Dickens’ Holiday Classic A VIRTUAL TELLING OF A CHRISTMAS CAROL

DECEMBER 19–31, 2020 Inside

IN PICTURES Behind the Lens • 3

WELCOME From Artistic Director Joseph Haj • 5

GUTHRIE SPOTLIGHT GUTHRIE SPOTLIGHT Welcome to Dickens’ Holiday Classic • 6 To Our First-Time Patrons • 6

DICKENS’ HOLIDAY CLASSIC Cast, Creative, Film Production and Native Artist Fellows • 11 Biographies • 12

PLAY FEATURES E.G. Bailey and Joseph Haj in Conversation • 15 Changing Tunes in Changing Times • 17 Meet the Native Artist Fellows • 20 A Christmas Carol Memories From Patrons • 23 PLAY FEATURE Backstory • 26 From the Adapters/Directors • 15

SUPPORTERS Annual Fund Contributors • 29 Corporate, Foundation and Public Support • 37

WHO WE ARE Board of Directors and Guthrie Staff •38

GOOD TO KNOW Virtual Viewing Guide • 39 PLAY FEATURE Stories From Productions Past • 23

Guthrie Theater Program Volume 58, Issue 1 • Copyright 2020 818 South 2nd Street, Minneapolis, MN 55415 EDITOR Johanna Buch ADMINISTRATION 612.225.6000 GRAPHIC DESIGNER/COVER DESIGN Brian Bressler BOX OFFICE 612.377.2224 or 1.877.447.8243 (toll-free) CONTRIBUTORS E.G. Bailey, Ernest Briggs, Joseph Haj, guthrietheater.org • Joseph Haj, Artistic Director Margaret Leigh Inners, Katie “KJ” Johns, Tom Mays, Sam Aros Mitchell, Carla Steen. Special thanks to Guthrie The Guthrie creates transformative theater experiences that ignite the patrons for sharing their A Christmas Carol memories. imagination, stir the heart, open the mind and build community through the illumination of our common humanity. The Guthrie program is published by the Guthrie Theater.

2 \ GUTHRIE THEATER • DICKENS’ HOLIDAY CLASSIC IN PICTURES

Behind the Lens

Two artistic worlds collided for the making of Dickens’ Holiday Classic: theater and film. Instead of rehearsing together to perform from start to finish for an audience, the actors filmed their scenes solo in a series of takes that were later connected through the wonders of digital technology. Terms for stage and screen blended together to create a new lexicon. Set pieces, costumes and props were featured up close and on camera instead of viewed from a theater seat 30 feet away. Not one aspect of the production was untouched by this fusion of mediums, which created something so wonderful and new, it can only be described as pure magic.

3 \ GUTHRIE THEATER • DICKENS’ HOLIDAY CLASSIC PHOTOS: SARA L’HEUREUX; KAITLIN SCHLICK Help Us Fight Hunger

Together with The Food Group, the Guthrie is proud to collect healthy, nonperishable food items for Minnesotans in need this holiday season.

In 2019, you helped us collect 538 pounds of food, provide 486 meals, give 14 families a three-day supply of food and support more than 250 local food banks and hunger relief organizations. The needs are even greater in 2020, so let’s come together and make an impact.

Food Drive for The Food Group December 19–21 10 a.m. – 2 p.m. Curbside drop-off at the Guthrie Theater — just drive up and donate!

THE FOOD GROUP’S WISH LIST • Vegetables (low-sodium canned veggies, pasta sauce, salsa, mushrooms)

• Dairy (powdered/shelf-stable milk, milk alternatives like rice, soy, almond)

• Fruits (canned fruit, sugar-free applesauce, dried fruit, 100% fruit juices)

• Grains (brown/wild rice, whole- grain pastas, low-sugar oatmeal, gluten-free options)

• Proteins (canned tuna/salmon/chicken, canned/dried beans, unsalted nuts, FIGHTING HUNGER. peanut butter) NOURISHING OUR COMMUNITY. • Oils and spices (olive/canola oil, onion/ The Food Group works to provide garlic powder, dried spices like basil, good foods to those who need it most, focusing on local food access, equity oregano, thyme) and nutrition issues related to food • Household items (can openers, toilet and hunger in more than 32 counties in paper, baby wipes, dish soap, hand Minnesota and Wisconsin. Learn more sanitizer, face masks) at www.thefoodgroupmn.org.

PHOTO: COURTESY OF THE FOOD GROUP WELCOME

From Artistic Director Joseph Haj Dear Friends,

If this year had to be summed up in a phrase, “Bah! co-founded with Sha Cage. E.G. is a wonderful theater Humbug!” would be a top contender. And yet the artist and filmmaker who has been working in the story that gives us this curmudgeonly expression Twin Cities for 20 years, including assistant directing rings of something so hopeful and essential, even Othello and King Lear at the Guthrie. We spent a global pandemic couldn’t silence it. After more countless hours digging into the text and imagining than four decades of presenting Charles Dickens’ A how it might be captured on camera. What followed Christmas Carol annually on the Guthrie stage, we felt was one of the most energizing and collaborative an undeniable calling to keep with our tradition and experiences I’ve had as an artist. From our outstanding reimagine the classic for virtual audiences. actors and crew to our dedicated Health and Safety Team, everyone contributed their unique talents What is it about Scrooge and the Cratchits and the and perspectives in a way that brought out the best three spirits that continue to haunt us? During my in each other, our work and Dickens’ story. I am research, I discovered that Dickens first performed incredibly proud of what we created together and public readings of his novella in the U.S. in 1868, honored to share it with you. shortly after the Civil War, for an incredibly divided America that had experienced unfathomable loss. During the season that would have marked our Even though Dickens wasn’t particularly loved by 46th consecutive staged production of A Christmas Americans (due to his less-than-flattering observations Carol, I’m so pleased to continue our tradition when in American Notes), the lines of people hoping to we need it most. To our faithful patrons who join us hear the tale stretched for blocks. I imagine it was season after season, I’m excited for you to encounter comforting for postwar Americans in 1868 to hear something new. And to those joining us for the first a story that reminded them, as it reminds us today, time, including 1,000+ schools from around the world, that we are not only responsible for ourselves, but I’m thankful you’ve chosen to spend part of your also for our neighbor. Perhaps this explains why A holidays with us. Christmas Carol has been in continual adaptation from the moment it was published in 1843. No matter As I reflect on the continuous uncertainty we have the century or cultural context, it remains a powerful, faced since March, I am certain of this: The message of relevant and valuable story. A Christmas Carol is so transcendent that nothing — not time, tradition or even the theater — can contain it. May Inspired by these popular readings of Dickens’ self- we search our hearts as diligently as Scrooge and allow edited text condensed into four parts, an idea sparked: ourselves to be transformed. Thanks to Dickens, we are What if we had four of our brilliant A Christmas Carol reminded that we can do better. We can be better. actors each perform one part? What if we created a modest physical environment onstage and filmed Best wishes to you and yours this holiday season, it? What if we captured each part separately to keep and enjoy the show! everyone as safe as possible? What if we made it free to K–12 schools? The ideas churned until we landed on the concept that became Dickens’ Holiday Classic. Yours,

The next step was to find filmmakers who could help us create this theater-cinema hybrid, and I was honored to work with my friend and co-director E.G. Bailey and collaborate with the talented crew of Freestyle Films, the production company he

5 \ GUTHRIE THEATER • DICKENS’ HOLIDAY CLASSIC PHOTO: T CHARLES ERICKSON GUTHRIE SPOTLIGHT

To Our First-Time Patrons

Welcome to Dickens’ Holiday Classic! We’re thrilled that the virtual nature of this event allows us to share Charles Dickens’ wonder-filled story of A Christmas Carol with so many more patrons in Minnesota and beyond. If you’re new to the Guthrie, hello! Here are a few snippets about who we are and what makes this first-ever virtual production so special.

The Guthrie is considered the flagship resident theater in the U.S. Acclaimed theater director Sir Tyrone Guthrie was so disenchanted with Broadway that he and two other colleagues dreamed about starting a theater outside of New York City. They placed a small paragraph on the drama page in The New York Times asking for interested cities to make their case, and the people of Minnesota won them over. The Guthrie opened on May 7, 1963, with a production of Hamlet.

We’ve called two buildings home. Our original building was designed by local architect Ralph Rapson and sat adjacent to the Walker Art Center in Minneapolis. Under the leadership of former Artistic Director Joe Dowling, the Guthrie built and opened its current three-stage facility on the Mississippi River on June 25, 2006. Designed by esteemed French architect Jean Nouvel, the Guthrie building has become an iconic shape in the city’s skyline.

The theater was built to be a cultural resource for the community. In addition to producing classic and contemporary theater, the Guthrie was designed to be an artistic space for the Twin Cities community to enjoy — with or without a ticket. During non- pandemic times, our building is open to the public year-round, and visitors are invited to explore our lobbies, restaurants and stunning downtown views from multiple levels.

6 \ GUTHRIE THEATER • DICKENS’ HOLIDAY CLASSIC PHOTOS: DREW CARLSON; MICHAL DANIEL The Guthrie has one of the longest occupiable cantilevers in the world. Most visitors don’t leave the theater without experiencing the Endless Bridge, a two-level cantilevered lobby that stretches more than 178 feet from the building and hovers 55 feet above the parkway below. The outdoor terrace looks out over the city’s historic St. Anthony Falls and Stone Arch Bridge, making it a go-to spot for photo ops.

Offstage, we offer education, accessibility and community engagement programs. We believe that theater is for everyone, which is why we create robust programming beyond what’s onstage, including classes for youth and adults; ASL-interpreted, audio-described, open-captioned and relaxed performances; events and projects created with community partners across the Twin Cities; and professional training through the University of Minnesota/Guthrie Theater B.F.A. Actor Training Program. Many of these offerings are informed by our core values, especially Equity, Diversity and Inclusion. You can learn more about the work we’re doing in this area here.

We made Dickens’ Holiday Classic free to K–12 schools. More than 10,000 students attend the Guthrie’s production of A Christmas Carol annually, often at deeply reduced ticket prices, making it one of the most popular and accessible first-time theater experiences for youth in the region. As part of our ongoing commitment to engage young people in the power of storytelling onstage, educators are invited to share Dickens’ Holiday Classic with their students at no charge.

Most of the creative elements you see on screen were made by Guthrie artists in our onsite shops. All the set pieces — plus a few emblematic costumes and props — were pulled from A Christmas Carol storage and reconfigured for the film. The remaining costumes and props were mixed and matched from various past productions with some fun new additions: The teapot belongs to Assistant Production Manager Sara L’Heureux, and one of the letters on the writer’s desk features the handwriting of Dickens himself.

A lot of local love went into this virtual production. All four actors call Minnesota home and have been regulars in the Guthrie’s staged productions of A Christmas Carol, so we were delighted to see these talented artists at work after a far-too-long hiatus. We also built a partnership with Freestyle Films, a Twin Cities production company. In other words, Dickens’ Holiday Classic was made with plenty of love from Minnesota.

The best thing about a tradition? Celebrating it with others. Thank you for joining us, and we hope this virtual event will inspire you to spread good cheer to everyone you meet.

PHOTOS: ROLAND HALBE; NATHAN DALE STUDIOS; DAN NORMAN; BRANDI FREITAS; MAYA LAGERSTAM, RYAN COLBERT 7 \ GUTHRIE THEATER • DICKENS’ HOLIDAY CLASSIC AND NATHANIEL FULLER IN THE GUTHRIE’S 2019 PRODUCTION OF A CHRISTMAS CAROL (DAN NORMAN) The Guthrie Store is open! Welcome to your one-stop holiday shop. Find thoughtfully curated gifts for everyone on your list at guthriestore.com.

A medley of makers Open 24/7 online Curbside pickup Browse stunning, An online-only store means available handcrafted collections by more time to shop and Stop by the Guthrie and artists from the Twin Cities add cool finds to your we’ll bring your order to you and beyond virtual cart (check website for hours)

See our gift guide on the next page State-Of-Mind Gift Guide Whether you’re shopping for others or yourself (it’s 2020 — you deserve it), we’re here to help. Just find the sentiment that best describes the recipient, size up our recommendation and click on the image to purchase. Happy shopping!

Scrooge is my This pandemic is … All dressed up and The kitchen is my middle name. puzzling. (still) nowhere to go. happy place. A Christmas Carol Guthrie 500-Piece Bow Tie, Pocket Square Jane Austen Tea Towel by Face Mask • $12 Puzzle • $21.95 and Mask Set by Lori Mapes • $18.50 dj gramann ii • $120

Only six months until I decorated for the Cheers to 2021! We’re better together. Pride Month. holidays in October. Guthrie Coasters by Unity T-Shirt by Library Card Socks • Plush Ornaments Kao Lee Thao • $10 each Jena Holliday • $32 $12.50 by Rebecca Jo Malmström • $12 each

May their first words My mood could use I know someone who Giving back is my jam. be Shakespeare. a boost. needs a pick-me-up. The Bridge for Youth Twelfth Night “Some are “My courage always rises” Cards by Taylor J. Bye • Product Donation • born great” Onesie • $22 Enamel Pin • $12.99 $3.50 each Starting at $25 Performed Live

Separated by continents, an estranged father and son reunite over Zoom. From their respective kitchens in Ramallah and New York City, they recreate a cherished family recipe and struggle to bridge the gap between them, one ingredient at a time. Sponsored by

Now – January 3 • Tickets start at $16. For more information, visit guthrietheater.org.

PHOTOS: RAMSEY FARAGALLAH AND YOUSOF SULTANI (COURTESY OF PLAYCO AND WOOLLY MAMMOTH THEATRE COMPANY) The Guthrie Theater in collaboration with Freestyle Films presents Dickens’ Holiday Classic adapted and directed by E.G. Bailey and Joseph Haj from A Christmas Carol by Charles Dickens

Sponsored by Cast in order of appearance

WRITER ONE Charity Jones WRITER TWO Ryan Colbert WRITER THREE Meghan Kreidler WRITER FOUR Nathaniel Fuller

Run Time Approximately 1 hour, 15 minutes Creative

Acknowledgments ADAPTERS/DIRECTORS E.G. Bailey The Guthrie wishes to acknowledge Joseph Haj that for the filming of this project, SCENIC DESIGNER Walt Spangler we gathered on the traditional land of the Dakota People and honor with COSTUME DESIGNER Amy Schmidt gratitude the land itself and the people THEATRICAL LIGHTING DESIGNER Tom Mays who have stewarded it throughout the generations, including the Ojibwe and SOUND DESIGNER/MUSIC COMPOSER Reid Rejsa other Indigenous nations. DRAMATURG Carla Steen ARTISTIC ASSOCIATE/LINE PRODUCER Jennifer Liestman COSTUME DESIGN ASSISTANT Lisa Jones

Film Production

PRODUCERS E.G. Bailey Sha Cage The Native artist fellowships are made possible by the voters of Minnesota CINEMATOGRAPHER Anton Shavlik through a grant from the Minnesota SECOND CAMERA Brian Few Jr State Arts Board, thanks to a legislative FIRST ASSISTANT DIRECTOR Xiaolu Wang appropriation from the arts and cultural heritage fund. FIRST ASSISTANT CAMERA/DIT Tahiel Jimenez Medina EDITOR/CREDITS Neil Evans The Guthrie wishes to thank the members of the Health and Safety Team COLORIST Oscar Oboza who helped create the safest possible VFX SUPERVISOR Daniel Saldivar environment on set: Ernest Briggs, Rebecca Cribbin, Sarah Gullickson, Brooke Hajinian, Sara L’Heureux and Jennifer Liestman. Native Artist Fellows in alphabetical order Special thanks to Dr. Lisa Brosseau, Ph.D., and Dr. Zeke McKinney, HEALTH AND SAFETY ASSISTANT Ernest Briggs (White Earth Nation) M.D., for reviewing and offering PRODUCTION ASSISTANT Katie “KJ” Johns (Bad River Ojibwe) recommendations to the Guthrie’s COVID-19 Preparedness Plan for SCRIPT SUPERVISOR Sam Aros Mitchell (Yaqui, enrolled Dickens’ Holiday Classic. with the Texas Band of Yaqui Indians)

11 \ GUTHRIE THEATER • DICKENS’ HOLIDAY CLASSIC Nathaniel Fuller Biographies Writer Four

GUTHRIE More than 90 productions since 1987, including King Lear; Trouble in Mind; The Crucible; A Christmas Carol (30 seasons); Othello; The Primrose Path; Embers; Much Ado About Nothing; M. Butterfly; A View From the Bridge; A Midsummer Night’s Dream (2008 and 1997); Jane Eyre; Boats on Cast a River; Hamlet; As You Like It (1994, 2005 and 2019); Six Degrees of Separation; Amadeus; Ah, Wilderness!; The Magic Fire. THEATER Los Angeles Free Shakespeare Festival; Great Lakes Shakespeare Charity Jones Festival; Jungle Theater; Cricket Theatre; Chanhassen Dinner Theatres. Writer One TRAINING University of Southern California; B.A., Dartmouth College

GUTHRIE More than 20 productions, including Cyrano de Bergerac, Creative A Christmas Carol, Romeo and Juliet, King Lear, Hay Fever, The Intelligent Homosexual’s Guide … , A Delicate E.G. Bailey Balance, Shadowlands. THEATER History Adapter/Director/Producer Theatre: Gloria: A Life, Teen Idol; Jungle Theater: You Can’t Take It With You, GUTHRIE Director: U/G/L/Y; Assistant The Heiress, The Dazzle, Hapgood; Park Square Theatre: Calendar Director: King Lear, Juno and the Paycock, Girls, Sexy Laundry, The Sisters Rosensweig; Children’s Theatre Othello. THEATER Director: Dot (Park Square Company: More than 60 productions; Shakespeare Theatre Company; Theatre), ​​Amiri Baraka’s Wise, Why’s, Y’s American Conservatory Theater; Mixed Blood Theatre; Eye of the (The Southern Theater), #SayHerName Storm; Theatre de la Jeune Lune; Kansas City Repertory Theatre; (Intermedia Arts). FILM Co-founder of The Acting Company Freestyle Films; Film curator of America Now! (Helsinki, Latvia and Uppsala Film Festivals); Launched the streaming platform Filmstreem at filmstreem. Ryan Colbert com in 2020 alongside his latest film KEON, which screened at New Writer Two York City’s Urbanworld Film Festival; New Neighbors, which premiered at the 2017 Sundance Film Festival, winning numerous awards and GUTHRIE As You Like It, A Christmas screening at over 100 festivals worldwide; Petting Zoo, which debuted Carol, Frankenstein – Playing With Fire, at the 65th International Berlin Film Festival. WRITING Solid Ground, Choir Boy, Born Yesterday. THEATER Drumvoices Revue, WarpLand, Blues Vision: African American Writing Mixed Blood Theatre: Charm, Colossal; From Minnesota. OTHER Co-founder of Tru Ruts, Million Artist Movement, Ten Thousand Things: The Sins of Sor Minnesota Spoken Word Association and The Late Nite Series. AWARDS Juana; Children’s Theatre Company: The McKnight Media Artist Fellow; Sundance Film Festival; Emmy Award; Ivey Lorax, The Abominables, The Sneetches; Award; One of Filmmaker magazine’s 25 New Faces of Independent Film Park Square Theatre: Great Expectations, Agatha Christie: Rule of Thumb, Romeo and Juliet, Calendar Girls, The Color Purple; Pillsbury House Theatre: Prep; Red Eye Theater: Joseph Haj Will You Still Love Me Tomorrow; Red Bird Theatre: Time to Burn; Adapter/Director New Epic Theater: The Picture of Dorian Gray, Now or Later. AWARDS 2016 Ensemble Ivey Award. TRAINING University of Minnesota/Guthrie GUTHRIE The Glass Menagerie, Cyrano Theater B.F.A. Actor Training Program de Bergerac (adapter/director), West Side Story, Romeo and Juliet, Sunday in the Park With George, King Lear, South Meghan Kreidler Pacific, Pericles; Artistic Director since Writer Three 2015. THEATER Folger Theatre: Hamlet (Helen Hayes Award for Outstanding GUTHRIE As You Like It, A Christmas Carol. Production); Oregon Shakespeare THEATER Theater Mu: Hot Asian Doctor Festival: A Midsummer Night’s Dream, Henry V, Pericles; PlayMakers Husband, Two Mile Hollow, Purple Cloud, Repertory Company: The Tempest, Metamorphoses, Cabaret, Henry IV, Flower Drum Song, A Little Night Music, Henry V, Nicholas Nickleby, The Illusion, Amadeus, Pericles, Big River, Kung Fu Zombies vs. Cannibals; Mixed As You Like It, Cyrano de Bergerac (adapter/director), Into the Woods; Blood Theatre: Vietgone, Passing Strange; PlayMakers Repertory Company Artistic Director, 2006–2015. As an Children’s Theatre Company: The Lorax; actor, he has appeared at the Guthrie Theater, The Public Theater, 20,000 Leagues Under the Sea; Peter Alley Theatre, Mark Taper Forum, Ahmanson Theatre, Actors Theatre Pan; Ten Thousand Things: Henry IV, Part I; History Theatre: The Paper of Louisville and internationally in Salzburg, Edinburgh, Paris, Berlin, Dreams of Harry Chin; Theater Latté Da: Bernarda Alba, Man of La Venice and Japan. OTHER Directed projects in a maximum-security Mancha; The Old Globe: The Lorax. AWARDS 2017 Emerging Artist Ivey prison in Los Angeles; Batesburg-Leesville, South Carolina; the West Award; 2017 Ensemble Ivey Award (Vietgone); 2017 City Pages Artist Bank; and Gaza. AWARDS 2000 NEA Millennium Grant awarded to 50 of the Year. TRAINING University of Minnesota/Guthrie Theater B.F.A. of America’s finest artists; Named one of 25 theater artists who will Actor Training Program. OTHER Fronts local rock band Kiss the Tiger. have a significant impact on the field over the next quarter-century by www.kissthetiger.com American Theatre magazine; 2014 Zelda Fichandler Award

12 \ GUTHRIE THEATER • DICKENS’ HOLIDAY CLASSIC Walt Spangler Reid Rejsa Scenic Designer Sound Designer/Music Composer

GUTHRIE A Christmas Carol, My Fair Lady, GUTHRIE A Christmas Carol, The Cocktail Time Stands Still, Arms and the Man, The Hour, Freud’s Last Session, Clybourne Importance of Being Earnest. THEATER Park, The Sunshine Boys, Hay Fever, Broadway: Escape to Margaritaville, Charley’s Aunt, Much Ado About Nothing, Tuck Everlasting, Desire Under the Elms, The 39 Steps, Dollhouse, A Delicate Scandalous, A Christmas Story: The Balance, The Government Inspector, Musical, Hollywood Arms; Off-Broadway: Private Lives, The Home Place, Boats on Manhattan Theatre Club; The Public a River, Edgardo Mine, Boston Marriage, Theater/New York Shakespeare Festival; Atlantic Theater Company; The Chairs, Lysistrata; Tours (sound supervisor): Othello, A Midsummer Playwrights Horizons; Classic Stage Company; Signature Theatre; Night’s Dream. THEATER Ordway; Jungle Theater; Arizona Theatre Regional: Goodman Theatre; Steppenwolf Theatre; Shakespeare Theatre Company; Minneapolis Planetarium; Frank Theatre; Theater Mu; Mixed Company; American Conservatory Theater; Actors Theatre of Louisville; Blood Theatre; Penumbra Theatre; Eye of the Storm; Minnesota Jewish Yale Repertory Theatre; Williamstown Theatre Festival; Hartford Stage; Theatre Company; Children’s Theatre Company. FILM/TELEVISION Alley Theatre; Long Wharf Theatre; Goodspeed Musicals; Mark Taper Sound design and mixing on television spots and short films for Forum; Children’s Theatre Company. OPERA Minnesota Opera: Edward Minnesota Jewish Theatre Company, Minneapolis Planetarium, Sleepy Tulane (world premiere); San Francisco Opera; Lithuanian National Eye, Yng Turk Film, KARE-11, ShopNBC and more. OTHER Recording Opera and Ballet Theatre; English National Opera; Lyric Opera of engineer and guitarist Chicago. TRAINING M.F.A., Yale School of Drama. www.waltspangler.com Carla Steen Amy Schmidt Dramaturg Costume Designer GUTHRIE More than 60 productions GUTHRIE Freud’s Last Session; Costume since 1996, recently including Twelfth Director since 2004; Workroom Manager Night, Noura, Steel Magnolias, The Glass from 1998 to 2004. THEATER Omaha Menagerie, Guys and Dolls, Cyrano de Playhouse: Twelfth Night, Amadeus, The Bergerac, As You Like It, Noises Off, Grapes of Wrath, The Prime of Miss Jean Frankenstein – Playing With Fire, West Brodie, All My Sons, Sweeney Todd, West Side Story, Familiar, Blithe Spirit, Romeo Side Story, 42nd Street, Fiddler on the and Juliet, Sunday in the Park With Roof, Brigadoon, The Mystery of Edwin George, King Lear, The Lion in Winter and Sense and Sensibility. Drood, 110 in the Shade, Deathtrap, Lend Me a Tenor, A Funny Thing THEATER Dramaturgy for the University of Minnesota/Guthrie Theater Happened on the Way To the Forum, The Last Stand of the Polish B.F.A. Actor Training Program, Hammerstein Center, NYU Tisch School Sharpshooters, The Musical Comedy Murders of 1940, A Bedfull of of the Arts and Augsburg University (Cymbeline directed by Darcey Foreigners, El Grande de Coca Cola. TRAINING M.F.A., Costume Design, Engen). PROFESSIONAL AFFILIATIONS Member of Literary Managers Southern Illinois University and Dramaturgs of the Americas (LMDA). TRAINING M.F.A., Columbia University; B.A., Augsburg University Tom Mays Theatrical Lighting Designer Jennifer Liestman Artistic Associate/Line Producer GUTHRIE Lighting Design: Familiar, Stage Kiss, An Iliad, Time Stands Still (also GUTHRIE Member of the Artistic Team projections), Arsenic and Old Lace, since 2003; More than 55 productions, Macbeth, The Caretaker; Projection workshops and readings since 2015, Design: Steel Magnolias, The Great Leap, including Twelfth Night, Noura, Floyd’s, The Parchman Hour, The Two Gentlemen West Side Story, BAD NEWS! i was of Verona, Third, The Sex Habits of there… , Familiar (with Seattle Rep), American Women; Head of Lighting and Watch on the Rhine (with Berkeley Projection. THEATER Minnesota Dance Theatre (selected): Orpheus and Repertory Theatre), Native Gardens (with Euridice, Nutcracker Fantasy; Theater Mu (selected): Circle Around Arena Stage) and Disgraced (with McCarter Theatre Center/Milwaukee the Island, Cowboy Versus Samurai; Mixed Blood Theatre (selected): Repertory Theater). FILM Master Servant (casting consultant). Autonomy, The Mad Dancers, Take Me Out, Wait Until Dark; Minnesota TEACHING Audition master classes for the University of Minnesota/ Opera (selected): Little Women, La Bohème, Street Scene; Seattle Guthrie Theater B.F.A. Actor Training Program; Macalester College; Rep; Spoleto Festival: Hay Fever; Wolf Trap National Park for the Other universities in Minnesota and the U.S. TRAINING B.A., Theatre, Performing Arts; More than 30 productions as scenic designer. FILM/ Minnesota State University Moorhead TELEVISION Le Petomane (art direction); “Days of Our Lives.” TRAINING M.F.A., University of California, San Diego; B.A., Colorado College

13 \ GUTHRIE THEATER • DICKENS’ HOLIDAY CLASSIC Film Production Neil Evans Editor/Credits

Sha Cage GUTHRIE Debut. FILM More than a Producer decade working as an editor in a variety of genres, including independent GUTHRIE Familiar, Romeo and Juliet, King scripted comedy, drama, horror and Lear, Clybourne Park, Appomattox, Cat documentaries; Festivals (selected): on a Hot Tin Roof, U/G/L/Y. THEATER Sundance Film Festival, Telluride Film England: Hackney Empire; Nottingham Festival, Los Angeles Film Festival; Playhouse; The Albany; Z-arts; Ten Networks: HBO, PBS, Oxygen and other Thousand Things: The Winter’s Tale, domestic and international platforms; Prior to working as a film editor, Henry IV, Forget Me Not When Far Away; he developed a strong sense of story and attention to detail working Frank Theatre: Grounded, Eclipsed, in feature development at Universal Pictures. TRAINING B.A., Studio Fucking A, Venus; Park Square Theatre: The Liar, Mary T. & Lizzy K.; Art, Yale University Penumbra Theatre: The Ballad of Emmett Till, The Amen Corner, for colored girls … ; Mixed Blood Theatre: Ruined, Agnes Under the Big Top; Jungle Theater: The Two Gentlemen of Verona (actor), School Oscar Oboza Girls (director); Children’s Theatre Company: Three Little Birds Colorist (director); Stages Theatre Company: The Day You Begin (director); Black Lives/Black Words: Buttafly Precinct (director); UMN/Guthrie: GUTHRIE Debut. FILM Worked as a Everybody (director). FILM Co-founder of Freestyle Films; Jasmine Star colorist since 1992, collaborating with (producer), KEON (producer/actor), Black Star (writer), At the Corner directors and creatives across advertising, Of (director), New Neighbors (producer/actor), You’re Home Now independent films, music videos and (director), 39 Seconds (producer). OTHER Producer and consultant short films; Films (selected): Raise Your for over 15 years with Tru Ruts and NuWay. AWARDS Regional Ivey Voice, Hoop Dreams, Fritz: The Walter and Emmy Awards; Fox/TCG Fellowship; McKnight Artist Fellowship; Mondale Story, Memorial Day, Older Than Mpls.St.Paul Magazine Mover and Maker; Minnesota Women’s Press America, Time for Ilhan. OTHER Influential Changemaker; City Pages and Star Tribune Artist of the Year in marketing many major North American brands, crafting bold, eye- catching looks that draw the attention of broadcast audiences Anton Shavlik Cinematographer Freestyle Films Founded in 2015 by E.G. Bailey and GUTHRIE Debut. FILM The Speech, which Sha Cage, Freestyle Films is a diverse premiered at the 2020 Palm Springs production team with a track record of International ShortFest and is currently short films, documentaries, music videos, playing at festivals around the world; series and more. Working with a wide New Neighbors, which premiered at the range of filmmakers, artists and writers, 2017 Sundance Film Festival, winning their aim is to lift up underrepresented numerous awards and screening at stories and create new visions, images over 100 festivals worldwide. TRAINING and cultural representations not often seen on screen. Previous and Hamline University; M.F.A., Cinematography, American Film Institute, forthcoming projects include Jasmine Star (narrative feature), KEON Los Angeles (narrative short), New Neighbors (narrative short), You’re Home Now (horror), Our Relationship featuring Guante (music video), Summer of George (documentary feature), Black Star (series), 39 Seconds Brian Few Jr (documentary feature), Cry About a Nickel (narrative short), I Love Second Camera featuring Truthmaze (music video) and At the Corner Of (experimental series). Learn more at freestylefilms.tv. GUTHRIE Debut. FILM North Minneapolis- based filmmaker and graphic designer with 10 years of experience; Director of Angels Walk, a short film about the emotional effects of gun violence in North Minneapolis that received a Best of Festival screening at the Minneapolis- Saint Paul International Film Festival (MSPIFF) in 2017; Worked with Freestyle Films on several projects, and his purpose comes from his passion for his community and youth

14 \ GUTHRIE THEATER • DICKENS’ HOLIDAY CLASSIC PLAY FEATURE

Flashback to 2017: E.G. Bailey and Joseph Haj in rehearsal for the Guthrie’s production of King Lear.

E.G. Bailey and Joseph Haj in Conversation

After countless weeks of dreaming about what Dickens’ Holiday Classic could be and 13 days of filming on the McGuire Proscenium Stage, we asked the directing duo to chat about how they met, how they worked together behind the camera and how the fusion of theater and film will give audiences an experience unlike any other.

FIRST IMPRESSIONS I look for great artists who are also great people. From E.G. BAILEY: During Joe’s second season as the Guthrie’s that first conversation, it was clear that E.G. is one of artistic director, the lineup included King Lear, which is those artists. As assistant director on King Lear, he one of my favorite Shakespeare plays. I called him up brought such skill and creative capacity to the role and told him I was a Twin Cities artist who had worked that he became a key part of the playmaking process. on past Guthrie productions with Marion McClinton and I loved working with him, and we’ve been colleagues Joe Dowling. I can be unabashed at times, so I’m sure and friends ever since. Joe was surprised when I asked to work with him. But he graciously invited me to be his assistant director, and we had a great time. Watching Joe work, I appreciated DEFINING THE MEDIUM that he didn’t settle for the easy path. We spent days JH: When we knew the Guthrie wouldn’t be staging trying to achieve his vision for the eye-gouging scene. A Christmas Carol and began talking about making Joe had a clarity and optimism that it was going to a film, the smartest thing I did was call E.G. So I was work, and it inspired us to make it happen. thrilled when he said, “I’m in.” At first, I assumed we would stage it like a play and E.G. and his crew JOSEPH HAJ: I appreciate those warm words, E.G. would film it. But once we freed ourselves from the When you make plays for a living, what becomes constraints of that vision, it began to take on the crucially important is who’s in the room with you. language of film even more than theater.

15 \ GUTHRIE THEATER • DICKENS’ HOLIDAY CLASSIC PHOTO: LAUREN MUELLER EGB: Staging a play is so 2019, Joe. [both laugh] BRIDGING GENRES When the pandemic began and theaters went dark, JH: Audiences have different codes for receiving film we all had questions: How will theater continue? How and theater. Things that are plausible in one medium can we make theater if we can’t gather? In 2001, Sha seem outlandish in the other. As E.G. noted, we accept Cage and I produced Zell Miller III’s play The Evidence artificiality in theater. There is a willing suspension of Silence Broken, and we spent a day filming the of disbelief. In film, we expect authenticity and ask production without an audience. Since then, we’ve questions when things feel artificial. So this film- encouraged theaters to consider using film in this way, theater experiment will be interesting. For example, so when Joe called, it felt like the perfect opportunity. in Dickens’ Holiday Classic, we’re using artificial snow Dickens’ Holiday Classic isn’t a play or a film. It’s a play as it exists in the theater world, but we’re capturing that’s a film and a film that’s a play. it in the film world. People will know the snow is fake, and I’m eager to see how that translates for our Knowing there wouldn’t be a live audience, Joe and I virtual audiences. began to imagine what the synthesis of theater and film could be. Joe said he didn’t want it to feel like EGB: When you experience theater, it’s from a single, “Masterpiece Theatre” with someone reading from a distant perspective. Film gives you mobility; you can big book in a big chair by the fireside. That was the see things up close and from many perspectives. catalyst for me to unmoor from what I knew theatrical As [Head of Props] Sarah Gullickson said, the stage films to be and see what else it could become. Much of props finally have a chance to live and be seen. The our initial work was figuring out how Charles Dickens’ Guthrie’s A Christmas Carol audiences have never prose would live in a cinematic world and maintain the been physically inside Scrooge’s bedroom, but genesis of theater. In the end, it became something Dickens’ Holiday Classic will take them there, almost uniquely its own. The audience will know they’re in as if they are Scrooge themselves. Another example a theatrical world, but they will experience it in a is when [actor] Charity Jones walks from the writer’s cinematic way. room to Scrooge’s bedroom. She has to physically walk through the counting house to get there, but JH: Dickens’ Holiday Classic begins by acknowledging through cinematic tricks, we never see the counting the elements of theater. We see a ghost light on an house. It’s like that classic scene in Lawrence of empty stage. We see vacant seats. We see the fly rails. Arabia where he lights a match and suddenly he’s in We see tables piled with props. It’s clear that the story the desert. That’s the beauty of film editing. You can yearns to be told onstage, but it is about to come to traverse landscapes. life on the screen.

CO-DIRECTING AND MAKING MAGIC A NEW WAY OF WORKING JH: Actors belong to a community, and you grow as JH: Filming felt like being in tech week and Jean- an actor by working with other actors. Directing is Paul Sartre’s play No Exit at the same time. It’s an solo work. You may admire another director’s plays, incredible crucible; everyone is working to make the but you don’t know how they got there. The ability to day. Questions flare and unanticipated challenges arise. co-direct is to participate in space with another maker, This is where E.G.’s experience as a filmmaker came to and working with E.G. felt iterative and alchemical. You bear. It took time to find our rhythm, which was mainly want a world where two plus two equals five, because me climbing the steep learning curve of what it means all too often, two plus two equals three. Although our to make a film and peppering E.G. with questions. primary mediums are different, we’re both storytellers. Thankfully, he is a patient collaborator and teacher. We have different skill sets, talents and ideas, but the vision is shared. This collaboration was thrilling, and it EGB: At the same time, I knew this project had to made me a better artist. carry the DNA of theater. I wanted to make it as cinematic as possible, but I had to let go of hiding the EGB: I loved watching Joe direct our four incredible theatricality. Unlike a film, where you shoot on location actors with speed, clarity and grace. It was freeing and the majority of the production design is built into because it allowed me to focus on the visual aesthetic. the place you’ve chosen, theater is created from the And I loved watching this project take shape. Scripts stage up. The writer’s room we created for Dickens’ get written and they reside inside our heads. Then, Holiday Classic was only a few set pieces sitting on suddenly, they’re alive. Creating and shaping stories cobblestones. The audience has to imagine the rest. for others to enjoy is a magical, sacred act. Every day That’s the theatricality. I’m making theater or film is the best day.

16 \ GUTHRIE THEATER • DICKENS’ HOLIDAY CLASSIC PLAY FEATURE

Changing Tunes By Margaret Leigh Inners in Changing Times Former Literary Intern

“I never beheld such a rapturous audience. And they — and the stage together: which I never can resist — made me do such a vast number of new things in the Carol, that Arthur [Smith, manager of Dickens’ reading tours] and our men stood in amazement at the Wing, and roared and stamped as if it were an entirely new book, topping all the others. You must come to some good place and hear the Carol. I think you will hardly know it again.”

So wrote Charles Dickens to a friend in 1858. After met by both young and old with genuine glee, not five years of performing readings of his beloved tale, merely with a sense of obligation? After all, since its Dickens was surprised and delighted to learn that a publication in 1843, it is likely that few stories have receptive audience could not merely discover for itself, inspired more retellings, reworkings, condensations, but also reveal to him, a freshness in his story. How piracies or outright bastardizations, whether for astonished Dickens would be, then, to think that more print, film, television or stage, or told through voice, than a century and a half later, his little tale, despite instrumental music, dance or even mime. being for so many something they have known for so long, still finds ways to surprise and delight! Perhaps Carol’s narrative simplicity has allowed it a successful evolution; readers have been able again and What exactly is it in Dickens’ text that has made again to delve into the text and develop rich social and A Christmas Carol a holiday institution perennially personal interpretations. Working to its advantage, too,

IMAGE: WOOD ENGRAVING OF PEOPLE BUYING TICKETS FOR DICKENS’ READING OF A CHRISTMAS CAROL AT 17 \ GUTHRIE THEATER • DICKENS’ HOLIDAY CLASSIC STEINWAY HALL IN NEW YORK CITY, HARPER’S WEEKLY, DECEMBER 28, 1867 (LIBRARY OF CONGRESS) is the story’s inherent theatricality, which lends itself to adaptation for the stage and screen. The rich interpretive possibilities of the tale, then, combined with the theatrical elements that continue to attract adapters in step with the public’s changing needs and prevailing mindset, account for its enduring popularity.

DICKENS’ DRAMATIC READINGS In a sense, Dickens was one of his own earliest adapters. From his first-ever public reading in 1853 to his last in 1870, Dickens chose to regularly perform various abridged versions of A Christmas Carol. And “perform” was certainly the operative word. According to contemporary reviews in The Cambridge Independent Press and The Times of London, Dickens “gave to every character a different voice, a different style, a different face” and displayed in his readings a “happy blending of the narrative and dramatic style, by which the author gives additional colouring to his already highly elaborate work, and astonishes the auditor by revelations of meaning that had escaped the solitary student.” The theatrical features of Dickens’ prose — his ear for dialogue, impeccable pacing and vivid characters as well as his ability to while in print, the figure of Mr. Cratchit with a crutch- portray their emotional journeys — could only be carrying Tiny Tim hoisted upon his shoulder became enhanced by Dickens’ own formidable talent as an an image of iconic stature. actor and his sensitivity to audience response. THE DEPRESSION AND RISE FROM STAGE PLAY TO SACRED TEXT OF THE “AMERICAN” CAROL Long before Dickens began his public reading tours, As time went by, little could prevent eager adapters however, others had already glimpsed the theatrical from continuing to try their hand at Dickens’ tale. The potential in his writing. Less than two months after the emergence of motion pictures in the late 19th century December 19, 1843, publication of A Christmas Carol, prompted the first film version of the story, titled eight dramatic adaptations were being staged around Scrooge; or Marley’s Ghost, which was released in 1901. England — among them productions at Sadler’s Wells Thomas Edison produced a version in 1910. Sound Theatre and Royal Surrey Theatre. Incidentally, they recordings for the gramophone were offered to the were bringing the tale to a wider audience than could public as well. have afforded the elegantly illustrated book itself. By the 1920s, Dickens’ story had gained wide These productions evidenced the dramatically popularity in the U.S. and was developing its own effective structure of the story: Scrooge’s troubled uniquely American feel. In the 1930s, the years of journey toward self-knowledge proved as compelling the Great Depression, A Christmas Carol offered onstage as in print. Scrooge’s trials and subsequent glimmers of hope to the American public. Listening redemption certainly have religious undertones. to radio adaptations of the story became a traditional Nonetheless, in the context of late-Victorian British holiday pastime for families and provided a sense society, adapters chose primarily to emphasize the of community. Lionel Barrymore’s annual radio Biblical references relating to the Cratchit family. performances, in particular, established him as the As Paul Davis states in his 1990 book The Lives and first truly “American” Scrooge and comforted a nation Times of Ebenezer Scrooge, “In Dickens’ latter-day yearning for symbols of hope and fortitude. Christmas story, the Cratchits became the Holy Family and Scrooge a 19th-century worldly wiseman making Depression-era Hollywood film versions of the Carol, his pilgrimage to the humble house of the ‘poor man’s developing alongside their radio counterparts, child.’” Accordingly, the Cratchit Christmas dinner was delivered to their diversion-seeking audiences a the high point of late Victorian theatrical productions, distinctly American fantasy of transcending class

IMAGE: “MR. CHARLES DICKENS’ LAST READING” FROM ILLUSTRATED LONDON NEWS 18 \ GUTHRIE THEATER • DICKENS’ HOLIDAY CLASSIC VOL 56, 1870 (WWW.FROMOLDBOOKS.ORG) differences and “triumphing over impersonal economic forces,” says Davis. In the egalitarian American take on Dickens’ story, Davis continues, some adapters even went as far as transforming the mere raise that the reformed Scrooge grants Cratchit in the original into a partnership in the firm. One “equal-opportunity” Carol, the 1938 big-budget MGM production, is a stunning, escapist spectacle which incorporates, in typical Hollywood fashion, more romance than is present in the original text and, predictably, glosses over some of the harsher social critique in Dickens’ story. adaptations are the 1984 version starring George C. Scott and Hollywood’s 1988 darkly comic Scrooged. POST-WWII PSYCHOLOGICAL EXPLORATIONS The former is a traditional period production, but one With the arrival of the prosperous 1950s, it seemed in which, according to Fred Guida in his 2000 book the British and American adapters, attuned to the A Christmas Carol and Its Adaptations, “the spectre changing sensibilities of their audiences, were willing of economics is felt as it is in no other version.” It to engage with the darker themes present in A portrays Scrooge as particularly dense to the warnings Christmas Carol, both the economic and psychological of the spirits and unyielding in clinging to his selfish ones. As Freudian “readings” of the story became the economic principles. trend and emphasized issues of repression, dream psychology and internal conflict, popular adaptations Scrooged is a far looser adaptation, relocating the tale engaged with similar themes. to modern-day America and featuring its protagonist as a workaholic executive too caught up in producing The 1951 British film version, featuring Alastair Sim a live, televised version of A Christmas Carol to care as Scrooge, is a fine example of postwar adapters’ about the concerns of his colleagues or the struggles interest in Scrooge as a psychologically complex of his longsuffering secretary. This is perhaps the character. It incorporates into his visions of the past most self-consciously deconstructive version of the more details about Scrooge’s troubled childhood Carol, claims Davis, for it ends with Scrooge breaking and youth, particulars which Dickens leaves to his up his broadcast of the Carol story in order to readers’ imaginations. The movie portrays Scrooge as admonish his live audience for watching television on a scarred, vulnerable and isolated man. Christmas Eve instead of genuinely engaging with the community. The film works best perhaps as a polemic SOCIOECONOMIC RESONANCES against the various forms of media that have made In the profit-obsessed corporate culture of the 1980s, A Christmas Carol into the cultural commodity that it the Carol took on new resonance, and adapters is, arguably, today. shifted their interest again to the socioeconomic issues embedded in the text. The two widely known Edited and adapted from the Guthrie’s 2004 A Christmas Carol program.

A 2020 Coda

By Carla Steen can partake in a telling of A Christmas Carol during a Dramaturg global pandemic.

We currently find ourselves in a world where stages are Dickens may never have imagined these circumstances dark, businesses have shuttered and unemployment rolls when he wrote the tale in 1843, but the words he gives have expanded. With what ears do we hear the Carol to Fred certainly capture a spirit and aspiration of our today? Perhaps the resonances of the Great Depression current era: “I am sure I have always thought of Christmas will come to the fore for some while the profit obsession time, when it has come round ... as a good time: a kind, of the 1980s will ring true for others. The Guthrie isn’t the forgiving, charitable, pleasant time: the only time I know only theater finding ways to share this perennial holiday of, in the long calendar of the year, when men and women gathering with patrons who can’t walk through the seem by one consent to open their shut-up hearts freely, theater’s doors. Dozens of productions are being filmed, and to think of people below them as if they really were livestreamed, Zoomed and otherwise made digital so fellow passengers to the grave and not another race of thousands, or perhaps millions, of viewers and listeners creatures bound on other journeys.”

19 \ GUTHRIE THEATER • DICKENS’ HOLIDAY CLASSIC PLAY FEATURE

Meet the Native Artist Fellows

Last March, the Guthrie received an Arts Access grant from the Minnesota State Arts Board to advance our ongoing collaboration and artmaking with the local Native community. Through this grant, and in partnership with Turtle Theater Collective, we offered paid fellowships to three Native artists who played essential roles in making Dickens’ Holiday Classic. From fun facts to future goals, get to know these amazing fellows and learn why Native representation is necessary in American theater.

Ernest Briggs White Earth Nation Theater Management Fellow

CITY: Minneapolis, Minnesota YOUR PERSONALITY IN THREE WORDS: Passionate, funny, laid-back FAVORITE WORK OF THEATER: As a director, The River Becomes Sea at Nimbus Theatre; as a producer, What Would Crazy Horse Do? for Turtle Theater Collective; as an actor, Noises Off at Artistry DAY JOB: Father, artist, coach DREAM JOB: Working on a sitcom ROLE MODELS: My father and mother FAVORITE QUOTE: “Knowing is not enough; we must apply. Willing is not enough; we must do.” – Bruce Lee GO-TO CATCHPHRASE: “Family forever” GRATITUDE MOMENT: Seeing the smiles and laughter of my family and friends, especially my beautiful daughter, Gwen FUN FACT: I have seven sisters, two brothers and 16 nieces and nephews (plus one on the way)

Why did you apply for this fellowship? For the opportunity to learn new skills and methods live performance because we’ve been doing that of running a theater administratively to make for centuries. One thing we will take forward is how it successful. to make theater safer for actors, production crews and patrons. Why is it important for Native artists to be represented both onstage and backstage What will this experience bring to your role as Artistic at the Guthrie? Director of Turtle Theater Collective? Because the Guthrie Theater is a big part of Minneapolis A supportive community I can reach out to for advice and Minnesota history and the history of Native people, and ideas on how to navigate the administration especially Ojibwe and Dakota People. They were part of of a theater. this community before the state and the Guthrie were established, and Native people are still here. You’ve been teaching acting courses for Native artists through the Guthrie. What have your students What does post-pandemic theater look like to you? taught you? I don’t think anyone knows the answer to this How important it is to create community, whether in question, but I believe there will still be a need for person or through online meetings.

20 \ GUTHRIE THEATER • DICKENS’ HOLIDAY CLASSIC Katie “KJ” Johns Bad River Ojibwe Production Management Fellow

CITY: Minneapolis, Minnesota (hometown is Ishpeming, Michigan) YOUR PERSONALITY IN THREE WORDS: Curious, engaging, fun HOBBIES: Watching television, reading, singing, hand embroidery and spending time with friends; pre-pandemic, you could always find me at a local concert or show FAVORITE WORK OF THEATER: Mr. Burns, a Post- Electric Play by Anne Washburn (A post-apocalyptic play surrounding the mythology of “The Simpsons”? I love it.) DREAM PROJECT: I’ve been daydreaming about It’s so important to tell the right working on a film or theater project with Taika Waititi stories onstage so myths can be and Larissa FastHorse busted and accurate truths can ROLE MODEL: Lisa Simpson be represented. FAVORITE QUOTE: I’m always quoting lines from “Bob’s Burgers” or “The Simpsons” GO-TO CATCHPHRASE: “Party!” or “Cool cool cool” PANDEMIC STRESS RELIEVER: Snuggling with my You’ve worked as a stage manager in the past. What cats, James and Lily, while watching comfort shows led you to take on production? like “Bob’s Burgers” and “The Simpsons” (I’m truly Originally, this fellowship was supposed to focus obsessed.) on stage management for Cabaret, but then the FUN FACT: I bring up fun facts in conversation — I love pandemic hit and everything changed. But I had sharing knowledge! an incredible mentor in [Director of Production] Rebecca Cribbin. I had the opportunity to ask Why did you apply for this fellowship? questions, shadow other departments and chat I loved working with the Guthrie team on Stories with everyone. Because there were so few of us on From the Drum, so I wanted to work with them again. the project and in the theater, I had many personal, I’ve mainly stage managed at smaller venues, so I one-on-one conversations that might not have also wanted to gain experience working in a large happened otherwise. professional theater and bring the work back to my community. Why is it important for Native artists to be represented both onstage and backstage in theater? Share a favorite story from working on Dickens’ It’s so important to tell the right stories onstage so Holiday Classic. myths can be busted and accurate truths can be It was fun to watch the different pieces fall together represented. Native people aren’t a monolith! It’s also so swiftly. We filmed an entire movie in 13 days! The critical to be backstage, because people rarely see the actors were on point — each of them brought their systemic racism and discrimination embedded in the A-game — and the crew worked so fast to make American theater. When there’s more representation adjustments. It was a smooth-running machine. backstage, we can work to create a safe, artistic space.

21 \ GUTHRIE THEATER • DICKENS’ HOLIDAY CLASSIC Sam Aros Mitchell Yaqui, enrolled with the Texas Band of Yaqui Indians Directing Fellow

CITY: Minneapolis, Minnesota YOUR PERSONALITY IN THREE WORDS: Extremely sensitive artist FAVORITE WORK OF THEATER: Anything by Charles Mee, especially bobrauschenbergamerica DAY JOB: Ph.D. student at the University of California, San Diego, currently writing my dissertation on Native contemporary artists DREAM JOB: To be like filmmaker Zacharias Kunuk, who made Atanarjuat: The Fast Runner with his Inuit community, or be a producer/theater artist for a Native contemporary arts institute ROLE MODEL: Sandy White Hawk (watch the documentary Blood Memory that features Sandy) and filmmaker Taika Waititi work to create spaces for BIPOC (Black, Indigenous FAVORITE QUOTE: “Enjoy every sandwich.” and People of Color) artists by lifting their voices, not – Warren Zevon exotifying and commodifying their experiences. I hope PANDEMIC STRESS RELIEVER: Espresso, lots of it to continue to decolonize theater in the Twin Cities GRATITUDE MOMENT: My partner Rosy, who keeps me and do everything I can to facilitate the voices of our safe during this pandemic by being extra cautious Native community onstage and in film. FUN FACT: I’ve moved around a lot, living in southern and northern California, including Imperial Valley, What did you learn about the intersection of theater Antioch, Oakley, Marsh Creek, Oakland, San Francisco and film? and Montecito (Oprah was my neighbor!); I’ve also From E.G. Bailey and his partner, Sha Cage, I learned lived in New York City, Miami and now Minneapolis that it takes patience, communication, and both technical and interpersonal skills to produce a film like Why did you apply for this fellowship? Dickens’ Holiday Classic. From Joseph Haj, I learned Because I knew I would be moving to Minneapolis in the nuances between acting for stage and acting for 2020. I’d heard a lot about the Guthrie while studying camera and the importance of staging the action that dance and theater at the University of California, happens within a scene. San Diego. What is your greatest takeaway from this experience? Why is it important for Native artists to be How to work through exhaustion, how to be in more represented both onstage and backstage generosity and how to share my love of movement at the Guthrie? with everyone! Because the Guthrie is located on Dakhóta and Anishinaabeg territory. Also, the portrayal of Native people as a contemporary people is critical. Otherwise, we are labeled as “something else” or “other.” We are This activity is made possible by still here. the voters of Minnesota through a grant from the Minnesota State Arts Board, thanks to a legislative What does post-pandemic theater look like to you? appropriation from the arts and cultural heritage fund. Post-pandemic theater will be about making theater accessible to wider, more diverse audiences. It will

22 \ GUTHRIE THEATER • DICKENS’ HOLIDAY CLASSIC PLAY FEATURE

A Christmas Carol Memories From Patrons

We saw A Christmas Carol during its first run in 1975. After experiencing the show, I told friends that I wouldn’t be surprised if it became an annual holiday tradition. My theater friends said no regional theater would give up the house that long for a “sentimental” 19th-century story. Ha!

– Melba Hensel

I’ve seen the Guthrie’s A Christmas Carol so many times, I’ve lost count. It has always been something I love to do at the holidays, first with my own children and now with my grandchildren. Meeting my husband on the crew while We will still make it a special evening, watching performing as an essential in 2010! theater at home. @actbright – Marilyn Mahmud

23 \ GUTHRIE THEATER • DICKENS’ HOLIDAY CLASSIC My parents, brothers and I were all dressed up when we arrived at the Guthrie only to find out that my mom had the wrong ticket dates. My family didn’t have a lot of money, so this was a special treat, and my mom was really upset. Thankfully, the Box Office had the holiday spirit! They changed our tickets so we could attend that day’s performance.

– Julie Joyce

Grandma always took us and My grandmother worked at the Guthrie, and bought us Skittles. she’d take us on occasion to see A Christmas @a_very_lost_girl Carol. My sister and I have shared this vintage Guthrie mug over the years. I don’t think often about its significance, but coming across it as I decorate for the holidays, I’m reminded of her. This year will be different, but not without In high school, I took a theater class to fulfill my memories to guide us through the season. electives; I was not a theater person. We would @briannakocka study plays and go to the Guthrie to watch the production — an easy way to get out of school. A Christmas Carol stays with me to this day. I remember thinking, “I will bring my children to this.” There was a spirit that washed over me I Since I moved to Minnesota for college, I have cannot explain. attended A Christmas Carol with friends each – Doris Salisbury year. During intermission, we’d compare it with other renditions (any version that focuses on the Fezziwigs is a favorite) and talk about the differences we noticed. This year, we will be in our own homes on a video call, but this story helps us remember that it is the spirit of the season, not the physical place, that brings us together.

I was lucky enough to shadow the run crew – Sarah Halby during the show last year. It was incredible!

@braden_kowalski__

A Christmas Carol has served as a date night for I was 8 the first time I saw the show. my wife and me for 12 years! We even saw the It is the reason I am an show when we lived in Oklahoma. It’s provided actor/acting coach today. many wonderful memories, and we have started bringing other couples with us to share in the joy. @stagedoorunlocked – Josh Hoffman

24 \ GUTHRIE THEATER • DICKENS’ HOLIDAY CLASSIC Education for Youth and Adults

6 Reasons to Take a Virtual Class

1 Moving the mind and body is a proven way 4 If you’re a professional actor, you’ll to cope with stress — especially during stay inspired and audition-ready until a pandemic. theaters reopen.

2 From Minneapolis to Mumbai, our virtual 5 Our teaching artists are some of the best classes and workshops are reaching in the industry, and they can’t wait to work students near and far. with you.

3 You’ll meet creative-minded people, 6 The reviews speak for themselves: make friends and build connections in the “Even though we were on Zoom, it felt theater community. personal and tailored to my needs.”

Explore our winter lineup at www.guthrietheater.org/education and register today! Scholarships are available.

Attention educators! Bring the Guthrie — and a whole lot of on-your-feet fun — into your virtual classroom with our new theater-based workshops for grades 3–12. Email [email protected] to learn more. PLAY FEATURE

PHOTO: BRIAN FEW JR, NATHANIEL FULLER, ANTON SHAVLIK AND TAHIEL JIMENEZ MEDINA (KAITLIN SCHLICK) Backstory

A SONG FOR THE SEASON Why did Charles Dickens title his novella A Christmas One of the motifs that becomes Carol? He meant it to be a song for the holiday season. clearer in hearing this version of The novella was published in 1843 with five “staves” — an the story is that Scrooge’s steps archaic form of the word “staff,” which means a verse to redemption begin very early or stanza of a song. He later condensed the story into in his adventures. four staves for his public readings, combining the visit from Christmas Yet to Come with the ending. Much like a cherished carol sung again and again, perhaps Dickens for his public readings of the novella. Because a single always imagined A Christmas Carol being an oft-told narrative voice tells the story, many lines that get tale, hence the musical nod in the title that has now skimmed over or discarded for a stage adaptation become synonymous with the holidays. are given full breath here. One of the motifs that becomes clearer in hearing this version of the story is that Scrooge’s steps to redemption begin very early SCROOGE’S STEPS TO REDEMPTION in his adventures. Sometimes even the most beloved stories offer discoveries when seen with fresh eyes. Dickens’ The story’s dramatic peak is when (spoiler alert!) the Holiday Classic is built on the text that Dickens edited Ghost of Christmas Yet to Come reveals Scrooge’s

26 \ GUTHRIE THEATER • DICKENS’ HOLIDAY CLASSIC SYNOPSIS Ebenezer Scrooge, a miserly businessman, moves through the streets of London with tight fists and a closed heart. He shuns light and love offered by those around him and greets each Christmas with a scowl and a “Bah! Humbug!”

On Christmas Eve, the ghost of his former business partner, Jacob Marley, appears before him wrapped in the chains of his own greed and callousness. He warns Scrooge of the similar fate that awaits him if he doesn’t change his ways. Before vanishing into the darkness, Marley tells Scrooge to expect visits from three more spirits on successive nights.

PHOTO: E.G. BAILEY, SHA CAGE AND MEGHAN KREIDLER (SARAH GULLICKSON) As promised, when the clock strikes one, the Ghost of Christmas Past appears and draws neglected gravestone, which prompts Scrooge to Scrooge through past memories to recall the declare that he is not the man he was and promise “to misfortunes, joys and mistakes of his youth. Next, honor Christmas in [his] heart, and try to keep it all Scrooge is thrown into the world around him by the year.” But Scrooge takes many little steps to reach the Ghost of Christmas Present, who shows him this realization. the happiness and community of people in his life who celebrate the holiday with gratitude no When the Ghost of Christmas Past takes Scrooge matter their wealth or poverty. Finally, Scrooge is to his childhood school, the heretofore implacable visited by the haunting Ghost of Christmas Yet to Scrooge weeps — three times! Seeing Fezziwig again Come, who reveals his dark fate if he remains on prompts regret over how he has treated his own clerk, his current path. Bob Cratchit. When he greets the Ghost of Christmas Present, Scrooge acknowledges that Past’s lessons are Scrooge awakes to discover it’s Christmas working and he hopes to learn more from Present. By morning, and he’s fully resolved to be a new the time he journeys with Yet to Come, Scrooge has man — a better man. He greets everyone with already determined to make changes in his life and a positive outlook, begins to make amends to eagerly looks for evidence of those changes in the those he has wronged and embraces all the scenes he’s shown. happiness his second chance brings.

Scrooge’s transformation into “as good a man as the good old city knew” isn’t a fear-of-death jolt — it’s the result of a thorough examination of his past actions, buried memories, present joys and future possibilities. It’s an exercise from which we can all take a lesson (sans ghosts, of course).

“LIGHTS, CAMERA, ACTION!” As many Guthrie actors, artists and crew discovered during their time working on Dickens’ Holiday Classic, this nearly cliche phrase is as intrinsic to filmmaking as “the call is places” is to theatermaking. Theatrical Lighting Designer Tom Mays noted early in the process that there are two different glossaries for essentially the same technology (see his examples on the next page). Under the skillful direction of E.G. Bailey and Joseph Haj, Dickens’ Holiday Classic emerged as a PHOTO: E.G. BAILEY, JOSEPH HAJ AND RYAN COLBERT (KAITLIN SCHLICK)

27 \ GUTHRIE THEATER • DICKENS’ HOLIDAY CLASSIC hybrid of the disciplines. Is it cinematic theater? Or theatrical film? Call it what you will because it’s brand new for the Guthrie.

In November, our McGuire Proscenium Stage became a film set that included scenic elements and costumes familiar to audiences who have seen the Guthrie’s onstage production of A Christmas Carol in recent years. But rather than being in a rehearsal room, where scenes are worked, reworked and strung together until a full story unfolds over a couple hours, the actors and directors worked onstage in repeated “takes” as master shots, pickups and inserts were filmed so the story could be assembled in an editing room in the following weeks.

Bailey and Haj conceived of Scrooge’s story being told by a writer who would be embodied on screen by four actors, each performing a stave, or chapter, of Dickens’ novella.

Bailey and Haj conceived of Scrooge’s story being told by a writer who would be embodied on screen by four actors, each performing a stave, or chapter, PHOTO: CHARITY JONES (KAITLIN SCHLICK) of Dickens’ novella. The writer’s room has the accoutrement familiar to the type: scattered papers, ink and pens, a comforting cup of tea. From this cozy by Alejandro González Iñárritu, which features many locale, the audience goes with the writer on flights of hidden edits that create the illusion it was filmed in fancy into their imagination, showing various places one take. of importance as they are described. The transitions from writer’s room to writer’s imagination are when Theater and film may speak different languages, the techniques of film come most prominently into or at least different dialects, but under the right play. For these back-and-forth moments, Bailey was circumstances, they can speak together in immensely inspired by the award-winning film Birdman, directed satisfying ways.

Definition Theater Term Film Term

Metal stand used to position sound, lighting or other Boom C-stand technical equipment

Head lighting technician on a project Master electrician Gaffer

When the audience is directly addressed Breaking the fourth wall Crossing the line

Area for monitoring what’s happening during rehearsal Tech tables Video village or filming

Wooden boxes used to prop up or support anything Ned or Gebby box Apple box onstage or on set

28 \ GUTHRIE THEATER • DICKENS’ HOLIDAY CLASSIC SUPPORTERS

Annual Fund Contributors We gratefully acknowledge the generosity of our donors whose annual support enables the Guthrie to remain a vibrant center for theater performance, education and training in our community. To join this group in ensuring the Guthrie continues to thrive, contact the Development Department at 612.225.6165.

PLATINUM PRODUCERS Julia W. Dayton Priscilla Brewster McVay Foundation $100,000 and above Katherine A. Harris & Margie & David Dines Jim & Linda Milow The Martha & Bruce Atwater Fund The Hegardt Foundation William & Janice Dircks Todd Noteboom & Nancy Brasel Allen & Kathy Lenzmeier John & Kathy Junek The Grieve Family Fund Lisa Saul Paylor & Marc Paylor The Sanger Family Foundation Peter & Patricia Kitchak Timothy A. Huebsch Brian Pietsch & Margaret Wurtele Benjamin Y.H. & Helen* C. Liu Iris & Jay Kiedrowski Christopher Hermann Richard & Annette Sattler Margee V. Kinney Nick & Judy Priadka EXECUTIVE PRODUCERS Lee & Peg Skold David & Diane Lilly Irene A. Quarshie $50,000 – $99,999 Steve Thompson & Ron Frey W. Thomas & Christine B. McEnery Mary & Tom Racciatti William & Penny George & Mary W. Vaughan Helen Meyer Ann Rainhart & Jason Digman The George Family Foundation Weiser Family Foundation on behalf Jennifer Melin Miller & David Miller Miriam A. Seim W. Duncan & Nivin MacMillan of Irving & Marjorie Weiser Mary & Ray Mithun Michael & Char Solberg Foundation Katherine Murphy Janis & James Stephenson David & Leni Moore PRODUCERS Marilyn Carlson Nelson Dr. & Mrs. Paul L. Trump Family Foundation $15,000 – $24,999 Jay Nibbe Frances & Frank Wilkinson Wendy Nelson Martha Goldberg Aronson & Louise W. Otten Heidi & Michael Wilson Daniel Aronson Dr. Mitchell & Katherine* Pincus Todd & Kyoko Zaun LEADING PRODUCERS Karen Bachman Robert Rosenbaum & Charles & Julie Zelle $25,000 – $49,999 Jennifer Reedstrom Bishop & Maggie Gilbert Marc & Alicia Belton Jon Bishop Ken & Sally Spence DESIGNERS Jim & Julie Chosy Stacy & Matt Bogart Steven & Catherine R. Webster $5,000 – $9,999 Anonymous (4) ASSOCIATE PRODUCERS Rick & Joan Ahmann $10,000 – $14,999 Cheryl & Rand Alexander Nima Ahmadi The Gregory & Lauren Anthony Fund Dr. Tadashi & Susan Allen Dale & Ruth Bachman From the Board Chair Susan & Richard Anderson The Beaupre Family Family Fund Laura & Jon Bloomberg A Christmas Carol is the first theatrical production Debra & David* Andreas John L. Burbidge I remember seeing, and my attendance as a child Pete & Margie Ankeny Jeanne Corwin Elizabeth Cook Atwater Ellie Crosby – The Longview sparked my lifelong patronage of the arts. Like so Abdhish & Mary Bhavsar Foundation many of you, I am eager for the day when we can Jane Robertson Blanch Fund Dr. & Mrs. David Dahlgren Peter & Maura Brew John W. Dayton safely gather in the theater again. Tyrone & Delia Bujold Charles & Barbara Donatelle Buuck Family Foundation Dr. Mary Anne Ebert & Michael V. & Ann C. Ciresi Paul Stembler When Joseph Haj first mentioned the idea of Terry & Sarah Clark The Ekdahl Hutchinson Family Fund producing some version of A Christmas Carol this Katherine J. Conover of The Saint Paul & Minnesota Ruth Stricker Dayton Foundation year, it immediately felt like the right decision. I Dave & Pat Drew Ted Ferrara appreciate the resiliency of the Guthrie to reimagine Gerald A. & Kay Erickson Richard & Beverly Fink and reshape its iconic tradition into a gift of holiday G.B.W. Fund Mitch Finne & Sara Van Kempen Polly Brown Grose Fund Thomas Flavin cheer for the community to enjoy virtually. of The Minneapolis Foundation Vicki & Si Ford N. Bud & Beverly Grossman Myron I. Frisch in memory of Foundation Delores Arlean Lutz Among many other things, 2020 was a year of Joseph & Deirdre Haj Martha Gabbert incredible change, and Charles Dickens’ theme of Linda N. & J. Laird Hanson Andrew Gaillard & Todd & Amy Hartman Megan Newstrom Gaillard transformation continues to resonate, especially Diane & Tony Hofstede Paul Gertenbach & Katherine Reed now. I’m deeply grateful for the many thousands David & Stacey Hurrell Lynn Glesne Garry W. Jenkins & Jon J. Lee Dr. Stanley M. & Luella G. Goldberg of donors whose support during these past nine Lisa Johnson Kelly & Chris Kelly Mike & Barbara Goldner months has helped us sustain the Guthrie’s future Christine Kucera Kalla & Mark Kalla Mary & Peter Gove and continue inviting audiences to experience the Paul & Suzanne Keel Grinnell Family Fund Patrick S. Kennedy of The Minneapolis Foundation joy and wonder of theater. John & Maureen Knapp Bob & Julie Guelich John S. Knapp Daniel & Ruth Haggerty Audrey & Jim Lucas Steve Hanson & Susan Cary-Hanson With gratitude, Bill Lurton The Head Family Foundation Whitney* & Elizabeth MacMillan Harold & Joan Johnson Family Fund Richard McCarthy, Jr. & Tim Kellar James L. Chosy The C.A. Weyerhaeuser Marla J. Kinney CHAIR, GUTHRIE BOARD OF DIRECTORS Memorial Foundation Daniel & Constance Kunin Susan & Edwin McCarthy Chad M. & Rafina Larsen/ Michael & Donna McCormick Larsen Fund

29 \ GUTHRIE THEATER • DICKENS’ HOLIDAY CLASSIC James & Susan Lenfestey Susan & Richard Crockett Todd & Brittany Moitz in memory of ADVOCATES Pat & Sara Mack Betsy & Edward Cussler Moitz & Nelson Families $1,000 – $2,499 Kathleen F. & David W. MacLennan Mary C. Dolan – The Longview Alfred P. & Ann M. Moore Anonymous (13) Fund of The Minneapolis Foundation Paul & Jane Mortell Alden* & Elizabeth Abraham Foundation Doug & Kate Donaldson Erik & Karen Nelson Kevin D. Abrahamson Steve & Kathi Austin Mahle Sara & Jock Donaldson Jeffrey H.J. Nipper, M.D. & Teri Drake Lucille Hamer Amis E.C. Mason Fund of The Duluth Sean & Meghan Elliott Ron & Toni Noah Mike & Peggy Anderson Superior Area Community M. Vaughn Emerson & Katie Haag Linda Odegard & Harlan Cavert Elizabeth Andrus Fund of The Foundation John J. & Debra E. Erhart Valdemar & Marilyn Olson Fund Minneapolis Foundation Julie M. McCombs Kathy & Bill Farley Stephanie Boening-Ondik & Sue & Phil Ankeny Family Fund of Robert & Polly McCrea Family Fund Dan Feidt & Margery Martin Dennis Ondik The Minneapolis Foundation of The Minneapolis Foundation Todd Joseph Ferrara Anne Paape Dr. Howard Ansel Anne W. & Eldon C.* Miller Fullerton Family Fund of The Carla Paulson Mary Kay Arthur Jay & Jennifer Novak Minneapolis Foundation Tad & Cindy Piper Fund of The Frederick & Catherine Asher Dr. David H. & Karen Olson Jerry* & Ellen Gallagher Minneapolis Foundation Rachel Babbitt Steve & Tamrah Schaller O’Neil Nathan George Patricia L. Ploetz Drs. Howard & Wendy Bach Timothy J. Pabst & Dana Lindsay Heidi & Howard Gilbert Pleasant & Toni Radford Richard & Mary Lyn Ballantine Michael & Kelly Palmer Bill & Aimee Guidera E. Thomas Binger & Rebecca Jane & Walter Barry Paradis Family Fund of The Sandra & Barnard Hall Rand Fund of The Minneapolis Lynn & George Bartley Minnesota Community Philip & Janet Hallaway Foundation Joseph Bayer Foundation Emily & Jed Harris Lawrence M. Redmond Margaret & J.R. Beahrs Nathan Pommeranz Brian & Erin Hart Remele Family Fund of The Steven Robert Beck Thomas & Nancy Rohde Lorraine R. Hart Minneapolis Foundation Bob Beltz Carol H. Rueppel Anne L. Haslerud Robin Ritter & Ben Emmons Bryan & Mary Bennett Kay Savik & Joe Tashjian James Haskins & Mike Whistler Jeannine Rivet & Cindy & Dave Berg Rachael Scherer & Stephen Imholte/ Thane & Blanche Hawkins Warren G. Herreid II Alana Bergman Baci Fund of The Minneapolis Les & Judy Heinen Jack & Marty Rossmann Barbara Berkeley Foundation Peter & Carolyn Hendrixson Jody & Tom Ryan Julian Bernick & Jennifer Linde Anne Larsen Simonson/ Todd Hess & Lee Tricker Veronique & Maurice Sarano Sharon Bigot Larsen Fund Jayne & Al Hilde, Jr. Jo Ellen & H. L. Saylor Gary & Bonnie Birnbaum Steven Snyder & Sherry Stern Ian & Karla Hillier Lili H. & Andrea Scarpa David & Shari Boehnen Jim & Mimi Stake Orville C. Hognander, Jr. The Thomas L. & Lynn M. Schaefer Mark & Mary Boorsma Catherine A. Taylor Andy & Gary Whitford-Holey Family Fund Christine E. Bray, Ph.D. Marcia Townley Char Hovi Michael Schmaltz Breyer Family Fund of The Kinder Vealitzek Family Fund of The Penny Hunt Ronald & Janet Schutz Minneapolis Foundation Minneapolis Foundation Mary Ingebrand-Pohlad Nina & Frederick Schwenk Beth Brill Joyce & Dennis Wahr Kate Johansen Kenneth & Katie Searl J. David & Donna Brown Cornie & Betty Ann Wiens Richard & Bonnie Johnson Allen Sever Jeffrey L. Buchanan David A. Wilson & Michael J. Ryan & Denise Johnson Rebecca & Mark Shavlik Mary Lou & Allan Burdick Peterman Bruce R. Jones Mariana & Craig Shulstad Martha & Ronald Caldwell Karen & John Winkelman Ellen Jones & Robert McKlveen Wayne & Dorothy Simpson Anne Campbell Lucy Rosenberry Jones Lawrence J. Sinak & Gary T. & Joan Capen ARTISTS Winton Jones Foundation Anne Black-Sinak Dr. Thomas C. & Anne Carrier $2,500 – $4,999 Drs. Charles R. & Sally B. Jorgensen Lana & Andy Slavitt Darlene J. & Richard P. Carroll An Anonymous Fund of The John Kaatz & Peggy Kjorstad-Kaatz Eileen M. Smith Family Fund of The Minneapolis Minneapolis Foundation Andrea & Brian Kalis Julie Snortland Foundation Anonymous (2) Drs. Scott & Julie Kammer Lori J. Sommerfield The Carter Family Foundation Steven & Beverly Aanenson Samuel L. & Sylvia Kaplan Robert J. Spikings & Tim Carter & Sally Wahman Kathleen R. Adix Jane & Jim Kaufman Fund Jeffery P. Perkey Michael & Nancy Casey Brandon Agneberg of The Minneapolis Foundation Peter Spokes Mark Caswell Dennis P. Albrecht Pamela & Ronald Kaufman Steven & Gwen Starr Kerry L. Childe Mollie Alexander & Frank Hogan Ivars & Gloria Kauls Robert Stewart Richard W. & Jean Illsley Clarke The Joseph Allen Fund Lynda Kauls & Geoffrey Emerson Sulasalmi Fund of The Minneapolis Fund of The Minneapolis of The Saint Paul Foundation Vicki Keskitalo Foundation Foundation William & Suzanne Ammerman Steven & Karen Kittay Cheryl Sullivan-Little Richard J. Cohen Steven & Kathy Anderson Jim & Kathy Klock Steven H. Tallant, Ph.D. Larry A. Colbeck Susan & Lloyd Armstrong Thomas Knabel & Kent Allin Joseph & Kaimay Terry David Colwell Allen & Andi Barnard Ann Kools Delroy & Doris Thomas Julie Corty Grace & David Bartholet Jodee & Nick Kozlak Tim & Alice Thornton Russell Cowles Drs. Ellen & Michael* Bendel-Stenzel Drs. Kimberly Krohn & Charitable Trust David & Vicki Cox Sue A. Bennett John Fishpaw Cathryn L. Timmers Sandra & Lynn Davis Boren Family Fund of The Suzanne & Miles Lahr Larry & Nancy Tschaekofske Merry De Leon Krueger Minneapolis Foundation Tom Lanqueteau & Paula Masko Tschudy Family Foundation Cy & Paula DeCosse Fund Jeffrey D. Bores & Michael Hawkins Michael C. Leary Norman & Karleen Waitt of The Minneapolis Foundation Lynn & Julie Boyd Ilo & Margaret Leppik Ruth & David Waterbury John & Bette DeMars Will Bracken Family Foundation Mac & Mary Lewis Steve & Melissa Wehrle Tom & Mary Lou Detwiler Steve & Gail Brand George M. Logan & Susan H. Holman Peter C. Welles Mark & Janet Ditter Michael & Carol Bromer Ann C. Lowry & John W. Overton, Jr. Susan West Keith & Jennica Dixon Suzanne Bross Dave & Peggy Lucas Dave Westrum John & Maureen Drewitz in memory Robert & Janet Calander James MacKay & Lori Johnson Jan & Linda Willette of Arlene B. Bryant Michael & Edith-Nicole Cameron Joan Maclin Tom & Nancy Willette William & Kareen Ecklund Helen Cleveland Dr. Robert & Virginia McCollister Georgia & Peter Windhorst Hugh & Joyce Edmondson Cinda Collins Sheila & Bernard McDonagh John Windhorst Mark M. Egan Jane & Ogden Confer Dr. William W. & Nadine M. McGuire Clark & Sharon Winslow Mary Jo & David Eide Stephen & Sylvia Cook Robert & Laurie McNeill Penny Rand Winton Dr. Jan Elfline Benjamin & Laura Cooper Mersky Family Foundation Lisa M. Wollan Doris Engibous & Cathy Ryan Gisela Corbett & Peter Hyman Charles & Carolyn Meyer Sri & Aks Zaheer Laurie A. Erlandson Randy & Ann Cowan Dr. Jan Meyer & Roger Jorgenson Dr. Alvin S. & Sue Zelickson Nichole Fairbanks Jay & Page Cowles Sheila & Jim Moar Honey & Larry Zelle Tim & Noreen Farrell

30 \ GUTHRIE THEATER • DICKENS’ HOLIDAY CLASSIC Corrinne Fiedler Anita Makar Andrea & Dan Field Eileen & Kevin Maler Ruth & Leroy Fingerson Tom & Nona Mason Amy & Miles Fiterman Karmi Anna Mattson Katherine Simon Frank & Scott McConnell & Laurie Davis Richard Kain Sam & Patty McCullough B.J. French Dick & Joyce H. McFarland Family Daniel & Carol Frenning Fund of The Minneapolis Philip & Phyllis Garon Foundation Leland & Beverly Gehrke Karen & John Meslow Charitable Fund Robert Gilbert David J. Meyer Good Fund of The Minneapolis Craig R. Miller Foundation Lucy C. Mitchell – The Longview Arlene Goter Foundation Tim Grady & Catherine Allan Fund Karin L. Moe of The Minneapolis Foundation Kristin Morris Nina & Matthew Graham Fred & Charlotte Morrison Thank you to our Amy T. Graves Jack L. & Chris Morrison Jerry Green & Chris Foster Laura Murphy-Wolf Guthrie Luminaries Joe Green & Trudi Anderson Lynn & Anders Myhran Terry Farley & Jeff Griffin NaLa Fund of The Minneapolis When the Guthrie’s stages went dark this spring Joan Growe & Tom Moore Foundation and hundreds of performances were canceled, more Peggy Hall & Lee Barry Heidi Neibert Roger Hallgren, M.D. Nancy Ballsrud & Jim Nelson than 2,000 patrons helped us keep the lights on Brita Hansen & Eric Hazen Keith & Paulette Nelson by donating the value of their tickets. We call them Jack Hansen & Joan LeGare-Hansen Katherine Nevins Luminaries because they provided hope when it was Leah Harrison Stich Fund John & Joan Nolan Alfred & Ingrid Lenz Harrison Rosemary & Gerald Olerud in short supply. We are so grateful. Kerri Hawk Benedict & Rita Olk Alice B. Hawks Ahmad & Ruth Orandi See the list Stephen & Patricia Haynes John Owens & Kris & David Henderson Elizabeth Buckingham Nancy & Dean Heng Diana J. Pauling Ms. Alice J. Hill Chip & Amy Pearson The Julianna Marie Hillmer Shelly & Michael Hanson John & Laura D. Taft Jan & Art Anderson Memorial Fund Charlotte Perez & Amy Pearson Joseph P. Tamburino Kyle A. Anderson Karen & Chris Hodgson Linda & Lee Petersen Marsha & Gary Tankenoff Lorna Anderson Jack & Linda Hoeschler Family Fund Ron & Kathy Peterson Carolyn Taylor Margret E. Anderson Paul S. Holte The Pickhardt Resnick Family Fund Jill & Frederick Taylor Neil Anderson & Johanna Rian Steve Horan Bill Pinegar The Thayer Family Foundation Paul & Donna Arbisi Elizabeth A. Hughes Thomas D. Pletcher of The Minnesota Community J. Scott Arrell The John & Ruth Huss Fund Lorraine A. Potuzak Foundation Sarah E. Babbitt John Isch Arvid & Mary Povilaitis Carol M. Downie & Barry & Sandra Baines Keith & Kristi Johnson Deborah & Ralph Powell Gregory J. Thomas Carole & Douglas Baker, Sr. Paul A. & Renee Johnson John Powers Thaddius Thompson Janet E. Balej Gail & Tom Jones Nancy & James Proman Michael & Gloria Thurmes Diana J. Barber Dr. Michael & Cynthia Jorgenson Sig & Marti Reckdahl Gerald & Susan Timm Susan Barkley Piehowski Suzanne Joyce Mark Rodriguez Bill & Deb Tomczyk Thomas & Jill Barland Kate Haugen & Carlton Hunke Ted & Aileen Rowe Lynn & Carol Truesdell Franklin Barnwell Dr. Perri Kauls & Desmond Kilcoyne Robert Russell Paula Vesely James W. & Mary L. Bassett Marie N. King Denise R. Rutherford & Beckie Wahlin & Bill Tucker Lavonne & Paul Batalden Gordon & Janet Kipling Maurice Kuypers James & Idelle Walton Sarah & Michael Bauer Trisha Kirk & Sara J. Fenlason Bob & Sharon Ryan Jo & Howard Weiner Debra J. Bauler David Kirkland Dr. Mark Rynda & Daniel Rodriguez Patrick & Vera Whelan Fred & Patricia Baumer Drs. James & Kelsey Klaas Sharon Sampson Nedra & John Wicks Aaron Beahm William & Diane Krueger Bernie & Jane Schmitt Michelle Williams Robert & Mary Beck Kay Kulp John Shomaker Martha & Kenneth Williamson Lynn & Carla Behnke Anita Kunin Karen & David Scott Frederick & Eleanor C. Winston Keith Bengtson James H. Kunz Charles & Lorraine Sewich Mark Woodburn & Jane Landwehr Larry & Sandie Berger Susan K. Kunz Mary Sheehy Winifred Wu James Berget Tamara S. Laingen Richard Silcox Vicki Wyard Marcy & Randy Betcher Kathleen M. Lamb Lorri Sills Jane & Oswald Wyatt Kristin Bianchi Richard C. Larsen David Simpson Shay & Brenda Wyley Floris & Marjolijn Bielders Mary & Barry Lazarus Richard & Mary Jo Skaggs Hollis E. Bishop Anne & Charles Leck Helene & Jeff Slocum ASSOCIATES Steve & Meg Blake Wendy Willson Legge & Dr. James & Joanne Smith $500 – $999 Suzanne Blum Grundyson Gordon E. Legge Nikki Sorum & Simon Foster Anonymous (25) Patricia Bordewich LeJeune Family Foundation Jodi L. Standke Lilah E. Aas Verna Kay Bormann Walter Lentz & Susan Nixon Sara & Henry Stokman Paul & Christina Ablack Judy J. Bouts Regina Levin & Paul Sween James H. Storm Yohan K. Abraham Mary S. Bowman LeRoy & Mary Jo Levorson Nancy & John Strom Tom & Ilene Adam Lori D. Boynton & Jim J. Helgerson John & Nancy Lindahl Andrea D. Suchy-Shinn Carl Adams William & Mary Brandt Dr. Ron Linde & Rob Ostrander Marcia J. Sullivan Constance A. & Wayne Adkisson Jim & Marge Brasel Steve & Noreen Linney Ann & Steve Sundberg Gift Fund of Doug Affinito Diana W. Brashears Stephen Litton The Fidelity Charitable Gift Fund Andrew Ahl Tamara L. Bredemus Dennis & Sandra Livingston David Swanson in memory of Leslie Albers Merrie Breitenfeldt Eric J. & Larry J. Loyer-Trosdahl Penny Sweitzer Annette M. Anderson Deborah & Fredric Bremseth Laraine MacKenzie Jerry Swenson Craig Anderson Hibbs Brenner Family Fund Laura Maharry Dana Swindler & Greg Walsh Fiona & Chuck Anderson of The Minneapolis Foundation

31 \ GUTHRIE THEATER • DICKENS’ HOLIDAY CLASSIC Dave & Lonnie Broden Cara & Nathan Gaherty Ardes Johnson Benjamin & Robyn Murray Tim & Jennifer Buechele Nancy & Jack Garland Michael & Peg Johnson Gillian & Roy Myers Daniel Bulver Steve & Kathy Gaskins Mike Johnson Gwen & Mason Myers John C. & Claire Butler John Geelan & Megan Feeney Roy A. Johnson Jake Nagy Kevin Cain Southwest Initiative Foundation Steve J. & Helen Johnson Jill Nauman & Bruce Johnson Gary & Sandy Campbell Tom Geisen & Joan Prairie Mark & Karla Jones Daniel Neiden Kathleen & Paul Campbell Susan Gerstner & Daniel Carlsen Paul Kaefer Katy Neitzke James W. Canaday Teddy & Jim Gesell Miriam Kagol Gary & Mary Nelsestuen Walter Cannon Mark L. Gilberstadt Arnold & Shirley Kaplan Craig M. Nelson Louise Ann Carlson James & Mary Gillespie Bloomfield Karasov Fund Karen Nemchik & Tariq Samad Richard & Mari Carlson Michael & Sharlene Glausser of The Minneapolis Foundation Merritt Nequette & Nancy Hartung James P. Carver Gina M. Glenna Jim & Linda Karkhoff David & Colleen Ness Thomas & Susan Cathey Jonathan Glover Andrew & Virginia Kass Pamela Neuenfeldt & Don Williams Karen Chaussee Colette Goderstad Thea Keamy Craig Niedenthal David A. Christenson Richard & Marsha Gould Jack & Marilyn Kemme Mark Niemer & Yasyn Lee Eugene & Kay Christenson William Gould Michael C. Kemp Lynn B. Noland Janet & Gary Christenson Dawn Gralish Brad & Linda Kennedy Karl & Diane Nolte Tricia Clarke Mary & Tim Gray David & Rebecca Key Byron & Janet Nordstrom Barbara A. & Don Claseman Gwesyn & Gloria Griffiths Fund of Jeffrey & Lauren Kiesel Joyce L. Norman Clay Family Fund of The The Mankato Area Foundation Dariya Y. Kimmes Donald L. Nygaard Minneapolis Foundation Michelle Grob Jeffrey & Julie Kimpton Steven Oberg Therese Cloyd Jonathan R. Gross Anthony L. Kiorpes Bobbi Jo O’Brien Shane Clune Arthur & JeanAnn Guetter Chuck & Jill Koosmann Doreen O’Brien & Jeff Engel Stephen L. Cohen Jennifer & Steven Gullickson Maureen Kucera-Walsh & Mike Walsh Jody O’Grady Steve Coleman Aaron & Victoria Haberman Harold & Grace Kurtz Patricia L. Olby John E. Columbus Kevin Hagstrom Kirk & Jane Landman Debera O’Leary & Scott Bullock Janet Cram Susan Hagstrum & Robert Bruininks Margaret Lassack Eugene & Julie Ollila David & Gretchen Crary Ken & Suanne Hallberg John Lassila Gloria & David Olsen Brian J. Crocker Jane Hallman Ruth & David Legvold Jeremy & Mary K. Olsen Bryan Crossland Deborah G. Halvorson Ernest & Sarah Lehmann Dr. & Mrs. Michael Paparella Beth Crowell Joe & Janet Hamernick Family Fund Thomas Pareigat Amy E. Dahl Jennifer Hanson & Matthew Thell Laurie Leidig Charles & JoAnne Parsons Rachel A. Dahms Steven Harmer Kristina Lelcu Andrea Pasutti Tom E. Davis Angelique M. Harrington Voigt & Mary Lenmark in loving Greg & Susan Path Jo Debruycker Marguerite & Donald L. Harvey memory of Dr. S. Scott Nicholas Kate C. Perry Kevin Deegan & Carolyn Clarke Family Fund of The Minneapolis Beth & Todd Leonard James Person Lynne & Hans Dekker Foundation Vicky Lettmann Jane Persoon Stacy Dennis Cynthia Hasselbusch & Larry Espel Christopher Leville Austin Mutual Insurance Company Pamela Desnick William & Kathleen Haug Lisa & Jon Lewis Foundation Carolyn M. Deters & Robert & Sally Hauser James Lindell Jennifer Peterson & Mark Traynor Timothy J. Wicker Bob & Kim Hayes Nigel A. Linden Jenny N. & Scott T. Peterson Stanley P. & Gisele J. Dick Laura Heard Michael & Karlene Lindseth Amanda Pfeifer Marcia & Allen L. Dollerschell Susan Hein Anne Linnee Lee Piechowski Ernest F. & Mary L. Dorn Carl E. & Brenda Heltne Martha & Wilfert Long Sarah Piepel Al & Nancy Dorris Catherine Hengel Borud Gay Ann Louiselle Gloria G. Plautz Paul Dottle Alex Herman Richard & Juanita Luis Susan & David Plimpton Erik Dreyer Gale & Holly Herman Sherry Lund Carol A. Poulson Wanda Driver Carrie & Richard Higgins William Maass & Bonnie Stewart Katharine A. Price David & Karen Dudley Melissa A. Higgs Ellen & David MacDonald J. David Prince Brian Dukerschein David R. Hilden & Julie Railsback Brooke MacLean Lucy & Charles Quaintance Joe Dumas Paul & Ann Himmler Amy Madson Linda & Brad Quarderer Carolyn Durham Allen & Joanne Hinderaker Rhoda & Don Mains The Quiring Family Fund Ed Egan Sandra Hitch Sandra & Tom Mallon of The Minneapolis Foundation Jane Emison & Mike Tierney Libby & Ed Hlavka R.R. & C.B. Maslonkowski Stanley & Renita Quist Dr. Anne Boisclair-Fahey & Pamela E. Hoekstra Joseph Matula Anton & Beth Rang Thomas H. Fahey III George & Susan Hoff Mary Maurice & Sandra Sedo Laura Rathe Rumi Faizer & Archana Ramaswamy Thaddeus Hogan Shane P. McCarron Barbara & Bill Read Ryan Feltman Jennifer Holmes McDermott Family Morgan M. Reidy Charles & Anne Ferrell Spencer & Nancy Holmes Paula & John McClung Stephen & Kathryn Remole Barry & Gail Fick Richard & Anita Horecka Renee McGivern Kristine Revak Christopher Fimmen Peter R. Horstman Paul McGuirk PJ & Lara Ritters John & Mary Finch Teresa C. House Kent McKusick Nicholas Roberts Esq. Bob & Sylvia Fine Burt & Sandy Hoverson Roberta Megard Laura Rochford Donald A. Finlayson Richard & Anne Hovland Maureen A. Meier Walter & Jodell Rockenstein Eileen M. Fisher James A. & Ann Howard James & Sharon Meisnitzer Martin & Jo Rockwell Steve & Mimi Fisher Family Fund of Rose M. Huck June Mendoza & Peter Herzog Dennis & Jan Rodning The Minneapolis Foundation Chuck Huff & Almut Furchert Chelsie Messenger Sandra Bemis Roe Carol Fitzgerald Melissa & Clifton Hull William Messer Karen Roesler Kyle Fitzwater & Steven Rosnow Karen & David Huse Lavonne Michaud & Gregg Bloom Christopher B. Rogers Shari & John Fleming Steven & Michelle Inman Sherri Middendorf & Thomas Burrell James & Sheren Rogne Beth Flynn & Mark Ferry Jeanne & Mark Innerbichler James Milavetz Arlene & Jerold Roth Caroline & Dutton Foster Helena E. Jackson Aaron Milbank Dr. David A. & Kathleen S. Mildred Fox Kathleen Jackson Sonny & Amy Miller Rothenberger Becky Foy Diane L. & Paul Jacobson The Moosehorn Fund The Susan & John Ryan Thomas M. Freeman Warren & Barbara Jeffers of The Minneapolis Foundation Charitable Fund Josh Friese Kathy Jenkins Nancy Morden & Ethan Berke George Saad in memory of Marcy R. Frost Robynn Jensen Larry & Tamara Morrissey Fouad V. Saad Elizabeth & Matthew Furman Maerenn & Steve Jepsen Andrea Mueller Daniel M. Salas Connie S. Fust Jennifer Jermasek-John Kristina Mulder Jorge Samper-Zelaya

32 \ GUTHRIE THEATER • DICKENS’ HOLIDAY CLASSIC Tom Sandhei Suzann Willhite & Marilyn Savage Kristin A. Siegesmund Mary E. Savina Jo & Andi Winkowitsch Maggie & Paul Scanlon Merlyn & Twila A. Winter Carol Schirmers David R. & Laura Witte Ione Schloegel Gail M. Wold Richard & Judith Schmidt Timothy & Susan Woolard Robert Schmitz & Mary Ryan Roger Younker Paul L. Schumann Nancy Zaske Nancy Schwalm Paul Zellweger & Elizabeth Stewart Jodi & Dick Schwegman Nadim Zoberi Robert & Belle Scott Judith N. Scoville FRIENDS Bruce & Julianne Seiber $250 – $499 Margaret Shea Anonymous (44) Monica M. Shearon David Abbott & Jane Voglewede Thomas & Linda Sheran David H. Abramson A special thanks Katrin Sigurdardottir Sandy Adam Laura Silver & Jeff Hertzberg Robert & Carolyn Albright to One Guthrie donors Artice & Morton Silverman Tom & Darlene Alleva Miriam Simmons & James Schenz Fayette M. Ames In recent months, the One Guthrie campaign raised Bonita Sindelir & Kenneth Keller Annette K. Anderson critical funds to help sustain the theater, support David Skolbekken Barbara & Van Anderson our artists and prepare for future seasons in the Barbara & Dennis Smith Beverly J. Anderson Howie Smith Deloris A. Anderson face of great uncertainty. On behalf of everyone at Michael Smith Keith J. Anderson the Guthrie, we extend our heartfelt thanks to the Bruce Sorensen Kristina C. Anderson generous donors who contributed. Charles Sorenson Martha & David Anderson Richard Soule & Deborah Fineman Nancy E. Anderson Gary Specker Patricia & Cornell Anderson See the list Curt & Louise Speller Dr. Richard Anderson Susan Stabile & David Drueding I. Shelby Andress Tara Stassen Ferguson & Elizabeth Andrews & Jeffrey Rank Greg Ferguson Stephanie Angelo David* & Jean Stearns Greg S. Anthony David & Borgie Bonthuis Lisa M. Chaput Ellen J. Stein Connie & George Aram Deloris M. & George Booth Chelsea J. Chase Sharron & Oren Steinfeldt Ellen Archibald Lynn E. Booth Sonja N. Cheng Jankovic Tom & Carolyn Stertz Ward & Kathy Armstrong David & Patricia Borchert Carol Chomsky & Steven Liss William & Lois Stevens Lynne Arneson Nancy A. Bostrom Kimberly D. Choyke Sharon Stewart Samuel D. Arnold Jim & Dee Boulger Kathryn Christenson Ken & Pam Stofferahn Jon & Linnea Asp Linda Bracken Ruth E. Cioni Lynn & Larry Stranghoener Judy Auger Marge Bramer The Clancy Fund Kevin Streeter Kathy Ayaz Carol Brandenburg Megan K. Clapp Jessica Stumpf Jim Azarski & Nancy Werner-Azarski Shelly Brandl Tim Claus & Louise Anderson Angela Suchy Catherine Babcock Erik & Hanna Brandt Mark Cleveland Jeffrey Sugerman Jeannette Bach & Mentor Addicks John I. Brant Victoria L. Cliby Sally K. Sundby Kay C. & Ronald J. Bach Bryan Breuer Thomas Clough & Linda Svitak & David Feroe Jean Baillon Mike & Ann Brilley Elizabeth McKinsey Connie L. Theien-Psotka Dr. Carl & Mary Bandt Marvin & Kathleen Brooks Daniel C. Coborn Dr. Andrew Thomas Audrey Banwart Sheila & Daniel Broughton Ellen Coffey James & Barbara Thomson Janet Bartels & Phillip Bohl Vickie A. Brown Matthew & Karla Cole Anna & Bob Tift Paula Baudhuin Thomas & Joyce Bruckner Maryanne Coleman Phillip & Myra Toconita Marybeth Bauries & Gwen Goldsmith Philip & Ellen Bruner Susan & Albert Colianni Dr. & Mrs. Richard Tompkins Tanis Beadle Laurel H. Bruno Maria Collazo-Clavell & Dana J. Tonrey Jenifer M. Beaudoin Johanna Buch Alfredo Clavell Scot Torkelson Steve & Mary Beilke Gerald & Jean Bucksa Dale Connelly & Nancy Hedman Stephanie M. Tumbleson Logan & Jean Beisner Kent Buell Earl & Linda Cook Jay & Marietta Turner Carol & Judson Bemis, Jr. Fund of Stephen Bunge Margaret Cords Lammers & Greg Utecht The Minneapolis Foundation Carolyn Burnett & John Cook Mark Lammers James C. Van Doren Richard & Kay Bendel Linda Burr Joan K. Costello Mary Van Raalte Henry & Diane Benz Carlos & Wendy Calderon Kerissa Crawford Sharon E. Velin Zach Berens Ellen Calebaugh Cynthia L. Crist Joseph Vieau Bonnie & Richard Berg Lorie Call Jackie M. Cronin Sofia Viruly Jon & Jeanne Berget Kristy & J.R. Campuzano Taylor & Kelsey Crouch-Dodson Alice & Fred Wall Family Foundation David P. Bergstrom Charlotte Carey Barbara & Richard Crouter T.K. & Linda Walling Melissa Berning Timothy Carey Joseph & Sharon Cuccia, Jr. Frederick & Dorothy Waltz Gail & John Bertossi Renee Carlisle Peggy Dahl-Bartunek Sarah Marie Wandschneider Richard Bettelli Paula Carlson & Thomas Schattauer Shaley Danielson David M. & Mary Ann B. Wark Bruce W. Beutel Katie Carsi Tammy L. Darrah Wenberg Randall & Janet Warren Alice Bieniek Barbara A. Case Gordon & LaNay Davis Steve & Melinda Weber Jim & Debra Billigmeier James Casper Jacquelyn J. Davis Fritz Wehrenberg & Jennie LeGates Kalli-Ann Binkowski Michelle Casper Margaret M. Day Jeff & Judy Weidner Keelin Kane & Mark Bixby Jason R. Cassady Edward & Sherry Ann Dayton Brenda Weigel & Ross Bartels Pamela Blackamoore Mary S. Cavanaugh Richard & Becky de la Cruz Rhonda Wesseln Kami & Matthew Blackwell Kinney Donna Ceglar Bryan Dean Steven Wheeler Jerry & Elle Blomquist Amalia E. Centurión Jacqueline & Jim DeBuse Joseph & Desiree Whitney Karen Blumberg & Daniel Rischall Tim Certain Brian & Meaghan Decker David Wicks Janice M. Bobrowske Prakash R. Chada Kristin Decker Jill Wiener Terri Bonoff & Matthew Knopf Rosann Chamberlain & Cal Hardie Gina DeConcini & Tom Zessman

33 \ GUTHRIE THEATER • DICKENS’ HOLIDAY CLASSIC Anne & Thomas Deetz Bill & Marilyn Gorham Ben & Kirstin Jarvis Michael Lonergan Nancy W. Delapp Betty A. Graham Barbara Jenkins Margaret Longlet Janna P. DeLue Georgia B. Grant Evelyn Jennings Mary Lundberg-Johnson & Rebecca L. DeMann Todd F. & Debra N. Grant Myrtle & Wyn John David Johnson Marielle & Joel Demarais Nadine Grantham Philips Michael Johnson Charles Lutz Felicia Desantos Robert Gregory Nicole Johnson Margret Lydell Mary Dew & David Miller Courtney Griggs Ron & Sheila Johnson Patrick Lynch Kevin Dexter Richard & Judith Grimes Timothy Johnson Richard & Jean Lynch Fund David & Helen Dichek Susan G. Gross Forneris Neal & Elizabeth Johnston of The Catholic Community Christy L. Dickinson Wolf Grosskopf Nick & Ella Jo Johnston Foundation Terry R. Diebold Tom & Jaci Guglielmi David Jokipii Pat Lyon Danielle Dire & Mark Baum Clay & Sandy Haapala Anne L. & Scott Jones Reid & Ann MacDonald Mary C. Doerr Matt Haar & Erin VanBurkleo Clinton & Mary Ann Jurgens Karen L. Mackenzie & Kathleen Dolphin Frederick Haas & Sarah Nordstrom Linda & Jeffrey Kahn W. Brooks Donald Shawn & Amanda Donovan Jennifer A. Haberman Gerald & Rebecca Kajander Joan Madden Charitable Fund of Louise A. Dowling Jocelyn Hale & Glenn Miller Catherine & Joseph H. Kalkman The U.S. Charitable Gift Trust Corey J. Dressel Charitable Fund Denise Kania & Jim Pfau Helmut & Mary Maier Dan & Siri Drontle Steve Hall Diane & Howard Kaplan Kathleen Mallery Michael H. Dugan Mark & Mary Jo Hallberg Martin & Carole Kaplan Paul & Patricia Mamula Brian Dukerschein Linda Hallman Tim & Kim Karnitz Teresa Marchek Mary Dunham Joy M. Hanson Iris M. Karow Rollie & Ben Marcovitch Hartmut Durchschlag Linda Hanson Sarah Kaspari Dorothy & Albert Marden Susan Durfee Lowell M. Hanson Carol Kast & Stuart Adler Christine Martin Laurie A. Edlund John & Noralyn Harlow Jasmine Z. Keller Vivian M. & Jeff Martin Suzanne M. Edwards Stephen & Carla Harner Amy Kelley-Osdoba William & Candace Marx Diana & Phil Eitzman Kathryn C. Harper Jacquelyn Kempainen JoAnn & Tom Mason Alisa Eland & Kevin Johnson Kevin & Ila Harris Kerry B. Kennedy Erin Mathe Mark & Bonnie Eldridge Rebecca L. Harris Susan Keskinen & Dennis Cornhill Jay Matre Kelly & Phillip Elkin Brian Harrison Elaine Kienitz Leslie & Jerry Flynn Brooke R. Engel Mary J. Harshbarger Dennis O. Kiesow Bruce & AnneMarie Maylath Susan Engel & Arthur Eisenberg Howard Hartstein & Kay Ruhoff Loras Kilburg Margaret McBride Maureen Engelhardt Jeff Hatcher & Lisa Stevens Judith Kinsey Ellen Q. McCabe Scott & Brenda Engh Thor J. Haugen Michael Klingensmith & Ruth Shields Duane McDowell Rachel Enstrom Howard & Nicole Haugh Anne & Larry Klueh Jeninne McGee Robert Epps Barbara Hauser & Doug Cameron John & Maureen Knoedler Marilyn McGonagle Jim & Joy Erickson Tim & Carol Hearn Dan & Mary Knudsen Terri & Jack McKeon Joan & Joel Erickson Bruce Hedblom Valeska O. Koch Susan & William McKnight Grant J. Ertl Anne & Peter Heegaard Matthew Kodadek Michael & Julie McKuras Hope Esparolini Dave & Barbara Heim Darren Konser Mitchell & Jan McMillen Karen & Rick Evans Harlan & Sharon Heinz Anthony J. Kotnik Philip & Linda McNairy Michael Evans & Noor Abdullah Mary K. Heller Debra Krawetz Amy McNamara & Theresa Bereren Patricia J. Evans Elora Henningsen John & Joni Kreuser H.G. McNeely, Jr. Thomas F. Everett Paula S. Heppner Thomas & Mary Krick James McNeill Dennis & Jacqueline Falk Susan Herder Susan Krueger & Bruce Carlson Mary S. McNellis Connie & Gary Falkenstein Linda & Dale Herron Ruth Krusen Daniela Mejia Frank & Janice Feinberg Edward Hervin Barbara L. Kula Joseph E. Melville Dan Ferro & Marci Sortor Jane Hess & Michael Kroll Susan & Hart Kuller Dan & Christina Meyer Angela Fertig William & J.A. Hession Andrew P. Kunkel Rita Meyer Gene Finger & Christine Ellison Joel Hettler & Lee Bradford Jill M. Kunze Stephen C. Meyers Jan Finnegan Catherine H. & Stephen Whiteside Lee Anne & Gene Lack Paul & Barbara Mikelson Kimberly A. Fischer Arthur & Joan Higinbotham Mark W. Ladwig Justyn Mileski Terri B. Fitzgerald Gayle Hjellming Robert A. Laing Tim & Mary Miley Edward & Mary Fleege Mark Hodowanic Mr. & Mrs. Peter Langsjoen Linda K. Miller Tammy Fleming Judith & Jay Hoeschler Barbara LaRose Sharon & Orlyn Miller Thomas Flotte & Debra Bell Don & Janine Hogan Carol Larson Michael J. Millios Jamie L. Focht William D. Hogan Corby & Jason Janet E. Mims Connie Jo Foote Joyce & R. James Holbrook Ron & Nancy Lassow Peggy E. Moller James & Karen Forman Laurie A. Holder Jean M. Laurent Anne L. Mollerus Juleah Foss Doug Federhart & Stuart Holland Abigail Lawrence Laura L. Moore Amanda Fox Robert J. Holly Benjamin & Ruth Leadholm Elaine Morales Chester M. Francis Monica Holm Nora K. Leahy Janet Morgan Edward & Anne Franco Rev. Judy Hoover Kelly G. Lee Teresa M. Morgan Frederick G. Frogner Anne & Bob Horn Robert Lee & Mary Schaffner-Lee Inar & Susan Morics R. Leigh Frost Lori A. Horvik Tim & Robyn Leer Brian D. Morris Carol & Glen Fuerstneau Ron Hovda Kelly Leibfried Marsha G. Mose Jack Gaede Mike & Christina Huck Tim & Kim Leistikow George Edmonson & Anne Murray Maija García Kieran & Maxine Hughes Kathryn Leitch Ted Nagel Amy & Michael Garrison Jeannie Hultman Erika R. Lemire Shelley Nehl Tracy Gau Richard & Donna Humphrey Natalie Levin & Stephen Gilberstadt Dr. Craig A. Nelson Maryanne G. & James Gay Beth A. Iseminger O. Herbert Lindquist Emma Nelson Chris & Rachel Gilchrist Jacob Isler Yvonne Lindsay Gerald & Verla Nelson Barbara Glas Christopher T. Ismil Elizabeth & Robert Linner Kimberly L. Nelson Gary Glenna Dianne Iverson Daniel & Martha J. Lips Nancy L. Nelson Nils J. Gokemeijer Arnold F. Jacobson Marilyn & Martin Lipschultz Owen & Deborah Nelson Lester & Bonnie Goldblatt Jeanne & Mark Jacobson Janna M. Lipstein Peggy & Alan Nelson Cindi & Harold Goldfine Lyle & Kay Jacobson Judith & Lawrence Litterst Bob Nesheim & Marlys Johnson Robert & Pamela Goldman Ann Jaede Mark Abeln & Monica Little Elizabeth Newell Ronald S. Goldser & Helen W. Leslie Sylvia Jamar Bryan & Theresa Ljung Tuyet Nguyen Laura E. Gordon Elizabeth N. Jamison The London Family Bruce & Edith Nicholson

34 \ GUTHRIE THEATER • DICKENS’ HOLIDAY CLASSIC Joan & Dick Niemiec Beth M. Nienow Dale Nitschke Steve Noble Help us spread joy to students Scott & Sandra Nygaard Patrick O’Brien Jim & Carol O’Connor When you make a tax-deductible contribution Kari Odland to the Guthrie this holiday season, your gift Ann M. O’Fallon William F. & Elinor K. Ogden will help support free access to Dickens’ Jeffrey & Peggy Olsen Holiday Classic for K–12 schools, sharing the Cynthia L. Olson Elisabeth Olson joy of theater broadly when our community Gregory Olson needs it most. Norine Olson William Olszewski Dee O’Malley Text GIVE2GUTHRIE to 41444 Dr. Mark R. & Joey A. Omlie to donate today. John Orbison & Holly MacDonald Michelle K. Orcutt Eileen O’Shaughnessy Tom & Nancy Oslund Michael & Connie O’Sullivan Suzanne Renwick Halston C. Sleets Steven & Katherine Tinker Mark & Ann Oswood Libby Revier Elaine Sloan & Ross Moen Mary & Roger Tlusty Sandra Overland Michael Reymann Charles & Susanne Smith Michael M. Todd Margaret J. Owen Jack & Ede Rice Henry Smith Cynthia Toher, M.D. Nancy Paddleford Barbara A. Richardson Lori D. Smith William M. Totten Meredith & Justin Palecek Gerald Richman & Kate Sandweiss Olivia Snortland Mary Lynn & Dan Toycen Allisun Palma-Ruwe Randall Holm & Carol Rieger Carole Snyder Timothy Traffie & Brian Cavanaugh Anne Parker Kyle P. Riper Linnea Sodergren Mike Turner Elizabeth M. Parker Nathan T. Robertson Linnea Solem Dale & Terolle Turnham John F. Parkos Angela D. Robinson Lynn & Harry Solo Jennifer Ulrick Stephanie R. Patterson Tracy & John Rode Stephanie Sommer & Tom & Bonnie Umhoefer Gary & Jannette Paulu Steve B. Rol Stephen Spencer Roger & Carol Upham Judith Peacock Jeff & Robin Roland Austin Sparkman Jorge Velosa & Chris Sigurdson Keith A. Peacock Tim Ronholm Alicen B. Spaulding William Velte & Mary Lee Blomgren Bethanne Pearson Karen L. & George Rosar Mary Johnson Spear Nancy Vieburg James & Joan Pearson Vicky Rosen Sherry & Michael Spence Rory A. Wade Janet Pearson Kathryn & Joe Ross Robert Stableski Stacy & Michael Walters Denise Peck Marc Roth Donna J. Steidl Dain Waters Richard & Mary Ann Pedtke Gregory Rouw John & Amy Steiner George Waters Richard Pelster-Wiebe Rodney Rowe David M. Steinhaus IV Libby & Robert Weil Susan K. Perdew Sara Ruff Erica Stern Karin E. Weiss Michael Petersen Meredith A. Ruhberg Bruce & Pat Steuernagel Carol Wekesser Carol Peterson Diva Salomao & Todd Swenson Kris & Jon Stevens Ellen M. Wersan & Karin & Phil Peterson Kelly Salutz Laurel Stiebler Timothy M. Sandry Katherine & Rudy Peterson Michael Sandberg Michael Stiegler & Sonja Savre Lisa & Jeffrey Werth Carol Petsonk Sharon Sandeen John & Kenn Stofko-Carlson John Wertz & Margaret Schlangen Abigail Pettit Paula Sanford James S. Stolley, Jr. Frederick & Cynthia West Susan & Greg Pfeiffer Kristin & James Sankovitz James R. Stone III Andrew Westreich & Sandra Taler Evelyn Martinez Kate Saumur Marcia & John Stout John & Kelly Wheaton Justin M. Piehowski Pamela Saunders William & Lee Strang Fund Chip & Lynne Whitacre T.J. Pierret Lisa M. Savage of The Minneapolis Foundation Sunny Wicka Raj & Marie Pillai Glen Schafer Annetta Strauss & John Antram Beth Widstrom-Anderson Ed & Peggy Pluimer Paul & Linda Schelin Karen Stuhlfeier & Walt Cygan Craig & Melissa Wiklund Donald Pohlman Larry F. Schmidt Alisa Subialka-Brown Wendy Wildung Sally B. Polk Shannon Schmidt Alice R. Suchomel-Olson Ginger Wilhelmi Jane Pollack Tom & Mary Barber-Schmitz Marianna L. Sullivan Sue & Wayne Will Anne & John Polta Edward Schneider & Dr. & Mrs. Arnulf Svendsen Aileen Williams Frank Pommersheim & Susan Pemberton Janet & Craig Swan Lori Williams Anne Dunham Mary Schneider Sylvia A. Swede Nancy K. Williams Michael & Renee Popkin Jane Schostag Joseph S. Tachovsky Paige Winebarger Richard & Meredith Poppele Eric Schotz Steven M. Tallen Johanna Wirth Nylce Prada Myers Kenneth Schram Elizabeth Tarnowski Sara Witty James B. Preus Joe Schroeder Susan S. Tasa Wes & Theresa Woelfle Connie Pries Joel P. Schroeder Juliet Tatsumi Valerie Wolff & Carole Evenchik Alex J. Privratsky Pam Schultz Missy Teff Louise C. Wood Joseph F. Pulice, Jr. Stan Schwantes Margaret Telfer & Ed McConaghay Joyce & Scott Woolery Lucy A. Quinlivan Elizabeth Schwegman Thomas Telzrow & Carol Jenson Martha A. Wren Catherine Racer Michael A. Scott Kathleen & William Thalhuber Ellen Wright Karen Rasmussen & Paul Zagaria Rebecca A. Sechrist Nanci Thomas Keith & Donise Wright Dr. Michael & Carol Rath Patty Seewald Wendy L. Thomas Steve & Cheryl Ylvisaker David & Martha Raymond Rick & Linda Seime Carol A. Thompson Joe M. Young Bruce Regan Lynda & Frank Sharbrough Kisten H. Thompson Patricia K. Young Barbara Reid & Chris Meadows Gale Sharpe Missy Thompson & Gar Hargens Jared Zagelbaum Jamie Lyn & John Reinschmidt John & Jane Sherman Theresa Thompson H. Ziemer Scott S. Remmel & David A. Vagneur Robbyn Shiell Edith Thorstensson Judy (BoBo) Zinn Cedar Remmen Sandra Skaar Mark & Carol Throntveit Andrew Zumbusch Bret H. Rempelewert Edward C. & Linda A. Skelly Michael & Mary Kaye Tillmann *In remembrance

35 \ GUTHRIE THEATER • DICKENS’ HOLIDAY CLASSIC HONOR AND MEMORIAL GIFTS In memory of George Floyd In honor of Jennifer Liestman & In honor of Heidi Seaton January 1 – December 1, 2020 Debra H. Clark all Guthrie casts Leah K. Patrick In honor of Janet Gall Sheri Loeffler In memory of Raj K. Sehgal In memory of Sue Arrell Elizabeth E. Fritz In honor of Meredith Lindley Anusha Nath J. Scott Arrell In honor of Jim Gängl & Nathaniel M. Lindley In honor of Lilly L. Shoshana In memory of Stan Atkinson Guthrie production crew In memory of Helen Liu Lilah A. Blinkman Keith H. Smith Megan Gängl William & Judy Nicholas In memory of Vance & Martha Sinclair In honor of Wallace Kent Babington In memory of Annette Garceau In memory of Maureen Lopatka Melanie S. Schaller Tanya Smith A. Nancy Goldstein Thea L. Lopatka In honor of Lee & Peg Skold In honor of Clarabella Baker In honor of Audrey Garrett In honor of Natalie Losik Nancy Ballsrud & Jim Nelson Jennifer Baker Brandon Hutchinson Bill M. Savage In memory of Theodore Smith In memory of Alvin Bakke In honor of Hunter Gullickson In memory of Michael Lupu Natina M. James Anna Bakke Jon Skaalen Paul Draper & Jean Jacobs In honor of Olivia Snortland In memory of Magdalena Bartel Judith Moore Goff In honor of Rebecca Jo Malmström Eliza B. Snortland Amy Bartel In honor of Guthrie audio Kari & John Kilbride In honor of Devon Solwold In memory of Joan Bartell describers In memory of Patricia Marble Gina Sandgren & Ross Solwold Anne Kawell Karen J. Boyum Craig & Melissa Wiklund In honor of Mary Lee Stephenson In memory of Donald & Betty Bauer In honor of Joseph Haj In honor of Lois Mariani Anonymous C. Dave Bauer Lynn Konoff Jodi & Dick Schwegman In memory of Tess Sullivan In memory of Ann Benson In honor of Susan Romer Harris In honor of Manuela Martinez Steven E. Sullivan Anonymous Jan & Linda Willette Sofie Harsha In memory of Elaine Summerfield In memory of Richard L. Bergman In honor of Teresa Hawk In memory of Jan Maxwell Michael L. Summerfield Linda C. Bergman Kerri Hawk Anonymous In memory of Mim & Fritz Ten Eyck In memory of Joe Blade In honor of Katie Hawkinson In honor of Becky Mayo Anonymous Barbara B. Burckhardt Robin Fondow & Karen Sweet Peg & Doug Wangensteen In honor of Megan Terry In memory of Jennifer Blagen In honor of Mollie Alexander Hogan In memory of Bill & Beth McEnery Stephen Hoffmann Judith Friedrich Carrie Lenahan Tom Griffin In honor of Trygve Thoreson In honor of Desiree Brazelton Keri Noerrlinger In memory of Danika McGuigan Forrest Fletcher Amelie G. Brazelton In memory of Maryann & Edward Fleming In memory of Tom & Jackie In honor of Jason Brown Howard Huelster In honor of Owen Moldow Stephen & Sylvia Cook David Jewett Ross Huelster & Anne Lynch Kaori Yamada & Andy Karch In memory of Carolyn Townes In honor of Tessie Bundick In honor of Bridget O. Hust & In memory of Dan Murphy Ellen M. Townes Maxine W. Davis Mary McKee Ann M. O’Fallon In memory of Seymour Uranowitz In memory of Scott C. Bridget A. Hust In honor of Harry Myers Janice M. Bobrowske Eric S. Caswell In honor of Linda Jacobson Laura K. Scott In honor of PattiJo Verdeja In memory of Edith Cadwallader Mark & Linda Jacobson In memory of Barbara Nemer Kyle Woody Frances Howley In memory of Greg Jacobson Lisa & David Noah In memory of Vivian In memory of Carlos & Celia Kate McWilliams In honor of Evy Nordley Richard Kevan Calderon In memory of Louis Jenkins Erik & Barbara Nordley In honor of Betty Wallien Carlos & Wendy Calderon Nancy McLean In memory of Matthew Von Ohlen Kathryn A. Gunderson In memory of Richard A. Canaday In honor of Julie & David Jones Joan K. Von Ohlen In honor of Vanessa & James W. Canaday Carol Petsonk In memory of Dion O’Keefe Siobhan Walsh & Nelson Leis In memory of Mary H. Casey In memory of Thomas Juntunen Mari O’Keefe David & Vanessa Walsh William & Eleanore Pederson Kathryn Schenk & Allan Mahnke In honor of Dane & Sigurd In honor of Deborah Wemette In memory of Vi Anne Sattre In memory of Sharol Kaufman Ostlie-Olson Jonathan Wemette Christensen Ann Arnold Kathryn A. Ostlie In memory of Joan Wieland Vi Anne & George Traynor Kate Blessing In memory of Alexandra Palubinski Karlene & Jeremy Wieland In memory of Jim Colby Mr. & Mrs. Stephen E. Egger Olga Y. Berkovskaya In honor of Donna Williams Kevin D. Elden Scott Landstrom In honor of Jocelyn & Bill Paterson Robert & Donna Williams In memory of Charlie Cost Thomas & Jeanne Macleod Roslyn E. Paterson In honor of Margaret Wurtele Jeff H. Goldenberg Holly Mulvin In memory of Rebecca Pinegar Sandy & Kent Larson In memory of Marlys F. Crouch Elizabeth Rose Bill Pinegar In memory of Marie & Vernon Zahn William Crouch In memory of Farid Kayani In honor of Gary & Loray Randall Janet Zahn & Jeffrey Moe In honor of Tessa Dahlgren Tahir Kayani Lesli Randall In honor of Isais & Lisa Zamarippa Dave Dahlgren In honor of Trisha Kirk In memory of Max Rethwisch Dr. Mark R. & Joey A. Omlie In memory of Bob Dahms Steven & Catherine R. Webster David Rethwisch Rachel A. Dahms In memory of Karen Oksendahl Kline In memory of Rali Retzler GUTHRIE CORPORATE COUNCIL In honor of Henry Kelvin Danielson Tanis Beadle Joey Retzler The next generation of Twin Cities Hannah E. Rosenthal In honor of John S. Knapp In memory of Grandma Rex philanthropic leaders. In honor of Richard Davis Cinda Collins Kaitlyn M. Mielke Brandon Agneberg, JPMorgan Robert & Mari Edmonds In memory of Carrie Koniar In honor of Ethan Rich Joshua Dorothy, Gregerson, Rosow, In honor of Calvin Dawson Travis & Kathryn Koniar Jennifer A. Engler Johnson & Nilan, Ltd. Sarah E. Gioia In memory of Melody Ruth Kopesky In honor of Stephanie Richards Nathan George, Bind Health In memory of Laurie Dimond David L. Kopesky James P. Drinkard Anne L. Haslerud, U.S. Bank Kimberly Vrudny In honor of Sue Kotila Sarah Drinkard Kate Johansen, Mayo Clinic In honor of Anne Donnelly Cathy A. Hanson In memory of Gerry Roe Ryan S. Johnson, Jane F. Donnelly Kimberley & Timothy Taylor David Roe Fredrikson & Byron, P.A. In honor of Joe Dowling In memory of Jeni Kouchich In honor of Mark Rylance Nathan Pommeranz, Allianz Carol & Richard Logan Frank J. Kouchich Carol L. Senall Life Insurance Company of In memory of Rachel Serber Duncan In honor of Katie Krueger In memory of Louis Schaefer North America Julie & Michael Serber Matthew J. McCuen Margaret A. Willens Pleasant A. Radford, Jr., Blue Cross In memory of Helen R. Duncan In memory of Raymond J. Lammers In memory of Cora & Gerald and Blue Shield Donald A. Duncan Deidre Onishi Schmall Michael Schmaltz, Accenture In honor of Aleksandra Ekatova In memory of Anne Lasser Brett Schmall Ryan Warshaw, Best Buy Svetlana Livhits Isa L. Flaherty In memory of Ruth Chamberlain AS OF DECEMBER 1, 2020 In memory of Joyce Ellingson In memory of Randy Sue Latimer Schroeder We do our best to ensure that all donor Beth Larson & Gene Smaciarz Jeff Reynolds Louise A. Dowling listings are current and correct. To In memory of Jim Fitzpatrick In honor of Curt & Peggy Letnes In memory of Dr. Stephen Schultz update your listing, please contact us at Anonymous Douglass Forbes Lisa Thomas 612.225.6200 or [email protected].

36 \ GUTHRIE THEATER • DICKENS’ HOLIDAY CLASSIC Corporate, Foundation and Public Support Vital support from our corporate, foundation and government partners allows community members of all ages and abilities to access internationally renowned theater and celebrated artists. Grants from state and federal agencies and local and national foundations provide crucial operating support as well as key funding for new and ongoing programs. To learn more, contact the Development Department at 612.225.6166. For information about sponsorship opportunities and corporate benefits, contact us at [email protected].

$250,000 and above

This activity is made possible by the voters of Minnesota through a Minnesota State WEM 2000 Foundation Arts Board Operating Support grant, of The Dorsey & Whitney thanks to a legislative appropriation from Foundation the arts and cultural heritage fund.

$100,000 – $249,999

David & Janis Larson Foundation

$50,000 – $99,999

$25,000 – $49,999

Fred C. & Katherine B. Andersen Foundation; The Edward R. Bazinet Foundation; Laurents/Hatcher Foundation; The Scrooby Foundation

$15,000 – $24,999

Hugh J. Andersen Foundation; Thomas & Julianne Youngren Foundation

$5,000 – $14,999 Bernstein Global Wealth Management; Boss Foundation; Blythe Brenden-Mann Foundation; The Carlson Family Foundation; Emerson; William & Eva Fox Foundation; High Point Networks; Lathrop GPM; McGough Construction Co.; Sam Miller Foundation; Minneapolis Foundation; Polaris Foundation; Margaret Rivers Fund; Robins Kaplan LLP; Tennant Foundation; Wenger Foundation

$2,500 – $4,999 Dellwood Foundation; Hunt Electric Corporation; Jefferson Lines;Art & Martha Kaemmer Fund of HRK Foundation; Palisade Asset Management; The Elizabeth C. Quinlan Foundation; Sit Investment Associates Foundation

$1,000 – $2,499 Alliiance; Bachman’s Inc.; Federated Insurance; Jamf Foundation; National Checking Company; Northland Aluminum Products, Inc. (Nordic Ware); Quality Furniture Rental; The Alice & Fred Wall Family Foundation

In-kind support 3M; Bauhaus Brew Labs; Soderberg’s Floral & Gift; Target

37 \ GUTHRIE THEATER • DICKENS’ HOLIDAY CLASSIC WHO WE ARE

DEVELOPMENT Box Office Manager ACKNOWLEDGMENTS Board of Director of Development PattiJo Verdeja The Guthrie is a constituent of Mollie Alexander Hogan Associate Box Office Manager Theatre Communications Group Directors Director of Institutional Giving Todd Hughes and a member of the League Nina Graham Box Office Supervisor of Resident Theatres and Chair Director of Corporate Giving Chris Weiland Minnesota Theater Alliance. James L. Chosy Emily Essert Group Sales and Tour Coordinator Vice Chair Director of Individual Giving Kemi Ojelade The Guthrie is a member of John Junek Matt Haar Director of Retail and Merchandising the American Arts Alliance Director Development Events Manager Kay McGuire and Minnesota Citizens for the Joseph Haj Rose Dennis Arts, government advocacy Treasurer Individual Giving Coordinator PRODUCTION groups at the federal and state Audrey Lucas Mark Anthony Rodriguez Director of Production levels, respectively. Secretary Development Database Specialist Rebecca Cribbin Jennifer Reedstrom Bishop Andrew Buckholtz Assistant Production Manager Directors Sara L’Heureux Susan Allen, Y. Marc Belton, Abdhish MANAGEMENT Technical Director Bhavsar, Peter Brew, Terry Clark, Managing Director Jim Gängl Senator Richard J. Cohen, David James Haskins Head of Props The actors in this production Dines, Amy Fiterman, Linda N. Assistant to the Managing Director Sarah Gullickson were employed through the Hanson, Todd Hartman, Diane Kurt Engh Screen Actors Guild/American Hofstede, Timothy A. Huebsch, General Manager PRODUCTION STAFF FOR Federation of Television and David Hurrell, Garry W. Jenkins, Brooke Hajinian DICKENS’ HOLIDAY CLASSIC Radio Artists. Lisa A. Johnson, Christine Kalla, Jay Director of Finance Head of Scenic Art Kiedrowski, John A. Knapp, David Janet E. Balej Michael Hoover M. Lilly, Jr., Michael McCormick, W. Accounting Manager Costume Director Thomas McEnery, Munir Meghjee, Rose Block Amy Schmidt Jennifer Melin Miller, Helen Meyer, Accounting Specialist Costume Design Assistant David Moore, Wendy Nelson, Todd Margaret Schuelke Lisa Jones The scenic, costume, lighting Noteboom, Anne Paape, Lisa Saul Accounts Receivable Associate Head of Lighting and Projection and sound designers in LORT Paylor, Brian Pietsch, Irene Quarshie, Bill Bertram Tom Mays theaters are represented by Ann Rainhart, Senator Julie A. Director of Facilities Head of Sound United Scenic Artists, Local Rosen, Robert A. Rosenbaum, Lee Bryce Wasiloski Reid Rejsa USA 829 of the International Skold, Kenneth F. Spence, James Environmental Services Manager Scene Shop Supervisor Alliance of Theatrical Stage P. Stephenson, Kweli Thompson, Marcus Young Jesse Delaney Employees. Steven J. Thompson, Dan Torbenson, Building Engineers Master Carpenter Wendy Unglaub, Steven C. Webster, Angel Bustamante, Michael Flaherty, Christopher Sibilia Heidi Wilson, Todd Zaun Brian Oberholtzer Carpenters Lifetime Directors Interim Director of Information Matthew A. Gilbertson, Martha Atwater, Karen Bachman, Technology Eric Kiekhaefer, Mike Larson David C. Cox, William George, Bill Schneider Draper Guthrie costume and wardrobe Pierson M. Grieve, Polly Grose, Database Administrator Juliann Benson employees, stage hands and Stephen W. Sanger, Douglas M. Chris Jensen Prop Shop Supervisor craftspersons are represented Steenland, Mary W. Vaughan, Systems Support Specialist Robbie Jones by IATSE Local 13. Irving Weiser, Margaret Wurtele, Amy Van Patten Master Props Artisan Charles A. Zelle Director of Human Resources Stacey Schwebach Scenery, props and costumes Kyle Fitzwater Prop Buyer/Artisan were designed specifically for Human Resources Generalist Rebecca Jo Malmström this production and built in the Sarah Hodder Wig and Makeup Technician Guthrie Theater’s shops. Human Resources Associate Andrea L. Moriarity Olivia Snortland Master Stage Hands Guthrie Manager of Safety and Security Robert Barnwell, Craig Rognholt Steve Brown Master Electrician Staff Security Officers Andrew Sullivan Joseph Adams, Colleen Barrett, Production Electrician ARTISTIC David Bordwell, Derek Dixon, Megan Winter Artistic Director Shaun Johnson, Stuart Levesque, Lead Light Board Operator Joseph Haj Kristen Reinke, Joy Showalter, Stephanie Richards Executive Assistant to the Director Francis Sieg, Jodi Stoffel Master Sound Technician Alise Hansen Director of Marketing and Paul Estby Director of Professional Training Communications Maija García Trisha Kirk AS OF DECEMBER 19, 2020

Artistic Associate/ Associate Director of Marketing Highlight denotes member of the Resident Casting Director Elizabeth Deacon Senior Management Team Jennifer Liestman Marketing Manager Resident Dramaturg Kaitlin Schlick Carla Steen Senior Graphic Designer Director of Community Engagement Brian Bressler Rebecca Noon Writer and Publications Editor Education Managers Johanna Buch Lauren Anderson, Accessibility Manager Siddeeqah Shabazz Hunter Gullickson

38 \ GUTHRIE THEATER • DICKENS’ HOLIDAY CLASSIC GOOD TO KNOW

Virtual Viewing Guide

HOW TO WATCH Purchase a ticket. Go to guthrietheater.org to buy your $10 ticket to Dickens’ Holiday Classic. You will need internet access and a smartphone, tablet or computer to view the show.

Test your tech. Ensure your smartphone, tablet or computer is set up and fully charged or plugged in. You may connect your computer or mobile device HEALTH AND SAFETY NOTES directly to a TV or projector with an HDMI or VGA As you’re watching the show, know that the Guthrie’s cable. If you have a smart TV, Apple TV, Amazon Fire Health and Safety Team worked tirelessly to create Stick, Google Chromecast or Roku, screen mirroring a safe working environment for everyone involved may also be an option. with filming Dickens’ Holiday Classic. Here are some highlights from their preparedness plan: Check your email inbox. We’ll send you an email with • At the top of each workday, the safety plan was all the details. When you’re ready to watch, just click reviewed with the cast and production teams. on the access link and enter the provided password. • The filming schedule was designed so only one actor If you purchase a ticket after December 19, the access was in the Guthrie building at a time. link and password will be in your confirmation email. • Three zones (A, B, C) were created, and specific protocols for COVID-19 testing, face masks, Start watching. You’ll see a few versions of Dickens’ distancing, goggles and shields were applied Holiday Classic, including options with ASL to each zone. interpretation, audio description and open captioning. • In Zone A (stage, backstage and dressing rooms), Press play on the video of your choice, and let the COVID-19 testing was required three times per week. magic begin. Non-actors wore filtering face respirators plus safety goggles or shields. Enjoy the show all season long. Watch Dickens’ • Only actors and production/artistic staff were Holiday Classic as many times as you wish until allowed on set. 11:59 p.m. on December 31. Check out our play guide • The Guthrie invested in high-efficiency MERV 13 for a deeper dive into the story. air filters, increased fresh air intake and monitored humidity levels in the building. Get social. We’d love to see how you got festive at • Sanitizer stations were available throughout the home. Share your photos and comments on social using building. @GuthrieTheater and #GuthrieDickensHolidayClassic. • Common areas and frequent touch points were Thank you for joining us and happy holidays! disinfected twice a day.

39 \ GUTHRIE THEATER • DICKENS’ HOLIDAY CLASSIC PHOTO: KAITLIN SCHLICK At Target, we believe that the future we create together is a future at heart. A future where everyone's welcome, where good design is within reach, and where we support the communities we call home.

Learn more about how we're investing in our communities at Target.com/FutureAtHeart