FEBRUARY 2018

by DAVID GRIMM DIRECTED BY BRADEN ABRAHAM FEBRUARY 2 - MARCH 4, 2018

2017/18 SEASON THE ODYSSEY | PRIDE AND PREJUDICE | THE HUMANS | TWO TRAINS RUNNING IBSEN IN CHICAGO | HERSHEY FELDER AS IRVING BERLIN | THE GREAT LEAP | FAMILIAR | MAC BETH January 2018 INTERNATIONAL Volume 14, No. 4 GUITAR NIGHT Wednesday, Jan. 24 7:30 pm | $19–$44 IGN brings together the world’s foremost guitarists for a special evening of solos, Paul Heppner duets, and quartets. The tour’s ECA Publisher WINTER 2018 engagement will feature Lulo Reinhardt, Sara Keats Calum Graham, Marek Pasieczny, and Encore Stages Editor Michael Chapdelaine. Susan Peterson HARLEM QUARTET & Design & Production Director Contents ALDO LÓPEZ-GAVILÁN Ana Alvira, Robin Kessler, Feature Thursday, Mar. 8 Stevie VanBronkhorst 7:30 pm | $19–$49 Production Artists and Graphic Design 3 Danielle Mohlman reflects Cuban piano prodigy Aldo Mike Hathaway López-Gavilán joins the on her one-woman Sales Director Harlem Quartet in this dynamic cross-cultural program to bring millennial collaboration. The program will consist of Brieanna Bright, Joey Chapman, audiences to the theater in Latin jazz and classical repertoire, as well as Ann Manning original compositions by Mr. López-Gavilán. Seattle Area Account Executives the age of Netflix. THE MYSTICAL Amelia Heppner, Marilyn Kallins, Terri Reed Dialogue ARTS OF TIBET San Francisco/Bay Area Account Executives Thursday, May 11 Carol Yip 10 SassyBlack on place, 7:30 pm | $15–$44 Sales Coordinator communication, As part of a 5-day ECA and creativity. residency that includes the creation of a Mandala Sand Painting, the Tibetan monks of Drepung Intermission Brain Transmission Loseling Monastery will give a performance combining multi-phonic chanting, music and 11 Test yourself with our dance into an unforgettable experience. Leah Baltus trivia quiz! ec4arts.org Editor-in-Chief 425.275.9595 Andy Fife Encore Stages is an Encore Arts Publisher 410FOURTHAVE.N. Program that features stories about EDMONDSWA98020 Dan Paulus our local arts community side-by-side Art Director with information about performances. Gemma Wilson, Jonathan Zwickel Encore Arts Programs are publications Senior Editors of Encore Media Group. We also publish Amanda Manitach City Arts, a monthly arts & culture Visual Arts Editor magazine, and specialty publications, Business, including the Offical Seattle Pride Guide and the SIFF Guide and Catalog. Learn more at encoremediagroup.com meet box Paul Heppner Encore Stages features the President following organizations: Mike Hathaway office. Vice President Genay Genereux Accounting & Office Manager Sara Keats Encore connects Marketing Manager your business Shaun Swick Senior Designer & Digital Lead to arts patrons Barry Johnson wherever they are. Digital Engagement Specialist Ciara Caya Customer Service Representative & Administrative Assistant

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2 ENCORE STAGES Where There's a Will There's a Way

The Royale packs a punch at ACT in 2016. Photo by Dawn Schaefer.

For playwright Danielle One by one, my friends hugged me as of intermission, and fell silently rapt I handed them their tickets. “I’m so again at the start of the second act. Mohlman, pay-what-you- excited,” they exclaimed, a group of will performances are a giddy Millennials huddled in Seattle For the 20- and 30-somethings I brought to the theatre—a group of great way to convince new- Repertory Theatre’s lobby. It was November 2016, and we were seeing tech product managers, marketing to-theatre friends to take a King Charles III. professionals, auditors, and MBA students—this performance was chance on something new. During the performance, our group an exciting treat. You would never was responsive and engaged. We guess that a year ago, many of them leaned forward, afraid to miss a were completely unaware of Seattle single word, and as soon as the lights Repertory Theatre, or theatre in came up for intermission, we burst Seattle at all. into conversation: the play reminded someone of the regime in Thailand, someone had a question about the ghost, someone else wondered about My partner and I moved to Seattle accents, and we were all thinking about in 2015 because he was starting our own country’s political climate. the MBA program at the University We chattered through every minute of Washington’s Foster School of

encoremediagroup.com/programs 3 chaperone, inviting folks to see shows with the promise I’d be there to guide them through the way to see a play. I knew ticket prices would be a barrier— why pay for something unknown and outside your home when Netflix is familiar and as good as free?—so pay- what-you-can performances would be the way to go.

After marking pay-what-you-can performances in my calendar, I emailed every person who ever said, “You write plays? So how does that work?” and invited them to join me for upcoming performances at Seattle Rep. Two joined me for Come from Everybody wants to see the King. Mohlman and friends at King Charles III. Away, then three joined me for Luna Gale. Enthusiasm about my theatre Business. Most of the people I met students, I felt like the artistic misfit. chaperoning spread and before I knew that first year were affiliated with his When it came to seeing theatre, my new it, I was taking seven people to see program in one way or another, and, friends had no idea where to start. King Charles III, complete with dinner as a playwright surrounded by MBA before and fervent bus ride discussion I decided to enlist myself as theatrical on the way home.

Looking to start a theatre-going group of your own? Here are Each of the people I have brought to the theatre has a different experience. my tips for a smooth transition into group theatre outings. Over the past two years, I’ve learned 1. Choose a pay-what-you-can performance to ease your group into a lot about how to make new theatre- the theatre-going habit. Seattle Repertory Theatre typically schedules goers feel comfortable enough one pay-what-you-can performance ($1 minimum) before the show’s to be adventurous. official opening. ACT has pay-what-you-can ($5 minimum) every Sunday.

2. Start small. Invite two or three friends to go with you on the first Before moving to Seattle for his MBA, outing. As you become more comfortable with organizing group Deepanjan Dey was a theatre actor in outings, add more friends to your circle. Think of this as a theatrical India, so I was surprised to learn that Seattle theatre felt inaccessible to him book club. You don’t want to start too big. There’s always room to grow. before he started seeing plays with 3. Plan for lunch or dinner before the show. Theatre can be a scary our group. new experience for some people. Let your friends ease into the “I think this speaks to a more generic experience over a meal. problem I’ve observed in the United States about younger audiences 4. Be both a friend and an expert. Do some research on the play staying away from the theatre,” he before you go. You don’t want to feel like you’re suddenly a professor explained. “With so many instant of theatre, but folks will want to know what they’re getting themselves and newer forms of entertainment into. Learn the running time and a little about the play and the available, theatre is perceived as more playwright. If you’re attending a preview performance, educate your niche and ‘reserved for the artsy types.’ friends on what that means. It’s different in India. There, young professionals enjoy going to the theatre . You’re not going to love every play you see 5. Lather, rinse, repeat and popular television and movie together. That’s okay! But keep coming back and encourage your actors regularly perform onstage.” friends to do the same. Before you know it, you’ll have a group of friends to process theatre with and isn’t that what we’re all looking for? One of our most memorable times at the theatre was seeing a preview

4 ENCORE STAGES performance of Luna Gale together. “There we were—enjoying quite a riveting show—when a set piece jammed as it came on stage. Having been an actor living in the perennial fear that something will go wrong technically, I was absolutely horrified at this situation,” Deepanjan explained.

“‘It’s different in India. Prokofiev There, young professionals Concerto Festival enjoy going to Featuring incredible young artists performing the the theatre...’” most exciting Russian concertos!

JANUARY 18 JANUARY 19 It turns out that previewxccx Pablo Rus Broseta, conductor Pablo Rus Broseta, conductor performances are a far less common Nathan Lee, piano Sophie Lee, violin practice in India than they are here. Conrad Tao, piano Charlie Albright, piano I remember Deepanjan on my right, William Hagen, violin PROKOFIEV: Classical Symphony worrying on behalf of the cast and PROKOFIEV: Piano Concerto No. 1 PROKOFIEV: Violin Concerto No. 2 crew fixing the technical issue, while PROKOFIEV: Violin Concerto No. 1 PROKOFIEV: Piano Concerto No. 3 our friend Jennifer, bewildered on my PROKOFIEV: Piano Concerto No. 2 left, marveled at the sheer number of people that sprang into action from off-stage to remedy the situation. Both were surprised to learn that bumps in the road are a common and important part of previews.

When you boot up Netflix, you’re expecting a polished product. If you CONRAD TAO didn’t know any better, why would you expect anything less from your CHARLIE ALBRIGHT theatre? In the months since that SOPHIE LEE Luna Gale preview, I’ve thought a lot about preview performances and how little care we theatre artists put into educating audience members about SERGEY PROKOFIEV PABLO RUS BROSETA this essential part of the process, a NATHAN LEE WILLIAM HAGEN part of the process in which we need audiences to take part. How else can we let untrained audiences in on the process of making a play? FOR TICKETS:

I befriended Melissa Herrett when SEATTLESYMPHONY.ORG she first moved to Seattle in 2016,

encoremediagroup.com/programs 5 and I quickly recruited her to join my quickly-growing circle of play-seeing friends. On one of our first excursions, we took a chance on a pay-what-you- can performance of The Royale at ACT.

“It was so nice to pay a small amount to see a play I wasn’t familiar with, and I ended up really enjoying it,” Melissa said, reflecting on that first outing. “And it was great seeing it with you since we were able to talk about it after the fact. It was nice to have someone there to debrief with, especially someone knowledgeable about plays and theatre.”

“...for many people, seeing a play with a group of friends is more MUCH ADO appealing than ABOUT going alone.” SHAKESPEARE beatrice & benedict I wasn’t an expert on The Royale. Though Marco Ramirez’s play about early 20th century boxing has enjoyed DIRECTED BY JOHN LANGS productions all around the country, everything I knew about the show came from ACT’s marketing materials. But simply by having more familiarity with theatergoing generally I was able A ONE-OF-A-KIND THEATRICAL HYBRID FEB. 24−MAR. 10 to offer Melissa a space to reflect on the ACT Theatre Artistic Direct John Langs MCCAW HALL play and digest what we saw together. stages an all-new adaptation of Much Ado About Nothing—The Bard’s classic In English with English subtitles. “It was my first real experience seeing a Evenings 7:30 PM comedy of overheard confessions, tender play that hadn’t gotten a ton of hype or Sunday 2:00 PM reconciliation, and plenty of witty banter. marketing,” said Melissa, “and it Hector Berlioz’s exuberant score is paired ended up being a fun and with sung and spoken English text, including TICKETS FROM $25! informative afternoon.” Shakespeare’s original dialogue. Featuring 206.389.7676 world-class opera singers, local actors, full SEATTLEOPERA.ORG

chorus, and 55-piece orchestra conducted by PRODUCTION SPONSORS: Seattle Symphony’s Music Director Ludovic NESHOLM FAMILY FOUNDATION “I'm probably more likely to go to MARKS FAMILY FOUNDATION Morlot. Not to be missed! OFFICE OF ARTS & CULTURE | SEATTLE the theater when it's cold,” my friend PHOTO © PHILIP NEWTON CONTINUED ON PAGE 7 AFTER THE INSERTED PROGRAM

6 ENCORE STAGES FROM THE ARTISTIC DIRECTOR

BOARD OF TRUSTEES John Keegan Terri Olson Miller Chair Chair Emeritus

Earle J. Hereford Stellman Keehnel President President Elect

Amy Bautista Kevin Millison Vice President/Treasurer Vice President I was visiting my mom over the holidays when she hopped up from the Elizabeth Choy, M.D. Becky Lenaburg Vice President Secretary kitchen table and said, “I have something I want to show you.” Moments later, she came back bearing a small stack of documents and proceeded Adam Cornell Vice President to unfold them one by one in front of me: a marriage certificate written in Italian dated from the late 1800s; an official immigration document Braden Abraham† Winky Hussey written in beautiful cursive with my great-great-grandfather’s name listed Clodagh Ash Bruce E.H. Johnson Susan Ashmun Deborah T. Killinger on it. Through her sleuthing, my mom had located the small village outside Lynne Bush Gwenann Kroon of Naples where her grandmother was born, and had pinpointed the Debra A. Canales Rachel Lerman dates when the family came through Ellis Island in the early 1900s. We Tamra Chandler Marko Liias marveled at this little time capsule in front of us; the evidence that filled Donna M. Cochener Charlotte Lin in a significant piece of our family’s American experience, landing in a new Diane Cody† Marcella McCaffray Jim Copacino Sandy McDade world and starting a new life. Tracy Daw Rick McMichael Brent Deim Glenna Olson As we enter into the second half of our 2017/18 season, four of the Dottie Delaney† Rebecca Pomering remaining five plays explore the immigrant experience. This thread Mark Dickison* Anita Ramasastry appeared through the planning process and I became intrigued by the Juli Farris Tim Rattigan similarities and differences that new Americans shared stretching over the Karen Fletcher Richard B. Stead, M.D. last century and how these stories resonated with our current cultural and Edie Harding Marisa Walker political American moment. Characters in our upcoming plays emigrate Jeffrey Herrmann† Nancy Ward Nancy Hochman Tom Wright from Russia, China, and Zimbabwe. In today’s offering, they make their way to Chicago via Denmark and Norway. Set in 1882, David Grimm’s Ibsen TRUSTEES EMERITI in Chicago is about a group of Scandinavian immigrants who gather to put Nancy Alvord* Robert L. King, Jr. Dorothy L. Simpson on the premiere of Ghosts—a new play by the most revered and, in some Pam Anderson H.L. (Skip) Kotkins, Jr. Carlyn Steiner† Robert S. Cline Lynn Manley Janet True quarters, controversial Norwegian dramatist at the time, Henrik Ibsen. Bill Gates, Sr. Ilse Oles James F. Tune John Hempelmann Ann Ramsay-Jenkins Jean Viereck David’s play is also an affirmation that, to truly overcome the ghosts Toni Hoffman Deborah Rosen Jill Watkins Brent Johnson Stanley Savage Shauna Woods that haunt us (which in Ibsen are the dead ideas and beliefs we inherit in our culture), we must invest in activities that offer the chance for ADVISORY COUNCIL transformation and renewal—the arts, public discourse—any dialogue that Sheetal Agarwal Donte Felder Anthony Shoecraft David Alhadeff Carver Gayton Paul Stamnes seeks truth, creates empathy, beauty, and meaning in our lives. Kenny Alhadeff Tiffany Gorton Marty Taucher Marleen Alhadeff Mary Kay Haggard Jane Zalutsky I’ve had the great pleasure of working with David on this piece since the Rick DuPree Chris Kevorkian Joanne Euster David Schneiderman beginning. It is a Seattle Rep commission and he has developed it with us over the last couple of years through The Other Season, our new play HONORARY TRUSTEES development program. Playwrights and actors working together to create Chap Alvord Nancy Mertel Tammy Talman Bill Franklin Robin Nelson Richard Weisman new work is one of the traditions we are most proud of upholding here at Phil McCune Hal Strong the Rep. Thank you for joining us and I hope you enjoy Ibsen in Chicago.

SRT FOUNDATION BOARD Bruce E.H. Johnson Alta Barer Earle J. Hereford† Chairman Amy Bautista† John Keegan† Carlyn Steiner Margaret Clapp Elizabeth D. Rudolf Vice-Chairman Allan Davis Janet True Braden Abraham * deceased † ex-officio Artistic Director

encoremediagroup.com/programs 1 FROM THE BOARD FOR SEATTLE REP PATRONS SEATTLE REPERTORY THEATRE

Code of Conduct Accessibility Services Braden Abraham, Artistic Director | Jeffrey Herrmann, Managing Director We are committed to being a racially, Wheelchair-accessible ticketing is available. culturally, and socially just organization. Please inquire or check with the Box Office presents the world premiere of We uphold a safe environment wherein all at the time of your ticket purchase. people are treated with respect and dignity. It is our expectation that all staff, visitors, Seattle Rep is equipped with a hearing and patrons comply with this code of loop. The loop uses a wireless signal to conduct and we reserve the right to relocate transmit the sound from the theatre’s PA IBSEN IN CHICAGO or remove any person from our theatre who system to the T-coils in your implant or disregards our commitment. hearing aid, as well as to receivers that BY Welcome to Seattle Rep! This production is are available on loan at Coat Check. DAVID GRIMM Emergency Evacuation Procedures Coverage is provided wherever you our first Leo K. show of the season and an directed bY In the event of an emergency, please see the T-coil symbol. BRADEN ABRAHAM important work that has been thoughtfully wait for an announcement for further cultivated through our New Works Program instructions. Ushers will be available for We also offer select captioned, audio- here at the Rep. assistance. Please familiarize yourself with described, and ASL-interpreted THE CAST the exit route nearest your seat. performances for every show in the season It’s always a thrill to discover writers with in order of appearance and large print programs are available at fresh voices and perspectives through our Phones and Cameras Coat Check. Helga Kirsten Potter New Works Program, and David Grimm Cell phones disrupt the performance. Please Henning Christopher McLinden turn them off. Audio and video recording doesn’t disappoint with this sharp and Smoking Policy Pekka Allen Fitzpatrick and photography are prohibited. witty comedy about a group of immigrants Smoking is not allowed in our building or Per R. Hamilton Wright banding together to put on a play by their within 25 feet of any entrance. Coat Check Elsa Hannah Ruwe fellow countryman Henrik Ibsen. These Solveig Annette Toutonghi Items may be checked for $1 each. Firearms Policy characters’ stalwart and hardy natures speak No firearms of any kind are allowed in any volumes about the kinds of people who Food and Beverage part of the building. Stage Manager Stina Lotti entered America in the late 19th century Patrons are welcome to bring drinks in and who continue to today. They are who plasticware into the theatre. Food and Mailing Address and what makes our splendid nation unique. glassware are not allowed in the theatre. Seattle Repertory Theatre THE ARTISTIC TEAM You can avoid lines by pre-ordering drinks 155 Mercer St., P.O. Box 900923 Scenic & Costume Designer G.W. (Skip) Mercier Please take the time to read the editorial on for intermission! Seattle, WA 98109 Lighting Designer L.B. Morse pages A7-A9 that delves into the world of Emergency Number Sound Designer & Soundscape Creator Sharath Patel Norwegian immigrants and Chicago theatre Phone Numbers In case of emergency, doctors and other Fight Coordinator Stacy Bush in the time of Ibsen’s celebrated Ghosts, Box Office: 206.443.2222 emergency contacts may reach you at the SRT Casting Kaytlin McIntyre and most importantly, discover what it Administrative Offices: 206.443.2210 theatre by calling 206.443.2222. Give Box Office Hours: noon to curtain Additional Casting McCorkle Casting LTD means to redefine yourself and start anew. your name and seat location to the house manager if you expect to be contacted. Group Sales Thank you for coming and we hope you Groups of 10 or more save! enjoy the show. 206.443.2224 [email protected] Running time is approximately one hour, 40 minutes with no intermission. Note: There will be explicit language throughout this production. follow #seattlerep #IBSENINCHICAGO FEBRUARY 2 - MARCH 4, 2018 Jay Hereford John Keegan Ibsen in Chicago was commissioned by Seattle Repertory Theatre. Board President Board Chair The actors and stage managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

2017/18 SEASON TITLE SPONSORS Edgerton Foundation New Play Award MASTHEAD Editor-in-Chief / Rowena Yow PRODUCING PARTNER PRODUCING ASSOCIATE 2017/18 SEASON SPONSOR MEDIA SPONSORS Editor / Noelle McCabe Morgan Stanley Private Wealth Management Art Director / Shannon Loys

2 FROM THE BOARD FOR SEATTLE REP PATRONS SEATTLE REPERTORY THEATRE

Code of Conduct Accessibility Services Braden Abraham, Artistic Director | Jeffrey Herrmann, Managing Director We are committed to being a racially, Wheelchair-accessible ticketing is available. culturally, and socially just organization. Please inquire or check with the Box Office presents the world premiere of We uphold a safe environment wherein all at the time of your ticket purchase. people are treated with respect and dignity. It is our expectation that all staff, visitors, Seattle Rep is equipped with a hearing and patrons comply with this code of loop. The loop uses a wireless signal to conduct and we reserve the right to relocate transmit the sound from the theatre’s PA IBSEN IN CHICAGO or remove any person from our theatre who system to the T-coils in your implant or disregards our commitment. hearing aid, as well as to receivers that BY Welcome to Seattle Rep! This production is are available on loan at Coat Check. DAVID GRIMM Emergency Evacuation Procedures Coverage is provided wherever you our first Leo K. show of the season and an directed bY In the event of an emergency, please see the T-coil symbol. BRADEN ABRAHAM important work that has been thoughtfully wait for an announcement for further cultivated through our New Works Program instructions. Ushers will be available for We also offer select captioned, audio- here at the Rep. assistance. Please familiarize yourself with described, and ASL-interpreted THE CAST the exit route nearest your seat. performances for every show in the season It’s always a thrill to discover writers with in order of appearance and large print programs are available at fresh voices and perspectives through our Phones and Cameras Coat Check. Helga Kirsten Potter New Works Program, and David Grimm Cell phones disrupt the performance. Please Henning Christopher McLinden turn them off. Audio and video recording doesn’t disappoint with this sharp and Smoking Policy Pekka Allen Fitzpatrick and photography are prohibited. witty comedy about a group of immigrants Smoking is not allowed in our building or Per R. Hamilton Wright banding together to put on a play by their within 25 feet of any entrance. Coat Check Elsa Hannah Ruwe fellow countryman Henrik Ibsen. These Solveig Annette Toutonghi Items may be checked for $1 each. Firearms Policy characters’ stalwart and hardy natures speak No firearms of any kind are allowed in any volumes about the kinds of people who Food and Beverage part of the building. Stage Manager Stina Lotti entered America in the late 19th century Patrons are welcome to bring drinks in and who continue to today. They are who plasticware into the theatre. Food and Mailing Address and what makes our splendid nation unique. glassware are not allowed in the theatre. Seattle Repertory Theatre THE ARTISTIC TEAM You can avoid lines by pre-ordering drinks 155 Mercer St., P.O. Box 900923 Scenic & Costume Designer G.W. (Skip) Mercier Please take the time to read the editorial on for intermission! Seattle, WA 98109 Lighting Designer L.B. Morse pages A7-A9 that delves into the world of Emergency Number Sound Designer & Soundscape Creator Sharath Patel Norwegian immigrants and Chicago theatre Phone Numbers In case of emergency, doctors and other Fight Coordinator Stacy Bush in the time of Ibsen’s celebrated Ghosts, Box Office: 206.443.2222 emergency contacts may reach you at the SRT Casting Kaytlin McIntyre and most importantly, discover what it Administrative Offices: 206.443.2210 theatre by calling 206.443.2222. Give Box Office Hours: noon to curtain Additional Casting McCorkle Casting LTD means to redefine yourself and start anew. your name and seat location to the house manager if you expect to be contacted. Group Sales Thank you for coming and we hope you Groups of 10 or more save! enjoy the show. 206.443.2224 [email protected] Running time is approximately one hour, 40 minutes with no intermission. Note: There will be explicit language throughout this production. follow #seattlerep #IBSENINCHICAGO FEBRUARY 2 - MARCH 4, 2018 Jay Hereford John Keegan Ibsen in Chicago was commissioned by Seattle Repertory Theatre. Board President Board Chair The actors and stage managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

2017/18 SEASON TITLE SPONSORS Edgerton Foundation New Play Award MASTHEAD Editor-in-Chief / Rowena Yow PRODUCING PARTNER PRODUCING ASSOCIATE 2017/18 SEASON SPONSOR MEDIA SPONSORS Editor / Noelle McCabe Morgan Stanley Private Wealth Management Art Director / Shannon Loys

encoremediagroup.com/programs 3 Appletree Theatre); A Midsummer Night’s Horse in Motion), Brechtfest (The Horse Inspector, directed by Allison Narver. White Hot (Marxiano Productions/West of Sharath Patel THE CAST Dream (First Folio Shakespeare); The Lady in Motion), Indian Ink (Sound Theatre His original play, Sherlock Holmes and Lenin). Other premieres include Riddled Sound Designer & Soundscape Creator From the Sea (Greasy Joan & Co.); The Company), The Tall Girls (Washington The American Problem, premiered at (Richard Hugo House); Clear Blue Sky (On Before arriving in the PNW, Sharath spent Vortex (Boxer Rebellion). Film and TV: Ensemble Theatre), Cowboy Mouth (Glenn Seattle Rep in the spring of 2016 and the Boards/Northwest New Works); Breakin’ nearly a decade as a lead sound designer Allen Fitzpatrick “Boardwalk Empire” (HBO), Muhammad Hughes Penthouse Theatre). She graduated just received its second production at Hearts and Takin’ Names (Seattle Rep); The in NYC. Recent designs include The Pekka Ali’s Greatest Fight (HBO), Alpha House from the University of Washington School The Barter Theatre in Abingdon, Virginia. Ten Thousand Things (Washington Ensemble Crucible, The Royale (ACT Theatre); As You Seattle Repertory (Amazon Studios), 5-25-77 (Moonwatcher of Drama in 2014 with a Bachelor of Arts. The long-running production of Bob and Theatre); and Kuwait (Theatre Schmeater). Like It (California Shakespeare Theater); Theatre: Opus, Films). He is a proud member of Actors’ She is a proud member of The Horse in Katie’s Marriage recently celebrated its Braden has developed new work with Seattle Coriolanus: Fight Like a Bitch (Rebel Kat Temple, Private Equity, SAG/AFTRA, and The Actors Center Motion—a Seattle-based ensemble of 21st anniversary and has been extended Rep, Denver Theatre Center, On the Boards, Productions); Free Outgoing (East West Lives. Ten Broadway in New York City. UW Alumni—and The Seagull Project. A indefinitely. The O’Neill Playwrights Conference, Ojai Players); Grand Concourse, The Price, appearances sincere thank you to her family: Kathy, Playwrights Conference, Portland Center Tribes, The Motherf**ker with the Hat including Les Kirsten Potter Steve, Kellen, and Emily. Stage, and The Playwrights Center. Member (Artists Rep); 26 Miles, Dead Man’s Cell Misérables and Helga of SDC. Phone, Buried Child (Profile);The Piano Driving Miss Daisy with James Earl Jones. Kirsten is thrilled Annette Toutonghi ARTISTIC/PRODUCTION Lesson, Jitney, King Hedley II, The Brother Allen created roles in Come From Away to have journeyed Solveig G.W. (Skip) Mercier Sister Plays (Portland Playhouse). Regional/ and Memphis, and shared an Emmy with this show from Annette David Grimm Scenic & Costume Designer international credits include designs in NYC, for Sondheim’s Passion. 200 plays at The Other Season to Toutonghi was last Playwright Mercier is delighted to return to Seattle Washington, D.C., Boston, Norfolk, Raleigh, Playwrights Horizons, Lincoln Center, the stage of the Leo seen at Seattle Rep Plays: Oriflamme (59E59); Tales from Rep where he designed Well and The Time Aspen, India, France, England, Germany, Kennedy Center, Primary Stages, Actors K. Collaboratively as Essie in You Can’t Red Vienna (MTC); Measure for Pleasure of Your Life. In NY, he designed the sets and Romania. Sharath recently completed Theatre of Louisville, Cincinnati Playhouse, making new work Take It With You and (The Public Theater; Bug ‘n Bub Award; and costumes for Juan Darien: A Carnival a year-long Visiting Assistant Professorship Delaware Theatre Company, Wilma, with terrific artists is one of the great joys is delighted to be GLAAD Award nomination); The Miracle at Mass, which received a Tony nomination at Reed College and co-led the Light and Syracuse Stage, National Theatre, York, of doing theatre here in Seattle. Previous back. Most recently, Naples (Huntington; Best New Play IRNE and two Drama Desk nominations. At the Sound Training Program in Vietnam in Olney, Ford’s, Goodspeed, Banff, Citadel, shows with Seattle Rep include A View she appeared in Yussef El Guindi’s The Award 2009); Steve & Idi (Rattlestick); Vineyard Theatre, Dream and Bed and Sofa conjunction with the U.S. Department Pennsylvania Shakespeare Festival. from the Bridge, Photo 51, and Or,. While Birds Flew In at West of Lenin. She also Chick (Hartford Stage); The Learned procured him two additional Drama Desk of State, U.S. Consulate, and World National Tours: Six Degrees of Separation, a company member at ACT Theatre, she performed in The Man Who Could Forget Ladies of Park Avenue (Hartford Stage); nominations. He received the AUDELCO Learning, Inc. Sharath is a member of the Sunset Boulevard, and many others. Twelve appeared in Dangerous Liaisons, Daisy, Anything at On the Boards and as Evelina Kit Marlowe (The Public Theater; GLAAD Award for Outstanding Set Design for Tyrell Theatrical Sound Designers and Composers Off-Broadway plays. Seattle appearances: and Worse Than Tigers. Regional credits Bunner in The Bunner Sisters at Theatre Award nomination); Sheridan, Or Schooled McCraney’s Head of Passes at The Public Association (TSDCA) and is an Arts Envoy numerous roles at ACT Theatre and include The Weir, The Heiress, Misalliance, Off Jackson. She’s performed locally with in Scandal (La Jolla Playhouse); Enough Theater. Regionally, he was honored with for the U.S. Department of State. He holds Intiman; 25 productions at The 5th Avenue Taking Steps (South Coast Repertory); ACT Theatre, Seattle Children’s Theatre, Rope (Williamstown; starring Elaine Stritch). the Bay Area Critics Award for Outstanding a M.F.A. in Sound Design from the Yale Theatre. Web: “Chaldea,” “Rocketmen.” Palestine, New Mexico, and Sex Parasite Intiman Theatre, Portland Institute for Film: Matthew Barney’s River of Fundament Scenic Design for The Time of Your Life at School of Drama and is very proud to be a TV includes “Z-Nation,” “Law & Order.” (Mark Taper Forum); Cat on a Hot Tin Contemporary Art, The Empty Space (BAM; International Tour). He is the ACT and Head of Passes at Berkeley Rep. Resident Artist at Artists Repertory Theatre. Films include Maury Island Incident, Roof (Geffen Playhouse); Honour, Bold Theatre, and Book-It Repertory Theatre, recipient of an NEA/TCG Residency Grant He proudly received the Daryl Roth Creative sharathpatel.com Kissing Jessica Stein. Also a director, Girls (Matrix Theatre); Major Barbara, Top among others. Favorite shows include The and commissions from Roundabout Theatre Spirit Award for Outstanding Talent and producer, teacher. Artistic Director Icicle Girls (LA Theaterworks); As You Like It (A Rich Grandeur of Boxing with Megan Company, Huntington Theatre Company, Vision in Design. McCorkle Casting LTD Creek New Play Festival (2006-2017). Noise Within); The Miser (Geva); A Winter’s Murphy and Company at the Centre City Theatre Company, The Public Theater, Pat McCorkle, Katja Zarolinski allenfitzpatrick.weebly.com Tale, Much Ado About Nothing, Comedy National de la Danse in Paris, Clarence Seattle Repertory Theatre, and Hartford L.B. Morse Additional Casting of Errors, The Tempest (Utah Shakespeare in It’s a Wonderful Life with the 14/48 Stage. David has lectured in Playwriting and Lighting Designer Over 50 productions: Amazing Grace, Christopher Festival); Hamlet (Huntington Theatre Projects, and The Women at ACT Theatre. Screenwriting at the Yale School of Drama, L.B. Morse is a designer for theatre and On The Town, End of the Rainbow, The McLinden Company); 33 Variations (workshop, Arena Voice-over credits include Freddi in Brown University, Columbia University, and dance and has designed lighting, scenery, Lieutenant Of Inishmore, The Glass Henning Stage); and, while a company member with the Freddi Fish series and Penelope in NYU. and multimedia for over 25 productions at Menagerie, Cat On A Hot Tin Roof, One Flew Christopher is Milwaukee Repertory Theater, she appeared the Sly Cooper series. Recent on-camera Seattle Rep. Recent productions include Over The Cuckoo’s Nest, Amadeus, Blood thrilled to be in over 20 productions and three world credits include Sarah in Syfy Network’s “Z Braden Abraham The Odyssey (scenery and multimedia); Brothers, A Few Good Men. Off-Broadway, returning to Seattle premieres. Kirsten is the voice of several Nation” and Ethel in S.J Chiro’s award- Director Well (lighting); Constellations (scenery over 60 original productions: Clever Repertory Theatre. audiobook series and dozens of vixens and winning Lane 1974. Annette is a first- Braden joined Seattle Rep in 2002, starting and lighting); Lizard Boy (scenery and Little Lies, Tribes, Our Town, Toxic His credits include evildoers in video games. She is a summa generation American, and this one is for as an artistic intern, then holding several multimedia); and The Hound of the Avenger, Freud’s Last Session, Almost King Charles III cum laude graduate of Boston University. her father. positions on the artistic staff. He served as Baskervilles (scenery, lighting, and Maine, Driving Miss Daisy. Feature (Seattle Repertory Theatre, A.C.T., The Ever and always for Charlie and the kids. Associate Artistic Director for seven years multimedia). He has also designed for The film: Senior Moment, Year by the Sea, Shakespeare Theatre Company). Off- R. Hamilton Wright before his appointment as Artistic Director 5th Avenue Theatre, Intiman, ACT Theatre, Premium Rush, Ghost Town, Secret Broadway: Tempest (LaMama); Merchant Hannah Ruwe Per in 2015. An accomplished director, he Seattle Children’s Theatre, Tantrum Theater, Window, Tony and Tina’s Wedding, The of Venice (Peak Performances); Everything Elsa R. Hamilton Wright has directed many productions for the Strawberry Theatre Workshop, Seattle Thomas Crown Affair, Madeline, Die That Rises Must Converge (Compagnia de Hannah Ruwe has appeared in over Rep, most recently Well, Luna Gale, A Shakespeare Company, On the Boards, Hard with a Vengeance, School Colombari); Nicholas, Maeve, Marianne is honored to be 50 productions at View from the Bridge, The Comparables, Lingo dancetheater, Maureen Whiting Dance Ties, etc. TV: Humans for “Sesame (New York Fringe). Chicago and regional making her Seattle Seattle Repertory Who’s Afraid of Virginia Woolf?, and A Great Co., and Empty Space, among others. L.B. Street,” “Californication” (Emmy credits: Last of the Boys, Diary of Anne Repertory Theatre Theatre, the first Wilderness. Other productions include holds a B.A. in Theatre Arts and a Graduate nomination), “Hack” (CBS), “Max Frank (Steppenwolf Theatre); The Lion in debut with this being 1979’s The The Glass Menagerie, Clybourne Park, and Certificate in Scenic Design from University Bickford” (CBS), “Chappelle’s Show,” Winter, Seagull, Duchess of Malfi (Writers incredibly seasoned Taming of the Shrew the critically acclaimed, extended runs of of California, Santa Cruz. He is the Resident “Strangers with Candy,” “Barbershop” Theatre); Taming of the Shrew (Chicago cast. Seattle directed by Dan Sullivan, and the latest Photograph 51, My Name is Rachel Corrie Designer here at Seattle Rep and a member (Comedy Central), and series for Showtime, Shakespeare Theatre); Twelfth Night, credits include Grand Concourse (Seattle being 2014’s Who’s Afraid of Virginia (U.S. regional premiere), and Betrayal. of United Scenic Artists, Local 829. HBO. mccorklecasting.com Cymbeline (Notre Dame Shakespeare Public Theater), The Cherry Orchard (ACT Woolf? directed by Braden Abraham. He Braden directed the West Coast premieres Festival); Speak American (City Theatre, Theatre), On Clover Road (Seattle Public recently was seen at Seattle Shakespeare of This (Seattle Rep), The K of D, an urban Pittsburgh); Celebrity Row (American Theater), Things You Can Do (ACT & Live Company as Khlestekov in Jeffery Hatcher’s legend (Seattle Rep, Pistol Cat, FringeNYC, Theatre Company); Vincent in Brixton (The Girls!), ...And Hilarity Ensues... (The adaptation of Gogol’s The Government Illusion Theatre), Opus (Seattle Rep), and

4 Appletree Theatre); A Midsummer Night’s Horse in Motion), Brechtfest (The Horse Inspector, directed by Allison Narver. White Hot (Marxiano Productions/West of Sharath Patel THE CAST Dream (First Folio Shakespeare); The Lady in Motion), Indian Ink (Sound Theatre His original play, Sherlock Holmes and Lenin). Other premieres include Riddled Sound Designer & Soundscape Creator From the Sea (Greasy Joan & Co.); The Company), The Tall Girls (Washington The American Problem, premiered at (Richard Hugo House); Clear Blue Sky (On Before arriving in the PNW, Sharath spent Vortex (Boxer Rebellion). Film and TV: Ensemble Theatre), Cowboy Mouth (Glenn Seattle Rep in the spring of 2016 and the Boards/Northwest New Works); Breakin’ nearly a decade as a lead sound designer Allen Fitzpatrick “Boardwalk Empire” (HBO), Muhammad Hughes Penthouse Theatre). She graduated just received its second production at Hearts and Takin’ Names (Seattle Rep); The in NYC. Recent designs include The Pekka Ali’s Greatest Fight (HBO), Alpha House from the University of Washington School The Barter Theatre in Abingdon, Virginia. Ten Thousand Things (Washington Ensemble Crucible, The Royale (ACT Theatre); As You Seattle Repertory (Amazon Studios), 5-25-77 (Moonwatcher of Drama in 2014 with a Bachelor of Arts. The long-running production of Bob and Theatre); and Kuwait (Theatre Schmeater). Like It (California Shakespeare Theater); Theatre: Opus, Films). He is a proud member of Actors’ She is a proud member of The Horse in Katie’s Marriage recently celebrated its Braden has developed new work with Seattle Coriolanus: Fight Like a Bitch (Rebel Kat Temple, Private Equity, SAG/AFTRA, and The Actors Center Motion—a Seattle-based ensemble of 21st anniversary and has been extended Rep, Denver Theatre Center, On the Boards, Productions); Free Outgoing (East West Lives. Ten Broadway in New York City. UW Alumni—and The Seagull Project. A indefinitely. The O’Neill Playwrights Conference, Ojai Players); Grand Concourse, The Price, appearances sincere thank you to her family: Kathy, Playwrights Conference, Portland Center Tribes, The Motherf**ker with the Hat including Les Kirsten Potter Steve, Kellen, and Emily. Stage, and The Playwrights Center. Member (Artists Rep); 26 Miles, Dead Man’s Cell Misérables and Helga of SDC. Phone, Buried Child (Profile);The Piano Driving Miss Daisy with James Earl Jones. Kirsten is thrilled Annette Toutonghi ARTISTIC/PRODUCTION Lesson, Jitney, King Hedley II, The Brother Allen created roles in Come From Away to have journeyed Solveig G.W. (Skip) Mercier Sister Plays (Portland Playhouse). Regional/ and Memphis, and shared an Emmy with this show from Annette David Grimm Scenic & Costume Designer international credits include designs in NYC, for Sondheim’s Passion. 200 plays at The Other Season to Toutonghi was last Playwright Mercier is delighted to return to Seattle Washington, D.C., Boston, Norfolk, Raleigh, Playwrights Horizons, Lincoln Center, the stage of the Leo seen at Seattle Rep Plays: Oriflamme (59E59); Tales from Rep where he designed Well and The Time Aspen, India, France, England, Germany, Kennedy Center, Primary Stages, Actors K. Collaboratively as Essie in You Can’t Red Vienna (MTC); Measure for Pleasure of Your Life. In NY, he designed the sets and Romania. Sharath recently completed Theatre of Louisville, Cincinnati Playhouse, making new work Take It With You and (The Public Theater; Bug ‘n Bub Award; and costumes for Juan Darien: A Carnival a year-long Visiting Assistant Professorship Delaware Theatre Company, Wilma, with terrific artists is one of the great joys is delighted to be GLAAD Award nomination); The Miracle at Mass, which received a Tony nomination at Reed College and co-led the Light and Syracuse Stage, National Theatre, York, of doing theatre here in Seattle. Previous back. Most recently, Naples (Huntington; Best New Play IRNE and two Drama Desk nominations. At the Sound Training Program in Vietnam in Olney, Ford’s, Goodspeed, Banff, Citadel, shows with Seattle Rep include A View she appeared in Yussef El Guindi’s The Award 2009); Steve & Idi (Rattlestick); Vineyard Theatre, Dream and Bed and Sofa conjunction with the U.S. Department Pennsylvania Shakespeare Festival. from the Bridge, Photo 51, and Or,. While Birds Flew In at West of Lenin. She also Chick (Hartford Stage); The Learned procured him two additional Drama Desk of State, U.S. Consulate, and World National Tours: Six Degrees of Separation, a company member at ACT Theatre, she performed in The Man Who Could Forget Ladies of Park Avenue (Hartford Stage); nominations. He received the AUDELCO Learning, Inc. Sharath is a member of the Sunset Boulevard, and many others. Twelve appeared in Dangerous Liaisons, Daisy, Anything at On the Boards and as Evelina Kit Marlowe (The Public Theater; GLAAD Award for Outstanding Set Design for Tyrell Theatrical Sound Designers and Composers Off-Broadway plays. Seattle appearances: and Worse Than Tigers. Regional credits Bunner in The Bunner Sisters at Theatre Award nomination); Sheridan, Or Schooled McCraney’s Head of Passes at The Public Association (TSDCA) and is an Arts Envoy numerous roles at ACT Theatre and include The Weir, The Heiress, Misalliance, Off Jackson. She’s performed locally with in Scandal (La Jolla Playhouse); Enough Theater. Regionally, he was honored with for the U.S. Department of State. He holds Intiman; 25 productions at The 5th Avenue Taking Steps (South Coast Repertory); ACT Theatre, Seattle Children’s Theatre, Rope (Williamstown; starring Elaine Stritch). the Bay Area Critics Award for Outstanding a M.F.A. in Sound Design from the Yale Theatre. Web: “Chaldea,” “Rocketmen.” Palestine, New Mexico, and Sex Parasite Intiman Theatre, Portland Institute for Film: Matthew Barney’s River of Fundament Scenic Design for The Time of Your Life at School of Drama and is very proud to be a TV includes “Z-Nation,” “Law & Order.” (Mark Taper Forum); Cat on a Hot Tin Contemporary Art, The Empty Space (BAM; International Tour). He is the ACT and Head of Passes at Berkeley Rep. Resident Artist at Artists Repertory Theatre. Films include Maury Island Incident, Roof (Geffen Playhouse); Honour, Bold Theatre, and Book-It Repertory Theatre, recipient of an NEA/TCG Residency Grant He proudly received the Daryl Roth Creative sharathpatel.com Kissing Jessica Stein. Also a director, Girls (Matrix Theatre); Major Barbara, Top among others. Favorite shows include The and commissions from Roundabout Theatre Spirit Award for Outstanding Talent and producer, teacher. Artistic Director Icicle Girls (LA Theaterworks); As You Like It (A Rich Grandeur of Boxing with Megan Company, Huntington Theatre Company, Vision in Design. McCorkle Casting LTD Creek New Play Festival (2006-2017). Noise Within); The Miser (Geva); A Winter’s Murphy and Company at the Centre City Theatre Company, The Public Theater, Pat McCorkle, Katja Zarolinski allenfitzpatrick.weebly.com Tale, Much Ado About Nothing, Comedy National de la Danse in Paris, Clarence Seattle Repertory Theatre, and Hartford L.B. Morse Additional Casting of Errors, The Tempest (Utah Shakespeare in It’s a Wonderful Life with the 14/48 Stage. David has lectured in Playwriting and Lighting Designer Over 50 productions: Amazing Grace, Christopher Festival); Hamlet (Huntington Theatre Projects, and The Women at ACT Theatre. Screenwriting at the Yale School of Drama, L.B. Morse is a designer for theatre and On The Town, End of the Rainbow, The McLinden Company); 33 Variations (workshop, Arena Voice-over credits include Freddi in Brown University, Columbia University, and dance and has designed lighting, scenery, Lieutenant Of Inishmore, The Glass Henning Stage); and, while a company member with the Freddi Fish series and Penelope in NYU. and multimedia for over 25 productions at Menagerie, Cat On A Hot Tin Roof, One Flew Christopher is Milwaukee Repertory Theater, she appeared the Sly Cooper series. Recent on-camera Seattle Rep. Recent productions include Over The Cuckoo’s Nest, Amadeus, Blood thrilled to be in over 20 productions and three world credits include Sarah in Syfy Network’s “Z Braden Abraham The Odyssey (scenery and multimedia); Brothers, A Few Good Men. Off-Broadway, returning to Seattle premieres. Kirsten is the voice of several Nation” and Ethel in S.J Chiro’s award- Director Well (lighting); Constellations (scenery over 60 original productions: Clever Repertory Theatre. audiobook series and dozens of vixens and winning Lane 1974. Annette is a first- Braden joined Seattle Rep in 2002, starting and lighting); Lizard Boy (scenery and Little Lies, Tribes, Our Town, Toxic His credits include evildoers in video games. She is a summa generation American, and this one is for as an artistic intern, then holding several multimedia); and The Hound of the Avenger, Freud’s Last Session, Almost King Charles III cum laude graduate of Boston University. her father. positions on the artistic staff. He served as Baskervilles (scenery, lighting, and Maine, Driving Miss Daisy. Feature (Seattle Repertory Theatre, A.C.T., The Ever and always for Charlie and the kids. Associate Artistic Director for seven years multimedia). He has also designed for The film: Senior Moment, Year by the Sea, Shakespeare Theatre Company). Off- R. Hamilton Wright before his appointment as Artistic Director 5th Avenue Theatre, Intiman, ACT Theatre, Premium Rush, Ghost Town, Secret Broadway: Tempest (LaMama); Merchant Hannah Ruwe Per in 2015. An accomplished director, he Seattle Children’s Theatre, Tantrum Theater, Window, Tony and Tina’s Wedding, The of Venice (Peak Performances); Everything Elsa R. Hamilton Wright has directed many productions for the Strawberry Theatre Workshop, Seattle Thomas Crown Affair, Madeline, Die That Rises Must Converge (Compagnia de Hannah Ruwe has appeared in over Rep, most recently Well, Luna Gale, A Shakespeare Company, On the Boards, Hard with a Vengeance, School Colombari); Nicholas, Maeve, Marianne is honored to be 50 productions at View from the Bridge, The Comparables, Lingo dancetheater, Maureen Whiting Dance Ties, etc. TV: Humans for “Sesame (New York Fringe). Chicago and regional making her Seattle Seattle Repertory Who’s Afraid of Virginia Woolf?, and A Great Co., and Empty Space, among others. L.B. Street,” “Californication” (Emmy credits: Last of the Boys, Diary of Anne Repertory Theatre Theatre, the first Wilderness. Other productions include holds a B.A. in Theatre Arts and a Graduate nomination), “Hack” (CBS), “Max Frank (Steppenwolf Theatre); The Lion in debut with this being 1979’s The The Glass Menagerie, Clybourne Park, and Certificate in Scenic Design from University Bickford” (CBS), “Chappelle’s Show,” Winter, Seagull, Duchess of Malfi (Writers incredibly seasoned Taming of the Shrew the critically acclaimed, extended runs of of California, Santa Cruz. He is the Resident “Strangers with Candy,” “Barbershop” Theatre); Taming of the Shrew (Chicago cast. Seattle directed by Dan Sullivan, and the latest Photograph 51, My Name is Rachel Corrie Designer here at Seattle Rep and a member (Comedy Central), and series for Showtime, Shakespeare Theatre); Twelfth Night, credits include Grand Concourse (Seattle being 2014’s Who’s Afraid of Virginia (U.S. regional premiere), and Betrayal. of United Scenic Artists, Local 829. HBO. mccorklecasting.com Cymbeline (Notre Dame Shakespeare Public Theater), The Cherry Orchard (ACT Woolf? directed by Braden Abraham. He Braden directed the West Coast premieres Festival); Speak American (City Theatre, Theatre), On Clover Road (Seattle Public recently was seen at Seattle Shakespeare of This (Seattle Rep), The K of D, an urban Pittsburgh); Celebrity Row (American Theater), Things You Can Do (ACT & Live Company as Khlestekov in Jeffery Hatcher’s legend (Seattle Rep, Pistol Cat, FringeNYC, Theatre Company); Vincent in Brixton (The Girls!), ...And Hilarity Ensues... (The adaptation of Gogol’s The Government Illusion Theatre), Opus (Seattle Rep), and

encoremediagroup.com/programs 5 Stina Lotti Stage Manager ADDITIONAL STAFF Production Stage Manager, Seattle Rep. previews NEXT IN THE LEO K. Select credits: The Servant of Two Masters Michael B. Paul (Seattle Repertory Theatre, Shakespeare begin Substitute Stage Manager Theatre Company, Guthrie Theater, march 23! ArtsEmerson); The Odyssey, Here Lies Love, THE GREAT LEAP Well, A Raisin in the Sun, All the Way, The Noted San Francisco playwright Lauren Yee’s Great Society, The Piano Lesson, Boeing new play, coming soon to Seattle Rep! Boeing, Fences, You Can’t Take It With SPECIAL THANKS You, Gem of the Ocean (Seattle Repertory China, 1971. The Communist Cultural Revolution and as they circle ever closer to one another, an Theatre); The Sound of Music, Cinderella, Kellie Dunn is in full swing. San Francisco, 1989. The undeniable truth is revealed: That sometimes Guys and Dolls, White Christmas, Cabaret IN MEMORIAM city by the bay is on the brink of a cultural there’s more to life than making the shot. (The 5th Avenue Theatre); Angels in Nancy Alvord revolution of its own. The name of the game is America, A Doctor In Spite of Himself 1922 - 2017 basketball. Beijing University’s Coach Wen Chang “I think I’m always really interested in the (Intiman Theatre); Brooklyn Bridge, Lyle the is the quiet, efficient Tim Duncan-esque Party line between humor and pain. I think the best Crocodile (Seattle Children’s Theatre). AFFILIATIONS Nancy Alvord’s impact on Seattle Repertory Theatre—as well as this city—through supporter, and Manford is a young, sparky kid comedy comes from jokes that are rooted in her leadership and philanthropy was from SF’s Chinatown, vertically challenged, yet sadness because it’s so truthful. And I Seattle Repertory Theatre is a member of the League of Resident Theatres significant. Her investment in the Rep has graced with undeniable baller skill. As the story think I’m always very interested in FOR SEATTLE REP (LORT), a nationwide association of not been longstanding having been involved leaps back and forth in time, Wen Chang stories that play with this.” for profit theatres. with the theatre since 1965. She served and Manford play the game, facing – Lauren Yee on the Theatre’s Board of Trustees from The director is a member of the Stage unimaginable cultural barriers; Braden Abraham Directors and Choreographers Society, 1970-1991, and was the first woman to Artistic Director a national theatrical labor union. serve as President of the Board of Trustees; See bio on page A-5. in fact, her Presidency took place from This theatre operates under an 1979-1982 during our campaign to build TICKETS ON SALE NOW agreement between the League of Jeffrey Herrmann Resident Theatres and Actors’ Equity the Bagley Wright Theatre. Simultaneous to Association, the Union of Professional joining the theatre’s Board, she also joined Managing Director seattlerep.org 206.443.2222 Actors and Stage Managers in the the Seattle Repertory Organization (SRO) Jeffrey Herrmann joined Seattle Rep in United States. in 1971 and served as President of that July 2014 after seven years as Managing The scenic, costume, lighting, and group from 1975-1977. She was also a Director at Washington, D.C.’s Woolly sound designers in LORT Theatres are Founding Member of the Seattle Repertory Mammoth Theatre Company. During his represented by United Scenic Artists, Local USA-829 of the I.A.T.S.E. Theatre Foundation board, serving from time there, he oversaw 18 world premieres, 1995-2010, helping to lead the effort to a 100% increase in the operating budget, Scenery Construction and Operations create and build our Endowment, an asset performed by employees represented by the execution of a $4 million artistic I.A.T.S.E. locals 15 and 488. Wardrobe which has been a critical pillar for the Rep. capital campaign, and the purchase of services are performed by employees Most recently, Nancy was a member of the represented by T.W.U Local 887 Emeriti Board. Woolly’s award-winning theatre facility. Prior to joining Woolly Mammoth, he served Seattle Repertory Theatre is a constituent She and her late husband Buster are lead as Producing Director for eight years at of Theatre Communications Group lifetime contributors to the theatre, having (TCG), the national service organization consistently invested in the long-term FROM THE PAGE TO THE STAGE: Perseverance Theatre in Juneau, Alaska. for the nonprofit professional theatre. health, well-being, and sustainability of Jeffrey received his B.A. in English at the theatre each year since its inception. Vassar College and his M.F.A. in Theatre Seattle Repertory Theatre is a member of SUPPORT NEW WORKS Theatre Puget Sound. In addition to supporting each of our Management at the Yale School of Drama. capital and endowment campaigns, they, and Nancy (since Buster’s passing), have DID YOU KNOW that David Grimm’s Ibsen in Chicago was commissioned by the Rep and Seattle Repertory Theatre also been steady leadership donors to developed through our new play development program, The Other Season? Seattle Rep Founded in 1963, Seattle Rep is led by the Annual Fund for more than 50 years. has a long history of developing brand new theatrical works, fostering dozens of new Artistic Director Braden Abraham and Nancy and Buster’s legacy lives on through plays and musicals through commissions, readings, workshops, and sometimes even Managing Director Jeffrey Herrmann. One the incredible continued dedication and mainstage productions. Ibsen in Chicago was first introduced to the Rep in 2014 and support that their entire family of children of America’s premier not-for-profit resident since then, has gone through a number of readings and workshops (with a few of the and grandchildren show to the Rep and so theatres, Seattle Repertory Theatre has many other organizations in this city. actors you’re seeing on stage now!), as well as several script incarnations with the new achieved international renown for its works development team. Now, it’s time to share the culmination of years of incredible It is hard to overstate the enormous impact consistently high production and artistic work with you in this world premiere production. Nancy has had on Seattle Rep and how standards, and was awarded the 1990 Tony much we appreciate that she dedicated Award for Outstanding Regional Theatre. her life, in part, to this organization. At With an emphasis on entertaining plays of 95 years old, Nancy lived a full life and true dramatic and literary worth, Seattle alongside her late husband, Ellsworth C. An integral part of Seattle Rep’s mission is to invest in and promote the process of Rep produces a season of plays along with (aka “Buster”) and their family have had creating new plays. Help support new works from the page to the stage! educational programs, new play workshops, and continue to have a tremendous impact and special presentations. on the not-for-profit community in Seattle. seattlerep.org/donate Visit seattlerep.org. She will be missed.

6 Stina Lotti Stage Manager ADDITIONAL STAFF Production Stage Manager, Seattle Rep. previews NEXT IN THE LEO K. Select credits: The Servant of Two Masters Michael B. Paul (Seattle Repertory Theatre, Shakespeare begin Substitute Stage Manager Theatre Company, Guthrie Theater, march 23! ArtsEmerson); The Odyssey, Here Lies Love, THE GREAT LEAP Well, A Raisin in the Sun, All the Way, The Noted San Francisco playwright Lauren Yee’s Great Society, The Piano Lesson, Boeing new play, coming soon to Seattle Rep! Boeing, Fences, You Can’t Take It With SPECIAL THANKS You, Gem of the Ocean (Seattle Repertory China, 1971. The Communist Cultural Revolution and as they circle ever closer to one another, an Theatre); The Sound of Music, Cinderella, Kellie Dunn is in full swing. San Francisco, 1989. The undeniable truth is revealed: That sometimes Guys and Dolls, White Christmas, Cabaret IN MEMORIAM city by the bay is on the brink of a cultural there’s more to life than making the shot. (The 5th Avenue Theatre); Angels in Nancy Alvord revolution of its own. The name of the game is America, A Doctor In Spite of Himself 1922 - 2017 basketball. Beijing University’s Coach Wen Chang “I think I’m always really interested in the (Intiman Theatre); Brooklyn Bridge, Lyle the is the quiet, efficient Tim Duncan-esque Party line between humor and pain. I think the best Crocodile (Seattle Children’s Theatre). AFFILIATIONS Nancy Alvord’s impact on Seattle Repertory Theatre—as well as this city—through supporter, and Manford is a young, sparky kid comedy comes from jokes that are rooted in her leadership and philanthropy was from SF’s Chinatown, vertically challenged, yet sadness because it’s so truthful. And I Seattle Repertory Theatre is a member of the League of Resident Theatres significant. Her investment in the Rep has graced with undeniable baller skill. As the story think I’m always very interested in FOR SEATTLE REP (LORT), a nationwide association of not been longstanding having been involved leaps back and forth in time, Wen Chang stories that play with this.” for profit theatres. with the theatre since 1965. She served and Manford play the game, facing – Lauren Yee on the Theatre’s Board of Trustees from The director is a member of the Stage unimaginable cultural barriers; Braden Abraham Directors and Choreographers Society, 1970-1991, and was the first woman to Artistic Director a national theatrical labor union. serve as President of the Board of Trustees; See bio on page A-5. in fact, her Presidency took place from This theatre operates under an 1979-1982 during our campaign to build TICKETS ON SALE NOW agreement between the League of Jeffrey Herrmann Resident Theatres and Actors’ Equity the Bagley Wright Theatre. Simultaneous to Association, the Union of Professional joining the theatre’s Board, she also joined Managing Director seattlerep.org 206.443.2222 Actors and Stage Managers in the the Seattle Repertory Organization (SRO) Jeffrey Herrmann joined Seattle Rep in United States. in 1971 and served as President of that July 2014 after seven years as Managing The scenic, costume, lighting, and group from 1975-1977. She was also a Director at Washington, D.C.’s Woolly sound designers in LORT Theatres are Founding Member of the Seattle Repertory Mammoth Theatre Company. During his represented by United Scenic Artists, Local USA-829 of the I.A.T.S.E. Theatre Foundation board, serving from time there, he oversaw 18 world premieres, 1995-2010, helping to lead the effort to a 100% increase in the operating budget, Scenery Construction and Operations create and build our Endowment, an asset performed by employees represented by the execution of a $4 million artistic I.A.T.S.E. locals 15 and 488. Wardrobe which has been a critical pillar for the Rep. capital campaign, and the purchase of services are performed by employees Most recently, Nancy was a member of the represented by T.W.U Local 887 Emeriti Board. Woolly’s award-winning theatre facility. Prior to joining Woolly Mammoth, he served Seattle Repertory Theatre is a constituent She and her late husband Buster are lead as Producing Director for eight years at of Theatre Communications Group lifetime contributors to the theatre, having (TCG), the national service organization consistently invested in the long-term FROM THE PAGE TO THE STAGE: Perseverance Theatre in Juneau, Alaska. for the nonprofit professional theatre. health, well-being, and sustainability of Jeffrey received his B.A. in English at the theatre each year since its inception. Vassar College and his M.F.A. in Theatre Seattle Repertory Theatre is a member of SUPPORT NEW WORKS Theatre Puget Sound. In addition to supporting each of our Management at the Yale School of Drama. capital and endowment campaigns, they, and Nancy (since Buster’s passing), have DID YOU KNOW that David Grimm’s Ibsen in Chicago was commissioned by the Rep and Seattle Repertory Theatre also been steady leadership donors to developed through our new play development program, The Other Season? Seattle Rep Founded in 1963, Seattle Rep is led by the Annual Fund for more than 50 years. has a long history of developing brand new theatrical works, fostering dozens of new Artistic Director Braden Abraham and Nancy and Buster’s legacy lives on through plays and musicals through commissions, readings, workshops, and sometimes even Managing Director Jeffrey Herrmann. One the incredible continued dedication and mainstage productions. Ibsen in Chicago was first introduced to the Rep in 2014 and support that their entire family of children of America’s premier not-for-profit resident since then, has gone through a number of readings and workshops (with a few of the and grandchildren show to the Rep and so theatres, Seattle Repertory Theatre has many other organizations in this city. actors you’re seeing on stage now!), as well as several script incarnations with the new achieved international renown for its works development team. Now, it’s time to share the culmination of years of incredible It is hard to overstate the enormous impact consistently high production and artistic work with you in this world premiere production. Nancy has had on Seattle Rep and how standards, and was awarded the 1990 Tony much we appreciate that she dedicated Award for Outstanding Regional Theatre. her life, in part, to this organization. At With an emphasis on entertaining plays of 95 years old, Nancy lived a full life and true dramatic and literary worth, Seattle alongside her late husband, Ellsworth C. An integral part of Seattle Rep’s mission is to invest in and promote the process of Rep produces a season of plays along with (aka “Buster”) and their family have had creating new plays. Help support new works from the page to the stage! educational programs, new play workshops, and continue to have a tremendous impact and special presentations. on the not-for-profit community in Seattle. seattlerep.org/donate Visit seattlerep.org. She will be missed.

encoremediagroup.com/programs 7 uniqueness, many of these groups founded native-language churches, opened saloons catering to their own, and performed the MASTER BUILDERS music and theatre of their homelands (Holli SCANDINAVIANS’ FIRST IMPRINT ON THE WINDY CITY and Jones 503-528, 574-617). This use of theatre as a mark of ethnic by Pat J. King pride was common among immigrant groups in Chicago, notably at Jane Addams’ In 1870, Chicagoan John Lewis language press, which well into the 1890s Hull House. This settlement house offered Peyton wrote of his first impression of still published editorials imploring its educational and social services to its low- Scandinavians arriving in Chicago 20 years readers to consider themselves primarily income and working-class neighbors, many earlier: American and only secondarily Norwegian of them recent immigrants. Numerous while championing movements to lead accounts record these new Americans Those whom I now saw, were wild, rough, religious services and schools in English. staging works in English as well as their almost savage looking men… their faces The English-language press similarly native tongues. In her memoir, Addams covered in grizzly beards, and their teeth revealed uncertainty over Norwegians’ wrote of a particularly moving performance of Sophocles’ Ajax by a group of Greek clenched upon a pipe stem. They were followed ethnic allegiance, as evidenced by a Chicago Daily Tribune report on a Norwegian amateurs, whose mastery of the play served by stout, well-formed, able-bodied wives singing club that reassured its readers that as a badge of cultural pride connecting an and healthy children. Neither cold nor storm the club’s members were loyal to America, immigrant group with their highly regarded stopped them in their journey to the promised not Norway’s distant king. However, literary ancestors (Addams 221-224). land, on the frontiers of which they had now amid this effort to assimilate, Norwegian But where Greek Chicagoans took pride Americans also invested in institutions arrived. (Pierce 133) in Sophocles’ reputation as a classical that would fortify their Norwegian identity: dramatist, Norwegians had the polarizing While many of these hardy immigrants Scandia Hall, the Norsk National Theatre, Henrik Ibsen. His work had proven would form and a host of controversial in his homeland, a fact that farming Norwegian the Chicago Tribune would highlight in communities clubs organized reviewing A Doll’s House in 1890 (Jones in remote and Norwegian Americans around music, 17–21). Just as Norwegians balanced rural areas, a had to perform their Norwegian debate, public assimilation against a strong cultural good number lectures, and and American identities in identity, they disagreed over whether remained in theatre. One of Ibsen was to be championed as a poet or Chicago. By order to stand out from their these—Helga scorned as a reprobate. In 1880, Chicago’s the 1880s, geographic neighbors. Von Bluhme- Norden published critical essays from the connection Jensen’s Folke Norwegian Americans debating the morality between Norway Theatret—would of staging plays that seemed to call for the and Chicago was be the first “dissolution of every bond of relationship” firmly established: when the The Chicago Chicago theatre to list Ibsen as a staple of (Paulson and Bjørk 1–16). Ibsen was as Inter Ocean interviewed American Elizabeth their repertoire in 1882, shortly after the likely to cast a shadow on the community Bradley on her journeys abroad, she premiere of Ghosts. Von Bluhme-Jensen as ennoble it. observed that “All of these sturdy people [in actually appeared in this first production. Norway] have relations in the United States. Chicago, too, was redefining itself a decade Norwegian Americans had to perform their Why, some of them knew more about prior to the crowning achievement of the Norwegian and American identities in Chicago than I did...” (“An American Girl”). World’s Fair. In the meantime, the city order to stand out from their geographic Even so, Norwegians in Chicago struggled felt “positively dreary,” according to a neighbors. In 1882, Norwegians settled to construct an assimilated identity without visiting Oscar Wilde (Friedman 161). The in the poor enclaves of Armour Square, discarding their cultural heritage. As Great Chicago Fire had engulfed the city’s McKinley Park, Bridgeport, and Douglas, Chicago rebuilt in the wake of the Great Fire major theatres in its sweep across the city, and lived near Swedes, Germans, and Irish; of 1871, and as the style of “naturalism” and the following decade saw vigorous the “Italian” West Side was populated began to emerge on stage, Norwegians rebuilding. McVicker’s, one of the city’s by eastern European immigrants. In worked to reconcile the new with what had first stages, was rebuilt on a larger scale, subsequent decades, neighborhoods would come before. soon joined by the Grand Opera House and Various Norwegian American theatre playbills be more ethnically defined, but well into the the Chicago Opera House. In 1889, Louis from the late 18th century. (Courtesy of Chicago The community’s struggle to reframe itself 1890s, pockets of ethnic settlements sat Sullivan and Dankmar Adler’s Auditorium Public Library). Ghosts playbill at Aurora Turner Hall. 1882. as American is evident in the Norwegian- alongside each other. Perhaps to assert their

8 uniqueness, many of these groups founded native-language churches, opened saloons catering to their own, and performed the MASTER BUILDERS music and theatre of their homelands (Holli SCANDINAVIANS’ FIRST IMPRINT ON THE WINDY CITY and Jones 503-528, 574-617). This use of theatre as a mark of ethnic by Pat J. King pride was common among immigrant groups in Chicago, notably at Jane Addams’ In 1870, Chicagoan John Lewis language press, which well into the 1890s Hull House. This settlement house offered Peyton wrote of his first impression of still published editorials imploring its educational and social services to its low- Scandinavians arriving in Chicago 20 years readers to consider themselves primarily income and working-class neighbors, many earlier: American and only secondarily Norwegian of them recent immigrants. Numerous while championing movements to lead accounts record these new Americans Those whom I now saw, were wild, rough, religious services and schools in English. staging works in English as well as their almost savage looking men… their faces The English-language press similarly native tongues. In her memoir, Addams covered in grizzly beards, and their teeth revealed uncertainty over Norwegians’ wrote of a particularly moving performance of Sophocles’ Ajax by a group of Greek clenched upon a pipe stem. They were followed ethnic allegiance, as evidenced by a Chicago Daily Tribune report on a Norwegian amateurs, whose mastery of the play served by stout, well-formed, able-bodied wives singing club that reassured its readers that as a badge of cultural pride connecting an and healthy children. Neither cold nor storm the club’s members were loyal to America, immigrant group with their highly regarded stopped them in their journey to the promised not Norway’s distant king. However, literary ancestors (Addams 221-224). land, on the frontiers of which they had now amid this effort to assimilate, Norwegian But where Greek Chicagoans took pride Americans also invested in institutions arrived. (Pierce 133) in Sophocles’ reputation as a classical that would fortify their Norwegian identity: dramatist, Norwegians had the polarizing While many of these hardy immigrants Scandia Hall, the Norsk National Theatre, Henrik Ibsen. His work had proven would form and a host of controversial in his homeland, a fact that farming Norwegian the Chicago Tribune would highlight in communities clubs organized reviewing A Doll’s House in 1890 (Jones in remote and Norwegian Americans around music, 17–21). Just as Norwegians balanced rural areas, a had to perform their Norwegian debate, public assimilation against a strong cultural good number lectures, and and American identities in identity, they disagreed over whether remained in theatre. One of Ibsen was to be championed as a poet or Chicago. By order to stand out from their these—Helga scorned as a reprobate. In 1880, Chicago’s the 1880s, geographic neighbors. Von Bluhme- Norden published critical essays from the connection Jensen’s Folke Norwegian Americans debating the morality between Norway Theatret—would of staging plays that seemed to call for the and Chicago was be the first “dissolution of every bond of relationship” firmly established: when the The Chicago Chicago theatre to list Ibsen as a staple of (Paulson and Bjørk 1–16). Ibsen was as Inter Ocean interviewed American Elizabeth their repertoire in 1882, shortly after the likely to cast a shadow on the community Bradley on her journeys abroad, she premiere of Ghosts. Von Bluhme-Jensen as ennoble it. observed that “All of these sturdy people [in actually appeared in this first production. Norway] have relations in the United States. Chicago, too, was redefining itself a decade Norwegian Americans had to perform their Why, some of them knew more about prior to the crowning achievement of the Norwegian and American identities in Chicago than I did...” (“An American Girl”). World’s Fair. In the meantime, the city order to stand out from their geographic Even so, Norwegians in Chicago struggled felt “positively dreary,” according to a neighbors. In 1882, Norwegians settled to construct an assimilated identity without visiting Oscar Wilde (Friedman 161). The in the poor enclaves of Armour Square, discarding their cultural heritage. As Great Chicago Fire had engulfed the city’s McKinley Park, Bridgeport, and Douglas, Chicago rebuilt in the wake of the Great Fire major theatres in its sweep across the city, and lived near Swedes, Germans, and Irish; of 1871, and as the style of “naturalism” and the following decade saw vigorous the “Italian” West Side was populated began to emerge on stage, Norwegians rebuilding. McVicker’s, one of the city’s by eastern European immigrants. In worked to reconcile the new with what had first stages, was rebuilt on a larger scale, subsequent decades, neighborhoods would come before. soon joined by the Grand Opera House and Various Norwegian American theatre playbills be more ethnically defined, but well into the the Chicago Opera House. In 1889, Louis from the late 18th century. (Courtesy of Chicago The community’s struggle to reframe itself 1890s, pockets of ethnic settlements sat Sullivan and Dankmar Adler’s Auditorium Public Library). Ghosts playbill at Aurora Turner Hall. 1882. as American is evident in the Norwegian- alongside each other. Perhaps to assert their

encoremediagroup.com/programs 9 Theatre became the largest theatre in the understood through the body, and Delsarte groundbreaking naturalist Theatre Libre country (Christiansen 21). Most of these sought to crack this code in performance. staged Ibsen’s plays with an eye toward the houses were built for English-language plays The goal was a kind of embodied simplicity Elsa portrays in Ibsen in Chicago, and musical entertainments, hosting touring psychology, drawing on classical statues and Stanislavsky’s staging of Ghosts in companies headlined by celebrities ranging and Delsarte’s own observations to match Moscow would go further toward a “real- from Chicago stalwart Joseph Jefferson to physical movement to specific emotional life” staging, importing Norwegian timber to international stars Herbert Beerbohm Tree reactions. Even in its heyday, it was construct a hyper-realistic environment. and Sarah Bernhardt. occasionally condemned as mechanical, but skilled performers used Delsarte’s system Of course, naturalism had not come to The reigning acting style of the day was as a palette from which to create powerful America—quite yet. Just as Norwegians Delsarte, the acting technique that Helga performances. had not become accepted as full-fledged demonstrates in Ibsen in Chicago. The Americans quite yet. Like the city’s theatre technique was, simply put, a fastidious Delsarte’s widespread popularity in America landscape, in which ethnic theatre troupes matching of physical gesture to precise would remain for some time; but while like Folke Theatret would prefigure the emotional states. Instruction manuals naturalism would not truly make its arrival city’s modern-day, shoestring, ensemble- laid them out clearly: “Sitting sideways in America until the 1920s, its origins driven theatres working out of repurposed on thighs: despair... Palm to palm, on European stages were entwined with storefronts, these were only seeds of fingers curved over hand: powerlessness” Ibsen’s 19th century work. In naturalism, potential, a future waiting to be built. (Stebbins 265–267). While the technique’s the universal “truths” of Delsarte were prescriptivism seems funny and outmoded discarded in favor of a scientific study of by today’s standards, in Von Bluhme- the individual, shaped by heredity and 2018/19 Jensen’s day it was seen as a scientific, environment; behavioral idiosyncrasies ABOUT THE AUTHOR rigorous approach to acting. Physiognomy became the focus. Ibsen’s works were Pat J. King is a doctoral candidate in and phrenology had led to the assumption central to the repertoire of companies that Drama at Tufts University and resides in Chicago. PROFESSIONAL ARTS TRAINING PROGRAM that all human behavior could be explored this new movement. In Paris, the BE A PART OF THE ART. APPLY TODAY! For over 20 years, Seattle Repertory Theatre’s Professional Arts Training Program (PATP) has helped young professionals break into the world of not-for-profit arts.

APPRENTICESHIPS NEW! INTERNSHIPS We are excited to announce our new We also continue to offer season-long Internships Apprenticeship opportunities for Stage Managers! in Paint, Props, Directing/Casting, Literary Beginning this year, two emerging Stage Management, Education, and Lighting. These Management Apprentices will be immersed in internships are volunteer positions with a $200 the experience of being on a regional theatre weekly reimbursement for expenses and offer production team, receiving Seattle-based Interns valuable, hands-on experience in their minimum wage ($15/hour) during their time field. Interns will also participate in seminars with us, as well as participating in educational led by industry professionals, which offer seminars and building a community with the full an overview of how artists and departments PATP cohort. collaborate at the regional theatre level. Chicago in 1890. (Courtesy of Chicago Public Library).

Applications Open Now! Deadline: Monday, March 12, 2018 at 11:59 P.M. PST BIBLIOGRAPHY “An American Girl.” The Daily Inter Ocean 11 Dec. 1886: n. pag. Christiansen, Richard. A Theater of Our Own: A History and a Memoir of 1,001 Nights in Chicago. Evanston, Ill: Northwestern University Press, 2004. LEARN MORE! Friedman, David. Wilde in America: Oscar Wilde and the Invention of Modern Celebrity. New York: W.W. Norton & Company, 2014. Holli, Melvin G., and Peter d’A. Jones. Ethnic Chicago: A Multicultural Portrait. Grand Rapids: Wm. B. Eerdmans Publishing Co, 1995. Jones, Chris. Bigger, Brighter, Louder: 150 Years of Chicago Theater as Seen by “Chicago Tribune” Critics. Chicago; London: University Of Chicago Press, 2013. SEATTLEREP.ORG/PATP Paulson, Arthur C, and Kenneth Bjørk. “A Doll’s House on the Prairie: The First Ibsen Controvery in America.” Studies and Records 11 (1940): 1–16. Pierce, Bessie Louise. History of Chicago. Chicago: University of Chicago Press, 1975. Stebbins, Genevieve. Delsarte System of Expression. 6th Edition. New York, 1901.

10 Theatre became the largest theatre in the understood through the body, and Delsarte groundbreaking naturalist Theatre Libre country (Christiansen 21). Most of these sought to crack this code in performance. staged Ibsen’s plays with an eye toward the houses were built for English-language plays The goal was a kind of embodied simplicity Elsa portrays in Ibsen in Chicago, and musical entertainments, hosting touring psychology, drawing on classical statues and Stanislavsky’s staging of Ghosts in companies headlined by celebrities ranging and Delsarte’s own observations to match Moscow would go further toward a “real- from Chicago stalwart Joseph Jefferson to physical movement to specific emotional life” staging, importing Norwegian timber to international stars Herbert Beerbohm Tree reactions. Even in its heyday, it was construct a hyper-realistic environment. and Sarah Bernhardt. occasionally condemned as mechanical, but skilled performers used Delsarte’s system Of course, naturalism had not come to The reigning acting style of the day was as a palette from which to create powerful America—quite yet. Just as Norwegians Delsarte, the acting technique that Helga performances. had not become accepted as full-fledged demonstrates in Ibsen in Chicago. The Americans quite yet. Like the city’s theatre technique was, simply put, a fastidious Delsarte’s widespread popularity in America landscape, in which ethnic theatre troupes matching of physical gesture to precise would remain for some time; but while like Folke Theatret would prefigure the emotional states. Instruction manuals naturalism would not truly make its arrival city’s modern-day, shoestring, ensemble- laid them out clearly: “Sitting sideways in America until the 1920s, its origins driven theatres working out of repurposed on thighs: despair... Palm to palm, on European stages were entwined with storefronts, these were only seeds of fingers curved over hand: powerlessness” Ibsen’s 19th century work. In naturalism, potential, a future waiting to be built. (Stebbins 265–267). While the technique’s the universal “truths” of Delsarte were prescriptivism seems funny and outmoded discarded in favor of a scientific study of by today’s standards, in Von Bluhme- the individual, shaped by heredity and 2018/19 Jensen’s day it was seen as a scientific, environment; behavioral idiosyncrasies ABOUT THE AUTHOR rigorous approach to acting. Physiognomy became the focus. Ibsen’s works were Pat J. King is a doctoral candidate in and phrenology had led to the assumption central to the repertoire of companies that Drama at Tufts University and resides in Chicago. PROFESSIONAL ARTS TRAINING PROGRAM that all human behavior could be explored this new movement. In Paris, the BE A PART OF THE ART. APPLY TODAY! For over 20 years, Seattle Repertory Theatre’s Professional Arts Training Program (PATP) has helped young professionals break into the world of not-for-profit arts.

APPRENTICESHIPS NEW! INTERNSHIPS We are excited to announce our new We also continue to offer season-long Internships Apprenticeship opportunities for Stage Managers! in Paint, Props, Directing/Casting, Literary Beginning this year, two emerging Stage Management, Education, and Lighting. These Management Apprentices will be immersed in internships are volunteer positions with a $200 the experience of being on a regional theatre weekly reimbursement for expenses and offer production team, receiving Seattle-based Interns valuable, hands-on experience in their minimum wage ($15/hour) during their time field. Interns will also participate in seminars with us, as well as participating in educational led by industry professionals, which offer seminars and building a community with the full an overview of how artists and departments PATP cohort. collaborate at the regional theatre level. Chicago in 1890. (Courtesy of Chicago Public Library).

Applications Open Now! Deadline: Monday, March 12, 2018 at 11:59 P.M. PST BIBLIOGRAPHY “An American Girl.” The Daily Inter Ocean 11 Dec. 1886: n. pag. Christiansen, Richard. A Theater of Our Own: A History and a Memoir of 1,001 Nights in Chicago. Evanston, Ill: Northwestern University Press, 2004. LEARN MORE! Friedman, David. Wilde in America: Oscar Wilde and the Invention of Modern Celebrity. New York: W.W. Norton & Company, 2014. Holli, Melvin G., and Peter d’A. Jones. Ethnic Chicago: A Multicultural Portrait. Grand Rapids: Wm. B. Eerdmans Publishing Co, 1995. Jones, Chris. Bigger, Brighter, Louder: 150 Years of Chicago Theater as Seen by “Chicago Tribune” Critics. Chicago; London: University Of Chicago Press, 2013. SEATTLEREP.ORG/PATP Paulson, Arthur C, and Kenneth Bjørk. “A Doll’s House on the Prairie: The First Ibsen Controvery in America.” Studies and Records 11 (1940): 1–16. Pierce, Bessie Louise. History of Chicago. Chicago: University of Chicago Press, 1975. Stebbins, Genevieve. Delsarte System of Expression. 6th Edition. New York, 1901.

encoremediagroup.com/programs 11 INDIVIDUAL DONORS THANK YOU! Seattle Repertory Theatre gratefully acknowledges the following individuals for their cumulative contributions of $600 or more (December 1, 2016 – December 21, 2017). This list includes gifts made to our Annual Fund and Endowment, Gala Raise the Paddle donations, and Matching Gifts. Each year, contributions from audience members, subscribers, and single ticket buyers help ensure Seattle Rep’s artistic excellence and financial stability. Every gift makes a difference. We thank all of you for being a part of the Rep community. Join Seattle Rep’s donor family. To make your gift, please go to seattlerep.org/support or contact Director of Development Jamie Herlich at 206.443.2532 or [email protected].

Cumulative gifts received and pledges made December 1, 2016 – December 21, 2017. EXECUTIVE PRODUCER’S CIRCLE $10,000 - $14,999 GOLD ARTISTIC DIRECTOR’S CIRCLE $100,000+ Diana & Warren Aakervik, Jr. David & Joanna Beitel Kenny & Marleen Alhadeff Fund Margaret Clapp for Theatre Practitioners Stellman Keehnel Betty Bottler Roy & Laura Lundgren Bobbe & Jon Bridge Marcella McCaffray* Leslie & Dale Chihuly Gary & Emonie Piaget Bob & Loretta Comfort Fund Ellen Ferguson & Diana Sill SILVER ARTISTIC DIRECTOR’S CIRCLE $50,000 - $99,999 Karen & Doug Fletcher Chap & Eve Alvord Anne E. Gittinger Mrs. E.C. Alvord† Edith W. Harding Alta & Stan Barer Bruce E.H. Johnson & Sandra E. Davis Donna Cochener* Norman & Lisa Judah Allan & Nora Davis Cal & Maureen Knight Rod & Nancy Hochman Christopher & Alida Latham Winky & Peter Hussey* Lynn Manley & Lex Lindsey Linda & Ted Johnson* Philip & Jill McCune The Knossos Foundation Kevin Millison & Jeanne Ballot* Tom Miller & Terri Olson Miller Rebecca & Grant Pomering Ann Ramsay-Jenkins & The William M. Jenkins Advised Trust* Judy & Kermit Rosen Robert & Susan Spieth Aaron & Erika Rubenson Ann P. Wyckoff Herman & Faye Sarkowsky Charitable Foundation ARTISTIC DIRECTOR’S CIRCLE $25,000 - $49,999 Carlo & Lalie Scandiuzzi Mary Tedd Allen & George Scott Paula & Steve Reynolds Beverly & Chris Schubert Bob & Clodagh Ash Elizabeth D. Rudolf Sherry & John Stilin Stuart & Sue Ashmun Taucher Family Foundation James & Katherine Tune Steven A. & Connie E. Ballmer* Janet & Doug True Mary Ann & John Underwood Jay Hereford & Margaret Winsor* Nancy Lee Ward & Toby Bright Shirley & David Urdal Brent Johnson Kenneth & Rosemary Willman Maggie Walker John & Nancy Jo Keegan Bagley & Virginia Wright Fund Bruce & Peggy Wanta Becky Lenaburg & Paul Urla Marcia & Klaus Zech Richard L. Weisman Charlotte Lin & Robert Porter Anonymous (2) Tim & Paula Rattigan Thomas Wright & Alexandra Brouwer-Wright Anonymous ACTOR’S CIRCLE $15,000 - $24,999 PRODUCER’S CIRCLE $5,000 - $9,999 Jon Anderson & Frederique Levrat Vic & Mary Kay Moses William E. Franklin Rachel M. & David P. Robert Paige & Doug Armentrout Suzanne Hittman Cynthia Stroum Mr. & Mrs. Jeffrey Brotman Deborah T. Killinger Jean Baur Viereck Michael & Lynne Bush* Christine & Sandy McDade Anonymous Debra Canales Karen Rose Mitchell Jeanne & Jon Cantalini Tom & Cynthia Captain Tamra Chandler & Jeff Mosier

12 Elizabeth Choy & James E. Lobsenz William & Nancy Bain •Douglas & Maria Bayer • Stephen W. Behnen Deanna Cochener Amy & Bob Bautista •Matt & Donna Bellew • George & Joan Berry James & Jacqueline Copacino Bonnie Berk & Larry Kessler •Larry Blake • Susan & William Block • Amy Adam & Whitney Cornell Eileen Birge Bohutinsky & Francesco Crocenzi • Susan Joan Cremin Vernon C. Bryant, Jr. Brandt & Van White • Alison Branstetter • Dick & Jill Davis Darrel S. Cowan Bruce Burger • Kent R. Burnham • Werner Tracy & Suzanne Daw Todd & Sylvie Currie Cadera • Patrick & Mary Callan • Corinne A. Brent Deim & Michael Rivera-Dirks Leslie Decker & Steve Rimmer Campbell • Gretchen C. & Don E. Campbell † Mark & Julie Dickison Susan & Dave Denton •Sonya Campion • Stephen & Stacy Carlson •Anna Cashman & Mark Melnyk • Dennis & Lonnie & Susan Edelheit Dennis & Deborah DeYoung Joanne R. Euster Aline Caulley • Bill Cavender • Su Chang & Jeanne Eagleson & John V. Gray Dick & Mary Beth Gemperle Peter Williams • Judy & Bob Cline • Lynn & April & Godfrey Evans Natalie Gendler Carolyn Cockrum • Sarah Cole • Theodore J. Ginny Gilder & Lynn Slaughter Peter Goldman & Martha Kongsgaard & Patricia S. Collins • Joellen Congleton • Dan & Molly Goldman Jean-Pierre Green & Jennifer Ladd* Gary & Consuelo Corbett • Susan Coughlin Tiffany R. Gorton Maureen & John Harley & John Lauber • Dan Crawford • W. Michael Lynn & Brian Grant Family Nancy & Hamilton Harris Crenshaw & Mary Brodd • Jane & David R. Ted & Sandy Greenlee Mr. & Mrs. Richard C. Hedreen Davis • Ned & Janet Delmore • Doug & Jeri Laura & David Heard Kristin Ovregaard Heeter Donnelly • Elizabeth & Miles Drake • Jim & John & Ellen Hill Jeffrey Herrmann & Sara Waisanen Gaylee Duncan • Betty Dykstra • Susann & Toni & Rod Hoffman Peter Hiatt & Ron Huden Don Edmond • Michael Egan • Jon & Laurene Parul & Gary Houlahan Judith Jesiolowski & David Thompson Ekse • Richard & Marlene Fallquist • Elisabeth Donna & Gary Iverson Cathy Kitto Farwell-Moreland & Gary Moreland • Lyn & Kawasaki Foundation* Karen Koon & Brad Edwards Paul Fenton • Carol Finn • Molly Fischer & Tim & Megan Kirley Mike & Debbie Koss Paul Flyer • Robin Fleming & Bernie Russell Captain M. Thomas & Gwenann Kroon Morris & Carolyn Kremen •Carol & Parker Folse • Rosemarie Francis Michael Leake Ross & Tracy Lincoff •Sue & Frank Gallo • Nancy Gallup • Lisa Dena & Ron Levine Jerry Mahan Garbrick • Jacob Garcia • Bill & Lindy Gaylord Maria Mackey Gunn Joan E. Mathews Julnes • Mr. & Mrs. Carver Gayton • Nick Gerner Darlene McCourt Kevin McCarthy & Annalisa Gironi & Susan Moskwa • Mrs. Robert E. Gilman Karen & Rick McMichael May McCarthy & Don Smith •Katharine Graubard • Lynne Graybeal & Wayne & Carla Millage Anne Middleton Foster Scott Harron • Richard & Jeannine Greaves • Kevin Miller & Stephanie McBain Robin & Dave Nelson* Lyn & Jerry Grinstein • Mary Kay Haggard • † Andrew & Michelle Haines • Jeannie Hale • Mrs. E.A. Nowogroski Grace Nordhoff & Jonathan Beard Adrienne L. Hall • Kathleen Hamilton • Sandy Glenna Olson & Conrad Wouters Stuart & Ilse Oles & Dave Hanower • Lawrence & Hylton Hard Everett P. & Andrea Paup Greg & Sherre Piantanida Fund • Drs. Michael & Teresa Hart • Sherri Kate Riordan* Judy Pigott Havens • Jan P. Havlisch • Ray Heacox & Nicholas Roberts & Yvonne Chang Roberts Carol & Doug Powell Cynthia Huffman • Roger & Kelly Heeringa David Robinson Peter & Elisabeth Saladino Valerie Robinson •John Hempelmann & Mary McGill • Jan Ingrid & Stanley Savage & the Hilen Foundation Deborah & Doug Rosen Hendrickson & Chuck Leighton • Lisa Henry Delphine & Charles Stevens Theiline Scheumann •Jamie Herlich • Steve & Sandy Hill • Alyssa Leonard & Marsha Stevens Anne Simpson & Charlie Conner* Hochman • Lindsey Hochman • Elise Holschuh Helen R. Stusser David & Catherine Skinner & Brian McAndrews • Bruce & Bridget Horne • Tammy A. Talman Raymond Spindle & Inda Taylor Emily Hove • Shaun & Kathleen Hughbanks • Samantha Temple Neukom Richard B. Stead & Elizabeth A. Ryll Connie & Dan Hungate • Peggy & George Hunt Vijay & Sita Vashee Carlyn J. Steiner •Frederick & Joan Hutto • Nancy Iannucci Hal & Ann Strong Richard & Catherine Wakefield & Harvey Jones • Mark Igra & Nancy Simon Howard & Joan Voorheis Marisa & Brad Walker •Joe & Emily Inslee • Dean M. Ishiki • Jon Jensen & Kathy Early • Allan Jones • Gary & Pallavi & Ashish Wahi Michael & Marsha Warden John Wicher & Travis Penn Paul Weiden & Bev Linkletter Susan Jones • Robert Kaplan & Margaret Levi • • William & Angela Kennedy • Shannon Williams Kinnon W. Williams Redacted Ford W. Kiene • Dr. Ed & Mimi Kirsch • Lorna Melinda & Sterling Wilson Jane Zalutsky & Mark Kantor Kneeland • Peter Korytko • Greg Kucera & Shauna Woods & Benjamin Arenas Anonymous (3) Larry Yocom • Phyllis Lamphere & Philip B. Wyman Youth Trust Swain† • Stuart Lane • Rosanne Lapan • Liam Steven & Tina Yentzer DIRECTOR’S CIRCLE $1,200 - $2,999 Lavery & Yazmin Mehdi • Cara Beth Lee & John Zagula Brian P. Abeel & Leticia Lopez • Braden Amy Theobald • Eileen Lennon & Barrie Carter Anonymous (3) Abraham & Cheyenne Casebier • Nancy • Mark Levine & John Keppeler • Rebecca Abramson • Will Ahrens • Patricia Akiyama & Liebman • Marko Liias • Abe Lillard & Julia PLAYWRIGHT’S CIRCLE $3,000 - $4,999 David Larsen • David & Mary Alhadeff • David Kalmus • Keith & Sharon Lindaas • Mike & & Gay Allais • Virginia Anderson • Phoebe Adrienne & Blaise Lisa Losh • David Lutz • Barbara & Michael Andrew • Alison S. Andrews • John Aslin & Rene Alkoff Luxenberg • Mr. & Mrs. Jerry Mallonee • Mr. Carole Grisham • Kendall & Sonia Baker • Rhoda Altom & Cory Carlson & Mrs. Michael J. Malone • Dr. Peter & Jackie Pam Anderson Patty & Jimmy Barrier • Craig S. Bartholomew

encoremediagroup.com/programs 13 Mansfield • Blanche & Stephen Maxwell • • Bruce Funkhouser & Michelle Friars • Joe Sandy & Jack McCullough • Ann McCutchan & Marilyn Germano • Alexandre Grigorovitch INSTITUTIONAL DONORS • Patrick & Rosalie McHale • Karen & Jeffrey • Eric Gustafson & Martin Sanchez • F.R. & Barbara Hieronymus • Eric & Mary Horvitz • McHenry • Dianne McMullin • Joy McNichols CURRENT FUNDERS List as of January 2018 Seattle Repertory Theatre is proud to acknowledge the support of the following regional and national organizations, whose generous grants • Brian Meenaghan • John, Gail, Daniel & Ian Dr. Francis P. Hunkins & Dr. Patricia Hammill and sponsorships (as of January 15, 2018) make possible a wide variety of artistic and audience programs that serve more than 125,000 Theatre Forward advances American theatre Mensher • Susan Mersereau & Philip White • • Marianne & Wiley Kitchell • Gary Kneepkens and its communities by providing funding and theatregoers each year, including the Rep’s mainstage productions, new play readings and workshops, youth arts education offerings, Chuck & Nancy Mertel • Don & Maxine Miller • Sharon Lamm • Lewis Levin & Emily Neilson other resources to Seattle Repertory Theatre public programs, and community engagement initiatives. • Michael Milligan & Jeanne E • Mark & Susan • Harriet & Stan Litt • Lora & Parker Mason • and other leading nonprofit theatres. Theatre Forward and its member theatres are most Minerich • Pamela & Donald Mitchell • Matt Zan & Paul Merriman • Roger Morris • Kevin J. grateful to the following funders: Join these philanthropic leaders in supporting great theatre in Seattle. For more information about sponsorships and benefits, please & Jenny Muilenburg • Jerry Nagae • Marcia Murphy & Karen Freeman • Patrick Naughton contact Associate Director of Development Melissa Husby at 206.443.2202 x1014 or [email protected]. Nagae • Ann C. Nelson • Robert & Claudia • Erika J. Nesholm • Carla and Dean Nichols THEATRE EXECUTIVES RBC Wealth Nelson • Joe G. Norman, Jr. • John & Joyce • Craig & Deanna Norsen • Anthony & Sharon ($50,000+) Management O’Connell • Neil Oldenburg • Declan O’Neill Perez • Kathleen Pierce • Mr. Philip Robinson AT&T Daniel A. Simkowitz S&P Global Bank of America & Tricia Pearson • John Palo • Stewart Parker • Alice and Scott Ruby • Michael Ann Sagin Isabelle Winkles The Hearst Foundations • Alison & Lee Parsons • Sarah Patton & Peter • Skip Sampelayo • Marta Schee & Langdon Willkie Farr & Gallagher Feichtmeir • Terri & Ron Pehrson • Kyle & Miller • Joe Schwartz • Don & Goldie Silverman James S. & Lynne Turley $500,000 and above $150,000 - $499,999 Michele Peltonen • Charles & Mary Jo Pepka • Kristen & Michael Soltman • Barbara and The Schloss Family Foundation SUPPORTERS • Mary Pigott • Judy G. Poll • K.R. Prabha Burton Sternoff • William & Stephanie Struyk ($2,500 $9,999) Seattle Repertory Theatre Foundation & Unmesh Wankhede • Geoffrey T. Prentiss • Alex Sutton & Karen Easterbrook • Norman The Ahmanson Foundation BENEFACTORS Joseph Baio* • Nancy & Kelley Price • Mrs. Harry Pryde H. & M. Lynn Swick • Jack & Gayle Thompson ($25,000-$49,999) Sheri and Les Biller • Paul Purcell & Barbara Guzzo • Hillary & • Annette Toutonghi & Bruce Oberg • John & Buford Alexander and Foundation Pamela Farr $100,000 - $149,999 $50,000 - $99,999 David Quinn • Andrea & Alan Rabinowitz • Kris Travaglini • Tjitske Van Der Meulen • Sue Ann Collins* The Augustine COOMI Dr. & Mrs. Patrick A. Ragen • Sharon K. & Ellen & Mike Vernon • Arthur & Hattie Vogel • Foundation Dramatists Play Service, Inc. * John Graham BNY Mellon Paul B. Ramey • Kirk Redmond & Connie Muffy Walker • Sarah and Jason Wine • Chris Kevin & Anne Driscoll* * Steven & Joy Bunson Foundation Clark-Redmond • Michael Repass • Carrie Yamashita • Anonymous (9) John R. Dutt* Citi Rhodes • Chris & Ginny Rice • Jean & Kirk Christ Economos EY* The Norcliffe * * Member of Seattle Rep’s Multi-Year Giving Club Edgerton Foundation Robinson • Jeffrey Robinson & Mary Dicke † Deceased Goldman, Sachs & Co. ESCADA Foundation • Alan Rothblatt & Sima Kahn • David & The accuracy of this list is important to us; Roe Green Foundation Jessica Farr Kathie Rubenson • John Rudolf • Liz & Steve we welcome notification of unintended omissions. MetLife Steven Gartner* ([email protected] † Rummage • John Ryan & Jody Foster • Bill & Stephanie Scott Glen Gillen and Michael or 206.443.2202 x1163) Rae Saltzstein • Barbara Sando • George & Morgan Stanley Lawrence Wells Fargo Kiki & David Gindler Athena Sarantinos • Seattle Spine & Sports Richard K. Greene Medicine • Jeanne Sheldon & Marvin Parsons PACESETTERS Nancy Hancock Griffith* $25,000 - $49,999 • Richard & Barbara Shikiar • Liz & Dave ($15,000 $24,999) Brian J. Harkins TRIBUTE GIFTS Gregory S. Hurst The Ballinger The Chisholm Edgerton Foundation Silke • Laurette & LeRoy Simmons • Evelyn American Express HD Fowler Company Family Foundation Foundation New Play Award Simpson • Nathalie & Marty Simsak • Chuck Bloomberg Philanthropies Howard and Janet Kagan Tribute gifts to Seattle Repertory Theatre Cisco Systems, Inc. Rob Kauffman* Sitkin • Greg Smith & Betty Mattson-Smith are a wonderful way to remember a loved one, Paula A. Dominick Mary Kitchen and Jon • H. Warren & Nancy Smith • Christopher & honor a friend, or celebrate a special occasion. The Estée Lauder Orszag* Seattle Repertory Organization Treeline Foundation Companies Inc. Cameron Snow • Kathleen & Rob Spitzer • Seattle Rep joins in paying tribute to the Ken Klein and Christine following individuals: Alan & Jennifer Freedman De Lisle Paul & Michelle Stamnes • Margaret Stanley Frank & Bonnie Orlowski Anthony and Diane Lembke, • Todd & Jane Summerfelt • John Teutsch & Marsh & McLennan in honor of Brian J. Harkins, In memory of Nancy Alvord Companies, Inc. board member.* $10,000 - $24,999 $5,000 - $9,999 Mary Foster • David & Nancy Thacher • D. by Virginia & Ron Allison The Music Man Jody & David Lippman Foundation TITLE SPONSORs Thompson & Karen Challinor • Thor & Donna Evelyn Mack Truitt* Bank of America Charitable Foundation Consulate General of Canada – Seattle National Endowment for Thorson • Rick & Suzy Titcomb • Judge Brian In memory of Phyllis Chain the Arts ◊ John Mathena & Robert Chinn Foundation Davis Wright Tremaine Michael Forester & Mrs. Linda Tollefson • Eric & Julie Trott by Carol Finn Pfizer, Inc. Bruce G. Cochener Foundation Forest Foundation Thomas C. Quick Jonathan Maurer & Greater Tacoma Community Foundation Established by Congress in 1965, the NEA is the independent • Bill & Alice VanPelt • Mary M Webster • Southwest Airlines † Gretchen Shugart Clark Nuber federal agency whose funding and support gives Americans Judith A. Whetzel • Don & Mary Wieckowicz In memory of Jerry Manning TD Charitable Susan and John Major Hazel Miller Foundation Foundation Donor Advised Fund at the D.V. & Ida J. McEachern Charitable Trust* the opportunity to participate in the arts, exercise their • Heather Wilde & James Gierman • Jeff & by Frida Weisman Rancho Santa Fe Foundation Horizons Foundation Theatermania / Gretchen Hampton Inn & Suites imaginations, and develop their creative capacities. Through Liesl Wilke • Nancy Williams • Mrs. Howard Shugart Louise Moriarty & Humanities Washington direct grantmaking in support of theatrical productions and In memory of Sandy Walker Patrick Stack * S. Wright • Brien Wygle • Christopher & Tracy George S. Smith, Jr. Homewood Suites by Hilton other artistic projects, the NEA supports arts learning, affirms UBS Nederlander Producing Co. Kutscher Hereford Bertram Burkart PLLC by Muffy Walker and celebrates America’s rich and diverse cultural heritage, Yang • Anonymous (17) of America The Morgan Fund at Seattle Foundation Loeb Family Charitable Foundations and extends its work to promote equal access to the arts in Newmark Holdings Paul G. Allen Family Foundation In honor of The Bicycling Doctor DONORS Leslie C. Quick, Jr. and Macy’s every community across America. BENEFACTOR’S CIRCLE $600 - $1,199 by Eric Troyer ($10,000 $14,999) Regina A. Quick Charitable U.S. Bank Foundation Puyallup Indian Tribe Charity Trust Board Mitchell J. Auslander Trust Foundation Summit Law Group Edgerton Foundation New Play Award Rosalie Alhadeff • R & C Anderson • Richard Marianne Cassini Mary Lou Seidner* In honor of Jerry & Florence Freedman Seattle Repertory Theatre is honored to be a recipient of an Andler & Carole Rush • Joe Ashley • Sharon Dorsey & Whitney Elliott Sernel & Larry Washington State Arts Commission Edgerton Foundation New Play Award for Ibsen in Chicago. by Lawrence Peters Foundation Falconio* L. Bailey and Robert Platte • Luann & Irv The Edgerton Foundation’s New Play program awards grants Epiq Systems Ten Chimneys Foundation Bertram • Luther Black & Christina Wright to nonprofit theatres around the country, and has provided Bruce R. and Tracey Ewing John Thomopoulos $2,500 - $4,999 UNDER $2,499 In honor of John & Kathy Lange funding for nearly 400 world-premiere plays and musicals • Andrew Bruce & Deborah Donnell • David Lisa Orberg University Hospitals Fales Foundation Trust Pagliacci Pizza by David Graves AT&T City Catering Company over the last 11 years. Edgerton grants support additional C. Brunelle • Ed Bulchis & Theresa Gallant Presidio Michael A. Wall* KEXP 90.3 Savage Color Avennia Eileen Fisher weeks of rehearsal, giving the playwright and entire artistic Moccasin Lake Seattle Center • Dr. & Mrs. Leonard A. Cobb • Marc Cohen Compton Lumber Four Park Avenue LLC team more time together to polish new work. Edgerton- Foundation Sellen Construction & Eleanor Hoague • Patricia Costello† & Carl Copacino + Fujikado Lagunitas supported plays have included several Tony Award and * National Society Membership Morgan Stanley Triumph Bar Bunje • Janice D’Amato • Telved Devlet • Mark † Includes In-kind support Pulitzer Prize for Drama winners and nominees, including Diamond & Deborah Perluss • Alison Dillow Educating through Theatre Support All the Way and Outside Mullingar, both recently staged at Seattle Rep. • Emily Evans & Kevin Wilson • Charlie Fink For a complete list of funders, visit theatreforward.org Italics represent in-kind gifts. * Includes capital support. † Theatre Forward’s Staging Success Initiative is supported by AT&T.

14 Mansfield • Blanche & Stephen Maxwell • • Bruce Funkhouser & Michelle Friars • Joe Sandy & Jack McCullough • Ann McCutchan & Marilyn Germano • Alexandre Grigorovitch INSTITUTIONAL DONORS • Patrick & Rosalie McHale • Karen & Jeffrey • Eric Gustafson & Martin Sanchez • F.R. & Barbara Hieronymus • Eric & Mary Horvitz • McHenry • Dianne McMullin • Joy McNichols CURRENT FUNDERS List as of January 2018 Seattle Repertory Theatre is proud to acknowledge the support of the following regional and national organizations, whose generous grants • Brian Meenaghan • John, Gail, Daniel & Ian Dr. Francis P. Hunkins & Dr. Patricia Hammill and sponsorships (as of January 15, 2018) make possible a wide variety of artistic and audience programs that serve more than 125,000 Theatre Forward advances American theatre Mensher • Susan Mersereau & Philip White • • Marianne & Wiley Kitchell • Gary Kneepkens and its communities by providing funding and theatregoers each year, including the Rep’s mainstage productions, new play readings and workshops, youth arts education offerings, Chuck & Nancy Mertel • Don & Maxine Miller • Sharon Lamm • Lewis Levin & Emily Neilson other resources to Seattle Repertory Theatre public programs, and community engagement initiatives. • Michael Milligan & Jeanne E • Mark & Susan • Harriet & Stan Litt • Lora & Parker Mason • and other leading nonprofit theatres. Theatre Forward and its member theatres are most Minerich • Pamela & Donald Mitchell • Matt Zan & Paul Merriman • Roger Morris • Kevin J. grateful to the following funders: Join these philanthropic leaders in supporting great theatre in Seattle. For more information about sponsorships and benefits, please & Jenny Muilenburg • Jerry Nagae • Marcia Murphy & Karen Freeman • Patrick Naughton contact Associate Director of Development Melissa Husby at 206.443.2202 x1014 or [email protected]. Nagae • Ann C. Nelson • Robert & Claudia • Erika J. Nesholm • Carla and Dean Nichols THEATRE EXECUTIVES RBC Wealth Nelson • Joe G. Norman, Jr. • John & Joyce • Craig & Deanna Norsen • Anthony & Sharon ($50,000+) Management O’Connell • Neil Oldenburg • Declan O’Neill Perez • Kathleen Pierce • Mr. Philip Robinson AT&T Daniel A. Simkowitz S&P Global Bank of America & Tricia Pearson • John Palo • Stewart Parker • Alice and Scott Ruby • Michael Ann Sagin Isabelle Winkles The Hearst Foundations • Alison & Lee Parsons • Sarah Patton & Peter • Skip Sampelayo • Marta Schee & Langdon Willkie Farr & Gallagher Feichtmeir • Terri & Ron Pehrson • Kyle & Miller • Joe Schwartz • Don & Goldie Silverman James S. & Lynne Turley $500,000 and above $150,000 - $499,999 Michele Peltonen • Charles & Mary Jo Pepka • Kristen & Michael Soltman • Barbara and The Schloss Family Foundation SUPPORTERS • Mary Pigott • Judy G. Poll • K.R. Prabha Burton Sternoff • William & Stephanie Struyk ($2,500 $9,999) Seattle Repertory Theatre Foundation & Unmesh Wankhede • Geoffrey T. Prentiss • Alex Sutton & Karen Easterbrook • Norman The Ahmanson Foundation BENEFACTORS Joseph Baio* • Nancy & Kelley Price • Mrs. Harry Pryde H. & M. Lynn Swick • Jack & Gayle Thompson ($25,000-$49,999) Sheri and Les Biller • Paul Purcell & Barbara Guzzo • Hillary & • Annette Toutonghi & Bruce Oberg • John & Buford Alexander and Foundation Pamela Farr $100,000 - $149,999 $50,000 - $99,999 David Quinn • Andrea & Alan Rabinowitz • Kris Travaglini • Tjitske Van Der Meulen • Sue Ann Collins* The Augustine COOMI Dr. & Mrs. Patrick A. Ragen • Sharon K. & Ellen & Mike Vernon • Arthur & Hattie Vogel • Foundation Dramatists Play Service, Inc. * John Graham BNY Mellon Paul B. Ramey • Kirk Redmond & Connie Muffy Walker • Sarah and Jason Wine • Chris Kevin & Anne Driscoll* * Steven & Joy Bunson Foundation Clark-Redmond • Michael Repass • Carrie Yamashita • Anonymous (9) John R. Dutt* Citi Rhodes • Chris & Ginny Rice • Jean & Kirk Christ Economos EY* The Norcliffe * * Member of Seattle Rep’s Multi-Year Giving Club Edgerton Foundation Robinson • Jeffrey Robinson & Mary Dicke † Deceased Goldman, Sachs & Co. ESCADA Foundation • Alan Rothblatt & Sima Kahn • David & The accuracy of this list is important to us; Roe Green Foundation Jessica Farr Kathie Rubenson • John Rudolf • Liz & Steve we welcome notification of unintended omissions. MetLife Steven Gartner* ([email protected] † Rummage • John Ryan & Jody Foster • Bill & Stephanie Scott Glen Gillen and Michael or 206.443.2202 x1163) Rae Saltzstein • Barbara Sando • George & Morgan Stanley Lawrence Wells Fargo Kiki & David Gindler Athena Sarantinos • Seattle Spine & Sports Richard K. Greene Medicine • Jeanne Sheldon & Marvin Parsons PACESETTERS Nancy Hancock Griffith* $25,000 - $49,999 • Richard & Barbara Shikiar • Liz & Dave ($15,000 $24,999) Brian J. Harkins TRIBUTE GIFTS Gregory S. Hurst The Ballinger The Chisholm Edgerton Foundation Silke • Laurette & LeRoy Simmons • Evelyn American Express HD Fowler Company Family Foundation Foundation New Play Award Simpson • Nathalie & Marty Simsak • Chuck Bloomberg Philanthropies Howard and Janet Kagan Tribute gifts to Seattle Repertory Theatre Cisco Systems, Inc. Rob Kauffman* Sitkin • Greg Smith & Betty Mattson-Smith are a wonderful way to remember a loved one, Paula A. Dominick Mary Kitchen and Jon • H. Warren & Nancy Smith • Christopher & honor a friend, or celebrate a special occasion. The Estée Lauder Orszag* Seattle Repertory Organization Treeline Foundation Companies Inc. Cameron Snow • Kathleen & Rob Spitzer • Seattle Rep joins in paying tribute to the Ken Klein and Christine following individuals: Alan & Jennifer Freedman De Lisle Paul & Michelle Stamnes • Margaret Stanley Frank & Bonnie Orlowski Anthony and Diane Lembke, • Todd & Jane Summerfelt • John Teutsch & Marsh & McLennan in honor of Brian J. Harkins, In memory of Nancy Alvord Companies, Inc. board member.* $10,000 - $24,999 $5,000 - $9,999 Mary Foster • David & Nancy Thacher • D. by Virginia & Ron Allison The Music Man Jody & David Lippman Foundation TITLE SPONSORs Thompson & Karen Challinor • Thor & Donna Evelyn Mack Truitt* Bank of America Charitable Foundation Consulate General of Canada – Seattle National Endowment for Thorson • Rick & Suzy Titcomb • Judge Brian In memory of Phyllis Chain the Arts ◊ John Mathena & Robert Chinn Foundation Davis Wright Tremaine Michael Forester & Mrs. Linda Tollefson • Eric & Julie Trott by Carol Finn Pfizer, Inc. Bruce G. Cochener Foundation Forest Foundation Thomas C. Quick Jonathan Maurer & Greater Tacoma Community Foundation Established by Congress in 1965, the NEA is the independent • Bill & Alice VanPelt • Mary M Webster • Southwest Airlines † Gretchen Shugart Clark Nuber federal agency whose funding and support gives Americans Judith A. Whetzel • Don & Mary Wieckowicz In memory of Jerry Manning TD Charitable Susan and John Major Hazel Miller Foundation Foundation Donor Advised Fund at the D.V. & Ida J. McEachern Charitable Trust* the opportunity to participate in the arts, exercise their • Heather Wilde & James Gierman • Jeff & by Frida Weisman Rancho Santa Fe Foundation Horizons Foundation Theatermania / Gretchen Hampton Inn & Suites imaginations, and develop their creative capacities. Through Liesl Wilke • Nancy Williams • Mrs. Howard Shugart Louise Moriarty & Humanities Washington direct grantmaking in support of theatrical productions and In memory of Sandy Walker Patrick Stack * S. Wright • Brien Wygle • Christopher & Tracy George S. Smith, Jr. Homewood Suites by Hilton other artistic projects, the NEA supports arts learning, affirms UBS Nederlander Producing Co. Kutscher Hereford Bertram Burkart PLLC by Muffy Walker and celebrates America’s rich and diverse cultural heritage, Yang • Anonymous (17) of America The Morgan Fund at Seattle Foundation Loeb Family Charitable Foundations and extends its work to promote equal access to the arts in Newmark Holdings Paul G. Allen Family Foundation In honor of The Bicycling Doctor DONORS Leslie C. Quick, Jr. and Macy’s every community across America. BENEFACTOR’S CIRCLE $600 - $1,199 by Eric Troyer ($10,000 $14,999) Regina A. Quick Charitable U.S. Bank Foundation Puyallup Indian Tribe Charity Trust Board Mitchell J. Auslander Trust Foundation Summit Law Group Edgerton Foundation New Play Award Rosalie Alhadeff • R & C Anderson • Richard Marianne Cassini Mary Lou Seidner* In honor of Jerry & Florence Freedman Seattle Repertory Theatre is honored to be a recipient of an Andler & Carole Rush • Joe Ashley • Sharon Dorsey & Whitney Elliott Sernel & Larry Washington State Arts Commission Edgerton Foundation New Play Award for Ibsen in Chicago. by Lawrence Peters Foundation Falconio* L. Bailey and Robert Platte • Luann & Irv The Edgerton Foundation’s New Play program awards grants Epiq Systems Ten Chimneys Foundation Bertram • Luther Black & Christina Wright to nonprofit theatres around the country, and has provided Bruce R. and Tracey Ewing John Thomopoulos $2,500 - $4,999 UNDER $2,499 In honor of John & Kathy Lange funding for nearly 400 world-premiere plays and musicals • Andrew Bruce & Deborah Donnell • David Lisa Orberg University Hospitals Fales Foundation Trust Pagliacci Pizza by David Graves AT&T City Catering Company over the last 11 years. Edgerton grants support additional C. Brunelle • Ed Bulchis & Theresa Gallant Presidio Michael A. Wall* KEXP 90.3 Savage Color Avennia Eileen Fisher weeks of rehearsal, giving the playwright and entire artistic Moccasin Lake Seattle Center • Dr. & Mrs. Leonard A. Cobb • Marc Cohen Compton Lumber Four Park Avenue LLC team more time together to polish new work. Edgerton- Foundation Sellen Construction & Eleanor Hoague • Patricia Costello† & Carl Copacino + Fujikado Lagunitas supported plays have included several Tony Award and * National Society Membership Morgan Stanley Triumph Bar Bunje • Janice D’Amato • Telved Devlet • Mark † Includes In-kind support Pulitzer Prize for Drama winners and nominees, including Diamond & Deborah Perluss • Alison Dillow Educating through Theatre Support All the Way and Outside Mullingar, both recently staged at Seattle Rep. • Emily Evans & Kevin Wilson • Charlie Fink For a complete list of funders, visit theatreforward.org Italics represent in-kind gifts. * Includes capital support. † Theatre Forward’s Staging Success Initiative is supported by AT&T.

encoremediagroup.com/programs 15 SEATTLE REPERTORY THEATRE STAFF

Braden Abraham* Artistic Director Jeffrey Herrmann Managing Director

Artistic Patrick Robinson* SCENIC ARTS FINANCE & OPERATIONS PATRON SERVICES PROFESSIONAL ARTS Randall Reece Maureen Wilhelm* Sarah Jo Kirchner TRAINING PROGRAM Marya Sea Kaminski Mikey McKenna Rachel M. Robert* Charge Scenic Artist Patron Services Manager Associate Artistic Director Joel Wilmot Director of Finance & Operations Natasha Collier Production Management Kristin Leahey, Ph.D. Scenic Carpenters Ruth Gilmore Gi Hara* Claire Koleske Director of New Works Lead Scenic Artist Controller Patron Services Assistant Emily Dotson COSTUME SHOP Manager Scenic Art: Paint Kaytlin McIntyre Beth Peterson John R. McNamara* Casting Director Denise Damico* Scenic Artist Operations Director Sutton Vie Jasmine Kurys Costume Department Director Patron Services Lead Stage Management William (L.B.) Morse* Debra Forman* Resident Designer Emily Blanche STAGE CREWS Receptionist Dylan Gervais Andy Lee Assistant Costume Department Melissa Lettis Stage Management Lia Fakhouri Manager BAGLEY WRIGHT THEATRE Logan Skirm Public Works Associate Francie Mylet Emil “Mo” Ellis INFORMATION TECHNOLOGY Nan Tilghman Danielle Nieves Marcus Williams Development Costume Design Associate Master Stage Carpenter Colin Warriner* EDUCATION Information Technology Director Patron Services Specialist Milo Robinson Naomi Weber Andrew Willhelm* Properties Arlene Martínez-Vázquez Master Electrician Ruth Mansoor Christina Hobbs FRONT OF HOUSE Emily Schmit Education Director Tailors/Drapers Jeremiah Foglesong* Information Technology Assistant Lance Park Lighting Design Jason Sanford Master Properties Lisa Lockard* Audience Services Director Jason Treviño Education Associate Laura Mé Smith* Nathan Kahler* Kiefer Harrington Education Julia Trimarco MARKETING & Head Sound Engineer Lead Lobby Manager & First Hands COMMUNICATIONS Emily Van Loan PRODUCTION Tony Smith Volunteer Coordinator Marketing & Communications Sarah Gladden* Andrew L. Haines Elisabeth Farwell- Head Flyman Karissa Elliott Costume Stock Manager Director of Marketing Elizabeth Wu Moreland* Dave Scamporlina and Communications Miriam Nunley Artistic: Literary Producing Director Joyce Degenfelder* Swing Technician Carlos Salazar Wig Master Steve Brown House Managers Hoejeong Yoo Christy Bain* Marketing Director Artistic: Casting Director of Artist Relations Brent Roberts LEO KREIELSHEIMER THEATRE Sheryl Kool Dyer/Props Artisan Rowena Yow ASL Interpreting Coordinator Tyler Krieg Mark Krida Communications Director ARTIST IN RESIDENCE Artist Relations Associate Imelda Daranciang* Head Sound Engineer Bagley Wright Wardrobe Michelle S. Leyva Constanza Romero Brian Fauska* DEVELOPMENT Supervisor Publicist Technical Director STAGE MANAGEMENT Jamie Herlich Cindy Sabye* Kina Ackerman Matt Giles Director of Development Leo K. Wardrobe Supervisor Jessica C. Bomball Digital & Social Media Associate Producing Director Devin Day Manager Melissa Husby Maggie Carrido Adams Michael John Egan Wiley Assoc. Dir. of Development Dresser Zach Jenkins Noelle McCabe Associate Technical Director –Institutional Giving Brian J. L’Ecuyer Marketing Coordinator Morgana Spake Sann Hall Stina Lotti Sasha Habash Kelsey McCornack Shannon Loys Associate Production Manager Michael B. Paul Annual Fund & Maggie Melvin Lead Graphic Designer Cristine Anne Reynolds Volunteer Manager Stina Lotti Stitchers Shellie Stone Angela Nickerson Production Stage Manager Darragh Kennan Erin B. Zatloka Multimedia Manager Major Gifts Officer Sean Gillies Altuna PROPERTIES Richie Carpenter Production Purchaser Janet Shaughnessy Jolene Obertin* Web Production Specialist Properties Director EXECUTIVE Major Gifts Officer Robert J. Aguilar* Hattie Claire Andres Veliere Crump Associate Lighting Designer Karla Davenport Kristin Brown PT Executive Associate Group Sales Manager Gifts Processing Specialist Properties Assistant * Indicates an CARPENTERS James Severson* Chris Quilici employee of 10 or Donor Services Specialist more years. Jon Zucker* Nicolette Vannais* ADMINistration & PATRON EXPERIENCE HUMAN RESOURCES Scene Shop Foreman Angela Zylla Evan Cartwright Lori Gicklhorn Bold = member of Properties Artisans Business Operations Director Grants Associate Seattle Rep Senior Denny Hartung* Stuart Jennings Leadership Team Master Shop Carpenter Interim Director of Ryan Rowell Anna Strickland Human Resources Tessitura Operations Manager Donor Stewardship Coordinator

SEATTLE REPERTORY ORGANIZATION (SRO) SRO EXECUTIVE BOARD UPCOMING SRO SPOTLIGHT: Diane Cody Cathy Kitto The Seattle Repertory Organization is a 100+ member President Recording Secretary Thursday, February 15 volunteer group established in 1963 for the purpose 11:00 a.m. in the Rotunda Laurette Poulos Simmons Carmon Spofford of supporting Seattle Repertory Theatre. Through The First Vice President Corresponding Secretary Meet the artists of Ibsen in Chicago. Shop at the Rep, New York and London theatre tours, SRO Spotlight luncheons and interviews and more, the SRO donates more than $30,000 and Lina Willenberg Dottie Delaney are an opportunity to informally visit with over 12,000 volunteer hours each season. Second Vice President SRT Representative the cast members, theatre artists, and staff who make each show possible. Learn more about SRO at seattlerep.org/volunteer Carol Dinning Treasurer seattlerep.org/SROspotlights

16 Greg Socha, a 30-year-old marketing manager, told me. “There’s too much going on in Seattle in the summer and I like the outdoors too much. But once the sun starts going down earlier and it's raining, spending time inside getting some culture gets more appealing.”

Greg has fond childhood memories of his parents taking him and his brother to see local theatre in Connecticut, but here in Seattle, he’s the latest recruit to new-to-theatre-going group. This September’s Public Works performance of The Odyssey at Seattle Rep was the first time he joined us, but he hasn’t been available to go to another performance with us since. I asked why he doesn’t see theatre on his own. “I would feel super self-conscious seeing a play by myself,” he said. “Most people are there with somebody, and it's not like you can third wheel a conversation with some strangers.”

Of course, for many people, seeing a play with a group of friends is more appealing than going alone. Talking with Greg made me wonder if there EAPOUR 1_3 S BUILDING template.indd 1 IS CLOSED FOR RENOVATION, 2/28/17 11:05 AM are opportunities for theatres to help BUT OUR PROGRAMS ARE MORE OPEN THAN EVER. create those groups, or to encourage groups of friends to buy tickets together. For new theatre-goers especially, seeing a play alone may be uncomfortable simply because they don’t want to go alone.

Over the last two years, I’ve taken folks to see shows at ACT, Forward Flux, SUMMIT IN SEATTLE the Pacific Northwest Ballet, Seattle Vijay Iyer and friends (3/2) DANIEL ELLSBERG join forces for great jazz. The famed whistleblower (1/9) exposes Rep, the Seattle Fringe Festival, and our dangerous nuclear arms buildup. INTIMAN. We’ve expanded our artistic diet, too, taking in the Burke Museum, the Henry Art Gallery, and the Seattle ROOMFUL OF TEETH Art Museum. I’m on a quest to Avant-garde acapella masters (3/9) JOHN GRADE raise their voices. Seattle’s monumental sculptor (2/28) introduce everyone to their favorite art remakes nature. form— it’s The Dating Game featuring DAPPER AF A queer fashion show (2/23) and every arts organization in Seattle. And conversation about style and identity. I’m rooting for everyone to be a winner.

A generation ago, these same young 2017-18 WINTER TICKETS ON SALE NOW! JOIN US IN A NEIGHBORHOOD NEAR YOU. professionals might be well on their TOWNHALLSEATTLE.ORG way to becoming arts board members

encoremediagroup.com/programs 7 and donors. Today, I’m hard pressed to find performing arts organizations that are targeting millennials, grooming them for their board. Pacific Northwest Ballet is the only organization in town that has a dedicated track toward Board of Trustees membership. Young Patrons Circle has its own Board of Directors, giving ballet fans an introduction to non-profit boards.

My group of theatre-goers is just starting to learn about sponsoring artists, non-profit boards, and donations to organizations. But no one is reaching out to these young professionals—many of them recent MBA graduates with lucrative post- grad school jobs—to involve them in the vitality of theatre. They’re learning about it by flipping through the programs they’re handed as they enter the theatre.

My chaperonage isn’t single-handedly changing the demographics of Seattle audiences, but it’s a step towards a younger, more engaged audience. Halfway through my third season organizing these outings, I wonder what audiences would look like if other regular audience members took it upon themselves to invite their theatre-estranged friends to the great performances Seattle offers. Theatre marketing and engagement departments have persued all kinds of programs and initiatives to attract new audiences, especially younger new audiences, with varying degrees of success. Increasingly, I’m thinking that those of us who already love the theatre have a role to play in bringing new faces to the audience, too.<

Danielle Mohlman is a nationally produced feminist playwright based in Seattle. Her play Nexus is among the 2015 Honorable Mentions on The Kilroys list. She is an alumnus of the inaugural class of Playwrights’ Arena at Arena Stage.

8 ENCORE STAGES Seattle Theatre Group and Starbucks are committed to young artists. That’s why we’ve partnered for more than a decade.

For upcoming young musicians, finding Starbucks has been a strong supporter of welcoming venues to hone their skills is often STG since 2003 and the presenting sponsor a daunting task. of its community programs, including More Music @ the Moore. Together, Starbucks In 2015, Starbucks and the Seattle Theatre and STG are building on a long-standing Group (STG) decided to put the spotlight on partnership to connect more of our city’s emerging talent with a series called Up Next: youth to exciting new opportunities. Live Music from Rising Stars. Twice a year, in April and September, musicians from STG’s In addition to championing local youth More Music @ The Moore are invited to select programs through STG, over the past 43 Seattle Starbucks stores to perform live. years Starbucks has helped celebrate and Performing in the Up Next series gives them support many other hometown traditions a chance to showcase their original works to including Starbucks Annual Hot Java Cool a new audience and the community gets to Jazz at the Paramount, Seattle International hear the latest from our areas rising stars Film Festival (SIFF), Little Big Show and Upstream. For more information visit www. Since then, more than 25 young musicians starbucks.com/seattle. have had the opportunity to play their music live in Starbucks stores around the Seattle area.

STG + Starbucks, giving young artists a stage to shine for fourteen years and counting.

STG-STAR 122117 redux fp.indd 1 12/21/17 3:46 PM Dialogue

SassyBlack SassyBlack self-identifies as a psychedelic songstress, and that description couldn’t be more apt. She’s an energetic and hypnotic performer who forms community with her audiences. SassyBlack has called Seattle home for the last twenty years and says that she’s learning more about the city every single day. We had the pleasure of speaking with SassyBlack about her writing process, social media’s impact on her career, and how Seattle permeates her music. SassyBlack. Photo courtesy of the artist.

There’s a deep love for Seattle that capturing the moment rather than living feeling. Sometimes I just want to make pulses through your work. How does in the moment. If you’re concerned with a beat, so I make a move on a beat. Seattle influence you — and how do you sharing with folks that you were doing or Sometimes I just want to sing a song, so influence Seattle? seeing something – which is valid – I see I let it flow free. It’s easy when it comes, Seattle is the only true home I’ve ever an opportunity there. Let’s engage with but can be hard to complete. That’s when known outside of Hawaii. They’re one another through this experience. it gets tough. I find it makes people feel even more similar in many ways, but also extremely Tell me about your favorite song — different. I love to go on long walks and involved in the show, because now I’m interacting with them in their own your own or someone else’s. Why do let myself feel nature – wind, sunshine, you love it? rain, falling leaves. It’s such a healing personal sphere. There are so many ways feeling. That energy moves through me to approach social media and I try to use Favorite questions hard as heck to and motivates my mindset, which in it to my advantage. answer because I am always changing, turn motivates my music. Seattle is a so my favorite anything is also always You’re a performing powerhouse. What changing. Right now, I really like quirky town blossoming into a city that’s has been your favorite concert so far? constantly moving forward. “Blow” by Beyoncé. That song is killer. If we are speaking about my favorite Timberlake, Timbaland, J-Roc, Pharrell It’s hard to put a finger on how I show that I have performed, I would & Bey – what a dream team! The tune influence Seattle. In terms of musical say, at this very moment, it would has bounce, soul, groove, disco vibes, infrastructure, I sit on many boards be when I opened for Bilal at Nectar just everything. I hope I can write and trying to figure out how to support artists Lounge. That’s at least my most recent produce a track like that someday. through work with nonprofits. In terms favorite gig. The audience was so open of live shows, I have attended a large and excited and loving and receptive. Do you have any plugs? How can folks share of shows and venues in Seattle As for shows outside of myself, it’s very find more about you and your work? over my twenty years to get a sense of difficult. I have attended a lot of beautiful My album New Black Swing came out the music scene. In terms of sound, I’ve amazing shows. I’ve seen Erykah Badu June 23rd on Space Theory Records, collaborated with and worked with a lot countless times, Earth, Wind & Fire, which is my label, and it’s available of local artists and have been on the most Herbie Hancock, Beyoncé, and so many online at sassyblack.bandcamp.com. well-known local label, Sub Pop. others. All those shows and my shows Folks can also order physical goods from exist in their special place and time and the website too. < DANIELLE MOHLMAN At your concerts, you encourage your choosing favorites depends on my mood. audience to film and take photos of you, as long as they tag you on Twitter and You write your own beats and lyrics. Instagram. Tell me more about that. How What is your creative process like? What do you market yourself in a social media comes first: music or lyrics? world? Everything seems to come at the same The world we live in today is full of people time, but it does depend on what I’m

10 ENCORE STAGES Intermission Brain Transmission Are you waiting for the curtain to rise? Or, perhaps, you’ve just returned to your seat before the second act and have a few minutes to spare? Treat your brain to this scintillating trivia quiz!

Email us the answer to the last question and have a chance to win tickets to a show!

1) Timon of Athens plays this season at Seattle Shakespeare Company. Match these other Shakespearean T-named characters with the play in which each is featured:

Taurus Merchant of Venice Thersites Taming of the Shrew Tranio Antony and Cleopatra Tubal Troilus and Cressida

2) Itzhak Perlman, a world-famous violinist, is performing at Meany Center. He plays one of the 244 Stradivarius violins. Which one?

a) Soil c) Mercur-Avery b) Ex-Leopold Auer d) Gould

3) Taproot Theatre’s production of Camping with Henry and Tom features an infamously unethical U.S. president, Warren G. Harding. Which corruption scandal tarnished his administration?

a) Operation Plunder Dome c) Oregon Land Fraud b) Marion Zioncheck’s Scandal defenestration d) Teapot Dome Oil Bribery Cartoon featuring Warren G. Harding by Rollin Kirby, c. 1920. Kirby later won the Pulitzer Prize. 4) Seattle Repertory Theatre premieres Ibsen in Chicago, a comedy 6) Appearing at Meany Center is the Danish about a production of a play by 19th century Norwegian playwright String Quartet, a group which premiered in Ibsen. What was Ibsen’s first name? Copenhagen in 2002. Which of the following is a) Henrik c) Sigurd not a Danish city? b) Henning d) Knude a) Aalborg c) Horsens b) Malmö d) Roskilde 5) The Maltese Falcon, playing at Book-It Repertory, is based on the book by Dashiell Hammet. In the book, everyone is after the titular Maltese Falcon, which is what? Bonus Question a) A taxidermied reliquary of Greek origin What was the last arts performance you attended that b) A mysterious mercenary pilot you liked best and why? c) A majestically bejeweled bird statue Email your response to [email protected] with "Trivia

d) The secret last living scion of the Medici line Quiz" in the subject line.

, a work of fiction, they created a fancy bird statue with the gold they plundered or were paid for their efforts. 6) b. – Malmö is the third largest city in Sweden, not Denmark. not Sweden, in city largest third the is Malmö – b. 6) efforts. their for paid were or plundered they gold the with statue bird fancy a created they fiction, of work a , Maltese Falcon Maltese

Ibsen, and the father of Prime Minister Sigurd Ibsen. 5) c. – In the 11th century the Knights of Malta established a hospital in Jerusalem to care for pilgrims of any religious faith or race. In race. or faith religious any of pilgrims for care to Jerusalem in hospital a established Malta of the Knights century 11th the In – c. 5) Ibsen. Sigurd Minister Prime of father the and Ibsen, The The

Fall accepted bribes to lease out at low rates. He became the first Cabinet member to go to prison for crimes committed while in office. 4) a. – Playwright Henrik Ibsen was the son of Knude Knude of son the was Ibsen Henrik Playwright – a. 4) office. in while committed crimes for prison to go to member Cabinet first the became He rates. low at out lease to bribes accepted Fall

Italian luthier Antonio Stradivari of Cremona in 1714. Perlman has owned it since 1986. 3) d.– Teapot Dome in Wyoming held oil reserves for which then-secretary of the interior Albert Bacon Bacon Albert interior the of then-secretary which for reserves oil held Wyoming in Dome Teapot d.– 3) 1986. since it owned has Perlman 1714. in Stradivari of Cremona Italian luthier Antonio

ANSWERS: ANSWERS: . 2) a.– Soil Stradivarius was made by by was made Stradivarius Soil a.– 2) . in is Tubal ; in is Tranio ; in is Thersites ; in is Taurus 1) Merchant of Venice of Merchant Shrew the of Taming Cressida and Troilus Cleopatra and Antony

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