Dear Friend of Olney Theatre Center,
For the first time in history, the President of the United States has called for the elimination of the National Endowments for the Arts and Humanities.
Our community has rallied to defend the NEA many times before. What’s different this time is we’re not just arguing over funding levels; we’re being forced to justify the very existence of the agency, and by extension, the essence of the not-for-profit arts idea: that fostering creative expression, imagination and empathy, in every corner of this country, is as essential as the roads and bridges that get us there.
This attack, which all of us choosing a career in the arts feel personally, is particularly poignant as we go into rehearsal this week for a world premiere, The Magic Play. There is no question we could choose plays to make a “profit” – The Mousetrap instead of The Magic Play; Noises Off instead of Fickle; we could have extended Mary Poppins into June and cancelled the rest of the season. We could stop performing National Players shows at schools and community centers that can’t afford us – in places like Arkansas, South Dakota, and here in Maryland. We don’t and won’t do those things because, as a not-for-profit institution, we have a duty to our entire community to balance sure-fire hits with adventurous new works, and to ensure the arts are accessible to everyone in this great nation. We might end up producing the next big flop… but what if we end up with the next Hamilton? Isn’t that worth forty-five cents from every American every year?
But it’s not about the dollars. It’s about what the dollars say: that works like Hamilton and Angels in America and A Chorus Line and Fences – all brought to life by not-for-profit institutions – make such vital contributions to our nation’s greatness that, as our government subsidizes soybeans and stadiums and interstate roads, so must it subsidize our cultural lives. “Dynamism in arts and culture creates dynamism in a nation,” said former UK Prime Minister Tony Blair. If you agree, read below about how to make your voice heard above the noise.
How you can help:
Dennis A. Blackedge
Director of Production
Allyson Boate
National Player, Tour 68
Kate Brittingham
Properties Master
Weldon C. Brown
Sales Director
Mackenzie Bunch
Costume Apprentice
Chyeslan Buso
Director of Finance
Samantha Campbell
Master Electrician
Karen Chalmers
Institutional Giving Manager
Jack Riley
Stage Management Apprentice
Debbie Ellinghaus
Managing Director
Joshua Ford
Director of Marketing and Communications
Seth Gilbert
Assistant Costume Shop Supervisor/Resident Costume Designer
Stephen M. Greene
Technical Director
Charlotte Cugnini
Company Management Apprentice
Debbie L. Harner
Director of Development
Kevin Hasser
Education Programs Manager/General Manager, National Players
Josiah Hernandez
Marketing/Development Apprentice
Andrew Hurst
Human Resources and Finance Manager
Jason King Jones
Associate Artistic Director/Director of Education/Artistic Director, National Players
Josiane Jones
Associate Production Manager/Company Manager
Danielle Markowitz
Casting Apprentice
R. Wesley Meekins
Individual Giving Manager
Grace K. Murrin
Production Management Apprentice
Anna Feinerman
Scenic Apprentice
JJ Kaczynski
Graphic Designer/Director of Brand
Alex Turner
National Player, Tour 68
Tosin Olufolabi
Sound Apprentice
Fred T. Paul
General Manager
Sara Qureshi
Arts Integration Manager
Jason Loewith
Artistic Director
Jason Dearing
Properties Apprentice
Moira Todd
National Player, Tour 68
Christopher Youstra
Associate Artistic Director/Director of Music Theatre
Rebecca Silva
Stage Management Apprentice
Crista Noel Smith
Teaching Artist
Emily Sorensen
Dramaturgy Apprentice
Preston Sullivan
Assistant Technical Director
John Ponder White
Electrics Apprentice
Fred Via
Scenic Artist
Adam Turck
National Player, Tour 68
Kristina Erwin
Marketing Associate
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Olney Theatre Center 2001 Olney-Sandy Spring Road, Olney, MD 20832