The American Century Theaterpresents

Gunston Theatre Two2700 South Lang Street, Arlington VA

January 14–February 12, 2011

The American Century Theaterpresents

There will be two intermissions.

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.

DirectorKathleen Akerley

ProducerSteven Scott Mazzola

Stage ManagerLisa Blythe

Scenic DesignElizabeth Jenkins

McFadden

Costume DesignJennifer Tardiff

Lighting DesignMarianne Meadows

Sound DesignNeil McFadden

Properties DesignArthur Brill

PuppeteersEric Brooks and

Don Becker

Act I Scene I The road at sunset of a day in spring Scene II The farmhouse the same night

Act II (Three years later) Scene I The farmhouse at noon of a summer day Scene II The top of a hill on the farm overlooking the sea on the following day

Act III (Five years later) Scene I The farmhouse at dawn of a day in late fall Scene II The road at sunrise

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 KenneyRebecca Christy Ann Marie PlubellKimberly GinnDavid T. Austern, Richard Barton, Elizabeth Borgen, Vivian Kallen, Jack Marshall, Kevin McIntyre, Kim-Scott Miller

Board of DirectorsChair

Vice-Chair Secretary Treasurer

Board

StaffJack Marshall

Rip ClaassenBrian Crane

Ellen DempseyKate Dorrell

Tom Fuller

CEO and Artistic DirectorBill GordonRhonda HillSteven Scott MazzolaGinny Tarris

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

Beyond the Horizon (1920) by Eugene O’Neill

When is a great American play literally too old to be produced?One answer is that a play may be too old if it was written before Eugene O’Neill’s Beyond the Horizon, which won the Pulitzer Prize for Drama, only the second to be awarded, in 1920.

O’Neill’s tragedy is often cited as the dividing line between melodrama, which was the broad style that American playwrights employed in the 19th and early 20th centuries, and the beginnings of modern drama. Still, there were earlier plays that can be successfully produced today, including the dominant American play from the mid-19th century well into the 20th, Uncle Tom’s Cabin. That show, however, like the most successful serious melodramas, focuses on a particular social problem of the day—like race relations, the problems of immigrants and the poor, or alcohol abuse—with victims, heroes, and villains (“S-s-s-s-s-s-s-s-s!!!”) clearly delineated with no blurring among them. O’Neill had already begun to steer stage works toward exploration of more intimate and complex issues, probing psychology as well as human weakness—or romance, which is a human weakness, too, after all. Before Beyond the Horizon, his preferred method was the one-act play; Beyond the Horizon was in some respects an experiment to see if audiences would endure a full-length production without the flamboyant emotions and manipulative plots that a half century of melodrama had accustomed them to. Needless to say, the experiment was a success.

Plays that reach back into the 1920s retain vestiges of the bombastic speech, full of exclamations and overly candid monologues, that were standard equipment on their melodramatic forbears. Never mind: if the dialogue is written with actors in mind—and O’Neill’s dialogue was always written this way—that faint archaic flavor can be eradicated by deft direction and some judicious editing. When a modern audience sees Beyond the Horizon, it is witnessing the moment when the American theater realized that Hollywood was in the process of cornering the market on schmaltz and cheap sentiment and that the stage needed to grow up, dig deeper, and take chances.

continued (usa)=Member, United Scenic Artists

CastAndrew Mayo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Felipe CabezasRobert Mayo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joshua DrewJames Mayo to Ben to Doctor Fawcett . . . . . . . . . . . . . . . . . Chuck YoungRuth Atkins to Little Mary to Mrs. Atkins . . . . . . . . . . . . . Ashley DeMainCaptain Dick Scott . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joe CroninKate Mayo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jane E. PetkofskyMrs. Atkins to Ruth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Amy QuigginsRuth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Eli Sibley

Production staffDirector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kathleen AkerleyProducer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Steven Scott MazzolaStage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lisa BlytheScenic Design . . . . . . . . . . . . . . . . . . . . Elizabeth Jenkins McFadden (usa)Costume Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jennifer TardiffLighting Design . . . . . . . . . . . . . . . . . . . . . . . . . Marianne Meadows (usa)Sound Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Neil McFaddenProperties Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Arthur BrillPuppeteers . . . . . . . . . . . . . . . . . . . . . . . . . . . Eric Brooks and Don BeckerTechnical Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jim AlexanderScenic Charge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Beau HamiltonAssistant Stage Manager/Board Operator . . . . . . . . . . Darlene RichardsonProgram Design and Cover Art . . . . . . . . . . . . . . . . . . . . Michael ShermanProduction Photography . . . . . . . . . . . . . . . . . . . . . . . . . . . Dennis DeloriaHouse Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kristen Pilgrim

Jeffrey AkmanJackie AltmanLinda AnCarol BakerCharlotte ClearyKaren CurrieEileen GarciaPeg Lorenz

Marianne MilianSusie PooleDonna ReynoldsBetsy RosenRyan WhinnemThe Keegan TheatreThe Little Theatre of AlexandriaSignature Theatre

Special thanks to—

“The sky within and the earth without . . . .” That was our working theme for this play in rehearsals, an abstract image to be sure and not one that drives to a point or declares itself in favor of one over the other, earth or sky, the person or the world. Although some of the characters are more of the earth than others, and although O’Neill seems to favor his sky spirits (oh, the simplistic mockery of books that is given to the actors who play successful farmers!), I would argue that what all these Mayos and Atkinses have in common is that what is within them feels larger and more beautiful than anything they can express or find mirrored in the physical world. One character’s “earth without” is a wheelchair, making explicit the idea that the magic that is I can only be practiced with clay hands in a temporal prison, speaking limiting words into the clay ears of someone also possessed of limitless sky.

When I first read this play I was struck particularly by two things: the lovely and largely successful attempt to make yearning a presence on the stage and the powerful evidence that O’Neill hated his leading lady. On the one hand, the speeches of Robert’s that help us to understand he longs not for any one thing or end but only for a life filled with the motions of yearning; on the other hand, the one end he does achieve is life with a girl who ages “horribly” and unsympathetically in eight years and who, at least on paper, represents the stultification of everything he values in himself.

I cannot, as a director, devote three acts to the theme “artist crushed by harridan.” I wouldn’t gain anything from watching it; I don’t care to tell stories that are so uneven. Instead I have decided to make as active as Robert’s yearning his perception of Ruth, to suggest that her exaggerated characteristics exist largely in Robert’s expectations. She is one woman

Felipe Cabezas (Andrew Mayo) is excited to be playing with The American Century Theater for the first time. Other local credits include The Alchemist (Shakespeare Theatre Company), Reasons To Be Pretty (Studio Theatre), Women Beware Women (Constellation Theatre Company), Measure for Measure (Maryland Shakespeare Festival), Hamlet (Chesapeake Shakespeare Company), Bad Hamlet (Adequate Players at Capital Fringe Festival), and Deep Belly Beautiful (theHegira).

Joe Cronin (Captain Scott) is familiar to The American Century Theater audiences from such roles as Father in Life with Father, MacBird in MacBird!, the Shamus in The Tenth Man, and a dozen others. He has performed recently with the Bay Theater in Annapolis, including productions of Harvey as Wilson and Candida as Burgess. Joe has performed in the Baltimore–Washington area with Arena Stage, Theater J, Olney Theatre Center, Rep Stage, Solas Nua, Everyman Theatre, Keegan Theatre, Spooky Action Theater, InterAct Theatre, Washington Shakespeare Company, and Washington Stage Guild, among others. He was a company member with the New Heritage Theatre in New York and has an MFA in Acting from the Catholic University of America.

Ashley DeMain (Ruth to Little Mary to Mrs. Atkins) is performing with The American Century Theater for the first time and is grateful for this new opportunity. She recently appeared in A Great(er) Depression as HR Manager (Misfit Theatre Company, 2010 Source Festival) and is one of Misfit’s founding members. Other Misfit credits include Portia and Calpurnia in Julius Caesar and Collaborator in Tragedy: A Fairytale. She has performed Ophelia in Hamlet, Actor in Tree Project, and Collaborator in an adaptation of The Tragedy of Dr. Faustus (The Pabst and Popcorn

When is a great American play literally too old to be produced? Oh, probably never. But it certainly helps if the play was written after 1919, or was written by Eugene O’Neill. Fortunately, Beyond the Horizon is both.

—Jack Marshall, Artistic Director

to him when she still contains the romantic unknown, another when she expects him to be on time for meals, and finally another when they know the end they are facing contains only unconventional comforts. In our version of this play, Robert and Ruth are equally responsible for the course of their lives: the only crushing weight anyone feels is that of the discovery they were unable to be the person they thought they were or to express the sky they knew they contained.

—Kathleen Akerley, Director

Hour). Other local companies include Forum Theatre, Madcap Players, and Longacre Lea. Ashley studied at The Catholic University of America and holds a BA in Theatre.

Joshua Drew (Robert Mayo) is pleased to return to The American Century Theater, where he performed as Robert Ken O’Dunc in MacBird!, Frederick Ellis in The Autumn Garden, and Bomber in Picnic. Recent area credits include Davison in Mary Stuart and Valère in The Miser (Washington Shakespeare Company), Ensemble in Courage and Joey in Punch: That’s the Way We Do It (dog & pony dc), Rod Serling in Unscheduled Track Maintenance (2009 Source Festival), and Bormental in Heart of a Dog (Spooky Action Theater). He has also performed locally with The Kennedy Center, Rorschach Theatre, National Symphony Orchestra, and The Pabst and Popcorn Hour. Joshua earned a degree in Acting/Directing from Iowa State University.

Jane E. Petkofsky (Kate Mayo) has performed with The Keegan Theatre as Mrs. Grace in A Man of No Importance, Sandra in One Flew Over the Cuckoo’s Nest (U.S. and Ireland tour), Henslowe in Elizabeth Rex, Housekeeper/Innkeeper’s Wife in Man of La Mancha, Miss Gilchrist in The Hostage, and Mrs. Putnam/Sarah Goode in The Crucible and with Charter Theatre as Edna in Thirty-seven Stones, or the Man Who Was a Quarry. Other credits include Ouisa in Six Degrees of Separation, Queen Aggravain in Once Upon a Mattress, Boo Levy in The Last Night of Ballyhoo, Miss Asquith in The Way of All Fish, and Joy Gresham in Shadowlands. She is a graduate of the Honors Conservatory at The Theatre Lab School of Dramatic Arts, where she appeared in mainstage productions as Mother in Ragtime, the Musical and Golde in Fiddler on the Roof.

Amy Quiggins (Mrs. Atkins to Ruth) is excited to return to The American Century Theater where she performed in USA, The Second Man, and The Seven Year Itch. She is an associate artist with Constellation Theatre Company, where she appeared in The Ramayana, Three Sisters, Crazyface, and The Oresteia. Other credits include Three Fantasies (Arts Alive Theatre at Montgomery College and Happenstance Theatre), Living Dead in Denmark (Rorschach Theatre), Argonautika and Don Juan (u/s, Shakespeare Theatre Company), A Christmas Carol (Ford’s Theatre), and The Honest Whore and The Two Gentlemen of Verona (Austin Free Shakespeare Society). Amy has an MFA from Shakespeare Theatre Company’s Academy for Classical Acting at

George Washington University (The Maid’s Tragedy, The Merry Wives of Windsor).

Eli Sibley (Ruth)’s recent credits include Red Hood: Once Upon a Wartime (Capital Fringe 2010), The Graduate (The Keegan Theatre), and A Winter’s Tale (Lean and Hungry Theater). Other DC credits include: Life Is a Dream, Listen, The Serpent Woman, Duchess of Malfi, The Dining Room, and Born of a Fairytale for Capital Fringe 2009, which she also wrote; Born Normal for Capital Fringe 2008. Additional credits: 5th Shanghai International Experimental Theatre Festival; Minnesota: Minnesota Shakespeare Project, Shakespeare in the Park, CalibanCo, Theatre Pro Rata, and Pig’s Eye Theatre; California: California Actors Theatre, Sierra Repertory Theatre, the Mendocino Shakespeare Festival, and the California Shakespeare Festival. She earned her MFA in Acting from the Catholic University of America.

Chuck Young (James Mayo to Ben to Doctor Fawcett) has been performing in the Washington area for twenty-three years. He was last seen as Tokio in Golden Boy (Keegan Theatre), Sgt. Isaiah Brown in My Beautiful American Soldier (Source Theatre Festival), and Lafew in All’s Well That Ends Well (Washington Shakespeare Company). This is his debut performance at The American Century Theatre, and he is pleased to be a part of this cast. Chuck has narrated nearly 200 titles of recorded books for the Library of Congress National Library Service for the Blind and Physically Handicapped.

Kathleen Akerley (Director) most recently directed the Belfast premiere of Everything Between Us for Tinderbox Theatre. Local projects include The Small Things (Solas Nua), The Skriker and The Gas Heart (Forum Theatre), [sic] (Theater Alliance), Writer’s Cramp (Scena Theatre), Ubu Roi (Rorschach Theatre), Jumpers (Washington Shakespeare Company), The Winter’s Tale (Baltimore Shakespeare Festival), The Inspector General (Journeymen Theater) and shkspr prjct for Catalyst Theater for which she and the ensemble were nominated for a Helen Hayes Award for Choreography. She is Artistic Director of Longacre Lea, where she has directed Cat’s Cradle, The Hothouse, Rosencrantz & Guildenstern Are Dead, Man with Bags, The Power of the Dog, Energumen, and The Real Inspector Hound, among others, and where she received the Theatre

Lobby Mary Goldwater Award for her direction of Longacre Lea shows. She holds an MFA from Catholic University and graduated from the Studio Theatre Conservatory.

Jim Alexander (Technical Director) is pleased to be involved in his first show with The American Century Theater. He has built scenery, hung lights, and been production manager in the industry for more than twenty-five years, working with the National Ballet of Cuba, the National Ballet of China, Nederland Dans Theater, Bangarra Dance Theater, the Washington Ballet, Shakespeare Theatre Company, and 1st Stage of Virginia, among others.

Don Becker (Puppeteer) has been a puppeteer in the area for the last thirty years. His puppets can be found in galleries around the world and at dbpuppet.com.

Lisa K. Blythe (Stage Manager) is thrilled to be working with Steven Mazzola again after Stage Managing Cookin’ Up Numbers for Numbers Alive! (Capital Fringe Festival). Stage Management credits include The Teachers Lounge and Busted Jesus Comix (The Washington Rogues), In On It (Theater Alliance), and Mistakes, Inc. (VSA Arts at The Kennedy Center). Assistant Stage Management credits include Ricky Jay and His 52 Assistants, After Play, Fat Pig, and A Number (Studio Theatre). Producer credits include Infantry Monologues (Meat & Potato Theatre).

Arthur Brill (Properties Design) has been designing sets, props, puppets, and special effects since 1990. He built his first theatrical prop (a pig head so convincing it fooled the actors) for a production of Foxfire for Little Theater of Gastonia. Since moving to Virginia in 1994, he has designed and built scenery for Kings Dominion and Busch Gardens and produced and directed professional haunted attractions. He most recently operated a ten-foot-tall marionette for Fish Tales (Timberframe Folly, Shepherdstown WV), was prop shop manager for the Contemporary American Theater Festival in Shepherdstown, and designed the set for Willy Wonka (Children’s Youth Theater, Richmond VA). He has appeared onstage over the years and performs as a children’s storyteller, assuming the personae of Father Christmas and Darby O’Gill.

Eric Brooks (Puppet Builder/Designer) is an artistic collaborator and puppetry/music consultant in the DC metropolitan area, including a movement specialist for area theatres. For the last four years, he has

worked for The Puppet Co. as a company assistant, whose duties have included Lead Performer, Scenic and Puppet Builder, Script and Music Developer, Class Teacher, and Workshop Manager. He is also a producer for adult puppetry showcases, called Slams, which are essentially miniature puppet festivals for adults, comprising puppet artists from local and out-of-state networks and aimed at raising awareness of the power of puppetry as a veritable and versatile storytelling device. Eric holds an MA in Puppetry. He is thrilled to be working alongside Don Becker on Beyond the Horizon for The American Century Theater. More on his work at www.puppeteeric.com.

Beau Hamilton (Scenic Charge) is excited to be working with American Century Theater. Currently a student at Montgomery College, he plans on graduating this summer with an Associate’s in Technical Theatre. Credits include The Happy Elf (Adventure Theater and Montgomery College) and The 25th Annual Putnam County Spelling Bee, Crazy for You, Brigadoon, and A Midsummer Night’s Dream (Montgomery College).

Elizabeth Jenkins McFadden (Scenic Design) is delighted to return to The American Century Theater, where she designed The Eccentricities of a Nightingale. She serves as the designer-in-residence for Montgomery College–Rockville, the Washington Savoyards, and the Reeve Theatre series at Imagination Stage. She is a 2006 recipient of the Theatre Lobby Mary Goldwater Award and a member of the theatrical designers’ union, United Scenic Artists Local 829. Recent designs include The Cherry Orchard (Washington Shakespeare Company), The Beauty of the Father and The True History of Coca-Cola in Mexico (Gala Hispanic Theatre), Treemonisha and Pirates of Penzance (Washington Savoyards), and Bunnicula and Ferdinand the Bull (Imagination Stage). Favorite design projects in past seasons include shkspr prjct (Catalyst Theatre), Hothouse and Dogg’s Hamlet/Cahoot’s Macbeth (Longacre Lea Productions), Nixon’s Nixon and Jack and Jill (Round House Theatre), and The Birds (Catholic University).

Download the podcastListen in as Artistic Director Jack Marshall discusses the TACT production of Beyond the Horizon with Director Kathleen Akerley and cast members Felipe Cabezas and Joshua Drew, who play the Mayo brothers, Andrew and Robert. Podcast available for download from www.americancentury.org.

Steven Scott Mazzola (Producer) has directed numerous productions for The American Century Theater, including Edward Albee’s Seascape, Thicker than Water (2008 Capital Fringe Festival), The Eccentricities of a Nightingale, Drama Under the Influence: Celebrating Women Playwrights of the Prohibition Era, The Autumn Garden, Tea and Sympathy, A Flag is Born, The Second Man, Picnic, and Hotel Universe. Direction for other area theaters includes: The Lion, the Witch, and the Wardrobe and The Stinky Cheese Man and Other Fairly Stupid Tales (Adventure Theatre); Assistant Director for Translations (Andrew Keegan Theatre, USA and Ireland productions); Cookin’ Up Numbers (2010 Capital Fringe Festival); Lady Windemere’s Fan and The Philadelphia Story (Little Theatre of Alexandria); The Wizard of Oz (Gay Men’s Chorus of Washington); The Village Fable (Imagination Stage); LA 8 AM and Right Is the Hand (Madcap Players); The Heidi Chronicles, Twelfth Night, Our Lady of Sandwich, and Tantalus (National Conservatory of Dramatic Arts); The Lion, the Witch, and the Wardrobe (Round House Theatre); Assistant Director, Love’s Labor’s Lost (Shakespeare Theatre Company at the Royal Shakespeare Company, Stratford); Director, The Royal Hunt of the Sun and In the Summerhouse and Assistant Director, Strange Interlude, and The Winter’s Tale (Washington Shakespeare Company); and Catch and Little Hero (Source Theatre Festival).

Neil McFadden (Sound Design) has done sound and lighting design in many area theatres, including Arena Stage, Studio Theatre, Woolly Mammoth, Olney Theatre Center, the Washington Savoyards, Rep Stage, Everyman Theatre, and Round House Theatre, where he was Resident Sound Designer for eleven years. A nine-time nominee, Neil received the Helen Hayes Award for his design of Round House Theatre’s Heathen Valley. Neil is also a musician and composer, has played in many area shows, and performs regularly with the rock/blues band, Mike’s Garage (www.MikesGarageRocks.com), and as a solo acoustic performer.

Marianne Meadows (Lighting Design), a member of United Scenic Artists Local #829, is the Resident Lighting Designer for the Washington Stage Guild (since 1994) and for Solas Nua (Johnny Meister and the Stitch, Scenes from the Big Picture, and La Corbiere). Her designs for The Adding Machine (Washington Jewish Theater), Quills (Woolly Mammoth Theatre), The Chosen (Theater J), and Old Wicked Songs (Studio Theatre) earned her Helen Hayes Award nominations. Other design credits include A Couple of Blaguards (Ford’s Theatre), The Dead Monkey (Woolly), The Chosen and Miss Margarida’s Way (Studio

Theatre), Evita and Songs from a New World (Open Circle Theatre), the Gay Men’s Chorus of Washington (ten seasons), and national tours of Cook, Dixon, and Young (the original Three Mo’ Tenors) and The Acting Company. She received a Theatre Lobby Mary Goldwater Award in 2004. Marianne holds a BA from Sarah Lawrence College and MFA from the University of Washington and trained at Lester Polakov’s Studio and Forum of Stage Design.

Darlene Richardson (Assistant Stage Manager/Board Operator) is a freelance audio engineer in the DC/Baltimore area. She studied audio engineering at the Conservatory of Recording Arts and Sciences in Tempe AZ and has a BA in Music Performance and Theory from Eastern Nazarene College in Quincy MA. This is her fourth production with The American Century Theater, where, most recently, she was Sound Designer for One Night with Fanny Brice.

Jennifer Tardiff (Costume Design) has designed for Phoenix Theatre DC, Constellation Theatre, The Madeira School, Adventure Theatre, The American Century Theater, Imagination Stage, Scena Theatre, Washington Shakespeare Company, Opera Theatre of Northern Virginia, The Domingo–Cafritz Young Artist Program of the Washington National Opera, and Opera Vivente. She earned her MFA in Costume Design from Penn State and has designed for Penn State, Clarion University Summer Musical Theatre, and The Weathervane Playhouse. She is an Assistant Costume Coordinator at the Washington National Opera.

Wendy and Bob Kenney Kevin McIntyreProvincetown Players ($2,500–$4,999)

AnonymousArlington Community FoundationRebecca and Gene ChristySteven R. Cohen and Mary McGowanVivian and Arthur KallenPeri Mahaley

Donald Adams and Ellen MalandEleanor MarshallConstance McAdamAndrew and Barbara McElwaineVictor ShargaiSheldon and Marilyn Wallerstein

Theater Guilders ($1,000–$2,499)

Linda Allen and Ron BassCheryl Bailey and William M. McClenahan, Jr.Pete and Cherry BaumbuschSally Beth BergerN. BondR.G. BowieRon BrandtAlan and Susan BraniganDavid W. BriggsMarvin and Ellen CantorGerald ChapmanBoris CherneyMary Kay DavisGloria DuganScott Durloo

Dr. Coralie FarleeJay FisetteJames and Maria GentleLarry George and Brenda PommerenkeJean F. GetleinKimberly GinnGabe GoldbergDonna Harkins HannayVirginia HarrisStephen HarrisonAlan Herman and Irene SzopoAlison Drucker and Tom HolzmanRoger and Katharine HoodThomas W. HoyaCharles and Ellen KennedyAlan M. King

The Players ($100–$249)

Thank you to the many generous donors who provided support from January 1, 2010 through January 6, 2011.

Arlington Commission for the ArtsVirginia Commission for the Arts

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

John ActonJean and Richard BartonNoreen Hynes and Seth CarusEllen Dempsey and Lou George

Robert DuBoisTracy FisherAnn Marie PlubellThe Plubell Firm

Mercury Theater Backers ($500–$999)

Jim Bertine and Sharon GalmJoya CoxDennis Deloria and Suzanne ThouvenelleAdriana HardyAngela HughesMarjie MayerAlexandra McElwaineRobert J. and Mark L. McElwaine

Harriet McGuireUndine and Carl NashSuzy PlattBill and Connie ScruggsDavid and Willa SiegelMarcia Neuhaus SpeckGinny TarrisFrontis Wiggins

Living Theater Lovers ($250–$499)

AnonymousHelene BealeMary BeatleyTom and Loretta BeaumontLaura BurchardRicardo CastroPatricia ChaplaWendy CohenMary CrosbyDonna DenneyRobyn DennisPatricia DowdSusan DukaWilliam ErdmannDonna FeirtagRenee FischmanCathy GarmanRita GordyMadi R. GreenJean HandsberryRachel HechtAlan HecklerLinda Hill and Paul SteinmetzTerri HillaertElaine HowellHoward and Myrna KaplanWilliam KelleherRobert L. KimminsPaul KohlbrennerShirley KostikR.M. KraftDavid A. LamdinSteven LaterraSharon LeiserMark and Sarah Linton

Margaret LorenzWinnie MacfarlanMartin MarksPhebe K. MassonEvelyn and Milan MateyBarbara and Kenneth McLean Margaret MeathMichael MeyersRichard and Dorothy MillerBarbara MurrayThanh NguyenMiah OlmstedRichard and Rebecca PariseauPaul and Carol ParowskiMary PascoeRuth and Charles PerryEllen RosenblumMichael and Loretta RoweDennis RyanPaolo SantanyaJohn H. SchneiderCarole ShifrinBertha ShostakBob and Deb SmithLinda and William SmithPaul StayertKathryn TatkoMarjorie TownsendMarcus WalkerRenate WallenbergDoug and Evelyn WatsonCarol and Henry WolinskyLisa ZagaroliAnnette Zimin

The Federal Theater Funders ($10–$99)

Donors-in-kindJason Beagle, Brian Crane, Dennis Deloria, Ellen Dempsey, Kate Dorrell, Bill Gordon, Vivian Kallen, Patrick Lord, Loren Platzman

Paul KlingenbergLou and Jane KriserKathryn and Robert KrubsackCharles LadyMary Ann Lawler and Neil SigmonGudrun LuchsingerAngus and Sharon MacInnesLory ManningJudith and David McGarveyMargaret MulcahyRobert Half InternationalDaniel RossCharline Rugen

Robert F. SchiffDiane L. SchrothJohn SealSusan and Ralph ShepardHenry ShieldsPat Spencer SmithThe Hon. and Mrs. John M. SteadmanBarbara StearnsJohn Blaney and Robin Suppe-BlaneyProfessor Heathcote W. WalesGlenn and Nancy WhiteBonnie Williams

The Players (continued)

The American Century Theater 2010–2011 Season

Don’t miss the balance of the season!Edna Ferber and George S. Kaufman’s Stage Door (1936)

A full production of the classic saga of backstage intrigue in a boarding house full of ambitious actresses.

Last presented as a staged reading by TACT in 2007. Directed by Marie Sproul

April 8–May 7, 2011

Gore Vidal’s Visit to a Small Planet (1956) A clever satirical comedy about a confused visitor

from outer space whose perspective on human behavior is both hilarious and thought-provoking.

Directed by Rip Claassen July 8–August 6, 2011

*

See the box office tonight for our special pricing on a short-season subscription. *

Subscribers get complimentary audience guides, flexible reservations changes,

and reserved seating.

Eugene O’Neill’s Beyond the Horizon 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 part by the Virginia Commission on the Arts,the National Endowment for the Arts, and our many generous donors.