by Patricia O’Hara
directed by Margarett Perry
September 6 – 23, 2018
It’s 1989 and a battle for the soul of Major League Baseball is brewing between Commissioner Bart Giamatti and Pete Rose, the reigning Hit King and manager of the Cincinnati Reds. Rose is accused of betting on baseball–even on his own team–an allegation he denies despite the mounting evidence. The intellectual Giamatti wants Rose’s confession, while the larger–than–life Rose wants the Commissioner to believe his denials. This collision of wills comes to a head as they meet face to face. If the charge proves to be true, “Charlie Hustle” could be banned from the game–for life–leaving a black mark on the sport both men love and forever tarnishing a living legend.
ON SALE NOW!
Thursday night Preview Performance
Inside Track pre-show discussion, begins in the Loft lobby at 7:15 pm
Opening Night with post-show cast party in the Loft Lobby
Sawbuck Sunday, all available seats just $10 at the door starting 2 hours prior to performance
Lite Fare food and drink available for sale in the Loft lobby starting at 5:30 pm
Audio Described / Sign Interpreted performance (available with two weeks notice)
Talk Back: “While We’re on the Subject” post-show discussion (following the matinee performance)
Patricia O’Hara is a writer and Professor of English Literature at Franklin & Marshall College, in Lancaster, PA. At Franklin & Marshall she teaches all manner and forms of Nineteenth-Century British Literature, creative writing, and her course that has proven to be perennially popular: Baseball in American Literature and Culture. As a literary historian, she has published essays about late-Victorian fiction and social change, and she served as the editor-in-chief of the academic journal, Nineteenth Century Studies. Her poems, personal essays, and op-eds have appeared in various journals including: Newsweek, The Daily News, Southwest Review, The Southampton Review, The Rumpus, Bellevue Literary Review, Epiphany. Banned from Baseball is O’Hara’s first play, and she is thrilled to have it premiered by The Human Race Theatre Company. She wishes to thank Franklin & Marshall College for its generous support of her work.
Margarett Perry is an award-winning director of new plays. She just returned from Scotland where she directed The House by Brian Parks (featuring the HRTC design from last season’s production). She is a regular at The Human Race Theatre Company where her credits include God of Carnage, Hail Mary!, One Slight Hitch, Vanya and Sonia and Masha and Spike, Other Desert Cities, The Retreat from Moscow, Painting Churches and the world premiere of Michael Slade’s Under a Red Moon. She has directed and developed new work Off-Broadway and in regional theatres across the country as well as in Los Angeles, Scotland and London. Her most recent Off-Broadway credit is the world premiere of Education by Brian Dykstra at 59E59 Theaters this spring. She is also a regular at the Kitchen Theatre in Ithaca where she has directed over 20 productions including Seminar, Sunset Baby, Old Times and Private Lives as well as world premieres by Rob Ackerman, Rachel Axler, Brian Dykstra and Brian Parks. She is an Artistic Fellow at The Lark Play Development Center where she has worked with a variety of writers developing new plays. Recent projects include Brian Dykstra’s Used to Was (Maybe Did) with Center Theatre Group, the world premiere of Seared by Theresa Rebeck at San Francisco Playhouse, Shrek the Musical at Connecticut Rep and Brian Dykstra’s award-winning play, Clean Alternatives at The Kitchen Theatre. Member of SDC. www.margarettperry.com
Tammy is delighted to return to the Human Race Theatre! A few of her favorite designs at HRTC include Family Ties, Crowns, Other Desert Cities, Becky’s New Car, Lombardi, Managing Maxine, and Rounding Third. She also enjoys designing theatre for young audiences, having designed, ten shows for Cincinnati Playhouse in the Park’s Educational Touring Company. Her designs have been on stages from New York City to the Midwest and as far south as Florida. Recently, the book she co-authored, The Fake Food Cookbook, was published. Currently, she is an Assistant Professor of Scenic Design at Kent State University. Check out her website at www.edwardlaynedesigns.com
Costuming credits for The Human Race Theatre Company include two In-School Tours: A Dickens of a Time and Belch, Bottom and the Boys, and main stage productions of Family Ties, Hail Mary!, Sweeney Todd, One Slight Hitch, Steel Magnolias, The Full Monty, Vanya and Sonia and Masha and Spike, Family Shots, Taking Shakespeare, Other Desert Cities, Torch Song Trilogy, Avenue Q, Band Geeks!, 8 Track, Permanent Collection and The 39 Steps. She also fitted and organized the Tony Award-winning costumes for The Drowsy Chaperone. She costumed Boeing, Boeing and Parade, both joint productions of CCM and The Carnegie Visual and Performing Arts Center, The Fantasticks for DPH and the original production of Soldier Christmas with NKU. As a retired Norwood City Schools artistic director/teacher, she designed, directed and costumed over 150 shows. She is an avid supporter of the arts in education.
John is the long-term Resident Lighting Designer for The Human Race Theatre Company, Muse Machine, the Dayton Philharmonic Orchestra Pops series and Dayton Opera Association. He also serves as the long-time Technical Director for the Fraze Pavilion and has provided technical advance production coordination, lighting designs, automation programming and performance operation services for many artists and productions that have visited that venue. John also has a diverse dance lighting background, having provided lighting designs and technical production services for many years to The Dayton Ballet and Dayton Contemporary Dance Co. John’s national credits included a lighting design package for a National Touring Production of the Elton John/Tim Rice collaboration Aida. Some of his most recent local credits include all the designs for The Human Race Theatre Company’s season at the Loft Theatre; Muse Machine’s productions at the Victoria Theatre and the Dayton Opera Association’s 2016-17 season at the Schuster Center. John recently had his driveway repaved! And a new garage door.
Jay has designed sound, music directed, performed and composed music for countless theatrical events and is proud to call The Human Race his artistic home. He has composed music and recorded audio projects for many musical groups, voiceovers, regional commercials, radio spots, training videos, collegiate theatre projects, marching bands, clubs, and organizations. Jay owns and operates a professional recording studio (Audio Forest) with his wife, fellow HRTC Resident Artist Christine Brunner.
Jacquelyn Duncan is ecstatic to be Stage Managing Banned from Baseball. Jacquelyn is originally from Toledo, Ohio and received her Bachelors of Fine Arts in Theatre Design/Technology with an emphasis in Stage Management from Wright State University. You’ve seen Jacquelyn working for the Human Race as the Production Assistant since Hail Mary! in October 2016 and as the Production Stage Manager since Brighton Beach Memoirs last spring. Jacquelyn is a proud member of The Actors Equity Association and wants to remind you to follow The Human Race Theatre on all social media! “Baseball is like church. many attend, few understand.” -Leo Durocher
Brian Dykstra returns to The Human Race where he appeared in One Slight Hitch, also directed by Margarett Perry. Most recently he played Joe Mankiewicz at The Alley Theatre in Cleo. Broadway: Lucky Guy. Regionally, LBJ in All The Way, Mark Rothko in Red, Eric in The Humans, Johnny “Rooster” Byron in Jerusalem, Heisenberg in Copenhagen, Eddie Carbone in A View From The Bridge, Elyot in Private Lives, Leonard in Seminar, Lord Capulet, Macduff, Don John, Claudius, Benedick, Sir Toby Belch, etc. Film and TV: Bull, Law & Order, Third Watch, Knight & Day, Freedomland, Big Dogs, The Tick, Poor Behavior, HBO Def Poetry (as himself), Chappelle’s Show. Playwright: Currently writing a musical about a voodoo troop stopping in what might be the most racist town in America where they plan to harvest souls, called Crazy, Make Crazy with composer Terry Delsing. Next up: Two days after Banned From Baseball closes, rehearsals begin in Washington D.C. playing Hubert in King John at The Folger Shakespeare Theatre.
Scott is a proud Resident Artist with HRTC and native Daytonian. In addition to performing on Broadway and in the National Touring productions of RENT (Mark Cohen) and LES MISERABLES (Marius), he has enjoyed a robust Regional Theatre career spanning two decades. Committed to the notion of “Paying Forward” what he’s learned to the next generation of theatre artists, he is currently a Resident Teaching Artist with The Children’s Theatre of Cincinnati. Each and every performance dedicated to the memory of Charles F. Hardin (1927-1999).
Doug MacKechnie makes his Human Race debut. World premieres: The Gravedigger (First Folio), Menorca (16th Street), Lucinda’s Bed (Chicago Dramatists), Unnecessary Farce (BoarsHead Theater; Lansing, MI). ShawChicago: Adolphus Cusins in Major Barbara, Earl of Warwick in Saint Joan, Jack Tanner in Man and Superman. Other Chicagoland: A Christmas Story (Theater Wit); That Championship Season, (Red Hen Productions); Taking Steps, She Stoops To Conquer (City Lit); Translations (Seanachaí); An American Daughter (Organic); Principia Scriptoriae (Circle). Doug is an MFA graduate of The Theatre School, DePaul University, an Associate Artist at Chicago Dramatists, and a proud member of Actors’ Equity.
Marc is thrilled to return to Human Race, having appeared as Chairman in Mystery Of Edwin Drood way back in 1995. Marc originated the role of Alex in the original Broadway production of the Sondheim/Prince musical Merrily We Roll Along (https://www.bestworstthingmovie.com/ ) and most recently appeared in Scottsboro Boys at Pittsburgh Playhouse and Boy at None Too Fragile in Akron. Other recent work includes The Time Machine at New York Music Theatre Festival (NYMF) and Yentl (Sheftel) and Bell, Book, and Candle (Redlich) at The Cleveland Playhouse. Marc was a Great Lakes Theatre/Idaho Shakespeare Company Member - appearing in Into The Woods (Mysterious Man) as well as The Crucible (Cheever), Merry Wives of Windsor (Dr.Caius), You Can’t Take It With You (Ed). Theaters include: The Cleveland Play House, Great Lakes Theatre Festival, Idaho Shakespeare Festival, Long Wharf, Goodman, New Harmony, Raven Theatre, Carousel Dinner Theatre, Riverside Shakespeare Festival, Cain Park, Dobama, Karamu, and None Too Fragile. Shows/Roles include: Scottsboro Boys (Interlocutor), Hamlet (Claudius), Imaginary Invalid (Argan), Taming Of The Shrew (Gremio), Grapes Of Wrath (Pa), Baby (Alan), As You Like It (Touchstone), Amadeus (Emperor Joseph), Little Shop Of Horrors (Mushnik), Jolson - The Musical (Jolson), Sunshine Boys (Lewis), The Odd Couple (Murray), The Time Of Your Life (Harry). Marc was the Founder/Director of the Cleveland-based Giant Portions Improv Troupe. His improv training includes stints at ImprovOlympic and extensive workshops with Paul Sills, Del Close and Charna Halpern. Marc was a Visiting Guest Artist at Cornell University, coaching students and appearing in productions as a professional mentor. Marc has taught Acting and Improv at AMDA, CAP 21, Second City, ImprovOlympic, TheatreSports, and is the Midwest Affiliate for Mainstreet Musicals (http://www.mainstreetmusicals.org/). Marc received his MFA in Acting at Kent State University and is a proud Dad of Joseph and Sarah.
K.L. cheerfully returns to the HRTC stage for the fourth time. He’s previously appeared here in Caroline, or Change (Grandpa Gellman), Fiddler on the Roof (Rabbi), and the staged reading of Gingerbread Children (Pastor Gerald & Lot). Some of his other favorite roles have been Jon Brody in Marjorie Prime, Johnnypat in The Cripple of Inishmaan, Ray in Blackbird, Carl in Opus, Teach in American Buffalo, and Clov in Endgame. K.L. is a board member at the Dayton Theatre Guild where he acts, produces, designs sound, and is the video media director. K.L. also acts and directs for the screen.
The Pete Rose Story
Review by Jacqui Theobald
By Patricia O’Hara
Directed Margarett Perry
Did he or didn’t he? You get to decide. Playwright O’Hara brings an even hand to THE question.
Think of Pete Rose as an epic failed hero. Pete Rose in a classic father-son relationship? There is a bit of Shakespeare to explain it. On the set that becomes both a baseball diamond and lawyers’ offices, Baseball Commissioner Bart Giamatti, Doug Mackechnie former President of Yale, discusses, confronts, and remembers. Pete swaggers. Brian Dykstra gets a round of applause for looking exactly like Pete in 1989. Dykstra captures the needy boy and the Charlie Hustle blow hard and bluff with uncanny accuracy.
Two men who love baseball. An imperfect pair, a childhood remembered. It is doomed to fail and becomes a much larger story than the details. The audience, whether knowledgeable or not is caught up in the tensions. Pete’s egotistic determination to prove his managerial worth knows no boundaries. He tells himself, “It’s for my fans. Winning is everything.” Assistant baseball comissioner emaciated looking Faye Vincent is played by Scott Hunt; an ever patient Reuven Katz, Rose’s lawyer is portrayed by Marc Moritz; a frustrated John Dowd is captured by K.L. Storer.
The director Margarett Perry said, ”Producing new work is a juicy and complex process.” She adds an Oscar Wilde quote, “yet each man kills the thing he loves.” Scenic designer Tamara L. Honesty and costume designer Janet G. Powell have done their research and recreate 1989 with great accuracy. Sound designer Jay Brunner who recorded the voice of sportscaster Marty Brennaman marveled, “That voice, that voice right here in my studio. Wow!” It is a “wow” kind of show providing new insights of the men inside the stereotypes, their humanity and their vulnerabilities. It could become a part of Cincinnati and Dayton history and beyond. Take me out to the ball game.