontis Wiggins

Living Theater Lovers ($250–$499)

AnonymousMary BeatleyTom and Loretta BeaumontLaura BurchardRicardo CastroWendy CohenMary CrosbyMary Kay DavisDorothea de Zafra AtwellMichael deBloisPatricia DowdSusan DukaCharles FeingershDonna FeirtagThe Hon. Jay FisetteCathy GarmanRita GordyMadi R. GreenJean HandsberryBill and Donna HannayRachel HechtLinda Hill and Paul SteinmetzAlison Drucker and Tom HolzmanElaine HowellHoward and Myrna KaplanWilliam KelleherPaul KohlbrennerShirley KostikR.M. KraftSteven LaterraSharon LeiserMark and Sarah LintonJames Mangi and Kathleen Schmidt

Martin MarksPhebe K. MassonEvelyn and Milan MateyBarbara and Kenneth McLean Margaret MeathRichard and Dorothy MillerMargaret MulcahyBarbara MurrayCarl and Undine NashThanh NguyenMiah OlmstedRichard and Rebecca PariseauPaul and Carol ParowskiMary PascoeRuth and Charles PerryRhoda RitzenbergMichael and Loretta RoweDennis RyanJohn H. SchneiderSharon SchoumacherSusan and Ralph ShepardCarole ShifrinBertha ShostakLinda and William SmithPaul StayertKathryn TatkoMarjorie TownsendMarcus WalkerDoug and Evelyn WatsonAdrienne WhiteBonnie Williams and Bob SkellyCarol and Henry Wolinsky

The Federal Theater Funders ($10–$99)

Donors-in-kindJason Beagle, Rebecca Christy, Brian Crane, Dennis Deloria, Ellen Dempsey,Kate Dorrell, Bill Gordon, Suzanne Maloney, Loren Platzman

IBM Corp.Richard Kamenitzer Charles and Ellen KennedyRobert L. KimminsAlan M. KingPaul KlingenbergLou and Jane KriserKathryn and Robert KrubsackDavid A. LamdinMary Ann Lawler and Neil SigmonMargaret LorenzGudrun LuchsingerWinnie MacfarlanAngus and Sharon MacInnesLory ManningJudith and David McGarvey

Robert Half InternationalDaniel RossCharline RugenRobert F. SchiffDiane L. SchrothJohn SealHenry ShieldsPat Spencer SmithJean V. SmithJennifer Sosin and Adam PosenThe Hon. and Mrs. John M. SteadmanBarbara StearnsJohn Blaney and Robin Suppe-BlaneyDavid TannousAnnette Zimin

The Players ($100–$249) continued

The Tenth Man is funded in part by Arlington County through the Cultural Affairs Division of the

Department of Parks, Recreation, and Cultural Resources,and the Arlington Commission for the Arts.

This arts event is made possible in partby the Virginia Commission on the Arts,

the National Endowment for the Arts,and our many generous donors.

The American Century Theater2010–2011 Season

Comedy, Romance, Suspense, and More! Chip Deffaa’s One Night with Fanny Brice

This one-woman musical celebrates Brice’s personality and comic style with performances of her signature songs and 1920s–30s standards.

Directed by Ellen Dempsey November 5–27, 2010

Eugene O’Neill’s Beyond the Horizon (1920) The tale of a tragic love triangle that won O’Neill his first Pulitzer Prize.

Directed by Kathleen Akerley January 14–February 12, 2011

Edna Ferber and George S. Kaufman’s Stage Door (1936) The classic saga of backstage intrigue

in a boarding house full of ambitious actresses. April 8–May 7, 2011

Gore Vidal’s Visit to a Small Planet (1956) A satirical comedy about a confused visitor from outer space whose perspective on human behavior is hilarious and thought-provoking.

July 8–August 6, 2011

Download the podcastTACT Artistic Director Jack Marshall discusses The American Century Theater production of The Tenth Man with director William Aitken and performers Steven Quartell (Arthur), Kari Ginsburg (Evelyn), and Mick Tinder (Zitorsky). Available at www.americancentury.org/library/podcasts