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Two Trains Running
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Two Trains Running

by August Wilson
Directed by Juliette Carrillo
Co-Production with Seattle Repertory Theatre

March 30 — April 29, 2018
Fichandler Stage

It’s 1969 and the Civil Rights Movement is sending tremors through Pittsburgh’s Hill District. At the center of the community is Memphis Lee’s diner, slated to be demolished – a casualty of the city’s renovation project. Confronted with a rapidly changing world, Memphis and his regular customers struggle to maintain their solidarity and sense of pride. From Pulitzer Prize-winning playwright August Wilson comes this masterpiece about everyday lives in the shadow of great events, and of unsung citizens who are anything but ordinary. “Mr. Wilson's most adventurous and honest attempt to reveal the intimate heart of history.” (New York Times)

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Cast

Carlton ByrdCARLTON BYRD (Sterling) is honored to be making his Arena Stage debut! Select theater credits include Sunset Baby (Theater Works), Bad Apples (ACT Theatre), Antebellum (Woolly Mammoth Theatre Company), Romeo & Juliet and Ain’t Supposed to Die a Natural Death (Classical Theatre of Harlem), and The Bacchae. TV credits include Castle, Major Crimes, Blue Bloods and Law & Order: SVU. Film credits include Life of a King, Woodlawn and Holding Patterns. Graduate of New York University’s Tisch School of the Arts and The Maggie Flannigan Studio. Ron Howard Foundation Scholarship recipient. Hebrews 12:1.

William Hall Jr.WILLIAM HALL, JR. (West) make his Arena Stage debut. Seattle Repertory credits include Another Part of the Forest, I’m Not Rappaport, Gem of the Ocean and Birdie Blue. He is proud to have been a co-founding member of the nationally acclaimed Group Theatre where he appeared in many productions including Sejwiz Banji is Dead and Buffalo Soldiers. Recent productions include To Kill a Mockingbird (Intiman Theatre), Othello (Seattle Shakespeare Company), Cry the Beloved Country and Bud, Not Buddy (Book-It Repertory Theatre), Wine in the Wilderness (ACT Theatre) and Death of a Salesman (Langston Hughes).

Reginald Andre JacksonREGINALD ANDRE JACKSON (Wolf) makes his Arena Stage debut. He has appeared at Seattle Repertory in Well, The Great Society, Inspecting Carol, Ma Rainey’s Black Bottom, Romeo & Juliet and The Cider House Rules, Part Two. He has also worked with The Shakespeare Theatre Company, Intiman, Lake Tahoe Shakespeare Festival, ACT Theatre, Artists Repertory Theatre, ArtsWest, and Seattle Shakespeare Company, among others. As a playwright, he is the recipient of the American Alliance of Theatre & Education’s Distinguished Play Award for his adaptation of Christopher Paul Curtis’ novel Bud, Not Buddy.

Eugene LeeEUGENE LEE (Memphis Lee) returns to Arena Stage after appearing in every tongue confess and Guess Who’s Coming to Dinner. He appeared on Broadway in Gem of the Ocean and is a “Wilsonian Warrior,” having performed in all but two of Mr. Wilson’s plays. Off-Broadway credits include A Soldier’s Play, Home, Manhattan Made Me, Nightline, Eyes of the American and The Redeemer (Negro Ensemble Company). Regional credits include stop. reset (Goodman); How I Learned What I Learned (True Colors, Round House, Pittsburgh Public Theater, Huntington); the Kennedy Center’s August Wilson’s 20th Century; and others. Film/TV credits include Wolf, Coach Carter, The Lying Game, American Crime, The White Shadow, Good Times, NYPD Blue and The Guiding Light. Eugene is an artist-in-residence at Texas State University and Artistic Director for the Texas State Black and Latino Playwrights Conference. eugeneleeonline.com

Nicole LewisNICOLE LEWIS (Risa) makes her Arena Stage debut! Broadway credits include Hair (Tony Award Best Revival), Rent (Joanne) and Lennon. Off-Broadway credits include Sense and Sensibility (Bedlam), Measure for Measure and Macbeth (The Public); Murder Ballad and Boy Gets Girl (MTC). Regional credits include The Merry Wives of Windsor (Two River Theater); Disgraced (Arizona Theatre Company); Good People (Geva Theater/Indiana Repertory); Race (Philadelphia Theatre Company); All My Sons (Intiman Theatre); A Civil War Christmas (Center Stage); The Tempest (Williamstown Theatre Festival). Film/TV credits include The Blacklist, Mozart in the Jungle, Odd Mom Out, Law & Order: SVU Blue Bloods, London Betty, Across the Universe and The Comedian. B.A. Yale University, M.F.A. American Conservatory Theater. Many thanks to Seattle Repertory, Arena Stage, Juliette, Constanza, Michelle Shay, Heather Simms, Julia Berman and the Leach/Lewis families. NicoleLewisNYC.com

Frank Riley IIIFRANK RILEY III (Hambone) is a native of Richmond, VA and currently lives in the D.C. metropolitan area. He returns to Arena Stage after appearing in A Raisin in the Sun. Other area credits include To Kill a Mockingbird as Rev. Sykes in Alexandria, VA; Cinderella The New Musical in Alexandria, VA; Dead Man Walking at the Kennedy Center; and Yet I Stank in Alexandria, VA. He appeared in the Amazon TV series DailyBread and will be in an episode of For My Man, which airs on TV One. A former pro wrestler in the local circuit of VA and NC in the early 90s and a single father of two sons, Frank is several months retired from the Alexandria, VA Police Department.

David Emerson ToneyDAVID EMERSON TONEY (Holloway) returns to Arena Stage after appearing in four decades of stage productions, including such roles as Doaker in August Wilson’s The Piano Lesson, Roy Wilkens in Robert Schenkkan’s All the Way and Lonnie in Zora Neale Hurston’s Polk County. Broadway credits include of A Free Man of Color and Julie Taymor’s Tony Award nominated musical Juan Darién. Regionally he was seen as Alonzo in The Tempest and Lucio in Measure for Measure (Folger Theatre); Army in the Persians and Othello (Shakespeare Theatre Company); Jacques in As You Like It (Utah Shakespeare Festival); Splash Hatch on the “E” Going Down (Yale Repertory); and The Fool in King Lear. David is an Assistant Professor of Acting at Virginia Commonwealth University.

Creative

AUGUST WILSON (Playwright)’s plays include Gem of the Ocean, Joe Turner’s Come and Gone, Ma Rainey’s Black Bottom, The Piano Lesson (Pulitzer Prize winner), Seven Guitars, Fences (Pulitzer Prize winner, Tony Award winner), Two Trains Running, Jitney (Oliver Award winner), King Hedley II and Radio Golf. In 2003, he made his stage debut in his one-man show, How I Learned What I Learned. He received an Emmy Award nomination for his screenplay for The Piano Lesson. Other works include The Janitor, Recycle, The Coldest Day of the Year, Malcolm X, The Homecoming and the musical satire Black Bart and the Sacred Hills. Other awards include eight New York Drama Critics Circle Awards, Rockefeller and Guggenheim Fellowships in Playwriting, a Whiting Writers Award, 2003 Heinz Award, 1999 National Humanities Medal and induction into the Theater Hall of Fame.

JULIETTE CARRILLO (Director) is a graduate of the Yale School of Drama and has directed critically-acclaimed premieres and revival productions in theaters across the country including Oregon Shakespeare Festival, Mark Taper Forum, South Coast Repertory, Yale Repertory, Denver Center and Seattle Repertory. As a member of the Cornerstone Theater ensemble, she has developed work for and with various communities such as the Los Angeles River community, the addiction and recovery community, the Hindu community and seniors and their caregivers. She was an artistic associate and Director of the Hispanic Playwright’s Project at South Coast Repertory for seven years, developing work with writers such as Nilo Cruz, Octavio Solis, José Rivera and Karen Zacarías. She is on faculty at University of California, Irvine. www.juliettecarrillo.com

MISHA KACHMAN (Scenic Designer) has worked at Arena Stage, Asolo Repertory, Center Stage, Cincinnati Playhouse in the Park, the Kennedy Center, Milwaukee Shakespeare, Opera Lafayette, Opera Royal Versailles, Portland Center Stage, Round House, Shanghai Dramatic Arts Center, Signature Theatre, Skylight Music Theatre, Studio Theatre, Syracuse Stage, Theater J, Wilma Theater and Woolly Mammoth, among many other companies in the United States and abroad. He is a company member at Woolly Mammoth and an associate artist at Olney Theatre Center. Misha is a Helen Hayes Award recipient and a graduate of the St. Petersburg Theatre Arts Academy. He serves as the associate professor of scene and costume design and head of M.F.A. in design at University of Maryland. For more information, visit mishakachman.com.

IVANIA STACK (Costume Designer)’s regional and D.C.-area credits include Woolly Mammoth (company member), the Kennedy Center Theater for Young Audiences, Center Stage, Everyman Theatre, The Second City, Contemporary American Theatre Festival, Round House, Signature Theatre, Imagination Stage, Olney Theatre Center (associate artist), Studio Theatre, Theater J, Constellation Theatre, Pointless Theatre, Synetic Theater, Forum Theatre, Theater Alliance, Rorschach Theatre, The Karski Project, Metro Stage and Gala Hispanic Theatre. She is a Ringleader for Audience Integration and the Artistic Director for Original, Interactive Work for dog & pony dc, and has an M.F.A. in design from the University of Maryland.

SHERRICE MOJGANI (Lighting Designer)’s recent designs include Skeleton Crew (The Old Globe); Black Pearl Sings, Roz and Ray, The Dybbuk for Hannah and Sam’s Wedding, Outside Mullingar, My Mañana Comes, Steal Heaven, HONKY, The Mountaintop, Clybourne Park (San Diego Repertory); and The Revolutionist, Blue Door, Ruthless: The Musical, Trouble in Mind, Jade Heart, Mud Blue Sky, Skinless, Freedom of Speech (MOXIE Theatre). Sherrice is an assistant professor in the School of Theatre at George Mason University. She holds a B.A. in theater arts from UC Santa Cruz and an M.F.A. in lighting design from UC San Diego. sherrice.weebly.com

DAVID R. MOLINA (Composer and Sound Designer)’s theater credits include Oregon Shakespeare, Portland Center Stage, Yale Repertory, Mark Taper Forum, Cornerstone Theater Company, Yerba Buena Center for the Arts, Campo Santo, Teatro Campesino and Magic Theatre. He is a resident artist with Brava Theater, Naka Dance Theater, University of San Francisco, Teatro Jornalero and Soapstone Theatre Company. Installations include SFMOMA, Oakland Museum of California, Sundance Film Festival and McLoughlin Gallery. Film/TV/video credits include PBS, Not in Our Town, Tolleson Design, Dead Ink Archive. He is a frequent collaborator with Violeta Luna, Roberto G. Varea, Rhodessa Jones and Cause Collective. Other credits include Secos y Mojados co-founder, Asterisk Magazine and Behind the Dream (audio book). Awards include L.A. Ovation, Creative Capital, Phyllis Wattis and Musical Grant Program. Bands include Impuritan; Idris Ackamoor and The Pyramids; Ghosts and Strings; and Transient. drmsound.com

CRISTINE ANNE REYNOLDS (Stage Manager) is based out of Seattle, Washington where she works at Seattle Repertory Theatre, Seattle Children’s Theater and Seattle Opera. Select work at Seattle Repertory Theatre has included Dry Powder, Romeo and Juliet, Jitney, Who’s Afraid of Virginia Woolf?, The Great Gatsby, Clybourne Park, Doubt and The Road to Mecca. National and international credits include Shakespeare Theatre Company, South Coast Repertory, Barter Theatre, Pacific Northwest Ballet, Edinburgh International Festival, Sadler’s Wells-London, Singapore Arts Festival and Macau Festival of the Arts. Cris and her husband Rob, live in a 110 year old cottage in the Ballard neighborhood.

MARNE ANDERSON (Assistant Stage Manager)’s Arena Stage credits include The Great Society, Nina Simone: Four Women, A Raisin in the Sun, Roe, Moby Dick, All the Way, Erma Bombeck: At Wit’s End, King Hedley II, Five Guys Named Moe, The Mountaintop, Metamorphoses and Duke Ellington’s Sophisticated Ladies. Additional D.C. credits include A Midsummer Night’s Dream and Rosencrantz and Guildenstern Are Dead (Folger Theatre); Angels in America: Parts 1 and 2 (Round House); Wig Out! (Studio Theatre) and The Arsonists, You for Me for You and Mr. Burns, A Post-Electric Play (Woolly Mammoth). She is a graduate of the University of North Carolina School of the Arts and a proud member of Actors’ Equity Association.

Events

Post-Show Discussions

April 11, 2018 – 12:00 p.m.
April 12, 2018 – 8:00 p.m.
April 17, 2018 – 7:30 p.m.
April 18, 2018 – 12:00 p.m.
April 24, 2018 – 12:00 p.m.

Accessibility

Audio Described

April 21, 2018 – 2:00 p.m.

Open Captioned

April 19, 2018 – 8:00 p.m.
April 25, 2018 – 7:30 p.m.

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Two Training Running has a run time of 2 hours and 35 minutes with one 15 minute intermission included. This production will contain drug use, violence, and strong language.

Two Trains Running