BY YUSSEF EL GUINDI DIRECTED by JOHN LANGS September 2019 | Volume 16, No

SEPTEMBER 2019 Sep 6–29

BY YUSSEF EL GUINDI DIRECTED BY JOHN LANGS September 2019 | Volume 16, No. 1 FEATURE In This Issue Feature 3 The State of Deaf Theatre in Seattle 9 Why Aren’t Young Characters Always Played by Young Actors? Intermission Brain Transmission 12 Test yourself with our trivia quiz! Dialogue 13 Seattle Rep Teams Up with the Community to Put on a Show Upcoming Events 15 Fall 2019

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2 FEATURE

The State of Deaf Theatre in Seattle

by DANIELLE MOHLMAN

According to the 2010 United States Census, an estimated 2.4% of the Washington population identifies as Deaf. And while estimations surrounding E.J. Cardona as the Voice of the size of Seattle’s own population vary Quasimodo and Joshua Castille widely, it’s clear that the Deaf community as Quasimodo in The Hunchback here is vibrant and engaged. So how are of Notre Dame at the region’s theatres providing accessible The 5th Avenue Theatre. performing arts experiences for the community?

According to Deaf Spotlight’s ACT Theatre have embraced the our lens,” Castille explained. He accessibility index, The Paramount talents of actor Joshua M. Castille. clarified, saying that all of the Theatre (as part of Seattle Theatre In 2017, Castille made his Seattle roles he’s performed in Seattle Group and Broadway at The debut playing Billy in ACT’s pro- lean more toward what he calls Paramount), The 5th Avenue duction of Tribes by Nina Raine. He “theatre including the Deaf.” Theatre and ACT Theatre all offer returned in 2018 to play Quasimodo “I wouldn’t consider Romeo long-term commitments to pro- in 5th Avenue’s production of The and Juliet ‘Deaf theatre’ because viding captioning, American Sign Hunchback of Notre Dame, a role its primary audience isn’t Deaf, Language (ASL) interpretation traditionally played by a hear- it’s hearing,” Castille said. “It’s and other accessibility services ing actor. His performance in the all about the intended audience.” to their Deaf and hard of hearing titular role of this new Disney Deaf West Theatre’s produc- audiences. And while these three musical was augmented by actor tion of Spring Awakening, the show theatres seem to be leading the E.J. Cardona, who sang on Castille’s that gave Castille his Broadway way in Deaf accessibility, Seattle behalf. Earlier this year, Castille debut, was a blend of the two. Repertory Theatre and Sound returned to Seattle to portray yet Castille identifies as anartivist, Theatre Company also provide another titular role: Romeo in ACT’s an identifier that he picked up captioning and ASL interpretation production of Romeo and Juliet. from Andrea Moore, executive during select performances. “Deaf theatre rarely happens, director of The Wayfaring Band. Over the last couple of years, because it’s rare that we get to Castille was struck by the way both The 5th Avenue Theatre and direct or produce a show from Moore uses art to mobilize her TRACY MARTIN TRACY

encorespotlight.com 3 Howie Seago and Joshua Castille in ACT’s Romeo and Juliet.

adapt roles for Deaf talent,” Seago said. “Having a Deaf actor por- traying a role and utilizing some aspects of the Deaf experience might add another layer of depth to the message of the play.” In Romeo and Juliet, a flashing light signaled the end of the school day in Friar Lawrence’s class. Friar John, the often forgotten second friar in William Shakespeare’s Denver community to create change back to work. “I love how Deaf classic, was given a much larger in the world. Spotlight fosters Deaf artists,” role as Lawrence’s interpreter. “Artists make observations on Castille said. “I’m so blown And, as Castille pointed out, the life,” Castille said. “We explore away by their mindset and shared deafness of Romeo and Friar and encourage ideas. It’s so pow- the events they produce. They Lawrence strengthened the bond erful that it would be silly not are supportive and loving.” between these two characters. to be conscious about the socio- Actor Howie Seago, who played Seago encourages Seattle logical effects of our work.” the aforementioned Friar Lawrence theatres to broaden their Deaf Reflecting back onRomeo and role, said that he identifies as talent to include those behind the Juliet, which closed in March a Deaf person first and a Deaf scenes as well. “The next step 2019, Castille said that the deci- actor second. “Most any role can after offering more performance sion to cast two Deaf actors in the be adapted to be performed by a opportunities to the Deaf talent production—Howie Seago played Deaf actor, but I believe I cannot community would be to spon- Friar Lawrence—was intentional. exclude my deafness as part of sor playwriting workshops for the Director John Langs had noticed the makeup of the character,” Deaf and hire Deaf directors— that this young tough guy, Romeo, Seago said. “It is always there.” either as the main director or an was visiting the priest a lot. “Why?” Seago has worked all over the assistant director,” Seago said. Castille asked. “What motivates world—with Oregon Shakespeare “Having a ‘Deaf eye’ will ensure Romeo to go to the priest? Because Festival, Edinburgh Festival, Deaf culture accuracy, proper they are the only two people who Amsterdam Opera, Seattle ASL translations and clear sight- speak that language and share Children’s Theatre, Intiman and lines for Deaf audiences.” that experience. This is similar most recently at ACT. Seago grew Patty Liang, the executive director to real life. We often find Deaf up in Tacoma and it was important of Deaf Spotlight, is grateful for families to participate in or find to raise his two sons in the Pacific the mentorship she received as a a Deaf role model to latch onto.” Northwest, surrounded by family. Ceramics student at the University It’s a casting choice that sent He and his wife decided to call of Washington. It was her ASL ripples through the rest of the Seattle home because it’s a theatre interpreters who suggested she text, including the second half town full of innovative artists. seek out Deaf non-profits in town. of the play when Romeo is left After ACT’s production of Tribes, “There are not many Deaf POC out of a major communica- it was clear to Seago that the arts administrators,” said Liang, tion loop regarding Juliet. theatre was inspired to include who identifies as Chinese American. When asked what keeps him Deaf talent and ASL in future “I hope my efforts encourage coming back to Seattle, Castille productions. It was clear they other Deaf female and POC artists was quick to bring up the Deaf were willing to put in the work. and arts administrators in my community and the strength he “Other theatres in town can field. There isn’t enough visibility witnesses every time he comes start to consider how they might and representation right now.” CHRIS BENNION CHRIS

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Untitled-3 1 4/30/19 12:11 PM Joshua Castille and Lindsay W. Evans in ACT’s Tribes.

Liang’s artistic background is in Spotlight, shared that he and his all performances are captioned, visual art, but her advocacy work husband used to be subscribers to like they are at ACT, and when through Deaf Spotlight extends to Seattle Rep. They’re both retired at least two performances—or theatre and other performing arts. now and enjoy traveling, so it’s more!—are ASL-interpreted, so Liang said that she’d love to see a been difficult to fit captioned and that Deaf audiences have more more inclusive effort from Seattle’s ASL-interpreted shows into their choices,” Roth said. “It’s impor- theatres, hiring Deaf talent on all schedules. “Our ability to attend tant to note that ASL-interpreted levels of production. “Right now, captioned and ASL-interpreted performances should not be theatres only offer opportunities for shows is limited, as they are on dropped in favor of captioning. Deaf talent as actors, performance specific nights and cannot easily For many Deaf persons, English interpreters or directors of ASL,” be exchanged for another perfor- may not be their first language.” Liang said. “I especially want to mance unless it is also captioned or Roth enjoys seeing perfor- see more works by Deaf directors. ASL-interpreted,” Roth said. “ACT mances at ACT, Seattle Rep, The They will certainly bring different now has captions available for any Paramount and 5th Avenue. He perspectives and resources, refram- performance, so this has expanded says that Sound Theatre has ing each play in a different light.” our options considerably.” also captured his attention. Part of Deaf Spotlight’s pro- Thinking back on the shows Audience member Ian Aranha gramming is a biannual Short he’s seen recently, Roth cited identified himself as a human Play Festival. Earlier this year, The Hunchback of Notre Dame at being first and foremost. “I Deaf Spotlight partnered with ACT 5th Avenue as his most joyful may be Deaf, but that does not Theatre, producing the festival experience as an audience member. mean I cannot live a full, var- during the 2019 ACTLab season. “The production threaded deafness ied and interesting life,” Aranha Deaf Spotlight hired six play- and ASL into the production won- said, “even though most people wrights, three directors, eleven derfully, and Joshua Castille in the depend so much on audio clues.” actors—all Deaf. “That’s Deaf title role was wonderful to watch,” When we started talking about theatre right there,” Liang said. Roth said. Roth also enjoyed see- the kind of shows he gravitates “We don’t often get the opportunity ing The Music Man at the Oregon toward, Aranha said that he to have a Deaf- and ASL-centric Shakespeare Festival in 2009, enjoys musicals much more space, especially a creative space. I starring Howie Seago as Professor than plays. The combination of treasured these moments of banter Harold Hill’s friend Marcellus. choreography and the visually and collaboration. It’s what made When I asked what Seattle interesting set pieces that come the festival such a success.” theatres can do to be more acces- with seeing a Broadway-style Rob Roth, who identifies primar- sible to Deaf audiences, Roth had musical make for an incredibly ily as an audience member despite a list at the ready. “Accessibility joyful experience. His favorite being a founding member of Deaf excellence would be obtained when musical is Les Misérables. “I come CHRIS BENNION CHRIS

6 “I especially want to see more works by Deaf directors. They will certainly bring different perspectives and resources, reframing each play in a different light.” —Patty Liang

from a musically inclined family,” Aranha said. “I usually know the lyrics and storyline of a musical already. Or I’ll learn it beforehand.” Looking back on this last year, Aranha’s experience of seeing rossini Hamilton at The Paramount Theatre is a particular favorite. “I love how Lin-Manuel Miranda combined history, music and modern storytelling, all into one,” CINDERELLA Aranha said. “It was all braided together so wonderfully.” Before seeing Hamilton, Aranha read the script and did

OCT. 19–NOV. 1 © Philip Newton some research on YouTube. “But when I went to see it live, with captioning provided, it was even so much better than COLORFUL DELIGHTS BY THE DOZEN I expected,” Aranha said. Inspired by Charles Dickens and the New Production In the middle of his story cheeky “panto” shows enjoyed in English In Italian with English subtitles. about seeing this performance, music halls, this new-to-Seattle Evenings 7:30 PM Aranha stopped to acknowl- production takes place in and around a Sundays 2:00 PM edge the theatre that made this Victorian emporium. With high-flying Featuring the Seattle Opera Chorus all happen. “The Paramount vocals, fabulous costumes, and a dash of and members of Seattle [via programming by STG and stage magic, Rossini’s sparkling fairy tale Symphony Orchestra. Broadway at The Paramount] shines a light on the gleaming potential MCCAW HALL has been incredible in providing for goodness in a dark world. access to shows for Deaf and 206.389.7676 2019/20 SEASON SPONSOR: IN MEMORY OF KARYL WINN SEATTLEOPERA.ORG/CINDERELLA hard of hearing people,” Aranha PRODUCTION SPONSOR: MARKS FAMILY FOUNDATION said. “Shout out to them!” As a hearing audience member, FAMILY DAY MATINEE SUNDAY, OCT. 27: STUDENT TICKETS JUST $20! I shared with Aranha that my Visit seattleopera.org/familyday for details. only experience with captioning was at the opera, where all CHRIS BENNION CHRIS

encorespotlight.com 7 performances are captioned and Encore Spotlight: interpreted for the entire audience. “That segues into my argu- FEATURE Your backstage pass ment that all shows should have to each performance. captions,” Aranha said. “People go to the opera and need captions. encorespotlight.com But the argument theatres make is that hearing people complain about captions, so they’ll never turn them on for all shows.” And it can be frustrating when the dates and times for captioned and ASL-interpreted shows are so few and far between. “Have you noticed that the ASL performance is always on Saturday at 2 p.m.?” Aranha asked. “It’s like we’re sheep. Go see the after- noon show and then go home. I SINGLE TICKETS want to have dinner and drinks NOW ON SALE! before and then take in a show.” OPENS SEP 12 Aranha echoed what so many of the Deaf actors and audience members I spoke with did. There is always room to do more to welcome Deaf audiences in. Provide more captioned performances, more ASL-interpreted performances and more opportunities to grow and learn from 2019-2020 SEASON Seattle’s vibrant Deaf community. THE “I hope your article makes EXPERIENCE waves,” Aranha said. I hope it does too. ■

More information about captioned and ASL-interpreted performances at Seattle Repertory Theatre, Sound Theatre, The Paramount Theatre, ACT Theatre and JOY! The 5th Avenue Theatre, as well as other accessibility services they provide, can be found on each theatre’s website.

Submissions for Deaf Spotlight’s 2020 Seattle Deaf Film Festival are now open. Visit www.deafspotlight.org for more information. SUBSCRIBE

TODAY Danielle Mohlman is a Seattle-based AND GET THE playwright and arts journalist. She’s a frequent contributor to Encore, where BEST SEATS she’s written about everything from AT THE the intersection of sports and theatre to the landscape of sensory-friendly per- BEST PRICE formances. Danielle’s work can also be found in American Theatre, The Issaquah (425) 392-2202 Dramatist and on the Quirk Books Everett (425) 257-8600 blog. www.daniellemohlman.com VillageTheatre.org JOAN MARCUS JOAN

8 John Langs Becky Witmer Artistic Director Managing Director ACT – A Contemporary Theatre presents a world premiere

by Yussef El Guindi Directed by John Langs Beginning September 6, 2019 • Opening Night September 12, 2019 CAST Sydney Andrews* Lynn Quinlan Corbett* Jason Monika Jolly* Madeeha Wasim No’mani Amir

CREATIVE TEAM: Shawn Ketchum Johnson Scenic Designer Rose Pederson Costume Designer Jessica Trundy Lighting Designer Chris Walker Sound Designer Jeffrey K. Hanson* Stage Manager Kelly McGee Production Assistant Lily McLeod Assistant Lighting Designer Peter Dylan O’Connor Fight Choreographer Nadira Choreographer Louis Sallan Dialect Coach Mario Gomez Dramaturg Rey Zane Kenan Directing Fellow

* Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Running time: This performance is approximately 1 hour 40 minutes. There will be no intermission. ASL interpreted performance: September 27 at 8:00pm. People of the Book is presented by special arrangement with Robert A. Freedman Dramatic Agency, Inc. The videotaping or making of electronic or other audio and/or visual recordings of this production or distributing recordings on any medium, including the internet, is strictly prohibited, a violation of the author’s rights, and actionable under United States Copyright Law.

SHOW SPONSOR: THEATRE AND SEASON SPONSORS: IN-KIND AND MEDIA SPONSORS: A Contemporary The Norcliffe Theatre Foundation Foundation

Katharyn Alvord Gerlich

encorespotlight.com A–1 WELCOME to ACT A Note from Artistic Director, John Langs John Langs PHOTO BY TRUMAN BUFFET

ACT thrives when we challenge ourselves to be Eastern people and Arab Americans. Baghdad, artistically ambitious and commit to taking risks, formerly known in the Arab world as Madīnat and I believe there is no better way to do that than al-Salām or “City of Peace”, was continually supporting the new work of artists like ACT Core depicted as a source of this foreign evil and Company Member Yussef El Guindi. Guindi’s became the epicenter of the negative stereotypes People of the Book is ACT Theatre’s 49th world that took control of the national narrative as U.S. premiere and it exemplifies involvement in Iraq continued. what happens when you “Today we are still watching Today we are still watching invest in new plays; you get this unfold in our national this unfold in our national complex characters and debate over immigration, which diverse stories that respond debate over immigration, continues to use stories and to the current climate in the which continues to use stereotypes to stoke the passion country and that encourage stories and stereotypes to and vitriol of the public. This is us all to move outside our why People of The Book is such comfort zones to examine stoke the passion and vitriol a necessary play to produce this our community, our of the public.” year, because it directly addresses empathy, and our humanity. the power that stories wield Eighteen years ago, the over our personal and national experience of being a Middle Eastern American was behavior. Yussef has written multi-dimensional changed in an instant by the events of September humans with all the flaws and complexities that 11th. So desperate was our country’s desire to make them universal, all while illuminating our find a villain we could hold accountable, that national character. This is what makes him one our government’s great lie about Iraq’s possession of the most exciting playwrights in America and of weapons of mass destruction went unchecked we are fortunate that he has chosen Seattle as his and carried us into not one, but two wars. home. Tonight, you will be witnessing a brand-new What followed was a steady stream of play developed for this moment in history. This is “patriotic” stories that bolstered our march into the kind of play that makes you think in a way we that conflict which seemed to continually cast hope you have grown accustomed to here at ACT. Middle Easterners in the role of religious fanatics; Thanks for your support. morally corrupt and socially backwards. Our TV shows, films, and books all contributed to these stereotypes, reinforcing the othering of Middle

A–2 ACT – A Contemporary Theatre A Note from Managing Director BECKY WITMER

Welcome to ACT Theatre, It’s renewal time for our 2020 season! The 55th Anniversary Season will be one to remember, featuring the best that contemporary theatre has to offer. ACT is proud to be the place where audiences in our region come to see new work and to engage in robust conversation. Many of you are already subscribers or donors—thank you! You are the life blood of our theatre and your commitment year after year strengthens us and inspires the vision for what we can accomplish together. Your investment in us enables ACT to take risks by producing new work that propels the American theatre forward, just like your commitment to support the world premiere play you are seeing tonight. Next season we will present our 50th world premiere—a comedy about a beloved female television character and the female writer working behind-the- scenes. And you won’t want to miss the rest of the season either! From a Pulitzer Prize-winner to a Broadway hit, there is so much to enjoy in our 55th Anniversary Season in 2020. In 2020, at least 50% of our playwrights and directors will be women. As you learned in my last message, ACT is fully integrating Equity, Diversity, and Inclusion (EDI) into all we do. Elevating female voices is one element to implementing this work at ACT and we are committing to increased racial diversity in our approach to casting our productions and in our hiring practices of administrative, production, and creative staff in 2020. Through our conversations and surveys, we have heard you and we are taking the steps necessary to build a community for everyone at ACT. I share this because your subscription isn’t only a guarantee you will have seats for the most compelling theatre in the region. It means so much more! With your subscription to ACT, you are participating in shaping American theatre in the 21st Century— whether it’s through the development of new plays or the work we must do to make our creative community equitable and inclusive. I hope you will be part of the conversation by purchasing your subscription today. We thank you for your continued support and we cannot wait to show you what ACT has to offer our audiences in 2020 and beyond.

encorespotlight.com A–3 Thoughts of an Iraqi American Actor Following in his Father’s Footsteps

Playwright Yussef El Guindi interviewed actor Wasim No’mani, who plays Amir in People of the Book, to talk about his experiences as the child of a Middle Eastern actor, the progress and pitfalls of telling stories, and auditioning as a working Iraqi American actor in Los Angeles.

YUSSEF: When did you first get the acting bug and what was your parents’ reaction when you told them you wanted to be an actor?

WASIM: My father was an actor in Iraq and came to the US to study theatre. That influence had been palpable in our home for the duration of my childhood. Mounting scenes in the living room until my late teens was pretty commonplace. That’s how we bonded. So it wasn’t much of a surprise that I became an actor. The only misgiving they may have had was that I should be better at it. I think they’re victims of my earlier work.

YUSSEF: What stumbling blocks, if any, did you face when you started auditioning? Did you find yourself pigeonholed into playing certain parts?

WASIM: The same stumbling blocks that can trip up any actor: inadequacy, inferiority, lack of talent, nerves, etc. The usual neurotic soup that swirls in every aspiring artist’s head. Wrestling with these obstacles really left no room to contend with any issues of type casting, however actually problematic it was and is. Having said that, yes, indeed, you are cast as your ethnicity and what you look like more than you are yourself as a human—in film and television anyway. I mean, you get into a door based on a photo. What can you tell about someone from a photo? Only the things you can see. But that may just be a life thing, we’re all discreet book cover judges.

YUSSEF: Hollywood actor Rami Malek (from the motion picture Bohemian Rhapsody and Mr. Robot on Amazon Prime) has made a point of never playing a terrorist. What’s your feeling about that? Do you have any problems playing such characters?

Playwright Yussef El Guindi and actor Wasim No’mani. Photos by Jose Abaoag. WASIM: I’m encouraged and bolstered to hear that WASIM: I honestly don’t feel like an actor of color. actors are actively trying to buck stereotypical and flat I just feel like an actor. But everyone keeps insisting lazy trends. I don’t have an issue with the character of on reminding me of my skin tone. Which I think is “terrorist” per se. It’s more a question of why and how the least interesting thing about me and is certainly as opposed to what. One man’s terrorist is another’s something I had absolutely nothing to do with. freedom fighter. But the overused, two-dimensional Therefore, there’s no pride or shame attached. So, in trope of “evil terrorist” who hates the freedoms of the that respect, I suppose that’s what it’s like being an West as his main hobby is getting tiresome and boring. actor of color in LA; every film and television audition I’d be interested, however, in seeing an otherwise good is rooted in my ethnicity, who and what I look like. man slowly turn and morph into someone who feels And the most popular versions of who I look like are compelled to do horrendous things—the how and cabbies and terrorists, evidently. why of that which pushes dark buttons. I wouldn’t YUSSEF: What differences, if any, do you face turn down a role just because it’s a terrorist so long as a Middle Eastern actor in theatre and film? as something of value is being said. But I do get it— Do you feel theatre is just as rife in stereotypes most of the time you see people who look like me on and misperceptions about Middle Easterners as film and television, they’re clutching a detonator of the film world is? some sort. So much so, you’d think that terrorism is the number one recreational sport of the Middle East. WASIM: I’ve found so much more freedom in theatre. YUSSEF: Have you been asked to portray an The variety of genres, stories, and characters I’ve Arab or Muslim in a way you couldn’t stomach? played on stage have greatly outweighed the limited What have you done on those occasions? selection in film and T.V. I would say the theatre is much less congested with repetitive shallow cut-outs WASIM: Yes, I certainly have. I’ve reacted both than the screen world. shamefully and admirably in different situations. I’ve YUSSEF: Have you felt a positive change in succumbed to the temptation of silent rebellion but either theatre or film in terms of more diverse outward cooperation. And the regret and shame that representation? Or do you feel it hasn’t quite follows and hovers like a rancid fog. And I’ve also reached people of Middle Eastern and Muslim declined roles, especially the “Jihadist #3” variety. Rami descent yet? Malek aside, poppa gotta eat. I don’t fault anyone for doing what they need to do to survive. WASIM: I think we’re making headway. As with all YUSSEF: Have you played other ethnicities? change, it’s a slow cook. With shows like Ramy, Fresh Off the Boat, Master of None, I think celebrating and WASIM: I have played other ethnicities and I love it! encouraging and nurturing progress is more imperative I love playing with accents, languages, postures, etc. than just complaining. I think our energies are better The personal revelation that pushed me into acting was, suited and more efficacious when channeled into “I’d really rather be somebody else.” The further from creating what we want to see as opposed to whining me the better and more challenging. There’s no better that someone else isn’t doing so. That’s why I respect exercise in empathy than imagining yourself standing in and admire you so much, Yussef. You’re doing it, the shoes or heels of somebody else. Because the truth actively and with immediacy. you can find is: There’s no such thing as somebody else. YUSSEF: Thanks for that! And thank you for deciding Tu eres mi otro yo. You are my other me. to carry on your father’s legacy so I can watch you YUSSEF: What’s it like being an actor of color in bring the character of Amir to life. Los Angeles?

encorespotlight.com A–5 Photo by Chris Edwards BIRDS OFPASSAGE Choreographed and performed byAliceGosti Choreographed andperformed WHERE ISHOME acttheatre.org/BirdsofPassage MALACARNE andACTLabMALACARNE present NOV 1–17 206.292.7676 : MALACARNE and ACTLab present Who’s Who in People of the Book Pasadena). She has also performed Off-Broadway original work, John has shepherded over a dozen : CAST: at the Cherry Lane Theater, Target Margin projects to their premieres. WHERE IS HOME Sydney Andrews Theatre, A.C.T. in San Francisco, and Stella Adler (Lynn) Sydney is so Studio and 24th Street Theatres in Los Angeles. Jeffrey K. Hanson (Stage Manager) Now in excited to be returning Film credits include: M. Night Shyamalan’s After his 30th season at ACT, Hanson has stage man- to ACT this season! Past Earth, HBO’s Cinema Verité, The Scenesters, aged more than 70 shows including Urinetown, BIRDS OF PASSAGE productions with ACT Non-Transferable, Two: Thirteen, and Soccer Murder for Two; Jacques Brel is Alive and Well include Bloomsday, Mom. Her television credits include: Entourage, and Living in Paris; Mr. Burns, a post electric play; Vanya and Sonya and Arrested Development, The O.C., Hannah Little Shop of Horrors; Sugar Daddies; Double Choreographed and performed by Alice Gosti Masha and Spike, and Montana, Standoff, and recurring roles on Indemnity; Becky’s New Car; The Lieutenant A Christmas Carol. In the ACTLab, she performed The Bold and the Beautiful and Lincoln Heights. of Inishmore; Das Barbecü; The Women; Stuff in The Seagull Project’s The Three Sisters (Irina) Monika was born in India; raised in Hong Kong, Happens; The Pillowman; Mourning Becomes and The Cherry Orchard (Varya). Most recently, Singapore, and Scotland, and lived in New York Electra; Quills; Laughter on the 23rd Floor; The she played Miep in a co-production of The Diary City and Los Angeles before moving to Seattle Gospel at Colonus; Halcyon Days; The Revengers’ of Anne Frank between Indiana Repertory in 2017. She received her B.A. in acting from Comedies; and Lloyd’s Prayer. At The 5th Avenue Theatre and Seattle Children’s Theatre. In Seattle, UCLA’s School of Theater Film and Television, and Theatre, he has been production stage manager she has also worked with the Village Theatre, a post-graduate degree at The London Academy for Annie, The Pajama Game, A Night With Janis Seattle Shakespeare Company, Book-It Repertory of Music and Dramatic Arts. Joplin, How to Succeed In Business Without Theatre, New Century Theatre Company, and Really Trying, A Chorus Line, Oklahoma!, Wasim No’mani, Annex Theatre. Regionally, she has worked with Candide, Irving Berlin’s White Christmas, Hello, (Amir) Wasim is proud the Berkshire Theatre Festival, Zach Scott Theatre, Dolly!, and Mame. He has stage managed and honored to make Austin Shakespeare, Indianapolis Shakespeare Metamorphoses, The Cider House Rules, Parts his appearance on the Company, the Children’s Theatre of Charlotte, One and Two (Seattle Repertory Theatre); and for ACT stage for the second and performed at the NY International Fringe Seattle Children’s Theatre, Intiman, and Arizona time under John Langs’ Festival. Sydney holds an MFA in Acting from the Theatre Company. direction in People of the University of Texas at Austin and a BA in Acting Book after playing the from Greensboro College. Yussef El Guindi (Playwright) Born in Egypt, role of Hassan Asfour in ACT’s 2018 production raised in London, and now based in Seattle, Quinlan Corbett of Oslo. Wasim resides in Los Angeles where Yussef El Guindi’s work frequently examines the (Jason) is exhilarated to he is unemployed as a working actor. Born of collision of ethnicities, cultures, and the politics make his ACT debut. migrating Iraqi parents pursuing their higher that face Arab Americans and Muslim Americans. Seattle credits include: education in theatre, Wasim spent his developing El Guindi holds an MFA in playwriting from As You Like It (Seattle years meandering through sets, stages, and Carnegie Mellon University, and has worked as a Shakespeare Company); theaters throughout the United States with big playwright at Silk Road Rising; literary manager The Play’s The Thing, and immigrant dreams of becoming a working actor. for Golden Thread Productions; and is playwright- The Little Dog Laughed He has been on stage before but you probably in-residence at Duke University. He is the recipient (Intiman). Off-Broadway: Incident at Vichy haven’t seen him in productions such as: Water of many honors including the Steinberg/ATCA (Signature Theatre, Directed by Michael Wilson) by the Spoonful and Happiest Song Plays Last New Play Award and the 2010 Middle East Amer- and American Jornalero (INTAR Theatre (Profile Theatre, Portland); Jesus Hopped the ica Distinguished Playwright Award. El Guindi’s Company). Other New York City credits include: A Train (CoHo Productions, Portland); Last Days most recent productions include Language Rooms Habit (PS122, Massachusetts Museum of of Judas Iscariot (The Hudson Mainstage, Los (Edgerton Foundation New American Play Award) Contemporary Art), Icebound (Metropolitan Angeles); Buffalo Soldier (El Portal, Los Angeles) at Pony World Theatre in Seattle, and Broken Playhouse), Be The Death of Me (The Civilians), and other shows along the western coast of Nose Theatre in Chicago; Threesome at Portland the premieres of Eduardo Machado’s Worship America. Wasim thanks his friends and family for Center Stage, ACT, and at 59E59 (winner of (Theatre for a New City), and Mac Wellman’s their unreasonably durable support and is also Portland Drammy for Best Original Script); Pilgrims Three Two’s or Afar (Dixon Place). He has also deeply indebted to the entire ACT family for their Musa and Sheri in the New World (winner of the performed for The Lake Tahoe Shakespeare warmth and continuing hospitality. He praises Steinberg/ American Theater Critics Association’s Festival in Othello and Twelfth Night. Film credits Mr. Guindi for having written this play and New Play Award in 2012; and the 2011 Gregory include: Kill Your Darlings (starring Daniel writing it especially for YOU. Award) also at ACT, and at Center Repertory Radcliffe) and Frayed. Quinlan’s poetry has been Company (Walnut Creek, CA) 2013. Other pro- published in multiple journals, most recently Creative Team: ductions: Our Enemies: Lively Scenes of Love and Poetry Ireland Review. He holds an MFA in Acting John Langs (Director) John has been delighted Combat was produced by Silk Road Rising and from the University of Washington. to serve ACT as Artistic Director since 2016, won the M. Elizabeth Osborn award. His plays Monika Jolly and previously as Associate Artistic Director for Back of the Throat (winner of L.A. Weekly’s Excel- (Madeeha) is honored three years. Before ACT, John’s freelance career lence in Playwriting Award for 2006), Pilgrims to be making her ACT afforded him the opportunity to work with many Musa and Sheri in the New World, Jihad Jones debut. Local: The Who prestigious theatre companies across the country. and the Kalashnikov Babes, Such a Beautiful

Photo by Chris Edwards by Photo & The What (ArtsWest, He has directed productions at Playwrights Voice is Sayeda, and Karima’s City have all been Seattle). Regional: Horizons NY, Ensemble Studio Theater NY, published by Dramatists Play Service. In January Originating the role Milwaukee Repertory Theatre, Lookingglass 2019, Bloomsbury/ Methuen Drama published of Zarina in the world Theater Company in Chicago, Circle X in Los Selected Works by Yussef El Guindi. He is also a premiere of The Who & The What (La Jolla Angeles, The Resident Ensemble, New Century Resident Artist at Golden Thread Productions. NOV 1–17 Playhouse), Orange (South Coast Repertory – Theatre Company, Washington Ensemble Theatre, Pacific Playwright’s Festival), Shiv in the West and Seattle Shakespeare Company. John received Peter Dylan O’Connor (Fight Choreographer) Coast Premiere of Shiv (Theatre @ Boston Court, his directing degree from the University of North You may have recently seen Peter’s Fight acttheatre.org/BirdsofPassage Pasadena), 1001 (Theatre @ Boston Court, Carolina School of the Arts. As a dedicated fan of Direction on ACT’s stage in Antoinette Nwandu’s 206.292.7676 encorespotlight.com A–7 Who’s Who in People of the Book PATRON INFORMATION play, Pass Over, directed by Tim Bond. Fight the world premiere of Daisy at ACT (2016 Direction credits include: The Tempest, Richard III, Gregory Award Recipient for Scenic Design), King Lear, Shakespeare in Love, Julius Caesar, Ghosts at ArtsWest (2016 Gregory nominated), Emergency Evacuation Procedures Bring Down the House, Hamlet, Twelfth Night, Bring Down the House and Richard III at Seattle In the event of an emergency, please wait for Henry V, Macbeth, Much Ado About Nothing, Shakespeare Company, and Material Deviance an announcement for further instructions. Pericles, As You Like It, Othello, and The Taming in Contemporary American Culture at On The Ushers will be available for assistance. of the Shrew (Seattle Shakespeare Company). Boards. Upcoming projects include The Riot Emergency Number Other credits include A Streetcar Named Desire, Ballet, an “interactive game and theater hybrid” The theatre’s emergency number in the Union Abe Lincoln in Illinois, Crime and Punishment, The devised by a multinational collaborative team, lobby is 206.292.7667. Leave your exact seat Children’s Hour, John Baxter Is a Switch Hitter, with rolling premieres in Montreal and Seattle. location with your emergency contact in case and Bootycandy (Intiman Theatre); As You Like An alumnus of Northwestern University, Johnson they need to reach you. It (Oregon State College); Henry IV (Freehold’s is Assistant Professor of Scenic Design at Texas Engaged Theatre); as well as work with New Tech University. Smoking Policy Century Theatre Company, UMO Ensemble, Smoking is NOT allowed in any part of the Cornish College of the Arts, The 14/48 Projects, Jessica Trundy (Lighting Designer) Jessica theatre or within 25 feet of the entrance. Emerson College, CHAC, Theater Schmeater, is excited to be a part of the creative team for Theatre Under the Influence, Consolidated Works, People of the Book. Previous work at ACT Theatre Firearms Policy The Globus Theatre (Novosibirsk, Russia) and includes King of the Yees, as well as Sound and No firearms of any kind are allowed in any part the Novosibirsk College of Acting. Peter is the Jesus Hopped the A-Train with Azeotrope. Her of the theatre. Production Director for the 14/48 Projects and a work has been seen elsewhere in Seattle at On Food Co-Founding member of New Century Theatre the Boards, New Century Theatre Company, Food is not allowed in the theatre. Tuxedos & Company. Peter works for LCM Builders as a Intiman Theatre Festival, Seattle Shakespeare Tennis Shoes is the exclusive caterer of ACT. Project Lead, looking for every opportunity to Company, Seattle Children’s Theatre, Book-It Repertory Theatre, Washington Ensemble travel with his lovely wife Betsy Schwartz. Accessibility Theatre, and Seattle Repertory Theatre. She holds ACT offers the Figaro MobiTxt® Closed Nadira (Choreographer) Nadira is an inter- a M.F.A. in Lighting Design from the University Captioning System for audience members who nationally acclaimed Belly Dancer, holding seven of Washington, is a Founder of Washington are Deaf / Hard of Hearing (HH). This system national titles, including Instructor of the Year, Ensemble Theatre, and works in Seattle as a is offered at multiple performances for each and is a professional performer, instructor, and theatrical and architectural lighting designer. production. Devices can be requested upon choreographer. Currently, Nadira performs and arrival at the theatre. ACT is also equipped instructs throughout the United States and Chris Walker (Sound Designer) Chris is very with the Williams Sound® Audio Equipment, abroad but calls Seattle home. Nadira has also pleased to be returning to ACT, where his work which amplifies stage sounds with the aid been featured on several performance and was most recently heard in Oslo last season. In of headsets (ask staff for assistance). ASL instructional DVDs and has a solo instructional Seattle, Chris has created sound designs at the interpreted performances for the Mainstage DVD. For more info, please visit www.nadira.com. 5th Avenue Theatre, Seattle Repertory Theatre Season are offered at least once per play (check and the Intiman Theatre. He has been the resident the website or contact the Ticket Office for ASL Rose Pederson (Costume Designer) People sound designer at Seattle Children’s Theatre since dates). Wheelchair seating is also available. of The Book marks the 30th production that 2002. Previously he spent seven years as resident Rose has designed at ACT. Other productions sound designer for the American Repertory Lost & Found include Tribes, The Royale, The Price, Middletown, Theatre in Boston. He’s designed for regional Call 206.292.7676 between 12:00pm and The Invisible Hand, and Uncle Ho to Uncle Sam. theatres in San Francisco, Los Angeles, San 6:00pm, Tues–Sun. Other local credits include: West Side Story, Diego, Phoenix, Houston, Chicago, Philadelphia, Address & Website Mamma Mia, Pajama Game and How To Succeed Washington D.C., and New York. Internationally, ACT is located at in Business Without Really Trying at The 5th. his sound designs have been heard in Taiwan, 700 Union Street, Seattle, WA 98101. Broadway: Largely New York; plus The Kennedy Singapore, and Moscow. Commercially, he’s Ticket Office Phone: 206.292.7676. Center. Regional: Seattle Repertory Theatre composed for Intel and Starbucks. He holds Administrative Office Phone: 206.292.7660. (47 plays total) including Roz and Ray, View From a B.F.A. in Classical Piano Performance from Fax: 206.292.7670. The Bridge, Outside Mullingar, Red and Road to Cornish College of the Arts. Website: www.acttheatre.org. Mecca; New Century Theatre: Festen; Mark Taper Forum: Nickel and Dimed; Berkeley Repertory Special thanks to our consultants for People of Theatre Rental Theater: The Importance of Being Earnest; the Book: Kareem Fahmy, Tara Cox-Britton, and For information regarding booking, Intiman Theater; Arizona Theater Company: Jeb Wyman. contact [email protected]. La Malinche; Idaho Shakespeare Festival: Othello; as well as Portland Center Stage, Artists Repertory ACT operates under agreements with Group Sales Theatre, Seattle Children’s Theatre, Playmakers the following: Groups of 10 or more can save. Call 206.292.7674 or Repertory Company, and The Merc Playhouse. email [email protected]. Shawn Ketchum Johnson (Scenic Please be considerate and keep personal Designer ) Shawn is a Texas-based theater fragrance to a minimum. maker. His expertise in site-specific and devised performance keep him linked to innovative, socially-engaged ensembles throughout the This theatre operates under an agreement country. Recent Seattle projects include the between the League of Resident Theatres world premiere of Time to Tell, an original, and Actors’ Equity Association, the Union of hybrid performance piece presented by ACTlab Professional Actors and Stage Managers in at ACT Theatre. Seattle scenic designs include the United States.

A–8 ACT – A Contemporary Theatre CELEBRATING 50 YEARS OF IMPACT $84 million granted | 240 organizations supported

Thanks to our donors for 50 great years. Join us in shaping the next 50.

2019 INDIVIDUAL AND FOU NDATION DONORS ARTS BENEFACTOR CIRCLE DONORS — GOLD CLUB $50K AND UP JOSHUA GREEN FOUNDATION; MARY PIGOTT; PETE AND JULIE ROSE $25,000 - $49,999 JUDI BECK AND TOM A. ALBERG; ALLAN E. AND NORA DAVIS; KATHARYN ALVORD GERLICH; PAT AND MARY ELLEN HUGHES; JOHN GRAHAM FOUNDATION; SANDY MCDADE; MOCCASIN LAKE FOUNDATION; NEUKOM FAMILY; NORCLIFFE FOUNDATION; NORMAN ARCHIBALD CHARITABLE FOUNDATION; MRS. THEILINE SCHEUMANN; MARY SNAPP AND SPENCER FRAZER CONDUCTOR’S CIRCLE $10,000 - $24,999 CHAP AND EVE ALVORD; STEVE BEHNEN AND MARY HORNSBY; CARL AND RENEE BEHNKE; JOHN E.Z. CANER, M.D.; JIM AND GAYLEE DUNCAN; ELLEN FERGUSON; WILLIAM FRANKLIN; PETER AND PEGGY HORVITZ; JON AND MARY SHIRLEY FOUNDATION; DEBBIE KILLINGER; THOM AND GWEN KROON; CHARLOTTE LIN AND ROBERT PORTER; ANTHONY AND ERICA MILES; ALISON AND GLEN MILLIMAN; THE NANCY D. ALVORD FUND; JUDY PIGOTT; CAROL AND DOUG POWELL; STEPHEN P. AND PAULA R. REYNOLDS; FAYE SARKOWSKY; SEQUOIA FOUNDATION; JAMES AND KATHERINE TUNE; ANN P. WYCKOFF; ANONYMOUS (1) FIRST CHAIR $5,000 - $9,999 MICHAEL AND ANNE BENTLEY; CHERYL CLARK AND STEPHAN COONROD; DAVID CORRY; BILL AND BECKY CURRY; SAYANTANI MUKHERJEE AND MAYUR DESHPANDE; REBECCA S. ENGRAV AND JOON-HO YU; KEVIN AND LYNNE FOX; LYNN AND BRIAN GRANT FAMILY; THE LENORE HANAUER FOUNDATION; THE HUGH AND JANE FERGUSON FOUNDATION; KAREN KOON; LOEB FAMILY CHARITABLE FOUNDATION; DANA AND ROGER LORENZE; MARIA MACKEY; BLANCHE AND STEPHEN MAXWELL; ALEXANDRA MERTENS; HERB AND LUCY PRUZAN; ANN RAMSAY-JENKINS AND THE WILLIAM M. JENKINS FUND; BRAD SMITH AND KATHY SURACE-SMITH; LYNN HUBBARD AND DAVID ZAPOLSKY ENCORE $2,500 - $4,999 ROBERT ACHILLES AND BRIAN SMITH ; KIM A. ANDERSON; BOB AND CLODAGH ASH; ANTHONY AND KUMI BARUFFI; JOHN H. BAUER; BRAD AND CARLA BERG; ALAN BRUGGEMAN; SUE AND ARTIE BUERK; C. KENT AND SANDRA C. CARLSON; THEODORE AND PATRICIA COLLINS; LAURA CORVIDAVE DAGGETT; PATRICK AND MARLEEN DINEEN; RAY HEACOX AND CYNTHIA HUFFMAN; RICHARD AND MARILYN HERZBERG; ERIN AND RICHARD HOBSON; DAN AND CONNIE HUNGATE; JANET WRIGHT KETCHAM FOUNDATION; KAREN AND RICK MCMICHAEL; LIAM LAVERY AND YAZMIN MEHDI; DOUGLAS E. AND NANCY P. NORBERG; TERESA AND BILL PREDMORE; LEIGH AND LOUISE RABEL; STAN AND INGRID SAVAGE; KEITH SCHREIBER AND CLARE KAPITAN; MAGGIE WALKER

2019 CORPORATE DONOR LIST $10,000 - $24,999 4CULTURE; CHIHULY GARDEN AND GLASS; COLUMBIA BANK; THE COMMERCE BANK OF WASHINGTON*; DAPPER + ASSOCIATES; DAVIS WRIGHT TREMAINE LLP*; THE DORSEY & WHITNEY FOUNDATION*; FLATSTICK PUB; HD FOWLER; K&L GATES*; KING COUNTY; MITHUN*; NHL SEATTLE; NORDSTROM, INC.; R.D. MERRILL COMPANY; REALNETWORKS FOUNDATION; SOUND; U.S. BANK FOUNDATION; UNION BANK $5,000 - $9,999 ALASKAN COPPER & BRASS COMPANY AND ALASKAN COPPER WORKS; ERNST & YOUNG LLP; FOX ROTHSCHILD LLP; GETTY IMAGES*; HOWARD S. WRIGHT, A BALFOUR BEATTY COMPANY; HYATT REGENCY SEATTLE, A HEDREEN PROJECT; KEYBANK; KING 5 TELEVISION; MOSS ADAMS LLP; PUGET SOUND BUSINESS JOURNAL; SAFECO INSURANCE; SEATTLE BANK; SEATTLE OFFICE OF ARTS & CULTURE

*includes employee workplace giving campaigns

$350,000 and up $100,000–$349,999 $75,000–$99,999 $50,000–$74,999

$25,000–$49,999

* Support from Microsoft Corporation, The Boeing Company, Sellen Construction, Perkins Coie, To learn more visit artsfund.org and Stoel Rives LLP includes employee workplace giving campaigns. DESIGN BY Dapper + Associates

PHOTO CREDITS: Village Theatre Mainstage, String, photo by Mark Kitaoka; Symphony Tacoma, Maestra Sarah Ioannides, photo by Lisa Blackmore; Seattle Art Museum, Remix, photo courtesy of Seattle Art Museum; Broadway Center, Fame Jr., photo by Lisa Monet; Seattle Men’s Chorus and Seattle Women’s Chorus, Not In Our Town, photo by Rick Wong; Earshot Jazz, 2018 Earshot Jazz Festival, Nathan Breedlove, photo by Daniel Sheehan; Arts Corps, Arts Liberation & Leadership Institute 2017, photo by Amy Pinon. producers CIRCLE Visionary Producers ACT partners Nancy D. Alvord *^~ BE A part OF THE art Leslie Ray & Michael Bernstein * Katharyn A. Gerlich *^ act graciously thanks and recognizes the many Gary & Parul Houlahan *^ individuals and families investing in our mission. True-Brown Foundation ^ our community and cultural life are better for your Chuck Sitkin *^ participation. your continued generosity inspires and motivates — ThAnk you! Luminary Producers Chap & Eve Alvord Brad & Linda Fowler *^ executiVe Producers Elias & Karyl Alvord James Degel & Jeanne Berwick Jean B. Falls * Eric & Margaret Rothchild ^ Gian-Carlo & Eulalie Scandiuzzi ^ Donald & Goldie Silverman ^ Photo by Chris Bennion Anonymous creatiVe Producers Larry & Joan Barokas ^ Ted & Linda Johnson George & Linda Ojemann Allan & Nora Davis ^ Patricia Daniels & Bill Kuhn *^ Deborah Person Justin & Delaney Dechant Gregory & Diane Lind ^ Sarah Pierre-Louis Cherry Tinker & Bob Dowdy David Litwack Douglass & Katherine Raff ^ Dr. Tove Ryman & Rayner D’Souza Jim & Cheri Minorchio Teresa Revelle * Charles T. Fitzgerald *^ Furman & Susan Moseley Dr. Larry Hohm & Karen Shaw ^ Ira & Courtney Gerlich Tim Mulligan & Sean Murphy Fred Stark Ellen & John Hill Erika J. Nesholm David & Shirley Urdal ^ Cynthia Huffman & Ray Heacox Dr. Arnie & Judy Ness *^ Lawrence & Mary Ellen Hughes Douglas & Nancy Norberg sustaining Producers Eric Taylor & Sheena Aebig Peter & Fran Bigelow ^ Judith & Ben Simmons Allan & Anne Affleck ^ Natalie Gendler ^~ Angela Stowell Dr. Eric Bennett ^ Norman & Lisa Judah Ethan Stowell Jack Lauderbaugh & Laurie Besteman *^ Eugene & Donna Mikov Jean Walkinshaw

This list reflects donations made to the Annual Fund between January 1, 2018 and December 31, * ACT Legacy Society member 2018. ACT works to maintain our list of donors as accurately as possible. We apologize for any ACT for the Future donor misspellings or omissions. Should you find any, please contact our office so that we may correct any ^ mistakes in future publications. Email [email protected] or call 206.292.7660 x1330. ~ Deceased

A–10 ACT – A Contemporary Theatre ACT partners BE A part OF THE art

act graciously thanks and recognizes the many individuals and families investing in our mission. our community and cultural life are better for your participation. your continued generosity inspires and motivates — ThAnk you! Photo by Chris Bennion actors CIRCLE

Benefactors Warren & Anne Anderson Lori Eickelberg Dana & Nicholas Masington Shelley Schermer Walter & Melinda Andrews Eleanor & Jeff Freeman Richard & Leanne Reel Vijay & Sita Vashee Sonya & Tom Campion Denise & David Foster Vishal Nigam & Carrie D. Rhodes Jean Viereck Sallie Chaney James & Barbara Heavey Jean A. Rhodes Michael Crystal Norma & Leonard Klorfine Donald & Jo Anne Rosen Stephen & Kathy Dewalt Jane & James Lyons ^ Faye Sarkowsky imPactors Shawn Aebi Anne Middleton Foster John & Laurel Nesholm Tammy Talman Kermit & Danna Anderson ^ Julia & Michael Herschensohn Judy G. Poll Robert Elliot & Margaret Taylor Kendall & Sonia Baker Dale & Donna Holpainen Suzanne Ragen ^ Nancy & David Thacher Rebecca Benaroya Dan & Connie Hungate Ken Ragsdale Jim & Kathy Tune Alan & June Brockmeier Howard Wright III & Kate Janeway Nicholas & Yvonne Roberts Judith Warshal & Wade Sowers * Patricia & Theodore Collins Brad Edwards & Karen L. Koon Evelyne Renee Rozner Nicholas Hart & Jennifer Weis Dennis & Deborah DeYoung Ann McCurdy & Frank Lawler Barry & Colleen Scovel ^ Kathy & Chic Wilson Susan L. Ehlers Naomi & Yoshi Minegishi Warren & Nancy Smith Patricia Fearey Mark & Susan Minerich Rose and the late John Southall * Richard, Angela & Ian Finlay Sally A. Nelson Ron & Carol Sperling actiVists Ali & Robert Alexander Ellen Le Vita & Craig Davis John Langs * Ann Ramsay-Jenkins Tatum Kerr & John Archer Kathy & Don Decaprio John O’Connell & Joyce Latino Joe Schwartz Marge & Dave Baylor Susan & Lewis Edelheit Randy Lee & Mari Hooten Lee Don Ferguson & Sheila Smith Susan Leavitt & William Block Gary & Penny Ferguson Barrie Carter & Eileen Lennon Mark & Arlene Tibergien Corinne A. Campbell Dr. William Calvin & Alice Mailloux Mary Lou & Dirk Vanwoerden Frank & Denise Catalano Dr. Katherine Graubard David Mattson * Mary & Donald Wieckowicz Dennis & Aline Caulley Rhonda & Jim Greer Marcella McCaffray George & Colleen Willoughby Cecilia Cayetano Margaret Haggerty Franny & Casey Mead Rebecca & Rob Witmer * Thompson & Karen Challinor Ross & Kelsey Henry Sarah B. Meardon Kyoko Matsumoto Wright Hugh & Suzanne Clark Stephanie M. Hilbert *^ Dale Brown & David Moss Ann P. Wyckoff Clement Family Foundation Sara C. Hoppin Beth Amsbary & James Nichols Anonymous Trevor Cobb ^ Dr. Grady & Heather Hughes Chris & BJ Ohlweiler Todd & Sylvie Currie Keith Schreiber & Clare Kapitan Donald Pogoloff

encorespotlight.com A–11 players CIRCLE

Lead PLayers Aaron Anderson Eric Mattson & Carla Fowler Thomas & Rhoda Lawrence Catherine & Thurston Roach Mary Ann Dot Fuller Steven & Anne Lipner Michelle & John Rosenthal Jean-Loup & Diane Bae Terry Gaddis & Lucy Gaskill-Gaddis Hector Lizardi Barbara Sando Don Beaty Sergey Genkin David Longmuir Harold Sanford Hugh & Rebecca Bergeson Hellmut & Marcy Golde Theodore & Mary Ann Mandelkorn Patrick & Karen Scott Philip Brazil Constance Gould Marcella McCaffray Kathryn Shields Judith Frey & Flick Broughton Erin West & Matt Grabowski Janet Westin & Mike McCaw Barbara & Richard Shikiar Bruce T. Burger Robert Greco Carol McDonald Mika & Jennifer Sinanan Maxwell & Mindy Cameron Vera Kirichuk & Alexander Grigorovitch John & Gail Mensher Ronald Spaulding Sandra & C. Kent Carlson Lawrence & Hylton Hard Nancy & Charles Mertel Francia Russell & Kent Stowell Alicia & Jeffrey Carnevali Dr. Benson Harer Susan Trapnell & Erik Muller Isabel & Herb Stusser Michael Moody & Martha Clatterbaugh Jill & Rodney Hearne Mary Ann & Bill Mundy John & Barb Sutherland Kimberly & Peter Cleworth Heinrich-Dahlheimer Donor Advised Fund Lauren Mikov & John Muhic Norm & Lynn Swick Susan Colligan Marjorie K. Hemphill Craig & Deanna Norsen Judith Jesiolowski & David Thompson Robert Coneybeer Ronnie Henderson Kristin Olson Andrea & Bob Watson Jamila Conley Sara C. Hoppin Cynthia & Bruce Parks Eric Weber Carl Bunje & Patricia Costello Cheri Brennan & Tom Horsley Harry Reinert & Cecilia Paul Matt Aalfs & Alys Weinbaum Kristen Crider Susan & Philip Hubbard Dr. Greg Perkins Nancy Weintraub Janice Dilworth & Greg Denton C. David Hughbanks Chuck Perry Jay & Linda Willenberg Kathleen Smith-Dijulio & Don Dijulio Steven & Patricia Kessler Andrea Rabinowitz Robert Kakiuchi & Keela Williams Hal Opperman & Jolynn Edwards Annemarie Riese & Terry Kisner Matthew & Linda Radecki Barbara J. Williams Joanne R. Euster, Ph.D Jim & Jean Kunz David Ragozin Dianne & Douglas Wills Teresa Irene Ferguson Kristen Lance Connie Redmond Scott & Shirley Wilson John Aylward & Mary Fields Max & Shawn Langley Cecilia Paul & Harry Reinert Diane & John Yokoyama Carol Finn Paul & Linda Larson Cindy & Lance Richmond Anonymous

THE act legacy society

ACT patrons who continue to support and ensure the ongoing tradition of presenting the best contemporary theatre for future generations through estate planning, wills, and living trusts. Investments of all sizes can make significant future gifts by using tax-advantaged estate and financial planning options. Specific areas where ACT can benefit from your legacy are scholarships, endowments, capital projects, or operating costs. Questions or arrangements can be discussed with our Development Department at 206.292.7660 x1330.

Ellsworth C. Alvord Jr. Trust Stephanie Hilbert Dr. Arnie & Judy Ness Leslie Ray & Michael Bernstein Gary & Parul Houlahan Don Paterson Laurie Besteman Suzanne Howard Lisbeth Pisk Philip Brazil Ed Hutsell & Kathy Whitten Teresa Revelle Marite Butners H. David Kaplan Chuck Sitkin Jean Chen Carolyn Keim & Connie Rinchiuso GregRobin Smith Linda J. Clifton Bill Kuhn & Patricia Daniels Rose & the late John Southall James C. Egbert David Mattson Judith Warshal & Wade Sowers Jean Burch Falls Mike McCaw & Janet Westin Dorothy E. Wendler Charles Fitzgerald Catherine & Barry McConnell Normon & Karyl Winn~ Linda & Brad Fowler Stephen McCoy & Larry Henderson Rebecca & Rob Witmer Tal & Carol Godding Norman D. Miller~ John Langs

A–12 ACT – A Contemporary Theatre players CIRCLE

PrinciPaL PLayers Gwendolyn Lundberg & David Aggerholm • Francois Ajenstat • Bob & Sarah Alsdorf • Connie Anderson & Tom Clement • Gilbert & Mary Jane Anderson • Jan Anderson • Michael Anderson • Renate & Croil Anderson • Jane & Brian Andrew • Basil & Gretchen Anex • Ray and Edith Aspiri • Adel Assaad • Diane & Jean-Loup Baer • Karl Banse • Mark Barbieri • William & Diana Baron • Peter & Jane Barrett • Dr. J.B. Bassingthwaighte • Regina & William Bear • Kenneth Bedsted • Ruth & Greg Berkman • Luann & Irv Bertram • Evette Ludman & Dennis Birch • Anatoliy Rychkov & Stephanie Bird • Luther Black • Gail & Randy Bohannon • Cleve & Judith Borth • Betty Bottler • Wendy Bradbury • Andrew Brandon-Rumman • Michael Breeden • Marwan Kashkoush & Phoebe Brockman • Dorothy & Dale Brown • Farrell & Susan Brown • Dr. James & Donna Brudvik • Marc Coltrera & Anne Buchinski • Carol & Jonathan Buchter • Margaret Bullitt • Judith Callahan & John Van Bronkhorst • Mike Gerke & Susan Campbell • John & Arlene Carpenter • Mary Casey-Goldstein & Steve Goldstein • Michael & Sally Cassidy • Michelle & Frank Chiaciere • Andrew & Lorna Chin • Deborah Christensen • Trisa Clemons • Judy & Bob Cline • Dorothy Cole • Zan & Stephan Collier • Tom & Susan Colligan • Ellen & Phil Collins • Scott Collins • Jamila Conley • Richard Conway & Susan Williams • Rodney Cornwall • Jan & Bill Corriston • Bill & Marilyn Cranston • Linda Crome • John & Catherine Crowley • Chris Curry • Andrea Dahlke • Paul & Sandy Dehmer • Dottie Delaney • Ron & Jan Delismon • Paula Diehr & Frank Hughes • Eva & Gary Dines • Barbara Dingfield • Darrel & Nancy Dochow • Edyth Drebin • Gary & Manya Drobnack • Lauren Dudley • Kathryn Dugaw • Vasiliki Dwyer • Glenn & Bertha Eades • Amanda Ebbert & Kathryn Johnson • Shmuel El-Ad & Patricia Emmons • Lynne & Hollie Ellis • Kevin Wilson & Emily Evans • Dean & Lisa Falvy • Linda Feeney • Doug & Robin Ferguson • Gerard Fischer • Corinne Fligner & Mark Wener • Nallely Flores • John Forsen • Anne Foster & John Levesque • William T. Frantz • Lynn Frasier • Penny A. Freedman • Rick Freedman • Noreen & Phillip Frink • Ann & Donald Frothingham • Lucy Gaskill-Gaddis & Terry Gaddis • Neal Gafter • Maradel Krummel Gale • Jean Garber & Clyde Moore • Richard & Mary Beth Gemperle • Genevra Gerhart • Jerry Gilbert • Wilmot & Mary Gilland • Boyd & Ann Givan • Bruce & Peggy Gladner • Sara J. Glerum • Debra Godfrey & Jeffrey Sconyers • Catherine Gorman • Derek Storm & Cynthia Gossett • Claire Grace • Jim Graham • Dick & Jan Gram • Marilyn Gray • Drs. Verena & Basil Grieco • Susan Griffith & Drew Fillipo • Lyn & Gerald Grinstein • Jason Groce • Penelope Guntermann • Paul & Sheila Gutowski • Jerry & Sue Haas • Mike & Lisa Hagan • Valerie Hamrick & Randall Whiteside • Don Fleming & Libby Hanna • Michael Harris • Nancy R. Harris • Shelley & David Hartnett • Diana & Peter Hartwell • Geraldine Hashisaki & Frank Tubridy • Phyllis Hatfield • Lisa Haug & Amado Shuck • Leanne and Rick Hawkins • Richard & Susan Hecht • Jean Henderson • Lloyd Herman & Richard Wilson • F. Randall & Barbara Hieronymus • Pat Highet • Stephen B. Hilbert • Roger Hitzeman • Jim & Linda Hoff • Jo Anne & Alan Holt • Eric & Mary Horvitz • Charles Howard • Adrienne Howell • Susannah Iltis • Julia Ingram • Dean M. Ishiki • Mirka Jablonski • Wendy Jackson • Stu & Sandy M. Jacobson • Ann Janes-Waller & Fletch Waller • Susan & Fred Jarrett • Christine Jew • David B. Johnson • Ted & Kris Johnson • Zac Johnson • Dr. Ted & Darlene Johnsrude • Karen Jones & Erik Rasmussen • Joan E. Mathews Julnes • Stephen E. Kalish • Julia Kalmus • H. David Kaplan • Kirby Kauffman • John & Nancy Jo Keegan • Omie & Laurence Kerr • Lura & David Kerschner • Anthony Kidd • David & Karen King • Dr. Edward & Mimi Kirsch • Cathy Kitto • Cynthia Knoll • Weldon Ihrig & Susan Knox • Susan Kunimatsu & Gary Epstein • Jill Kurfirst • Christiane Laakmann • George Lachman • Edie Lackland • Bob & Janet Lackman • Brian A. LaMacchia • Martha Lambert • Sharon & Wayne Lamm • Healy Landis • Stephanie Langs • Steve & Kathlyn Langs • Bess Leavitt • Elizabeth Leber & Andrew Coveler • Ed & Barbara Lee • Martha S. Lester • Eyal Levy • Zehava Levy • Diane & Raymond Lewis, Jr. • Charlotte Lindsey • Lynda & Bob Linse • Arni Litt • James & Christina Lockwood • Phyllis Loeb • Mark P. Lutz • C. Gilbert Lynn • Dan & Carol Madigan • Kevin Maifeld • Sally Maloney • Jeffrey & Barbara Mandula • Dorothy H. Mann, Phd • Dr. Edgar & Linda Marcuse • Brooke Marjamaa • Bill & Holly Marklyn • Mark Mason • Susan Massey • Kristine Matthews • Elizabeth Maunz • Arthur Mazzola • Janet McAlpin • Rob McCann • Teresa & T.A. McCann • MaryBeth & Lorne McConachie • Catherine & Barry McConnell • Kathy McGoldrick • Catherine McGuire • Lora-Ellen McKinney • Dorene McTigue • Bob & Sue Mecklenburg • Eric Menninga • Mary Metastasio • Sharon Metcalf & Randy Smith • John Mettler • Tami & Joe Micheletti • James Moore • Wesley Moore & Sandra Walker • Sallie & Lee Morris • Jim Mullin • Annette & Gordon Mumford • John C. Narver • Sarah Navarre • Cindy & Ed Neff • Kristen Nesholm • Randall L. Newell • Karen & Saint Newton • Dan & Denise Niles • Sandra Olsen • Leslie & Mark Olson • Christine Opp • DJ Padzensky & Melissa Bloor • Devin Parry • Donald Paterson • Paul Bunn & Rebecca Patton • Susan Pazina • Lenore Pearlman • Susan Perkins • Jeff & Vicki Pettiross • Katie & Bruce Pieper • Toni Piquet • Molly Preston • Greg & Mandy Prier • Lucy & Herb Pruzan • Megan & Greg Pursell • Kristi Falkner & Darryn Quincey • Richard Radford • Daniel & Barbara Radin • Richard Rafoth • Raich-Jones Charitable Fund • Jeff & Pat Randall • Craig & Melissa Reese • Anne Reub • Jan & Kerry Richards • Annemarie Riese & Terry Kisner • Bruce F. Robertson • Drs. Tom & Christine Robertson • Morris & Gail Rosenberg • Natasha Rosenblatt • Lynda Rosendahl • Marc Rosenshein & Judy Soferman • Shawn Roth • Richard Andler & Carole Rush • Michael Sack • Lori Safer • Werner & Joan Samson • Estelle Scheetz • Betsy & Jason Schneier M.D. • Julie Schoenfeld • Scott Scholz • Alan & Susan Schulkin • Joe Schwartz • Sandra & Kenneth Schwartz • Mike Scully • David & Elizabeth Seidel • Mark & Patti Seklemian • Michael C. Shannon • Michele Sharar • Barbara & Steve Shaub • Bonnie Sheeran • Lynne & Bill Shepherd • Sonia Siegel Vexler & Paul Vexler • Bill & Marilyn Skelly • Julie Tokashiki & Tom Skerritt • Stephen Smith • Jeanne Soule • Isaac Spence • Stiliyana Stamenova • Margaret Stanley • Mindy Stern • Barbara Sternoff • Robert & Shirley Stewart • Kim Stindt & Mark Heilala • Margaret Stoner & Robert Jacobsen • Gary & Becky Streitmatter • Sally Sullivan • James Bushyhead & Christina Surawicz • Earl & Charlotte Sutherland • Constance Swank • Alexander & Lucy Sytman • Taucher Family Foundation • William & Patricia Taylor • Mary Terrell • Dennis M. Tiffany • Timothy Tomlinson • Kate Purwin & Sergei Tschernisch • MacKenzie Tuttle • Lorraine W. Vagner • Pieter & Tjitske Van Der Meulen • Sue & Jim VanLeuven • Suryam & Usha Varanasi • Moya Vasquez • Jorie Wackerman • Mary & Findlay Wallace • Judy & Mike Waring • Jerry Watt & Vreni Von Arx Watt • Jeff & Carol Waymack • Clifford & Karen Webster • Charles & Sally Weems • Jim & Sharron Welch • Joella Werlin • Adam Werner • Philip & Susan White • Kathy Whitten & Ed Hutsell • Walter & Jacqueline Williams • Tim & Elyse Wisner • Judith & Daniel Witmer • Susan Wolcott & George Taniwaki • Judith Woods • Nancy & Jerry Worsham • Henry Miyoshi & Susan Woyna • Virginia Wyman • In Memory of Leda Yolo • Nathan Young • Karl & Ellen Zahlis • Joyce & Christian Zobel • Igor Zverev & Yana Solovyeva • Anonymous (9)

SAVE-THE-DATE thursday, n oVemBer 7 act 4 th annuaL Legacy circLe Lunch ACT’s Legacy Society is a community of friends making a commitment to our future by recognizing ACT in their estate or long-range financial plans. Please let us know if you’ve included ACT in your plans so we can include you at this year’s lunch. act development office, 206.292.7660 ext 1330 or [email protected].

encorespotlight.com A–13 ACT partners BE A part OF THE art

ACT gratefully recognizes the following corporations, foundations, government, and media agencies for their generous support of our 2019 programs. This funding from our community supporters enables ACT to offer outstanding contemporary theatre for many audiences, educational programs for a variety of student participants, and our continued theatre partnerships in ACTLab.

Photo by Rosemary Dai Ross

PLatinum circLe Partners | $50,000+ 2019 season sponsors ArtsFund The Shubert Foundation Seattle Office of Arts and Culture goLd circLe Partners | $25,000–$49,999 4Culture The Boeing Company John Graham Foundation The William Kenan Charitable Trust National Endowment for the Arts (NEA) Nesholm Family Foundation

siLVer circLe Partners | $10,000–$24,999 ArtsWA — WA State Arts Commission act for the future The Elizabeth George Foundation Freestone Capital Management Grousemont Foundation Harvest Foundation HomeStreet Private Bank Wyman Microsoft Youth Trust The Morgan Fund at Seattle Foundation Peg & Rick Young Foundation Treeline Foundation act’s young playWrights prograM (ypp) 2019 supporters Tuxedos & Tennis Shoes+ ArtsWA — The Washington State Arts Commission Bronze circLe Partners | $4,000–$9,999 NEA — National Endowment for the Arts Ameriprise Financial The Elizabeth George Foundation Cortina + Grousemont Foundation The Lester & Phyllis Epstein Foundation Harvest Foundation Fox Rothschild, LLP McEachern Charitable Trust McEachern Charitable Trust Fales Foundation Precept Wine+ Jeffris Wood Fund coPPer circLe Partners | $1,000–$3,999 City of Burien — Cultural Arts Division Badgley Phelps Wealth Managers City of Burien — Cultural Arts Division The Commerce Bank F5 Networks 2019 Media sponsor Fales Foundation Jeffris Wood Fund Italics indicate 10+ years of support | + indicates in-kind support Wyman Youth Trust

A–14 ACT – A Contemporary Theatre FRIDAY OCT 4 6PM

BUY TICKETS AT ACTTHEATRE.ORG

700 UNION ST, SEATTLE

encorespotlight.com A–15 ACT A Theatre of New Ideas ACT Board of EMERITUS COUNCIL FINANCE AUDIENCE SERVICES SCENIC DEPARTMENTS Richard C. Clotfelter Sheila Smith Miranda Swineford Derek Baylor† Trustees Esther Schoenfeld Director of Finance Audience Services Manager Technical Director Gary Houlahan Sandi Hogben Robert Billups Jr. Nick Murel Chair A Contemporary Payroll Coordinator Amber Granger Assistant Technical Director Chuck Sitkin Liz Camelia Monika Holm Amanda Quinn Immediate Past Chair Theatre Senior Accountant Peter Sakowicz Master Scenic Carpenter Audience Services Leslie Ray Bernstein Foundation Mike Sterkowicz Vice Chair DEVELOPMENT Lexi Hamill Scenic Carpenter Board Lead Event Manager Michael Crystal Michael Breeden Jeff Scott Kermit Anderson Treasurer Director of Development Bill Abelson Scenic Charge Artist President Renee Boehlke Erika Nesholm Jill Robinson Lisa Bellero† Brad Fowler Darian Clogston Secretary Development Officer Assistant Charge Artist Vice President Kate German Matt Aalfs Megan Brewer Sandy Leonard Will Widick Katherine Raff Joan Barokas Development Coordinator Alice Palatnick Properties Master Secretary Eric Bennett Marilyn Peneff Carrie Campbell Ken Ewert† Laurie Besteman Don Paterson Blake Simpson Institutional Funding Manager Master Properties Artisan Bob Dowdy Treasurer Gabrielle Turner Joceline Hitchcox-Lain Xaveira Vandermay Thomas Verdos† Rayner D’Souza Trevor Cobb Development Coordinator Andy Walker Lead Properties Artisan Charles Fitzgerald Michael Crystal Claire Eisenfeld Audience & Event Service Dr. Michael Herschensohn Gary Houlahan Individual Giving Manager Stephanie Hilbert Jim Minorchio Andrew Creech STAGE OPERATIONS Cynthia Huffman Cindy Richmond Closed Caption Supervisor Nick Farwell† Diane Lind Chuck Sitkin MARKETING, SALES, Stage Operations Supervisor Bill Kuhn Bill Abelson AND COMMUNICATIONS † Lauren Mikov Darian Clogston James Nichols Amy Gentry Naomi Minegishi Allexa Laycock Master Stage Carpenter ACT Staff Director of Sales & Marketing Closed Caption Operators Tim Mulligan Pam Mulkern† Judy Ness Teresa Rende Johnson Christine Jew Master Electrician Dr. George Ojemann EXECUTIVE Senior Marketing Manager Volunteer Coordinator Max Langley† Sarah Pierre-Louis John Langs Amelia Peacock Master Sound Engineer Artistic Director Teresa Revelle ACTLab Marketing Manager PRODUCTION Margaret Rothchild Brittany Lawrence Becky Witmer Alyssa Montgomery† Karen Shaw Jose “Jojo” Abaoag ACTLab Technician Managing Director Production Manager Goldie Gendler Silverman Press and Promotions Associate Tom Bardwell Sharyn Skeeter Julia Luna Meaghan Darling FOR THIS PRODUCTION Executive and Artistic Manager Production Associate Dr. Larry True Digital Communications Associate Dale Kilpatrick Dawn Schaefer Katie Burnett Joe Leporati ARTISTIC Graphic Design Associate ACTLab Production Manager Ari Lidz ACT Advisory Margaret Layne† Overhire Scenic Carpenters Director of Casting Chris Bennion Council Production Photographic Services COSTUME DEPARTMENT Cedric Wright Samie Detzer Sheena Aebig Amanda Mueller Props Overhire Literary Manager Christa Fleming Daniel D. Ederer Graphic Design Services Costume Shop Manager Jean Burch Falls Tracy Hyland Star Zatine Cora Brown Jeannie M. Falls Education and Engagement Telesales Manager Draper John H. Faris Manager Susanne R. Sherman Kathryn Alvord Gerlich Irwin Michelman Riley Gene First Hand Brad Fowler Young Playwrights Program Deborah Pryor † Carolyn H. Grinstein Administrator Direct Sales Sally Mellis Sara Comings Hoppin Adam Vanhee Wardrobe Master C. David Hughbanks Ricky Spaulding Brooke Morrison Front Office Representative Courtney Kessler-Jeffrey Kate Janeway Wardrobe Jonathan D. Klein Brian Dang Gail Baraff Jane W. Lyons Literary Interns Ticket Office Manager Gloria A. Moses Holly Butterfield Nadine H. Murray ADMINISTRATION Ticket Office Assistant Manager Douglas E. Norberg Ashley Lemmex Nicole Song Kristin G. Olson Operations Manager Allexa Laycock Donald B. Paterson Rica Wolken Brittany Peters Eric Pettigrew IT Director Grace Helmcke Pamela Powers Nathan Smith Katherine L. Raff Martin Sisk Ticket Office Leads Suzanne Ragen Data Resources Manager Sandy Leonard Catherine Roach Tuxedos and Tennis Shoes Greg Cochran Jo Anne Rosen Catering Ticket Office Representatives Faye Sarkowsky Bar and Concessions Carlo Scandiuzzi David E. Skinner York Building Services, Inc Susan Trapnell Janitorial Services Brian Turner AC/R Services George V. Willoughby Engineer Jane H. Yerkes

† Denotes staff member has worked at ACT for 10 years or more t Member of ACT’s Core Company

A–16 ACT – A Contemporary Theatre FEATURE

The touring cast of Broadway’s Charlie and the Chocolate Factory with adults playing all characters except Collin Jefferey (Charlie).

Why Aren’t Young Characters Always Played by Young Actors?

by HANNAH SCHOETTMER

When we go to see a play or musical, we expect to enter in the media, be it on the silver a world of suspended reality. For this reason, watching screen or live on stage. And across genres, the casting age gap is adults perform the roles of children may not register as startlingly prevalent. There are strange in the moment. But after the show we may ask some obvious reasons for this— teenagers are often gangly and ourselves, for what purpose are adults cast in much awkward, and by casting people younger roles? in their mid- or late twenties, the acne and braces can be edited out The infamous teen flick/cult In the movie, the character is 16— without any post-production or classic Mean Girls follows Cady that’s a nine-year age difference. makeup department headaches. Heron, a high school student who In the warp speed of puberty, But there are also some troubling has recently moved from Africa to that’s a “totally bogus” gap. implications—for one, age disso- an American public high school. Huge age gaps between actors nance in casting can set a standard There she meets “the Plastics,” a and the characters they play isn’t of beauty that is nigh impossible group of mean girls who rule the an isolated trend—think of almost for many teens to achieve, which school. Hijinks ensue. The key any smash hit starring teens and can contribute to long-term issues concepts here are not the hijinks, the actors will be in their twenties, with body image and/or self esteem but the high school setting. The occasionally even pushing 30. for the kids in the audience. Also, ringleader of the malicious Plastics, These casting age gaps are in no there’s the chance that the age gap Regina George, was played by a way exclusive to TV and movies. can impact the ability of an actor then 25-year-old Rachel McAdams. Kids and teens are everywhere to capture the youth experience JOAN MARCUS JOAN

encorespotlight.com 9 The cast of the original Broadway production of The 25th Annual Putnam County Spelling Bee, which was also a full cast of adults playing the grade school characters.

accurately—if older bodies are Bee, Marcy is a grade schooler. Ivie also pointed out an unfortu- playing younger people, the “Anyone, at any age, can play nate stigma in theatre, especially chance for an actor to play a role those child-like characteristics,” musical theatre, against produc- in telling their own story is lost. Matoba said. “A lot of us feel like tions that feature predominantly A lot of a character’s impact, kids sometimes . . . if you can tap young actors. It’s different than however, depends on the actor. into that, then it doesn’t really in TV or film, where there are Brynn Williams, a Broadway matter what age you are.” While a variety of critically acclaimed actress who starred as Sandy in she acknowledged that the casting shows featuring young actors— Spongebob Squarepants: The Musical, of older people as younger char- think Stranger Things. But on stage, is currently touring the country acters can impact audience per- it’s different. For one thing, “as with Broadway’s Charlie and the ception, she felt that “everyone soon as you see a kid on stage, Chocolate Factory. She plays Violet knows that you’re not a kid, but you think about Annie,” Ivie said. Beauregarde, a bratty twelve-year- they’re there with you for that As well as other associations to old with a penchant for blowing hour and a half of the show.” “cheesy, corny musical theatre.” bubblegum and spitting snark. In theatre, one must check a These stigmas color the casting Williams said that in taking on her certain amount of realism and decisions made in shows, as pro- role as Violet, she not only alters disbelief at the door to engage ductions that feature kids are cate- her speech patterns and energy, with the medium, so adults gorized as “family shows” or pieces but even the small details—like taking on bite-sized roles can of fluff, rather than being treated the way she’s standing—in order be considered along as part of as valid, respectable productions. to accurately capture the essence that. However, it does raise the But every production is different. of a kid. “The Golden Ticket win- question—why are adults cast in In Charlie and the Chocolate Factory, ners have qualities that transcend these roles in the first place? for example, the role of Charlie is age . . . who are very prideful or Brandon Ivie, the director of the played by age-appropriate actors— very greedy,” she stated. “What upcoming Spelling Bee, felt that he three of them, in fact, all of whom we [actors] do is we take that needed people who could “play play the role on different nights. energy and put it in a kid form.” child-like characters...but still Williams said the age dissonance In this role, Williams felt that keep it grounded in some kind between the casting of Charlie and having a child played by an adult of reality.” He said that he treats the other kids in the play helps to actor is beneficial. “People are more casting the child roles just like any emphasize the good qualities pos- forgiving of kids,” she said. “If a other, and that to cast somebody sessed by Charlie, which are often kid is being nasty, there’s a little who couldn’t take the role of a kid associated with kids in general— more tolerance that goes along with seriously would damage the pro- innocence, goodness and a sense it. If [the Golden Ticket winners] duction’s credibility as a whole. of wonder. The casting also serves are played by adults, it really zeros When asked what he was looking to contrast those good things with in on how this isn’t okay behavior.” for in casting the show, Ivie said, the negative quirks and traits Arika Matoba, who will play “adults that have a youthful energy of the other kids, who are all, in Marcy Park in Village Theatre’s to them, a joy, an optimism, with- their own unique and terrible way, upcoming production of The 25th out being caricaturish or juvenile bratty, spoiled and generally rotten. Annual Putnam County Spelling Bee, or . . . treating the material and Also, Williams said the age gap had similar feelings. In Spelling characters as ‘lesser than.’” among the actors helps to amp JOAN MARCUS JOAN

10 THE OBIE AWARD WINNING SMASH up and emphasize Charlie’s cute- HIT PLAY! ness factor. So in this case, there are young actors involved in a LEAH ADCOCK-STARR production largely populated by Directed by young characters, but the kids are By LUCAS HNATH cast deliberately, with awareness of the impact that the age gap in casting can have on the audience. Given that theatre is a medium inherently reliant on a suspension of disbelief, the casting of adults in these young roles, when done with thought and care, can actually have a positive impact on the production. It’s important to acknowledge that there can be harmful impacts to age dissonance in casting—it all depends on the needs of an October 3 - 26 Performed in a church near you! ponyworld.org individual show and role. So next time you see a kiddo or a teen played by somebody clearly pushing 30, think carefully before you chuckle—is this casting beneficial to the production? Is there a reason a kid isn’t up there? The casting dissonance is probably an intentional decision, so ask yourself— does the casting work for the show? If it does, maybe the whole thing isn’t “totally bogus” after all. ■

Hannah Schoettmer is a senior at Interlochen Arts Academy. She is the founder and editor-in-chief of Butcher Papers, a youth-focused literary magazine, which can be found online at butcherpapers.org. She is also an active writer and participates in several other arts-centered activities around the city of Seattle.

This article was written on special assignment for Encore Stages through the TeenTix Press Corps, a program that promotes critical thinking, communication and information literacy through criticism and journalism practice for teens. TeenTix is a youth empowerment and arts access non-profit. JOAN MARCUS JOAN

encorespotlight.com 11 12 2 1 Intermission chance to win tickets to an upcoming performance. Better yet, send us your answer to the bonus question for a you could treat your brain to this scintillating trivia quiz. Why stare at your phone for the hundredth time today when D C B A punk” bandisHützthefront man? and Eugene Hütz.Ofwhich“gypsy in 2005andstarred ElijahWood wasmadeintofamily history afilm October 6.Safran Foer’s novel of by Book-ItRepSeptember 11– is Illuminated Safran Foer’s novel A stageadaptationofJonathan D C B A reward him? 2012. For which play didtheATCA Theatre CriticsAssociationin awarded aprize by theAmerican before, andoneofhisplays was El Guindihasworked withACT by Seattle’s ownYussef ElGuindi. Theatre willbe Running September6–29atACT DeVotchKa Kultur Shock Gogol Bordello Firewater in theNewWorld Pilgrims MusaandSheri The TalentedOnes Hotter Than Egypt Threesome will be performed will beperformed People oftheBook Everything

3 Brain Transmission answer to social media and tag @encorespotlight. tag and media toanswer social to [email protected] or post your line the subject in “Trivia Quiz” with answer your Email why? and best liked you that attended you performance arts last the was What BONUS D C B A which statewasDouglassborn? Lincoln wasborninKentucky. In strategies to wintheCivilWar. Lincoln asthey discusspolicyand Douglass andPresident Abraham author andorator Frederick This play depictsabolitionist, September 18through October 26. at TaprootCompany Theatre Sacrifices Necessary Indiana Maryland Massachusetts Virginia will play

This play Pilgrims Musa Musa Pilgrims 1.) d.— and Sheri in the New World. about immigration and assimilation won the Harold and Mimi Steinberg/ATCA New Play Award in 2012. 2.) b.—Gogol Hütz-led The Bordello. band’s contribution theto score, “Start Wearing Purple,” became well-known. c.—Maryland.3.) Born Fredrick Augustus Washington Bailey in Cordova, Maryland Douglassin 1818, changed his name to evade capture after escaping slavery.

LIBRARY OF CONGRESS; COLLECTION OF THE NEW-YORK HISTORICAL SOCIETY

SEATTLE REP’S PUBLIC WORKS DIALOGUE DIALOGUE

Angie Kamel Seattle Rep Teams Up with the Community to Put on a Show

by ROSEMARY JONES

We talk to Public Works Director Angie Kamel about how in general. Our partners vary. We Seattle Rep’s Public Works program centers on the joy of have seven partners at the moment theatre, and how it lives up to their motto: “theatre of, by, and some have been with us since 2016. Some of our participants, like and for the people.” Path with Art, create arts access for folks who are low or no income. Seattle Rep’s Public Works program company to be involved in commu- For the acting classes at Seattle is an ambitious attempt to create nity. Our Artistic Director Braden Central College, we are embedded theatre relevant to communities Abraham was interested in this type in classes. We work with Ballard and those within them. After suc- of work for some time. He was so NW Senior Center, Byrd Barr Place, cessfully launching with a citywide excited about [what New York had Jubilee Women’s Center, the Boys production of The Odyssey in 2017, done] and wanted to make it hap- & Girls Clubs of King County and, the program has provided work- pen. He and Marya Sea Kaminski most recently, Compass Housing shops, classes and conversations kept talking about the future of down in Redmond. At Compass we about theatre. This summer, they’re Seattle Rep here. Marya was inter- have a multigenerational group back to rehearsal as more than 100 ested in a similar type of work and with the youngest participant being community members prepare for [began the program at the Rep]. six and our oldest in her 70s. a musical version of Shakespeare’s In 2016, we held our first classes. As You Like It at the Bagley Wright What are some of the ways that you Theater in early September. How does the program work for spark conversation around theatre Seattle Rep and its partners? and the community? How did the idea for a series of community classes, dialogues and We are looking for deep, long-term We host a meal around every main- grand performance come about? relationships with members of our stage show, two potlucks a year, community and building relation- and find other ways to support Public Works began as a program ships with existing organizations. leadership of different organiza- at New York’s Public Theater for We host classes and special events tions. [One] of our goals is to build community-based theatre. It’s throughout the year to create an enough relationships so that we certainly a lovely way for a regional appreciation of theatre-making can get together in our upcoming LIBRARY OF CONGRESS; COLLECTION OF THE NEW-YORK HISTORICAL SOCIETY HISTORICAL NEW-YORK THE OF COLLECTION CONGRESS; OF LIBRARY WORKS PUBLIC REP’S SEATTLE

encorespotlight.com 13 Rehearsal of Seattle Rep’s Public Works’ The Odyssey. CALENDAR

season to create cross-cultural com- There’s also a bunch of community friendly or welcoming or comfort- munications and intergenerational groups who will be on stage. ing. The pros have learned so much connection—to have young people during the process of The Odyssey. from Boys & Girls Club building A big part of what we are doing is A lot of folks did not necessarily relationships with Ballard NW redefining theparticipation of know what it was going to be [until] Senior Center, for example. We want professional musicians. Regular once it happened and saw that this to emphasize human commonality musicians who work in musical is how we can do things differently and build ties across experiences. theatre as well as a number of to support the actors, the director cameo groups or feature artists and crew in a really beautiful way. How does the performance [are in the show]. We’re working That’s so incredibly good and valu- of As You Like It build those with a number of incredible able. Our director for As You Like It, relationships? groups like the Seattle Hand Timothy McCuen Piggee, brings joy. Drummers, Lucha Libre Volcánica His spirit is perfect for this work. It’s deeply rooted in the values and LQ Lion Dance. Local He talks about a big part of what and goals of the program. Musical puppeteer Sarah Lovett is loan- makes this show interesting is the theatre is a great opportunity for ing one of her rainbow serpents. bonds between family, chosen and joyful expression. This is theatre otherwise. How it’s about reconcili- for anyone who wants to participate So this is a big show and a lot ation, love and understanding. ■ and creates a big, dynamic, excit- of work. ing opportunity for people on the Seattle Rep’s Public Works’ As You Like It stage and in the audience. They get It’s fully costumed and with 100+ will play at the Bagley Wright Theater to exercise various aspects of their people needing costumes, our September 6–8. creativity. It’s not only members costume shop was moving full from our workshops and partner- speed ahead this summer. We ships. Beyond that we’ve opened want everyone in the show to get auditions to the general public the same level of respect as any Rosemary Jones has written about arts in our region who are interested artist who walks through door. and culture in the Pacific Northwest in the values of the work that we for the Cornish Magazine, Capitol are doing. There are five Equity What do the theatre professionals Hill Times, Encore, Examiner.com actors in the show, a number get out of this work? and others. Additional work can be of actors who participate in the seen at rosemaryjones.com. fringe scene and a number who There are ways that we produce feel a real connection with spirit. theatre that aren’t particularly JIM BENNETT/SEATTLE REP’S PUBLIC WORKS PUBLIC REP’S BENNETT/SEATTLE JIM ARENS UWE

14 JIM BENNETT/SEATTLE REP’S PUBLIC WORKS

UWE ARENS CALENDAR Seattle Rep SEPTEMBER 20–OCTOBER 26 Indecent TaprootCompany Theatre SEPTEMBER 18–OCTOBER 26 Sacrifices Necessary Seattle Symphony SEPTEMBER 14 & Gala Opening NightConcert Village Theatre SEPTEMBER 12–NOVEMBER 17 County SpellingBee The 25thAnnual Putnam Theatre Repertory Book-It SEPTEMBER 11–OCTOBER 6 Everything isIlluminated Seattle Rep SEPTEMBER 6–8 As You Like It ACT Theatre SEPTEMBER 6–29 People of theBook Explore a full-season performing arts calendaratencorespotlight.com. arts Explore afull-seasonperforming Upcoming Events Seattle Shakespeare Company OCTOBER 15–NOVEMBER 10 TempestThe GroupSeattle Theatre OCTOBER 9 Dessner’s Bryce Triptych Arts Meany CenterforthePerforming OCTOBER 1 Garrick Ohlsson Ballet Pacific Northwest SEPTEMBER 27–OCTOBER 6 Carmina Burana &Agon Children’sSeattle Theatre SEPTEMBER 26–OCTOBER 27 Black Beauty Seattle Symphony SEPTEMBER 26–29 at an Exhibition Mussorgsky Pictures Tacoma Live Arts SEPTEMBER 24–25 Rent September 26–29. at SeattleSymphony Schott performing Cellist DanielMüller arts &culture tickets. Teens canenjoy tons of affordable events It’s FREEtosignup teentix.org to thearts! Your ticket entitles youto$5 for thepassthat with TeenTix! encorespotlight.com 15 We’ve been expecting you Downton Abbey Opens September 20 SIFF Cinema Uptown

For Tickets and Info visit SIFF.net/DowntonAbbey