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EMG_07_Audience_1_12.indd 1 11/19/13 11:31 AM CONTENTS

MAY 2016 May 27–Jun 26, 2016

The Mystery of Love & Sex A1

A-1 Title Page A-2 Welcome to ACT A-3 Director’s Note A-5 About the Play A-7 Who’s Who A-12 ACT Partners A-16 ACT Board & Staff Photo Hayley by Photography Young

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ENCORE ARTS NEWS Visit EncoreArtsSeattle.com Sara Rose Davis, continued

What music gets you pumped up? What do you listen to when communication from everyone involved, both on the creative team you’re sad? and as part of the cast. For How To Succeed, I felt that our director, I love to listen to music I can sing along to. This usually means a female Bill Berry, was really great at making sure everyone was telling the singer or high tenor—I’ve found that if I cannot comfortably sing along same story and we were all living in the same world from set design to and belt out the songs, I won’t really get that into it. I love listening to costume design and musical direction. Same world, same story. To me an album until I know absolutely every single word. Before my shows that is the key. right now I’ve been listening to Demi Lovato. She’s incredible and her range is outrageous. What’s the most useful thing anyone’s ever taught you about I’ve also just barely started to scratch the surface on Lin-Manuel working in theatre? Miranda’s new show, Hamilton, and I know how obsessed I’m going to Be yourself and keep learning. Keep learning about the arts and be with it shortly. about yourself. Theater is an incredibly strange world in which you If I need some completely calming music when I’m feeling a little have to know so much about yourself that you can then completely down, I listen to Carole King’s Tapestry (brilliant), which I belt out with lose yourself within a character. I don’t mean hide yourself behind a joy, or Colbie Caillat’s album Breakthrough. character, because you need the personal connection in order to fully transform into this person, but if you don’t understand who you are as a What’s the most crucial element of any production? human, artist, friend, lover, daughter, etc., it’s impossible to approach a There are a million crucial elements that contribute to a successful character with any sort of authenticity. production: story, casting, direction, production design, acting, etc., It’s really easy, especially in a musical theatre BFA program, to lose which is why I would say that communication is the most important yourself in a million suggestions, but ultimately YOU have to decide element for a production to work. Let’s assume that the story is already which pieces of advice to follow. I have tattoos and currently have worth telling, which is why someone has decided to theatricalize it. For blue hair—never thought I could do that in theater with auditions as the production to be a success, everyone involved in the process needs frequent as they are but then I decided: Why not? to be on board in telling the SAME story, whether that be through the I’ve also been told to never stop learning about your craft. I continue lights, costumes, sets or character relationships. to study voice and I push myself to take more dance classes and Whenever I am in a really successful production—and of course improve my skills. I’m sure I could articulate more clearly, but as I we could have a really long conversation about the definition of a understand it now, this is the best way I know how to share the advice successful production—I always attribute that success to awesome I’ve been given. I am still learning.

4 ENCORE STAGES John Langs Carlo Scandiuzzi Becky Witmer Artistic Director Executive Director Managing Director ACT – A Contemporary Theatre presents

BY BATHSHEBA DORAN Directed by Allison Narver

Beginning May 27, 2016 • Opening Night June 2, 2016

CAST Emily Chisholm* Charlotte Lorenzo Roberts* Jonny Mary Kae Irvin* Lucinda Ray Abruzzo* Howard

CREATIVE TEAM Allison Narver Director Matthew Smucker Scenic Designer Catherine Hunt Costume Designer Andrew D. Smith Lighting Designer Robertson Witmer Sound Designer Geoffrey Alm Fight Choreographer Jeffrey K. Hanson* Stage Manager Briana Kersten Production Assistant Marcella Barbeau Assistant Lighting Designer Gin Hammond Dialect Coach

Running Time: This performance runs approximately two hours. There will be one intermission. *The actors and stage manager employed in this production are Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. “The Mystery of Love & Sex” is presented by special arrangement with SAMUEL FRENCH, INC. Originally produced by Lincoln Center Theater in 2015, New York City. The video and/or audio recording of this performance by any means whatsoever are strictly prohibited. SHOW SPONSOR:

THEATRE AND SEASON SPONSORS: A Contemporary Theatre Foundation

The Norcliffe Foundation

Katharyn Alvord Gerlich, Eulalie M. & Gian-Carlo Scandiuzzi, Nancy Alvord, Linda Brown & Larry True

Audience members are cordially reminded to silence all electronic devices. All forms of photography and the use of recording devices are strictly prohibited. Please do not walk on the stage before, during, or after the show. Patrons wearing Google Glass must power down the device if wearing them in the theatre. encoreartsprograms.com A–1 WELCOME to ACT John Langs PHOTO BY ALABASTRO PHOTOGRAPHY

One of the great boundaries that has been broken at the expectations, I remembered the joy of this play—and why I beginning of this century is the right to love whom we felt so strongly about programming it for ACT Theatre. choose. Although the battles are still being waged, it seems clear that tradition and dogma are giving way to the choice By the end of this year, I will be a father to two children: the heart makes about whom and how we love. one boy and one girl. I have never been more aware of the social climate that’s defining the next generation. It’s also Coming of age in this more liberated time seems challenging my generation to move toward acceptance, and exhilarating, but as this play points out, freedom might to meet these changes with an open mind and heart. not always make the path to love a smooth one. Although society may be more accepting or less prescriptive, we I have certainly taken my own parents on an unexpected all have our own deep internal struggles based upon our —and, for them, untraditional—journey that I’m sure tested identity, personal history, and familial expectations. Finding their patience and understanding. I expect the same will be yourself, your voice, seems to me to be a lifelong effort, but true of my youngsters. In these days of change, it feels like never more immediate than when we are young, in those the one and only constant is the primal human need for the intensely-felt years that span high school and college when acceptance and love of family. we simultaneously know nothing and everything; that moment when for the first time we’re able to make choices It is into this well that Bathsheba Doran has dipped her pen, that will give our lives shape, but also put our young hearts and out of it spread this beautiful play that honors all the at risk. This play is about that moment and the ramifications complications of being a human and illuminates the power it has for our family, friends, and the world at large. we all have to change, adapt, and find grace with whatever choices our loved ones make. Here’s to family. Thank you for In my own experience, just this past year, I was introduced being here. by my friend and his husband to their new girlfriend, as they formed a new family unit. Even as every intellectual part of myself identifies as accepting, open-minded, and ready to celebrate the new, I was in that moment surprised to find myself shocked, bewildered, and confused. The look on my face, I was told later, was like a reaction from a bad sitcom. Reflecting on these conflicting emotions, where John Langs change in the world collides with subconscious traditional Artistic Director

A–2 ACT – A Contemporary Theatre Writing from a New Perspective An Interview with BATHSHEBA DORAN

BY PATRICK FOLLIARD, WASHINGTON BLADE

The Mystery of Love & Sex is about love—love between dramatized much. It’s something beautiful but has a fathers and daughters, husbands and wives, best tragic element about it too, because it can prevent you friends and ultimately romantic relationships, says from being who you actually are.” playwright Bathsheba Doran, who’s familiarly known as Bash. It charts the turbulent journey of longtime Until now, Doran’s work didn’t include a lot of gay best friends Charlotte who is Jewish, and African- characters or specifically gay themes. “It’s partly American Jonny, who was brought up a strict Baptist. because a not-very-great mentor advised me not to,” Now college age, they take their relationship to the she says. “On some level it had an effect on me. I had next level despite an absence of attraction. And while an anxiety that writing gay characters ran the risk of Charlotte attests to love Jonny, she also thinks she not being universal. This is not something I feel now.” loves a new friend, Claire. Charlotte’s parents have mixed feelings. Doran requests no spoilers, citing the “With The Mystery of Love & Sex, I didn’t feel it needed word “mystery” in the play’s title. to be about heterosexuals,” Doran says. “The play burst out of me. I wasn’t sure it would be produced. As playwright, Doran’s way into the work was the I’d thought the moment for characters struggling with experience she shares with Charlotte. The details are their sexuality had passed. Well, turns out it hasn’t. different yet the emotions are the same. But, she adds, We still live in a world of resentment and hatred. it’s not a coincidence that she wrote this after she Sometimes I think people living in the bubble of became a parent. Manhattan don’t understand that.”

“Having a child gave me an ability to look back at Visit acttheatre.org to read the full article. youth with a degree of omniscience, allowing me to write from a new and different perspective,” she says. The play takes place on the outskirts of a major city in the American South. What still surprises Doran is how much Charlotte’s Act 1, Scene 1 – Charlotte’s Dorm Room quasi-romantic relationship with her best friend Act 1, Scene 2 – Charlotte’s Dorm Room, 3am Jonny resonates with gay theatregoers. After the play Act 1, Scene 3 – Howard and Lucinda’s home was first produced at New York’s Lincoln Center Act 1, Scene 4 – Howard and Lucinda’s home last spring, she heard from many people who’d been Act 1, Scene 5 – The Backyard through the same thing. Act 2, Scene 1 – The Backyard, 5 years later Act 2, Scene 2 – The Dining Room “It’s a really lovely example of a specific experience Act 2, Scene 3 – On Skype Act 2, Scene 4 – The Swallow’s Lodge becoming general and relatable, and one that’s not Act 2, Scene 5 – The Backyard

encoreartsprograms.com A–3 COMING SOON TO ACT

The stakes are too high for you to stay home.

By Sean Devine Photo Hayley by Photography Young SHOW SPONSOR Directed by John Langs Jul 8–Aug 7

SANDBOX RADIO LIVE THE LOVE MARKETS Jun 6 Aug 13 Sandbox Radio returns for "The Bridal Issue," Lift your glass and join the celebration as the latest installment of the locally grown variety The Love Markets play their new album live, show that combines killer music, engaging transforming The Falls Theatre into a musical storytelling, the city's best performers, and an boudoir full of decadence, subversion, and Photo by Truman Buffett

ultra cool sparkly host … all recorded live. Photo by Laurie Clark resistance against the machine!

ENDANGERED SPECIES PROJECT THE GREAT SOUL OF RUSSIA Jun 13, Jul 11, Aug 8 Sep 7 Explore the great plays you seldom see. Join Join The Seagull Project and members of ESP for its sixth year of 12 book-in-hand pre- Seattle’s vibrant artistic community as they sentations, chosen and performed by dozens explore how various Russian artistic roads, past of Seattle’s best and bravest actors! and present, begin and end with Chekhov.

THINGS YOU CAN DO BAD APPLES Jul 7–31 Sep 7–25 A drunken kiss, an icy plunge, and a reckless Welcome to Club Abu, the darkest party in act of revenge. Live Girls! Theater presents a Baghdad. An incendiary rock musical that pulls fresh take on the issues of global climate change back the curtain of one of the greatest moral through the personal lens of a family on the challenges we have faced as a nation and sets it verge of a critical meltdown. to a wicked irreverent back beat. Photo by Hayley Young Photography

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A–4 ACT – A Contemporary Theatre A Conversation with Ray Abruzzo Howard in The Mystery of Love & Sex BY JOHN LANGS, ACT ARTISTIC DIRECTOR

John Langs: Ray, welcome to ACT Theatre—I’m so JL: What’s the favorite scene that you’ve been working happy you’re here. We had a little conversation in the on this week? first day of rehearsal that I thought was really poignant RA: Oh, god, this play really has some [laughs] … about The Mystery of Love & Sex by Bathsheba Doran, I’m working with Lorenzo, Lorenzo and I have a which you are rehearsing right now. couple very intense scenes. There’s some physical Ray Abruzzo: … And having a great time. stuff I’m looking forward to—actually Lorenzo JL: I’m so glad! I have always thought of this play as seems more interested in getting to the physical sort of the balm in the age of sexual confusion. stuff that happens. And I know that you had some experience on this JL: [laughs] kind of groundbreaking show that’s changing RA: Already, he can’t Love is love. culture … wait! I don’t know It’s two people. RA: The Sopranos? [laughs] why [laughs]. JL: That one as well! I was talking about Transparent. The beauty is, And you know, It’s just a lovely gift for all of us. there’s a couple of scenes where who the hell am RA: I was fortunate enough just to be asked to do this [Howard] actually recurring little thing on Transparent. It’s based realizes that he I to say what it on a true story. The premise: Jeffrey Tambor plays has the biases and a man 70 years old, who comes out to his family bigotries that he should be or that he wants to transition to a woman. As the really thought story unfolds, you see the fluidity of sexuality and he didn’t have. shouldn’t be? gender identification not just through him but And he goes on through his kids. Once you get immersed into this journey, and I like a play where you go on a that world, as I became immersed very quickly, it journey. And this is taking me on a journey as was freeing in a sense, you know? Afterwards, I well. actually felt better about myself. Basically, as open JL: as you think your mind is, there’s more opening to Hey, I’m really, really happy you’re here. I mean, be done. When I first read Howard [in The Mystery authentically you’re so genuine. You’ve brought of Love & Sex], I thought: here he is—New York, such a great spirit into the room. very liberal Jewish intellectual—as you dig deeper, RA: Oh, thank you! he realizes maybe he does have some little biases JL: Welcome to Seattle. I can’t wait to share this play and prejudices that he thought he was free of. It’s with Seattle audiences. I can’t wait for them to always a challenge, you’re always challenged, and get to see you. You’ve had all these tremendous I think it really reflects and mirrors what I went experiences and we’re really lucky. We’re really through with working on Transparent. Love is lucky to have you. love. It’s two people. And you know, who the hell am I to say what it should be or shouldn’t be? RA: I’m lucky. Doing theatre revives me and this play is perfect for that. Watch the full interview at acttheatre.org.

encoreartsprograms.com A–5 Spotlight on ACT Core Company Member LORENZO ROBERTS BY ANGIE KAMEL, ACT ARTISTIC ENGAGEMENT MANAGER

orenzo Roberts moved to Seattle from LNew York in January 2015 and he’s been working steadily as an actor on our stages Lorenzo Roberts in Othello (Seattle Shakespeare Company), directed by John Langs in 2015. ever since. You’ve seen him around town PHOTO BY JOHN ULMAN with Seattle Shakespeare Company, Seattle from experience. It’s an endearing quality but I started reading the play every day just to see Immersive Theatre, and in ACTLab as part think there’s also power in the change. Respect what my opinions were. Now I’m starting of the 2015 Kenan Directing Fellowship. I sat is having a certain feeling and reserving it, in a to do the deep research before I go in [to down with him over a smoothie in April. He way, but there’s also power in letting that out. rehearsal]. has an infectious smile, a casual manner, and Jonny grew up without a father. Howard the grace of a southern gentleman. This should Tell me more about your process when is the closest father figure in his life. But it’s come as no surprise, as he spent his youth preparing for a role. complicated because he’s a white Jewish man between New York City and South Carolina, It changes with everything, but for this I from New York who is also the father of his where he says he became an artist. have been people-watching. Reading the play best friend. He’s been over at this guy’s house every day. [I] started doing simple things like What was your initial response when you every day for the past 10 years, just about. [asking], what’s my backstory with my mom, read this play? There’s a friction that happens when you with Charlotte? What’s Charlotte’s favorite When I first read the play, I was like, spend enough time with someone, but it’s color? What’s the restaurant we go to all the honestly, “I don’t know if I know who this guy different when they’re not your blood relative. time? is.” Normally, when I have a role, I’m like, “Oh, There’s a choice that needs to be made, Do you feel like there’s been a significant I know exactly who this person is and where whether you’re going to stick it out or not, and change in the way you function as I’m gonna go,” or I have an idea of where this I think Jonny and Howard are bumping heads an artist since you joined the Core is gonna go. And I read this and I was like, “He all the time. And Howard’s position … he Company? scares me.” Which, I think for actors is always kinda has to deal with it because Charlotte’s a great feeling: to be scared by something. We his world. I’m at the point now where I’m Yeah, I think this year in Seattle, this year want to jump into the fear. I really fell in love dreaming about these guys—I can’t stop in America, this year in the Core Company with the relationships between the characters, thinking about it now, which is great. specifically have all inspired me to look at art but it’s been a long process of me having that differently. Already? Before you even start fear of who this guy is and using the different rehearsal? What do you mean by that? tools in my belt to kind of work backward, [to] That’s part of the point of the Core I mean, I don’t want to get too political. bring him closer to me. [Company]. We can kind of do that, we can For me, black men and women are still What do you like about Jonny? have this long-form theatre conversation. dying. The racial tension is huge. I think the He holds secrets and I don’t. He’s very Normally in a theatre process you get maybe conversations are happening. I don’t know if grounded, which I think I am as well, but he’s five or six weeks for the entire thing. You get the conversation is going the way it should be, grounded in a different way. There is a mystery cast, you get maybe a week or two of prep, and right now. If we’re hearing all the voices. to Jonny—he holds people at a distance, and then you go into rehearsal for two or three If you could program one show next I think there’s power in that and I’m very weeks, then you’re up. With this, I knew in season what would it be? interested in that power. I also love how smart November. So I’ve had a lot of time to think Let’s do Hamilton! he is. about it, you know, which is great. And I think He was raised by an old Black Baptist nothing but good things can come from that Catch Lorenzo at ACT this season in The woman; respect is one of the number one if you handle it the right way. Early on, I just Mystery of Love & Sex, The Royale, and rules in a southern household, which I know read the play once every week. Last month I Dangerous Liaisons.

A–6 ACT – A Contemporary Theatre Who's Who in Mystery

Emily Chisholm received rave reviews in the title role of Lombardi Allison Narver (Charlotte) Previous ACT at Florida’s Mosaic Theatre. Ray has been active in (Director) In the appearances include the L.A. theatre scene for decades, appearing in Northwest, Allison’s work Sugar Daddies directed by many productions. For 10 of those years, Ray was has been seen at Seattle Sir Alan Ayckbourn and both an actor and director for the Playwrights Repertory Theatre, ACT, Bethany directed by John Kitchen Ensemble. He played Sterling in the west The 5th Avenue Theatre, Langs. Recent credits coast premiere of Theresa Rebeck’s Mauritius Intiman, Seattle Children’s include Vivie in Mrs. (Pasadena Playhouse) directed by Jessica Theatre, Book-It Repertory Warren’s Profession (Seattle Shakespeare Kubzansky, Lucky Luciano in Louis LaRusso’s Theatre, New Century Theatre Company, Annex Company) and Rosemary in Outside Mullingar Vesper’s Eve, and Aldo in the world premiere of Theatre, Alice B. Theatre, The Oregon (Seattle Repertory Theatre). Emily is a member of John Patrick Shanley’s Italian American Shakespeare Festival, and Portland Center Stage. New Century Theatre Company where she co- Reconciliation. In Chicago and Boston, Ray Nationally, Allison’s work has been seen at Studio produced and performed in the west coast performed Robert Dubac’s one-man show The Theatre in D.C., Pittsburgh City Theatre, Boise premiere of Annie Baker’s The Flick, and Festen, Male Intellect: An Oxymoron. Back in New York in Contemporary Theatre, Circle X Theatre, REDCAT, directed by Wilson Milam. She is also a member 1977, Ray was a founding member of The Bond Portland Stage Company, and Yale Repertory of The Seagull Project where she will play Sonya Street Theatre Coalition, which is still going Theatre. In New York, her work has been seen at in Uncle Vanya at ACT Theatre. Other credits strong and traveling the world. Ray’s television Kirk Theatre, The Public Theater, New Victory include productions at Arena Stage, Seattle credits include guest starring roles on: NYPD Blue, Theater, Ars Nova, and The Women’s Project. Children’s Theatre, Seattle Public Theatre, and various episodes of Law & Order, NCIS, House, Allison is the former Artistic Director of The Washington Ensemble Theatre. Chisholm is a Criminal Minds, The Mentalist, Castle, Brooklyn Empty Space Theatre, Annex Theatre, and Yale graduate of Cornish College of the Arts. Nine-Nine, Ray Donovan, Hot in Cleveland, and Cabaret. Allison has an M.F.A. in directing from dozens more. He’s been a series regular or The Yale School of Drama. Lorenzo Roberts (Jonny) recurring on L.A. Law, Dynasty, Night Court, A graduate of North Doogie Howser, M.D., The Practice, Boston Legal, Matthew Smucker (Scenic Designer) is pleased Carolina School of the Mad Men, and most notably as Little Carmine for to return to ACT, where previous designs include Arts, Lorenzo has four seasons of The Sopranos. Presently, he can Mr. Burns, a post-electric play; The Invisible appeared in As You Like It occasionally be seen as the transamorous Sal on Hand; Sugar Daddies; Rapture Blister Burn; Grey (ACTLab), Henry IV Part 1 Amazon’s groundbreaking series Transparent. Gardens; Ramayana; First Date; In the Next (Wooden O) and Othello Room, or the vibrator play; Vanities; The Prisoner (Seattle Shakespeare Bathsheba Doran of Second Avenue; Yankee Tavern; The Trip to Company). He is a member of ACT’s 2016 Core (Playwright) Bash is the Bountiful; Rock ’n’ Roll; Below the Belt; Dr. Jekyll Company, and will next appear at ACT in The author of various plays and Mr. Hyde; Eurydice; The Clean House; The Royale. including the The Mystery Women; and The Pillowman. Smucker’s work of Love & Sex which has appeared in Elf, Oklahoma!, Candide (The Mary Kae Irvin received its world 5th Avenue Theatre); Who’s Afraid of Virginia (Lucinda) is delighted to premiere at Lincoln Center Woolf, Or, Circle Mirror Transformation, Speech be back on the boards at under the direction of & Debate, Three Tall Women (Seattle Repertory ACT, having previously Sam Gold, starring Diane Lane and Tony Theatre); Intiman, Seattle Children’s Theatre, been seen as Annie, the Shalhoub and the critically acclaimed play Kin Village Theatre, Arizona Theatre Company, nurse, in In the Next which received its world premiere in spring 2011 Portland Center Stage, Artists Repertory Theatre, Room, or The Vibrator at Playwrights Horizons, also directed by Sam San Jose Rep, Kansas City Rep, Paper Mill Play; Jessie Mae in The Gold. She is the recipient of various playwriting Playhouse, Houston’s Theatre Under the Stars, Trip to Bountiful; The Summer Moon; and A awards and prizes including a Helen Merrill and Minneapolis Children’s Theatre Company. Christmas Carol. She has worked regionally as Award, and she is a Susan Smith Blackburn Prize Smucker received the 2011 Gregory Award well as locally at many Seattle theatres, including finalist. Bash also served as a writer/producer for for Outstanding Scenic Design, a 2012 Seattle Intiman, Seattle Children’s Theatre, Village the second season of Showtime’s hit series Magazine Spotlight Award, and appeared on Theatre, Tacoma Actors Guild, The Bathhouse Masters of Sex, and was a story editor on Smash The Stranger’s 2011 and 2015 Genius Awards Theatre, and The Group Theatre. Irvin also works for NBC. Bash wrote on season two of the shortlists. Smucker teaches at Cornish College frequently on TV and her voice can be heard on acclaimed Martin Scorsese/HBO series Boardwalk of the Arts and received his M.F.A. from the UW many video games, commercials, and Empire (for which her episode received a Writers School of Drama. audiobooks. She holds an M.F.A. from the Guild nomination). Bash is currently under University of Washington Professional Actor commission from Atlantic Theater and Catherine Hunt (Costume Designer) is Training Program. Playwrights Horizons in New York City. Other delighted to be back at ACT. Previous ACT current projects include a pilot for HBO, a mini productions include Bloomsday; Bethany; Ray Abruzzo (Howard) series for FX about the life of Hedy Lamarr to star Grey Gardens; The Pitmen Painters; In the recently starred in Dan Diane Kruger, a new series for Channel 4 in the Next Room, or the vibrator play; Vanities; The Lauria’s Dinner with the UK, and a feature film for Levantine Films. Her Lieutenant of Inishmore; and Becky’s New Boys (New Jersey work is available from Samuel French, Dramatist Car. Catherine’s work has been seen at Seattle Repertory Company) and Play Service and Playscripts Inc. A collection Repertory Theatre, Seattle Children’s Theatre, then again when the play entitled The Marriage Plays will be published by Seattle Opera, Intiman, and Village Theatre. moved to New York’s Oberon Books in 2017. B.A./M.A., Cambridge Catherine is a Gregory Award winner, and also Acorn Theatre. Ray University. M.A., Oxford University. M.F.A., won a Los Angeles Theatre Drama Logue Award performed the two-hander The Guys (Malibu Columbia University. and a San Diego Theatre Critics Award for her Playhouse) with Wendie Malick. Previously, he production of The Women with Anne Bogart. She

encoreartsprograms.com A–7 Who's Who in Mystery designed the computer game Riven, is a NEA/ Jeffrey K. Hanson (Stage Manager) Now in his 16-year freelance career has afforded him the TCG design fellow, and a guest lecturer at both 26th season at ACT, Hanson has stage managed opportunity to work with many prestigious Cornish College of the Arts and the University of more than 70 shows including Jacques Brel is theatre companies across the country. He has Washington. Alive and Well and Living in Paris; Mr. Burns, a directed productions at Playwrights Horizons NY, post-electric play; Little Shop of Horrors; Sugar Ensemble Studio Theater NY, Milwaukee Andrew D. Smith (Lighting Designer) returns Daddies; The Pinter Festival; The Pitmen Painters; Repertory Theatre, Lookingglass Theater to ACT having previously designed Bethany, Double Indemnity; In the Next Room, or the Company in Chicago, Circle X in Los Angeles, Worse Than Tigers (REDSTAGE, ACTLab), The vibrator play; Becky’s New Car; The Lieutenant The Resident Ensemble, New Century Theatre Seagull (The Seagull Project, ACTLab), Red Light of Inishmore; Das Barbecü; The Women; Stuff Company, Washington Ensemble Theatre, and Winter and 25 Saints (Azeotrope, ACTLab). In Happens; The Pillowman; Mourning Becomes Seattle Shakespeare Company. John received his Seattle, his designs have been seen at Seattle Electra; A Skull in Connemara; Quills; Laughter directing degree from UNCSA. Some of his Repertory Theatre, Intiman, Seattle Children’s on the 23rd Floor; The Gospel at Colonus; favorite directing credits include The Shaggs Theatre, Book-It Repertory Theatre, Azeotrope, Halcyon Days; The Revengers’ Comedies; and Philosophy of the World (LA Drama Critics Circle Seattle Shakespeare Company, Strawberry Lloyd’s Prayer. At The 5th Avenue Theatre, he has Award for Best Original Musical), and Brothers Theatre Workshop, Seattle Public Theatre, been production stage manager for A Night With Karamazov (seven LADCC Awards, including Best Washington Ensemble Theatre, Theatre Off Janis Joplin, How To Succeed In Business Without Production of the year and Best Direction) and Jackson, ArtsWest, On The Boards, Velocity Really Trying, A Chorus Line, Oklahoma!, Pirates directing Kurt Beattie in King Lear. John received Dance Center, and Broadway Performance of Penzance, Candide, Irving Berlin’s White the first annual Seattle Gregory Award honoring Hall. Nationally, Andrew has designed with Christmas, Hello Dolly!, and Mame. He has stage excellence in direction for The Adding Machine. Cornerstone Theatre Company, Flint Youth managed Metamorphoses, The Cider House Recent Seattle credits include Mary’s Wedding Theatre, Horizon Theater Company, Cincinnati Rules, Parts One and Two (Seattle Repertory (NCTC), The Three Sisters (The Seagull Project’s), Shakespeare Company, Roust Theater, and Theatre); and for Seattle Children’s Theatre, and Othello (Seattle Shakespeare Company). As a Cardinal Stage Company. He received the 2010 Intiman, and Arizona Theatre Company. dedicated fan of original work, John has and 2011 Gregory Award for Outstanding shepherded over a dozen projects to their Lighting Design, as well as the 2010 Seattle Gin Hammond (Dialect Coach) Gin Hammond premieres. Times Footlight Award. Andrew is a member of is a Harvard University/Moscow Art Theatre grad New Century Theatre Company, holds a B.A. and a certified Associate Teacher of Fitzmaurice Carlo Scandiuzzi from Duke University, and an M.F.A. from the Voicework™. She has performed nationally (Executive Director) is a University of Washington, where he currently at theatres such The Guthrie, Arena Stage, founder of Agate Films teaches. The Longwharf Theatre, ACT, The Pasadena and Clear Pictures, Playhouse, the ART, The Berkshire Theatre producing such films as Robertson Witmer (Sound Designer) was Festival, and The Studio Theatre in Washington Prototype, Dark Drive, seen recently onstage at ACT as the musician in D.C., where she won a Helen Hayes Award for Outpatient, and The Flats, Mr. Burns, a post-electric play. His recent sound Outstanding Lead Actress for her performance and Indieflix, a design credits include Stupid Fucking Bird, Seven of The Syringa Tree. Internationally, she has distribution c ompany. In 1979, Scandiuzzi Ways to Get There, The Three Sisters (ACT); performed in Russia, Germany, Ireland, Scotland, started Modern Productions, bringing to Seattle Mrs. Warren’s Profession, Mother Courage and England. Ms. Hammond also received a such legendary bands as The Police, Devo, Nina (Seattle Shakespeare Company); and The Flick Kathleen Cornell award, and Washington state Hagen, Iggy Pop, The Ramones, John Cale, (New Century Theatre Company). His onstage grants from Allied Arts, The Mayor’s Office of Robert Fripp, James Brown, Muddy Waters, and appearances include A Doctor in Spite of Himself Arts and Cultural Affairs, Artist Trust, 4 Culture, many more. He performed in several plays at (Intiman, Berkeley Repertory Theatre); Fiddler as well as from the NEA. Hammond teaches Empty Space Theatre including Aunt Dan and on the Roof (Village Theatre), and West (On voice, voice-over, public speaking, and dialect Lemon, The Return of Pinocchio, and Dracula. In the Boards). In 2013, Rob received the Gregory coaching, and can be heard on commercials, the early ‘80s, he collaborated with many Seattle Award for Outstanding Sound Design. He is a audiobooks, radio plays, and a variety of video performance artists such as Norman Durkee, Alan member of United Scenic Artists, IATSE Local games including DotA 2, Aion, and Halo 3 ODST. Lande, and Jesse Bernstein. He also acted in USA-829. Around town, she most recently performed with various films including Bugsy, The Public Eye, Book-It Repertory Theatre, and various Sandbox Another You, Casanova’s Kiss, and Killing Zoe. He Geoffrey Alm (Fight Choreographer) is very Artists Collective productions. She also premiered graduated from the Ecole Superieure D’Art pleased to be returning to ACT to be a part of I’m/Migrant a short solo play by award-winning Dramatique of Geneva. Carlo currently serves as The Mystery of Love & Sex. His work was last playwright Yussef El Guindi, and will premiere Ed, a member of the Seattle Arts Commission. seen in Assassins. Recent local work includes Downloaded at Washington Ensemble Theatre Romeo & Juliet (Seattle Shakespeare Company), (WET). Hammond has also been a dialect and Becky Witmer View from the Bridge (Seattle Repertory Theatre), vocal coach for ACT, The 5th Avenue Theatre, (Managing Director) has and Chitty Chitty Bang Bang (Seattle’s Children’s Seattle Repertory Theatre, Book-It Repertory been with ACT since Theatre). National credits include work at The Old Theatre, Taproot, Seattle Children’s Theatre, 2011, serving as the Globe, the Shakespeare Theatre, Shakespeare Village Theater, and films. General Manager (2014- Santa Cruz, Arizona Theatre Company, and 2015) and also the Kansas City Repertory Theatre. Mr. Alm teaches John Langs (Artistic Director of Marketing and stage fighting at Cornish College for the Arts, Director) John has been Communications (2011- the UW Professional Actor Training Program, and delighted to serve as 2014). Becky began her career in arts Freehold Theatre Lab. He is a Fight Master with Associate Artistic Director management through marketing and The Society of American Fight Masters, and a of ACT for three years, communications. She was the Director of proud member of SDC. and is ACT’s Artistic Marketing and Public Relations at Intiman Director in 2016. John’s Theatre (2008-2011) and Opera Colorado (2006-

A–8 ACT – A Contemporary Theatre Special Fund Donors 2008). She was the Associate Director of ACT Endowment Donors Marketing with Central City Opera (2002-2005). ACT’s endowment is administered by the A Contemporary Theatre Foundation. Becky is an advisory board member for TeenTix, a founding co-chair of the Cultural Resource Buster & Nancy Alvord • Joan & Larry Barokas • Michael Corliss-Investco • Katharyn Alvord Gerlich • Collective, an Arts Business Consultant with Becky & Jack Benaroya • Charles Blumenfeld & Karla Axell • Ron & Jan Delismon • The Ewert Family • Shunpike, and she frequently appears as a guest Bruce & Dawn Goto • William Randolph Hearst Endowed Fund for Education & Outreach Programs • lecturer for Seattle University’s Arts Leadership Kreielsheimer Remainder Fund • Doug & Nancy Norberg • Sally Pence • Katherine & Douglass Raff • M.F.A. program. She is a current participant in Brooks & Suzanne Ragen • Herman & Faye Sarkowsky • David E. & Catherine E. Skinner • Kayla Skinner the Leadership Tomorrow program. • Estate of Stuart Smailes • Rose & the late John Southall • David & Joyce Veterane • The Peg & Rick Young Foundation • Anonymous

ACT operates under agreements with the The ACT Legacy Society following: 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. This theatre operates under an agreement ACT Legacy Society Members between the League of Resident Theatres Nancy Alvord • Laurie Besteman • Jean Burch Falls • Linda & Brad Fowler • Tal & Carol Godding • and Actors’ Equity Association, the Suzanne Howard • H. David Kaplan • Carolyn Keim & Connie Rinchiuso • David Mattson • Mike Union of Professional Actors and Stage McCaw & Janet Westin • Catherine & Barry McConnell • Steven McCoy & Larry Henderson • Dr. Arnie Managers in the United States. & Judy Ness • Lisbeth Pisk • Brooks & Suzanne Ragen • Teresa Revelle • Chuck Sitkin • GregRobin Smith • Rose & the late John Southall • Judith Warshal & Wade Sowers • Dorothy E. Wendler

Special Thanks ACT gratefully acknowledges the following professionals and organizations who have helped make this season a success: Keith Johnson, Daqopa Brands LLC • AJ Epstein • Seattle Eye Care & Optical, Grady Hughes, MD • Diverse Bradley Sweek, Amiga Light • Wiley Basho Gorn Harmony June 8, 6:30pm PATRON INFORMATION

Before the evening performance of The Emergency Evacuation Procedures Sign Language interpreted and audio-described In the event of an emergency, please wait for an performances. For more information, email Mystery of Love & Sex, the nation’s first announcement for further instructions. Ushers will be [email protected]. queer-straight alliance youth chorus available for assistance. Lost & Found will perform a special pre-show concert Emergency Number Call 206.292.7676 between 12:00pm and 6:00pm, in Buster’s! See the 22-member chorus The theatre’s emergency number in the Union lobby is Tues–Sun. 206.292.7667. Leave your exact seat location with your present music that opens hearts and emergency contact in case they need to reach you. Address & Website minds of communities and provides a ACT is located at Smoking Policy 700 Union Street, Seattle, WA 98101. safe environment for youth of diverse Smoking is NOT allowed in any part of the theatre or Ticket Office Phone: 206.292.7676. backgrounds to share their love of music within 25 feet of the entrance. Administrative Office Phone: 206.292.7660. and be accepted for who they are. Fax: 206.292.7670. Firearms Policy Website: www.acttheatre.org. No firearms of any kind are allowed in any part of the theatre. Theatre Rental For information regarding booking, Food contact [email protected]. Food is not allowed in the theatre. Tuxedos & Tennis Shoes is the exclusive caterer of ACT. Group Sales Groups of 10 or more can save. Accessibility Call 206.292.7676 or Wheelchair seating is available. The theatre is email [email protected]. equipped with the Williams Sound® Listening System for the hard of hearing; headsets are available from Fragrance the house manager for use, free of charge, with a Please be considerate and keep personal fragrance to valid ID and subject to availability. ACT offers American a minimum.

encoreartsprograms.com A–9 ArtsFund strengthens the community by supporting the arts through leadership, advocacy and grant making. Campaign 2015 Donors Thank you to all our donors for sharing and supporting our vision of a community with a dynamic and world-class arts and cultural sector where the arts are accessible to all and valued as central and critical to a healthy society.

Visit www.artsfund.org for a full list of our donors and to learn more about ArtsFund Pledges and donations made between 7/1/14 - 6/30/15 $350,000 and up $100,000 - $349,999

$50,000 - $99,999

$25,000 - $49,999

Support from Microsoft Corporation, The Boeing Company, Sellen Construction, Starbucks Coffee Company, KING 5 and POP includes employee workplace giving.

$25,000 - $49,999 $10,000 - $24,999 Medical Consultants Network, Inc.* Columbia Bank DLA Piper* 4Culture Nordstrom, Inc. Ernst & Young LLP Amazon R.D. Merrill Company Fishing Company of Alaska Getty Images* CenturyLink RealNetworks Foundation Gaco Western, Inc. King County Employee Charitable Chihuly Garden and Glass Russell Investments Gensler Architects Campaign* Clise Properties Inc. Union Bank Neiman Marcus Little Big Show – KEXP, STG & The Commerce Bank of Washington* Visit Seattle Nintendo of America Inc. Starbucks Dapper + Associates $5,000 - $9,999 Puget Sound Business Journal Perkins Coie* Davis Wright Tremaine LLP* Alaskan Copper & Brass Company and Raisbeck Foundation Stoel Rives LLP* Dorsey & Whitney LLP* Alaskan Copper Works Seattle Office of Arts & Cultural Affairs Washington State Combined Fund K&L Gates* Bellevue Arts Commission Virginia Mason Drive* King County BNY Mellon Wealth Management *Includes employee workplace giving

Arts Benefactor Circle Encore Rosanne Esposito-Ross and $2,500 - $4,999 Janet Wright Ketcham Foundation Gold Club Conductor’s Circle Louis Ross Kim A. Anderson Dana and Roger Lorenze Kevin and Lynne Fox $50,000 - $150,000 $10,000 - $24,999 Bob and Clodagh Ash Michael and Barbara Malone William Franklin Tim Mauk and Noble Golden Neukom Family Nancy Alvord Bill and Nancy Bain Heather Howard Judi Beck and Tom A. Alberg Michelle Barnet Bruce and Jolene McCaw Mary Pigott The Hugh and Jane Ferguson Allan E. and Nora Davis John H. Bauer Alison and Glen Milliman Foundation Pete and Julie Rose Annette and Daniel Becker Douglas E. & Nancy P. Norberg Jim and Gaylee Duncan Ed Kim Sue and Artie Buerk Nancy S. Nordhoff Ray Heacox and Cynthia Huffman Loeb Family Charitable $25,000 - $49,999 Judith Chapman Glenna Olson and Conrad Wouters Peter and Peggy Horvitz Foundations Ms. Melanie Curtice Cara Postilion Bamford Foundation Jon and Mary Shirley Foundation Blanche and Stephen Maxwell Peter and Susan Davis Marlene Price William Beeks Douglas and Joyce McCallum Glenn Kawasaki Scott Redman Anthony R. Miles Karl John Ege Carl and Renee Behnke Deborah Killinger Mark and Daryl Russinovich Nesholm Family Foundation Michael and Melanie Fink Katharyn Alvord Gerlich Thomas and Gwen Kroon Stan and Ingrid Savage Norman Archibald Charitable Robert Fleming Charlotte Lin and Robert Porter Mr. and Mrs. Lawrence and Mary Foundation Jed Fowler and Elisabeth Beaber Schoenfeld-Gardner Foundation Ellen Hughes Faye Sarkowsky Judy Pigott Rod Fujita Keith Schreiber and Clare Kapitan Alane and Doyle Simons John Graham Foundation Mary Snapp Carol and Doug Powell Lynn and Brian Grant Anonymous (1) Maria Gunn Jane Simpson Joshua Green Foundation Ann Ramsay-Jenkins and the William M. Jenkins Fund Aya Hamilton Elaine Spencer and Dennis Forsyth Patricia Britton and Stellman First Chair James and Katherine Tune Richard and Marilyn Herzberg John Starbard Keehnel $5,000 - $9,999 Vijay and Sita Vashee Pete Higgins and Leslie Magid Charles and Delphine Stevens Sandy and Chris McDade Chap and Eve Alvord Richard and Leslie Wallis Higgins Brad Smith and Kathy Surace- Smith Norcliffe Foundation Steve Behnen and Mary Hornsby Richard L. Weisman Mari Horita Dr. Clyde and Mrs. Kathleen Wilson Dan and Connie Hungate Gail and Bill Weyerhaeuser Moccasin Lake Foundation Michael and Anne Bentley Matthew N. Clapp Jr. Ann P. Wyckoff Jeff Ing in Honor of Vera and Anonymous (1) Stephen P. and Paula R. Reynolds Joey Ing Creelman Foundation Lynn Hubbard and David Zapolsky Randle Inouye in Honor of Frank Mrs. Jane Davis and Dr. David R. Anonymous (1) Fujii Davis

A–10 ACT – A Contemporary Theatre

Untitled-1 1 9/2/15 11:01 AM ACT for the Future Campaign Many thanks to the individuals and organizations helping ACT to invest in artistic vision, maximize our facility’s potential, deepen and broaden community connection, and assure sustainability. VISIONARIES $100,000+

Nancy Alvord Katharyn Alvord Gerlich Eric and Margaret Rothchild Charitable Fund Linda & Brad Fowler The Norcliffe Foundation State of Washington Department of Commerce True-Brown Foundation

$50,000-$99,999 Joshua Green Foundation May McCarthy & Don Smith Kären White 4Culture Naomi & Yoshi Minegishi Dr. Arnie & Judy Ness $1,000-$4,999 Allen & Anne Affleck Katherine & Douglas Raff Ingrid Sarapuu & Michael Anderson Bob & Kristi Diercks Gladys Rubenstein Don & Goldie Silverman Franklin & Karen Thoen Hashisaki /Tubridy Family Chuck Sitkin Steve & Diana White David & Shirley Urdal Ross & Kelsey Henry Brian Turner & Susan Hoffman Mr. & Mrs. Clyde Wilson Stephanie M. Hilbert David & Joyce Veterane $5,000-$9,999 Laurie Besteman & Jack Lauderbaugh Abha Khanna & Adam Porsch Wyman Youth Trust $10,000-$24,999 Kermit & Danna Anderson Colin & Jennifer Chapman Dr. Greg Perkins $25,000-$49,999 Joan & Larry Barokas Trevor Cobb & Cecilia Cayetano Teresa& Geoff Revelle Peter & Fran Bigelow Dr. Eric Bennett Natalie Gendler Dr. Larry Hohm & Karen Shaw Betty Bottler Richard Hesik & Barbara Johns Heather & Grady Hughes Robert & Shirley Stewart Allan & Nora Davis Bill Kuhn & Patricia Daniels Barry & Colleen Scovel Susan Yates Charles Fitzgerald Gregory & Diane Lind Lisa Simonson The Peg & Rick Young Foundation Gary & Parul Houlahan Jane W. & James A. Lyons Margaret Stanley Anonymous

ACT Golden Celebration Gala 2015 Donors SPONSORS: Boeing The Commerce Bank Foster Pepper Attorneys at Law Naomi & Yoshi Minegishi: Heike Ambassadors Laird Norton Wealth Management

IN KIND SPONSORS: Daqopa Brands LLC Fran’s Chocolates Lovely Events Tuxedos and Tennis Shoes Washington Holding

Gala Donors Linda & George Ojemann Tom Skerritt Deborah Killinger BaDi Fitness $20,000+ Judith Simmons David & Catherine Skinner Karen Koon & Brad Edwards Ben Bridge Ann Stephens Margaret Stanley Gerald Kroon & Roxanne Julie Briskman Linda & Brad Fowler Kate Purwin & Sergei Tschernisch Tuxedos and Tennis Shoes Shepherd Peter Bos Teresa & Geoff Revelle Brian Turner & Susan Hoffman David & Joyce Veterane Rachael & Phillip Levine Crane Jewelers $10,000-$19,999 Virginia Wyman Shanna & Ryan Waite Dan & Carol Madigan Cuisine by Suzanne Mark & Tammera Mason Chap & Eve Alvord $1,000-$2,499 George & Colleen Willoughby Bob & Kristi Diercks Elias & Karyl Alvord Anonymous Marcella McCaffray Four Seasons Hotel Kermit & Danna Anderson Leslie Ray & Michael Bernstein Lora-Ellen McKinney Gordon Biersch Dr. Eric Bennett $500-$999 Gary & Parul Houlahan Erika Michael Scott & Lisa Helker Debbie Devoto Jill Becker Eulalie M. & Gian-Carlo Lauren Mikov David Hewitt Jeannie M. Falls Becky Benaroya Scandiuzzi David & Penny Miller Inn at Langley Rhonda & Jim Greer Laurie Besteman & Jack James Nichols Inn at Laurel Point $5,000-$9,999 Ross & Kelsey Henry Lauderbaugh Dr. Greg Perkins Inn at the Market Sheena Aebig & Eric Taylor Stephanie M. Hilbert Luther Black Pamela Reed & Sandy Smolan Intiman Theatre Festival Boeing Sara Comings Hoppin Brian Branagan & Carissa Cindy & Lance Richmond J.A. Jance Allan & Nora Davis Beverly & Richard Johnson Sanchez Riddell Williams, P.S. Jepun Bali Villas Jean Burch Falls Abha Khanna & Adam Porsch Beth & John Brennen Jimmy Rogers Phillip Levine Dr. Arnie & Judy Ness Josef Krebs David & Joyce Brewster Eric and Margaret Rothchild Diane & Gregory Lind Brooks & Suzanne Ragen Bill Kuhn & Patricia Daniels Jim Cantu Charitable Fund Loulay Restaurant Ann Ramsay-Jenkins Laird Norton Tyee Dottie Delaney Mr. Michael Sack Nena Gifts Chuck Sitkin Stephanie Langs John Delo John Siegler & Alexandra Read, Judy & Arnold Ness Vijay & Sita Vashee Christopher Mathews & Robert Gale Devol MD Osteria La Spiga Jean Viereck Lehman Bob & Kristi Diercks Lisa Simonson Pacific Jazz Institute Leonard Lewicki Janice Dilworth & Greg Denton Sheila Smith & Don Ferguson $2,500-$4,999 Pacific Northwest Ballet Jane W. & James A. Lyons Kristine Donovick & Jim Daly John & Rose Southall Anne Allgood Pamela Reed Corrinne Martin Rayner D’Souza Robert & Shirley Stewart Chase Anderson Barry Scovel Eugene & Donna Mikov Joselynn & Randy Engstrom Susan Trapnell & Erik Muller Joan & Larry Barokas Seattle Seahawks Shelley Schermer Julie Faison Judith Warshal & Wade Sowers The Commerce Bank Karen Shaw & Larry Hohm Angela Owens Charles & Margaret Fitzgerald Martha Wyckoff & Jerry Tone Foster Pepper & Shefelman Donald Paterson Mrigankka Fotedar Goldie & Donald Silverman Natalie Gendler Katherine & Douglass Raff Ariel Glassman Auction Donors: The Pink Door Heather & Grady Hughes The Ruins Ingrid Sarapuu & Michael Linda Griffith The 5th Avenue Theatre Gregory & Diane Lind Trader Joe’s Anderson Sharron & David Hartman ACT Costume Shop Mark Mason Violets are Blue Shelley Schermer Rick & Cindi Hasselblad Alvin Goldfarb Jewelers Frank Lawler & Ann McCurdy Washington Ensemble Theatre Barry & Colleen Scovel E.F. Hayashi Mark Anders Yoshi & Naomi Minegishi David Williams Dr. Larry Hohm & Karen Shaw Richard Hesik & Barbara Johns John Aylward Charles & Eleanor Nolan Don & Goldie Silverman Cynthia Huffman & Ray Heacox

encoreartsprograms.com A–11 ACT Corporate, Foundation & Government Sponsors ACT gratefully recognizes the following corporations, foundations, and government agencies for their generous support of our 2016 programs. Without such tremendous community support, ACT would not be able to offer outstanding contemporary theatre, in-school educational programming, or community-based outreach.

THEATRE SPONSORS EVENING SPONSORS SUSTAINING PARTNERS $100,000+ $10,000–$24,999 $1,000–$4,999 ArtsFund Daqopa Brands Fales Foundation Trust Elizabeth George Foundation McEachern Charitable Trust SEASON SPONSORS Harvest Foundation Morrison Hershfield Corporation $50,000–$99,999 Microsoft Corporation Seattle P-I The Boeing Company Peg & Rick Young Foundation Wyman Youth Trust Office of Arts & Culture TEW Foundation The Shubert Foundation Inc. MEDIA PARTNERS STAGE SPONSORS City Arts Magazine† SHOW SPONSORS $5,000–$9,999 Classical KING FM† $25,000–$49,999 Bob & Eileen Gilman Family Foundation KCTS9† 4Culture Break-Away Tours KEXP† Doris Duke Charitable Foundation Gordon Biersch Brewing Co† KUOW† John Graham Foundation Horizons Foundation The Seattle Times† MAP Fund Humanities Washington The Stranger† National Endowment for the Arts RealNetworks Foundation † Support provided through in-kind contributions. The Nesholm Family Foundation The Seattle Foundation North Carolina School of the Arts Foundation Treeline Foundation Tuxedos and Tennis Shoes† U.S. Bancorp Foundation Washington State Arts Commission

ACT gratefully acknowledges the following for their contributions to this production and season:

THE JOHN GRAHAM FOUNDATION

A–12 ACT – A Contemporary Theatre The Indomitable Kathy Hsieh Cultural Partnerships and Grants Manager, City of Seattle Office of Arts & Culture By Andrew Storms

Artist, activist, civil servant, theatre organizations, but really addict—Kathy Hsieh wears many hats to ensure that as much better than most of us manage to wear art that people want out just one. As Cultural Partnerships and there is supported in some Grants Manager for the City of Seattle’s way,” says Hsieh. A former Office of Arts & Culture, Hsieh oversees National Endowment for a number of programs for a diverse array the Arts panelist, she notes of organizations. In addition to focusing that programs like Civic on community-building and racial equity Partners can lend prestige to initiatives, Hsieh’s role as grantmaker smaller organizations, which makes her an integral player in the funding in turn helps them leverage process. additional funding.

A prime example of Hsieh’s work is Hsieh’s role in Seattle’s Kathy Hsieh and Evan Whitfield in Chinglish (ArtsWest). the Civic Partners program, a city grant theatre scene far surpasses PHOTO BY MICHAEL BRUNK which generously supports general her impressive contributions operating expenses for arts and cultural at the Office of Arts & Culture. She’s also continues to impress Hsieh is ACT’s focus a seasoned director, playwright, actor, on facilitating new theatre: “In a town like and producer. She has previously served Seattle, where we have so many creative “In a town like Seattle, as Managing Director for the Northwest artists, ACT has always saved a space for Asian American Theatre (NWAAT) and is the the creation of new work.” where we have so cofounder of SIS Productions, a company many creative artists, that works to create, develop, and produce On top of it all, Hsieh takes the time quality works that involve Asian-American to see all the theatre and art that she ACT has always women, themes, and issues. Most champions every day. She sees an average recently she was onstage in the ArtsWest of 165 shows per year and organizes a saved a space for the production of Chinglish, and is currently group of fellow theatre junkies, the “Over creation of new work.” reprising the same role at Nevada Theatre. 100 Club,” who commit to joining her in seeing over 100 live performances annually. Hsieh’s first experiences with ACT were organizations. Applicants are judged on as a teenager, when ACT called Queen Her artwork—acting, writing, three criteria: public access and benefit, Anne Hall home. She cites the former producing—informs her public service. “I quality and impact of programs in relation Young ACT Program as one of her entry remember how hard and how valuable to mission, and organizational soundness points to the organization’s work. “There’s the role of an artist is in the community,” and capacity. Hsieh refers to the grant as something about seeing these stories come she says. And so Hsieh continues to work “the most core funding program at the to life at that age,” she remembers of the diligently for the artists of Seattle. office.” ACT was recently awarded a Civic program, which focused on retelling classic From her standout achievements in the Partners grant for sustained support in the stories for teenage audiences. Hsieh’s debut area of racial equity to showing up and 2016-17 funding cycle. as an artist with ACT was as the Ghost of Christmas Past during the 1996 run of A supporting the work, Hsieh is a paragon of The program, which currently funds over Christmas Carol. The organization had only civic arts advocacy. The theatres of Seattle 160 organizations, is a fantastic reflection recently moved into its new downtown are lucky to have a friend and ally in the of Seattle’s thriving cultural scene. “Our home; it was ACT’s first production of indomitable Kathy Hsieh. goal is not to be the sole sponsor of a few the play at Kreielsheimer Place. What

encoreartsprograms.com A–13 ACT Partners ACT is dedicated to producing relevant works on contemporary themes. This is made possible by generous contributions from people in our community. We would like to thank the many kind individuals who have partnered with ACT this year. You inspire us all. Thank you.

THEATRE SPONSOR EVENING SPONSOR $100,000+ $10,000–$24,999 Katharyn Alvord Gerlich Benjamin & Marianne Bourland Eulalie M. & Gian-Carlo Scandiuzzi Trevor Cobb & Cecilia Cayetano James Degel & Jeanne Berwick, Berwick Degel Family Foundation SEASON SPONSOR Jean Burch Falls $50,000–$99,999 Linda & Brad Fowler Chap & Eve Alvord Gary & Parul Houlahan Nancy Alvord Gregory & Diane Lind Anonymous Nadine & John Murray Susan & John Pohl SHOW SPONSOR Teresa & Geoff Revelle $25,000–$49,999 David & Shirley Urdal Anonymous

ASSOCIATE $5,000-$9,999 Allan & Anne Affleck Dennis & Deborah DeYoung May McCarthy & Don Smith Donald & Jo Anne Rosen Melinda & Walter Andrews Charles Fitzgerald Eugene & Donna Mikov Eric & Margaret Rothchild Charitable Fund Joan & Larry Barokas James & Barbara Heavey Yoshi & Naomi Minegishi Herman & Faye Sarkowsky Laurie Besteman & Jack Lauderbaugh Ross & Kelsey Henry Gloria & David Moses Charitable Foundation Sonya & Tom Campion John & Ellen Hill Dr. Arnie & Judy Ness Jean Viereck Allan & Nora Davis Lisa & Norman Judah Linda & George Ojemann Marcia & Klaus Zech Bill Kuhn & Patricia Daniels Katherine & Douglass Raff Anonymous (2)

FRIEND $2,500-$4,999 Richard & Constance Albrecht Linda & Ted Johnson Brooks & Suzanne Ragen Ron & Carol Sperling Peter & Fran Bigelow Karen Koon & Brad Edwards Evelyne Rozner & Matt Griffin Tamzen Talman Thomas P. & Christine M. Griesa Kyoko Matsumoto Wright Ingrid Sarapuu & Michael Anderson Nancy Thacher Richard Hesik & Barbara Johns Joy McNichols Barry & Colleen Scovel Judith Warshal & Wade Sowers Stephanie M. Hilbert Douglas & Nancy Norberg Dr. Larry Hohm & Karen Shaw Anonymous Dale & Donna Holpainen The Nordhoff Family Don & Goldie Silverman Heather & Grady Hughes Lee Ann & Randy Ottinger Chuck Sitkin Katherine Ann Janeway & H.S. Wright III Nancy Parker Warren & Nancy Smith

SUSTAINING PARTNER $1,000-$2,499 A Michael & Pamela Adams Lori Eickelberg Tony Martello William & Rae Saltzstein Sheena Aebig & Eric Taylor Anne Foster Eric Mattson & Carla Fowler Barbara Sando John Akin & Mary Stevens Mrigankka Fotedar Peter & Kelly Maunsell John Shaw Rhett Alden & Marcia Engel Eleanor & Jeff Freeman Frances & Casey Mead Lisa Simonson Kermit & Danna Anderson Natalie Gendler Gail & John Mensher Sheila Smith & Don Ferguson Jane & Brian Andrew Lawrence & Hylton Hard Lauren Mikov & John Muhic Rose & the late John Southall Kendall & Sonia Baker Peter Hartley & Sheila Noonan Dayle Moss & David Brown Robert & Shirley Stewart Marge & Dave Baylor Margot & Paul Hightower Bill & Mary Ann Mundy Jeffrey A. Sutherland Eric Bennett Vaughn Himes & Martie Ann Bohn Sally Nelson Mark & Arlene Tibergien Margaret Bullitt Nancy & Martha Hines James Nichols & Beth Amsbary Jim & Kathy Tune Bruce Burger Joseph & Linda Iacolucci Chris & BJ Ohlweiler Dirk & Mary Lou Van Woerden Dr. William Calvin & Dr. Katherine Graubard Clare Kapitan & Keith Schreiber Hal Opperman & JoLynn Edwards Vijay & Sita Vashee Corinne A. Campbell Abha Khanna & Adam Porsch Valerie Payne Paul G. & Mary Lou Dice Vibrans Jeffrey & Alicia Carnevali Willis Kleinenbroich Pamela & Gilbert Powers Ellen Wallach & Tom Darden Frank & Denise Catalano Craig Davis & Ellen Le Vita Alan & Andrea Rabinowitz Tom & Connie Walsh Jim Lobsenz & Elizabeth Choy Eileen Lennon & Barrie Carter Matthew & Linda Radecki Nancy Weintraub Patricia & Theodore Collins Charlotte Lin Ken Ragsdale Mary & Donald Wieckowicz Steve Coulter Loeb Family Foundation Cindy & Lance Richmond George & Colleen Willoughby Todd & Sylvie Currie Stephen & Ellen Lutz David & Valerie Robinson Fund Kathy & Chic Wilson Bob & Kristi Diercks Jane W. & James A. Lyons Richard Andler & Carole Rush Ann P. Wyckoff Lonnie Edelheit Alice Mailloux Tove Ryman Anonymous (7)

SUPPORTING PARTNER $500–$999 Monica Alcabin Chase Anderson Dr. & Brs. Bensinger Luann & Irv Bertram Jerry Anches Diane & Jean-Loup Baer Neil & Bekki Bergeson Susan Campbell

A–14 ACT – A Contemporary Theatre Dennis & Aline Caulley Rhonda & Jim Greer Barbara Martyn Harold Sanford Colin & Jennifer Chapman Diana & Peter Hartwell Janet McAlpin Marybeth & Jerry Satterlee Martin Christoffel & Shirley Schultz Phyllis Hatfield Frank Lawler & Ann McCurdy Darshana Shanbhag Clark Family Charitable Fund Rodney & Jill Hearne Kathy McGoldrick Michael C. Shannon Nancy Cleminshaw Marjorie Kennedy Hemphill Tami & Joe Micheletti Barbara & Richard Shikiar Judy & Bob Cline Julia & Michael Herschensohn Mark & Susan Minerich Jeff Slesinger & Cynthia Wold Tom & Susan Colligan F. Randall & Barbara Hieronymus Frank Mitchell Kathleen Smith-Dijulio & Don Dijulio Ellen & Phil Collins Jim & Linda Hoff Michael Moody & Martha Clatterbaugh Helen F. Speegle Kevin & Lisa Conner Sara Comings Hoppin Wesley Moore & Sandra Walker Jen Steele & Jon Hoekstra Kathleen Sneden-Cook & Jack Cook Eric & Mary Horvitz Sallie & Lee Morris Kim Stindt & Mark Heilala Jan & Bill Corriston Susan & Phillip Hubbard Zack Mosner & Patty Friedman Isabel & Herb Stusser Joan Cremin Earl & Mary Lou Hunt Jim Mullin Norm & Lynn Swick Chris Curry Dean M. Ishiki James Nichols Margaret Taylor Kathy & Don DeCaprio Wendy Jackson Linda Niebanck Christopher & Mary Troth Darrel & Nancy Dochow David B. Johnson Craig & Deanna Norsen Dr. & Mrs. Kevin J. Ward Rayner D’Souza Ms. Joan E. Mathews Julnes Kristin Olson Vreni Von Arx Watt Shmuel El-Ab & Patricia Emmons Lura & David Kerschner Cynthia & Bruce Parks Jeff & Carol Waymack Joanne R. Euster Steven & Patricia Kessler Debbie Paul Eric Weber Teresa Irene Ferguson Patricia Killam Dr. Greg Perkins Janet Westin & Mike McCaw Rick Freedman David & Karen King Donald Pogoloff Greg Wetzel Dot Fuller Alexander Grigorovitch & Vera Kirichuk Judy G. Poll Ken & Carol Whitaker Gary J. Fuller & Randy L. Everett Dr. Edward & Mimi Kirsch Megan & Greg Pursell Philip & Susan White Lucy Gaskill-Gaddis & Terry Gaddis George & Linda Lamb Matthew & Linda Radecki Dianne & Douglas Wills Jean Garber & Clyde Moore Max Langley David Ragozin & Marilyn Charlat Dix Scott & Shirley Wilson Sergey Genkin Paul & Linda Larson Craig & Melissa Reese Susan Wolcott & George Taniwaki Genevra Gerhart Rhoda & Thomas Lawrence Cecilia Paul & Harry Reinert Nancy Worsham Boyd & Ann Givan Ed & Barbara Lee Catherine & Thurston Roach Josette Yolo Hellmut & Marcy Golde Mark P. Lutz Jean & Kirk Robinson Joyce & Christian Zobel Claire Grace C. Gilbert Lynn Randy & Willa Rohwer Igor Zverev & Yana Solovyeva Kelly & Jeffrey Greene Bill & Holly Marklyn Marc Rosenshein & Judy Soferman Anonymous (4) CONTRIBUTING PARTNER • $250-$499

Shawn Aebi Clay & Karen Dawson Lloyd Herman & Richard Wilson Carol McDonald Sonia Siegel Vexler & Paul Vexler Bob & Sarah Alsdorf Paul & Sandy Dehmer Pat Highet Sarah B. Meardon John Siegler & Alexandra Read, MD Connie Anderson & Tom Clement James & Amanda Devine Deborah Horne Mary Metastasio Judith Simmons Renate & Croil Anderson Paula Diehr & Frank Hughes Jenefer Hutchins John Mettler Gregory L. Snider Sherri M. Anderson Gary & Manya Drobnack Joel Ivey & Sheyrl Murdock James Moore Gail & Robert Stagman Basil & Gretchen Anex Kristin & Jeff Dubrule Michael Dryfoos & Ilga Jansons Kathryn Mueller Jolanne & Jim Stanton Loren & June Arnett Jan Tervonen Susan & Fred Jarrett Annette & Gordon Mumford Ann Stephens Adel Assaad Vasiliki Dwyer Camille & David Jassny Robert Mustard Lisa & John Stewart Karl Banse Glenn & Bertha Eades Paula Jenson Sarah Navarre Robert Stokes Mark Barbieri Amanda Ebbert & Kathryn Christine Jew John Naye Margaret Stoner & Robert Dr. & Mrs. J.E. Bassingthwaighte Johnson Bob Kakiuchi Cindy & Ed Neff Jacobsen Tom Bayley Shmuel El-Ad & Patricia Emmons Paul Kassen Colette J. Ogle Sally Sullivan Kurt Beattie & Marianne Owen Kevin Wilson & Emily Evans John & Nancy Jo Keegan Anita Paulson Jill Harper and Rik Reppe Leslie Ray & Michael Bernstein Karen & Bill Feldt Pavel Curtis & Kathleen Kells Susan Perkins Constance Swank Dennis Birch & Evette Ludman Carol Finn Omie Kerr Judy Pigott Hazel Thomas Kathleen & Rupert Bledsoe K. Denice Fischer-Fortier & James Anthony Kidd Carrie & Charles Powers Dennis M. Tiffany Pirkko Borland M. Fortier Marjorie Raleigh & Jerry Kimball Darryn Quincey & Kristi Falkner Timothy Tomlinson Cleve & Judith Borth Tom & Maura Fitzmacken Weldon Ihrig & Susan Knox Linda Quirk Arthur & Louise Torgerson Jerome & Barbara Bosley Mr. & Mrs. Phillip Frink Jr Agastya & Marianna Kohli Jeff & Pat Randall Kim & Ann Torp-Pedersen Sean Bowles Jean Gardner Dmitri Kotchetov Alan & Barbara Rappoport Sarah & Russell Tousley Philip Brazil Jeff & Jeanne Garland Jim & Jean Kunz Annemarie Riese & Terry Kisner Pieter & Tjitske Van Der Meulen Susan Brockway Jeff Gerson Laurie Kutter Jeff Robbins & Marci Wing Jorie Wackerman Steve & Stefanie Brown Wilmot & Mary Gilland Steve Langs Bruce F. Robertson Mary & Findlay Wallace Dr. James & Donna Brudvik Bruce & Peggy Gladner Kathleen F. Leahy Drs. Tom & Christine Robertson Bruce Weech Val Brustad Debra Godfrey & Jeffrey Sconyers Elizabeth Leber & Andrew Coveler Kasia Rozanski Charles & Sally Weems Carol & Jonathan Buchter Catherine Gorman Lyn & Doug Lee Richard & Nancy Rust Marjorie & Bob Weiss Tina Bullitt Connie Gould & Philip Rudman Pal & Helen Leuzzi Werner & Joan Samson Jim & Sharron Welch Michael & Lynne Bush Drs. Verena & Basil Grieco Arni Litt Betsy & Jason Schneier, M.D. Jay & Linda Willenberg Mary Casey-Goldstein & Steve Paul & Sheila Gutowski David Longmuir George Schuchart Rob Williamson Goldstein Don Fleming & Libby Hanna Meg & Jake Mahoney Alan & Susan Schulkin Peggy & Dennis Willingham Ronald & Leila Cathcart Nancy R. Harris Jeffrey & Barbara Mandula Karen & Patrick Scott Kairu Yao Donald Cavanaugh Betty & Robert Hawkins Michael & Rosemary Mayo David & Elizabeth Seidel David Zager Daniel Ciske Richard & Susan Hecht Arthur Mazzola Mark & Patti Seklemian Anonymous (2) Dan & Esther Darrow Jane & Joseph Heinrich Catherine & Barry McConnell Lynne & Bill Shepherd Emily Davis Jean Henderson This list reflects donations made to the annual fund between January 1, 2015 and January 1, 2016. ACT works to maintain our list of donors as accurately as possible. We apologize for any 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.

encoreartsprograms.com A–15 ACT A Theatre of New Ideas ACT Board EMERITUS COUNCIL ADMINISTRATION SALES AND AUDIENCE COSTUME DEPARTMENTS Richard C. Clotfelter Chris DeGracia SERVICES Lisa A. Knoop Of Trustees Esther Schoenfeld Capital Projects and Operations Costume Director Jessica Howard Manager Charles Sitkin Director of Sales and Audience Renita Davenport Chair Hannah Schirman Services Costume Shop Foreman A Contemporary Events and Venue Manager Ross Henry Scott Herman Susanne R. Ferguson Vice President Theatre James Stone Customer Service Manager First Hand Facilities Maintenance Gary Houlahan Foundation Star Zahne Sally Mellis† Treasurer Board AC/R Services Telesales Manager Wardrobe Master Engineer Bill Kuhn Ada Karamanyan Joyce Degenfelder† Kermit Anderson Secretary Rica Wolken Front Office Representative Wig Master President IT Director Matt Aalfs Leicester Landon Lucinda Richmond Joan Barokas Ashley Schalow Will Moore SCENIC DEPARTMENTS Vice President Eric Bennett Database Manager Laura Owens Steve Coulter† Leslie Ray Bernstein Katherine Raff Tuxedos and Tennis Shoes Ian Stewart Technical Director Laurie Besteman Secretary Amelia Wade Catering Derek Baylor† Trevor Cobb Kathryn Wahlberg Brian Turner Bar and Concessions Assistant Technical Director Rayner D’Souza Treasurer Ticket Office Representatives Bob Diercks Austin Smart† Jeremy Rupprecht Charles Fitzgerald Brad Fowler FINANCE Scene Shop Foreman Gary Houlahan Audience Services Manager Julia Herschensohn Sheila Smith Sean Wilkins† Catherine Roach Amanda Rae Stephanie Hilbert Director of Finance Master Scenic Carpenter Grady Hughes Charles Sitkin House Manager Sandi Hogben Nick Murel Abha Khanna Ty Bonneville Payroll and Accounts Payable Scenic Carpenter Diane Lind Specialist Assistant House Manager Kyoko Matsumoto Wright ACT Staff Jeff Scott Katie Bicknell Lauren Mikov Scenic Charge Artist Hana Christenson Naomi Minegishi EXECUTIVE DEVELOPMENT Ryan Higgins Lisa Bellero† James Minorchio John Langs Clare Hausmann Weiand Linnea Ingalls Assistant Charge Artist John Muhic Artistic Director Director of Development Michael McClain † Judy Ness Carlo Scandiuzzi Robert Hankins Marne Cohen-Vance Robin Obourn George Ojemann Executive Director Associate Director of Development Properties Master Becky Plant Teresa Revelle † Becky Witmer Sarah Guthu Kyle Traver Ken Ewert Barry Scovel Managing Director Grants Manager Shane Unger Master Properties Artisan Karen Shaw Adam Vanhee Thomas Verdos† John Siegler Samie Detzer Jill Robinson Audience Services Lead Properties Artisan Goldie Gendler Silverman Literary and Executive Manager Development Officer Rob Stewart Andrew P. Storms Christine Jew Larry True ARTISTIC Development Associate Audience Services Affiliate STAGE OPERATIONS † Ryan Waite Kurt Beattie Nick Farwell Shanna Waite Ali el-Gasseir Stage Operations Supervisor Artistic Director Emeritus Gala Manager PRODUCTION † Margaret Layne† Alyssa Byer James Nichols ACT Advisory Production Manager Master Stage Carpenter Director of Casting MARKETING, SALES, † Council Angie Kamel AND COMMUNICATIONS Ruth Eitemiller Pam Mulkern Assistant Production Manager Master Electrician Sheena Aebig Artistic Engagement Manager Amy Gentry Daniel D. Ederer Emily Penick Director of Marketing and Skylar Hansen Max Langley Jean Burch Falls Literary and Artistic Manager Communications Production Office Manager Master Sound Engineer Jeannie M. Falls Kenna Kettrick Aubrey Scheffel John H. Faris Young Playwrights Program Associate Director of Marketing STAGE MANAGEMENT FOR THIS PRODUCTION Brad Fowler † Administrator Jillian Vasquez Jeffrey K. Hanson Leicester Landon Carolyn H. Grinstein Production Stage Manager Production Runner Sara Comings Hoppin Wiley Basho Gorn Marketing Associate C. David Hughbanks Videographer Valerie Brunetto JR Welden Stage Manager Jonathan D. Klein Emma Bjornson, Spencer Hamp, Public Relations and Jane W. Lyons Arica Jeffery Communications Manager David Hartig Gloria A. Moses Literary Interns Cati Thelen Tori Thompson Nadine H. Murray Marketing Intern Briana Kersten Douglas E. Norberg Production Assistants Kristin G. Olson Shawn Baker Donald B. Paterson PR Intern Eric Pettigrew Apex Media Pamela Powers Advertising Katherine L. Raff Chris Bennion Brooks G. Ragen Production Photographic Services Catherine Roach Jo Anne Rosen Christa Fleming Faye Sarkowsky Graphic Design Services David E. Skinner Susan Trapnell Brian Turner George V. Willoughby David E. Wyman, Jr. Jane H. Yerkes

† Denotes staff member has worked at ACT for 10 years or more

A–16 ACT – A Contemporary Theatre ENCORE ARTS NEWS VISIT EncoreArtsSeattle.com

Q & A with R. Hamilton Wright 6720 E Green Lake Way N “There has to be a Seattle, WA 98103 surplus of joy at the end for it to be a really significant experience.” 206-517-2213 [email protected]

BY BRETT HAMIL www.hearthstone.org

R. Hamilton Wright is a Seattle actor and We live not far from Holman Road and playwright who’s been in more than 130 we both grew up in Seattle so whether we Life Plan Community productions over 35 years of working in need it or not we eat at Dick’s once a month. theatre. Most recently, he appeared in Seattle When I was ten or eleven, I could get a at Green Lake Shakespeare’s Mother Courage and Her hamburger, cheeseburger, fries and a shake Independent, Assisted, Memory Children, Seattle Rep’s Who’s Afraid of Virginia for about a dollar. I get the same meal today. and Skilled Living Options Woolf and ACT’s Vanya, Sonia, Masha and Spike. What music gets you pumped up? What His play, Sherlock Holmes and the American do you listen to when you’re sad? Problem, receives its world premiere at the I don’t listen to music to get excited. I don’t Rep in April, directed by Allison Narver. He’s listen to music if I’m doing anything else. I also been chosen as a member of ACT’s new really don’t listen to much music, actually, Core Company, serving as an ambassador which sounds like I’m admitting to being and regular contributor to their productions an alien but it is true. I listen to The Beatles throughout the coming year. when I am in the car. Sometimes Django Wright—his friends call him Bob—lives in Reinhardt. a little brick house in North Seattle with his wife, the playwright and master baker Katie What’s the most crucial element of any Forgette. production? A good play. Good actors. The text is What’s the best performance you’ve seen important but the really crucial thing is the lately? cast. Talent is critical but everyone has to Whenever my dear wife, confronted by four want to work really hard and there has to be day’s growth of beard on my sorry face, says, a surplus of joy at the end for it to be a really “I love you.” It is beautifully delivered and significant experience. 6850 Woodlawn Ave NE there are endless little variations in how she Seattle, WA 98115 delivers this simple phrase. It is magic. What’s the most useful thing anyone’s I always buy it. ever taught you about working in theatre? What’s the best meal in Seattle? Woody Allen has said that 80% of success 206-517-2110 In the winter, when the water gets cold, I love is showing up. I learned a long time ago [email protected] the oysters at The Walrus and the Carpenter. from older and wiser and far more talented They are delicious—if you like oysters—and men and women that you need to arrive they make it possible for us to order the at rehearsal on time and ready to work. maple bread pudding for dessert, which is Ready to talk, but more importantly, ready www.villagecove.org

PHOTO: ALABASTRO PHOTOGRAPHY ALABASTRO PHOTO: magnificent. to listen.

encoreartsseattle.com 5 ENCORE ARTS PREVIEWS

As spring turns the corner into Only at summer, theatre houses conclude the season with a bang, from award-winning modern musicals Mirabella Seattle to celebrated adaptations to world premieres.

Stupid F*cking Bird April 8–May 8 This sort-of adaptation of The Seagull grapples with familiar Chekhovian themes around the role of theatre and the ossification of culture. Written by Aaron Posner, the LA Weekly called it “the best Chekhov adaptation in two decades.” ACT Theatre

Sherlock Holmes and the American Problem April 22–May 22 In this world premiere by Seattle actor/ playwright R. Hamilton Wright, the Victorian sleuth brings his powers of deduction to the American Wild West of 1887. Directed by Allison Narver. Seattle Repertory Theatre

Billy Elliott May 12–July 3 This charming musical tells the story of a boy who dreams of dancing ballet, set against the conflict and poverty of a Northern Living here means being surrounded by the best the England miners’ strike in in the mid-80s. Based on the hit movie and featuring music city has to offer. Dine at a nearby restaurant, cruise by Elton John, it won ten Tony Awards Pike Place Market, catch a show at one of the city’s and has been called “best musical of the decade.” many arts venues, or simply take part in Mirabella’s Village Theatre Issaquah

busy activities calendar. No matter what you choose, American Stories you’ll experience vibrant urban living at its finest. June 3–12 This program brings together folk, jazz and classical in a selection of work from three of Call today for a tour and find out how the world’s greatest choreographers. Jerome you can retire in the middle of it all. Robbins’s Fancy Free set to the music of Leonard Bernstein, George Balanchine’s Square Dance and Twyla Tharp’s Waiting at (206) 254-1441 the Station featuring the music of recently departed jazz great Allen Toussaint. retirement.org/mirabellaseattle Pacific Northwest Ballet

116 Fairview Avenue North For more previews, stories, video and a look Seattle, WA 98109 behind the scenes, visit EncoreArtsSeattle.com

Mirabella Seattle is a Pacific Retirement Services Community. Equal Housing Opportunity.

PROGRAM ARCHIVE CALENDAR PREVIEWS ARTIST SPOTLIGHT

6 ENCORE STAGES ENCORE ARTS NEWS VISIT EncoreArtsSeattle.com Breaking the Fifth Wall: Dying While Performing BY BRETT HAMIL

Recently I was shocked to read the story of an Don’t Talk About Me When I’m Gone” and Italian actor who accidentally hung himself slumping to the floor, dead, as indicated in the during an immersive performance in Pisa. After script. reciting a monologue from Frank Wedekind’s In a cemetery on Capitol Hill lies the final Spring Awakening in a courtyard in front of just resting place of Brandon Lee, who became one one audience member, Raphael Schumacher of the most notorious modern on-set fatalities placed his head in a noose and an apparent when a gun malfunctioned during the filming malfunction rendered him asphyxiated. of the movie The Crow. A second spectator arrived, noticed that My macabre search turned up another Seattle something had gone wrong and rushed to help connection to death-in-performance I hadn’t Schumacher, but it was too late. Doctors later known about. In 1985, the Japanese butoh declared him brain dead. troupe Sankai Juku came to town for the first Sheer horror sent me scrambling to debunk stop on their tour, in which they opened their the story. It seemed too awful to be true, but residency with a unique public performance. PRESENTED IN TWO PARTS several reputable news sources confirmed it. The piece, entitled “Jomon Sho” (“Homage to The worst possible thing had occurred. Prehistory”), consisted of dancers suspended One likes to think of the performance space from ropes mounted to the top of the Mutual as an inviolable microcosm, a zone where the Life Building in Pioneer Square. Over the course INFO BOOK-IT.ORG most terrible things that can happen are a of a half hour they were to gradually unfurl TICKETS 206.216.0833 flubbed line, a missed sound cue, a critically themselves while being lowered to the earth. panned production. Death—the actual kind, One of the ropes broke, sending Yoshiyuku not the theatrical facsimile—doesn’t enter into Takada plummeting to the sidewalk below. He the equation. But here the “fifth wall” had been was pronounced dead at Harborview Medical breached. Center later that afternoon. I couldn’t stop thinking about Schumacher: Video footage still exists of that horrific his last conscious moments, the shock of the event, recorded from Japanese news footage, GODZILLA ACTION FIGURES! onlookers, the heartbreak of his loved ones. but I wouldn’t recommend watching it. The HANDMADE DUMPLINGS! Driven by morbid curiosity, I jumped on Google camera cheapens and flattens the existential SAKE SLUSHIES! and started looking for other instances of mid- shock of that tragedy, somehow robs it of its performance fatality. solemnity. It’s disturbing to consider that now, A lively Asian inspired hang out. Death onstage bears its own strange poetry; in the age of the ever-present smartphone, the GodzillaBar offers a casual, fun the literal embodiment of the old trope, “He possibility of a public death not recorded on space for groups, families, or the died doing what he loved.” The circumstances digital device becomes ever more remote. Some solo traveler with a bar focus of each stage death—and there are many—stand things you just don’t need to see. and a menu designed for out variously as ironic, or eerily appropriate, Sankai Juku cancelled the rest of that tour, snacking or going all out. or even slapstick; consider the great Molière’s but they chose Seattle as the first US stop on Think of it as your neighborhood their tour the following year. Decades later, death in 1673 by violent coughing fit while joint right in the heart of playing the lead in his own play, Le Malade they’re still at it; they performed here last the Denny Regrade. imaginaire (The Hypochondriac). In 1888 October. the British bass-baritone Frederick Federici It’s difficult to imagine what it would take to godzillabar.com succumbed to a heart attack after singing the return to the stage after witnessing the death @heytanakasan last note of the opera Faust in the role of the of a colleague, impossible to consider what’s 2121 6th Ave. demon Mephistopheles as he was descending going on in the minds of Raphael Schumacher’s Seattle, WA through a trap door to the Underworld. fellow company members right now. Perhaps 206.812.8412 The comedian Redd Foxx, known for faking they’re feeling the frivolity of theatre in the face heart attacks as Fred Sanford on Sanford and of mortality, the taunting absurdity of dying Son, died of an actual heart attack in 1991 over made-up diversions. But viewed another during the filming of his new sitcom, and the way, is there any greater symbol of the victory of cast assumed he was clowning on his signature art over death than the willingness to continue role. In 1986, an actor named Edith Webster creating when confronted with such loss? As died at the close of her death scene in the play we mourn the departure of artists great and The Drunkard after singing the song “Please unknown, the show must go on.

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