Waiting for Godot

The Department of Performing Arts and Humanities
of the School of Liberal Arts at CCBC
presents

WAITING FOR GODOT

Director
Julie Lewis

Set & Lighting Designer
Terri Raulie

Costume Designer
James J. Fasching

Technical Director
Jason Randolph

Sound Designer
Everett Simkins

Stage Manager
Molly Prunty

October 19, 2017 at 11:10am
October 20 & 21, 2017 at 7pm
October 22, 2017 at 3pm
October 23, 2017 at 10am

Produced by special arrangement with Dramatists Play Service, Inc., New York

THE COMPANY

Brandon Lawrence (Estragon) is making his theatrical debut here at CCBC Essex. A second year Mass Communication major, Brandon has directed and starred in several student films over the past year and now seeks to find success in the theatre. Brandon plans to transfer to Towson University in the spring where he plans to major in film.

Alonzo Perez (Vladimir) returns to the CCBC Essex stage after almost two years, having last performed in Pullman, WA. Alonzo plans on finishing up their A.A. then transferring to Towson to complete their four years of study.

Hailing from the hustle and bustle of Chicago, Joey Hernandez (Pozzo) has moved all around the country, attending various community colleges along the way. Having learned from various institutions each with their own distinct flavor and teaching style, Joey hopes to bring a unique richness to the Baltimore stage. He began his CCBC acting experience as Bernardo in the CCBC Catonsville production of Hamlet: Lost and Found. From such humble beginnings, he rose to royalty as Prince Escalus in the CCBC Catonsville Deaf and Hearing collaboration production of Romeo and Juliet. And now, Joey hopes to bring some Chi-town flavor to the streets of B’more with his portrayal of the illustrious Pozzo.

Jake Urtes (Lucky) returns to CCBC after appearing last season as the hearing Friar in Romeo & Juliet and Horatio in Hamlet: Lost/Found, and previously designing sound for Cockpit in Court. After this run of Waiting for Godot, he will next appear in The Hairy Ape at Spotlighters Theatre.

Miles Lawlor (A Boy) is thrilled to be a part of this ingenious and important production of Waiting for Godot. Previous stage credits include stage managing for The Menaechmi Twins, The Scottish Play, and the upcoming production of Everyman (CCBC), The Gazebo, Vanya & Sonia & Masha & Spike (Cockpit in Court), and [title of show] (Fells Point Corner Theatre), as well as performing as Don Armado in Love’s Labour’s Lost last fall. This is his final semester here at CCBC Essex as a technical theatre major, with hopes of transferring to Towson in the spring. He would like to thank Julie for this small but important role, Molly for being the wonderful SM that she is, Alonzo, Brandon, Joey, and Jake for killing it onstage, and his friends and family for supporting him throughout this lengthy journey.

DIRECTOR’S NOTE

The original French text of Waiting for Godot was written by Samuel Beckett between 1948 and 1949 as the world recovered from the devastation of World War II. Vastly different in structure from literary and dramatic work of the early 20th century, Waiting for Godot is a work of the Theatre of the Absurd, which abandons climactic plot structure in favor of circular plotlines, repetitive language, and a reluctance to create “meaning.” Largely influenced by existentialist philosophy and the idea that the world is devoid of meaning or purpose, this spoke to the tension and uncertainty of the era in a way that earlier theatre, with its logical plot structure and language, could not. Waiting for Godot still speaks to the uncertainty we feel towards the future in these first decades of the 21st century, from the fall of the Twin Towers to the beginning of the Trump era. In this production, we transport the play from Europe in the mid-20th century to a blighted Baltimore block in the first decade of the 21^st century, a time and place of economic despair and little social mobility, where people wait and wait for a promised opportunity, a promise that they don’t have to remain on the fringes of prosperity. This tenuous, fraught limbo now extends beyond the streets of Baltimore to every corner of the country, as people from all walks of life wait in hope, humor, exhaustion, and fear.

PRODUCTION STAFF

Director | Julie Lewis
Assistant Director | Darius Foreman
Stage Manager | Molly Prunty
Assistant Stage Manager/Stage Crew | Quran Ward
Scenic/Lighting Designer | Terri Raulie
Technical Director | Jason Randolph
Light Board Operator | Mia Awad
Sound Designer/Engineer | Everett Simkins
Costume Designer | James J. Fasching
Costume Shop Associates | Amy Fowler
Set Construction | Students of THTR131/Stagecraft
Scene Shop Associates | Thomas Gardner, Haley Horton, Miles Lawlor
Mia Mangione, Michael Rasinski, Delvonta Wilson
Fight Choreographer | Zach Hartley
Box Office Manager | Lisa L. Boeren
Box Office Staff | Eva Grove, Thom Purdy
Communications Assistant | Jim Lefter
Production Photographer | Katie Simmons-Barth
www.katiesimmonsbarth.com
Production Coordinators | Kim Jensen

PRODUCTION STAFF BIOS

JULIE LEWIS (Director) is a playwright, director and teacher. She received her BA in Writing Arts and Theatre from SUNY Oswego and her MFA in Playwriting from Brooklyn College. Her original plays include Henry’s Holiday (Winner of the Perishable Theatre’s Women’s Playwriting Festival), Obituary Mambo (Abingdon Theatre, NYC), Plastic Haircut, Three Hundred Out of Hades, Quiver and Sink (Mohawk Valley Community College), Smolder The Strand Theatre) and Upton Sinclair’s The Jungle (CCBC Essex). Her works have been produced in the Samuel French New Play Festival, Manhattan Theatre Source’s Estrogenius Festival, NYC’s Ensemble Theatre’s Opal Series, and Fitchburg State’s Americulture Festival. Locally, her plays have been produced at The Strand, Glass Mind Theatre, Vagabonds, The Kennedy Center (staged reading) and Fells Point Corner Theatre. Julie’s directing credits include Lysistrata, The Skin of Our Teeth, Marco Polo Sings a Solo, Blithe Spirit, The Maids, Picasso at the Lapin Agile, Metamorphoses, Kid Simple: A Radio Play in the Flesh, M. Butterfly, Neighborhood 3: Requisition of Doom and Pullman, WA. Julie is most proud of the devised work she has created with her students, including War Stories Staged (Winner of the League of Innovations Award) and The Consumables (performed at the KCACTF Region 2 Fringe and Baltimore’s ArtScape). Julie is a 2012 recipient of a Maryland State Arts Council Grant in Playwriting and English Writing Arts Alumni Award in Playwriting, SUNY Oswego, 2013. She directs annually in the CCBC Academic Theatre Program and teaches Script Analysis, Introduction to Theatre and Writing for the Stage.

TERRI RAULIE (Set Designer) is an Assistant Professor in the Performing Arts and Humanities Department at CCBC. She holds a BFA and an MA in Theatre Design and Production from Montclair State University in New Jersey. Professional and regional credits include The Whole Theatre, The Hangar Theatre, and Playwright Horizons in New Jersey and New York. Locally, she has designed sets and/or lights for productions with Cockpit in Court Summer Theatre, Phoenix Festival Theatre and the Baltimore School for the Arts.

JAMES J. FASCHING (Costume Designer) is the resident costumer in the Performing Arts and Humanities Department at CCBC. His career in design has taken him from designing for the Miss America Pageant, to having his own television spot on KDKA-TV for interior design tips, to designing hundreds of productions for Cockpit in Court Summer Theatre, Dundalk Community Theatre, Peabody Opera Company, Theatre Hopkins, and The School for the Arts in Philadelphia, to name a few. Mr. Fasching teaches Makeup Design for the Theatre program.

JASON RANDOLPH (Technical Director) BS Math, College of William and Mary; MFA Rinehart School of Sculpture, MICA; MFA Technical Theatre and Design, UVA; TD/Resident Scenic Designer Single Carrot Theatre 2014-2017; TD CCBC Essex 2015-present; TD Cockpit in Court Summer Theater 2016-present

EVERETT SIMKINS (Sound Designer) is a first year theatre student here at CCBC Essex, going into his second year. Everett recently worked as sound designer on CCBC’s production of Love’s Fire and as sound designer/operator of Cockpit’s production of Forever Plaid. A graduate of Patapsco High School and Center for the Arts, class of 2016, Everett was awarded the 2015 Cappies of Baltimore award for Best Special Effects for Dr. Jekyll and Mr. Hyde and the 2016 Baltimore Theatre Award for Best Sound Design of a Play for A Midsummer Night’s Dream.

MOLLY PRUNTY (Stage Manager) is back at CCBC after appearing last season in Romeo & Juliet and Hamlet: Lost & Found, and working on run crew for Love’s Fire. Recent SM and ASM credits include Net Worth and Exit Pluto at the Strand Theatre, and Joseph and the Amazing Technicolor Dreamcoat and Beauty and the Beast with September Song Musical Theatre. Molly also works as a technician with Baltimore Theatre Project, the Carroll County Arts Council, and the Maryland Ensemble Theatre’s in-school program.

Special Thanks

Dr. Sandra Kurtinitis | President, CCBC
Dr. Mark McColloch | Vice President of Instruction
Dr. Rich Lilley | Vice President of Enrollment & Student Services
Dr. William Watson | Dean of Liberal Arts
Patti Crossman, Chair | Performing Arts & Humanities
Jacqueline Lucy | Media Relations Coordinator
Jacqueline McTear | Graphic Designer
Marc Smith | Technical Director, CCBC Dundalk
Jason Randolph | Technical Director, CCBC Essex