JULY 2018

PROFESSIONAL THEATRE IN A NEIGHBORHOOD SETTING

THE 2018 JEWELL CAMPING WITH HENRY AND TOM CROWNS LADY WINDERMERE’S FAN SWEET LAND BASKERVILLE: A SHERLOCK HOLMES MYSTERY MAINSTAGE SEASON: JAN 24 - MAR 3 MAR 21 - APR 28 MAY 16 - JUN 23 JUL 11 - AUG 18 SEP 12 - OCT 20

Book by Perrin Post and Laurie Flanigan Hegge Music by Dina Maccabee Lyrics by Laurie Flanigan Hegge

From the film Sweet Land by Ali Selim and the short story “A Gravestone Made of Wheat” by Will Weaver

Directed by Karen Lund

JULY 11 - AUGUST 18 June 2018 Volume 14, No. 7 International

Dance Festival Paul Heppner Publisher SUMMER 2018 Susan Peterson June 7–23 Design & Production Director Ana Alvira, Robin Kessler, Stevie VanBronkhorst Production Artists and Graphic Design Contents Mike Hathaway Feature Sales Director Brieanna Bright, Joey Chapman, 3 Open-air arts for summer Ann Manning Seattle Area Account Executives Dialogue Amelia Heppner, Marilyn Kallins, Terri Reed 9 Rachel Guyer-Mafune on San Francisco/Bay Area Account Executives city life and new works Carol Yip Sales Coordinator 11 Yussef El Guindi on belonging and knowing your audience Intermission Brain Transmission 15 Test yourself with our Leah Baltus Editor-in-Chief trivia quiz! Andy Fife Publisher Encore Stages is an Encore Arts Dan Paulus Program that features stories about Art Director our local arts community alongside Gemma Wilson, Jonathan Zwickel information about performances. Senior Editors Encore Arts Programs are publications Amanda Manitach of Encore Media Group. We also publish Visual Arts Editor City Arts, a monthly arts & culture Artists from magazine, and specialty publications, including the Offical Seattle Pride Guide and the SIFF Guide and Catalog. Learn Israel more at encoremediagroup.com Paul Heppner Encore Stages features the President following organizations: Switzerland Mike Hathaway Vice President Kajsa Puckett Vice President, Japan Marketing & Business Development Genay Genereux Accounting & Office Manager Canada Shaun Swick Senior Designer & Digital Lead Barry Johnson Digital Engagement Specialist Seattle Ciara Caya Customer Service Representative & Administrative Assistant

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Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2018 Encore Media Group. Reproduction without written permission is prohibited.

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EAP 1_3 V template.indd 1 4/19/18 9:50 AM Arts al Fresco

From left: James Ehnes, Stephen Rose, Jordan Anderson, Edward Arron, and Jonathan Vinocour. Photo by Tom Mark Photography.

Shakespeare, chamber Living in Seattle means living for the the park. And the Seattle Art Fair takes summer. Between hiking, biking and over the CenturyLink Field Event music, puppetry...no visits to the city’s incredible beaches Center every August, attracting local matter your preference, and lakes, it’s easy to fill every evening and national art aficionados alike. I there's a way to soak and weekend with glorious outdoor had the opportunity to speak with the activities. But while you’re solidifying artists behind three of our city’s most up the arts and the sun your summer schedule, don’t forget to anticipated outdoor performances: this summer. Danielle make room for the arts. Several intrepid Wooden O’s productions of and The Merry Wives of Windsor, Seattle Mohlman previews Seattle arts organizations program their summers around the great outdoors, Chamber Music Society’s Chamber Seattle's arts al fresco. taking advantage of public spaces to Music in the Park and Common Area bring art to the entire city. The Seattle Maintenance’s inaugural puppetry Art Museum programs a biweekly production. Don’t forget the sunscreen! concert and arts series at the Olympic Sculpture Park in Belltown, aptly named Summer at SAM. GreenStage produces the Seattle Outdoor Theater Festival at Volunteer Park in Capitol Hill each George Mount, artistic director of summer, a festival that boasts sixteen Seattle Shakespeare Company, started performances on three stages across encoremediagroup.com/programs 3 ON STAGE NOW!

MAINSTAGE HOWARD FAMILY STAGE

AS YOU LIKE IT TIMON OF ATHENS

LYSISTRATA MACBETH Concertgoers get into it. Photo by Tom Mark Photography.

TICKETS FROM $24 CAD Book Early for Best Seat Selection 1.877.739.0559 | bardonthebeach.org Wooden O twenty-five years ago as monster of a play and an audacious a way to reconnect with his Pacific choice to present in the summer Northwest roots. The Mercer Island under two hours. But Wooden O was native noticed that the island’s annual pretty much started as an audacious summer festival, Mostly Music in the endeavor.” Park, was entirely music in the park. Eager to bring outdoor performance Mount pointed out that King Lear’s to his hometown, Mount solicited the cynicism makes it the perfect play for Arts Council of Mercer Island for a grant 2018. to perform Shakespeare at the Luther Burbank Park Amphitheatre—just three “So many of the people act out of venal nights of Much Ado About Nothing to self-interest and casual disregard of justify the “mostly” in the festival’s title. others around them,” Mount said. “I Twenty-five years later, Wooden O has worry about that behavior when I expanded its scope to include parks look at our politics, our consumerism, across the Puget Sound region. But one digital isolation, tribal isolation and thing remains the same all these years ideological insulation.” later: the festival opens and closes at Mercer Island’s Luther Burbank Park Actor Vanessa Miller’s Wooden O Amphitheatre. connection is longer than the festival’s history. Miller attended Mercer Island I had the opportunity to speak with High School with George Mount George Mount about the significance and when he asked her to return to of Wooden O’s twenty-five year to play Beatrice in Much 310 Terry Avenue. anniversary and his role as director of Ado About Nothing, the decision was Seattle, WA 98109 this summer’s King Lear. simple. 206-971-0717 “We’ve never done it outside,” Mount “I really think that free theatre is www.bravehorsetavern.com said of Shakespeare’s tragedy. “It’s a important,” Miller said. “When I was

4 ENCORE STAGES Concertgoers get into it. Photo by Tom Mark Photography. BY ALLISON GREGORY a kid, I remember seeing some park DIRECTED BY SHEILA DANIELS shows produced by Empty Space. Watching those shows changed my A ONEWOMAN PLAY life, inspired me to follow a path into STARRING DEDRA D WOODS theatre. It only takes one beautiful summer evening in front of a happy MAY 31JUNE 24, 2018 crowd of people eating picnic dinners, laughing or listening to the beautiful AT 12TH AVENUE ARTS 1620 12TH AVENUE, SEATTLE poetry, to get hooked for life.”

She loves the community aspect of Wooden O and the way the actors truly connect with the audience. And YOU CAN'T CHOOSE she’s always aware that she could be YOUR NEIGHBORS... part of an audience member’s first Shakespeare experience.

“Our job as actors is to be very specific with the language and the relationships,” Miller said. “If we know what we’re saying, and we act with intention, then it clicks for the audience too. If we, as actors, are bluffing it, or generalizing, then it’s really hard for the audience. Plus, BY KAREN ZACARÍAS Wooden O shows are very physical and lively. It’s not an academic experience.” SEPTEMBER 630, 2018 AT THE JONES PLAYHOUSE, 4045 UNIVERSITY WAY NE, SEATTLE

encoremediagroup.com/programs 5 “People can enjoy the weather and maybe a picnic while they listen to us play.”

might not have the chance to hear us downtown at Benaroya Hall,” Ehnes said. “It’s tremendously gratifying to see all the families and young people that attend these events in the parks.”

Last summer, SCMS introduced a community play-along component to Chamber Music in the Park, inviting string players from the Puget Sound region to play alongside SCMS musicians. A lovely evening out. Photo by Tom Mark Photography. “Everyone had a really fantastic time,” Ehnes said, “and it was very meaningful Reginald Andre Jackson made his an audience member’s liking, they still and moving to see so many cross- Wooden O debut eighteen years ago and spent two hours in a gorgeous Seattle sections of Seattle represented in the says that there’s nothing like performing park, with a picnic dinner, surrounded group—people of different genders, Shakespeare outdoors. He loves seeing by friends and family. Who could ask for ethnicities, ages and backgrounds, all audience members reclined on a a more perfect evening? sharing in the joy of music.” blanket, enjoying a bottle of wine and a cheese plate or sending their kids off to Violinist Amy Schwartz Moretti loves play as they enjoy the performance. performing in any venue, but whenever she performs outdoors she feels a deep “Every now and again, nature will come King Lear and The Merry connection with the world and the lives in and lift the play in unexpected ways,” Wives of Windsor run July around her. Jackson said. “We took Macbeth to 12 to August 12 in parks Walla Walla. One night during dusk, throughout the Puget “One of my favorite memories of a bats began to swoop and circle in Sound region. Visit Volunteer Park concert was during a a feeding frenzy near the trees that seattleshakespeare.org for performance of the Dvorak Viola Sextet,” surround the stage. Wooden O has more information. she shared. “I had a moment when I hired some pretty great designers. But wasn’t playing for a few measures where nature—she is queen.” I was so taken by the beauty of the scenery and music-making. I saw an George Mount left me with some words airplane flying over carrying people to of advice for audience members who are On a walk through Capitol Hill’s their various destinations, heard children hesitant to give Shakespeare a try. gorgeous Volunteer Park one summer, laughing and dancing, and just had a James Ehnes, director of the Seattle general sense of all being right with the “Wooden O was founded on the Chamber Music Society (SCMS), and w o rl d .” conviction that Shakespeare’s plays are his wife Kate, came across a small stage popular entertainment,” Mount said. perfectly sized for a chamber orchestra. Violinist Erin Keefe also loves performing “That’s been a driving force in how She suggested that Ehnes program at Volunteer Park because the setting we approach the plays. Shakespeare’s a summer concert in the space and is more casual than the orchestra’s plays entertain the whole person. The Chamber Music in the Park was born. Benaroya Hall performances. language challenges the brain. The romance lifts the heart. The pathos hits “Bringing this music, for free, into “The nice thing about it is that parents the gut.” Seattle parks has been a wonderful can bring their children without way to spread this beautiful music to worrying about upsetting anyone if Mount added that even if a play isn’t to listeners from all over the city who they get a little restless,” Keefe said.

6 ENCORE STAGES “People can enjoy the weather and maybe a picnic while they listen to us play. It’s very fun for the performers and it’s something I look forward to every summer.”

Chamber Music in the Park is on Saturday, July 28 at Volunteer Park. Visit seattlechambermusic.org for more information, including information on how to register for the community play-along.

When Alexander Mostov joined Common Area Maintenance (CAM), a community gallery and generative studio in Belltown, he was looking for an inspiring workspace where he could THE GERSHWINS’® interact with fellow creatives. In the years since, CAM has provided much more than that community. It’s become PORGY a space where Mostov, an artist who SM works primarily in two-dimensional gouache and computer illustration, can AND BESS challenge his work and experiment with new forms. Which is how he came up august 11–25 with the idea to produce a puppet show that audience members can view from the sidewalk.

In English with English subtitles. The puppetry performance will be the THE GREAT AMERICAN OPERA Evenings 7:30 PM first of its kind in this space, but one George Gershwin’s one-of-a-kind Sundays 2:00PM that has the potential to become an masterpiece boasts some of the best songs Featuring members of Seattle annual summer tradition. ever written—including “Summertime,” Symphony Orchestra. “I Got Plenty O’ Nuttin’,” “I Loves You, Porgy,” and “It Ain’t Necessarily So.” Our fully- MCCAW HALL “I saw a traditional puppet show while scored, unabridged presentation retains all 206.389.7676 of the superb choral and orchestral music SEATTLEOPERA.ORG/PORGY I was studying abroad in Barcelona and that enchanted sell-out McCaw Hall crowds was totally inspired,” Mostov shared. PRODUCTION SPONSORS: in 2011. The vibrant mix of action, humor, KREIELSHEIMER ENDOWMENT FUND “I love magic realism and the idea of romance, struggle, and celebration returns ADDITIONAL SUPPORT FROM: 4CULTURE injecting fantasy into one’s everyday life. with a “perfect” (ClassicsToday.com) new Photo: Philip Newton There’s something about puppetry that production that will inspire you to “rise lends itself to that everyday fantasy.” up singing.”

FAMILY DAY MATINEE: SUNDAY, AUGUST 19: STUDENT TICKETS JUST $20! When I asked him what he was Visit seattleopera.org/familyday for details. looking forward to the most about this collaborative art form, Mostov shared encoremediagroup.com/programs 7 that he’s excited about merging his own visual style with the aesthetics of artists who work in other mediums. For example, how will an artist who works primarily in sound enhance the script?

When Mostov and I spoke in the spring, he was in the process of assembling a team and writing the script, in collaboration with two other CAM artists.

“We’re playing with the idea of adapting a whimsical picture book script I wrote last year,” Mostov said. “We’re planning on adding adult- level humor, political references and sarcasm.”

Sounds like we’re in for a treat.

2-5, 2018 Common Area Maintenance’s puppetry performance will run May CenturyLink Field Event Center through June at their space in Belltown. Visit facebook. seattleartfair.com com/commonartspace for more information.

So, pack a picnic and a wide-brimmed hat. Because whether you’re a puppetry fan, a Shakespeare fiend or an orchestra aficionado, there’s a performance for everyone this summer in Seattle. <

Danielle Mohlman is a nationally produced feminist playwright based in Seattle. Her play Nexus is among the 2015 Honorable Mentions on The Kilroys list. She is an alumnus of the inaugural class of Playwrights’ Arena at Arena Stage and a member of the 2018 Umbrella Project Writers Group.

8 ENCORE STAGES PLAYING IN THE JEWELL MAINSTAGE THEATRE

Book by Perrin Post and Laurie Flanigan Hegge Music by Dina Maccabee Scott Nolte, Lyrics by Laurie Flanigan Hegge Producing Artistic Director From the movie Sweet Land by Ali Selim Karen Lund, and the short story “A Gravestone Associate Artistic Director Made of Wheat” by Will Weaver

SWEET LAND CAST IS SPONSORED IN PART BY: Lars Torvik/Nelson/Ensemble Eric Dobson Olaf Torvik Tyler Todd Kimmel GLENNA KENDALL, Inge Altenberg Molli Corcoran PRODUCING ARTISTIC Alvin Frandsen Chris Shea SPONSOR Marta “Brownie” Frandsen April Poland Pastor Sorenson Hugh Hastings* Gail/Esther/Ensemble Jenny Cross THANK YOU TO Harold/Station Agent/Ensemble * OUR 2018 SEASON Mother/Anna/Ensemble Pam Nolte SUPPORTERS Larson/Auctioneer/Ensemble Daniel Stoltenberg PRODUCTION MUSICIANS

Director Karen Lund Conductor/Piano Michael Matlock Music Director Michael Nutting Reeds Dexter Stevens Choreographer Katy Tabb Violin Emily Ravenscraft Scenic & Sound Design Mark Lund Bassist Leah Pogwizd Costume Design Kelly McDonald Lighting Design Amanda Sweger Assistant Director Marie Morache SETTING Assistant Music Director Michael Matlock Stage Manager Annie Szeliski Park Rapids, Minnesota 1975 & 1920 Dramaturg Annika Bennett Accent/Dialect Coach Katya Landau

Sweet Land is approximately 2 hours including one 15-minute intermission. VERITY CREDIT UNION

* Member of the Actors’ Equity Association, the Union of Professional Actors and OPENING NIGHT Stage Managers in the United States. SPONSOR:

ARISTA CATERING encoremediagroup.com/programs A-1 From the Director

Sweet Land is first and foremost a love story; love for people and love for the land. But it’s also an immigrant story. Many of us delight in the history of our immigrant ancestors. My childhood was full of stories from my family’s heritage; about how they built a new life in this unique nation that welcomed the homeless, the persecuted and the opportunist. It’s a common theme for many American families.

As an adult, I realize the stories I heard about my ancestors were glorified. They didn’t take into account the histories of indigenous peoples displaced from their land or of African peoples brought here against their will. They didn’t address the fact that European immigrants had an easier time fitting in on American shores. And yet, for all their faults, these childhood stories contained a kernel of truth: our nation is better and stronger because of its diversity.

When I hear the word immigration in the news today it’s too often said with fear and suspicion. It makes me wonder, how can we glorify “good” immigrant stories from our history but demonize modern immigrants? My dad used to say that “the one thing we learn from history is we don’t learn from history.” This musical reminds me our country has faced this fear of the foreigner many times before.

Sweet Land is the story of a stranger becoming a neighbor, an outsider becoming a friend, the other becoming family. It’s a love story. And my hope is that this love story will remind us, once again, of the humanity of every immigrant seeking the American Dream today.

Enjoy,

Karen Lund Associate Artistic Director

A-2 TAPROOT THEATRE COMPANY From the Dramaturg The Good Sloop Restauration By Annika Bennett

In 1825, when a group of 52 Norwegians crossed the Atlantic Ocean on the Restauration, a sloop far too small for a party their size, they quietly paved the way for a Scandinavian emigration boom that would swell the population of the United States by millions over the next century. Norwegian-American historians proudly describe the Restauration as the Norwegian Mayflower. Sweet Land, the Musical is an immigrant story new to some and deeply familiar to others. It speaks to the many Mayflower iterations that have landed on American shores – and the people, from every corner of the world, who trusted in the winds to bring them here.

Our nation’s current immigration policies have spurred an urgent conversation about what it means to be American. Sweet Land offers a poignant reminder that this conversation is as old as our country – we’ve struggled with the question of “who belongs” since ships first crossed the Atlantic and displaced – we’ve struggled the indigenous peoples of this land. with the question Sweet Land introduces us to the Norwegian-American enclave of Park Rapids, Minnesota in 1920, where the pall of World War I still hung heavy. In cities and towns across the States, Germans and German-Americans were suddenly of “who belongs” facing discrimination and violence, as President Woodrow Wilson publicly questioned where the loyalties of “hypenated Americans” truly lay. For the since ships first notoriously insular Norwegian communities, it was a moment of reckoning. If the Germans, a long-established American immigrant population, could crossed the so quickly become the “other,” couldn’t it happen to anyone? Was the safest thing to just blend in by being as American as possible? And did that mean Atlantic... baseball games and apple pies, or something darker and harder to name?

Will Weaver’s short story “A Gravestone Made of Wheat” depicts Norwegian-American farming patriarch Olaf Torvik as he reflects on his life with immigrant wife, Inge. This story inspired the movie Sweet Land, and in turn, this musical adaptation. Subjected to discrimination from the moment she arrived in Park Rapids, Inge avoids the town for the rest of her life. Instead she remains “without file or number, nonexistent to federal, state, or local records […] real only to those who knew her, who loved her.” In Weaver’s bittersweet tale, Inge felt a kinship to the land she tilled, harvested and labored on with her family – but she never felt like she truly belonged to the country.

Playwrights Perrin Post and Laurie Flanigan Hegge have instead sought a different narrative for Inge. Their story doesn’t focus on Inge’s ability to fit in, but rather on her newfound community’s ability to put their biases aside and recognize her as one of their own. Post and Hegge’s adaptation of Weaver’s original tale gives the citizens of Park Rapids a chance at redemption and offers us the opportunity to examine what being American means in our own communities and our own time. Given the current state of the union – and the continued arrival of Restauration’s of all shapes and sizes from all over the world – this is a story I’m grateful to see.

The Norwegian Flag

FOR FURTHER READING: The Dream of America. Permanent Exhibition, Nordic Heritage Museum, Seattle. Lovoll, Odd Sverre. Norwegians on the Prairie: Ethnicity and the Development of the Country Town. Minnesota Historical Society Press, 2006. Semmingsen, Ingrid. Norway to America. Translated by Einar Haugen, University of Minnesota Press, 1978. Weaver, Will. A Gravestone Made of Wheat. Greywolf Press, 1990.

encoremediagroup.com/programs A-3 Sweet Land Company

MOLLI CORCORAN (Inge Altenberg) is over the PAM NOLTE (Mother/Anna/Ensemble) is a moon to be returning to one of her favorite founding member of Taproot Theatre. Her places -- Taproot Theatre. Other credits career includes over 75 diverse roles with include: Taproot Theatre’s Joyful Noise TTC and other local companies including (Kitty Clive), A Charlie Brown Christmas Thalia’s Umbrella, Book-It and Seattle (Lucy); Seattle Children’s Theatre’s Pippi Public. She enjoys work as a voice talent Longstocking (Pippi), Goodnight Moon and as a teaching artist providing theatre (Cat, Mouse, Bear); Village Theatre’s Into classes for individuals living with memory the Woods (Rapunzel); Seattle Public Theatre’s Bad Jews loss. (Melody). As always, love to her family! APRIL POLAND (Marta “Brownie” Frandsen) JENNY CROSS (Gail/Esther/Ensemble) is returns after four years teaching Theatre pleased to be back on Taproot’s Mainstage! at the College of William & Mary and Past Taproot credits include Busman’s directing three shows at Regent University Honeymoon, This Christmas, Jane (The Diviners, The Seagull, She Loves Eyre, Illyria, Gaudy Night, Leaving Iowa, Me). At Taproot, April has appeared in The Something’s Afoot, The Great Divorce, Odyssey, Illyria, Mr. Pim Passes By, Man of Smoke on the Mountain Homecoming, Big La Mancha and Jane Eyre. River, Joseph and the Amazing Technicolor Dreamcoat. She also teaches for Taproot’s Acting Studio CHRIS SHEA (Alvin Frandsen) has previously on-site and throughout the Puget Sound area. Love to Jay! been seen at Taproot in A Civil War Christmas, Dracula and Joyful Noise. ERIC DOBSON (Lars Torvik/Nelson/Ensemble) When not onstage, he is busy inspecting has favorite credits including Dave/ homes for Optimized Inspection Services. Ensemble in Dreamgirls (Village Theatre), Jim/Jackson Understudy in Pump Boys and Dinettes (Village Theatre) and Sid in The Pajama Game (Centerstage Theatre). DANIEL STOLTENBERG (Larson/Auctioneer/ When Eric is not performing on stage he is Ensemble) last appeared at Taproot as writing music for his video-game themed Harry Binion in Room Service. Previous YouTube channel, Rockit Gaming. Cowabunga, dude! accordion-playing roles include Jeffrey in Godspell (Taproot) and Alan Dangle in One HUGH HASTINGS (Pastor Sorenson) has often Man Two Guvnors (Sound Theatre). When appeared at the , he isn’t performing or teaching theatre Village Theatre and Seattle Children’s camps, Daniel is designing a board game Theatre as well as Seattle Shakespeare and writing lyrics for a musical. Company, Oregon Shakespeare Festival, Asolo Repertory Theatre and Arizona MICHAEL WINTERS (Harold/Station Agent/ Theatre Company. Hugh has been a proud Ensemble) appeared at Taproot last season member of Actor’s Equity for over 30 years. in Evidence of Things Unseen and was He would like to thank his wife Connie for...everything. recently in Timon of Athens at Seattle Shakes. He has also worked at The Rep, TYLER TODD KIMMEL (Olaf Torvik) is thrilled Intiman, 5th Avenue, Book-It and ACT in to be back at Taproot! He has been seen Seattle and with companies in Denver, in A Charlie Brown Christmas (Schroeder, San Francisco, Los Angeles, Phoenix, San three times!), Big Fish (Will Bloom) and Jose, San Diego among others, as well as one production Godspell. He has enjoyed teaching for on Broadway. He has done a good deal of television and is Taproot and Village Theatre KIDSTAGE, a proud member of Actors Equity, a Lunt-Fontanne Fellow music directing for The Hi-liner’s Musical and the grateful recipient of a Fox Fellowship. Theater and directing the choir and theater programs at Seattle Christian School. Additionally, he is MICHAEL MATLOCK (Conductor/Assistant Music Director) is a freelance musician, voice teacher, and dialect coach, glad to be back after last year’s Persuasion. Other theatre and plays for the band Lindstrom and Company (www. credits include: Holiday Inn, Secret Garden (5th Ave), Ride lindstromandcompanyband.com). Education: Florida the Cyclone, (ACT), Singing in the Rain, String International University and Pepperdine University. (Village Theatre). Thanks to my family, and as always, to Suzie and RJ. Website: keyofw.com

A-4 TAPROOT THEATRE COMPANY Sweet Land Company

LEAH POGWIZD (Bassist) is a bandleader, bassist, educator KAREN LUND (Director) also serves as Taproot’s Associate and writer working in the Seattle area. She holds a BM in Artistic Director. This is Karen’s 25th year on staff with Jazz Studies from University of North Texas and a MA/PhD TTC and her work includes the world premiere musical, in Ethnomusicology from . Her Persuasion, Lady Windermere’s Fan, A Civil War Christmas, site, Nanoversity of Jazz, is at www.leahpogwizd.com. Room Service, Silent Sky, Godspell and The Explorers Club. She is Vice President of the Board of Directors for Theatre EMILY RAVENSCRAFT (Violin) is excited to make her debut Puget Sound and has garnered numerous theatre and film with Taproot Theatre. This is her first production in directing awards including three Tellys. Karen thanks her Seattle, but she’s no stranger to the stage. You can find amazing family Mark, Jake and Hannah for making her life her performing all around the city in various projects from so wonderful. blues improvisation to classical ensembles and everything in between. MARK LUND (Scenic & Sound Design) has designed over 100 TTC shows. This show reminds him of his immigrant great- DEXTER STEVENS (Reeds) is thrilled to be back at Taproot great-grandparents Rasmus & Ane Adamson. They and Theatre this summer! He was last seen in Greenwood Olaf & Rose Lund and Ray & Ada Lund spent almost 100 playing in the pit for Big Fish, Jane Eyre and Illyria. Dexter years running the family farm together near Montevideo, is a freelance woodwind musician in Seattle, performing MN. Love to Karen, Hannah & Jake. music for stage shows, cabarets and orchestras throughout town. DINA MACCABEE (Music) is a composer, songwriter and violinist/violist who works in a variety of styles, from ANNIKA BENNETT (Dramaturg) is a Seattle-based playwright traditional American string music to contemporary and dramaturg. This is her first time working with Taproot experimental composition. She was a founding member and she’s so grateful for the opportunity! Annika recently of Real Vocal String Quartet and company composer served as Seattle Repertory Theatre’s Literary Intern and for Berkeley’s Just Theater, and she has performed the Goodman Theatre’s Dramaturgy Intern. She is an alum internationally with Julia Holter, Vienna Teng, Feist and of the National Theatre Institute and Princeton University. many others. Current projects include her songwriting duo Ramon & Jessica’s original, staged a cappella musical ROBERT ELHAI (Orchestrator) is a Tony Award nominee for storybook for children based on text by Gertrude Stein, and the orchestrations to The Lion King, has composed and a solo performance project of songs for viola, voice and arranged music for many theater and concert productions electronics. around the world, including My Heart Is The Drum at Village Theatre. He has worked on over 150 film scores MARIE MORACHE (Assistant Director) is grateful to return by A-list composers such as Elliot Goldenthal (the Oscar- to Taproot Theatre for Sweet Land. As a former Taproot winning score to Frida) and Brian Tyler (The Fast and the staff member and a native Minnesotan whose Norwegian Furious movies). Next season: Dirty Business with Laurie ancestors settled in rural Minnesota, this production holds Flanigan Hegge! robertelhai.com a special place. She has directed for Taproot’s touring company, Seattle Country Day School and Absurd Reality LAURIE FLANIGAN HEGGE (Book/Lyrics) is a bookwriter and Theatre. lyricist from Minneapolis, where she serves as the Twin Cities regional rep for the Dramatists Guild. Her original KELLY MCDONALD (Costume Design) is a Seattle based work includes: Loose Lips Sink Ships (co-writer), See Jane costume designer and this is her first show here at Vote, 20 Days to Find a Wife, Hormel Girls, Tales Along the Taproot Theatre. Previous designs around town have Minnesota Trail and Boxcar, a collaboration with Spitfire been seen with ArtsWest, Café Nordo, Cornish College of Grill composer James Valcq, currently running at Northern the Arts, Intiman Theatre, Seattle Public Theater, Seattle Sky Theater in Door County, Wisconsin. Upcoming: Dirty Shakespeare Company and Village Theatre. Business, A Spy Musical (with composer Robert Elhai) premiering at History Theatre in St. Paul, MN in Spring MICHAEL NUTTING (Music Director) earned his Piano 2019. Performance and Music History degree at WWU and began music directing as a college student in Bellingham. Now a KATYA LANDAU (Accent/Dialect Coach) recently performed music director in the area, his favorite past shows include: as Jessica in The Merchant of Venice with Seattle (Kidstage), Little Shop of Horrors (ACT/5th Shakespeare Company, directed The Journey at the Ave), In the Heights (Village Theatre) and String (Village Starbucks Channel Development Conference and accent/ Theatre). When he is not music directing, Michael is an dialect coached Howl’s Moving Castle with Book-It Theatre avid teacher, composer and arranger. Love to Jerra. Company. She graduated Summa Cum Laude from Cornish College of the Arts in 2015.

encoremediagroup.com/programs A-5 Sweet Land Company

PERRIN POST (Bookwriter) Producer/Director credits: Sweet Land, the Musical (History Theater), Broadway’s Legendary Ladies (Ordway, Loring Playhouse, midwest Sweet Land Staff tour), The Spitfire Grill (Loring Playhouse, Jon Hassler Theater), Zombies From the Beyond (Bryant Lake Bowl), Vixens; Martinis, Girls & Guns; Monsters, Witches & PRODUCTION STAFF Freaks (Loring Playhouse), Ten Years Later (Hopkins House). She conceived Hormel Girls, a new musical which Andy Lee – Assistant Stage Manager premiered at the History Theatre in 2007 & created and Andrea Spraycar – Props Master directed the opening numbers for the Ivey Awards from Rachel DeBoer – Directing Intern 2005 to 2011. www.buffalogalproductions.com / www. Garrett Senn – Production Stage Management Intern sweetlandthemusical.com

ANNIE SZELISKI (Stage Manager) is excited to be working COSTUME STAFF with Taproot for the first time! Annie has worked with Kali Greenberg – Dresser various theaters around the Seattle area including: Village Theatre: KIDSTAGE, Theatre22, Showtunes Theatre Beth Gilroy – Cutter/Draper Company, Book-It Repertory Theatre, ACTLab, Studio East, Rose Hope, Rebecca Lenihan – Stitchers StoryBook Theater and Perseverance Theatre in Juneau, AK. SCENIC, LIGHTING & SOUND STAFF

KATY TABB (Choreographer) is thrilled to return to Taproot! Kyna Shilling – Master Electrician Past choreography: Persuasion at Taproot, ZM, Newsies, Aiyana Stephens – Light Board Operator Billy Elliot and Singin’ in the Rain at Village Theatre. Up Mariah Brougher – Sound Board Operator next: Wonderful Town at Seattle Symphony. Locally, she Tim Samland – Scenic Carpenter has performed at Village Theatre, The 5th Avenue Theatre Gabe Airth, Joanna Aponte, Trevor Cushman, and Showtunes Theatre Co. www.katytabb.com Kylie Fletcher, Sarah Goshman, Maria Gray, Ryan Long, Nick McCulloch, Jacob Viramontes, Eric Wu – Electrics Crew Sweet Land Song List

ACT I ACT II “Land So Sweet” – Lars, Company “Summer” – Leader, Company “Don’t Look Back” – Inge “When We Are Married” – Inge, Olaf “Ducky” – Frandsen, Inge “Ducks Dream” – Inge, Olaf “Not One Of Us” – Full Company “Threshing Time” – Full Company “The Photograph”– Olaf “The Auction” – Auctioneer, Full Company “Bigger Better Faster” – Frandsen, Brownie “Frozen Fields” – Olaf, Inge, Brownie, Frandsen “Baseball Rag” – Full Company “Call Me Inge Torvik” – Olaf, Inge, Pastor “Barn Dance” – Orchestra “Finale/Land So Sweet” – Full Company “Peace and Quiet/Northern Lights” – Inge “You Took A Bath” – Inge, Olaf “It’s Not Over Yet” – Harold, Inge, Olaf, Brownie, Frandsen

A-6 TAPROOT THEATRE COMPANY Taste the Love By Daytona Strong

Stories of immigrants fascinate me. We each contain a little bit of the generations who came before us, and in my case I’m the daughter of a Norwegian father and a Norwegian-by-way-of-North-Dakota mother. In a place like Seattle with its deep Scandinavian roots, it’s easy to accept the traditions of one’s Scandinavian heritage without thinking too much about it. That was the case with me, at least.

But some years ago, through a series of events, I realized that the Norwegian elements of my family culture weren’t just necessary elements of the generations who came before me, but ones I wanted to embrace and preserve. The biggest one was the food.

Though I started out as a journalist and then worked in Taproot Theatre’s marketing department for several years, today I’m doing what I think much of my past was pointing to. I’m a food writer and I spend my time in the kitchen preserving Norwegian food culture and exploring how food ties us to one another – both by blood and by relationship. For me, Norwegian food is inextricably linked to a sense of love, because of how my family fed me. Today feeding others is a way I show Daytona Strong writes about her love, especially when it comes to making pannekaker. family’s Norwegian heritage through the lens of food at her Scandinavian Much thinner than the ones Americans typically eat for brunch, slathered with pats food blog, www.outside-.com. Find her on social media: of melting butter in a pool of maple syrup, pannekaker – Norwegian pancakes – are much thinner, more like a crêpe. As for the Swedish distinction? Norwegian @daytonastrong Pannekaker are a little thicker and eggier than Swedish pannkakor, but they’re www.facebook.com/ really quite similar. Oh, and about that mention of brunch – you wouldn’t typically OutsideOslo serve these in the morning hours. Instead, they’re about the most indulgent dinner I can think of. Yes, dinner.

Scandinavians have a tradition of eating the pancakes with soup – sometimes a yellow pea soup, other times a version studded with little pieces of meat and vegetables. While the idea of eating pancakes with pea soup originated in Sweden, many Norwegians have adopted the tradition, making the combination comfort food to people in both countries.

Each time I make a batch of pannekaker, I’m sharing a taste of my Norwegian heritage with my loved ones or guests. I hope they can also taste the love. Pannekaker 1 1/2 cups whole milk 1 teaspoon Scandinavian 2 tablespoons unsalted 3/4 cup all-purpose flour vanilla sugar* butter, melted, plus more 1/4 teaspoon kosher salt 3 eggs for pan

1 tablespoon sugar

Mix all ingredients except butter in a medium-sized bowl using a whisk or fork until the batter is smooth and you have no lumps. Stir in butter. Refrigerate for 30 minutes to let the batter rest.

Meanwhile, warm a pan over medium heat. I prefer a well-seasoned cast-iron pan, which minimizes the need for additional butter to keep the pancakes from sticking. Melt a little butter in the pan and make a small test pancake like Signe Johansen recommends–this will help you gauge the heat and adjust the flavors if necessary–giving it a minute or so on each side to cook...

Go to taproottheatre.org/recipe to get encoremediagroup.com/programs Daytona’s full recipe! A-7 HELPFUL INFORMATION

FOOD & DRINK Non-Alcoholic Beverages from The Stage Door coffee shop Taproot Theatre Company is a professional, non-profit theatre with are allowed in the theatre in a multifaceted production program. Founded in 1976, TTC serves the disposable paper or plastic cups Pacific Northwest with touring productions, Jewell Mainstage and Isaac with lids. Studio Theatre productions and the Acting Studio. Taproot is a member Alcoholic Beverages: Beer and of Theatre Communications Group (TCG), Theatre Puget Sound (TPS) wine from The Stage Door are and the Phinney Neighborhood Association. allowed in the theatre ONLY in reusable Taproot acrylic tumblers Taproot Theatre Company creates theatre experiences to which can be purchased from the brighten the spirit, engage the mind and deepen the coffee shop. In compliance with understanding of the world around us while inspiring state liquor laws only alcoholic imagination, conversation and hope. beverages may be served in these tumblers. Food is not permitted in either theatre. Mailing Address: Administrative Offices: Box Office: DRAMATURG DISPLAY PO Box 30946 206.781.9705 206.781.9707 Visit the Jewell Mainstage upper Seattle, WA 98113-0946 Fax: 206.297.6882 [email protected] lobby to view a display with additional information relating taproottheatre.org facebook.com/ @taproottheatre to the current production on the taproottheatre Jewell Mainstage. @taproottheatre ASSISTED LISTENING DEVICES Patrons desiring an assisted listening device may request one from the House BOARD OF DIRECTORS Manager. The Hearing Loop is available in OFFICERS the Jewell Mainstage Steve Thomas, Chair Theatre. Peter Morrill, Vice Chair LOST & FOUND Anne Ball, Secretary If you have lost an item, check Denise Daniels, Treasurer with the Box Office in person or by phone at 206.781.9707. If MEMBERS you find a lost item, please give Scott Altus it to the House Manager or Box Office staff. Unclaimed lost & Larry Bjork found items may be donated to Dr. Amanda Woodward Davis a thrift store at the discretion of Jude Hubbell management. Daniel Ichinaga PROP/SET/COSTUME DONATIONS Brian Poel Sorry, no prop, set or costume Dr. George Scranton donations are being accepted at Dan Voetmann this time. Dr. Kristen Voetmann VIDEO AND/OR AUDIO RECORDING OF Rob Zawoysky THIS PERFORMANCE BY ANY MEANS WHATSOEVER IS STRICTLY PROHIBITED. Scott Nolte (non-voting)

A-8 TAPROOT THEATRE COMPANY UP NEXT AT TAPROOT THEATRE

SEP 12 - OCT 20

A mystery … Sherlock Holmes is back and searching for clues to explain a mysterious death on a haunted moor. Five fearless actors conjure over 35 characters to deliver laughter and chills in this dizzyingly inventive adaptation of The Hound of the Baskervilles. Bite your nails and howl with delight as Holmes and Watson face their most diabolical case ever. … that’s murderously funny.

BUY EARLY, SAVE BIG ON SINGLE TICKETS

MEET THE CAST HOW DO I SAVE?* * $25 tickets can be purchased online or over the phone. Eric Hampton Michael Patten * Tickets MUST BE PURCHASED BY August 18, 2018 for Taproot ACT Theatre’s Theatre’s one of the seven performances listed below. Room Service * Use discount code HOUND online or over the phone. * Available for Level B & C seats only (green and blue seats when purchasing online).

Reginald Nick Watson AVAILABLE DATES FOR $25 TICKETS: André Jackson Taproot Taproot Theatre’s Wed, Sep 12 at 7:30 PM Sat, Sep 22 at 8:00 PM Theatre’s A Civil War Sat, Sep 15 at 2:00 PM Thu, Sep 27 at 7:30 PM Busman’s Christmas, Sat, Sep 15 at 8:00 PM Fri, Sep 28 at 8:00 PM Honeymoon Big Fish Thu, Sep 20 at 7:30 PM

Elizabeth Keck *This offer cannot be combined with any other discount and is not valid Regent on previously purchased tickets. Only good for seat levels B & C. Limit Theatre’s 4 tickets per order. Third party service fees may apply. All sales are Much Ado final. Exchanges can be made for $5; upgrade fees may apply. When About Nothing purchasing online, select “Adult” priced tickets, apply the discount code in the shopping cart.

encoremediagroup.com/programs A-9 WHAT’S YOUR TAPROOT STORY?

At Taproot Theatre we love hearing the stories patrons tell us about their Taproot memories. This month, we asked Peter and Megumi Morrill to share their serendipitous and international Taproot story. When and where did you meet? Megumi: We met in Tokyo, specifically at a church weekend getaway. Peter was placed in my group since I could speak English. Peter had studied Japanese, and spoke Japanese fluently. So, that’s how we met. We were engaged in four months and married within a year. We got married and celebrated our first anniversary in Japan. Our second anniversary was in Colorado while living at Peter’s parents’ house; the third, in Poland while visiting my parents who lived there at the time; the fourth, in Vancouver, Canada where Peter was attending Regent College. How many different countries have the two of you lived in? Megumi: Japan, Singapore, Taiwan, Canada and the USA. What advice would you give to people discovering a new city, or even a new country? Peter: Find a family! When I first moved to Japan, I went to the same little family-run restaurant almost every evening and that family helped me get settled. Later, my church became that family. Eventually, we had a family of our own. How did you discover Taproot Theatre? Peter: While I was doing my graduate studies, we got to know the Director of Pacific Theatre in Vancouver. He told us, “If you ever move to Seattle, you need to check out Taproot Theatre!” So, later, when we did move to Seattle, we said, “Remember that Taproot Theatre?” We looked it up and it was not even a mile away from our home. We could throw a baseball and hit it. We went to a show and we’ve been season ticket holders ever since. What makes this theatre so uniquely important to you? Megumi: Taproot shows make us stop and reflect, discuss, laugh, cry and give us hope. We give our time and money to Taproot Theatre for our own selfish reason, that we want them to continue to provide us with those experiences and we want more people to experience them too. Peter: Taproot has a unique place in Seattle. The productions are top quality, the mission reaches so many through the touring and teaching programs and the content is so well considered. Taproot tackles important cultural issues in a way that creates dialog and we love that. We value what Taproot values and we want quality live theatre that pushes us in healthy ways. It’s an easy investment decision, as we want to see Taproot endure. We choose to invest both time and money – and it’s worth every hour and dollar. 2018 Summer

Acting Camps Register Online Today Pre-K through 12th Grade taproottheatre.org/acting-studio

A-10 TAPROOT THEATRE COMPANY A new play, like Sweet Land, TAPROOT THEATRE STAFF WHAT’S YOUR TAPROOT STORY? requires lots of creativity. ARTISTIC/PRODUCTION Whether you’re creating a new musical Scott Nolte - Producing Artistic Director or a short improvisation, one of the first Karen Lund - Associate Artistic Director rules of storytelling is to say: Mark Lund - Design Director “Yes, and…” Abigail Pishaw - Production Stage Manager Lauren Karbowski - Costume Shop Manager Kyna Shilling - Production Associate What if… A lonely farmer needs a wife. Yes, and… She’s from Germany. PATRON SERVICES Yes, and… It’s shortly after World War 1. Jenny Cross - Patron Services Manager Yes, and… People fear her because of the war. Anne Tobin – House Manager Lead Yes, and… Cathie Rohrig, Grace Varland – House Managers Kristi Matthews - Box Office Manager Saying “Yes, and…” can double or triple the Tiffany Bailey - Box Office Lead creative power of your giving too! Lori Hunt - Subscription Lead Lori Hunt, Hannah Lund, Charis Tobias, Jaren Walker - Box Office Representatives With Corporate Matching Gifts, you say, Marty Gordon - Custodian

“Yes, I want more new plays at Taproot!” DEVELOPMENT And your employer says, “We do too!” Bonita Hagbom - Director of Development Sonja Lowe - Grant Writer & Resident Dramaturg Contact your human resources representative to find out more about your employer’s matching gift policy. ADMINISTRATIVE Here are just a few of the companies that have Pam Nolte - Community Liaison matching gift programs: D. Lee Grooms - Finance & Operations Director Aetna Expedia Nikki Visel - Marketing Director Alaska Airlines Google Tanya Barber Dugas - Creative Design Manager Bank of America LPL Financial Isaiah Custer - Communications & Group The Bill & Melinda Gates Microsoft Sales Manager Foundation Josh Krupke - Marketing & Development Starbucks Associate Blackrock Shell Oil EDUCATION & OUTREACH Boeing Verizon Wireless Shelby Parsons - Director of Education & The Coca-Cola Company The Walt Disney Company Outreach Lindsey Long - Education & Outreach … And Many MORE! Program Manager Jenny Cross - Resident Teaching Artist Sarah Diener - Education & Outreach Summer Associate Shane Unger - Summer Studio Production Visit taproottheatre.org/donate Manager for more information.

encoremediagroup.com/programs A-11 Thank You

Taproot Theatre gratefully acknowledges the following for their generous support of our Annual Fund and Capital Campaign. This list reflects gifts made to both funds between May 1, 2017 and June 1, 2018. While space limitations prevent us from including every donor, we are pleased to present a more extensive list on the front wall of our lower lobby. If you have any questions or would like more information about making a tax-deductible gift to Taproot Theatre Company (a 501c3 organization), please contact Sonja Lowe at 206.529.3672 or [email protected].

INSTITUTIONAL DONORS $10,000 +

Faith Fellowship Fredric Sjoholm, Moccasin Lake Anonymous Trustee, Margery Foundation M.J. Murdock M. Jones Trust Charitable Trust

$5,000 - $9,999

University- Ballard Lions Club

$2,500 - $4,999 $1,000 - $2,499 $500 -$999 Ballard Industrial, Inc. ∙ Hazel Miller Foundation D.V. and Ida J. McEachern Charitable Trust ∙ Flora Champion Wine Cellars ∙ Horizons Foundation ∙ National Christian A Coghlan Family Trust ∙ Nisqually Indian Tribe ∙ Foundation Northwest ∙ Piper Village St. John`s Lodge # 9 F. & A. M. ∙ Margaret Bullitt Charitable Gift Fund ∙ Wyman Youth Trust

INDIVIDUAL DONORS

Angels ($10,000 +) David Allais ∙ Walter Bachman ∙ David & Anne Ball ∙ John & Ann Collier ∙ Hoots & Thomas ∙ Glenna Kendall ∙ Kraig & Pam Kennedy ∙ Philip & Cheryl Laube ∙ George & Alyssa Petrie ∙ Susan Rutherford, MD ∙ Richal & Karen Smith ∙ Anonymous (5) Marquee ($5,000 - $9,999) Russell & Janice Ashleman ∙ Larry & Lorann Bjork ∙ Mary Anne Braund & Steve Pellegrin ∙ Mark Bullard ∙ Tom & Linda Burley ∙ Christopher & Patricia Craig ∙ Amanda & Ben Davis ∙ Gary & Deborah Ferguson ∙ Kathy & Dan Gelzer ∙ Alan & Carol Gibson ∙ Dorothy Herley ∙ Mark & Karen Lund ∙ Peter & Megumi Morrill ∙ Erik & Tamara Nelson ∙ Nicholas & Yvonne Roberts ∙ Ron & Susan Runyon ∙ George A. & Claire E. Scranton ∙ Robert L. Smith ∙ Loren & Carol Steinhauer ∙ Daniel & Margret Voetmann ∙ Daniel & Joann Wilson ∙ Anonymous (2) Producers ($2,500 - $4,999) Fil & Holly Alleva ∙ Craig & Denise Daniels Barwell ∙ Inez Noble Black ∙ Cliff & Char Burns ∙ Juan & Kristine Espinoza ∙ Carolyn Hanson ∙ Steven & Lore Hilby ∙ Wayne & Naomi Holmes ∙ Evan & Molly Holzknecht ∙ Loren & Isobel Hostek ∙ Frank Lawler & Ann McCurdy ∙ Fred & Carolyn Marcinek ∙ Dr. Les & Carol Nelson ∙ Scott & Pam Nolte ∙ Bruce & Cynthia Parks ∙ Brian & Christa Poel ∙ Ralph & Joan Prins ∙ Patricia Putnam ∙ Kathryn Sand ∙ Jeff & Margie Van Duzer ∙ Daryl & Claudia Vander Pol ∙ Fred & Judy Volkers Directors ($1,000 - $2,499) Mike & Shirley Allert ∙ Scott & Karen Altus ∙ Douglas & Tambra Birkebak ∙ Melvin & Cordelia Brady ∙ Fay & Russell Cheetham ∙ Cline Jewelers ∙ Wayne & Greta Clousing ∙ Alan & Gayle Coburn ∙ James & Kay Coghlan ∙ Stephen & Susanne Daley ∙ Paul & Phyllis Davis ∙ Paul & Jean DeGroot ∙ David & Caroline Dufault ∙ Dale Dvorak ∙ Marion Fisher ∙ Lee Fitchett ∙ Steven & Jamie Froebe ∙ Sean & Catherine Gaffney ∙ Paul & Ruth Goddard ∙ Maren & Braden Goodwin ∙ William Gowen ∙ Mr. William Hall, Jr. ∙ Peter & Anne Haverhals ∙ Joseph & Elizabeth Helms ∙ Peter & Cynthia Herley ∙ David & Mary Kay Hilmoe ∙ Dr. Rick & Susan Hornor ∙ John & Judith Hubbell ∙ Daniel Ichinaga ∙ Mike & Barb Jewell ∙ Bill Johns ∙ Jeffrey & Sue Anne Johnson ∙ Eric & Julie Johnson ∙ Sandy Johnson ∙ Paul Kemmerer ∙ Susan Lamar ∙ Mr. and Mrs. Edmond Lee ∙ Harry & Linda Macrae ∙ Gary & Nancy Massingill ∙ Scott & Mary Matthews ∙ Robert & Roberta McBride ∙ Kim & Dana Moore ∙ George & Joy Myers ∙ Craig & Linda Nolte ∙ Lloyd & Jackie Nolte ∙ Gordon & Mary Nygard ∙ John & Lucy Nylander ∙ Mary Pagels ∙ Thom Parham ∙ Jeff & Joann Parrish ∙ Susan Pazina ∙ Kathryn Pearson ∙ Roy & Janice Petersen ∙ Megan & Greg Pursell ∙ Tom & Claudia Rengstorf ∙ Vic & Kristine Rennie ∙ G.M. & Holly Roe ∙ Dr. Sarah Roskam ∙ Lawrence & Nancy Rudolph ∙ Dion & Gregory Rurik ∙ Norman & Eden Sellers ∙ David & Joan Selvig ∙ Todd & Teresa Silver ∙ Kitty Slagle ∙ Ronald & Dorita Smith ∙ Charles & Marilyn Snow ∙ Kerry Swanson ∙ Katie Hong & Harold Taw ∙ Larry & Mary Ruth Thomas ∙ Curtis Urben ∙ Jewely Van Valin ∙ Leora Wheeler ∙ James & Joan White ∙ Jean Winfield ∙ Gary L Woods, Penelope Nichols ∙ Richard & Keltie Wright ∙ Robert & Maree Zawoysky ∙ Anonymous (6) Playwrights ($500 - $999) Calvin & Carolyn Agatsuma ∙ Marc Bateman & Judith Gibson ∙ Timothy Bean ∙ Geraldine Beatty ∙ Margaret Blau ∙ James & Melinda Bohrer ∙ Lisa Bontje ∙ Anne Kennedy Brady & Kevin Brady ∙ Stephen Brady & Judith Cohen ∙ Werner & Janet Cadera ∙ Diane & Stuart Campbell ∙ Jean Carlson ∙ James & Janis Cobb ∙ Blaine & Susan Coppin ∙ Jay & Jenny Cross ∙ Todd & Sylvie Currie ∙ Bob Quick & Judy Cushman ∙ Susanne & Stephen Daley ∙ Donald & Claudia Deibert ∙ Rufus McDuff and Edith Rose DeSanderson ∙ Bruce & Glyn Devereaux ∙ Dennis & Deborah Deyoung ∙ Juelle Edwards ∙ David & Judy Eggold ∙ Kristine Engels ∙ A Etter ∙ Sandra Farewell ∙ Leona Foley ∙ Martin Fracker ∙ Melinda & Barry Franklin ∙ Michael & Karen Frazier ∙ Gary & Kathy Gable ∙ Charles Gardner ∙ Linda Glenicki ∙ ‘Rick Gray ∙ Robert Greco ∙ Lewis & Elizabeth Hale ∙ Charles Hartung ∙ Susan Haugen ∙ Henry & Lauren Heerschap ∙ Jonathan Henke ∙ David & Kristine Jung ∙ Ann Kalas ∙ Karen Koon ∙ Cody & Beth Lillstrom ∙ Brian & Gala Lindvall ∙ Charles & Carol Maurer ∙ Bob & Karolyn McDaniel ∙ Geraldine McGill ∙ Tim & Sharon McKenzie ∙ Christe & Bruce McMenomy ∙ Angus McQuarrie ∙ Tom & Jean Mohrweis ∙ Don & Kim Morris ∙ Roger Morris ∙ Linda & Tom Morris ∙ Bryce & Bonnie Nelson ∙ Ray & Willa Nizolek ∙ Paul & Cathy Nordman ∙ Tom & Sue North ∙ Vicki Olsen ∙ Eiji Ono & Audrey Na ∙ Nolan & Lorena Palmer ∙ Tania Posa ∙ William & Jodie Purcell ∙ Shawn & Tori Ritchey ∙ Arnold Rollins ∙ Ron & Virginia Sather ∙ Melissa Saunders ∙ Frederick & Caroline Scheetz ∙ Jim & Karen Skadan ∙ Edwin & Kathy Sterner ∙ Paul & Colleen Stoltenberg ∙ Criag Strausz ∙ Gene & Linda Stubbs ∙ Robert & Maryann Varnum ∙ Dale & Brenda Voth ∙ Janet G. West ∙ Larry & Linda Williams ∙ David & Ann Woodward ∙ Isabelle Woodward ∙ Cpt Ryan & Leah Yoke ∙ Glen & Eilene Zachry ∙ Anonymous (5)

A-12 TAPROOT THEATRE COMPANY Dialogue Encore Stages in conversation

Photo from Teh Internet is Serious Business at Washington Ensemble Theatre. Photo courtesy of John Carpenter Photography.

As a fourth generation Seattelite, Rachel Guyer-Mafune lives with the Pacific Northwest in her DNA. She’s a 2016 graduate of Cornish College of the Arts and a member of ACT’s 2018 Core Company. And like any great actor, she considers her artistic identity a work in progress. She’s committed to expanding her capabilities, learning from and listening to her theatre peers and finding inspiration in everything. Rachel Guyer- We had the opportunity to speak with her about her recent performance in Sarah Mafune. DeLappe’s The Wolves, her commitment to new work and her passion for this city. Photo by Dawn Schaefer. The Wolves seems to be gaining it means to be a teenage girl today. momentum with every regional Everyone working on The Wolves truly production. What attracted you to Sarah became a pack, and the trustful bond I’m super amped for WET’s next DeLappe’s script? How has working with we created was an imperative step to season, which includes new plays this ensemble at ACT informed the way becoming a team. written by female playwrights. Joining you rehearse and collaborate? WET as a company member last year Looking at this past season— has motivated me to read new plays I played soccer as a child and was a especially Teh Internet is Serious and discover playwrights I might not teenager not too long ago, so this script Business at WET, Howl’s Moving otherwise know about. Having a theatre resonated with me front to back. The Castle at Book-It and The Wolves at family to discuss new works with is characters are intelligent, strong as hell ACT—it’s clear you’re attracted to new awesome. I’m also really excited about and defy reductive female stereotypes plays and Seattle premieres. Are there ACT’s first playwright in the Core in theatre. I was so excited for the any favorite playwrights you’re hoping Company, Yussef El Guindi. He’s had audience to get a glimpse of what to see on Seattle stages one day? plays produced at ACT and all over the

encoremediagroup.com/programs 9 country and he’s one talented dude. It’s been a blast reading his work with other Core Company members.

You were recently named to ACT’s 2018 Core Company. Could you talk to me about what it means to be part of this company of artists?

Joining ACT has made me realize that my artistic path is not one I have to navigate alone. Knowing I’m surrounded by folks who believe in my work and have confidence in my ability to grow as an actor—it’s incredible. I am one lucky gal. John Langs, the artistic director, absolutely adores actors and he’s committed to providing us with a space to bloom and creatively flourish. I’m beyond proud to represent ACT as an artistic ambassador this year.

What excites you most about being an artist in Seattle? How do you hope to grow and challenge the theatre community here?

Being part Japanese American and a STRAWBERRY member of the LGBTQ+ community, THEATRE WORKSHOP I’m hungry for more characters like me. I mean, how dope would it be to see an unapologetically brazen, mixed, pansexual woman onstage right now? I’m currently working on using my voice to express our need for diverse, inclusive and relevant theatre. I’m learning how to take my space, while giving the mic to others who need to be heard first.

Are there any musicians, dancers or theatre artists that you’re especially HOW I LEARNED excited about next season?

TO DRIVE I’m looking forward to continuously watching new artists BY PAULA VOGEL and work I’ve never seen before. I want to see more shows and make connections with folks who are dedicated to telling honest, unvarnished stories onstage and off. It’s going to be an amazing year to find inspiration in JUN 7– this community.

10 ENCORE STAGES Dialogue Encore Stages in conversation

James Asher (Gamal) and Kunal Prasad (Mohsen) in the 2016 Golden Thread Productions staging of Our Enemies: Lively Scenes of Love and Combat, directed by Torange Yeghiazarian. Photo by David Allen Studio, courtesy Golden Thread Productions.

Encore Stages talks with If you’re an avid theatre-goer in Seattle, theatrical lens. Is there something that you wish Seattle residents better playwright Yussef El Guindi chances are you’ve seen a Yussef El Guindi play. This prolific playwright understood about immigration in on the immigrant—and has become an artistic staple here in America? American—experience. Seattle, a city he has called home since 1994. (Upon reflection, he shared that It’s not easy. Immigrating is sort of he’s lived in Seattle longer than he’s lived akin to walking a wobbly, wooden anywhere else—even England, where bridge over a precipice in a deep fog—a he was raised after his family emigrated bridge that appears to be disappearing from Egypt.) We had the opportunity to behind you and whose intact structure speak with him about his writing, being up ahead is not assured. And even a theatre artist in Seattle and ACT’s if you “make it across” and achieve 2018 Core Company. citizenship, world events and political shenanigans might occur that might Many of your plays examine the suddenly imperil your standing as an immigrant experience through a immigrant.

encoremediagroup.com/programs 11 collective group. There is no sense of guilt or worry that this might in some way impact their standing in society.

But for certain immigrant groups and people of color, that worry is real. You feel pressured to publicly disavow any connection or feeling for the individual who perpetrated that crime. If the perpetrator is an Arab or Muslim, the mainstream press won’t speak of that individual as troubled or suffering from mental health issues. Instead, they’re terrorists, monsters, and live outside the pale where everything good and Yussef El Guindi. Photo by Ann-Margaret civilized apparently lives. Johnson/Sassafras Photos.

At such times, you feel you’re back on Different racial and immigrant groups that bridge over that precipice. And at different times will frequently get the bridge feels even more wobbly than slandered in the headlines. I think it’s a usual. phenomenon among immigrant groups, and more broadly, different racial How has our country’s current political groups within the United States, to hold climate impacted your writing? their collective breaths every time there is some horrendous act of violence that The United States has been “Trump- makes the news. We all secretly pray it land” for some time: a place where isn’t someone from our “tribe.” When an alarming degree of xenophobia a white person commits a horrific act and racism are the norm. I’ve been in of violence, I don’t get the sense among “crisis mode” when crafting plays for European Americans that they feel they some time now. And when responding have to carry the burden of that crime. to current political events, I have The crime is not foisted on them as a to tread carefully. Mainly because,

Shanga Parker (Musa) and Carol Roscoe (Sheri) in the 2011 ACT world premiere of Pilgrims Musa and Sheri in the New World, directed by Anita Montgomery. Photo by Chris Bennion, courtesy of A Contemporary Theatre (ACT).

12 ENCORE STAGES with rare exceptions, the turnaround between completing a first draft and a full production can range from two to three years, sometimes longer. Whatever political crisis that triggered the play may be old news by the time your piece is staged. You have to sift through the news event, or zeitgeist of that moment, to find what resonates on a more universal level—and that might transcend the particular political moment that triggered the play. Which means breaking things down into very personal, human matters—locating your protagonists, with all their personal issues, within the social and political web in which they operate and understanding that what makes us human are also the political structures that prop us up as social creatures. William Dao (Nasser), Mujahid Abdul-Rashid (Kevin), and James Asher (Ahmed) in the 2011 West Coast premiere of Language Rooms, directed by Evren Odcikin, a That’s the goal anyway: to turn coproduction between Golden Thread Productions and Asian American Theater something very specific, local and Company. Photo by David Allen Studio, courtesy Golden Thread Productions. political into a more universal exploration of our status as citizens and humans just trying to survive. writers. They’re not quite sure where and women—itinerant individuals As for my home country of Egypt, after these stories and people fit in the knocking on numerous doors, trying the revolution in 2011 I wrote several received narratives of the day. For all to get theatres to invite us in. And how plays in response. One of them, The the talk of diversity, most theatres lack humiliating it is, when more often than Mummy and The Revolution, I wrote a truly global vision that encompasses not, those doors are either shut on us or too soon—feeling much too hopeful the full array of voices from around the our knocks are ignored altogether. So, for a future that didn’t come to pass. world. Not to mention an inability to see for ACT to invite me in to be part of their The other two plays, Threesome and The beyond the limited diversity schemata 2018 Core Company is huge. As for how Tyrant, I took a different tack. I know that determines who is and is not heard that plays out in the future, we’ll see. these plays are still expressive of both from. We’re all sort of making up this position past and present circumstances. The as we go along. As John Langs, the shock waves from the revolution and its So, I really appreciate those adventurous artistic director, likes to put it, I get to be aftermath continue to ripple through local theatres that have reached out the first pancake. But psychologically, for me and will probably impact my writing to me, like West of Lenin, Theater me, the promise of having a home where in some way for some time to come. Schmeater, 18th & Union, and ACT. ACT I might get to exercise my talents, where in particular has shown a keen interest my plays may have a good chance of You’ve worked with a number of local in my work. To have a theatre of this size being staged, to have a place where I can theatre companies in the production give me a platform for my plays has been try out new material with exceptionally and development of your plays. Do you very important in my development as a good actors, well, that’s just a lovely have a favorite theatre company to writer. position for a playwright to be in. collaborate with? Why? You were recently named to ACT’s 2018 What excites you most about being I’m very thankful to all the theatre Core Company. Could you talk to me an artist in Seattle? How do you hope companies who have extended their about what it means to be part of this to grow and challenge the theatre hand out to me. Most theatres are very company of artists? community here? squeamish when it comes to putting on plays by and about Muslim and I joke with colleagues that as theatre What’s interesting to me is the MENA (Middle Eastern, North African) people we are door-to-door salesmen degree to which I have been shaped

encoremediagroup.com/programs 13 as a playwright by Seattle theatre audiences. There are personal and cultural influences of course that will always infuse the heart of everything I write, and to which I am both grateful for, and to which I am a prisoner of—to the degree that we are all shaped and imprisoned by the particulars of our individual pasts. But as a playwright, having spent now twenty-four years in Seattle seeing many plays at different theatres, I realize I have not only been learning from the plays I watch, but from the reactions by the Seattle audiences to those plays. Without realizing it, my plays are being influenced by those audience reactions. I have some appreciation of what might and might not stir a Seattle audience. There are, of course, no guarantees that what you write will be to their liking. But I think any playwright who spends a long enough time in one city will invariably start unconsciously adjusting their work for the audiences they’ve attended plays with. Sort of like knowing what jokes and stories will fly at a family gathering.

But that is very much countered by my non-Seattle subject matter. And that’s the challenge for me. To write about peoples and conflicts that people here don’t necessarily relate to. To humanize individuals and situations that too often get flattened in the press. People do like to see themselves up on stage in some way. My job is to bridge the gap between the non-Seattle folk I portray and the Seattle audiences who, hopefully, come to see my work. (Thank you to all those who do attend!)

Do you have any plugs? How can folks find more about you and your work?

I do have a play of mine called Hostages, written almost thirty years ago (!), that’s going to be done at 18th & Union in October, directed by David Gassner. I’m curious to see how it stands up after all these years. Come see it if you can.

14 ENCORE STAGES Intermission Brain Transmission Are you waiting for the curtain to rise? Or, perhaps, you’ve just returned to your seat before the second act and have a few minutes to spare? Treat your brain to this scintillating trivia quiz!

Email us the answer to the last question and have a chance to win tickets to a show!

1) Book-It Repertory Theatre presents The Picture of Dorian Gray, June 6–July 1. Oscar Wilde wrote the novel, originally serialized in 1890 in which literary magazine?

a) Scribner’s Magazine b) Lippincott’s Monthly Magazine c) Timothy McSweeney’s Quarterly Concern d) Harper’s Magazine

2) Until the Flood, a play that focuses on the social unrest following the fatal police shooting of unarmed black teenager Michael Brown in Ferguson, Missouri, will play at ACT June 8–July 8. The playwright, Dael Orlandersmith, was a Pulitzer Prize finalist. For which play was she nominated? Oscar Wilde. Photo by Napoleon Sarony. a) The Gimmick b) Beauty’s Daughter c) Yellowman 4) Playing July 11–August 18 at Taproot Theatre is Sweet d) Forever Land, in which a German woman immigrates sight-unseen to marry a Norwegian farmer in post-WWI Minnesota. 3) ACT Theatre presents the one-woman show Lauren Seattle’s own Scandinavian neighborhood is Ballard. In Weedman Doesn’t Live Here Anymore, July 20–August 12. what year was Ballard annexed to Seattle? Now a resident of Los Angeles, playwright and performer Lauren Weedman lived in Seattle for several years, where a) 1905 she was a regular contributor to which Seattle-produced b) 1896 radio show? c) 1907 a) Rewind d) 1911 b) Too Beautiful to Live 5) July 12–August 12, Seattle Shakespeare Company will c) Robin and Maynard run Wooden O, a series of free outdoor Shakespeare d) BJ Shea performances. This year they will perform King Lear and The Merry Wives of Windsor. Who played King Lear in the Bonus Question 2008 motion picture directed by Trevor Nunn?

What was the last arts performance you attended that you a) Patrick Stewart liked best and why? b) Ralph Fiennes Email your response to [email protected] c) Ian McKellen with "Trivia Quiz" in the subject line.

d) Michael Caine

KUOW and syndicated on NPR until 2004. 4) c. – The City of Ballard was annexed to Seattle in 1907 after several years of struggling with an inadequate supply of potable water. 5) c. – Ian McKellen Ian – c. 5) water. potable of supply inadequate an with struggling of years several after 1907 in Seattle to annexed was Ballard of City The – c. 4) 2004. until NPR on syndicated and KUOW

ANSWERS: ANSWERS: with Bill Radke was produced at at produced was Radke Bill with – a. 3) Drama. in finalist Prize Pulitzer 2002 a was – c. 2) 1916. in with merged It . – b. 1) Rewind Rewind Yellowman Scribner’s Magazine Monthly Lippincott’s

encoremediagroup.com/programs 15 My legacy. My partner.

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