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THE HOT L BALTIMORE
BY LANFORD WILSON
CAST:
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Bill Lewis |
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Josh Shirley |
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Girl |
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Kaci Gober |
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Millie |
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Joanne Rooney Stout |
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Mrs. Bellotti |
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Shamika Franklin |
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April Green |
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Kristy Thomas |
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Mr. Morse |
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Hank Rector |
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Jackie |
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Billicia Charnelle Hines |
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Jamie |
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Elijah E. Murray |
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Mr. Katz |
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Javier Rivera |
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Suzy |
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Nina Manni |
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Suzy’s John/ Cab Driver |
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Robert Bern |
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Paul Granger III |
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Will Fowler |
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Mrs. Oxenham |
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Diane Ouradnik |
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Delivery Boy/ April’s John |
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Toby Lawrence |
SETTING:
THE HOTEL BALTIMORE, BALTIMORE, MARYLAND, 1973
ACT I: 7 O’CLOCK IN THE MORNING
ACT II: AFTERNOON, SAME DAY
ACT III: MIDNIGHT
PRODUCTION TEAM:
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Director |
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Ron Schaeffer |
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Scenic Designer |
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PJ Barnett |
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Costume Designer |
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Whitney Locher |
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Lighting Designer |
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Joe Beck |
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Sound Designer |
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Joey Skidmore |
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Composer |
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Joey Skidmore |
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Technical Director |
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Joe Beck |
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Movement
Coach |
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Jennifer
Martin |
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Vocal/Dialect Coach |
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Louis Colaianni |
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Assistant
Director |
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Thom Davis |
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Dramaturg |
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Thom Davis |
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Stage
Manager |
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Yoonsik Kim |
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Assistant
Stage Managers |
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Jenaiah Shoop, Lonita
Cook |
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Assistant
Lighting Designer |
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Glen Dunzweiler |
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Costume Shop
Manager |
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Sarah Oliver |
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Costume
Construction |
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Laura Ward,
Laura Sirkin, Adina Welch |
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Costume
Cutters |
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Adina Welch,
Laura Sirkin |
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Wardrobe
Crew |
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Debra L.
Washington |
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Scenic
Painters |
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Spencer Musser, Kathleen Voecks, Kelly Dickens, Scott Henkels,
Yoon Jeong Kim, Charissa Orstad, PJ Barnett, Kris Dietrich, Jon Young |
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Set
Construction Crew |
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Mike Freese, Kenny
Horning |
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Stage Crew
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Heather Haverstick |
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Master
Electrician |
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Kevin Taylor |
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2nd Master
Electrician |
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Jessica Keys |
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Tech Light
Board Operator |
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Melissa Cihla |
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Light Board
Operator |
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Jessica
Glenn |
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Electricians
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Melissa Cihla, Yoonsik Kim, Zico Orozco, Alex Perry |
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Sound
Engineer |
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Simon Hook |
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Sound
Operator |
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Tom Cavnar |
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Properties
Manager |
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Galen Pejeau |
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House
Managers |
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Melissa Cihla, Jennifer Hard |
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Ushers |
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Kristen Yelton, Jessica Keys,
Lonita Cook |
MUSIC:
Guitars by Joey Skidmore and Jim Holopter, Bass by Mike Costelow,
Drums by Dave Molton, and Keyboards by Joe Terry.
Pre-show music by the New York Dolls, and the Rolling Stones. Additional music
by Leon Russell and The Beatles.
SPECIAL THANKS:
Jarrett Bertoncin, Jo Huseman, Mr. and Mrs. Michael Barnett
THE HOT L BALTIMORE is produced by special arrangement with Dramatists Play
Services.
LANFORD’S LAMENT:
Lanford Wilson was born in Lebanon, Missouri, grew up in the Ozarks, and then
moved to California to live with his father. In 1959, while attending the University
of Chicago, he completed a playwriting class. After graduation he migrated to
New York where he joined a group of theatre artists at the Caffe Cino. His first
play, So Long at the Fair (1963), was quickly followed by several plays including
Home Free! (1964), Balm in Gilead (1965), and Lemon Sky (1970).
In 1972 Wilson co-founded the Circle Repertory theatre and wrote The Hot L Baltimore
for its new acting ensemble. After having dramatized topics like incest, racism,
and drug addiction, Wilson sought to craft a work that would give voice to his
mourning for the increasing disappearance of the nation’s railroads. In
Wilson’s introduction to the play, the author states that he laments not
only the fading of the romantic icon of the railway system, but also America’s
"vanishing architecture."
The imminent destruction of the once-glorious Hotel Baltimore, and the decline
of the railroads that were once the life-blood of the neighborhood, are the
physical embodiments of Wilson’s distress over the vanishing of a more
idyllic time. When the character April Green proclaims, "every city in
America used to be one of the most beautiful cities in America," she speaks
with the playwright’s voice. In his introduction, Wilson explains why the
stage is the perfect venue to depict a decaying landscape:
The theatre, evanescent itself, and for all we do perhaps disappearing here,
seems the ideal place for the representation of the impermanence of our architecture.
The hotel’s disenfranchised residents, the flotsam and jetsam who cling
to the doomed structure, are archetypal Wilson characters. Each person shows
how decaying values in the human soul can crumble just as easily as any wall
or stairway. And yet, they continue to dream, and to dance.
Thom Davis
January 20, 2003
UMKC Theatre Scholarship Holders 2002-03:
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Bill Baker, Jr., Endowment Internship |
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Will Manning |
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Baker/Thomas Internship |
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Kaci
Gober |
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Jeanne McIlrath Finter Memorial
Scholarship in Costume |
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Rebecca Eastman |
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Mary Ellen Fowler Fund |
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Rebecca B. Eastman |
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Patricia A. McIlrath Scholarship |
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Melissa Cihla |
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Patricia Crowe Morgan Acting Internships |
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Billicia
Hines, Jenn Miller,
Shad Ramsey, Katie Shepard |
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Missouri Repertory Theatre/
Department
of Theatre Scholarship |
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William Fowler |
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Patricia McIlrath New Theatre
Guild Scholarship |
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Spencer Musser |
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School of Graduate Studies Master of Fine Arts
Fellowships |
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Edouard
Fontaine,
Kevin Lind, Whitney Locher, Derek Haff |
Faculty, Staff, and Administrative Support:
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Director of Performance Training |
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Dale AJ Rose |
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Acting and Directing |
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Joseph Price, Dennis Rosa, Gary Holcombe |
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Period Style & Movement |
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Jennifer Martin |
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Voice & Dialects |
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Louis Colaianni |
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Visiting Faculty of Dell’Arte International School
of Physical Theatre |
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Ronlin
Foreman |
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Music |
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Molly Jessup |
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Sound Design |
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Tom Mardikes |
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Scenic Design |
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John Ezell, Gene Friedman |
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Lighting Design |
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Victor En Yu Tan |
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Costume Design |
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Lindsay Davis |
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Dramaturgy |
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Felicia Londré |
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Technical Direction |
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Chuck Hayes, Shawn Wake |
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Stage Management |
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Ron Schaeffer |
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Shop Foreman |
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John Owen |
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Properties |
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Michael Schall |
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Scene Painting |
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Alice Bracken-Carroll |
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Student Affairs Representative |
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Cynthia Stofiel |
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Publicity |
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Stephen Klinko, Kara Armstrong |
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Business Manager |
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Laurie Jarrett |
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Personnel and Payroll Manager |
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Keith Reece |
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Chair, Department of Theatre |
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Tom Mardikes |
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