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The St. Mark's Players Proudly Present

or The Honor of God
by Jean Anouilh ~ Translated by Lucienne Hill

Directed by Will Monahan ~ Produced by Ellen and Larry Cardwell

Produced by Special Arrangement with Samuel French

Artwork: William B. Bates; used by kind permission of the Dean and Chapter, Canterbury

Fridays, March 4, 11, & 18, 2005, at 8PM

Saturdays, March 5, 12 & 19, 2005, at 8PM

Sundays, March 6 & 13, 2005, at 3PM

Press Release

Act I

ACT II

INTERMISSION

Beverages include non-alcoholic English mead and a specially brewed Becket ale.

ACT III

ACT IV

The Players

Production Crew

Special Thanks to

The Rev. Paul R. Abernathy
St. Mark’s Episcopal Church, Washington, D.C.

For costumes:
AT Jones, Inc., Baltimore
Backstage, Inc., Washington, D.C.
Tantallon Community Players, Fort Washington, MD

Marge Herbert – Foxes Music Company, Falls Church,
for lending the small harp

Chuck Martin, for lending the Swords/leather fittings

Jean Love Albert and Julia Albert Parker,

for designing the horses

Betsy and Collie Agle and Kim Oathout,
for assistance with props

RC Bates, for getting permission from Canterbury
to use the show image

Rick Weber, Kristen Hartke, Christina Herman,
and Christopher Herman, for their many efforts
in helping to put on the show

Raiford Gaffney and Margaret Wood for resources provided

Rick Weber, for brewing the Becket ale
Stewart Andrews for designing the Becket ale logo

Will Monahan, for leading the discussions
after the Sunday matinees

Keith Reas, for helping the cast master plainsong

Chris Tully, Michael Blackburn, Emma Herman,
Maddie Hartke-Weber, and Bill Dickinson,
for performing a scene in St. Mark’s worship services

Cast & Crew Retreat Team
Team Leader–Margaret Wood; Retreat Planning Team–Ellen Cardwell, Katharine Redmond, Stephanie Deutsch, Liz Williams; Charlotte Murray, for arranging for us to hold the retreat at the Virginia Theological Seminary

Becket the Class Team
Supervisor–Linda Ewald: Teaching Team–Larry Cardwell, Stephanie Deutsch, Katharine Redmond, Will Monahan

Ellen Cardwell, for catering the Becket pub lunch at St. Mark’s

Lisa Kerwin, for audition assistance

Chad Wilmer, for his work on the SMP website and E-group

Souny Kodjanian at Metro Camera, for film processing

Kathleen Jarboe and Mary Burley, Beaver Press
for their patience and dependability

Notes from the dramaturge

Rosemary Harold

It is fitting that the St. Mark’s Players are mounting a production of Becket, or the Honor of God in this space. An intentionally ambiguous mid-20^th century play about conflicting allegiances meshes well with this parish’s ethos, which focuses on perceiving both the “costs” and “promises” of making choices in life. Jean Anouilh (1910-87) was a celebrated French playwright who knew quite a lot about ambiguity and its uses. And the fascinating historical source material behind this work has inspired three decidedly different theatrical successes: T. S. Eliot’s Murder in the Cathedral (1935), Anouilh’s Becket (1959), and James Goldman’s The Lion in Winter (1966). (Both Eliot’s and Goldman’s plays were performed at St. Mark’s, the first by the Chancel Drama group in the ’60s and the second by the Players in 1989.)

Playgoers who know either the lyrical Eliot play or the biting Goldman character study should put aside those memories for the time being. Anouilh uses 12^th century history for other purposes. His play explores a tension that was quite real to him: appreciating the costs and promises of choosing to collaborate—or not—with political power. As a Parisian playwright during the Nazi occupation, Anouilh had reworked the ancient Greek tragedy Antigone into a production that pleased both the German censors and the French resistance. The man plainly had a feel for ambiguity.

In Becket, Anouilh reworks history without being overly punctilious about facts. It is true, however, that Henry II (1133-89) was King of England, as well as much of what is now France, for more than three decades. At a young age, Henry II succeeded to the throne and reportedly did much good with respect to bureaucratic and legal reform in his kingdom, thanks in part to the support of his somewhat older key minister Thomas Becket (1118-70).

A well-educated university graduate, Becket was a church deacon being groomed for higher things. At the instigation of Theobald, then Archbishop of Canterbury, Henry tapped Becket to serve as chancellor—a sort of cross between the role of prime minister and chief justice. Perhaps Theobald believed that having his man in office would protect the church’s temporal interests. If so, he was mistaken. In his eight years as chancellor, Becket devoted himself mostly to secular matters, grew close to Henry, and generally supported the king in church-state disputes.

When Theobald died, Henry successfully nominated his right-hand man to the archbishopric. Then it was the king’s turn to be surprised. In his new role, Becket turned ascetic, resigned the chancellorship, and advocated the church’s side in struggles with the state. A series of fractious disputes culminated with a fight over whether the church or the state had legal jurisdiction to punish felonious clerics. At that point, Becket himself was tarred with (probably trumped-up) charges over misappropriation of funds. The archbishop refused to submit to the charges, appealed instead to the Pope, and fled the country. A later patch job at reconciliation made for a nice public display but did nothing to resolve the real power conflict.

So far, this is a very Washington sort of story—and much of Anouilh’s dialogue will amuse those well attuned to the myths and realities of capital cities. The final stakes, of course, are decidedly more stark for Becket and his king than they would be for their modern counterparts. Nevertheless, it is hard to ignore how the ambiguities of our geopolitical position today add depth to this portrait of a man making a choice in murky circumstances.

Director’s Notes

Will Monahan

For many years, I have felt called to Becket, or the Honor of God. The play presents the ultimate love triangle—Henry II, Thomas Becket, and God. Where do we place our allegiances? Last year I had the good fortune to discover the St. Mark’s Players share my interest in the Becket–Henry story. A successful interview and a fortuitous meeting with producers Ellen and Larry Caldwell, and the project was underway. The word “serendipity” was coined just for us.

In the first phase, Linda Ewald, Katharine Redmond, and Stephanie Deutsch joined us in organizing a Becket workshop at St. Mark’s. Last fall, 20 inquiring minds gathered to delve into the meaning and implications of allegiance. The workshop brought us our dramaturge Rosemary Harold and several cast members. In mid-December Liz Williams brought us her combat experience, and as we started rehearsals Margaret McGhee came on board as stage manager. The rest of our company is listed in the credits. All of us felt the call to Becket. We are now honored for you to share it.

Producers’ Notes

Ellen and Larry Cardwell

At its core, Becket is about one man’s search for that to which he will give his ultimate allegiance—his honor. The word honor, with its origin in Old French, echoes across history. In 1776 the signers of the Declaration of Independence pledged their lives, their property and “their sacred honor” to the realization of a new and independent nation despite the fact the Continental Army had not yet won a battle against the King’s troops. They made that pledge when there was absolutely no evidence they could succeed. Are we as individuals in today’s world clear about where our honor lies?

Honor is defined as a keen sense of right and wrong; adherence to action or principles considered right; integrity. Honor is the touchstone we use to decide how to act with integrity in the constantly changing circumstances of life. In Anouilh’s play, after living a life in which he compromised his honor to serve King Henry II, Becket at last finds his honor and embraces what results from that decision.

We ask each of you attending this performance to hold these two questions in front of you: To what do you give your ultimate allegiance—your honor?  If someone were to observe your life over a period of weeks or months, would they be able to describe to you that to which you give your honor?

In our view, Becket is great drama. Those of us who participated in the Becket class offered at St. Mark’s last fall read and re-read the play numerous times. With each reading, we found new nuances. We encourage you to buy a copy of the play and read it for yourselves.

Becket is the story of two men’s friendship, but this production is so much more than two men. My heartfelt thanks to the bishops, barons, pages, peasants and popes, saints, sinners, dogs, and dames onstage, as well as the directors, managers, producers, and crew behind us. Your dedicated and professional efforts have made my role an educational and fulfilling one.

But even all of us are not enough to put on a show. On behalf of the cast, I would like to thank the families and friends who have supported us so generously during the last 60 days. Please enjoy the show, knowing none of this was possible without you.

 —Michael Blackburn

A Tangled Web of History

Ellen Cardwell

1118 – Thomas à Becket is born in London to a wealthy Norman merchant and his wife. He is educated in Surrey and at a London grammar school, from which he moved to the newly established universities of Paris, Bologna, and Auxerre to study law. Back in London, a family friend teaches him business skills and accounting, and in 1143 he obtains an appointment as clerk in the household of Theobald of Bec, Archbishop of Canterbury.

1150 – In his early 30s, Becket is a respected member of the staff of the Archbishop, who has entrusted him with several delicate missions. He is a witty conversationalist and possesses enormous energy and a versatile talent. The future Henry II of England, in his late teens, has just been inaugurated as Duke of Normandy and Count of Anjou and Maine. Eleanor of Aquitaine, Queen of France, a mother of two children in her late 20s, is coming to the end of her marriage to Louis VII, whom she married at the age of 15 in 1137.

1152 – Eleanor’s marriage to Louis is annulled on the grounds of consanguinity; within a year she marries Henry Plantagenet (whose blood relationship to her is as close as Louis’s was). According to a contemporary chronicler, Henry’s father warned his son to have nothing to do with Eleanor, partly because he had had an affair with her himself.

1154 – Henry accedes to the English throne at the age of 21 as the first Plantagenet king, Henry II. Eleanor, although 11 years older than Henry, bears him five sons and three daughters. By virtue of his marriage, Henry is not only King of England but also ruler over half of France. Henry’s reputation is formidable, both as ruler and soldier. Contrary to the depiction in the play, Henry is immensely hard working and able and possesses prodigious energy. Becket is appointed an archdeacon of Canterbury, but he is not a priest and has never celebrated a mass.

1155 – Henry is impressed by Becket and makes him his Royal Chancellor. The two are close friends. Henry and Becket share a love of hunting and chess but—contrary to the depiction in the play—Becket draws the line at womanizing, having taken a vow of chastity in his youth. Although Theobald expects Becket to represent the interests of the church at court, Becket devotes himself largely to secular affairs, living magnificently and participating in the Toulouse military campaign. Becket is the perfect courtier, but he is also self-willed, obstinate, manipulative, and uncompromising.

1161 – On the death of Theobald of Bec, Henry nominates Becket as the new Archbishop of Canterbury. Henry feels certain Becket will support his radical plans to reform abuses within the Church. Henry’s chief targets are “criminous clerks.” The Church administers its own courts, which deal not only with matters of the soul but also with civil crimes committed by those in holy orders. The offenders usually receive far more lenient sentences than those handed down by the King’s courts, even in the case of murder. It is this unfair anomaly that Henry wants to reform, and he expects Becket to support him fully. Becket is aware of the King’s intentions but realizes that, as primate, he will be honor-bound to oppose them. He also knows his enemies will use this issue to drive a wedge between him and Henry.

1162 – Becket is ordained a priest, then a bishop, and consecrated as Archbishop the following day. He abandons his worldliness for a life of extreme asceticism, resigns his chancellorship, and begins to work exclusively in the interests of the Church. Becket gives away his luxurious possessions, wearing a monk’s habit, and beneath it, to remind himself of the weakness of the flesh, a rough hair shirt. He eats a spare diet, drinks only brackish water, and performs extravagant acts of charity and humility. As soon as he takes office, Becket shocks Henry by returning the “Great Seal of England” and resigning the chancellorship.

1163 – Some time between now and 1175, Eleanor instigates a separation from Henry, who has various affairs. Henry holds a Great Council at Westminster, proposing that the Church should hand over to the King’s courts any clerks in holy orders found guilty of civil crimes. Becket, alone among the bishops, opposes this and the two men begin their feud. Soon Henry feels that Becket is deliberately trying to provoke him.

1164- Royal courts decide Becket is guilty of perjury and treason, and he flees to France, where he remains for six years, continuing to make trouble for Henry. On a visit to the Pope, he portrays himself convincingly as a victim of the King’s deliberate attempts to subvert the Church. He writes numerous letters to enlist the sympathy of other European rulers, several of whom try to exploit the quarrel to their own advantage.

Between 1165 and 1170 Louis VII, trying to heal the rift between Henry and Becket, arranges no fewer than 12 interviews between the two protagonists. Neither the King nor the Archbishop agrees to compromise. What began as a dispute over a legal principle has turned into a battle of wills.

1170 – Henry has his son, Henry the Younger, publicly acknowledged as the heir to the throne by the archbishops of York, Salisbury, and London, a violation of the traditional rights of the Archbishop of Canterbury. Becket promptly excommunicates the offending archbishops. The Pope insists that Becket and Henry make peace so, and in July they meet in France for a final attempt at both personal and political reconciliation. Becket is permitted to return to England but leaves Henry without receiving the kiss of peace. Even at a final meeting in October, before Becket leaves for England, nothing is resolved. Becket returns to Canterbury, where he receives a warm welcome from both clergy and the common people. On Christmas Day, Becket denounces the Archbishop of York from the pulpit. On December 29, four barons of the king’s household slip away from Henry’s court in Normandy and murder Becket in Canterbury cathedral as he prepares to celebrate vespers—an action that deprives Henry of his right to rule.  News of the murder sends the whole of Christendom into shock. Within hours of his murder, Becket is revered as a martyr. When Henry hears the news, he is paralyzed with horror and remorse. Wearing sackcloth and ashes, he is unable to eat for days and remains in seclusion for six weeks. The Pope excommunicates the four murderers.

1172 – The Pope absolves Henry of any responsibility for Becket’s murder, and Henry is reconciled with the Church.

1173 – In response to overwhelming popular demand, Becket is canonized by Pope Alexander III. In league with their three surviving sons, Eleanor at the age of 50 leads a rebellion against Henry. She is imprisoned for the next 15 years.

1174 – Henry, wearing only a woolen smock, performs a public penance at the tomb of St. Thomas à Becket. He walks barefoot to the cathedral, receiving three to five lashes from each of 70 monks.

1183 – Henry the Younger dies.

1189 – Henry II dies and is succeeded by his eldest remaining son, Richard (the Lionhearted). He is survived by Eleanor, who rules England in Richard’s absence at the Crusades. Eleanor lives to see her son John become King in his turn.

Late 14^th century – Chaucer’s pilgrims in The Canterbury Tales are on their way to Becket’s shrine. The shrine erected over his tomb at Canterbury Cathedral has remained a popular place of pilgrimage for more than 350 years.

Although it seems that Becket won the ultimate moral victory—the King’s controversial reforms were revoked—Henry did reserve to the Crown the right to protect its interests if they were threatened by the processes of the Church, and this liberty eventually became enshrined in English law.

The Cast

Susanne Allen (townsperson, 2nd monk, servant) has been in many St. Mark’s Players shows, including The Mikado, The Pirates of Penzance, H.M.S. Pinafore, Fiddler on the Roof, The Sound of Music, and Oklahoma! She has also performed with the Summer Opera Theatre at Catholic University. Susanne is a member of St. Mark’s Church and works as an editor for the Postal Service.

Bob Beauchamp (Bishop of Oxford) is a professor/director of environmental studies at the University of Maryland. During his federal and industry careers, he served as an environmental scientist and manager. He has appeared in various roles in The Little Prince, Pirates of Penzance, and Galileo. He also sings bass in the St. Mark's Chancel Choir. His favorite role was as a pirate in Pirates of Penzance.

Kate Blackburn (Queen Mother) has been on stage for about 60 years, the last five in shows at St. Mark’s and elsewhere. She's enjoyed being driven as Daisy, dancing at Lughnasa, and steeling herself for a shampoo as a Magnolia. She's retired from Marriott and enjoys the traveling life as a consultant—trips that sometimes include visiting her 8 grandchildren.

Michael Andrew Jabez Blackburn (King Henry II). After a year of comic training at Washington Improv Theater (www.dcwit.com) and dancing around here (coolly, conservatively) in SMP's 1776, Michael returns with a hunger for drama. This production marks his first principal role in D.C.-area theaters. Michael is also re-appearing as his mother's son. He and Kate Blackburn (Queen Mother) co-starred years ago in Neil Simon's Brighton Beach Memoirs.

Fairfield Butt (Saxon man, English priest, French priest) has played on this stage many, many times. He notes that all productions are both fun and dangerous to be in. When he is not on stage, Fairfield is a juried and prize-winning poet. He hopes you have a rich experience of Becket.

Jane Byrne (townsperson/servant). Jane is a freelance housecleaner, house/pet-sitter, and errand runner who hopes to be employed either at the Library of Congress or a local nonprofit in the near future. She is a proud Capitol Hill resident, by way of New York, who is pleased as punch to be making her St. Mark’s Players debut.

Tom Cottrill (2nd baron, young sentry) is a ’99 graduate of the UVa Drama Department. Since graduating he has worked for Continental Airlines, currently in their Government Affairs office. He has performed in numerous productions as well as in several TV commercials. His favorite role was Garry LeJeune in Noises Off for which he received an Irene Ryan nomination.

Bill Dickinson (Bishop of York, provost, officer). This is Bill’s first theatrical experience (since age 10) other than that demanded by the exigencies of position, politics, and advocacy. After a 26-year career in the federal government, he is now an environmental policy consultant. Bill also provides leadership for several not-for-profit organizations primarily in Northern Virginia. Becket provides him new insights into his own English family heritage.

Teddy Gron (1st English baron, Cardinal Zambelli). Teddy most recently appeared as Oliver Warbucks in ACCT's production of Annie (2004), Giles Corey in Tapestry Theatre's production of The Crucible (2004), and Horace Vandergelder in ACCT's production of Hello, Dolly (2003). After a 30-year sabbatical, he's back on the boards. His ambition is to appear in a cowboy movie.

Maddie Hartke-Weber (page, servant) is 9 years old and in 4th grade. A native Washingtonian, she plays hockey, soccer, piano, and guitar, and also sings in the Children's Choir at St. Mark's. She has enjoyed being a part of the Becket cast because of her interest in history and the Middle Ages.

Emma Herman (young prince, 2nd page, 1st servant, French choirboy) is 10 years old, homeschools (5th grade), plays the piano, and is an avid reader. She has never taken part in a play before. One of her favorite pasttimes is drawing and painting, especially watercolor. She loves animals and sports, gymnastics, in particular. She lives on Capitol Hill with her parents and six-year-old brother.

Tom Howard (Gilbert Folliot–Bishop of London) is pleased to début with the St. Mark's Players. He recently performed as André Bouville in The Dinner Party and is proud of his work as Pish Tush in The Mikado and Tevye in Fiddler on the Roof. Tom works on the Army staff in the Pentagon and enjoys doing voice-overs and public speaking.

Anita Jones (servant, townsperson, 1st and 2nd French barons) is relatively new to the stage, perhaps personifying the adage “better late than  never.” She played the third priest in a version of Murder in the Cathedral in 2003. She has enjoyed having a part in bringing the intriguing, timeless dilemmas of Becket to public attention. Anita also has performed as a storyteller, puppeteer and member of various choruses.

Dennis Lewis (Archbishop of Canterbury) made his stage debut at 12 as the newspaper collection boy in A Streetcar Named Desire in his hometown, Norristown, Pa. He subsequently appeared in productions of The Desk Set, The Champagne Complex, A Hatful of Rain, and Cat on a Hot Tin Roof. His only appearance in the DC area was as the villain, Mr. President, in a 1987 World Bank Players production of Madwoman of Chaillot. Now retired, Dennis previously worked for The Washington Star, The Washington Times, and the Bureau of National Affairs.

Jon Marget (Pope and soldier) previously appeared with SMP in Galileo (the curator). Other venues in which he has performed include the Pittsburgh Playhouse, the DC Summer Shakespeare Festival, the Maryland Renaissance Festival (for 13 seasons), and several dinner theaters. In “real life,” Jon is a mostly retired lawyer.

Joe McDonald (3^rd baron, sentry, flogging monk). In the mid-1970s Joe, a native Washingtonian, studied drama at Catholic University. There he discovered, to his shock, that acting was hard work and the pay was questionable. Thirty years later he returned to the stage in the SMP production of 1776. After a stint as a pony-tailed, singing congressman, he can’t wait to wield a sword on horseback across the nave.

Matt Orr (Saxon boy/young monk) is a communications major at George Mason University. He enters the “real world” upon graduation in May. In his spare time he enjoys reading, writing, and reading his writing. He believes Becket may be one of the most intriguing plays ever written.

Christine Peters (young queen) is a government relations associate with the North Star Group, a lobbying firm specializing in Alaska issues. She has recently moved to Washington, D.C., from Anchorage, Alaska. Christine graduated from Washington State University, where she appeared in many stage productions, including A Midsummer Night’s Dream, A Flea in Her Ear, All in the Timing, and The Secret Garden.

Michael Platt (4th baron, Etienne) has acted in Washington area theaters for the past 25 years. He last appeared at St. Mark’s as Kolenkhov in You Can't Take It With You. Other favorite roles were Phil Romano in That Championship Season, Sheridan Whiteside in The Man Who Came to Dinner, and Mr. Webb (with his wife Judy as Mrs. Webb) in Our Town.

Manolo Santalla (King Louis, townsperson). From Manolo's long list of credits, he cites as recent favorites Clifford Odet’s Paradise Lost (Rogo), The American Century Theatre; Sophocles’ The Women of Trachis (Lichas), Natural Theatricals; Mexico: Bohemian Nights (bartender), GALA Hispanic Theatre; and Pochito's Pride (Papa, Manolo, ensemble), Smithsonian Discovery Theatre. He has trained at Studio Theatre, Theatre Lab, and the University of Maryland. In April Manolo will appear in A Bicycle Country with Baltimore's Mobtown Players.

Emily Skelton (Saxon girl, French girl, townsperson, servant) graduated from William & Mary in May and is currently employed by a law firm in D.C. She has worked in various aspects of theater and film, including acting, writing, directing, producing, lighting, properties, and stage management. Her favorite roles include Daisy (The Adding Machine), Elizabeth (They Dance Real Slow in Jackson) and Portia (Julius Caesar).

Carol Thornhill (1st monk, Duke of Arundel, townsperson, servant) is retired from the U.S. Administration on Aging. She volunteers for the Health Services for Children Pediatric Center and the Arena, Folger, and Shakespeare theaters. Her inspiration for participating in Becket: retirement provides freedom to renew former interests and try new ones.

Christopher Tully (Thomas à Becket). This is Chris's thirteenth performance for the Players, starting in 1996 with Amadeus and most recently as John Adams in 1776. Along the way, he's played nervous bureaucrats and aged soldiers (The Good Doctor), bakers (Into the Woods), and winsome Hibernians (Dancing at Lughnasa), callow men of science (Galileo) and Midwest conmen (Pal Joey). He has also played South American prisoners (Kiss of the Spider Woman at Arlington Players), lost producers (Crazy for You also at TAP), and edgy recruits (Streamers at Elden Street). A graduate of Drew University's Theater Arts Department, Chris is currently studying at the Studio Theatre Conservatory. His favorite role is either the “obnoxious and disliked” Mr. Adams or Michael in Lughnasa. While the “little Saxon” may be married to God, Chris is happily wed to his lovely wife, Susan.

Liz Williams (Gwendolyn, older prince, assistant director, fight choreographer): Liz was last seen at St. Mark's as the Scarecrow/Hunk in Wizard of Oz. Favorite roles include Lady Macbeth, Elizabeth Proctor(The Crucible), and Duchess Maria (Me & My Girl). An OLGC School teacher, avid writer, and stage fighter, Liz is an advanced actor combatant with the Society of American Fight Directors. This show is for brothers John and Harvey, Marines in Iraq.

The Crew

Anne Acorn (costumes, sound board operator). Confucius said, “There is no pain in life, except when you stub your toe. That really smarts!” Well, maybe Confucius didn’t say that, but boy is it true. As a crew member of Becket, Anne may one day figure this play out: “You mean it’s not a comedy?” In the meantime, she’s just having fun. Anne is a graduate of Towson University’s theater program.

Ceci Albert (props, co-manager). A neighbor of St Mark’s for many years, Ceci is happy to be able to share her love of crafts, 22 years of collaboration with Susan Sedgewick, and an awe of Margaret Mook’s ability to transform everyday things into magical objects to participate in this production of Becket. Thank you, ladies, for making this so much fun!

Alden Atwood (house manager) and his wife, Twyla, co-own and manage hotel temporary staffing companies in DC and LA. In another life, for many years in the Boston area, Alden produced, directed, and acted in church-sponsored little theater, including productions of Our Town, Skin of our Teeth, and The Glass Menagerie. He looks forward to working in the front of the house with the Cardwells again.

Pamela James Blumgart (publicity and program). In her third year on the St. Mark’s Players’ board, Pamela has learned a lot about what goes on behind the scenes of a quality production. She invites you to become involved and help support our award-winning community theater tradition.

Chris Byrne (light board operator). This is Chris’s thirteenth show with the Players and sixth show running lights. He is pleased to be working with such an experienced cast and crew in Becket. When not behind a light board, you will find Chris resetting furniture in and around the nave of St. Mark’s. He is a Capitol Hill and St. Mark’s native who had his Eagle Scout ceremony in the nave of St. Mark’s.

Ellen Cardwell (co-producer). As a college freshman in 1960, Ellen had lunch at the Algonquin with Lawrence Olivier, then starring in Becket on Broadway, and after seeing the show four times, she decided it was one great play! She hasn’t changed her mind about that so she is very pleased that the St. Mark’s Players, the theater company she founded in 1983, is now bringing it to local audiences.

Larry Cardwell (co-producer). In 1983 Larry made his stage debut in Trial by Jury. Since then he has been on stage in 17 and produced 6 shows for SMP, including West Side Story, Oliver! and 1776. His favorite roles include Lazur Wolf (Fiddler), Editor Webb (Our Town), a muleteer (Man of La Mancha). Becket is for his grandson Ricky: May he, too, discover the magic when the lights go up! Thank you for all the memories, Ellen.

Jerry Dale (master electrician) has become a staple of the St. Mark’s Players. He has served as stage manager, master electrician, board member, and producer and performed “other duties as assigned” in his 4 years with SMP. He thanks everyone involved in this production for all their hard work and dedication to this project.  Jerry will be stage managing Seussical, the Dr. Seuss musical opening on April 29th at St. Mark’s. He invites you to come see this magical story unfold.

Stephanie Deutsch (co-leader, Becket class) is a former president of SMP and has appeared on stage in several Players’ productions, including Our Town (Mrs. Gibbs), A Man for All Seasons (Lady Alice), and Shadowlands (Joy). She is a writer and a frequent book reviewer for the New York Times Book Review and the Washington Times Book section. Stephanie and her husband, David, have four children and are active members of St. Mark’s Church.

Kate Gilroy (costumes) is a freshman at Montgomery Blair High School in Silver Spring. This is her first production outside of school. In her spare time, she enjoys designing, creating, and buying clothes for her own personal wardrobe. She also enjoys reading, drawing, and sleeping. She has two cats named Rose and Ember. She hopes to do costuming professionally in the future.

Robin Hansberry (makeup artist and hairstylist). Although early in her professional beauty career, Robin has been doing hair and makeup since she was a toddler. She recently completed cosmetology school and a makeup course at the Make-up Designory in California. Robin’s ultimate goal is to become a world-renowned celebrity stylist and makeup artist. Just think: Becket is setting the stage for a bright future for her.

Tiiu Kera (set painting, costumes). Having retired from the U.S. Air Force after 28 years, 5 months, and 7 days on active duty, Tiiu continues her scholarship on the Baltic States at a number of think tanks and foundations. She is also pursuing her artsy side in needlework, calligraphy, and, for the first time, in the theater.

Margaret McGhee (stage manager) has been involved in amateur theater for most of her life, both on and off stage. Becket is her second production with the St. Mark's Players and her first time as stage manager. She also worked backstage on 1776. In between these two productions, she worked on the John Kerry presidential campaign. Away from theater, Margaret is an attorney and entrepreneur.

Andrea Mitchell (costumes). Having learned to sew at a very young age (she made a school dress at age nine), Andrea has sewn everything from home decorating to sportswear to frou-frou. In her spare time, she enjoys many forms of needlework, especially contemporary and traditional quilting. If she's not at work or at home, she probably is at G Street Fabrics.

Will Monahan (director). Active in Washington theater since 1977, Will has directed the world premier of Blue Opera (Reunion Music Society); Reality Zip (LTA One-Act Competition); Neil Simon’s Quiet War, runner up best direction (Northern Virginia One-Act Competition); As You Like It (Mount Vernon Children’s Theatre); Harvey (Aldersgate CCT); and Tartuffe (Tapestry Theatre).

Margaret Mook (props) is an architect who lives and works on Capitol Hill and is well known for her masterful Capitol Hill Day School Auction decorations. SMP welcomes her and her many talents to her first theater production. Margaret’s husband, Kim Jones, and sons, Gareth and Galen, are very proud of her.

Frank Pasqualino (sound & sound effects designer). Earlier this season, Frank directed The Heidi Chronicles for St. Mark’s; now he is working behind the scenes in the Players’ productions of Becket and Seussical. Frank has enjoyed directing, stage managing, and set design for various groups around Washington since relocating to the area more than 20 years ago. On stage, His most recent roles have been Gaetano Proclo in The Ritz and Marcus Lycus in Forum. Frank would like to thank his wife Donna and son Jesse for their love, support, and encouragement. Bruce, I know you are watching, too!

Jo Rake (costume design). Becket is the sixth (1776, Steel Magnolias, The Sound of Music, Albertine in Five Times, You Can’t Take It With You) and most challenging of the productions Jo has costumed for SMP. She actually got to use her history degrees doing research! The color palate in 1174 was limited, primarily earth tones, which is reflected in the costumes, but red, blue, green, and yellow were available and are used in the show. The cut and design of the clothes was simple; men and women both wore kirtles aka dresses. As a performer, Jo has appeared in two SMP productions, The Sound of Music (Frau Schmidt) and You Can’t Take It With You (Mrs. Kirby). Other recent stage appearances include An American Daughter (Charlotte) and A USO Christmas (Jackie Cochran). Jo’s next role will be as Miss Mackay in Tantallon Community Players’ The Prime of Miss Jean Brodie.

Katharine Redmond (co-leader, St. Mark’s Becket class) is a financial planner. Previous careers include international educational exchange, teacher, foreign service spouse, and mom. Desired career in next incarnation: actress. Favorite role played: John Travolta in Grease while serving as VP of the Bubble Gum Players, an amateur acting group in Athens, Greece, whose motto was, “We don't blow our lines; we stick to them.”

Jim Robertson (lighting designer) has been active in theater as an actor, director, producer, and lighting designer. He has worked on several SMP productions and directed the Players’ productions of The Wizard of Oz and You Can't Take It With You. He has designed lights for SMP’s Oliver, Dancing at Lughnasa, Albertine in Five Times, Runaways, and 1776. He is currently directing Play On for the Chevy Chase Players.

Susan Sedgewick (props) is “working” her third St. Mark’s Players production. She believes it is her distinct honor and privilege to be on the same props team as the two creative geniuses Ceci Albert and Margaret Mook. When she is not shopping for props, Susan leads an active life with her husband, John.

Andy Wenchel (set builder) constructed the frames for this set. He has designed others sets for SMP starting with The Lion in Winter and A Man for All Seasons and including Our Town, The Miracle Worker, Shadowlands, and Equis. Before coming East, he did set design and acting in community theaters on the West Coast (of Oregon). Andy ushers at Arena Stage.

Ed Wilde (sound operator, technical crew) joined SMP as the sound operator for 1776, which marked his return to theater after 25 years of working on major construction projects. Acting credits include Finian’s Rainbow (the sheriff) and The King and I (the King). He provided lighting/sound design for Funny Girl, Magic Garden, and other major touring companies. His favorite role: mascot Albert Alligator, University of Florida.

Norman Wolfe (set piece construction and painting), a retired Air Force attorney, is finding the winters too cold to sail and steering some of his time to the St. Mark’s Players.

Margaret Wood (cast and crew day-long retreat designer & leader), a law librarian and member of St. Mark's church, has had a lifelong interest in medieval history and the English monarchy. A graduate of Oberlin College, where she majored in the political history of the Middle Ages and the Tudor/Stuart kings, she continues to read and study these subjects. She is able to recite a list of the English kings from William the Conqueror (1066) to the present. In her spare time, she takes dance classes at the St. Mark's Dance Studio and reorganizes her books.

The 2004-05 Sponsors Circle

Archangels

Robert C. Bates

The Jordan family

Michael A. Pemberton and Chad M. Wilmer

Bill and Kay Pommerening

The Rutherford family

Ed Wilde

Angels

Alden Atwood

Pamela Caldwell-Foggin and Tom Foggin

Larry and Ellen Cardwell

Stephanie and David Deutsch

Rod Lawrence

Patrons

Margaret Crenshaw

Jim and Marilyn Meek

John Paynter

Geoff and Jo Rake

The Soble family

Kevin Sockwell

Sponsors

Mark and Susanne Allen

Lisa Anne Kerwin

Buzz and Lilly March

Bertha Martin

Mary Neznek

Friends

The Blumgart family

Nikki Felix

Kevin Kosty

William Parker

Jane and Bruce Sherman

The Sponsors’ Circle contributors are a major source of support for the St. Mark’s Players. We sincerely thank each of them for their generous contributions.

St. Mark’s Players’ Board of Directors