July 18–August 17, 2014

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2 ENCORE STAGES EAP 2_3 V template.indd 1 6/20/14 3:37 PM ENCORE ARTS NEWS FROM CITY ARTS MAGAZINE

Contrast and Smolder Molly Sides peels back layers of texture.

BY AMANDA MANITACH

WHO Molly Sides, the 25-year-old multidisciplinary artist from Ketchum, Idaho. Sides arrived in Seattle in 2006 to study dance at Cornish College of the Arts and since graduating has shared the stage with Northwest performance companies like tEEth, New Animals and Lingo. Recently Sides added curator to her resumé: She’s the brains behind Trigger. New Dance Happenings, a quarterly event that puts dancers in non-tradi- tional settings like Vermillion Gallery, Love City Love and the lobby at On the Boards.

AND ROCKSTAR In her off time, Sides shreds the stage in knee- high, lace-up stilettos and spike-studded brassiere as the smol- dering voice of four-piece band Thunderpussy. “Thunderpussy is my love affair with rock ’n’ roll. I grew up singing in choir and musical theatre productions. I’m a feely-lovey person and I want to share an experience with you, not just show you.”

AESTHETICS “I love lipstick and velvet and [have] an obses- sion with shoes—particularly Fluevogs. I still like to think a pair of shoes makes an outfit. If I were born in a different era, it would have been during Prohibition. You know, put together classy on the outside with layers of lace, silk, velvet and fringe underneath. I like layers and the peeling away of them.”

ICONS Ingrid Bergman in Notorious, Penelope Cruz in Vicky Cristina Barcelona. Every character in every Bernardo Bertolucci film. Every character in every Wes Anderson film. Stevie Nicks, Karen O. Probably every character Cate Blanchett has ever played. LAUREN MAX

encoreartsseattle.com 3 CONTENTS

July 18–August 17, 2014

An Evening of One Acts A1

A-1 Title Page A-2 Kurt Beattie’s Welcome Letter A-3 Up Next at ACT A-4 An Evening of One Acts Cast Lists A-5 Director’s Note A-6 About the Plays A-8 Who’s Who in An Evening of One Acts A-10 ACT Partners A-16 ACT Board & Staff

ES074 covers.indd 2 6/30/14 1:37 PM ENCORE ARTS NEWS FROM CITY ARTS MAGAZINE

English from video games, from titles like Final Fantasy and Disciples. They The Most had stories, man! And movies—I loved Arnold Schwarzenegger movies. Terminator 2, Predator. But I only started questioning my life in Dhaka after I left it, and especially when I started school at Stanford. That’s when I began to feel badly about myself. But really, I was just feeling the pain of cultural Pure Thing change. Zubair Ahmed is a Did you start writing during that transition? Boeing engineer and Poetry helped me transition. I wrote a lot because I was very depressed. I had fallen in love with a girl who I knew I’d never get. Common story. So at poet whose verse that time I did a lot of thinking and writing in English. I had a Xanga [a type tackles deracination of blog], and I wrote a lot in there. It wasn’t all about her. I would make up and loneliness with the stories. I remember one about a man who planted an apple tree. The apple tree grew, but it never made apples. He took care of it for his whole life and buoyancy of a quieter, then he died, but the tree never made apples. tinier Whitman. Did any of that writing turn into poetry? ZUBAIR AHMED was raised in No. Poetry was completely separate. Poetry is the most pure thing in my life. Dhaka, Bangladesh, and moved I don’t take care of it. I don’t think about it. I have no idea how to relate to to Texas when he was 17. He it. I just love it. It’s there. I exist with it. I don’t put any thought into it. None. attended Stanford, where his passion for science and poetry bloomed. Now Poetry is like my right arm. I never wake up in the morning and say, “I’m so a mechanical engineer at Boeing, he lives in Seattle where he continues grateful I have a right arm!” I just feel like I’m supposed to have it. to write. Ahmed’s poetry, like his personality, brims with earnestness and generosity of spirit. His chapbook Ashulia (Tavern Books) and his full-length Are you working on a new book? collection, City of Rivers (McSweeney’s), released earlier this year, reveal I am! I’m working on my third book. The working title is Pink Stone Axe. a poet who approaches life’s darknesses with wide-eyed curiosity and It’s about not being able to find meaning in life. I’m thinking about all this acceptance: “It starts to rain / So I shoot down a cloud. / We take it back to because my best friend died last year while having his wisdom tooth Mom / Who kisses our ears and pokes our eyes— / She does that.” removed. When I found out, my first instinct was to text him! His death was We caught up with him to talk about life in Dhaka, his new book and the a blow. He was the only man I’ve made a 60-year plan with. educational potential of Terminator 2. RICH SMITH Do you see a connection between engineering and poetry? You claim that your family was one of the poorest in Bangladesh. To Poetry is the hunt for truth, and engineering helps with that because what extent did you experience any hardship? engineering is pretty reasonable. But poetry is a hunt for truth in the realm of Hardship is a mindset. You can either be sad about being poor or you can emotions. It’s as not-science as you can possibly get. So when you combine be happy with what you have. Our family was the latter. I was always around the two worlds, you see a bigger picture—and everything fits into that my cousins. I was always playing video games. In fact, I learned most of my picture. Loneliness too. SHANNON PERRY SHANNON

4 ENCORE STAGES Kurt Beattie Carlo Scandiuzzi Artistic Director Executive Director ACT – A Contemporary Theatre presents

Beginning July 18, 2014 • Opening Night July 24, 2014

COMPANY Eric Ray Anderson* Quinn Armstrong Chris Ensweiler* David Foubert* Hana Lass* Jessica Skerritt*

CREATIVE TEAM R. Hamilton Wright Director Martin Christoffel Scenic Designer Melanie Taylor Burgess Costume Designer Rick Paulsen Lighting Designer Brendan Patrick Hogan Sound Designer Erin B. Zatloka* Stage Manager Geoffrey Alm Fight Director Ruth Eitemiller Production Assistant Kent Cubbage Assistant Lighting Designer

Running Time: This performance runs approximately two hours. There will be one 15-minute intermission between the final two plays.

*Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the .

Patter for the Floating Lady, Riverside Drive, and The Unseen Hand are presented by special arrangement with SAMUEL FRENCH, INC.

The video and/or audio recording of this performance by any means whatsoever are strictly prohibited.

PRODUCTION SPONSOR:

THEATRE AND SEASON SPONSORS:

A Contemporary Theatre Foundation

Katharyn Alvord Gerlich, Eulalie M. & Gian-Carlo Scandiuzzi, Nancy Alvord, Betty Bottler, Gregory & Diane Lind, Chuck Sitkin, Chap & Eve Alvord

Audience members are cordially reminded to silence all electronic devices. Please do not walk on the stage before, during, or after the show. Patrons wearing Google Glass must power down the device if wearing them in the theatre.

encoreartsprograms.com A-1 Welcome to ACT Kurt Beattie

I’ve always loved one-act plays, particularly in evenings The poet Richard Hugo came up with a wonderful which include the works of different authors. Delightful title for one of his poems: “What Thou Lovest Well pieces have been generated in the form since antiquity. Remains American.” The title is a spin on an Ezra Pound With such a vast treasure chest of works to choose line. Hugo’s poem is bitter and sad, but his title reaches from, the variety of tones, genres, and subject matter me in other ways. I probably shouldn’t think too much available present a virtually limitless way to think about about my definition of self in terms of my nationality. constructing an evening for the audience. When you But occasionally, when I am elsewhere in the world, say, consider the most cursory list of possibilities includes having just spent hours stumbling around some amazing plays by such hallowed names as Brecht, Wilder, O’Neill, European city, the vision of a shabby gas station in the Coward, Williams, Moliere, Anonymous, Sheridan, Shaw, desert with a dirty toilet and a beaten up coke machine, Pinter, Feydeau, Beckett, Labiche, and Courtelline—to or the distinctive painful scream of the antiquated New name only a few—and then, just for the hell of it, throw York subway in its familiar, almost comforting Big Apple in titles from living theatrical wizards such as Alan rudeness, overcomes me with longing. So it is with these Ayckbourn, Michael Frayn, , , plays, which bring together the unsettling oddball in the , Elaine May, and —to name only New York City park and the broken down cowboy in a a few—one wonders why more of these evenings haven’t haunted California junkyard to create a kind of dark love occurred. note. And as with Allen and Shepard, I can’t imagine All three of our writers have obvious recommendations as anything other than American. His for being included in this program: they are very funny; humor lives somewhere between horses on roller skates and their work has played a part in defining the last thirty and Cezanne, modernism conceived as an intellectual years of American culture, at least when it comes to joke-filled magic act in Vegas performed for the love of a theatre and film. But, for me, the telling thing about them skeptical poodle just out of obedience school. is the strange contradictory feelings they can elicit from Unique, absurd, always trying to play tennis without me about being American. They share what I think of as a net, making it up as we go along, itchy to move on: an American thing, a way of looking at the world that is if America, with all its achievement, is its own special an odd mix of populist goofiness and intellectual chaos, catastrophe, the wild anarchical hoots and plaints of like the overlay of core philosophy and self-help books our comedy are like no other. What thou lovest well in the minds of ’s befuddled anti-heroes, remains American. or the mash-up of Picasso and Elvis in Steve Martin’s Picasso at the Lapin Agile, or the presence of the French poet Gerard de Nerval’s lobster in ’s . Eccentricity and metaphor abound with commercial insouciance. Kurt Beattie, Artistic Director

A-2 ACT THEATRE COMING SOON TO ACT THEATRE

When playing the stock market Sep 5–Oct 5 means life or death.

Construction Zone Groucho Returns Jul 29 Aug 7–24 Join us for the third event of this year’s new play Frank Ferrante is back! Join in as he recreates reading series. July features Not Medea the legendary Groucho Marx in this fast-paced by Allison Gregory. comedy packed with songs.

Hold These Truths Icicle Creek New Play Festival Jul 31–Aug 3 Aug 19–20 Joel de la Fuente stars in the one-man show Be the first to hear two new plays: inspired by the true story of first generation The Change Room by Carly Mensch Japanese-American Gordon Hirabayashi. and Bloomsday by Steven Dietz. ©Lia Chang Endangered Species Project Aug 4 Sep 4–21 Experience the great plays you seldom see. Join us Two vagabonds struggle to make sense of their for Candlelight by Siegfried Geyer, adapted by predicament in an absurd world. Part of the P.G. Wodehouse. Seattle Beckett Fest. © Jimmy Malecki acttheatre.org | (206) 292-7676 | 700 Union Street, Seattle DIRECTED BY R. HAMILTON WRIGHT

Patter for the Floating Lady BY STEVE MARTIN

David Foubert* The Magician Jessica Skerritt* Angie Hana Lass* The Assistant

Riverside Drive BY WOODY ALLEN

Chris Ensweiler* Jim Eric Ray Anderson* Fred Jessica Skerritt* Barbara

Intermission

The Unseen Hand BY SAM SHEPARD

Eric Ray Anderson* Blue Morphan Hana Lass* Willie (The Space Freak) David Foubert* Cisco Morphan Quinn Armstrong The Kid Chris Ensweiler* Sycamore Morphan

*Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

A-4 ACT THEATRE A Profound Critical Analysis of the Metaphysical Significance of the One-Act Play to the Evolution of World Theatre and the Expansion of the Universe R. Hamilton Wright

by The Distinguished Director R. Hamilton Wright B.F.A., M.F.A., Ph.D., D.D.S., O.B.E., A.D.D., O.E.D., B.O.M.C.

Welcome to An Evening of One Acts! in a kind of tableau vivant—of Washington (I kind of wish this was a slightly jazzier title, Crossing the Delaware. Or maybe a heartbreaking but oh well.) rendition of The Poor Little Match Girl, which is You know, I love one-act plays for much the one of my favorites. She just dies right there in same reason that I love short stories or, for that the snow. Sorry if I spoiled that for anyone. I cry matter, short shorts: their shortness. They are, every time. in fact, shorter than most two-act plays and a So, not only are one-act plays good in a dollar- great deal shorter than three- or four-act plays, to-title ratio but they’re also great because if you never mind Hamlet, which is much longer than don’t care for the first one you know you won’t all of them put together. Because of this relative have to wait too long for another one to come brevity, it is possible for us to offer more than one along. Like a really challenging and entertaining play at a time as part of an evening’s program! bus line. This, in theory, and often I believe in actual So, here we have three little plays by three practice, doubles and sometimes even triples giants of the American Theatre: Steve Martin, the amount of theatrical entertainment that a Woody Allen, and Sam Shepard. Boy, I’d sure discerning theatre-goer can expect to receive like to see them in a movie together. But maybe for his or her hard-earned ticket-buying dollars. a short feature so that if it wasn’t very good Why, with any luck, on one evening’s bill, for the we could go on to the cartoon or one of those price of one ticket, a person could see a Comedy, travelogues about South America, Land of a Tragedy, and still have room left over for a Contrasts. rousing Historical Adventure—perhaps depicted Anyway. Welcome! Enjoy! Curtain!

encoreartsprograms.com A-5 , , WOODY ALLEN OnMAGIC “My one regret in life is that I am not someone else.” MANHATTANMAYHEMs Woody Allen “It seemed the world was divided and the 1960 into good and bad people. The of the good ones slept better…while the bad ones seemed to enjoy the waking hours much more.” Woody Allen Words from the playwrights behind An Evening of One Acts STEVE MARTIN “There is no question that there is an unseen world. The problem “Martin’s marriage to Victoria Tennant is, how far is it from midtown and ended in 1994. But it was his subsequent how late is it open?” breakup with actress Anne Heche that Woody Allen really broke his heart, he hinted in an Esquire interview. ‘I spent about a year “Chapter 1. recovering, and searching out myself He adored New York City. and asking why things happened the He idolized it all out of way they did. I wrote a play about proportion...no, make that: it, Patter for the Floating Lady. Oh, he—he romanticized it all out of I shouldn’t have told you that. I proportion. Yes. To him, no matter should have said I made it up.” what the season was, this was still From Late For School by Steve Martin a town that existed in black and white and pulsated to the great “Over time he would move on to demonstrating rope tricks and at the age of tunes of George Gershwin.’ fifteen to magic tricks and joke-telling for the patrons of Merlin’s Magic Shop, Uh, no let me start this over. where Leo Behnke, his boss, taught him not only magic, but a code of practice and discipline to which Martin would adhere over the next couple of decades. ‘Chapter 1. Many of the seeds of Steve Martin’s He was too romantic about later persona would be sown at Manhattan, as he was about Merlin’s where manipulating playing everything else. He thrived on the cards for eight to twelve hours daily hustle bustle of the crowds and the taught him to appreciate ‘the pleasure traffic. To him, New York meant and subtlety of physical expression... beautiful women and street-smart the potency of movement.” guys who seemed to know all the From : A Comic’s Life angles...’. by Steve Martin Ah, corny, too corny for my taste. Can we ... can we try and make it more profound? A-6 ACT THEATRE

‘Chapter 1. What’d He Say? He adored New York City. For A key to Willie’s speech in The Unseen him, it was a metaphor for the Hand. See if you can decipher this code, decay of contemporary culture. similar to an alien language Shepard The same lack of individual uses in The Unseen Hand . integrity that caused so many Lla rof ecitsuj dna ytrebil htiw, dog rednu, noitan eno, people to take the easy way out sdnats ti hcihw rof, cilbuper eht ot dna, acirema fo was rapidly turning the town of his dreams in...’ setats detinu eht fo galf eht ot ecnaigella egdelp I. No, that’s a little bit too preachy. I mean, you know, let’s face it, I want to sell some books here.

SAM SHEPARD

“The strongest impressions I have now of these early plays are the specific times and places where they were written. The plays themselves seem to drift back to me as flimsy ghosts, in the same way a conversation with someone in the distant past is half-remembered. For me, these plays are inseparable from the time out of ‘Chapter 1. which they came; a series of impulsive chronicles representing a chaotic, subjective He adored New York City, although world. I can remember being dazed with writing, with the discovery of finding I to him it was a metaphor for the actually had these worlds inside of me. These voices. Shapes. Currents of language. decay of contemporary culture. Light. All the mysterious elements that can cause anyone to make a journey.” How hard it was to exist in a An excerpt from the Introduction to The Unseen Hand and Other Plays by Sam Shepard society desensitized by drugs, loud music, television, crime, garbage...’ “…People talk about the 1960s Too angry, I don’t want to be angry. in a nostalgic way, but to me

it was terrifying. People were ‘Chapter 1. getting assassinated. There was He was as tough and romantic as Vietnam. There were race riots. It the city he loved. Behind his black- felt like everything was going to rimmed glasses was the coiled get blown up sky-high. It didn’t sexual power of a jungle cat.’ feel like flower power. It felt like I love this. Armageddon.”

Sam Shepard, ‘New York was his town, and it from an Interview Magazine article always would be.” with Michael Almereyda Woody Allen, Manhattan

encoreartsprograms.com A-7 Who's Who in An Evening of One Acts

Eric Ray Anderson OH). Chris will be returning to the Falls Theatre Steve Martin (Company) Eric has a long this September in Waiting for Godot with Seattle (Playwright) Steve Martin history with ACT, going Shakespeare Company. is currently in the fifth back to Voice of the decade of a uniquely Prairie and at David Foubert varied and accomplished the old Lower Queen (Company) David is career in which he’s Anne location, through delighted to be making excelled as a comedian, fiveA Christmas Carols his debut with ACT in An actor, author and (two Fezziwigs and three Cratchets), and Mitzi’s Evening of One Acts. He playwright, and as a Grammy-winning, boundary- Abortion in the Allen Theatre. Most recently, he was recently seen in pushing bluegrass banjoist and composer. In 2013, has performed on the Falls Stage as a company Seattle Shakespeare Rounder Records released Steve Martin’s third full member of Sandbox Radio: Live. Eric has made Company’s production of length called , a Seattle his home since 1981, and has performed at Richard II as Henry Bolingbroke. He received his unique collaboration with songwriter . almost all local professional theatres, living and M.F.A. in acting from the University of Delaware Martin and Brickell recently took home the dead, including Seattle Repertory Theatre, Pioneer Professional Theatre Training Program. Grammy® Award for “Best American Roots Song” Square Theatre, Empty Space Theatre, Intiman, for the song Love Has Come For You, off the Tacoma Actors Guild, Seattle Shakespeare Hana Lass (Company) album of the same name. In 2011, Martin released Company, Seattle Children’s Theatre, Book-it Hana is happy to work his second full length bluegrass album Rare Bird Repertory, and New City Theatre. He just finished with this great team of Alert. Produced by Tony Trishka, the album playing Owen Musser in The Foreigner at Village artists at ACT Theatre. featured 13 Martin-penned tracks as well as Theatre. Regionally, he’s worked in New York, Hana most recently special guest vocal appearances by Paul McCartney Boston, Tucson, Phoenix, and Portland (OR), appeared in Seattle and The Dixie Chicks. Additionally, Martin co- among others. He plays ukulele in a couple of Shakespeare Company’s wrote two of the CD’s songs with the Grammy®- excellent local bands. This goes out to all his pals The Importance of Being winning bluegrass band, . from the New City Theatre production of The Earnest, directed by Victor Pappas, and in Seattle Prior to this, Martin was honored with a Grammy® Unseen Hand, back in the day. Repertory Theatre’s world premiere production of for his debut album, The Crow: New Songs for the The Hound of the Baskervilles, adapted for the Five-String , which won for Best Bluegrass Quinn Armstrong stage by David Pichette and R. Hamilton Wright Album in 2010. Martin began his career on The (Company) Quinn and directed by Allison Narver. Seattle area credits Smothers Brothers Comedy Hour (1967-1969), for Armstrong is delighted to include The Mousetrap (Village Theatre); As You which he earned his first Emmy Award® for be making his mainstage Like It, The Tempest, A Midsummer Night’s Dream Outstanding Writing Achievement in Comedy, debut in the theatre (Seattle Shakespeare Company); Romeo & Juliet Variety, or Music in 1969. In the mid-1970s, where he started as an (Wooden O); Crime & Punishment (Intiman, Martin shone as a stand-up on The Tonight Show intern. Previous work has Theatre Under Ground); Robin Hood, Go Dog Go!, Starring Johnny Carson and made appearances on included The Boy at the Pharaoh Serket (Seattle Children’s Theatre); Ballard HBO’s On Location and NBC’s Saturday Night Live. Edge of Everything and Danny, King of the House Duet (Custom Play Project); Martin’s films are widely popular successes and are Basement (Seattle Children’s Theatre), The (Seattle Public Theatre); Life of Galileo, The Bridge the kind of movies that are viewed again and Mousetrap (Village Theatre), Sweet Nothing of San Luis Rey (Strawberry Theatre Workshop); again: (1979), Planes, Trains and (Macha Monkey Productions), the title role in and several play developments with Icicle Creek Automobiles (1987), Roxanne (1987), Parenthood Hamlet, Lee in The American Clock (Cornish), and New Play Festival. Hana’s favorite production took (1989), L.A. Story (1991), Father of the Bride the title role in “Master Harold”... and the boys (El place in the Bullitt Cabaret three years ago, where (1991), and (1999). Museo Cultural). He is a graduate of Cornish she married the amazing Connor Toms. College of the Arts. Upcoming: Slip/shot at Seattle Woody Allen Public Theatre directed by Kelly Kitchens, Sep 25 Jessica Skerritt (Playwright) Woody Allen through Oct 12. (Company) Jessica has spent most of his Skerritt is overjoyed to be career as a filmmaker. He Chris Ensweiler back onstage at ACT! has occasionally written (Company) Chris Most recently, she was for Broadway and Ensweiler is thrilled to be seen as Audrey in ACT occasionally written and making his ACT debut. and The 5th Avenue directed Off-Broadway. He most recently Theatre’s co-production He’s the author of several books and has appeared as Roger of Little Shop of Horrors. Favorite regional credits completed shooting his 43rd film in Rome. Morgan in Jim Lynch’s include (Young Little Edie) with ACT Truth Like The Sun, and The ; Xanadu (Kira/Clio) Sam Shepard directed by Jane Jones at Book-It Repertory with Arizona Theatre Company and Village (Playwright) Sam Shepard Theatre. In Seattle, Chris has also performed with Theatre; ELF - The Musical (Deb), Hairspray! - In was born November 5, Seattle Repertory Theatre, Village Theatre, Seattle concert (Amber Von Tussle), Guys & Dolls with The 1943, in Fort Sheridan, Children’s Theatre, Seattle Shakespeare 5th Avenue Theatre; The Producers (Ulla), Illinois. In 1963, Shepard Company, Taproot Theatre, Wooden O, Balagan Barefoot in the Park (Corie), Chasing Nicolette moved to New York City, Theatre, The Hansberry Project at ACT, (Gwendolyn), Million Dollar Quartet (Dyanne) with and began to write plays Endangered Species Project, and 14/48: The Village Theatre, Miss Saigon (Ellen), The Sound of for the emerging World’s Quickest Theatre Festival. Regional Music (Maria), Ragtime (Mother) with Coeur experimental underground theater scene. He credits: Alliance Theatre, Alabama Shakespeare d’Alene Summer Theatre. Endless gratitude to made his debut at Theatre Genesis in 1964, with Festival, Georgia Shakespeare, Tennessee everyone at ACT. Huge amounts of love to her the double-billed Cowboy and Rock Garden. In Shakespeare Co., Human Race Theatre (Dayton, wonderful husband, Dane. 1967 and 1968, Shepard wrote ,

A-8 ACT THEATRE Melodrama Play, and Forensic and the Navigators, Wilderness, Flight, and . Melanie at ACT include Grey Gardens, Ramayana (with all of which also won Obie awards. In 1969, has also designed costumes for Seattle Repertory Sheila Daniels), The Pitmen Painters, Double Shepard began a stint playing with the Holy Modal Theatre, 5th Avenue Theatre, Intiman Theatre, Indemnity, In the Next Room, or the vibrator play, Rounders. He continued to write plays, completing Seattle Shakespeare Company, New Century The Lieutenant of Inishmore, Rock ‘n’ Roll, Holy Ghostly and The Unseen Hand in 1969, Theatre Company, Seattle Public Theatre, Empty Becky’s New Car, , First Class, Operation Sidewinder and Shaved Splits in 1970, Space Theatre, Taproot Theatre, TAG, The Village , Mitzi’s Abortion, , Mad Dog Blues, Back Bog Beast Bait, and Cowboy Theatre, Seattle Children’s Theatre, and Seattle Bach at Leipzig, Vincent in Brixton, Black Coffee, Mouth (written with Patti Smith) in 1971. In 1974 Opera. Additionally she has designed for Cincinnati Alki, Moon for the Misbegotten, Fuddy Meers, Shepard became the playwright-in-residence at the Playhouse, Idaho Theatre for Youth, Honolulu Fully Committed, Via Dolorosa, and the holiday Magic Theatre in San Francisco, a position he held Theatre for Youth, and Hawaii Opera. Melanie is classic, A Christmas Carol. Elsewhere he has until 1984. In the late 1970s, Shepard applied his on the adjunct faculty at Cornish College of The directed at Seattle Repertory Theatre, The Empty unconventional dramatic vision to the family Arts and received her M.F.A. from the University Space, Intiman Theatre, Seattle Children’s tragedy, producing Curse of the Starving Class and of Washington. She is the recipient of the Gregory Theatre, , San Jose in 1978 and in 1980. Award for Best Costume Design 2010. Repertory Theatre, Milwaukee Repertory Theatre, Shepard achieved his warmest critical reception The Alley Theatre in Houston, and Ojai with Buried Child, which won the Pulitzer Prize for Rick Paulsen (Lighting Designer) is delighted Playwrights Festival. As an actor, he has appeared drama. (1983) won an to be returning to ACT, where his lighting was in leading and major roles at ACT (most recently for best play, and (1985) first seen in 1984. Since then, Paulsen has lit as Ebenezer Scrooge in A Christmas Carol), garnered the New York Drama Critics Circle Award more than 60 shows at ACT including First Class, Seattle Repertory Theatre, Intiman Theatre, The and Outer Critics Circle Award for outstanding Vincent in Brixton, Fiction, The Trip to Bountiful, Empty Space, Seattle Shakespeare Company, as new play. A revised Buried Child opened on Lonely Planet, Becky’s New Car, Yankee Tavern, well as many regional theatres throughout the Broadway in 1996 and earned a Tony nomination. Double Indemnity, One Slight Hitch, The Pinter country. Beattie is a recipient of the Theatre Puget In 1985 he was inducted into the American Festival, and Uncle Ho to Uncle Sam as well as Sound Gregory A. Falls Sustained Achievement Academy of Arts and Letters, which awarded him last season’s Assisted Living and . Award, and the Outstanding Achievement in the the Gold Medal for Drama in 1992. In 1994 he Paulsen’s work has appeared all around Seattle Arts Award from ArtsFund. was inducted into the Theatre Hall of Fame. and across the nation. Some recent work of interest includes Double Indemnity (San Jose Rep), Carlo Scandiuzzi R. Hamilton Wright and The Miraculous Journey of Edward Tulane (Executive Director) is a (Director) R. Hamilton (Childsplay). A proud member of United Scenic founder of Agate Films Wright was last seen on Artists Local 829, he serves on the Western Region and Clear Pictures, stage at ACT in Will Eno’s Board and the National Board of this union. He is, producing such films as Middletown, directed by most importantly, devoted to his wife Roberta and Prototype, Dark Drive, John Langs. Some of his daughter Paige. Outpatient, and The other ACT favorites Flats, and Indieflix, a include Henry Bell in Alan Brendan Patrick Hogan (Sound Designer) As distribution company. In 1979, Scandiuzzi started Ayckbourn’s The Revenger’s Comedies, Ariel in the Resident Sound Designer at ACT, Hogan has Modern Productions, bringing to Seattle such Martin McDonough’s The Pillowman, and George designed over 30 productions since 2009. In legendary bands as The Police, Devo, Nina Hagen, W. Bush in ’s . With David addition to productions at ACT, his designs and Iggy Pop, The Ramones, John Cale, Robert Fripp, Pichette, he adapted James M. Cain’s Double compositions have been heard locally at theaters James Brown, Muddy Waters, and many more. He Indemnity for the ACT stage in 2011 and Sir such as Seattle Repertory Theatre, Washington performed in several plays at The Empty Space Arthur Conan Doyle’s The Hound of the Ensemble Theatre, and Seattle Shakespeare including Aunt Dan and Lemon, The Return of Baskervilles at the Seattle Repertory Theatre in Company, and nationally at Arizona Theatre Pinocchio, and Dracula. In the early ‘80s, he 2013. His directing credits at ACT include Assisted Company, Center Theater Group (CA), and collaborated with many Seattle performance Living, A Christmas Carol, Souvenir, and Dr. Jekyll George Street Playhouse (NJ). Compositions and artists such as Norman Durkee, Alan Lande, and and Mr. Hyde. Mr. Wright lives in a little brick design for film and video include local productions Jesse Bernstein. He also acted in various films house in North Seattle with his remarkably such as Waxie Moon in Fallen Jewel and global including Bugsy, The Public Eye, Another You, talented wife—Katie Forgette. organizations including Amnesty International Casanova’s Kiss, and Killing Zoe. He graduated (Reggie Clemmons: Justice Derailed). from the Ecole Superieure D’Art Dramatique of Martin Christoffel (Scenic Designer) Martin is Geneva. Carlo currently serves as a member of the a local designer, happy to be returning to ACT Erin B. Zatloka (Stage Manager) is glad to Seattle Arts Commission. where previously he designed Little Shop of be back at ACT, where she last assistant stage Horrors, The Lady with All the Answers, Runt of managed Little Shop of Horrors. Last season she the Litter, The Woman in Black, and contributed stage managed Assisted Living and Rapture, Blister, projections to Alki. Other recent shows include Burn. Other favorites at ACT include Pilgrims Musa ACT operates under agreements with Passing Strange for Sidecountry Theatre, part of and Sheri in the New World, The Lieutenant of the following: ACT’s Central Heating Lab, The Music Man and Inishmore, Rock ‘n’ Roll, and Eurydice. Love to Rent at The 5th Avenue, and and The Odd Greg and Zoey. Couple at Village Theatre. His work can also be seen at EMP in the Can’t Look Away horror film Kurt Beattie (Artistic exhibit. In addition, Martin designs corporate Director) has been events internationally. creating theater for Puget Sound audiences Melanie Burgess (Costume Designer) Highlight for over 40 years as an designs for ACT include: Ramayana, Pilgrims Musa actor, playwright, and and Sheri in the New World, Eurydice, Wine in the director. His productions

encoreartsprograms.com A-9 PATRON INFORMATION Special Fund Donors ACT Endowment Donors Emergency Evacuation Procedures In the event of an emergency, please wait for ACT’s endowment is administered by A Contemporary Theatre Foundation. an announcement for further instructions. Buster & Nancy Alvord • Joan & Larry Barokas • Michael Corliss-Investco • Katharyn Alvord Gerlich • Ushers will be available for assistance. Becky & Jack Benaroya • Charles Blumenfeld & Karla Axell • The Ewert Family • Bruce & Dawn Goto • William Randolph Hearst Endowed Fund for Education & Outreach Programs • Emergency Number The theatre’s emergency number in the Union Kreielsheimer Remainder Fund • Doug & Nancy Norberg • Sally Pence • Katherine & Douglass Raff • lobby is (206) 292-7667. Leave your exact seat Brooks & Suzanne Ragen • Herman & Faye Sarkowsky • David E. & Catherine E. Skinner • location with your emergency contact in case Kayla Skinner • Estate of Stuart Smailes • John & Rose Southall • David & Joyce Veterane • they need to reach you. The Peg & Rick Young Foundation • Anonymous Smoking Policy Smoking is NOT allowed in any part of the theatre or within 25 feet of the entrance. The ACT Legacy Society Firearms Policy No firearms of any kind are allowed in any part The ACT Legacy Society honors those who remember ACT in their wills or other estate of the theatre. plans. Legacy Society members ensure ACT’s ongoing tradition of presenting the best of contemporary theatre for future generations. Investments of all sizes can make significant Food Food is not allowed in the theatre. future gifts by using tax-advantaged estate and financial planning techniques. Notify ACT of Tuxedos & Tennis Shoes is the preferred your arrangements by calling Rebecca Lane at (206) 292-7660 ext. 1321. caterer of ACT Theatre. Nancy Alvord • Laurie Besteman • Jean Burch Falls • Linda & Brad Fowler • Accessibility Suzanne Howard • H. David Kaplan • Mike McCaw • Catherine & Barry McConnell • Wheelchair seating is available. The theatre Dr. Arnie & Judy Ness • Lisbeth Pisk • Brooks & Suzanne Ragen • is equipped with the Sennheiser Listening Teresa Revelle • Chuck Sitkin • GregRobin Smith • John & Rose Southall • System for the hard of hearing; headsets are Judith Warshall & Wade Sowers • Dorothy E. Wendler • Janet Westin available from the house manager for use, free of charge, with a valid ID and subject to availability. ACT Theatre offers American Sign Language interpreted and audio-described performances. For more information, email Special Thanks [email protected]. ACT gratefully acknowledges the following professionals and organizations who have helped Lost & Found make this season a success: Call (206) 292-7676 between 12:00pm and Keith Johnsen, Daqopa Brands LLC • Seattle Children’s Theatre • AJ Epstein • 6:00pm, Tues-Sun. Seattle Repertory Theatre • UW Drama • Mike Dodge • Avast! Recording Co. • Address & Website Serenza Salon & Spa • Intiman Theatre • Carlson Audio • Christine Marie Brown • ACT Theatre is located at Andrew McGinn • Morgan Rowe 700 Union Street, Seattle WA 98101. Ticket Office Phone: (206) 292-7676. Administrative Office Phone: (206) 292-7660. Fax: (206) 292-7670. Website: www.acttheatre.org.

Theater Rental For information regarding booking, contact [email protected]. We’re Growing our Board Group Sales The ACT Board of Trustees is a dynamo group of volunteers committed to making sure Groups of 10 or more can save. Call (206) ACT is strong, healthy, and on track to achieve our mission. 292-7676 or email [email protected].

Fragrance Please be considerate and keep personal From young professionals, fragrance to a minimum. to established community leaders, the ACT Board is a diverse group sharing a common goal: Support ACT Theatre!

If you are passionate about ACT and interested in getting more involved, this just might be a great way to start! Photo by LaRae Lobdell

Email Richard Hesik for more information: [email protected]

A-10 ACT THEATRE ACT Corporate, Foundation & Government Sponors ACT gratefully recognizes the following corporations, foundations, and government agencies for their generous support of our 2014 programs. Without such tremendous community support, ACT would not be able to offer outstanding contemporary theatre, in-school educational programming, or community based outreach.

THEATRE SPONSORS EVENING SPONSORS SUSTAINING SPONSORS $100,000+ $10,000-$24,999 $1,000-$4,999 ArtsFund Elizabeth George Foundation 2bar Spirits† Harvest Foundation Alaska Airlines† SEASON SPONSORS Microsoft Corporation Carlson Audio Systems† $50,000-$99,999 The Peg & Rick Young Foundation Charles Schwab Office of Arts & Culture, City of Seattle Tateuchi Foundation E & J Gallo Winery† The Boeing Company TEW Foundation Encore Publishing† The Shubert Foundation, Inc. True Fabrications Fales Foundation Trust SHOW SPONSORS Foster Pepper & Shefelman STAGE SPONSORS † $25,000-$49,999 Glass Distillery $5,000-$9,999 HSBC 4Culture † Fran’s Chocolates † John Graham Foundation Loulay Kitchen & Bar Gordon Biersch Brewing Co. Pike Brewing Company† Joshua Green Foundation* † Homewood Suites † The Paul G. Allen Family Foundation Traver Gallery Nordstrom Nesholm Family Foundation Washington Holdings RealNetworks Foundation Tuxedos and Tennis Shoes† The Seattle Foundation MEDIA SPONSORS Wyman Youth Trust City Arts Magazine† KCTS 9† KEXP† KUOW† * Denotes ACT for the Future Campaign Donor KING FM† † Support provided through in-kind contributions. Seattle Magazine†

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

THE JOHN GRAHAM FOUNDATION

encoreartsprograms.com A-11 ACTFOR ALL SeasonsTHE 2014 ACT GALA

OctoberAt ACT 11, Theatre 2014

THE EXTRAVAGANZA INCLUDES Food • Cocktails • Music • Dancing Games of Chance • Silent Auction • Live Auction Epic Fun

Tickets on Sale Call or Order Online acttheatre.org/actforallseasons (206) 292–7660 x1330 Individual tickets, young professional, and row prices available

A CELEBRATION BENEFITING ACT THEATRE’S ARTISTIC AND EDUCATIONAL PROGRAMS

A-12 ACT THEATRE ACT Partners ACT Theatre’s mission is to raise consciousness through theatre—a mission made possible by generous contributions from people in our community. We would like to recognize and thank the many kind individuals who have partnered with A Contemporary Theatre this year. You inspire us all. Thank you.

THEATRE SPONSOR $100,000+ Katharyn Alvord Gerlich EVENING SPONSOR Eulalie M. & Gian-Carlo Scandiuzzi* $10,000-$24,999 Colin & Jennifer Chapman* SEASON SPONSOR Trevor Cobb & Cecilia Cayetano* $50,000-$99,999 Allan & Nora Davis Nancy Alvord James Degel & Jeanne Berwick, Berwick Degel Family Foundation Betty Bottler Linda & Brad Fowler* Gregory & Diane Lind* Heather & Grady Hughes Chuck Sitkin* Bill Kuhn & Patricia Daniels* Anonymous Yoshi & Naomi Minegishi SHOW SPONSOR Linda & George Ojemann Victor Pappas $25,000-$49,999 Katherine & Douglass Raff* Chap & Eve Alvord Teresa & Geoff Revelle* Linda Brown & Larry True Margaret Stanley* Jean Burch Falls Robert & Shirley Stewart* Richard Hesik & Dr. Barbara Johns* Jean Walkinshaw May McCarthy & Don Smith* Dr. Arnie & Judy Ness*

ASSOCIATE David & Shirley Urdal Kate Purwin & Sergei Tschernisch Manisha Chainani $5,000-$9,999 Vijay & Sita Vashee Brooks & Suzanne Ragen D.T. & Karen Challinor Sheena Aebig & Eric Taylor David & Joyce Veterane Donald & Jo Anne Rosen Clement Family Foundation Allan & Anne Affleck Jean Viereck Barry & Colleen Scovel Steven & Judith Clifford Melinda & Walter Andrews Kären White* Debra Sinick & David Ballenger Patricia & Theodore Collins Joan & Larry Barokas Marcia & Klaus Zech John & Rose Southall Steve Coulter Laurie Besteman & Jack Lauderbaugh Ron & Carol Sperling Craig Davis & Ellen Le Vita Benjamin & Marianne Bourland FRIEND Kim Stindt & Mark Heilala Kathy & Don DeCaprio Sonya & Tom Campion $2,500-$4,999 Cathy & Ron Thompson Ben & Kathy Derby Bob & Kristi Diercks Richard & Constance Albrecht Mark & Arlene Tibergien James & Amanda Devine Natalie Gendler Kenneth & Marleen Alhadeff Annette Toutonghi & Bruce Oberg Eva & Gary Dines Thomas P. & Christine M. Griesa Akhtar & Alka Badshah Dirk & Mary Lou Van Woerden Michael Dupille James & Barbara Heavey Peter & Jane Barrett Anonymous (2) Lonnie Edelheit Stephanie M. Hilbert* Kurt Beattie & Marianne Owen Lori Eickelberg John & Ellen Hill Don Beaty & Carrie Sjaarda SUSTAINING PARTNER A.J. Epstein Dr. Larry Hohm & Karen Shaw Bruce Butterfield & Irene Stewart $1,000-$2,499 Charles & Margaret Fitzgerald Linda & Ted Johnson Estate of George Carlson John Akin & Mary Stevens Richard & Mary Beth Gemperle Jane W. & James A. Lyons Dennis & Deborah DeYoung Rhett Alden & Marcia Engel Boyd & Ann Givan McKibben Merner Family Foundation Betsy & Charles Fitzgerald Kermit & Danna Anderson Kelly & Jeffrey Greene Nadine & John Murray Anne Foster Jason Astorquia Charles & Lenore Hale Dr. Greg Perkins Lee Dicks Guice Kendall & Sonia Baker Lawrence & Hylton Hard Marie Peters Katherine Ann Janeway & H.S. Marge & Dave Baylor Peter Hartley & Sheila Noonan Ann Ramsay-Jenkins Wright III Eric Bennett Phyllis Hatfield Eric and Margaret Rothchild Lisa & Norman Judah Peter & Fran Bigelow Ellen Hazzard Charitable Fund H. David Kaplan Sarika & Samir Bodas Rodney & Jill Hearne Ingrid Sarapuu & Michael Anderson Karen Koon & Brad Edwards Dr. William Calvin & Dr. Katherine Marjorie Kennedy Hemphill Herman & Faye Sarkowsky Greg Kucera & Larry Yocom Graubard Ross Henry Lisa Simonson* Marcella McCaffray Corinne A. Campbell Vaughn Himes & Martie Ann Bohn Spark Charitable Foundation Bill & Mary Ann Mundy Midge & Steve Carstensen Nancy & Martha Hines Garth & Drella Stein Sally Nelson Dennis & Aline Caulley Dale & Donna Holpainen Brian Turner & Susan Hoffman The Nordhoff Family Donald Cavanaugh Gary & Parul Houlahan

encoreartsprograms.com A-13 Susan & Philip Hubbard Mary & Donald Wieckowicz Robert Lehman & Christopher CONTRIBUTING PARTNER Dan & Connie Hungate Kathy & Chic Wilson Mathews $250-$499 Joseph & Linda Iacolucci Mr. & Mrs. Clyde Wilson Gary Lindsey Renate & Croil Anderson Victor Janusz Cathy Woo Loeb Family Foundation Jane & Brian Andrew Steve Jensen Kyoko Matsumoto Wright Stephen & Ellen Lutz Basil & Gretchen Anex Judith Jesiolowski & David Thompson Ann P. Wyckoff Theodore & Mary Ann Mandelkorn Loren & June Arnett Clare Kapitan & Keith Schreiber Anonymous (8) David Marty John & Eva Banbury Lura & David Kerschner Shaula & Darrin Massena Bob & Melisse Barrett Joanne M. Kuhns SUPPORTING PARTNER Maxine Mattson Dr. & Mrs. J.E. Bassingthwaighte George & Linda Lamb $500-$999 David Meckstroth Carolyn Bechtel Steve Langs Reham Abdelshahid Erika Michael Julie Beckman & Paul Lippert Eileen Lennon Monica Alcabin Lauren Mikov Ruth & Greg Berkman Steven & Anne Lipner Connie Anderson & Tom Clement Michael & Sarajane Milder Dennis Birch & Evette Ludman Jim Lobsenz & Elizabeth Choy Richard Andler & Carole Rush Adam & Shellie Moomey Siggi Bjarnason Laura Lundgren Bruce P. Babbitt Wesley Moore & Sandra Walker Gail & Randy Bohannon James Madison Diane & Jean-Loup Baer Sallie & Lee Morris John Boling Alice Mailloux Ronald & Marcia Baltrusis Zack Mosner & Patty Friedman Pirkko Borland Bill & Holly Marklyn Richard & Lenore Bensinger Jim Mullin Matthew Brantley Tony Martello Cleve & Judith Borth Paul & Linda Niebanck James Brashears Eric Mattson & Carla Fowler Jerome & Barbara Bosley Cecilia Paul & Harry Reinert Karen Brattesani & Douglas Potter Peter & Kelly Maunsell Stanley & Barbara Bosse Lisa & Cheri Perazzoli Mark Brewster Ann McCurdy & Frank Lawler Wendy Bradbury Chuck Perry Barry & Patricia Briggs Samuel B. McKinney Margaret Bullitt Carol Pierce June & Alan Brockmeier Joy McNichols Susan Campbell Donald Pogoloff Brad & Amy Brotherton Frances Mead Martin Christoffel & Shirley Schultz Joan Potter Dorothy A. Brown Gail & John Mensher Clark Family Charitable Fund Megan & Greg Pursell Dr. James & Donna Brudvik Eugene & Donna Mikov Jack Clay Marjorie Raleigh & Jerry Kimball Val Brustad Kelly Miller & Ruthann Stolk Ellen & Phil Collins Jeff & Pat Randall Carol & Jonathan Buchter Mark & Susan Minerich Jan & Bill Corriston Pamela Reed & Sandy Smolan Carl Bunje & Patricia Costello Michael Moody & Martha Chris Curry Cindy & Lance Richmond Joel Buxbaum Clatterbaugh Angela Davila Jeff Robbins & Marci Wing Judith Callahan & John Van Dayle Moss & David Brown Patricia & Cor DeHart Judy & Kermit Rosen Bronkhorst John Muhic John Delo Marc Rosenshein & Judy Soferman John & Arlene Carpenter James Nichols Carole Ellison Marybeth & Jerry Satterlee Christopher Chan Chris & BJ Ohlweiler Steven Engle John Scearce & Nancy Buckland Nicole Boyer Cochran Sue Oliver Joanne R. Euster Sandra & Kenneth Schwartz Patrick & Jerri Cohen Kristin Olson Amy Faherty & Jeff Kephart Darshana Shanbhag Marc Coltrera & Anne Buchinski Hal Opperman & JoLynn Edwards Jeannie Falls Michael C. Shannon Kevin & Lisa Conner Don Oxford Nancy Federici Barbara & Richard Shikiar Judith & Thomas Connor Cynthia & Bruce Parks Kevin & Tricia Fetter Peggy O’Neill Skinner & John Skinner Richard Conway & Susan Williams Valerie D. Payne Mrigankka Fotedar Jeff Slesinger & Cynthia Wold John & Catherine Crowley Bill & Beth Pitt Rick Freedman Jay Soroka & Jane Reisman Emily Davis Alan & Andrea Rabinowitz Eleanor & Jeff Freeman Jeanne Soule Paul & Sandy Dehmer Ken Ragsdale Lucy Gaskill-Gaddis & Terry Gaddis Helen Speegle Ron & Jan Delismon Sharon & Paul Ramey Genevra Gerhart Jen Steele & Jon Hoekstra Mike Dey David and Valerie Robinson Fund Hellmut & Marcy Golde Isabel & Herb Stusser Paula Diehr & Frank Hughes Evelyne Rozner & Matt Griffin Claire & Paul Grace Sally Sullivan Darrel & Nancy Dochow William & Rae Saltzstein Robert Greco Norm & Lynn Swick Kristine Donovick & Jim Daly Barbara Sando Michael Greer, MD & Steve Bryant Bill & Pat Taylor Ellen Downey Terry Scheihing & Ben Kramer Meg & David Haggerty Arthur & Louise Torgerson Michael Dryfoos & Ilga Jansons M. Darrel & Barbara Sharrard Wier Harman & Barbara Sauermann Ellen Wallach & Tom Darden Kathryn Dugaw John Shaw Diana & Peter Hartwell Eric Weber Vasiliki Dwyer Judith Simmons Jim & Linda Hoff Robin Weiss Glenn & Bertha Eades Marianna Veress Smirnes Alice Ikeda & Philip Guess Dr. Sheree Wen Shmuel El-Ad Sheila Smith & Don Ferguson Dean M. Ishiki Janet Westin & Mike McCaw Constance Euerle Kathleen Sneden-Cook & Jack Cook Ann Janes-Waller & Fletch Waller Gregory Wetzel Thea & Alexander Fefer Elaine Spencer & Dennis Forsyth David B. Johnson Marjory Willkens Eric & Polly Feigl Jeffrey A. Sutherland Joan Julnes Dianne & Douglas Wills Karen & Bill Feldt Christine Swanson Steven & Patricia Kessler Susan Wolcott & George Taniwaki Doug & Robin Ferguson Tamzen Talman Deborah Killinger Maria & Michael Wolfe Carol Finn Timothy Tomlinson Dr. Edward & Mimi Kirsch Judith Wood K. Denice Fischer-Fortier & James M. Tom & Connie Walsh Agastya & Marianna Kohli Josette Yolo Fortier Judith Warshal & Wade Sowers Max Langley Joyce & Christian Zobel Rynold & Judge Fleck Nancy Weintraub Rhoda & Thomas Lawrence Igor Zverev & Yana Solovyeva Ricky Flickenger Steve & Diana White Candy Lee & Rocke Koreis Anonymous (5) Rob Folendorf

A-14 ACT THEATRE Mary Fosse Tina Orr-Cahall Gifts in Tribute Matching Gifts Andy Foster Mari Osuna & Adam de Boor In honor of Joan Barokas: Judy & ACT would like to thank the Jane & Richard Gallagher Angela Owens Kermit Rosen following corporations for their Jean Garber & Clyde Moore Angela Palmer In honor of Kurt Beattie & Marianne contributions through Gift Matching Jean Gardner John Peeples Owen: Dawn Maloney Programs. We greatly appreciate Bruce & Peggy Gladner Susan Perkins In honor of Kurt Beattie & Carlo the support of these institutions and Carol & Tal Godding Barbara Phillips Scandiuzzi: Sean Shanahan & their employees. Catherine Gorman Greg & Sherre Piantanida Kathleen McGill Dick & Jan Gram Judy Pigott In memory of Lana Denison: Dr. Adobe Systems Inc, Matching Gift Rhonda & Jim Greer Judy G. Poll Arnie & Judy Ness Program Joe & Nancy Guppy Sheila Preston Comerford In appreciation of Nicole Boyer- Alaskan Copper & Brass Company Paul & Sheila Gutowski Darryn Quincey & Kristi Falkner Cochran: Mark Jenkins Amgen Foundation Kevin & Molly Haggerty Carol Radovich In memory of Mark Chamberlin: Applied Precision Marja Hall Craig & Melissa Reese Eleanor Howard Bank of America Foundation Libby Hanna & Don Fleming Bruce F. Robertson In memory of Clayton Corzatte: Bentall Capital Sharron & David Hartman Drs. Tom & Christine Robertson Jeff Robbins & Marci Wing; Bill & Melinda Gates Foundation Hashisaki/Tubridy Family Richard & Nancy Rust Anonymous The Boeing Company Richard & Susan Hecht M. Lynn Ryder Gross In honor of Petra Franklin & Carlo Carillon Point Account Lisa Helker Stuart & Amy Scarff Scandiuzzi: Linda & Brad Fowler Casey Family Programs Arlene & Doug Hendrix Duane & Pat Schoeppach In honor of Richard Hesik & Barbara CBIC Insurance Amy Henry Garreth Schuh Johns: Bob & Phyllis Hesik Chevron Eric & Mary Horvitz Karen & Patrick Scott In memory of Melissa Hines: Martha The Chubb Corporation Rob Howell & Jackie Bardsley Mike Scully & Nancy Hines CIGNA Matching Gift Program Weldon Ihrig & Susan Knox David & Elizabeth Seidel In honor of Carolyn Keim & Connie Citibank, N.A./Citicorp Joel Ivey & Sheryl Murdock Deborah Senn Rinchiuso: Angela Owens Eli Lilly & Co. Foundation Wendy Jackson Lynne & Bill Shepherd In honor of Teresa Revelle: Dr. Arnie Expedia, Inc. Cathy Jeney Gursharan Sidhu & Judy Ness Google Mark Jenkins John Siegler & Alexandra Read, MD In memory of Tim Quandt: Gene & Harbor Properties, Inc Andy & Nancy Jensen Gail & Robert Stagman Karen Quandt IBM International Foundation Paula Jenson Alec & Jane Stevens In memory of Patty Rose’s mother, Key Foundation David Johansen & Patrice McDermott Lisa & John Stewart Marian: PCLELC Cameo Merck William & Sandy Justen Margaret Stoner & Robert Jacobsen Subcommittee Microsoft Corporation Matching Nancy Karasan Derek Storm & Cynthia Gossett In memory of Collin Schreiber, for The Prudential Foundation Matching Paul Kassen Stephen Strong & Lorri Falterman the Laurie Schreiber family: The Gifts Kay Keovongphet Margaret Taylor Lake Stevens Elementary School Puget Sound Energy Gary & Melissa Klein Michael Thompson Counselors RealNetworks Foundation Jim & Jean Kunz Dennis M. Tiffany Russell Investments Jill Kurfirst Joan Toggenburger SAFECO Matching Funds Edie Lackland Sarah & Russell Tousley Satori Software Bob & Janet Lackman Andrew Valaas Starbucks Matching Gifts Program Sharon Lamm Constance Vorman & Pres Sloterbeck Sterling Realty Organization Paul & Linda Larson Mary & Findlay Wallace Sun Microsystems Foundation Becky Lathrop & Rob Witmer Vreni Von Arx Watt United Way of King County Kathleen F. Leahy & H. Dale Hinkson Bruce Weech The UPS Foundation Midge & Richard Levy Jim & Sharron Welch US Bancorp Foundation Arni Litt Leora Wheeler Verizon Foundation David Longmuir Peggy & Dennis Willingham Washington Chain and Supply, Inc Mark P. Lutz Marianne & Arnold Wolff Washington Mutual Foundation C. Gilbert Lynn Nancy Worsham Matching Gifts Program Dan & Carol Madigan Conrad & Glenna Wouters Zymogenetics Inc. Jeffrey & Barbara Mandula Dadog Wriggley Lora & Parker Mason Kairu Yao Tim Mauk & Noble Golden Jan Zager ACT works to maintain our list of Arthur Mazzola Anonymous (6) donors as accurately as possible. Sarah B. Meardon We apologize for any misspellings Col. Norman D. Miller *Denotes ACT for the Future or omissions. Should you find any, Annette & Gordon Mumford Campaign Donor please contact our office so that Robert Mustard we may correct any mistakes in Sarah Navarre future publications. Email John Naye [email protected] Dan & Denise Niles or call (206) 292-7660 x1330. Craig & Deanna Norsen Colette J. Ogle Katherine & James Olson Clarke O’Reilly

encoreartsprograms.com A-15 ACT A Theatre of New Ideas ACT Board A Contemporary FINANCE Sales and Audience COSTUME DEPARTMENTS Sheila Smith Services Carolyn Keim† Of Trustees Theatre Director of Finance Jessica Howard Costume Director Charles Sitkin Foundation Tobi Beauchamp-Loya Associate Director of Sales Connie Rinchiuso† Chairman Payroll & Human Resources Ashley Schalow Costume Shop Foreman Kermit Anderson Manager Ticket Systems Associate Colin Chapman President Candace Frank President Ash Hyman Lynch Resources Costume Coordinator Lucinda Richmond Senior Accountant Telemarketing † Richard Hesik Vice President Kim Dancy Vice President Georgina Cohen Cutter Katherine Raff DEVELOPMENT Assistant Ticket Office Manager † Lisa Simonson Secretary Sally Mellis Treasurer Maria Kolby-Wolfe A. Aiden Karamanyan Wardrobe Master Catherine Roach Director of Development Front Office Representative Bill Kuhn Treasurer Fawn Bartlett Secretary Rebecca Lane Jaron Boggs Assistant to the Costume Director Colin Chapman Major Gifts and Campaign Kelton Engle † Joan Barokas Brad Fowler Joyce Degenfelder Manager Megan Tuschhoff Laurie Besteman John Siegler Wig Master Erik Jansen Ticket Office Representatives Jacob Burns Lisa Simonson Corporate & Foundation Relations Trevor Cobb Charles Sitkin Jim Moran SCENIC DEPARTMENTS Bob Diercks Manager Audience Services Manager Brian Turner Steve Coulter† Charles Fitzgerald Angela Palmer Jeremy Rupprecht Technical Director Ross Henry Donor Relations Manager House Manager Stephanie Hilbert Derek Baylor ACT Staff Kyle Thompson Grady Hughes Libby Barnard Assistant Technical Director Development Coordinator: Board Diane Lind EXECUTIVE Katie Bicknell † & Office Operations Austin Smart † Kaillee Coleman Kyoko Matsumoto Wright Kurt Beattie Master Scenic Carpenter May McCarthy Artistic Director Julia Nardin Dennis Hardin Lauren Mikov Development Coordinator: Ryan Higgins Sean Wilkins Carlo Scandiuzzi Naomi Minegishi Stewardship & Special Events Monika Holm Lead Scenic Carpenter Executive Director Becky Plant John Muhic Charly McCreary Michael Sterkowicz Robin Obourn Judy Ness Robert Hankins Development Intern Nick Murel George Ojemann Executive and Artistic Manager Kristi Quiroz Scenic Carpenters Dr. Greg Perkins Luke Sayler Mona Lang† Teresa Revelle MARKETING, SALES, Adam Vanhee ARTISTIC Scenic Charge Artist Ingrid Sarapuu AND COMMUNICATIONS Audience Services John Langs Barry Scovel Becky Lathrop Lisa Bellero† Associate Artistic Director Christine Jew Director of Marketing and Assistant Charge Artist Karen Shaw Audience Services Affiliate Margaret Layne† John Siegler Communications Marne Cohen-Vance† Casting Director & Margaret Stanley Properties Master Rob Stewart Artistic Associate PRODUCTION Marketing and † Joan Toggenburger† Ken Ewert Larry True Anita Montgomery† Communications Master Properties Artisan Brian Turner Producing Director Literary Manager and Director of Aubrey Scheffel Sita Vashee Thomas Verdos Education Associate Director of Marketing Alyssa Byer Central Heating Lab Production Lead Properties Artisan Kenna Kettrick Karoline Nauss Manager Advisory Council Education Associate Marketing Coordinator Emily Cedergreen STAGE OPERATIONS Dr. Ellsworth C. Alvord, Jr.* Robert Keene Marissa Stein Production Office Manager Nick Farwell† Aubrey Davis Literary Intern Graphics & Email Coordinator Stage Operations Supervisor Skylar Hansen Daniel D. Ederer Emily Penick Nicky Davis † Jean Burch Falls Production Runner James Nichols Artistic Intern Malie Fujii Jeannie M. Falls Master Stage Carpenter Marketing Interns John H. Faris STAGE MANAGEMENT Pam Mulkern ADMINISTRATION Mark Siano Brad Fowler Jeffrey K. Hanson† Master Electrician Adam Moomey† Public Relations Manager Carolyn H. Grinstein Production Stage Manager Operations Manager Max Langley Sara Comings Hoppin Sebastien Scandiuzzi JR Welden Master Sound Engineer C. David Hughbanks Susanna Pugh Video Manager Erin B. Zatloka Jonathan D. Klein Venue Manager Brendan Patrick Hogan Keith Larson* Megan Rosenfeld Stage Managers Resident Sound Designer Robert McDonald Haley Watson Jane W. Lyons Ruth Eitemiller Facilities Maintenance Video Interns Michael Cornforth Louise J. McKinney* Production Assistant Central Heating Lab Technician Gloria A. Moses AC/R Services Apex Media Nadine H. Murray Engineer Advertising Douglas E. Norberg FOR THIS PRODUCTION Lawrence Curington Chris Bennion Kristin G. Olson Ron Darling IT Support Manager Production Photographic Services Donald B. Paterson Props Artisan Rica Wolken Eric Pettigrew Christa Fleming Jeanna Gomez Tessitura Manager Pamela Powers Graphic Design Costume Crafts Katherine L. Raff Tuxedos and Tennis Shoes Shelly Moomey Brooks G. Ragen Catering First Hand Catherine Roach Bar and Concessions Jo Anne Rosen Marta Olson Sam Rubinstein* Dresser Faye Sarkowsky David E. Skinner * Deceased Walter Walkinshaw* Dr. Robert Willkens* † Denotes staff member has worked George V. Willoughby at ACT for 10 years or more David E. Wyman, Jr. Jane H. Yerkes A-16 ACT THEATRE “Raymond Mattz,” a portrait from Project 562, from the Yurok Tribe in California. Kal Klass, D.D.S.

THE ACTOR’S DENTIST Chosen as “Best Dentist” in Seattle Met Magazine, 2014 —————— 1001 Broadway, Suite #314 Broadway and Madison Seattle, WA 98122 (206) 324-3800 • www.drklass.com

KK 041614 ES074 1_12.pdf

PHOTO FORWARD address inaccurate stereotypes as well as to Picturing the Modern American Indian educate people about contemporary indigenous communities. Over the past year, photographer Matika Wilbur “I’ve been dreaming about the idea of chang- traveled more than 80,000 miles visiting ing the experience for our children,” she says. Native across the American West. Herself a descendant of Washington’s Tulalip and “The goal is to create an environment in our Swinomish Tribes, Wilbur set off on the journey society that allows our children to be who they as part of Project 562, through which she’s cap- are, legally, socially, so that our social construct turing portraits and stories from all of the 562 changes, so that when a non-Indian meets an federally recognized tribes in the United States. Indian person, that exchange is different.” (Since Wilbur began, four more tribes have been Wilbur left the reservation where she grew recognized, bringing the total to 566.) up after high school to earn a college degree in On a spring Tuesday morning, Wilbur was advertising. She initially pursued celebrity and visiting with Tacoma Art Museum curator Rock fashion photography, living in New York and Readers Hushka at his home on Capitol Hill, covering his LA, then turned to international journalism. dining room table with dozens of the photo- “I’m not a good journalist,” she says, “be- JULY 11-13, graphs she took on her trip—intimate images cause journalists have to be able to shoot what’s of men, women and children in contemporary happening and I want people to stop what 18-20,18-20, 25-2625-26 street clothes and traditional tribal dress, some they’re doing and give me their attention.” TICKETS SALES BEGIN MAY 26TH: colored in pale tones by hand. She looks up with Finally Wilbur discovered documentary . . photography, which took her to Europe, Africa 800 838 3006OR a deep, vivacious laugh. “You caught me in the themikado.brownpapertickets.com eye of the storm,” she says. and South America before she came home WWW.PATTERSONG.ORG Wilbur and Hushka were editing the and began asking questions. “It was about prints down to the final 40 for exhibition in reconnecting with my Elders at first,” she says. Photographic Presence and Contemporary “When I left the Rez, I only associated Indian Indians: Matika Wilbur’s Project 562 at TAM, identity with the rawness and the sickness that which opened May 17 and runs through Oct. we see around us. The poverty.” 5. The show includes an audio tour featuring Wilbur set out to change that image and to interviews Wilbur conducted with the people in figure out where she fit in as a Native American. her portraits. Several projects and international exhibitions “I ask people to talk to me about identity,” later, Project 562 is updating the persistent, she says. “I ask them about the history from inaccurate picture of Native Americans that Captivated their tribe. I ask them to introduce themselves remains prevalent. Readers Sophisticated to me in their language. I ask everybody, ‘Have As a result of outdated images, Wilbur says, Sophisticated Consumers you ever experienced racism from being an “you’re represented as you were 100 years ago American Indian?’ It’s a direct, awkward ques- because now who you are is not who we want tion, but I like the answers that come from it you to be. Because if you still exist then we’re Advertise in because people have wild stories to tell.” going to have to reconcile some of the major is- Photo courtesy of Seattle Opera. Bill Mohn photographer Wilbur, 30, has documented nearly 200 sues that we have around things that happened Performing for you tribes so far, visiting cities and remote reserva- in this country. We have to find a way forward.” 206.443.0445 x113 [email protected] MATIKA WILBUR MATIKA tions. She says Project 562 is a way for her to LEAH BALTUS EMG07 Audience 1_12.pdf KK 041614 ES074 1_12.indd 1 4/16/14 2:15 PM encoreartsseattle.com 5

Captivated Readers Sophisticated Sophisticated Consumers

Advertise in Photo courtesy of Seattle Opera. Bill Mohn photographer Performing for you 206.443.0445 x113 [email protected] EMG07 Audience 1_12bw.pdf

EMG_07_Audience_1_12.indd 1 11/19/13 11:31 AM ENCORE ARTS NEWS FROM CITY ARTS MAGAZINE Well-Child $ Visits 20July 1-Aug. 30, 2014 Coming Out of the Cave BY EMMETT MONTGOMERY

UMANS USED TO SPEND a lot of time museum. “How long has this been going Havoiding unfortunate encounters with on?” I’d ask. “Forever,” would be the reply. things with sharp teeth and generally trying “Come inside and close the door, you’re to survive the night. Then we befriended fire letting in the dark.” and everything changed: We had a circle to Eventually I found myself in a basement sit in with our backs against the darkness where people took turns describing the and our faces toward each other. Our days burdens of the world into a microphone. If were still full of danger and misery but our their tragedies were clever enough, listeners nights were filled with sharing, defeating the responded with laughter and applause. monsters with song and story. We invented I was compelled to try this seductive Includes free pediatric vitamins new tools for describing the world—from ritual. I started showing up weekly and Offer good for children 14 and younger sacred poetry to fart jokes—and were in a the audience’s silence slowly turned into better place because of it. We celebrated halfhearted chuckles. I’d found the right WellChild.BastyrCenter.com the best storytellers and they became our place to take risks, the right way to live. 206.834.4100 shamans and priests. Then those in power decided that there was only one official set of stories. We invented new Organized religion stripped the old tales of status, diminished them to mere tools for describing amusements. The mystics shifted roles, becoming our fools and clowns whose the world—from ridiculousness put our misfortunes Naturopathic Medicine • Nutrition into perspective. At some point science sacred poetry to fart Acupuncture • Counseling came along and provided answers to our jokes—and were questions that were more logical than poetic. We let our jesters go, as their services in a better place made no sense in a world that did. In our EAP 1_6 V template.indd 1 6/17/14 10:52 AMconfidence we dismantled an essential because of it. public utility, our most accessible system for dealing with daily demons. Every month I write a love letter to Seattle Today the shadows of Plague and in the form of a variety show. In a hundred- Death still hover, but their howls aren’t as seat theatre up three flights of stairs, I ask a menacing as Heartbreak and Boredom and handful of the brilliant people who live here Bills. We accept the fact that everybody dies to share the songs and stories in their heads. but what we really dread is going to work in What happens is often funny, occasionally the morning and all the tiny battles we have frightening and always interesting. They to fight to keep the lights on. show us the beautiful things they make In the Pacific Northwest, where gloom is and our world gets bigger because of it. I’m our almost constant companion, getting out comforted by the fact that I could spend a of bed requires extra motivation. We combat winter hosting the show every night and not the grey outside by surrounding ourselves repeat a guest. with bright objects and ideas. Seattle is full The need to gather and create is Anniversary Sale of interesting people making wonderful permanent but the spaces in which to do so things in their caves while waiting for the are not. The world changes, things go away, July 12 – Aug. 3 light to come back. but we still have much to discover. We are I arrived here as a smooth-faced boy the bastard children of shamans and fools with restless legs fresh off the boat from and making and consuming art is how we Utah and was quickly enchanted by the keep the darkness from looming. We will wonders this place had to offer: Thousands put pen to paper, paint to canvas and pun of posters plastered everywhere screamed to microphone as long as the horrible hands 28 the illustrated names of rock bands. Drunk keep knocking at our doors and in our circus orchestras accompanied even minds. The monsters with teeth and claws drunker puppet operas. Drag queens used still lurk but the circle we sit in and share is Grand Guignol theatrics to break taboos I much larger. n didn’t even know existed. And just when I felt I’d become an expert Emmett Montgomery is a Seattle-based on Seattle—or at least competent enough comedian and storyteller who sometimes to stumble my way through it—I’d find makes puppets. Weird and Awesome with Wallingford Center • 1815 N 45th St. some other new, strange thing to explore, Emmett Montgomery is every first Sunday of 206.547.4983 • crackerjackcrafts.com an underground wrestling league or a doll the month at Annex Theatre.

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take up to 20 years to mature. The longer then triple-distilled. The stuff that Andrea the plant grows, the more profound the brought for us to sample—fecund, aromatic, Spirit of the Age taste of its liquor. revelatory—isn’t available in the U.S. Too Most agave isn’t farmed, it’s foraged small batch, too rare. But the evangelists at Obsessing over the from the arid hills of Oaxaca. Generations Mezcaleria offer dozens of varieties, each of mezcaleros have harvested the plants a door into another world that’s not so far mysteries of mezcal by hand and roasted them for days over away. n mesquite in earthen ovens. The roasted BY JONATHAN ZWICKEL agave is mashed by hand or burro- powered mill, then open-air fermented, MEZCALERIA OAXACA 422 E. Pine St. MEZCALERIA OAXACA is less a restaurant than a cathedral of mezcal, that mysterious spirit, salve and spark of Mexico. The former auto-body shop on Pine Street now opens Order Early loftily into an exposed kitchen and luminous for Best Selection! bar. On the walls, an oversized patchwork of Tickets from $27 CDN photos reaches the vaulted ceiling, some illu- minated from behind, some framed in relief, each shot by Spike Mafford, a man who’s devoted much of his life to documenting Mexican culture. Rough-hewn, glass-doored light boxes display artifacts of contempo- rary Mexican life: Levi’s 501s, glass Coke bottles, a wooden club used to mash agave for mezcal. The owners’ original spot in Ballard, La Carta de Oaxaca, serves the best Mexican in Seattle, and I hear the food at their Queen Anne Mezcaleria is also excellent. But I don’t go there to eat. I go to practice good drinking. We believe eyewear should be fun. Each time I’ve taken a horsehide seat at Mezcaleria’s monolithic metal bar, my server At 4 Your Eyes Only, we delight in has been a ponytailed 20-something named finding eyewear that is different, Spence. Spence speaks of mezcal with the but still charming, beautiful and illuminated gaze of a true believer. As part wearable. We are a small, local of his bartender training, he sojourned 10 boutique dedicated to helping you days in Oaxaca and returned an apostle and find the perfect pair of glasses. ambassador. Conviction this deep usually applies to religion and politics. But mezcal holds a powerful sway—in its earthy, smoky palate; in the eons of legend and misunder- standing that shroud its history; in the low- tech, high-stakes method of its production. Wallingford Center Mezcaleria’s Holy of Holies is a dimly lit 1815 N 45th St. Seattle chamber secreted behind the bar called Under the Tents in Vanier Park, Vancouver, Canada 206.547.7430 June 11 – Sept 20 the Classroom. Here, sitting among a dozen 4YourEyesOnlyOptical.com other acolytes, I participated in a mezcal 1-877-739-0559 • bardonthebeach.org tasting in early April. Leading the way was a young woman named Andrea Hagan, a representative of La Mezcaloteca, a nonprofit based in Oaxaca City that’s essentially an ar- chive of locally made mezcal. La Mezcaloteca exists because the social significance of mez- BardOnBeach SIFG14 1_6v.pdf cal is so great— the potential for losing its rustic peculiarity to mass production. Hagan explained that there are hundreds of different species of the agave plant. Fourteen of them, each endemic to Oaxaca, Bellevue Place are used to make mezcal, each bestowing a different character (whereas most wine is 10500 NE 8th St., Suite 111 made from varietals of a single species of grape). Tequila, for instance, is mezcal made (425) 454-8242 from quick-growing blue agave. Most bottled elementsglassgallery.com mezcals are made from espadin, which takes seven years to mature. Other, rarer varieties

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