OCTOBER 2017 OCT 24–NOV 19, 2017
Adapted by Jeffrey Hatcher from the original by Nikolai Gogol Directed by Allison Narver
By Rosa Joshi and Kate Wisniewski 2017 SUMMER 2017 FALL 2017–2018 2017 SPRING Directed by Rosa Joshi WOODEN O TOUR INDOOR SEASON TOUR Pericles Romeo and Juliet Julius Caesar Romeo and Juliet Much Ado About Nothing The Government Inspector Twelfth Night Timon of Athens The Merchant of Venice Shakespeare in Love October 2017 Volume 14, No. 2
Paul Heppner Publisher FALL 2017 Sara Keats Encore Stages Editor
Susan Peterson Design & Production Director Contents
Ana Alvira, Robin Kessler, 3 "The Play’s the Thing” Shaun Swick, Stevie VanBronkhorst Is Theatre our Ideal Production Artists and Graphic Design Empathy Workout? Mike Hathaway Sales Director Dialogue
Brieanna Bright, Joey Chapman, 7 Shaya Lyon and the Ann Manning Live Music Project Seattle Area Account Executives
Amelia Heppner, Marilyn Kallins, Terri Reed 9 A Conversation with San Francisco/Bay Area Account Executives Simone Hamilton
Carol Yip Sales Coordinator Intermission Brain Transmission 12 Test yourself with our 310 Terry Avenue. trivia quiz
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2 ENCORE STAGES “The Play’s the Thing” Is Theatre our Ideal Empathy Workout?
New Century Theatre Company's production of Festen, 2016. From left: Conner Neddersen, MJ Sieber. Photo by John Ulman.
Maia Kinney-Petrucha The first time I cried at the theatre, I Hundreds of plays later, I found was eleven. It was a local production myself studying the science behind examines the theoretical of West Side Story, and after being performance. Why is the experience so and applied science of unimpressed by the film, I wasn’t significant? I approached this question creating empathy through expecting much. But when I saw the from both a cognitive scientific and an tears on Maria’s face as she held Tony’s artistic perspective. My work consisted theatre. lifeless body, I was right there with her. of theoretical and applied research, I had never been in love. I had never beginning with the creation of a 2016 lost someone I loved. I was not a Puerto documentary theatre production Rican immigrant from the 1950s. I was entitled The Stories We Are. sure the actress didn’t have the same history as the character, but there she The show was devised at Hampshire was, embodying Maria's pain. And there College by seven ensemble members I was, feeling my heart wrench along who were asked to explore personal with everyone else’s in the room, and storytelling through a variety of understanding a mix of emotions I had performance mediums. There were never encountered. It was education. It two remarkable results: the actors’ was connection. It was power. evolution toward kindness and respect
encoremediagroup.com/programs 3 for one another, and the audience’s Trinity College, Cambridge, developed heightened emotional reactions. Seeing a chart from his 2011 empathy research people tell real stories on stage elicited called, “The Empathy Bell Curve.” It We don’t strong responses from the audience, suggests that everyone has different levels and I hypothesized that there is of empathy, but we all fall somewhere on witness theatre, something about theatre in particular a spectrum. What if where we sit on that that transforms the way we consider curve shifts throughout our lives? or work as humanity. After surviving millennia, theatremakers, theatre remains one of the most desirable Just as we must use any of our abilities modes of storytelling. Beyond the joy of to retain and strengthen them, we without entertainment, there is something we must do the same for our empathy. gain at the neural level by engaging with Unfortunately, we aren't prompted to experiencing theatre, something that defines our need experience empathy very deeply in for performing arts. daily life, and when we do there are empathy. contingencies. We empathize more easily with people we identify with and form after the show, but every night audiences personal relationships to. For instance, it’s were much more willing to share after After seeing The Stories We Are, a colleague impossible to empathize all at once with watching the actors perform. Our expressed to me what she gets out of the thousands of victims of hate crimes empathy motivates us to copy others in going to the theatre: “I like [having] an every year in the US. However, we can the moment. emotional upwelling. I forget my life empathize with the family of Matthew and I pay attention to what’s happening, Shepard, whose murder in 1998 became and then I can feel things based on my a spark of national outrage against In a 2012 study, researchers Thalia interpretation of what people are feeling.” homophobia and still resonates today Goldstein and Ellen Winner assessed with productions of the documentary play This sensation is called empathy, an empathy levels in elementary and high The Laramie Project. In stories, emotions ability we have to recognize and then school students who had received one are not only bolder and appear in quicker take on another person’s emotion in year of either acting, or other arts training. succession, but by pigeonholing a larger the present moment. We don’t witness They found that those who had studied issue and reaching us on a personal level, theatre, or work as theatremakers, acting for the year, and not another type of they can access and test the limits of our without experiencing empathy. Our main art, showed the most significant growth in empathy. task is to feel what another is feeling. It empathy scores. is the key to our involvement in a story, In that sense, observing and participating As children, pretend play guides our how we process emotional plot, predict in storytelling is like working out at the acquisition of empathy while our minds behavior, and understand a character’s gym. The practice of perspective taking develop. We use role-playing as children mental state. Performers achieve this with expands our minds. Theatre may just be to form these social capacities. Despite training. Audiences have empathy thrust the best empathy gym of them all. upon them. In both cases, we exercise pretend play being less socially acceptable empathy. as we get older, we’ve found other ways of imbedding it into our culture, including This isn’t news. Empathy is one of theatre’s Jessica Blank and Eric Jenson’s play theatre. Whether on stage or in the biggest attractions. Why bother going to The Exonerated was a compilation of audience, we are absorbed in an act of see a show that doesn’t make you laugh, interviews they conducted with six putting ourselves in another’s shoes. This cry, or your heart race? What is invaluable criminals on death row, each of whom consistent desire for pretend implies a to understand, however, is that through eventually suffered their way to freedom recurring need to enhance empathy into its activation in theatre, our empathy after proving their innocence. The adulthood. Theatre is a tool, adapted can grow. While crucial to our social authors spoke with audiences before from the basics of pretend play, which can cognition, it isn’t something we often and after the show, and found that the increase our social skillset at any age. operate consciously, making it a harder majority empathized with the people in skill to reinforce. Still, because empathy the stories far more after seeing the play Theatre activates a number of mental is both something we are born with and a than when they only had a description of capabilities, many of which are members skill, it can progress through experience, their conviction. In The Stories We Are, we of what is called, “The Empathy Circuit,” or be diminished without. introduced an interactive lobby display a phrase developed by Baron-Cohen to for the audience comprising of activities describe the vast mechanism in charge Simon Baron-Cohen, professor of where they could share personal stories. of the many ingredients that make up Developmental Psychopathology at the These activities were available before and empathy. University of Cambridge and Fellow at
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EAP full-page template.indd 1 7/17/17 3:08 PM The closeness of theatre can also help us counter preexisting biases. As performers, we must learn a different perspective, one that could be entirely new to us. The process of imagining, then becoming, is pure empathy. Trying to see through new eyes presents us with new possibilities. The audiences’ route to empathy is less taxing, but just as profound. We are free to experience emotion without fear that our feelings, or presence, will change a play’s outcome. This separation from the story gives room to practice feeling strongly without threat of consequence.
Ultimately, theatre can be considered a “transitional space,” a term coined by psychologist D. W. Winnicott, defined as a place where experiences happen between (Left to right): Lisa Caspari and Alice Schneider share a tender moment in the author’s worlds. In that space, we can process both documentary theatre production, The Stories We Are. Photo by Amy Deyerle-Smith. the world of reality, and the world of the play. This is quintessential for empathy practice because, while we understand that Researchers have discovered that when the emotional threat is not real, we can one is recounting a story, the parts of the still apply the feelings to social experiences brain associated with the experience of The very structure of theatre is crafted outside the theatre, augmenting our living the story are in use. The amygdala, to spark our empathy. Two components understanding and acceptance of the responsible for emotional comprehension in particular distinguish it from other “o th e r.” and learning, and the insular cortex, which narrative forms: all action happens in real time, and the world of the story and its helps us recall and relate to moments Embracing a more comprehensive viewers exist in the same space. we are talking about, are also at work. It understanding of the process can help is likely, then, that actors, who generally theatre take a much bigger role in empathy aren’t telling stories that happened Why bother going education and training for a variety of to themselves, still access these same to see a show that fields such as medicine, psychology, structures in order to express another’s and teaching. It can also be applied to persona. doesn’t make you treatment programs for individuals with empathy deficit disorders such as When we watch another person engage in laugh, cry, or your psychopathy and certain autism-spectrum a type of emotional or physical behavior, heart race? disorders. Chiefly, though, understanding something called the “Mirror Neuron exactly how theatre changes us can lead System” is in action. These neurons fire not to the creation of more productions just when witnessing physical behavior, These dual factors are essential to that maximize unbiased empathy and but through auditory description as well. understanding why theatre is exemplary faces us, as individuals and as a society, They explain how audiences both feel and for empathy development. Humans not in the direction of untold, unheard, and learn during a play. When an emotion is only empathize better with those they misunderstood tales. 6 ENCORE STAGES PLOT OF THE PLAY When locals in a small Russian town learn that an undercover government inspector is coming for a secret audit, an unfortunate case of mistaken identity sends the village spiraling into a world of panic and greed. Fearing the extent of the town’s corruption will be exposed, Mayor Anton Antonovich and other local officials set off to cover up their many misdeeds and prepare for the inspector’s arrival. Gossiping local landowners We’ve been staging non-Shakespeare classics at Seattle Dobchinsky and Bobchinsky Shakespeare Company since 2002, but The Government Inspector fuel the town’s frenzy when they marks our first production by a Russian playwright. At a time when discover that a stranger from the city has already been staying at the headlines about Russia regularly involve political meddling and cover- local inn for a week. ups, this merciless satire of political corruption is refreshingly funny. Across town, a lowly and impoverished civil servant, Ivan Originally written by Nikolai Gogol in 1836 and adapted by Jeffrey Alexandreyevich Khlestakov, is Hatcher in 2009, the script has been inducing giggles in our fighting with the innkeeper’s administrative offices and guffaws in the rehearsal room — we are wife and the waitress over his delighted to finally the share the laughter with you! mounting bills when the Mayor arrives to officially welcome him, mistakeningly assuming that Khlestakov is the government inspector. Bribes fly as the corrupt officials — the judge, the school principal, the hospital director, the police chief, and the postmaster — fall over themselves to offer fists full of rubles to the unsuspecting commoner. Deciding to make the most of the town’s misconception, Khlestakov begins spinning tall tales of his life as a high-ranking government official, with the help of his valet, Osip. The Mayor’s wife, wooed by the pedigree of the new visitor and hoping to wed her daughter, Marya, into further wealth, sets her sights on Khlestakov’s heart. Even the Mayor’s maid and a trio of local merchants get into the act, helping put on a false front for the assumed inspector. It isn’t until Khlestakov is long gone — and just moments before the real government inspector is revealed — that the townspeople discover their mistake. Adapted from the Guthrie Theater’s play guide. encoremediagroup.com/programs A-1 Carrying the Russian Mantle What Goes Around Nikolai Gogol had a tremendous Comes Around influence on arts and culture in his country. His novel Dead Souls is considered a paramount to 19th Century Russian literature. The Government Inspector, one of only three plays he wrote, is considered the greatest comedy Russia has ever produced. And it took only two months to write it! In The Government Inspector two A Royal Opening landowners look remarkably similar. The actors playing Dobchinsky and Bobchinsky, Arjun Pande and Kevin Kelly, are not strangers to playing Nikolai Gogol Our Production twins. They played the Dromio twins in our 2015 production of The Nikolai Vasilievich Gogol was born on March 31, 1809 The Set Comedy of Errors. in northeastern Ukraine. Scenic designer Julia Welch has created an Nikolai’s parents married when his mother, Maria, intentionally flexible space that actors can Inspiration Strikes The Government Inspector was one was 14 and his father, Vasyl, was 28. Maria’s dowry manipulate to amplify the comic antics of of the inspirations for the beloved included an estate that came with 268 serfs (resident the story. Set in a black and white world with gold accents, everything on stage comedy Inspecting Carol created at laborers bound to the service of landowners), and Seattle Repertory Theatre in 1991. Vasyl retired immediately to take up writing and moves. Panels can drift on and off, and Tsar Nicolas I, after reading a copy doors are on wheels allowing the scenery acting in comedic musicals produced in the home A true genre mash-up, the story of The Government Inspector, liked it to participate in the on-stage action. so much that he requested the first theatre of a wealthy cousin. Nikolai participated in centers around a small theatre theatrical production…even though his father’s theatre projects from a young age and The Costumes trying to stage A Christmas Carol when news arrives that an inspector it lampooned much of what was took an interest in writing. Like his father, Nikolai was Costume designer Pete Rush has freed is coming to assess whether the wrong under his rule. both highly intelligent and suffered from sudden costumes from the constraints of a and severe episodes of melancholy. struggling organization will receive Just Between Friends unified time period to make individual an important grant. It’s a play that While attending school, Nikolai continued to write and participate in theatre. In 1828, characterization paramount, playing up continues to be a favorite for theatre he headed for St. Petersburg, where he was employed in academia while pursuing iconic archetypes. “Julia has created a really companies across the country. a fledging career as a writer. The first self-published piece that he submitted to beautiful black and white world, and now magazines received no interest, but Nikolai was ambitious and committed. Within it’s my job to bring hyper color onto it.” only a few years he was a member of a Russia’s literary social circles and, by his mid- Although there are separate looks for the twenties, had earned critical and popular success as a published author. characters, they are all unified by a unique While his writing flourished, Nikolai’s serial employment as an underqualified approach to how their garments have been constructed. Upper class characters wear history professor resembled the bureaucratic incompetency that he so deftly black smocks painted with two-dimensional representations of distinct costumes, The original idea for The Government satirized in his literary works. After The Government Inspector debuted in 1836, taking inspiration from black velvet paintings. Lower class characters — peasants, Inspector came from Gogol’s friend Nikolai left Russia to live abroad in Europe, where he moved among artistic and merchants, waitresses — are dressed in burlap that is also painted with distinct Alexander Pushkin, the great Russian literary circles. Spending much of his time in Rome, he continued to write. In 1841, costume pieces. writer and poet. Legend has it that he returned to Russia for the publication of his masterpiece, Dead Souls. Pushkin relayed experiencing a The Lighting similar situation while visiting a In the last years of his life, Nikolai experienced increasing moral and religious “This play is kind of like a great road trip,” said lighting designer Andrew D. Smith, remote town. anxiety. Under the influence of a fanatical priest, who fostered a growing fear of speaking at first rehearsal. “It’s like a road trip with Hunter S. Thompson with Buster Keaton in the back seat.” Working on a sense of scale and portion, some lighting Harsh Reaction damnation and guilt over past sins, he adopted an ascetic regime that undermined But wait, there’s more . . . R. Hamilton his health. In early 1852, Nikolai burned his transcript for the second volume of elements will join the mobility of the set with rolling booms that actors can move Wright plays Khlestakov in our After getting a lot of criticism from onstage for comically dramatic effect. Moments of high farce will be further production of The Government government officials about how Dead Souls (which had been planned as a trilogy inspired by Dante’s Inferno) and exaggerated with garish qualities echoing the paintings of Toulouse-Lautrec, with Inspector, who inspired the character they were portrayed in the play, fell into a major depression, refusing all food and dying nine days later. lighting pulling extra drama out of the high-contrast set and painted costumes. of Wayne in Inspecting Carol, a part Gogol left Russia. His self-exile lasted A beloved and significant cultural figure, monuments to Gogol stand across originated by Wright at Seattle 12 years until he eventually returned Repertory Theatre over 25 years ago! to Moscow. He died at age 42. Ukraine and Russia, including Kiev, Odessa, Moscow, and St. Petersburg. A-2 SEATTLE SHAKESPEARE COMPANY Carrying the Russian Mantle What Goes Around Nikolai Gogol had a tremendous Comes Around influence on arts and culture in his country. His novel Dead Souls is considered a paramount to 19th Century Russian literature. The Government Inspector, one of only three plays he wrote, is considered the greatest comedy Russia has ever produced. And it took only two months to write it! In The Government Inspector two A Royal Opening landowners look remarkably similar. The actors playing Dobchinsky and Bobchinsky, Arjun Pande and Kevin Kelly, are not strangers to playing Nikolai Gogol Our Production twins. They played the Dromio twins in our 2015 production of The Nikolai Vasilievich Gogol was born on March 31, 1809 The Set Comedy of Errors. in northeastern Ukraine. Scenic designer Julia Welch has created an Nikolai’s parents married when his mother, Maria, intentionally flexible space that actors can Inspiration Strikes The Government Inspector was one was 14 and his father, Vasyl, was 28. Maria’s dowry manipulate to amplify the comic antics of of the inspirations for the beloved included an estate that came with 268 serfs (resident the story. Set in a black and white world with gold accents, everything on stage comedy Inspecting Carol created at laborers bound to the service of landowners), and Seattle Repertory Theatre in 1991. Vasyl retired immediately to take up writing and moves. Panels can drift on and off, and Tsar Nicolas I, after reading a copy doors are on wheels allowing the scenery acting in comedic musicals produced in the home A true genre mash-up, the story of The Government Inspector, liked it to participate in the on-stage action. so much that he requested the first theatre of a wealthy cousin. Nikolai participated in centers around a small theatre theatrical production…even though his father’s theatre projects from a young age and The Costumes trying to stage A Christmas Carol when news arrives that an inspector it lampooned much of what was took an interest in writing. Like his father, Nikolai was Costume designer Pete Rush has freed is coming to assess whether the wrong under his rule. both highly intelligent and suffered from sudden costumes from the constraints of a and severe episodes of melancholy. struggling organization will receive Just Between Friends unified time period to make individual an important grant. It’s a play that While attending school, Nikolai continued to write and participate in theatre. In 1828, characterization paramount, playing up continues to be a favorite for theatre he headed for St. Petersburg, where he was employed in academia while pursuing iconic archetypes. “Julia has created a really companies across the country. a fledging career as a writer. The first self-published piece that he submitted to beautiful black and white world, and now magazines received no interest, but Nikolai was ambitious and committed. Within it’s my job to bring hyper color onto it.” only a few years he was a member of a Russia’s literary social circles and, by his mid- Although there are separate looks for the twenties, had earned critical and popular success as a published author. characters, they are all unified by a unique While his writing flourished, Nikolai’s serial employment as an underqualified approach to how their garments have been constructed. Upper class characters wear history professor resembled the bureaucratic incompetency that he so deftly black smocks painted with two-dimensional representations of distinct costumes, The original idea for The Government satirized in his literary works. After The Government Inspector debuted in 1836, taking inspiration from black velvet paintings. Lower class characters — peasants, Inspector came from Gogol’s friend Nikolai left Russia to live abroad in Europe, where he moved among artistic and merchants, waitresses — are dressed in burlap that is also painted with distinct Alexander Pushkin, the great Russian literary circles. Spending much of his time in Rome, he continued to write. In 1841, costume pieces. writer and poet. Legend has it that he returned to Russia for the publication of his masterpiece, Dead Souls. Pushkin relayed experiencing a The Lighting similar situation while visiting a In the last years of his life, Nikolai experienced increasing moral and religious “This play is kind of like a great road trip,” said lighting designer Andrew D. Smith, remote town. anxiety. Under the influence of a fanatical priest, who fostered a growing fear of speaking at first rehearsal. “It’s like a road trip with Hunter S. Thompson with Buster Keaton in the back seat.” Working on a sense of scale and portion, some lighting Harsh Reaction damnation and guilt over past sins, he adopted an ascetic regime that undermined But wait, there’s more . . . R. Hamilton his health. In early 1852, Nikolai burned his transcript for the second volume of elements will join the mobility of the set with rolling booms that actors can move Wright plays Khlestakov in our After getting a lot of criticism from onstage for comically dramatic effect. Moments of high farce will be further production of The Government government officials about how Dead Souls (which had been planned as a trilogy inspired by Dante’s Inferno) and exaggerated with garish qualities echoing the paintings of Toulouse-Lautrec, with Inspector, who inspired the character they were portrayed in the play, fell into a major depression, refusing all food and dying nine days later. lighting pulling extra drama out of the high-contrast set and painted costumes. of Wayne in Inspecting Carol, a part Gogol left Russia. His self-exile lasted A beloved and significant cultural figure, monuments to Gogol stand across originated by Wright at Seattle 12 years until he eventually returned Repertory Theatre over 25 years ago! to Moscow. He died at age 42. Ukraine and Russia, including Kiev, Odessa, Moscow, and St. Petersburg. encoremediagroup.com/programs A-3 The Government Inspector Adapted by Jeffrey Hatcher from the original by Nikolai Gogol At Seattle Shakespeare Company, we believe that the plays of William Shakespeare CAST PRODUCTION TEAM SPECIAL THANKS MISSION and other classic playwrights are timeless works that cross social and cultural boundaries. With their rich themes and wide gallery of characters, these plays Marya Director American Life Inc STATEMENT Shanna Allman Allison Narver** examine the full breadth of human experience: love, jealousy, loyalty, leadership, With the plays of William passion, vengeance, romance, ambition, and humor. Within these time-tested The Mayor Choreographer PRODUCTION Shakespeare at our core, Seattle Rob Burgess* Crystal Dawn Munkers works are insights that continue to sing to contemporary audiences, and that is Shakespeare Company engages SPONSORS why we believe our region deserves a theatre committed to first-rate, professional Innkeeper’s Wife / Corporal’s Widow / Set Designer our audiences, our artists and our Hospital Director Julia Welch productions of Shakespeare and the classics. community in the universal human Susanna Burney experience inherent in classic drama Costume Designer Whether set in Elizabethan England, in a backwoods trailer park, or in a 1950’s seaside Svetsunov (Police Chief) / Pete Rush*** through the vitality, immediacy and resort, our productions illuminate the relevance of these works, delighting, moving, and Imperial Messenger Lighting Designer intimacy of live performance and BRACE EVANS dynamic outreach programs. often surprising audiences. Andrew D. Smith*** Doctor / Waitress / Chernaeyev Sound Designers Founded in 1991, Seattle Shakespeare Company is a non-profit organization and is Douglas Fries Evan Mosher Washington State’s only year-round, professional classical theatre company. We operate Osip / Postmaster Robertson Witmer*** FREE AUDIENCE with a budget of $2 million, a board of 24 trustees, a corps of 320 volunteers, a Jonelle Jordan Properties Designer staff of 14, and a pool of more than 200 artists. Each year, we offer more than 200 Bobchinsky Cedric Wright ENRICHMENT performances and educational opportunities through four arms of programming: Kevin Kelly Technical Director Judge / Locksmith’s Wife / Grusha Benjamin Radin Seattle Shakespeare Company The Indoor Season consists of five professional productions performed in Imogen Love* provides several opportunities multiple theatre venues from September through May. Stage Manager with each production for audience Dobchinsky Hannah Wichmann* members to learn more about The Wooden O outdoor summer shows are free Shakespeare productions in the Arjun Pande Assistant Stage Manager the play and interact with our parks performed for 13,000 people in 10 cities across the Puget Sound region. School Principal / Pentelaeyev Kiera Krieg artists. For dates and times, visit Brandon J. Simmons* Our Education Programs include workshops, school residencies, classroom seattleshakespeare.org/enrichment Anna Andreyevna teacher training, after-school classes, and summer camps that serve 25,000 young Sara Waisanen* * Appearing through an Agreement between this theatre, people and reach out to 140 schools across the state Seattle Shakespeare Company, and Actors’ Equity Jumpstart Lecture Khlestakov Association, the Union of Professional Actors and Stage Get to know the play before you R. Hamilton Wright* Managers in the United States. The State-Wide Tour brings productions of Shakespeare’s plays to schools and see it! A member of our artistic ** The Director is a member of the Stage Directors and communities throughout Washington, traveling from Port Angeles to Pullman. Choreographers Society, a national theatrical labor union. team will bring you up to speed on *** The scenic, costume, and sound designers of The the plot, characters, and history of These award-winning, professional programs reach across barriers of income, Government Inspector are represented by United Scenic Artists, Local USA 829 of the IATSE. the play, as well as artistic concepts geography, and education to bring classical theatre to more than 54,000 people in for the production. Washington State each year. Post Show Talkback Join the cast and crew after the performance as they answer your questions and share some insights Originally commissioned and produced by the Guthrie into the production. Theater, Joe Dowling, Artistic Director. There will be one 15-minute THE GOVERNMENT INSPECTOR is presented by special intermission. The taking of pictures or the making of recordings of Pictured: Bradford Farwell in Julius Caesar, photo by Alabastro Photography. arrangement with Dramatists Play Service, Inc., New York. any kind during the performance is strictly prohibited. A-4 SEATTLE SHAKESPEARE COMPANY The Government Inspector Adapted by Jeffrey Hatcher from the original by Nikolai Gogol At Seattle Shakespeare Company, we believe that the plays of William Shakespeare CAST PRODUCTION TEAM SPECIAL THANKS MISSION and other classic playwrights are timeless works that cross social and cultural boundaries. With their rich themes and wide gallery of characters, these plays Marya Director American Life Inc STATEMENT Shanna Allman Allison Narver** examine the full breadth of human experience: love, jealousy, loyalty, leadership, With the plays of William passion, vengeance, romance, ambition, and humor. Within these time-tested The Mayor Choreographer PRODUCTION Shakespeare at our core, Seattle Rob Burgess* Crystal Dawn Munkers works are insights that continue to sing to contemporary audiences, and that is Shakespeare Company engages SPONSORS why we believe our region deserves a theatre committed to first-rate, professional Innkeeper’s Wife / Corporal’s Widow / Set Designer our audiences, our artists and our Hospital Director Julia Welch productions of Shakespeare and the classics. community in the universal human Susanna Burney experience inherent in classic drama Costume Designer Whether set in Elizabethan England, in a backwoods trailer park, or in a 1950’s seaside Svetsunov (Police Chief) / Pete Rush*** through the vitality, immediacy and resort, our productions illuminate the relevance of these works, delighting, moving, and Imperial Messenger Lighting Designer intimacy of live performance and BRACE EVANS dynamic outreach programs. often surprising audiences. Andrew D. Smith*** Doctor / Waitress / Chernaeyev Sound Designers Founded in 1991, Seattle Shakespeare Company is a non-profit organization and is Douglas Fries Evan Mosher Washington State’s only year-round, professional classical theatre company. We operate Osip / Postmaster Robertson Witmer*** FREE AUDIENCE with a budget of $2 million, a board of 24 trustees, a corps of 320 volunteers, a Jonelle Jordan Properties Designer staff of 14, and a pool of more than 200 artists. Each year, we offer more than 200 Bobchinsky Cedric Wright ENRICHMENT performances and educational opportunities through four arms of programming: Kevin Kelly Technical Director Judge / Locksmith’s Wife / Grusha Benjamin Radin Seattle Shakespeare Company The Indoor Season consists of five professional productions performed in Imogen Love* provides several opportunities multiple theatre venues from September through May. Stage Manager with each production for audience Dobchinsky Hannah Wichmann* members to learn more about The Wooden O outdoor summer shows are free Shakespeare productions in the Arjun Pande Assistant Stage Manager the play and interact with our parks performed for 13,000 people in 10 cities across the Puget Sound region. School Principal / Pentelaeyev Kiera Krieg artists. For dates and times, visit Brandon J. Simmons* Our Education Programs include workshops, school residencies, classroom seattleshakespeare.org/enrichment Anna Andreyevna teacher training, after-school classes, and summer camps that serve 25,000 young Sara Waisanen* * Appearing through an Agreement between this theatre, people and reach out to 140 schools across the state Seattle Shakespeare Company, and Actors’ Equity Jumpstart Lecture Khlestakov Association, the Union of Professional Actors and Stage Get to know the play before you R. Hamilton Wright* Managers in the United States. The State-Wide Tour brings productions of Shakespeare’s plays to schools and see it! A member of our artistic ** The Director is a member of the Stage Directors and communities throughout Washington, traveling from Port Angeles to Pullman. Choreographers Society, a national theatrical labor union. team will bring you up to speed on *** The scenic, costume, and sound designers of The the plot, characters, and history of These award-winning, professional programs reach across barriers of income, Government Inspector are represented by United Scenic Artists, Local USA 829 of the IATSE. the play, as well as artistic concepts geography, and education to bring classical theatre to more than 54,000 people in for the production. Washington State each year. Post Show Talkback Join the cast and crew after the performance as they answer your questions and share some insights Originally commissioned and produced by the Guthrie into the production. Theater, Joe Dowling, Artistic Director. There will be one 15-minute THE GOVERNMENT INSPECTOR is presented by special intermission. The taking of pictures or the making of recordings of Pictured: Bradford Farwell in Julius Caesar, photo by Alabastro Photography. arrangement with Dramatists Play Service, Inc., New York. any kind during the performance is strictly prohibited. encoremediagroup.com/programs A-5 Imogen Love Quickest Theatre Festival. Founded The Seagull Project Judge / Locksmith’s Wife / Grusha with Julie Briskman in 2011. Received a Gregory Award CAST Imogen is delighted to return to Seattle Shakespeare in 2016 for writing Is She Dead Yet? Upcoming: Brandon Company, where she was last seen as Holofernia in will direct the Seattle premiere of An Octoroon by Shanna Allman Recent performances include Welcome to Braggsville Love’s Labour’s Lost (Wooden O). Favorites over the Branden Jacobs-Jenkins (ArtsWest, April 2018), and he will direct Anansi and the Halfling by Seattle playwright Marya at Book-It Repertory Theatre; Cherdonna’s Doll’s House years include: The Yellow Kid, Relative Values (Annex Madison Jade Jones (Annex Theatre, September 2018). Shanna was last seen with the Seattle Shakespeare at Washington Ensemble Theatre; and House of Dinah Theatre); Reverse Psychology, Under the Gaslight, Chicks Company this past spring as Francis Flute in A at On The Boards. A favorite performance of BRACE’s with Dicks (Empty Space Theatre); Deflowered in the Sara Waisanen Shanna Allman Midsummer Night’s Dream. Prior to that, she appeared as was This Land Is Your Land with choreographer Mark Attic, What’ve We Done to Baby Jane (Re-bar), both Anna Andreyevna Kevin Kelly Haim. This is his first performance with the Seattle of which she co-wrote/co-produced; Cloud Nine Marianne in The Miser and Helena and Peter Quince in Sara is recently from Washington D.C. where she Shakespeare Company. (Strawberry Theatre Workshop); These Streets (ACT the touring production of A Midsummer Night’s Dream. performed in the Ensemble of Our War at Arena Stage Theatre); and Last of the Red Hot Lovers, Becky’s New Car, She enjoys working with Seattle Shakespeare’s many and played Tamora in Titus Andronicus with Taffety Douglas Fries Jake’s Women, and Other Desert Cities at Bellingham’s amazing educational programs. Other Seattle acting Doctor / Waitress / Chernaeyev Punk Theatre Company. She is a company member of credits include Rhinoceros, Our Town, and Laramie Project Mount Baker Theater. Directing credits include Hedwig Douglas is chuffed to join Seattle Shakespeare Perseverance Theatre where favorite roles include Ahab with Strawberry Theatre Workshop and The Violet Hour and the Angry Inch (Re-bar, 2004). Next she can be seen Company’s acting ensemble after previously serving the in Moby Dick, Mae West/Joe in Dirty Blonde, and Yitzhak and The War Party with Seattle Public Theater, as well as playing President Lincoln in Live Girls’ The Secret and organization as a teaching artist and house manager in Hedwig and The Angry Inch. She has worked regionally productions with SecondStory Repertory, Greenstage, Impossible League of the NoöSphere and soon in her (whose booming announcements you may recall from with Dallas Theatre Center, Shakespeare Theatre Stone Soup Theatre, and Live Girls! Theater. one-woman show, Dear John, at West Of Lenin. Wooden O 2016, Medea, and Bring Down the House). Company, Fort Worth Shakespeare in the Park, California Rob Burgess Previous credits in Seattle include Hal in a site-specific, Arjun Pande Shakespeare, Theatre of War. Sara holds an MFA in Rob Burgess Acting from Southern Methodist University. Imogen Love The Mayor bilingual production of Proof and Mr. Denis in Book- Dobchinsky Rob has been steadily contributing to Seattle’s It Repertory Theatre’s educational tour of Matt de la Words alone cannot express how excited Arjun is to be R. Hamilton Wright performing arts community for over thirty years. As an Peña’s and The Last Stop on Market Street (both directed performing for you, or how happy he is that you came Khlestakov by Arlene Martínez-Vásquez). Douglas is a graduate of to see the show. Previous Seattle Shakespeare Company actor he has been seen in numerous productions at ACT R. Hamilton Wright last appeared on the Seattle the University of Northern Colorado, a student of the credits include Pericles (Wooden O), The Taming of the Theatre, Seattle Children’s Theatre, Seattle Repertory Shakespeare Company stage as the Cook in Bertolt London Academy of Music and Dramatic Art, a former Shrew and Romeo and Juliet (statewide tour), Hamlet Theatre, Strawberry Theatre Workshop, and The Brecht’s Mother Courage and Her Children directed by resident ensemble member of Cincinnati Shakespeare (Wooden O), The Tempest (statewide tour), and The (venerable) Empty Space Theatre. Rob also produces Jeff Steitzer and, prior to that, as Tartuffe in Makaela Company in southern Ohio, and is represented by Comedy of Errors. Other local credits include Treasure work as a playwright and lyricist (Harold and The Purple Pollock’s production of Molière’s Tartuffe. He recently Mitchell Actors and Models. Island and Emma at Book-It Repertory Theatre and Crayon and Adventures with Spot for Seattle Children’s appeared at the Arizona Theatre Company as Dr. Guards at the Taj at ACT Theatre. Arjun received a BA in Theatre). Most recently at Seattle Shakespeare Company John Watson in the World Premier of Jeffery Hatcher’s Jonelle Jordan Theater and Performing Arts at Brown University. Susanna Burney he was seen in Othello (Brabantio). A graduate of the Osip / Postmaster Holmes and Watson, directed by David Ira Goldstein. Arjun Pande American Academy of Dramatic Arts, Rob is also married Jonelle is happy to be back with Seattle Shakespeare Brandon J. Simmons Mr. Wright’s play Sherlock Holmes and The American to the beautiful and talented Melanie Taylor Burgess. Company, having played Mopsa and Emilia in The School Principal / Pentelaeyev Problem received its World Premiere at Seattle Susanna Burney Winter’s Tale, directed by Sheila Daniels. Jonelle Actor: Tartuffe, Richard II, Love’s Labour’s Lost, Julius Caesar, Repertory Theatre in 2016 and is slated for production at The Vertigo Theatre in Calgary and The Barter Innkeeper’s Wife / Corporal’s Widow / Hospital Director originally hails from Louisville, Kentucky and received The Tempest, The Threepenny Opera (Seattle Shakespeare her BFA in performance from Otterbein University Company); People’s Republic of Valerie (On the Boards, Theatre in Virginia. The long running production of Other Seattle Shakespeare Company shows: (Chorus) st in Ohio. Most recently, Jonelle played Agnetha in Kristen Kosmas); The Cherry Orchard, The Three Sisters, The Bob and Katie’s Marriage recently celebrated its 21 Electra (Chorus), Romeo and Juliet (Lady Capulet), As anniversary. It has been extended indefinitely. You Like It (Phebe); Wooden O: As You Like It (Jacques), ArtsWest production of Frozen, directed by Mathew Seagull (The Seagull Project); We Remain Prepared (The Othello (Emilia), Love’s Labour’s Lost (Boyet). Susanna also Wright. Other local credits include Every Five Minutes Satori Group, ARTBARN); The Tempest, Hamlet (New City toured the state of Washington for Seattle Shakespeare’s and 99 Ways to F**k a Swan (Washington Ensemble Theater); Amadeus (Seattle Public Theater). Writer: Is She Theatre), The Big Meal (New Century Theatre Company), Dead Yet? (a white comedy); The Tale of Jemima Canard; BRACE EVANS educational tour for three years in Macbeth, Romeo Brandon J. Simmons and Juliet, and Othello. Other recent credits include Romeo and Juliet and A Midsummer Night’s Dream Sandbox Radio; Six Pack Series; 14/48: The World’s A Moveable Feast (Gertrude Stein) at Café Nordo (Off Road Shakespeare Company), Crimes of the Heart with Book-It Repertory Theatre and Twilight Zones at (Village Theatre), Bethany (ACT Theatre), and the NW Theater Schmeater. Other Seattle theatres include: premiere of A Maze with Theatre Battery in Kent. West of Lenin, Theatre Off Jackson, Printers Devil, Kevin Kelly Seattle Children’s Theatre, Freehold Engaged Theatre, Bobchinsky PRODUCTION TEAM Empty Space Theatre, Annex Theatre. Next up: Scot Kevin is thrilled to be a part of The Government Inspector! Augustson’s Christmas show at Café Nordo; and guest He was last seen in Seattle Shakespeare Company’s Kiera Krieg Evan Mosher star appearance on Z Nation. Susanna received a BFA in slapstick production of The Comedy of Errors clowning Assistant Stage Manager Sound Designer acting from Boston University. as Dromio of Ephesus. For the past two years he has Kiera is excited to be working at Seattle Shakespeare Evan is a Seattle sound designer, musician, and actor. He’s Douglas Fries performed locally with ACT Theatre (Fool for Love) and Sara Waisanen BRACE EVANS Company for the first time. She relocated to Seattle thrilled to be co-designing with his erstwhile bandmate Svetsunov (Police Chief) / Imperial Messenger ArtsWest (Death of a Salesman, Violet). Favorite roles have earlier this year from Coeur d’Alene, Idaho. Stage Robertson Witmer and collaborating with Allison Narver included Hal in Strawberry Theatre Workshop’s Proof and BRACE was born in Seattle and graduated from Garfield Management credits include: Road Company (SM) at again after 2008’s “Awesome” Cycle at ACT Theatre. Since Run in Theater Shmeater’s epic Money and Run. He is a High School; the University of Washington, with degrees Taproot Theatr; FireStation 7 (PA) at Seattle Children’s 2010 Evan has designed over 40 shows with Seattle frequent collaborator with the Washington Ensemble in Business and Drama; and Brooklyn College with an Theatre; Chitty Chitty Bang Bang (SM), South Pacific Public Theater, Strawberry Theatre Workshop, Wooden Theatre, recently performing in Teh Internet Is Serious MFA in Performing Arts Management. In the summer of (ASM), Disney’s The Little Mermaid (SM), The Music O, Washington Ensemble Theatre, ArtsWest, The Satori Business. He has acted and created new work at the Dixon ‘16, he completed the summer Shakespeare course at Man (SM), and Peter and the Starcatcher (SM) at Coeur Group, Azeotrope, Splinter Group, SOAPfest, New Century Place Theatre in New York, trained with Black Box Acting the Royal Academy of Dramatic Art (RADA) in London; d’Alene Summer Theatre; Il Barbiere di Siviglia (PSM) Theatre Company, Book-It Repertory Theatre, and On the and the Improv Olympic Theatre in Chicago, and has in ‘15, he completed the Ensemble Training Intensive and The Magic Flute (PSM) at Opera Coeur d’Alene. Boards. Previous Seattle Shakespeare Company designs worked with the Trinity Rep Theatre in Providence. Kevin (ETI) program and in ’14 the Meisner Series with Robin Kiera completed her BFA in Theatre Production from include The Importance of Being Earnest and Measure Lynn Smith, both at Freehold Theatre. These experiences is a graduate of Brown University and will be seen this for Measure. He is also a founding member of art-pop Jonelle Jordan Texas Christian University in Fort Worth, Texas. R. Hamilton Wright deepened his knowledge in the craft and art of acting. spring in Washington Ensemble Theatre’s The Nether. band “Awesome” with whom he’s made melodic noise A-6 SEATTLE SHAKESPEARE COMPANY Imogen Love Quickest Theatre Festival. Founded The Seagull Project Judge / Locksmith’s Wife / Grusha with Julie Briskman in 2011. Received a Gregory Award CAST Imogen is delighted to return to Seattle Shakespeare in 2016 for writing Is She Dead Yet? Upcoming: Brandon Company, where she was last seen as Holofernia in will direct the Seattle premiere of An Octoroon by Shanna Allman Recent performances include Welcome to Braggsville Love’s Labour’s Lost (Wooden O). Favorites over the Branden Jacobs-Jenkins (ArtsWest, April 2018), and he will direct Anansi and the Halfling by Seattle playwright Marya at Book-It Repertory Theatre; Cherdonna’s Doll’s House years include: The Yellow Kid, Relative Values (Annex Madison Jade Jones (Annex Theatre, September 2018). Shanna was last seen with the Seattle Shakespeare at Washington Ensemble Theatre; and House of Dinah Theatre); Reverse Psychology, Under the Gaslight, Chicks Company this past spring as Francis Flute in A at On The Boards. A favorite performance of BRACE’s with Dicks (Empty Space Theatre); Deflowered in the Sara Waisanen Shanna Allman Midsummer Night’s Dream. Prior to that, she appeared as was This Land Is Your Land with choreographer Mark Attic, What’ve We Done to Baby Jane (Re-bar), both Anna Andreyevna Kevin Kelly Haim. This is his first performance with the Seattle of which she co-wrote/co-produced; Cloud Nine Marianne in The Miser and Helena and Peter Quince in Sara is recently from Washington D.C. where she Shakespeare Company. (Strawberry Theatre Workshop); These Streets (ACT the touring production of A Midsummer Night’s Dream. performed in the Ensemble of Our War at Arena Stage Theatre); and Last of the Red Hot Lovers, Becky’s New Car, She enjoys working with Seattle Shakespeare’s many and played Tamora in Titus Andronicus with Taffety Douglas Fries Jake’s Women, and Other Desert Cities at Bellingham’s amazing educational programs. Other Seattle acting Doctor / Waitress / Chernaeyev Punk Theatre Company. She is a company member of credits include Rhinoceros, Our Town, and Laramie Project Mount Baker Theater. Directing credits include Hedwig Douglas is chuffed to join Seattle Shakespeare Perseverance Theatre where favorite roles include Ahab with Strawberry Theatre Workshop and The Violet Hour and the Angry Inch (Re-bar, 2004). Next she can be seen Company’s acting ensemble after previously serving the in Moby Dick, Mae West/Joe in Dirty Blonde, and Yitzhak and The War Party with Seattle Public Theater, as well as playing President Lincoln in Live Girls’ The Secret and organization as a teaching artist and house manager in Hedwig and The Angry Inch. She has worked regionally productions with SecondStory Repertory, Greenstage, Impossible League of the NoöSphere and soon in her (whose booming announcements you may recall from with Dallas Theatre Center, Shakespeare Theatre Stone Soup Theatre, and Live Girls! Theater. one-woman show, Dear John, at West Of Lenin. Wooden O 2016, Medea, and Bring Down the House). Company, Fort Worth Shakespeare in the Park, California Rob Burgess Previous credits in Seattle include Hal in a site-specific, Arjun Pande Shakespeare, Theatre of War. Sara holds an MFA in Rob Burgess Acting from Southern Methodist University. Imogen Love The Mayor bilingual production of Proof and Mr. Denis in Book- Dobchinsky Rob has been steadily contributing to Seattle’s It Repertory Theatre’s educational tour of Matt de la Words alone cannot express how excited Arjun is to be R. Hamilton Wright performing arts community for over thirty years. As an Peña’s and The Last Stop on Market Street (both directed performing for you, or how happy he is that you came Khlestakov by Arlene Martínez-Vásquez). Douglas is a graduate of to see the show. Previous Seattle Shakespeare Company actor he has been seen in numerous productions at ACT R. Hamilton Wright last appeared on the Seattle the University of Northern Colorado, a student of the credits include Pericles (Wooden O), The Taming of the Theatre, Seattle Children’s Theatre, Seattle Repertory Shakespeare Company stage as the Cook in Bertolt London Academy of Music and Dramatic Art, a former Shrew and Romeo and Juliet (statewide tour), Hamlet Theatre, Strawberry Theatre Workshop, and The Brecht’s Mother Courage and Her Children directed by resident ensemble member of Cincinnati Shakespeare (Wooden O), The Tempest (statewide tour), and The (venerable) Empty Space Theatre. Rob also produces Jeff Steitzer and, prior to that, as Tartuffe in Makaela Company in southern Ohio, and is represented by Comedy of Errors. Other local credits include Treasure work as a playwright and lyricist (Harold and The Purple Pollock’s production of Molière’s Tartuffe. He recently Mitchell Actors and Models. Island and Emma at Book-It Repertory Theatre and Crayon and Adventures with Spot for Seattle Children’s appeared at the Arizona Theatre Company as Dr. Guards at the Taj at ACT Theatre. Arjun received a BA in Theatre). Most recently at Seattle Shakespeare Company John Watson in the World Premier of Jeffery Hatcher’s Jonelle Jordan Theater and Performing Arts at Brown University. Susanna Burney he was seen in Othello (Brabantio). A graduate of the Osip / Postmaster Holmes and Watson, directed by David Ira Goldstein. Arjun Pande American Academy of Dramatic Arts, Rob is also married Jonelle is happy to be back with Seattle Shakespeare Brandon J. Simmons Mr. Wright’s play Sherlock Holmes and The American to the beautiful and talented Melanie Taylor Burgess. Company, having played Mopsa and Emilia in The School Principal / Pentelaeyev Problem received its World Premiere at Seattle Susanna Burney Winter’s Tale, directed by Sheila Daniels. Jonelle Actor: Tartuffe, Richard II, Love’s Labour’s Lost, Julius Caesar, Repertory Theatre in 2016 and is slated for production at The Vertigo Theatre in Calgary and The Barter Innkeeper’s Wife / Corporal’s Widow / Hospital Director originally hails from Louisville, Kentucky and received The Tempest, The Threepenny Opera (Seattle Shakespeare her BFA in performance from Otterbein University Company); People’s Republic of Valerie (On the Boards, Theatre in Virginia. The long running production of Other Seattle Shakespeare Company shows: (Chorus) st in Ohio. Most recently, Jonelle played Agnetha in Kristen Kosmas); The Cherry Orchard, The Three Sisters, The Bob and Katie’s Marriage recently celebrated its 21 Electra (Chorus), Romeo and Juliet (Lady Capulet), As anniversary. It has been extended indefinitely. You Like It (Phebe); Wooden O: As You Like It (Jacques), ArtsWest production of Frozen, directed by Mathew Seagull (The Seagull Project); We Remain Prepared (The Othello (Emilia), Love’s Labour’s Lost (Boyet). Susanna also Wright. Other local credits include Every Five Minutes Satori Group, ARTBARN); The Tempest, Hamlet (New City toured the state of Washington for Seattle Shakespeare’s and 99 Ways to F**k a Swan (Washington Ensemble Theater); Amadeus (Seattle Public Theater). Writer: Is She Theatre), The Big Meal (New Century Theatre Company), Dead Yet? (a white comedy); The Tale of Jemima Canard; BRACE EVANS educational tour for three years in Macbeth, Romeo Brandon J. Simmons and Juliet, and Othello. Other recent credits include Romeo and Juliet and A Midsummer Night’s Dream Sandbox Radio; Six Pack Series; 14/48: The World’s A Moveable Feast (Gertrude Stein) at Café Nordo (Off Road Shakespeare Company), Crimes of the Heart with Book-It Repertory Theatre and Twilight Zones at (Village Theatre), Bethany (ACT Theatre), and the NW Theater Schmeater. Other Seattle theatres include: premiere of A Maze with Theatre Battery in Kent. West of Lenin, Theatre Off Jackson, Printers Devil, Kevin Kelly Seattle Children’s Theatre, Freehold Engaged Theatre, Bobchinsky PRODUCTION TEAM Empty Space Theatre, Annex Theatre. Next up: Scot Kevin is thrilled to be a part of The Government Inspector! Augustson’s Christmas show at Café Nordo; and guest He was last seen in Seattle Shakespeare Company’s Kiera Krieg Evan Mosher star appearance on Z Nation. Susanna received a BFA in slapstick production of The Comedy of Errors clowning Assistant Stage Manager Sound Designer acting from Boston University. as Dromio of Ephesus. For the past two years he has Kiera is excited to be working at Seattle Shakespeare Evan is a Seattle sound designer, musician, and actor. He’s Douglas Fries performed locally with ACT Theatre (Fool for Love) and Sara Waisanen BRACE EVANS Company for the first time. She relocated to Seattle thrilled to be co-designing with his erstwhile bandmate Svetsunov (Police Chief) / Imperial Messenger ArtsWest (Death of a Salesman, Violet). Favorite roles have earlier this year from Coeur d’Alene, Idaho. Stage Robertson Witmer and collaborating with Allison Narver included Hal in Strawberry Theatre Workshop’s Proof and BRACE was born in Seattle and graduated from Garfield Management credits include: Road Company (SM) at again after 2008’s “Awesome” Cycle at ACT Theatre. Since Run in Theater Shmeater’s epic Money and Run. He is a High School; the University of Washington, with degrees Taproot Theatr; FireStation 7 (PA) at Seattle Children’s 2010 Evan has designed over 40 shows with Seattle frequent collaborator with the Washington Ensemble in Business and Drama; and Brooklyn College with an Theatre; Chitty Chitty Bang Bang (SM), South Pacific Public Theater, Strawberry Theatre Workshop, Wooden Theatre, recently performing in Teh Internet Is Serious MFA in Performing Arts Management. In the summer of (ASM), Disney’s The Little Mermaid (SM), The Music O, Washington Ensemble Theatre, ArtsWest, The Satori Business. He has acted and created new work at the Dixon ‘16, he completed the summer Shakespeare course at Man (SM), and Peter and the Starcatcher (SM) at Coeur Group, Azeotrope, Splinter Group, SOAPfest, New Century Place Theatre in New York, trained with Black Box Acting the Royal Academy of Dramatic Art (RADA) in London; d’Alene Summer Theatre; Il Barbiere di Siviglia (PSM) Theatre Company, Book-It Repertory Theatre, and On the and the Improv Olympic Theatre in Chicago, and has in ‘15, he completed the Ensemble Training Intensive and The Magic Flute (PSM) at Opera Coeur d’Alene. Boards. Previous Seattle Shakespeare Company designs worked with the Trinity Rep Theatre in Providence. Kevin (ETI) program and in ’14 the Meisner Series with Robin Kiera completed her BFA in Theatre Production from include The Importance of Being Earnest and Measure Lynn Smith, both at Freehold Theatre. These experiences is a graduate of Brown University and will be seen this for Measure. He is also a founding member of art-pop Jonelle Jordan Texas Christian University in Fort Worth, Texas. R. Hamilton Wright deepened his knowledge in the craft and art of acting. spring in Washington Ensemble Theatre’s The Nether. band “Awesome” with whom he’s made melodic noise encoremediagroup.com/programs A-7 and peculiar performance since 2004. Evan is also a company member, It Repertory Theatre, Azeotrope, Strawberry Theatre Workshop, performer, and A/V Manager at Café Nordo’s Culinarium in Pioneer Square. Seattle Public Theater, Theatre Off Jackson, ArtsWest, On The Boards, Velocity Dance Center, and Broadway Performance Hall. National ABOUT THE ADAPTER Crystal Dawn Munkers work includes Cornerstone Theatre Company, Flint Youth Theatre, Choreographer Horizon Theater Company, Cincinnati Shakespeare Company, Roust Crystal’s choreography has been seen on Seattle Shakespeare Jeffrey Hatcher Theater, and Cardinal Stage Company. Andrew holds a BA from Script Adapter Company’s stages in A Midsummer Night’s Dream, Romeo and Juliet, Duke University and an MFA from the University of Washington, Much Ado About Nothing, Love’s Labour’s Lost, and As You Like It. where he currently teaches. Jeffrey Hatcher’s Broadway credits include: Never Gonna Dance (book). Wooden O credits include Pericles, As You Like It, Julius Caesar, The Off-Broadway credits include: Three Viewings and A Picasso at Manhattan Two Gentlemen of Verona, The Tempest, The Comedy of Errors, and A Julia Welch Set Designer Theatre Club; Scotland Road and The Turn of the Screw at Primary Stages; Midsummer Night’s Dream. Crystal’s work has also been featured at Tuesdays with Morrie (with Mitch Albom) at The Minetta Lane; Murder by th Seattle Children’s Theatre, ACT Theatre, The 5 Avenue Theatre, Seattle Julia’s design credits include: Alex and Aris (ACT Theatre); An American Poe, The Turn of the Screw, and The Spy at The Acting Company; Neddy Repertory Theatre, and Cornish College of the Arts. This spring she will Dream (Seattle Opera); Grounded (Seattle Public Theater); Barbecue, at American Place; and Fellow Travelers at Manhattan Punchline. Other be choreographing Hairspray for Village Theatre. Bootycandy (Intiman Theatre); The Things Are Against Us (Washington credits/theaters include: Compleat Female Stage Beauty, Mrs. Mannerly, Ensemble Theatre — Footlight Award, Gypsy Rose Lee Award); Peter Murderers, Mercy of a Storm, Smash, Armadale, Korczak’s Children, To Fool Allison Narver and the Starcatcher, Really Really (ArtsWest); Free Boy (The 5th Avenue Director the Eye, The Falls, A Piece of the Rope, All the Way with LBJ, The Government Educational Tour); Twister Beach (Café Nordo); The Noteworthy Life Inspector, Dr. Jekyll and Mr. Hyde and others at The Guthrie, Old Globe, Yale Allison is a freelance director whose work has primarily centered on of Howard Barnes (Village Theatre); Trojan Women (Civic Rep); Pride Rep, The Geffen, Seattle Rep, Cincinnati Playhouse, Cleveland Playhouse, directing and developing new plays and productions. Regional work and Prejudice (Theatreworks UCCS); Through the Looking Glass, Land South Coast Rep, Arizona Theater Company, San Jose Rep, The Empty includes productions at Seattle Repertory Theatre, ACT Theatre, Seattle of the Sweets (House of Verlaine); Julius Caesar, The Abdication, Vitriol Space, Indiana Rep, Children’s Theater Company, History Theater, Madison Children’s Theatre, The 5th Avenue Theatre, Book-It Repertory Theatre, (Handwritten Productions); Twelfth Night, Cold Empty Terrible, Cowboy Rep, Intiman, Illusion, Denver Center, Oregon Shakespeare Festival, New Century Theatre Company, Portland Stage Company, The Yale Mouth, The Real Inspector Hound, Stop Kiss (UW Drama). Welch holds an Alabama Shakespeare Festival, Milwaukee Rep, Repertory Theater of St. Repertory Theater, Studio Theater, Pittsburgh City Theatre, RedCat MFA from the University of Washington and a BA from the University of Louis, Actors Theater of Louisville, Philadelphia Theater Company, Asolo, Theater, Portland Center Stage and The Oregon Shakespeare Festival. In Puget Sound. Much love to W. City Theater, Studio Arena and dozens more in the U.S. and abroad. New York, her work has been seen at The New Victory Theater, Ars Nova, The Government Inspector will be Seattle Shakespeare Company’s Film and television credits include: Stage Beauty, Casanova, The Duchess, The Cherry Lane Theater, New Dramatists, The Public Theater,The Kirk Hannah Wichmann third production of an adaptation by Jeffrey Hatcher, making him and episodes of Columbo. Grants/Awards: NEA, TCG, Lila Wallace Fund, Theater and The Women’s Project among others. Allison was the Resident Stage Manager the company’s second most produced playwright — with Bertolt Rosenthal New Play Prize, Frankel Award, Charles MacArthur Fellowship Director for The Lion King (Director, Julie Taymor) both in London and on Hannah is thrilled to be returning to Seattle Shakespeare Company. Brecht, Molière, and George Bernard Shaw tied for third. Other Award, McKnight Foundation, Jerome Foundation, and Barrymore Broadway in New York. She has worked internationally with companies For the past few years she has split her time stage managing between Hatcher adaptations produced were The Turn of the Screw and A Award Best New Play, IVEY Award Best New Play. He is a member and/ in Nairobi and the EU. She is the former Artistic Director of The Empty Seattle and Chicago. Hannah has worked at The 5th Avenue Theatre, or alumnus of The Playwrights Center, the Dramatists Guild, the Writers Space Theatre, Annex Theater and The Yale Cabaret. Allison has her MFA Seattle Children’s Theatre, Village Theatre, Chicago Shakespeare Theatre, Servant of Two Masters (pictured above), both staged in 2010. Guild, and New Dramatists. in directing from The Yale School of Drama. The Paramount Theatre, Milwaukee Repertory Theatre, La Jolla Playhouse, and PCPA Theatrefest. She received her MFA in stage management from Benjamin Radin University of California San Diego. Thank you to my family and friends for Technical Director all your love and support. Proud member of Actors Equity Association. Ben is the Technical Director for Book-It Repertory Theatre and is ecstatic to again be partnering with Seattle Shakespeare Company to produce Robertson Witmer LEADERSHIP scenery for their season. Prior to joining Book-It, he worked as a Scenic Sound Designer Carpenter at Seattle Repertory Theatre for five seasons and before that Rob’s recent work with Seattle Shakespeare Company includes Julius John Bradshaw Dream, The Winter’s Tale, Romeo and Juliet, and Titus Andronicus. built scenery for ACT Theatre, Seattle Opera, The 5th Avenue Theatre, Caesar, Bring Down the House, and Mother Courage and Her Children. Managing Director Recent direction credits include A Midsummer Night’s Dream, Hamlet Pacific Northwest Ballet, and many others. He has worked as a Technical Other recent projects include The Cherry Orchard (ACT Theatre); Lydia (Wooden O), and Henry IV Part I (Wooden O). George is the founding Director for Washington Ensemble Theatre, The Satori Group, and (Strawberry Theater Workshop); Into the West (Tantrum Theater). His Now in his fifteenth season with Seattle Shakespeare Company, John Artistic Director of Wooden O, where he has played Malvolio, Iago, the Okoboji Summer Theatre. He received his BA in Drama from the onstage appearances include Go, Dog. Go! (Seattle Children’s Theatre); is a graduate of the University of Washington and has spent nearly Richard III, Shylock, Hamlet, Cassius, Benedick, Caliban, Romeo, and University of Washington and is also a Journeyman with IATSE Local #15. Mr. Burns, a Post-Electric Play (ACT Theatre); A Doctor in Spite of Himself his entire career as part of the Seattle theatre community. At Seattle Feste and directed many productions. Other credits include work (Intiman Theatre, Yale Rep); and Fiddler on the Roof (ATC Theatre, Shakespeare, he has overseen the growth of the company from a at ACT Theatre, Book-It Repertory Theatre, Seattle Public Theater, Pete Rush Village Theatre). His designs have also been heard at Teatro ZinZanni, budget of $398,000 to $2 million during his tenure and from serving SecondStory Repertory Theatre, and Village Theatre. Costume Designer Seattle Repertory Theatre, and Spectrum Dance Theater. He is a 16,000 people a year to 54,000; balanced the budget for 13 of 14 Pete designs costumes and scenery for the theatre. Seattle Shakespeare member of United Scenic Artists, Local USA 829. seasons; and helped lead a merger with Wooden O, an award-winning, Company: Hamlet, Electra, Antony and Cleopatra, The Comedy of Errors, free, outdoor Shakespeare theatre (founded by George Mount). Prior Actors’ Equity Association (AEA), founded in 1913, represents Cedric Wright more than 45-thousand actors and stage managers in the Coriolanus, The Merchant of Venice, Henry V. ACT Theatre: Legend of to joining Seattle Shakespeare Company, he was Managing Director United States. Equity seeks to advance, promote and foster the Georgia McBride, Little Shop of Horrors, Bad Apples, Rapture, Blister, Burn, Properties Designer at The Empty Space Theatre and Director of Endowment and Planned art of live theatre as an essential component of our society. Buzzer. The 5th Avenue Theatre: RENT, Jasper in Deadland, Hairspray in Cedric has been designing and building props for over a decade. Some Giving at Seattle Repertory Theatre. John served as General Manager Equity negotiates wages and working conditions, providing Concert, Spamalot, Cinderella. Book-It Repertory Theatre: Welcome to of his recent projects include: I Know Why the Caged Bird Sings, Welcome and Development Director during construction and initial operations a wide range of benefits, including health and pension plans. at Kirkland Performance Center. At Seattle Children’s Theatre, he was AEA is a member of the AFL-CIO, and is affiliated with FIA, an Braggsville, Cider House Rules, Slaughterhouse 5, The Art of Racing in the to Braggsville, Treasure Island, A Tale for the Time Being (Book-It Repertory international organization of performing arts unions. The Equity Rain, The Amazing Adventures of Kavalier and Clay, Sense and Sensibility. Theatre); Teh Internet Is Serious Business, Every Five Minutes (Washington part of the development staff during the capital campaign to build the emblem is our mark of excellence. www.actorsequity.org Washington Ensemble Theatre: Cherdonna’s Doll’s House, Sprawl, Ensemble Theatre); The Lion King Jr, Urinetown, and James and the Giant Charlotte Martin Theatre. John is Treasurer of the board of directors for BedSnake, Sextet, Tall Skinny Cruel Boys. He’s additionally worked on Peach Jr. (Village Theatre KIDSTAGE). TeenTix. He has served on the boards of Theatre Puget Sound, Book-It Repertory Theatre and the Washington State Arts Alliance/Foundation Scenery, Staging and Wardrobe work is performed by employees projects at ArtsWest, West of Lenin, Cornish Opera, Strawberry Theatre represented by the I.A.T.S.E. Locals 15, 488, Workshop, The Williams Project, and Seattle Public Theater. as well as for the Visiting Committee for the School of Drama at the and 887 working in collaboration University of Washington. He is the recipient of the 2012 Melissa Hines with Seattle Shakespeare Company. Andrew D. Smith Award for Outstanding Theatre Practitioner. Lighting Designer Andrew returns to Seattle Shakespeare Company, most recently George Mount Artistic Director The Director is a member of the Stage Directors and lighting The Comedy of Errors. His work has been seen at Seattle Choreographers Society, a national theatrical labor union. Repertory Theatre, ACT Theatre, Seattle Children’s Theatre, New For Seattle Shakespeare Company, George has recently appeared Century Theatre Company, Washington Ensemble Theatre, Book- in Much Ado About Nothing (Wooden O), A Midsummer Night’s A-8 SEATTLE SHAKESPEARE COMPANY and peculiar performance since 2004. Evan is also a company member, It Repertory Theatre, Azeotrope, Strawberry Theatre Workshop, performer, and A/V Manager at Café Nordo’s Culinarium in Pioneer Square. Seattle Public Theater, Theatre Off Jackson, ArtsWest, On The Boards, Velocity Dance Center, and Broadway Performance Hall. National ABOUT THE ADAPTER Crystal Dawn Munkers work includes Cornerstone Theatre Company, Flint Youth Theatre, Choreographer Horizon Theater Company, Cincinnati Shakespeare Company, Roust Crystal’s choreography has been seen on Seattle Shakespeare Jeffrey Hatcher Theater, and Cardinal Stage Company. Andrew holds a BA from Script Adapter Company’s stages in A Midsummer Night’s Dream, Romeo and Juliet, Duke University and an MFA from the University of Washington, Much Ado About Nothing, Love’s Labour’s Lost, and As You Like It. where he currently teaches. Jeffrey Hatcher’s Broadway credits include: Never Gonna Dance (book). Wooden O credits include Pericles, As You Like It, Julius Caesar, The Off-Broadway credits include: Three Viewings and A Picasso at Manhattan Two Gentlemen of Verona, The Tempest, The Comedy of Errors, and A Julia Welch Set Designer Theatre Club; Scotland Road and The Turn of the Screw at Primary Stages; Midsummer Night’s Dream. Crystal’s work has also been featured at Tuesdays with Morrie (with Mitch Albom) at The Minetta Lane; Murder by th Seattle Children’s Theatre, ACT Theatre, The 5 Avenue Theatre, Seattle Julia’s design credits include: Alex and Aris (ACT Theatre); An American Poe, The Turn of the Screw, and The Spy at The Acting Company; Neddy Repertory Theatre, and Cornish College of the Arts. This spring she will Dream (Seattle Opera); Grounded (Seattle Public Theater); Barbecue, at American Place; and Fellow Travelers at Manhattan Punchline. Other be choreographing Hairspray for Village Theatre. Bootycandy (Intiman Theatre); The Things Are Against Us (Washington credits/theaters include: Compleat Female Stage Beauty, Mrs. Mannerly, Ensemble Theatre — Footlight Award, Gypsy Rose Lee Award); Peter Murderers, Mercy of a Storm, Smash, Armadale, Korczak’s Children, To Fool Allison Narver and the Starcatcher, Really Really (ArtsWest); Free Boy (The 5th Avenue Director the Eye, The Falls, A Piece of the Rope, All the Way with LBJ, The Government Educational Tour); Twister Beach (Café Nordo); The Noteworthy Life Inspector, Dr. Jekyll and Mr. Hyde and others at The Guthrie, Old Globe, Yale Allison is a freelance director whose work has primarily centered on of Howard Barnes (Village Theatre); Trojan Women (Civic Rep); Pride Rep, The Geffen, Seattle Rep, Cincinnati Playhouse, Cleveland Playhouse, directing and developing new plays and productions. Regional work and Prejudice (Theatreworks UCCS); Through the Looking Glass, Land South Coast Rep, Arizona Theater Company, San Jose Rep, The Empty includes productions at Seattle Repertory Theatre, ACT Theatre, Seattle of the Sweets (House of Verlaine); Julius Caesar, The Abdication, Vitriol Space, Indiana Rep, Children’s Theater Company, History Theater, Madison Children’s Theatre, The 5th Avenue Theatre, Book-It Repertory Theatre, (Handwritten Productions); Twelfth Night, Cold Empty Terrible, Cowboy Rep, Intiman, Illusion, Denver Center, Oregon Shakespeare Festival, New Century Theatre Company, Portland Stage Company, The Yale Mouth, The Real Inspector Hound, Stop Kiss (UW Drama). Welch holds an Alabama Shakespeare Festival, Milwaukee Rep, Repertory Theater of St. Repertory Theater, Studio Theater, Pittsburgh City Theatre, RedCat MFA from the University of Washington and a BA from the University of Louis, Actors Theater of Louisville, Philadelphia Theater Company, Asolo, Theater, Portland Center Stage and The Oregon Shakespeare Festival. In Puget Sound. Much love to W. City Theater, Studio Arena and dozens more in the U.S. and abroad. New York, her work has been seen at The New Victory Theater, Ars Nova, The Government Inspector will be Seattle Shakespeare Company’s Film and television credits include: Stage Beauty, Casanova, The Duchess, The Cherry Lane Theater, New Dramatists, The Public Theater,The Kirk Hannah Wichmann third production of an adaptation by Jeffrey Hatcher, making him and episodes of Columbo. Grants/Awards: NEA, TCG, Lila Wallace Fund, Theater and The Women’s Project among others. Allison was the Resident Stage Manager the company’s second most produced playwright — with Bertolt Rosenthal New Play Prize, Frankel Award, Charles MacArthur Fellowship Director for The Lion King (Director, Julie Taymor) both in London and on Hannah is thrilled to be returning to Seattle Shakespeare Company. Brecht, Molière, and George Bernard Shaw tied for third. Other Award, McKnight Foundation, Jerome Foundation, and Barrymore Broadway in New York. She has worked internationally with companies For the past few years she has split her time stage managing between Hatcher adaptations produced were The Turn of the Screw and A Award Best New Play, IVEY Award Best New Play. He is a member and/ in Nairobi and the EU. She is the former Artistic Director of The Empty Seattle and Chicago. Hannah has worked at The 5th Avenue Theatre, or alumnus of The Playwrights Center, the Dramatists Guild, the Writers Space Theatre, Annex Theater and The Yale Cabaret. Allison has her MFA Seattle Children’s Theatre, Village Theatre, Chicago Shakespeare Theatre, Servant of Two Masters (pictured above), both staged in 2010. Guild, and New Dramatists. in directing from The Yale School of Drama. The Paramount Theatre, Milwaukee Repertory Theatre, La Jolla Playhouse, and PCPA Theatrefest. She received her MFA in stage management from Benjamin Radin University of California San Diego. Thank you to my family and friends for Technical Director all your love and support. Proud member of Actors Equity Association. Ben is the Technical Director for Book-It Repertory Theatre and is ecstatic to again be partnering with Seattle Shakespeare Company to produce Robertson Witmer LEADERSHIP scenery for their season. Prior to joining Book-It, he worked as a Scenic Sound Designer Carpenter at Seattle Repertory Theatre for five seasons and before that Rob’s recent work with Seattle Shakespeare Company includes Julius John Bradshaw Dream, The Winter’s Tale, Romeo and Juliet, and Titus Andronicus. built scenery for ACT Theatre, Seattle Opera, The 5th Avenue Theatre, Caesar, Bring Down the House, and Mother Courage and Her Children. Managing Director Recent direction credits include A Midsummer Night’s Dream, Hamlet Pacific Northwest Ballet, and many others. He has worked as a Technical Other recent projects include The Cherry Orchard (ACT Theatre); Lydia (Wooden O), and Henry IV Part I (Wooden O). George is the founding Director for Washington Ensemble Theatre, The Satori Group, and (Strawberry Theater Workshop); Into the West (Tantrum Theater). His Now in his fifteenth season with Seattle Shakespeare Company, John Artistic Director of Wooden O, where he has played Malvolio, Iago, the Okoboji Summer Theatre. He received his BA in Drama from the onstage appearances include Go, Dog. Go! (Seattle Children’s Theatre); is a graduate of the University of Washington and has spent nearly Richard III, Shylock, Hamlet, Cassius, Benedick, Caliban, Romeo, and University of Washington and is also a Journeyman with IATSE Local #15. Mr. Burns, a Post-Electric Play (ACT Theatre); A Doctor in Spite of Himself his entire career as part of the Seattle theatre community. At Seattle Feste and directed many productions. Other credits include work (Intiman Theatre, Yale Rep); and Fiddler on the Roof (ATC Theatre, Shakespeare, he has overseen the growth of the company from a at ACT Theatre, Book-It Repertory Theatre, Seattle Public Theater, Pete Rush Village Theatre). His designs have also been heard at Teatro ZinZanni, budget of $398,000 to $2 million during his tenure and from serving SecondStory Repertory Theatre, and Village Theatre. Costume Designer Seattle Repertory Theatre, and Spectrum Dance Theater. He is a 16,000 people a year to 54,000; balanced the budget for 13 of 14 Pete designs costumes and scenery for the theatre. Seattle Shakespeare member of United Scenic Artists, Local USA 829. seasons; and helped lead a merger with Wooden O, an award-winning, Company: Hamlet, Electra, Antony and Cleopatra, The Comedy of Errors, free, outdoor Shakespeare theatre (founded by George Mount). Prior Actors’ Equity Association (AEA), founded in 1913, represents Cedric Wright more than 45-thousand actors and stage managers in the Coriolanus, The Merchant of Venice, Henry V. ACT Theatre: Legend of to joining Seattle Shakespeare Company, he was Managing Director United States. Equity seeks to advance, promote and foster the Georgia McBride, Little Shop of Horrors, Bad Apples, Rapture, Blister, Burn, Properties Designer at The Empty Space Theatre and Director of Endowment and Planned art of live theatre as an essential component of our society. Buzzer. The 5th Avenue Theatre: RENT, Jasper in Deadland, Hairspray in Cedric has been designing and building props for over a decade. Some Giving at Seattle Repertory Theatre. John served as General Manager Equity negotiates wages and working conditions, providing Concert, Spamalot, Cinderella. Book-It Repertory Theatre: Welcome to of his recent projects include: I Know Why the Caged Bird Sings, Welcome and Development Director during construction and initial operations a wide range of benefits, including health and pension plans. at Kirkland Performance Center. At Seattle Children’s Theatre, he was AEA is a member of the AFL-CIO, and is affiliated with FIA, an Braggsville, Cider House Rules, Slaughterhouse 5, The Art of Racing in the to Braggsville, Treasure Island, A Tale for the Time Being (Book-It Repertory international organization of performing arts unions. The Equity Rain, The Amazing Adventures of Kavalier and Clay, Sense and Sensibility. Theatre); Teh Internet Is Serious Business, Every Five Minutes (Washington part of the development staff during the capital campaign to build the emblem is our mark of excellence. www.actorsequity.org Washington Ensemble Theatre: Cherdonna’s Doll’s House, Sprawl, Ensemble Theatre); The Lion King Jr, Urinetown, and James and the Giant Charlotte Martin Theatre. John is Treasurer of the board of directors for BedSnake, Sextet, Tall Skinny Cruel Boys. He’s additionally worked on Peach Jr. (Village Theatre KIDSTAGE). TeenTix. He has served on the boards of Theatre Puget Sound, Book-It Repertory Theatre and the Washington State Arts Alliance/Foundation Scenery, Staging and Wardrobe work is performed by employees projects at ArtsWest, West of Lenin, Cornish Opera, Strawberry Theatre represented by the I.A.T.S.E. Locals 15, 488, Workshop, The Williams Project, and Seattle Public Theater. as well as for the Visiting Committee for the School of Drama at the and 887 working in collaboration University of Washington. He is the recipient of the 2012 Melissa Hines with Seattle Shakespeare Company. Andrew D. Smith Award for Outstanding Theatre Practitioner. Lighting Designer Andrew returns to Seattle Shakespeare Company, most recently George Mount Artistic Director The Director is a member of the Stage Directors and lighting The Comedy of Errors. His work has been seen at Seattle Choreographers Society, a national theatrical labor union. Repertory Theatre, ACT Theatre, Seattle Children’s Theatre, New For Seattle Shakespeare Company, George has recently appeared Century Theatre Company, Washington Ensemble Theatre, Book- in Much Ado About Nothing (Wooden O), A Midsummer Night’s encoremediagroup.com/programs A-9 WHAT IT’S ABOUT NEXT ON STAGE Money . . . Money Changes Everything. The popular and wealthy Timon has hordes of friends, but only JAN 9–FEB 4 when the wine is flowing. When his money runs out, Timon turns to friends for help. One by one they refuse, and the carefree philanthropist turns into a reclusive misanthrope. When fortune shines again, will Timon find out who are real and true friends? Rare Opportunity. This will be Seattle Shakespeare Company’s first production of this challenging and seldom-performed play. WHERE IT’S PERFORMING Center Theatre Armory Building at the Seattle Center 305 Harrison St WHO YOU’VE SEEN Julie Briskman The Comedy of Errors, Twelfth Night, The Threepenny Opera Peter Crook Julius Caesar, Medea, The Merry Wives of Windsow Mary Ewald Hamlet Kevin McKeon By William Shakespeare Medea, A Midsummer Night’s Dream, Directed by John Kazanjian King Lear Michael Winters King Lear, The Tempest GET TICKETS seattleshakespeare.org WHAT IT’S ABOUT NEXT ON STAGE YOUR DONATION Money . . . Money Changes could provide for the Everything. The popular and wealthy Timon has hordes of friends, but only JAN 9–FEB 4 following practical needs: when the wine is flowing. When his money runs out, Timon turns to friends for help. One by one they refuse, and the carefree philanthropist turns into a reclusive misanthrope. When fortune $25 shines again, will Timon find out who Feeds an actor are real and true friends? SHAKESPEARE IS STUPID on the road Rare Opportunity. This will be Seattle Shakespeare Company’s first production of this challenging and seldom-performed play. WHERE IT’S $50 PERFORMING “I thought that Romeo and Juliet was really stupid and Houses an actor that Shakespeare was even stupider.” for a night Center Theatre Armory Building at the Seattle Center It was not surprising to hear that this high school student from Issaquah did not like 305 Harrison St Shakespeare. Already a teenager, they had never seen a professional theatre production. They never got to sit in a theatre and flip through a program, as you are doing right WHO YOU’VE SEEN now, wait for the lights to dim with excitement for the play to begin. This student thought Shakespeare was not for them. Julie Briskman $100 The Comedy of Errors, “I also thought that it was extremely pointless and a waste of time and that I would Fills the tour van with gas Twelfth Night, The never be able to understand what they were saying or what they were doing.” Threepenny Opera This student was almost lost . . . Peter Crook After seeing a live performance, working with actors, and performing for themselves, Julius Caesar, Medea, the student was transformed. Instead of calling Romeo and Juliet “stupid,” that same The Merry Wives student says the play is “very interesting and full of action, romance, and death. It $400 of Windsow didn’t take me long to know how they spoke and it became interesting to interpret Translates a play what they were saying.” into Spanish Mary Ewald “Thank you for giving our school such an extraordinary experience,” said the student’s Hamlet English teacher after witnessing the change. “Our students’ view of Shakespeare, of theater, and of their own creative potential would not be the same without your program.” The truth is there are thousands of students in Washington State who still believe Shakespeare is not for them. After ten consecutive years of $25,000 grants and tens of $800 Kevin McKeon By William Shakespeare thousands of success stories like this one, the National Endowment for the Arts chose Buys a year Medea, A Midsummer of costumes Night’s Dream, Directed by John Kazanjian not to support our program. King Lear Now, more than ever, we need you to teach students and young people across the state that Shakespeare is for everyone by making a donation today. Michael Winters $1600 King Lear, The Tempest Subsidizes an entire performance, Make Shakespeare for Everyone: serving 200–500 Donate in the lobby today or online before The Government Inspector closes on students. November 19 at seattleshakespeare.org/support-education GET TICKETS seattleshakespeare.org encoremediagroup.com/programs A-11 Fall in Love with Shakespeare Create your own 3-show package Laughs, drama, romance . . . you can get it all. Choose three plays for as little as $24 per ticket, or choose four plays for even bigger savings. THE GOVERNMENT INSPECTOR Now through Nov 19, 2017 The hilarious tale of bureaucracy and buffoonery in a small Russian village. TIMON OF ATHENS Jan 9–Feb 4, 2018 A rarely-staged tragedy of a generous individual undone by false friendships. THE MERCHANT OF VENICE Mar 20–Apr 15, 2018 Interconnected tales of friendship, love, family, and the price of doing business. SHAKESPEARE IN LOVE May 2–Jun 3, 2018 A charming stage adaptation of the beloved film about young Will Shakespeare and the woman who inspired him. Get Your Discount Ticket Package Today Order at the Box office (206) 733-8222 or online at seattleshakespeare.org INSTITUTIONAL SUPPORTERS THE ARDEN CIRCLE $25,000 and More $1,000–$2,499 Arden Circle members are pillars of support who ArtsFund Actors’ Equity Foundation, Inc. ensure Seattle Shakespeare Company’s growth The Boeing Company Adobe Matching Gifts Program and development through a multi-year, sustaining Shakespeare for a New Generation, a national Bill & Melinda Gates Foundation pledge of $1,500 or more. program of the National Endowment for the The Bungie Foundation Arts in cooperation with Arts Midwest Downtown Bellevue Residents Association David Allais Sarah Merner The Norcliffe Foundation F5 Connects Matching Program Sarah and Bob Alsdorf and Craig McKibben Treeline Foundation Hewlett-Packard Matching Gifts Program Terry Barenz Bayless Phillip S. and Carol Miller Hubbard Family Foundation Scott and Mary Berg Nancy Miller-Juhos $10,000–$24,999 ORA Architects John A. 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Ronald Fronheiser Jolene Zimmerman Fales Foundation Trust Coca Cola Bottling Company Delta Dental of Washington Maria Mackey Gunn and Darrell Sanders Gartner Matching Gift Program Gustavo and Kristina Mehas Anonymous (2) Hazel Miller Foundation Envirotest Issaquah Arts Commission Expedia Gives Matching Gift Program KUOW 94.9 FM Foundation Source Mercer Island Community Fund Google Matching Gifts Program Kiwanis Club of Mercer Island THE SWANS OF AVON $2,500–$4,999 Mangetout Catering ArtsWA The Clarius Group, LLC Members of the Swans of Avon have graciously Anne & Mary Arts & Environmental Ed Thomson Reuters Matching Gifts Program bequeathed gifts to Seattle Shakespeare Company Fund at The Greater Everett Community through estate planned giving, ensuring that their Foundation Workplace Campaign Donors passion for the works of Shakespeare will live on and Bill and Melinda Gates Foundation Matching Thank you to the following companies inspire future generations. Gifts Program and organizations for encouraging Daqopa Brands giving through workplace campaigns: Sarah and Bob Alsdorf Nancy Talley Horizons Foundation John A. Bodoia Janet Westin Boeing Employee Individual Giving Program Sue B. Drais and Michael McCaw IBM Matching Grants Program City of Seattle Employee Giving Moccasin Lake Foundation Emily Evans and Kevin Wilson Anonymous (1) King County Employee Charitable Campaign Robert H. Green Perkins Coie LLP Microsoft Workplace Campaign Teatro ZinZanni Sandra Perkins Washington State Employee and Jeffrey Ochsner U. M. R. Foundation, Inc. Combined Fund Drive To learn more about joing The Arden Circle or The Swans of Avon and planned giving options at Seattle Shakespeare Company, please contact Heidi McElrath, Development Manager: 206-733-8228 x 268 or [email protected]. INDIVIDUAL SUPPORTERS $10,000 and up Mary Pigott Phillip S. and Carol Miller Marisa Bocci Sarah Merner David Allais Shirley and David Urdal Nancy Miller-Juhos and Fred Juhos Michael Dryfoos and Ilga Jansons and Craig McKibben Sarah and Bob Alsdorf Anonymous (1) Sue and Steven Petitpas Lauren Dudley Michael Milligan and Jeanne E Warren and Anne Anderson Helen Stusser and Ed Almquist Sandra K. Farewell Richard Monroe Jody Buckley $5,000–$9,999 Laura Stusser-McNeil Jean and David Farkas Meg and David Mourning Jeannie Buckley Blank Scott and Mary Berg and K. C. McNeil Jeffery Fickes and John Hinds Mr. Swen Nater and Tom Blank John A. Bodoia Tom Sunderland and Emily Riesser Stan and Jane Fields and Dr. Wendy Ghiora Dan Drais and Jane Mills Paula and Paul Butzi Jay Weinland Natalie Gendler Bill and Sally Neukom Emily Evans and Kevin Wilson Jane and Robert Doggett and Heather Hawkins Weinland Helen Goh and Jeff Kadet Rosemarie and H. 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Green Jolene Zimmerman Bert and Bob Greenwood Mavis and Stephen Roe Lawrence and Hylton Hard Maria Mackey Gunn and Darrell Sanders David and Meg Haggerty Jim and Kasey Russell John and Ellen Hill Edwin and Noriyo Hawxhurst Anonymous (1) Mark and Michelle Hamburg Nancy Talley Stellman Keehnel Lucy Helm Ken and Karen Jones Jim and Kathy Tune and Patricia Britton Harold and Mary Frances Hill $2,500–$4,999 Steve and Carole Kelley Richard and Catherine Wakefield Douglas and Kimberly McKenna Angelique Leone Bagley Charitable Trust Sue and Bob Mecklenburg Steve Wells The O’Kelley - McCorkle Family and Ronald Fronheiser Steve and Stella Bass Gustavo and Kristina Mehas Janet Westin and Michael McCaw Michele and Kyle Peltonen Peter and Kelly Maunsell Terry Barenz Bayless Jeanne and Jim Wintz encoremediagroup.com/programs A-13 INDIVIDUAL SUPPORTERS INDIVIDUAL SUPPORTERS Christina Wright and Luther Black Ann and Gregory Thornton Derek Storm and Cindy Gossett Barbara Knight Blaise Aguera y Arcas David W. 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Martin Therese Rudzis When you donate to Seattle Shakespeare David and Debra Boyle Miles and Elisabeth Yanick Jerry and Vreni Watt Alice Mailloux Robert Atkins Rosalie Gann and Steven Breyer Lori Mason Curran and Steven McDermott Company, your gift can go much farther. Eloise Boyle and Jim Grams Anonymous (5) Helen Wattley-Ames and Bill Ames Mary and Carl Marino Timothy Atkinson Barbara J. Gauch Mike Mathieu Joseph W. Rutte John Bradshaw Peggy and Jack Weisbly Jill Snyder Marr and Jason Marr Amanda Austin Hunter and Kathleen George Heidi Mathisen and Klaus Brauer John Sager Many employers will match your gift to non- Toby Bright and Nancy Ward $500–$999 Jim and Sharron Welch Karri Matau and Shelton Lyter Sybil Barney and Joel Shepard Alan Gibbs Cathy and Michael McCarty Mark Sanders Jeff Brown and Anne Watanabe Nina Abelman Leora Wheeler Elizabeth Mathewson Deena and Bill Baron Sandra Gordon Michael McClain Mary Saylor and William Potter profit organizations on a one-to-one basis. 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Moore Washington Shakespeare PO Box 19595 Randy and Barbara Hieronymus Rick Driftmier Hamida Bosmajian Anne Frances Owen Kathleen Burns Paul Herstein CoeTug Morgan Festival Seattle, WA 98109 Mark Houtchens and Pat Hackett AJ Epstein Doreen and Ralph Boy Norm Paasch Elsbeth Bursell Stephanie Hilbert Tom Morris and Alice Bear Catherine and Forrest Soderlind Maureen Hughes Joyce Erickson Mark Boyd John and Margaret Pageler Margaret Bustion Leonard Hill and Cathy Stevulak John Mostrom and Cathy Woods Lisabeth Soldano We’ll take care of the rest! Jane and Randall Hummer and Kenneth Brown Philip Brazil Lenore Pearlman Marcia and David Butchart Karin Hirschfeld Sue Mozer Teresa and Peter Sparling Bill Johns and Stephanie Kallos Lorri Falterman Ann M. Brice Meredith Perlman Robin C. 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Marks Laura Stusser-McNeil and K. C. Susan Leavitt and Bill Block Slade Gorton Betty Buckley Shelly and Mike Reiss Rebecca Chaney Eileen S. Hsu Lindsey and Lisa Noble Shelly Sundberg Anonymous (25) McNeil, by The Clarius Group, LLC Charlotte Lin and Robert Porter Paul Gregory Urla Jean Burch Falls Paula Riggert and Doug Stevens Melissa Chase Kristi and James Hudson Peter Norby Constance Swank Emonie Little and Gary Piaget Jason Harris Karlyn and Richard Byham Daniel Ritter Jason Choi Sara-Elizabeth and David Hyre Caroline Normann Tom and Sarah Sweeny In Honor, On Behalf In Memory Marianne and Jim LoGerfo Madeline and Peri Hartman Rita Calabro and James Kelly Kate and Stephen Robinson Carol Wolfe Clay Kelley Ingham Cindy Noteboom Linda and Vic Taggart From March 20, 2016 through From March 20, 2016 through Peggy Martin and Brian Kreger Gregary Heath Diana Carey Stephen and Elizabeth Rummage Catherine Clemens Debbie and Patrick Irwin Christine O’Connor Debra Tan September 20, 2017, donations September 20, 2017, donations Teresa Mathis Trudi Jackson Sylvia and Craig Chambers Sharon and Bryan Rutberg and Daniel Speth Nalini and Ganesh Iyer Neil Olcott Alexandra Tavares and Matt Cramer were made to Seattle were made to Seattle Beth McCaw and Yahn Bernier Steve and Suzanne Kalish Lynne Cohee and Matt Smith Chuck and Tommie Sacrison Lee and Kristine Clement David Jamieson Allison Oosta Ed and Jeri Tharp Shakespeare in recognition of Shakespeare in memory of the Vicki McMullin Kim Kemp Catherine Conolly Harvey Sadis and Harriett Cody Matthew Cohen Lisa Jaret Glen and Heather Owen Robert and Marion Thomas the following people: following people: Brian and Launi Mead Gary Kirk and Norma Fuentes Keith and Kerin Dahlgren Rae and Bill Saltzstein Richard Conlin and Sue Ann Allen Warren Jessop Monica Padineant Clay M. Thompson Pamela Merriman Katie and Tom Koch Melodie De Marr Michael and Jo Anne Sandler Jeffrey Coopersmith Dan Johnson and Jill Chelimer Dolores Palomo Marie Thompson Sarah Alsdorf, by Patricia Bartlett, by David and Susan Featherstone Nelson James Lobsenz Bassim and Kara Dowidar R.L. Schlosser and Lisa Erlanger Anne and Craig Johnston Robert Papsdorf Dan Tierney and Sarah Harlett Sally and Bradley Bagshaw Debra Boyle Nick and Joan Nicholson and Elizabeth Choy Eric and Polly Feigl Ann Schuh Megan Coughlin Cynthia B. Jones and Jonetta Taylor Ruth Tollefson Cynthia Huffman and Ray Heacox Sue Drais, by Charles G. Nordhoff Gerald and Janet Lockwood Michael and Deborah Fletcher Tina Scoccolo and Kevin Steiner Edward Coulson and Paul J. Lawrence Jeff Paul Maria Tomchick Shelly and Mike Reiss Ellen and Chris Blackstone Cheryl and Tom Oliver Mary Anne and Chuck Martin Brad and Linda Fowler Mike Scully Gavin Cullen Carl Kadie Susan Pazina John and Joan Tornow Bob, by Anonymous Emily Evans and Kevin Wilson Hal Opperman Christopher and Stephanie Mascis Amanda and Geoff Froh Randy Smith and Sharon Metcalf Carin Cunningham Joan Kalhorn Andrew Pearson and Carol Lewis Nancy Truitt Pierce John Bradshaw, by Peter Mills and JoLynn Edwards Elaine Mathies Cheryl Gagne Carmen Spofford and Bruce Wick Nicole Dacquisto Rothrock Deirdre Katt Maggie and Clint Pehrson and Joel Selling Kathy Alm Stephanie, Conor, and Dave Oskamp David Mattson Peggy Gannon Kevin Howard St. John and Tim Rothrock Evan and Tremaine Kentop Gordon and Lyanne Peltonen Shelley Tucker and Bruce Sherman Rev. M. Christopher Boyer Cahillane Shine Anne Otten and James Adcock Ann McCurdy and Frank Lawler Ginsbeak, Egglayer, and Little One Donna Stringer Deborah Daoust Deborah Kerdeman J. Gregory Perkins Donna Tuggle Linda-Jo Greenberg Wendy Del Valle Sandra Perkins Mary Metastasio Marilyn Gist and Andy Reynolds Jason Dardis and David Tarshes Yan Perng Meranda Tuttle Anonymous Thomas Arthur Grant, by and Jeffrey Ochsner Tom Miller and Terri Olson Miller The Gittelman Family Fund Jen Taylor Lisa Dart-Nakon G. David Kerlick Karen Perry Frank Video Wally Bubelis, by William Bubelis Michelle Blackmon Lori Lynn Phillips Terry and Cornelia Moore Russell and Susan Goedde Annie Thenell and Doug Moll Virginia Daugherty Mary Kleiner Martha Phelps and Daniel Lepow Nikki Visel Casey, by Darby and Cara Brown Kishore Kumar, by Debabrata and David C. Lundsgaard Allen and Amy Murray Madame Gradka Robert Townsend Emily Davis Alana Knaster Jeff Philpott Hattie and Arthur Vogel Jake “Pufferfish” Cooper, (Dave) Ghosh Steve Pline and Tony Paul John O’Connell and Joyce Latino David and Holly Gray and Karen Stein-Townsend Reiner and Mary Decher Jorji and Jason Knickrehm Rich Loretta Pirozzi Mark Waldstein by Kara Lagerloef Harvey Roger Fletcher, by Emily Judy G. Poll Craig and Rose Olson Sharon Griggins-Davis Heather and Eric Tuininga Jeffrey Degroot Marianna and Agastya Kohli Kathleen and Elizabeth Pitts Patricia A. Ward Daniel and William, Evans and Kevin Wilson Erik Pontius Sarah Patton and Peter Feichtmeir Jeff Harris and Judy Wasserheit Diane Undi-Haga Wendy Del Valle Bobbi Kotula Ed and Cyndy Pollan Elizabeth Wasson by Andrew Pearson Melissa Hines, by Anonymous Cynthia L. Randall Jay Pearson Peter and Diana Hartwell Eugene Usui Will Diefenbach Anne Kroeker Nancy Preg Dr. and Mrs. James K. Weber and Carol Lewis Max and Millie, by Judy Moise and Gary M. Goldstein Peggy and Greg Petrie Leanne and Rick Hawkins Jessica Wagoner Debbie Dimmer Akshay Kulkarni Adam Price Joella Werlin Nora Gause, by Chad Blanchard Mom, by Will Diefenbach Madhu T. Rao John Purdon Cindy Hennessy Ian Walker Jennifer Divine Kychakoff Family Daniel and Barbara Radin Catherine West Kelsi Gilkey, Arthur H. Zevin, by Rona Zevin Anne Repass and JJ Ewing Megan and Greg Pursell Bill Higham Judy and Mike Walter and Laureen France Ellen Lackermann Randall Family Elaine White by Shelly and John Williams Kerry and Jan Richards Ben and Margit Rankin Hildegard Protection Society Stacey Watson and Duncan Moore Lauren Domino and Neal Stephenson Red and Ready David and Beth Whitehead Abbie Grimstad, This list recognizes donors Renée Roub and Mike Slass Gail and Larry Ransom Lynn Hubbard John Webster and Andy Schroeder Richard and Shelly Lamoreaux Grace Reamer and Kevin Boze Bill Whitman by Janice and Abigail Grimstad with combined donations Jain Rutherford Nancy Reichley and Tim Higgins and David Zapulsky Greg Wetzel Denise and Brian Donaldson John Lauber Brian and Roberta Reed Ann Williams and John Taylor Marc S. Harrison, of $100 or more made Chuck Schafer and Marianna Clark Heather and Paul Rock Cynthia Huffman and Ray Heacox William White Marcia and Daniel Donovan Christopher and Courtney Lee Laura and Jim Rehrmann Shannon Williams by D’Arcy Harrison between March 20, 2016 and Harry Schneider Robert Rust Fritz and Nancy Huntsinger Evan Whitfield Mike Doubleday and Sandra Borg Meredith Lehr and Bill Severson Margo Reich Shelly and John Williams Heidi McElrath, September 20, 2017. Thank and Gail Runnfeldt Jayleen Ryberg and Paul Moritz Tracy and Tim Hyland Andrew Willner Sue B. Drais Roger Levesque Robert and Judy Reichler Rob Williamson and Kim Williams by David and Jody McElrath you! If you wish to change Goldie and Don Silverman Christine and David Saulnier C. J. Iblings Jodie Wohl Kathryn Dugaw Andrea Lewis Steven and Fredrica Rice Lin and Judith Wilson Phil and Carol Miller, your acknowledgement listing, Mika and Jenny Sinanan Wolfram and Rita Schulte Brien and Catharine Jacobsen Ruth Woods Lynn DuPaul Bonnie Lewman Eric and Karen Richter Janice Winemiller by Angelique Leone and please contact Heidi McElrath, Suzanne Skinner and Jeff Brown Betsy Schwartz Brenda Joyner Robert, Cathy, and Raleigh Wright Keith and Karen Eisenbrey Michael Lieberman Carla Rickerson Michael Winters Ronald Fronheiser Development Manager, at (206) Bruce and Denise Smith and Peter Dylan O’Connor C.R. Kaplan Anonymous (10) George Engelbeck Arni Litt Rebecca Riesen Becky and Rob Witmer The powerful actors and director 733-8228 x268 or Mary Jo and Michael Stansbury Bryce and Chris Seidl Paul Kassen Audrey L. and H. Lee Fellinge Sue Livingstone Ted and Teresa Rihn Dan and Judy Witmer of Bring Down the House, by [email protected] Kimbrough Street Kris and Rob Shanafelt John Keegan $100–$249 Ashley and Devin Fidler and Donald Padelford Richard and Rebecca Ripley Tom Wolfendale Nancy and Sam Bent and Art Schneider Laurie Smiley Ian F. Keith Diane Aboulafia and Peter Shapiro Gilbert and Jean Findlay Martha Lloyd and Jim Evans Georgia Robbins Morton and Martha Wood William Shakespeare, by Greg Sheila Taft Alee and Bill Spencer Andrew and Polly Kenefick Gary Ackerman Douglas Paul Fletcher Stephen and Jodi Jean Lombardo Jan Robbins and Stephen Myers Katherine Woolverton Robin Smith & The Washington Wilma Taylor Garth and Drella Stein Sally Kincaid and Robin Dearling Gerald Folland Nancy Lomneth Kirk Robbins Larry Wornian Shakespeare Festival Mick and Penny Thackeray John and Sherry Stilin Jill Kirkpatrick and Marcus Wheeler Shawn and Lynne Aebi Karin Fosberg and Kevin Majeau Thomas Lucas Roberta Roberts Thomas Youderian Suzanne Skinner, by Karen A-14 SEATTLE SHAKESPEARE COMPANY INDIVIDUAL SUPPORTERS INDIVIDUAL SUPPORTERS Christina Wright and Luther Black Ann and Gregory Thornton Derek Storm and Cindy Gossett Barbara Knight Blaise Aguera y Arcas David W. Francis Scott and Pam Lundh Chad Robins Anonymous (1) Muriel Van Housen Margaret Taylor Jeffrey Krauss Clea Allington Patricia Friel Jordan B. Lusink Lawrence and Karen Robins Leslie M. Vogl Seda and Soner Terek Laura and James Laudolff Kathy Alm and Bill Goe Richard Frith and Judy Hademan Mark Lutwak and Y York Asta Roseway DOUBLE YOUR IMPACT $1,000–$2,499 Pat and Charlie Walker Amy Thone and Hans Altwies Teri Lazzara Abbie M. Anderson Susan and Albert Fuchs David Marberg Marty and Leah Ross Eric and Lynette Allais Judith Warshal and Wade Sowers Mike and Lois Trickey Simon Leake and Molly Pritchard Jon Anderson Bryant Fujimoto and Suzanne Bouchard Karen Rotko-Wynn WITH MATCHING GIFTS Julie Beckman and Paul Lippert Jerry and Karen White Keith Vernon Kathleen Learned Bridget Ardissono Lucinda Gainey Josh Marion and Bruce Wynn Nancy and Sam Bent Susan Winokur and Paul Leach Yvonne and Bruno Vogele and Gerald Anderson Jonathan Aries Denise Gangnes Heather J. Martin Therese Rudzis When you donate to Seattle Shakespeare David and Debra Boyle Miles and Elisabeth Yanick Jerry and Vreni Watt Alice Mailloux Robert Atkins Rosalie Gann and Steven Breyer Lori Mason Curran and Steven McDermott Company, your gift can go much farther. Eloise Boyle and Jim Grams Anonymous (5) Helen Wattley-Ames and Bill Ames Mary and Carl Marino Timothy Atkinson Barbara J. Gauch Mike Mathieu Joseph W. Rutte John Bradshaw Peggy and Jack Weisbly Jill Snyder Marr and Jason Marr Amanda Austin Hunter and Kathleen George Heidi Mathisen and Klaus Brauer John Sager Many employers will match your gift to non- Toby Bright and Nancy Ward $500–$999 Jim and Sharron Welch Karri Matau and Shelton Lyter Sybil Barney and Joel Shepard Alan Gibbs Cathy and Michael McCarty Mark Sanders Jeff Brown and Anne Watanabe Nina Abelman Leora Wheeler Elizabeth Mathewson Deena and Bill Baron Sandra Gordon Michael McClain Mary Saylor and William Potter profit organizations on a one-to-one basis. David C. Brunelle Philip and Harriett Beach Sally and Tom Wilder Barbara Mauer Sally Bartow Dave Gossett Deirdre and Jay McCrary Dr. and Dr. Sayre It’s an easy way to increase your impact here Hugh and Nicole Chang Glen and Susan Beebe Wayne Winder Ellen Maxson Shawn Baz Barbara Gray and Alfred Silva Martin McGee Michael Schaefer Ying Chang Lenore and Dick Bensinger and Amy Eisenfeld Donna McCampbell Sheryl Beirne Ted and Mary Greeniaus Nancy and Jim McGill Sherry Schavers at Seattle Shakespeare Company. Steven and Judith Clifford Captain Paul Bloch Kate Wisniewski and Pete Tabor Joe McDermott Tessa and Chris Bennion Janice and Abigail Grimstad John T. McKinney Marguerite Schellentrager Laurie Corrin and Sherilyn Bloch Chris and Laura Zimmerman and Michael Culpepper Sandra and Jonathan Bensky Linda Haas Douglas and Theresa McLean Debra Scheuerman David and Helen Dichek The Bluechel Family Anonymous (5) Bill McJohn Michelle Blackmon Mary Ann Hagan Michelle Mentzer Susan Schroeter-Stokes HOW TO MATCH YOUR GIFT Mary Dickinson Pirkko and Brad Borland Joseph and Jill McKinstry Ellen and Chris Blackstone Hallidie G. Haid The Merritts and Robert Stokes Christopher G. Dowsing of Cory Carlson and Rhoda Altom $250–$499 David Meckstroth Molly Blank and Greg Johnson Jeffrey Hall Mary Metz Anisha Shankar Check with your Personnel Department. Morrow & Dowsing, Inc. Cathy and Michael Casteel Kathleen and Mike Ambielli Clare Meeker and Dan Grausz Janet and Kelby Boguch-Fletcher Victor Hallock Julie Anderson Miller John Sheets Barbara and Tim Fielden Bob and Loretta Comfort Tiffany Andersen Tami and Joe Micheletti Joseph E. Boling David Handelman Michael and Michele Miller Marty Sherman and Linda Wallen They will either provide you with a Gift Donald and Ann Frothingham Manuela and Terry Crowley and Nicholas Harper-Smith Bruce and Elizabeth Miller Arthur Borst and Sydney Sidner Scott J. Miller Thomas and Sharon Sherrard Matching form or direct you to an online Gail Goralski William S. Cummings Sharon S. Armstrong Charles and Kathleen Moore Sarah and Andrew Borthwick D’Arcy Harrison Vanessa Miller Polly and John Shinner Lisa Hager Allan E. Davis Mark Ashida and Lisbet Nilson George Mount and Amy Allsopp Erin and Jeff Breyman Margaret and Tom Hartley and Eric McConaghy Heather Siegel resource. If a form, you simply fill out the James Halliday and Tyson Greer Cathy and Phil Davis Bradley and Sally Bagshaw Sharon Nelson Mary and Tom Brucker Sue Hartman and Patrick Caffee Will Miller David and Stacya Silverman employee part of the form and mail it to: TheHappyMD.com Ronald G. Dechene Harriet and Jon Bakken Timothy L. and Heidi A. Nelson Sally Brunette Duston and Kathleen Harvey Peter Mills Bernice Smith John and Wendy Hardman and Robert J. Hovden Beth Bazley Jane Nichols Patrick and Gayle Bryan Adam Hasson Megan Moholt Fred Smith and Sandra Berger Seattle Shakespeare Company Brad and Zoe Haverstein Stephanie and Walter Derke Ann Beller Scott and Pam Nolte Kathryn and Wally Bubelis Elizabeth Heath Phoebe Ann GregRobin Smith & The Susan Herring Martin and Gillian Dey Irv and Luann Bertram Colette Ogle William Bubelis Paul and Jean Henderson and Malcolm A. Moore Washington Shakespeare PO Box 19595 Randy and Barbara Hieronymus Rick Driftmier Hamida Bosmajian Anne Frances Owen Kathleen Burns Paul Herstein CoeTug Morgan Festival Seattle, WA 98109 Mark Houtchens and Pat Hackett AJ Epstein Doreen and Ralph Boy Norm Paasch Elsbeth Bursell Stephanie Hilbert Tom Morris and Alice Bear Catherine and Forrest Soderlind Maureen Hughes Joyce Erickson Mark Boyd John and Margaret Pageler Margaret Bustion Leonard Hill and Cathy Stevulak John Mostrom and Cathy Woods Lisabeth Soldano We’ll take care of the rest! Jane and Randall Hummer and Kenneth Brown Philip Brazil Lenore Pearlman Marcia and David Butchart Karin Hirschfeld Sue Mozer Teresa and Peter Sparling Bill Johns and Stephanie Kallos Lorri Falterman Ann M. Brice Meredith Perlman Robin C. Calhoun and Christopher Smith Crystal Dawn Munkers Dan Stiner Deborah Johnson Kathryn Gardow George Bright Mark Peterson Roland Carette-Meyers William Hochberg and Matt Durasoff Elizabeth Stokes Karen Jones and Erik Rasmussen and David Bradlee Anne Brindle Katrina Pflaumer and Kiki Penoyer Gary Holland, Jackie McGourty, Kaye Munson Isabel and Herb Stusser Marta Zekan Jones and Erik Rasmussen Dean W. Koonts Kathleen and Richard Gary Cara and Darby Brown Jim Phelps Teresa Carew Quinn, and Kyle Antonia Natoli Jade Sullivan Karen and Michael Zeno Coco Stusser-McNeil, by Janet Karl and Anne Korsmo Marjorie and Rick Goldfarb Scott and Cindy Buchanan Michael Pickett and Ann Watson Alan Carey Lisa Holmberg Robert and Jane Nellams Mary Summerfield Joseph and Linda Zimmerman and Kelby Boguch-Fletcher Frida Kumar Mary Gorjance and Bob Winship Julia Buck Rachel Pody Paul Carlson and Shawn Hanson Lewis and Lisa Horowitz Charles Nelson and Michael O’Neal Spring Zoog and Richard T. Marks Laura Stusser-McNeil and K. C. Susan Leavitt and Bill Block Slade Gorton Betty Buckley Shelly and Mike Reiss Rebecca Chaney Eileen S. Hsu Lindsey and Lisa Noble Shelly Sundberg Anonymous (25) McNeil, by The Clarius Group, LLC Charlotte Lin and Robert Porter Paul Gregory Urla Jean Burch Falls Paula Riggert and Doug Stevens Melissa Chase Kristi and James Hudson Peter Norby Constance Swank Emonie Little and Gary Piaget Jason Harris Karlyn and Richard Byham Daniel Ritter Jason Choi Sara-Elizabeth and David Hyre Caroline Normann Tom and Sarah Sweeny In Honor, On Behalf In Memory Marianne and Jim LoGerfo Madeline and Peri Hartman Rita Calabro and James Kelly Kate and Stephen Robinson Carol Wolfe Clay Kelley Ingham Cindy Noteboom Linda and Vic Taggart From March 20, 2016 through From March 20, 2016 through Peggy Martin and Brian Kreger Gregary Heath Diana Carey Stephen and Elizabeth Rummage Catherine Clemens Debbie and Patrick Irwin Christine O’Connor Debra Tan September 20, 2017, donations September 20, 2017, donations Teresa Mathis Trudi Jackson Sylvia and Craig Chambers Sharon and Bryan Rutberg and Daniel Speth Nalini and Ganesh Iyer Neil Olcott Alexandra Tavares and Matt Cramer were made to Seattle were made to Seattle Beth McCaw and Yahn Bernier Steve and Suzanne Kalish Lynne Cohee and Matt Smith Chuck and Tommie Sacrison Lee and Kristine Clement David Jamieson Allison Oosta Ed and Jeri Tharp Shakespeare in recognition of Shakespeare in memory of the Vicki McMullin Kim Kemp Catherine Conolly Harvey Sadis and Harriett Cody Matthew Cohen Lisa Jaret Glen and Heather Owen Robert and Marion Thomas the following people: following people: Brian and Launi Mead Gary Kirk and Norma Fuentes Keith and Kerin Dahlgren Rae and Bill Saltzstein Richard Conlin and Sue Ann Allen Warren Jessop Monica Padineant Clay M. Thompson Pamela Merriman Katie and Tom Koch Melodie De Marr Michael and Jo Anne Sandler Jeffrey Coopersmith Dan Johnson and Jill Chelimer Dolores Palomo Marie Thompson Sarah Alsdorf, by Patricia Bartlett, by David and Susan Featherstone Nelson James Lobsenz Bassim and Kara Dowidar R.L. Schlosser and Lisa Erlanger Anne and Craig Johnston Robert Papsdorf Dan Tierney and Sarah Harlett Sally and Bradley Bagshaw Debra Boyle Nick and Joan Nicholson and Elizabeth Choy Eric and Polly Feigl Ann Schuh Megan Coughlin Cynthia B. Jones and Jonetta Taylor Ruth Tollefson Cynthia Huffman and Ray Heacox Sue Drais, by Charles G. Nordhoff Gerald and Janet Lockwood Michael and Deborah Fletcher Tina Scoccolo and Kevin Steiner Edward Coulson and Paul J. Lawrence Jeff Paul Maria Tomchick Shelly and Mike Reiss Ellen and Chris Blackstone Cheryl and Tom Oliver Mary Anne and Chuck Martin Brad and Linda Fowler Mike Scully Gavin Cullen Carl Kadie Susan Pazina John and Joan Tornow Bob, by Anonymous Emily Evans and Kevin Wilson Hal Opperman Christopher and Stephanie Mascis Amanda and Geoff Froh Randy Smith and Sharon Metcalf Carin Cunningham Joan Kalhorn Andrew Pearson and Carol Lewis Nancy Truitt Pierce John Bradshaw, by Peter Mills and JoLynn Edwards Elaine Mathies Cheryl Gagne Carmen Spofford and Bruce Wick Nicole Dacquisto Rothrock Deirdre Katt Maggie and Clint Pehrson and Joel Selling Kathy Alm Stephanie, Conor, and Dave Oskamp David Mattson Peggy Gannon Kevin Howard St. John and Tim Rothrock Evan and Tremaine Kentop Gordon and Lyanne Peltonen Shelley Tucker and Bruce Sherman Rev. M. Christopher Boyer Cahillane Shine Anne Otten and James Adcock Ann McCurdy and Frank Lawler Ginsbeak, Egglayer, and Little One Donna Stringer Deborah Daoust Deborah Kerdeman J. Gregory Perkins Donna Tuggle Linda-Jo Greenberg Wendy Del Valle Sandra Perkins Mary Metastasio Marilyn Gist and Andy Reynolds Jason Dardis and David Tarshes Yan Perng Meranda Tuttle Anonymous Thomas Arthur Grant, by and Jeffrey Ochsner Tom Miller and Terri Olson Miller The Gittelman Family Fund Jen Taylor Lisa Dart-Nakon G. David Kerlick Karen Perry Frank Video Wally Bubelis, by William Bubelis Michelle Blackmon Lori Lynn Phillips Terry and Cornelia Moore Russell and Susan Goedde Annie Thenell and Doug Moll Virginia Daugherty Mary Kleiner Martha Phelps and Daniel Lepow Nikki Visel Casey, by Darby and Cara Brown Kishore Kumar, by Debabrata and David C. Lundsgaard Allen and Amy Murray Madame Gradka Robert Townsend Emily Davis Alana Knaster Jeff Philpott Hattie and Arthur Vogel Jake “Pufferfish” Cooper, (Dave) Ghosh Steve Pline and Tony Paul John O’Connell and Joyce Latino David and Holly Gray and Karen Stein-Townsend Reiner and Mary Decher Jorji and Jason Knickrehm Rich Loretta Pirozzi Mark Waldstein by Kara Lagerloef Harvey Roger Fletcher, by Emily Judy G. Poll Craig and Rose Olson Sharon Griggins-Davis Heather and Eric Tuininga Jeffrey Degroot Marianna and Agastya Kohli Kathleen and Elizabeth Pitts Patricia A. Ward Daniel and William, Evans and Kevin Wilson Erik Pontius Sarah Patton and Peter Feichtmeir Jeff Harris and Judy Wasserheit Diane Undi-Haga Wendy Del Valle Bobbi Kotula Ed and Cyndy Pollan Elizabeth Wasson by Andrew Pearson Melissa Hines, by Anonymous Cynthia L. Randall Jay Pearson Peter and Diana Hartwell Eugene Usui Will Diefenbach Anne Kroeker Nancy Preg Dr. and Mrs. James K. Weber and Carol Lewis Max and Millie, by Judy Moise and Gary M. Goldstein Peggy and Greg Petrie Leanne and Rick Hawkins Jessica Wagoner Debbie Dimmer Akshay Kulkarni Adam Price Joella Werlin Nora Gause, by Chad Blanchard Mom, by Will Diefenbach Madhu T. Rao John Purdon Cindy Hennessy Ian Walker Jennifer Divine Kychakoff Family Daniel and Barbara Radin Catherine West Kelsi Gilkey, Arthur H. Zevin, by Rona Zevin Anne Repass and JJ Ewing Megan and Greg Pursell Bill Higham Judy and Mike Walter and Laureen France Ellen Lackermann Randall Family Elaine White by Shelly and John Williams Kerry and Jan Richards Ben and Margit Rankin Hildegard Protection Society Stacey Watson and Duncan Moore Lauren Domino and Neal Stephenson Red and Ready David and Beth Whitehead Abbie Grimstad, This list recognizes donors Renée Roub and Mike Slass Gail and Larry Ransom Lynn Hubbard John Webster and Andy Schroeder Richard and Shelly Lamoreaux Grace Reamer and Kevin Boze Bill Whitman by Janice and Abigail Grimstad with combined donations Jain Rutherford Nancy Reichley and Tim Higgins and David Zapulsky Greg Wetzel Denise and Brian Donaldson John Lauber Brian and Roberta Reed Ann Williams and John Taylor Marc S. Harrison, of $100 or more made Chuck Schafer and Marianna Clark Heather and Paul Rock Cynthia Huffman and Ray Heacox William White Marcia and Daniel Donovan Christopher and Courtney Lee Laura and Jim Rehrmann Shannon Williams by D’Arcy Harrison between March 20, 2016 and Harry Schneider Robert Rust Fritz and Nancy Huntsinger Evan Whitfield Mike Doubleday and Sandra Borg Meredith Lehr and Bill Severson Margo Reich Shelly and John Williams Heidi McElrath, September 20, 2017. Thank and Gail Runnfeldt Jayleen Ryberg and Paul Moritz Tracy and Tim Hyland Andrew Willner Sue B. Drais Roger Levesque Robert and Judy Reichler Rob Williamson and Kim Williams by David and Jody McElrath you! If you wish to change Goldie and Don Silverman Christine and David Saulnier C. J. Iblings Jodie Wohl Kathryn Dugaw Andrea Lewis Steven and Fredrica Rice Lin and Judith Wilson Phil and Carol Miller, your acknowledgement listing, Mika and Jenny Sinanan Wolfram and Rita Schulte Brien and Catharine Jacobsen Ruth Woods Lynn DuPaul Bonnie Lewman Eric and Karen Richter Janice Winemiller by Angelique Leone and please contact Heidi McElrath, Suzanne Skinner and Jeff Brown Betsy Schwartz Brenda Joyner Robert, Cathy, and Raleigh Wright Keith and Karen Eisenbrey Michael Lieberman Carla Rickerson Michael Winters Ronald Fronheiser Development Manager, at (206) Bruce and Denise Smith and Peter Dylan O’Connor C.R. Kaplan Anonymous (10) George Engelbeck Arni Litt Rebecca Riesen Becky and Rob Witmer The powerful actors and director 733-8228 x268 or Mary Jo and Michael Stansbury Bryce and Chris Seidl Paul Kassen Audrey L. and H. Lee Fellinge Sue Livingstone Ted and Teresa Rihn Dan and Judy Witmer of Bring Down the House, by [email protected] Kimbrough Street Kris and Rob Shanafelt John Keegan $100–$249 Ashley and Devin Fidler and Donald Padelford Richard and Rebecca Ripley Tom Wolfendale Nancy and Sam Bent and Art Schneider Laurie Smiley Ian F. Keith Diane Aboulafia and Peter Shapiro Gilbert and Jean Findlay Martha Lloyd and Jim Evans Georgia Robbins Morton and Martha Wood William Shakespeare, by Greg Sheila Taft Alee and Bill Spencer Andrew and Polly Kenefick Gary Ackerman Douglas Paul Fletcher Stephen and Jodi Jean Lombardo Jan Robbins and Stephen Myers Katherine Woolverton Robin Smith & The Washington Wilma Taylor Garth and Drella Stein Sally Kincaid and Robin Dearling Gerald Folland Nancy Lomneth Kirk Robbins Larry Wornian Shakespeare Festival Mick and Penny Thackeray John and Sherry Stilin Jill Kirkpatrick and Marcus Wheeler Shawn and Lynne Aebi Karin Fosberg and Kevin Majeau Thomas Lucas Roberta Roberts Thomas Youderian Suzanne Skinner, by Karen encoremediagroup.com/programs A-15 BOARD OF DIRECTORS FOR THIS CONTACT US Ticket office: (206) 733-8222 Board Officers PRODUCTION Jeannie Buckley Blank, President Administrative offices: (206) 733-8228 Assistant Lighting Designer Dr. Madhu Rao, Vice President Fax: (206) 733-8202 Bryce Bartl-Geller Patrick O’Kelley, Vice President Seattle Shakespeare David C. Allais, Treasurer Scenic Artist PO Box 19595 Phillip S. Miller, Secretary Montana Tippett Seattle, WA 98109 Susan Petitpas, Immediate Past President Costume Assistants Ticket Office Hours Board Members Max Holley Tuesday–Friday: 12–5 pm Sarah Alsdorf Arson Nicki Marisa Bocci seattleshakespeare.org Costume Drapers Lynne Graybeal Lacee Rae Renhart Robert H. Green Allen Wilson David Haggerty Steve Kelley Costume Painter STAFF Angelique Leone Kevin J. Ellis Leadership Amy Levenson Wigmaster John Bradshaw, Managing Director Dr. Douglas McKenna Dennis Milam Bensie George Mount, Artistic Director Michele Peltonen Costume Intern Renee Roub Artistic Neha Gupta Amy Thone, Casting Director Jain Rutherford Stage Carpenters Sheila Daniels, Associate Artist Suzanne Skinner Adrian Delahunt Zoe Shields, Casting Associate Laura Stusser-McNeil Tom Sunderland Charles Minshall Box Office Jay Weinland Lorri McGinnis, Box Office Manager Jeanne C. Wintz, Ph.D. STAGE CREW Sasha Bailey, Box Office Associate Jolene Zimmerman Ariana Chriest, Box Office Associate Master Electrician Aly Guzman-Dyrseth, Box Office Associate Advisory Board Levi Plumb Kenneth Alhadeff Jordan Lusink, Box Office Associate Sound Engineers Hannah Mootz, Box Office Associate John Bodoia Paula Butzi Erik Siegling Thalia Shelver, Box Office Associate Meghan Roche Rachel Warshaw, Box Office Associate Mary E. Dickinson, CPA Dan Drais Wardrobe Master Communications Emily Evans Anna Bowen Jeff Fickes, Communications Director Barbara Fielden Thea Roe, Graphic Designer Slade Gorton Katt Akin, Communications Intern Maria Mackey Gunn Development Ellen Hill STAY CONNECTED Annie Lareau, Institutional John Hill Stellman Keehnel Funding Manager seattleshakespeare.org Heidi McElrath, Development Manager Sarah Merner Ariana Chriest, Development Assistant Jane Mills Meg Pageler Mourning Education Mary Pigott Michelle Burce, Education Director Nicole Dacquisto Rothrock [email protected] Casey Brown, Touring Program Manager James F. Tune Zandi Carlson, Education Coordinator Pat Walker Seattle Shakespeare Front of House Steven Wells Company Ariana Chriest, Lead House Manager Operations @seattleshakes Victoria Watt Warshaw, Bookkeeper / Office Manager Production FACILITIES PARTNERS seattleshakespeare Louise Butler, Production Manager Jocelyne Fowler, Costume Shop Manager Seattle Shakespeare Company seattleshakespeare A-16 SEATTLE SHAKESPEARE COMPANY By Danielle Mohlman Dialogue Shaya Lyon and the Live Shara Lyon. Image courtesy of interviewee. Music Project We sent Encore Stages contributing writer Jonathan Shipley to meet Shaya Lyon, founder and executive director of the Live Music Project. The Live Music Project (LMP) is an organization that connects people with live classical music, strengthening communities, celebrating listener agency, and amplifying local resources. They talked about LMP's successes, classical music today, and what's coming up in the Seattle classical music scene. What is Live Music Project? double. I was enthralled. As I scoured the able to bridge the information discovery internet for the next performance of the gap for concert-goers. At the core of our work is a Brahms double in New York City, where comprehensive performance calendar I was living at the time, it turned out to What is the state of classical music these that has been described by one concert- be more difficult that I’d expected to find days? goer as “the overture to the concert concert listings based on that particular I think the experience of classical music experience.” Since we launched it piece of music. I moved to Seattle. With is shifting. The industry once thrived in Seattle in 2014, the calendar has knowledge of the vast array of orchestral on subscriptions and is now having a included more than 1,300 ensembles, ensembles that are so special to this more spontaneous approach. It might series, presenters, and individual region, and some time in the technology be difficult for you to imagine, this performers. Later this year we will industry, it struck me that tech might be evening, what will make you feel alive on expand our calendar platform to support communities nationwide. What else are you excited about in regards to LMP? I’m excited about our Spontaneous Free Tickets program. SFT offers a limited number of free concert tickets to its subscribers: students, families, and the elderly, for whom ticket prices are often cost-prohibitive; traditional classical audiences cautiously curious about hearing newer ensembles or compositions; and others who leverage the program to explore events in unfamiliar neighborhoods or venues. The tickets are donated by classical music organizations. How did you get involved in LMP? I love this question. It takes me back to falling in love with the Brahms double concerto. A few years ago, I came across a video of David Oistrakh and Mstislav Rostropovich performing the Brahms Photo courtesy of Live Music Project. encoremediagroup.com/programs 7 a given Friday night next April – but you Our building is closed for renovation, but our programs are more open than ever. probably have an idea right now what would make you feel alive and complete today. If the trend is toward scanning a list of upcoming concerts and deciding on a whim which concert space will make us feel what we need to feel right now, I see LMP’s comprehensive listings Break bread with as one way to fill that role. Nathan Myhrvold (10/26). Are you a classical musician? Resist with Marcus Harrison Green and Mark Baumgarten (11/2). When I was nine, a piano appeared in our house. My babysitter taught me the Rollick through the caricature mind first bars of Moonlight Sonata by ear, of New Yorker’s Barry Blitt (11/3). and I’d play it over and over again in the Talk Mad Men to novels with dark of night. I loved that. Matthew Weiner and Maria Semple (11/13). Who are your favorite composers? That’s a trick question, right? Tickets are on sale now. Join us in a neighborhood near you. What are you excited about on the Seattle calendar in the next few months? So much! The Seattle Symphony and Everett Philharmonic are both performing Elgar’s Enigma Varations. townhallseattle.org Early Music Guild is premiering a work for electric theorbo – sort of a cross between a lute and an electric guitar. Thalia Symphony Orchestra will bring us Vaughan Williams. What are some ways locals can listen to Live well. contemporary classical music? How to narrow it down – Seattle is At Mirabella Seattle, our goal teeming with new music. The Seattle Modern Orchestra is solely devoted is for you to live better longer. to the music of the 20th and 21st With our premium fitness centuries. The Wayward Music Series and aquatic centers and our at the Good Shepherd Center presents works by living composers frequently. countless wellness classes, Seattle Symphony’s [untitled] series is staying active and engaged has rich with contemporary works. KING FM’s Second Inversion is dedicated to never been easier. contemporary classical music. Let go of age. Embrace How can someone help LMP? healthy. Retire at Mirabella. We’d love your help. Whether it’s 206-254-1441 submitting your organization’s events to our calendar, hosting an event-a-thon, retirement.org/mirabellaseattle writing code for our new nationwide calendar platform, making a donation, or partnering as a sponsor, community Mirabella Seattle is a Pacific Retirement Services participation makes the world go community and an equal housing opportunity. ‘round. Your readers can learn more at livemusicproject.org.< JONATHAN SHIPLEY 8 ENCORE STAGES Dialogue A Conversation with Simone Hamilton Simone Hamilton. Courtesy of the interviewee. Simone Hamilton is the Artistic Engagement Coordinator at Seattle Repertory Theatre. She identifies as a producer and curator of spaces, aiming to bring audiences closer to the art on stage. She’s a Washington native and calls both Seattle and Whidbey Island her home. Encore Stages contributor Danielle Mohlman spoke with her just before tech week for the Public Works production of The Odyssey. In addition to the core cast of professional actors, over 100 performers flooded the stage in this musical adaptation of Homer’s poem – performers from the King County Boys and Girls Club, the Ballard NW Senior Center, the Jubilee Women’s Center, and beyond. Public Works was an incredible theatrical the entire life of this program – from endeavor that involved the entire workshops to the rehearsal process to community — professional and amateur the final production – is hard earned joy, performers alike. How did Seattle collective imagination, and true equity. Rep decide to get involved with this Together we are all learning and have nationwide theatrical experiment? become more than just an ensemble. We Our initial inspiration for bringing Public are a community that takes care of each Works to Seattle began when our Artistic other just as a family would. It’s exciting Director, Braden Abraham, saw Lear to see how these values permeate people’s deBessonet’s production of A Winter’s Tale lives as we all become more civically at The Public Theatre in 2014. He said it engaged with our communities, even was like seeing the whole city onstage. In outside the walls of the theatre. 2014, Braden and Marya Sea Kaminski, If you could pick any play in the world our Associate Artistic Director, started to transform into a Public Works-style imagining what an incredible experience production, what would you choose and it would be for our stage and our audience why? to produce our own Public Works. Marya hired me in 2016 and together we began If I had to choose from an existing play, building this dream into a reality. Public I’d choose The Lion, the Witch, and the Works became a way for us to examine Wardrobe. The story is a childhood favorite and evolve our processes institution- and the themes within the story around wide and truly collaborate with our collaborative leadership, acceptance, community. That process has inspired us resistance, courage, and community forward and motivated us to keep going. really resonate with me. But realistically, I’d like for us to explore commissioning What was the most exciting part of our own Public Works-style production working on the Public Works production that reflects the stories of the Pacific of The Odyssey? Northwest. I envision a story full of epic adventure, momentous bravery, and Rehearsal photo of The Odyssey at Seattle It’s so hard to just name one! One thing Repertory Theatre. Photo by Kina Ackerman. that has presented itself throughout conscious reflection with characters that encoremediagroup.com/programs 9 are reflective of us all – including those SUBSCRIBE TODAY! who came before us and those who are here with us today. What are your hopes for the future of Public Works in Seattle? I hope the future of Public Works Seattle includes sustainable growth and deepened MAR 10–MAY 20 JUL 20–AUG 12 engagement. I hope that as a theatre, Seattle Rep can continue to show up for our community in ways we haven’t before. In the future, I see the values of the program becoming contagious and continuing to reach beyond the confines of APR 20–MAY 13 SEP 7–30 theatre and Seattle. Theatre is a powerful tool for change and we like to think of Public Works as a movement rather than a moment. We are actively making the change we wish to see in our community, our country, and our world by not only JUN 8–JUL 8 OCT 12–NOV 11 identifying, but actualizing our individual and collective truths under these magical and imaginary circumstances. Are there any musicians, dancers, or theatre artists that you’re especially acttheatre.org | 206.292.7676 | 700 Union St, Seattle, WA excited about this season? Who are you excited to see? I’m really excited about the regional SEATTLE PREMIERE performers that make cameo appearances in The Odyssey and seeing more from all of them this year. We’ve been collaborating with dancers, musicians, vocalists, and visual artists from around the region who offer a wide range of artistic talents – from the high energy Seattle Seahawks The Drumline to the incredibly dynamic dance troupe Purple Lemonade and the drop dead gorgeous drag queen Tipsy Rose Lee. The cameo groups are the crème filling BY DOUGLAS of The Odyssey. This show wouldn’t be NanceCARTER BEANE possible without them. Do you have any plugs? How can folks find more about you and your work? No plugs for myself, but check out Public Works Seattle and our community partners: Centerstone, the Jubilee THIS PROGRAM IS SUPPORTED IN PART BY A GRANT FROM THE WASHINGTON STATE ARTS COMMISSION. ARTS STATE WASHINGTON THE FROM GRANT A BY PART IN SUPPORTED IS PROGRAM THIS Women’s Center, the Ballard NW Senior Center/Sound Generations, Path with SHOW SPONSORS Art, and the King County Boys and Girls OCTOBER 26 - NOVEMBER 19, 2017 Club.< DANIELLE MOHLMAN 206.938.0339 | ARTSWEST.ORG SEASON SPONSORS 4711 CALIFORNIA AVE SW, SEATTLE, WA 98116 10 ENCORE STAGES Intermission Brain Transmission Are you waiting for the curtain to rise? Or, perhaps, you’ve just returned to your seat before the second act and have a few minutes to spare? Treat your brain to this scintillating trivia quiz! Email us the answer to the last question and have a chance to win tickets to a show! 1. Book-It Repertory Theatre’s Howl’s Moving Castle: The Musical is based on the beloved animated film directed by Hayao Miyazaki. Which of the following Studio Ghibli films was not directed by him? a) Ponyo b) Spirited Away c) Kiki’s Delivery Service d) Grave of the Fireflies 2. The Government Inspector, a comedy of errors set in a remote Russian town rife with corruption, was written by Nikolai Gogol, supposedly in response to an anecdote told to him by which author? a) Fyodor Dostoyevsky b) Alexander Pushkin Ukrainian-born Russian author Nikolai Gogol. Painting by Fyodor Antonovich Moller, 1841 c) Anton Chekov d) Leo Tolstoy 4. Italian composer and pianist Ludovico 5. Also in early October, Bandaloop will Einaudi is playing at the Moore Theatre perform at the Meany Center. This in early October. His grandfather was dance troupe combines modern dance the Italian president between 1948 – with aerial acrobatics. Which landmark 3. Arthur Miller’s The Crucibleis now 1955. What was his grandfather’s first have they not yet danced on? playing at ACT Theatre. The play is name? a) The Space Needle based on recorded testimony from the a) Luigi Salem witch trials. In what year did b) Tianmen Mountain in China these occur? b) Luciano c) El Capitan in Yosemite a) 1692 c) Emilio d) Mt. Constitution b) 1688 d) Giulio c) 1701 Bonus Question d) 1674 What was the last arts performance you attended that you liked best and why? Email your response to [email protected] with Trivia Quiz in the subject line. Orcas Island, Washington State, Mt. Constitution is the second-highest mountain on an island in the contiguous 48 U.S. States. States. U.S. 48 contiguous the in island an on mountain second-highest the is Constitution Mt. State, Washington Island, Orcas Massachusetts. 4) A – Luigi. Luigi Einaudi served as the second President of the Italian Republic after the fall of fascism, succeeding Enrico De Nicola. 5) D – Mt. Constitution. Located on on Located Constitution. Mt. – D 5) Nicola. De Enrico succeeding fascism, of fall the after Republic Italian the of President second the as served Einaudi Luigi Luigi. – A 4) Massachusetts. sustained in a duel to defend the honor of his sister. 3) A – 1692. Between February 1692 and May 1693, a group of people, mostly young women, were accused of witchcraft in Salem Village, Village, Salem in witchcraft of accused were women, young mostly people, of group a 1693, May and 1692 February Between 1692. – A 3) sister. his of honor the defend to duel a in sustained ANSWERS ANSWERS Pushkin died in 1837 from injuries injuries from 1837 in died Pushkin of Author Pushkin. Alexander – B 2) Takahata. Isao by directed was tragedy moving this 1988, in Released – D 1) Onegin, Fireflies. the of Grave encoremediagroup.com/programs 11 EAP full-page template.indd 1 9/13/17 1:24 PM