The University Theatre presents

Off the Map

by Joan Ackermann

February 16 - 25, 2001

Directed by
Cynthia Gendrich

 Scenic Design by 
 Jonathan Christman

Costume Design by
Frank Ludwig

 Lighting Design by 
 Jonathan Christman

Sound Design by
  Cynthia Gendrich

Stage Manager
Lauren E. Thompson*


Lee Briggs*

Cary Donaldson*

Adult Bo 
Claiborne Heilman*

Meg McKee*

Andy Rigsby

Kate Roberts*

* Member of The Anthony Aston Players


Technical Director
Douglas W. Brown

Costume Shop Supervisor
Lisa Weller

Audience Services Coordinator Shanda Smith

Assistant Stage Managers
Cambra Overend*, Joey Picard*

Master Carpenter
Joseph Gera*

Prop Master
Susan Martin*

Scenic Carpenters
Aaron Bokros*, Matthew Fuller*
Greg Herzog, Marc Lucente, Susan Martin*, John Stallings, Sarah Storminger*, Ben Walker, Michael Wright

Scene Crew Miriam Blackwell, Brandon Drury, Josh Edwards, Timothy Fratto, Jon Harkey, Jeffrey Harris, Jarrett Heard, Garick Hill
Justin Kamlade, Brett Levitt, Arthur Lokerson, Tim McDonnell, Mark Moroz, Jennifer Needham, Jacob Petty, Karissa Piper, Timothy Ralston, 
Mason Shelton

Paint Crew
Megan Cooper, Jennifer Darneille
Brian Murphy, Bob Orlowski

Costume Shop Assistants
Natalie Hines, Laura Maready

Iana DeSouza, Lauren Magnetti

Sound Engineer
Matt Fuller*

Sound Board Operator
Julie Kirstein

Master Electrician
Matt Fuller*

Lightboard Operator
Melissa Jones*

Electrics Crew Eddie Acosta
Nate Franke, Collin Jacobson, Christopher Norat, Justin Ross, William Train, Ryan Vaughan

Poster Design
Kelly Murdoch-Kitt

Jonathan Christman, Bill Ray III

Publicity Assistants
Emily Johnson, TJ Peeler

Box Office & Front of House Staff Alannah DiBona, Alexandra LeCrone, Everett Long, Jonathan Loudin, 
Lutrell Williams

Front of House Crew
Robert Aycock, Matthew Busick, 
Nadia Flanigan, Andy Graves, 
Alecia Hardy, Lauren Kenney, Garry Laney, Erica Lennon, Amanda Sweetser, Mike Vredenburgh

Theatre Office Assistants
Nick Kinder*, Cambra Overend*
Maya Sanford

* Member of The Anthony Aston Players


Sharon Andrews
Helen Huff
Steve Koppenhaver
Woody Hood
Mary Wayne-Thomas
Tarheel Triad Girl Scout Council
The Fly Line, Inc, Greensboro
Brent Thomas (Fly Fishing Technical Advisor)
John Thomas (Fly Tying Technical Advisor)
Hanes Mill Road Solid Waste Landfill
North Carolina School of the Arts
Winston-Salem Little Theatre


Joan Ackermann is probably a new name to most of you.  However, in the last decade she's been a prolific writer of plays, television shows, and screenplays.  I first encountered Ackermann when, in 1995, I played Lee in a small production of her wonderful, bittersweet play, Stanton's Garage. Like Stanton's Garage, Off the Map describes moments when characters find themselves stuck or broken down, in need of healing and redemption.  Unlikely saviors come to the rescue in both plays, and images of journeys and travel proliferate. 
 In Off the Map, readings recur from Richard Henry Dana's 19th century classic, Two Years Before the Mast. Lyrical and evocative, Dana's book—a compilation of his private journals—also describes the practicalities of a sailor's life.  Dana enlisted as a  "common sailor," to learn hard work and the benefits of physical labor.  A "hands on" sailor, not an officer "with his gloves on," Dana weathered two years at sea, longing, at times, for the home he left behind.  His sea voyage has obvious resonance in this memory play's journey through a family's turbulent summer. The book and the play also share many values in common: the joys of usefulness, productivity, and generosity, and a love of self-reliance and natural beauty.
 However, as we've drawn closer to opening, I've found myself coming back to the questions that more literal journeys or vacations always raise in me—questions raised by Ackermann's plays and Dana's book.  How can we reconcile our love of the outside world and our desire to be in the thick of things with our desire for peace, comfort, solace, healing, and simplicity?  How can we make our lives matter—engage ourselves in the world, put our contributions on the map—and still remember the value of our most intimate, private interactions? 
 This play won't give you the answers to these questions, but I hope you'll enjoy the way it asks us to ponder them. 
 I also hope you'll laugh. A lot.

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