Jan 7–Feb 2, 2020 Center Theatre

WINTER 2020 at Seattle Center

Photo by HMMM Productions

Feb 7–9, 2020 Shakespeare and Isaac Studio Theatre the Alchemy of Gender at Taproot Theatre With Lisa Wolpe Seattle Shakespeare’s new series featuring leading artists and performers sharing their unique perspective on Shakespeare and classical theatre. Winter 2020 | Volume 16, No. 4 FEATURE In This Issue Feature 3 The Joy and Value of a Student Matinee Dialogue 9 Karen Lund Returns to ‘The Shop Around the Corner’ with ‘She Loves Me’ at Village Theatre 13 Rachel Atkins Makes ‘The Turn of the Screw’ Her Own at Book-It Intermission Brain Transmission 12 Test yourself with our trivia quiz! Upcoming Events 15 Winter 2020

PAUL HEPPNER President Encore Stages is an Encore arts MIKE HATHAWAY Senior Vice President program that features stories KAJSA PUCKETT Vice President, about our local arts community Sales & Marketing alongside information about GENAY GENEREUX Accounting & performances. Encore Stages is Office Manager a publication of Encore Media Production Group. We also publish specialty SUSAN PETERSON Vice President, Production publications, including the SIFF JENNIFER SUGDEN Assistant Production Manager Guide and Catalog, Official Seattle ANA ALVIRA, STEVIE VAN BRONKHORST Pride Guide, and the Seafair Production Artists and Graphic Designers Commemorative Magazine. Learn more at encorespotlight.com. Sales MARILYN KALLINS, TERRI REED San Francisco/Bay Area Account Executives Encore Stages features the BRIEANNA HANSEN, SHERRI JARVEY, following organizations: ANN MANNING Seattle Area Account Executives CAROL YIP Sales Coordinator Marketing SHAUN SWICK Brand & Creative Manager CIARA CAYA Marketing Coordinator

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2 ANGELA NICKERSON FEATURE The Joy and Value of a identity to intimacy choreography. tointimacy identity Jewish from everything covering aQ&A— than aconversation like felt more what in engaged audience the where musicians, and cast the for apost-show with discussion stayed students many performance, the After own. their with energy audience’s the matched but they toa10:30accustomed a.m. curtain, of Theseason. cast 2019-20 of the matinee student Rep’sSeattle at first firsthand this towitness enough lucky I was if you drop allpretense andmeetthemontheirlevel. but onlyifyou move them.Andthey willengage,butonly They willlaugh, butonlyifyou’re funny. They willgasp, There’s nothingmore honestthan ateenageaudience. by Student Matinee Student DANIELLE MOHLMAN Indecent Indecent wasn’t wasn’t aged white guys. School groups groups School guys. white aged middle- about plays enough get tosay, not supposed kids but these is matinee doesn’t play that astudent have only the season, This with. works Reed schools the from interest of amount incredible an always ment so, manager. But even there’s Rep’sReed, Seattle engage youth audience,” Lee family Alex said audience—ora young to a even to shows our target necessarily “At Rep, we Seattle don’t True West. True “I’m probably

- Seattle Rep teaching artists. artists. teaching Rep Seattle from support additional and classroom the in taught be can that aplay guide complete with Initiative, Core State Standards Washington’saround Common programmed is matinee student educational the about he’s thinking always ­ an is sold-out performances ­cultivating while And forming. also was for list wait of matinees student for the students of 600 list await had Reed ways.” exciting and new in ­ are that things in music. They’re with plays ­ stories. They’rePOC in interested in interested are people young and

At the time of our interview, interview, of our time the At Jitney Jitney exciting part of Reed’s part job, exciting August Wilson. A Wilson. August by component. Each Each ­component. Shout Sister Shout! Shout! Sister Shout Students at a performance Students ataperformance encorespotlight.com of Vietgone challenging challenging atSeattleRep. interested interested 3

“As an artist, director and SEASON SPONSORS educator, that’s my jam,” Reed said. “Theatre is for everyone, you know?” And while Seattle Rep doesn’t THE program their season with young audiences in mind, Seattle Children’s Theatre (SCT) certainly does. It’s not uncommon for SCT to program four to six student matinees into each week of the performance schedule. “That’s sisterhood the bare minimum that we’ll do,” OF REVOheroes said Darioush Mansourzadeh, MEDIA SPONSORS SCT’s school shows associate. Mansourzadeh added that he’s become a bit of an expert on the Seattle Public Schools bus system, scheduling student matinees around the transporta- tion needs of the district. “Bus LUTIOdrivers have a very important job, and I don’t think a lot of BY LAUREN GUNDERSON people respect that community.” Despite being a member of the marketing department, education JAN 16 – FEB 9 artswest.org is top of mind for Mansourzadeh. Like Reed, Mansourzadeh is always thinking about how SCT’s season NISTS ties into the national and state education standards. Black Beauty, which opened SCT’s 2019-20 season, centers on empathy toward animals, so the theatre began thinking about how to tie empathy into the classroom curriculum. “What does it mean to be kind to someone who may never know your kindness?” Mansourzadeh asked. But the student matinee experience doesn’t end at curtain call. Each performance has a ­post-show element that’s indi- vidually suited to the show and the age of the audience. For Balloonacy, a one-man play written for 3- to 6-year-olds, the post-show element was learning a song. For The Diary of Anne Frank, which was geared toward a middle school audience, things went a little differently. “The middle schoolers were a little more rambunctious during the show, and it really affected the cast,” Mansourzadeh said. “One of the cast members went out and spoke about empathy and sympathy and how this play relates to society today. We actually

4

had one middle school where every single student wrote an apology letter to the cast, which was really nice for the cast to see. Sometimes learning in theatre isn’t what we expect it to be, but that was a learning moment for them.” At the Pacific Northwest Ballet (PNB), filling the nearly 3,000 seats in McCaw Hall with students is a logistical feat in itself. In addition to an annual student matinee of George Balanchine’s The Nutcracker ® and a field trip-friendly excerpt of one of PNB’s story ballets each February, Shannon Barnes, director of community education, partners with eleven schools to provide Discover Dance, their in-school residency. It’s a residency that goes beyond what’s happening on stage, giving students a full view of what it takes to produce a ballet at PNB. “Part of our philosophy with all of our programming is looking at all the ways people make ballet and dance happen,” Barnes said. “We’re talking about stage crew; we’re talking about the people whose job it is to answer the phones here— and create posters and do the mar- keting. The arts can be the person on stage, but do you like to draw? You can be a costume designer. We’re really peeling back the layers and being transparent about what it takes to put on a performance.” It’s also about demystifying the experience of attending a ballet.­ Barnes knows that the work she does extends far beyond the classroom or even that field trip to McCaw Hall. She’s interested in meeting students and their families where they are. And one way she’s done that is by translating The Nutcracker study guide that students receive into five languages—thinking ahead to what the primary language of the child’s household might be. “That family engagement, even if it’s as simple as, ‘We see you, we want you to share in this with your student,’ is important,” Barnes said. “The ideal would be for every student coming to the matinee to have a pre-performance workshop

6 “School groups and young people are interested in POC stories. They’re interested in plays with music. They’re ­interested in things that are ­challenging in new and exciting ways.” — Alex Lee Reed

and a study guide in their home language. And that’s the goal.” And PNB is working towards that goal in whatever way they can. This year’s student matinee of Cinderella will include live captioning for the show’s host. “And that just feels really good to be able to have that available,” Barnes said. “Just like, no question. We don’t need someone to ask for that accommodation. Here it is. And it’s available because we recog- nize that in a theatre of that size, someone’s going to benefit from it.” Barnes added that this live- captioning technology will bleed into the repertory season, with some pre- and post-show conversations captioned. THE MAN BEHIND A LEGEND WEST COAST PREMIERE! When I asked if Barnes had a What if you could realize one last dream before favorite memory from the student you die? While the body of tormented bebop In English with English subtitles. matinees she’s facilitated, her innovator Charlie “Yardbird” Parker lies Evenings 7:30 PM answer was strikingly similar to unidentified in a New York City morgue, his ghost Sundays 2:00 PM travels back to the heyday of Birdland, the jazz Mansourzadeh’s. “That line of club named after him. As he struggles to Featuring members of Seattle buses is pretty impressive,” Barnes complete his final masterpiece, the legendary Symphony Orchestra. said. “I have 100 percent respect saxophonist revisits the demons, inspirations, for bus drivers that navigate and women who have fueled and hindered his MCCAW HALL this area. It is not an easy area creative genius. 206.389.7676 to access and we’re just grateful 2019/20 SEASON SPONSOR: that people value us enough.” SEATTLEOPERA.ORG/YARDBIRD IN MEMORY OF KARYL WINN PRODUCTION SPONSORS: We tend to forget that all great TAGNEY JONES FAMILY FUND AT education programs have to start SEATTLE FOUNDATION, OFFICE OF TICKETS START AT JUST $35 ARTS & CULTURE | SEATTLE somewhere. So, imagine my excitement when I learned that the

encorespotlight.com 7 Audience members at a Pacific Northwest Ballet Upcoming student matinee. DIALOGUE Student Matinees Scheduling information can be found on each organization’s website.

Cinderella February 6 Pacific Northwest Ballet

Snow White February 11–March 6 Seattle Children’s Theatre

August Wilson’s Jitney February 28–March 29 Seattle Rep

The Best Summer Ever! March 24–April 17 Seattle Opera would be hosting its reflected in the role of Mimì, the Seattle Children’s Theatre first ever student matinee later this lead soprano. “It’s the most diverse season. When I spoke with Courtney cast I’ve ever seen,” Clark said. Don’t Let the Pigeon Clark, Seattle Opera’s school “And all I can think about is that Drive the Bus programs manager, she was hard every student out there will be able April 9–May 20 at work preparing for the May 19 to see themselves in some way. Seattle Children’s Theatre student matinee of La Bohème. How powerful is that? When you “We want to make sure that the can see yourself and say, ‘Oh, well I The Importance students have an opportunity to can do that.’ This can’t be an elitist of Being Earnest come in and make McCaw Hall art form when I see everybody a place of comfort,” Clark said, represented on that stage. And April 17–May 17 adding that her plan includes a that is why I do the work I do.” Seattle Rep ­pre-performance lecture, room And that’s the power of arts La Bohème to move around, and concessions education: to be able to see yourself ­during intermission. “We want reflected back in the performance May 19 them to have a full experience. and know that you belong. Seattle Opera And everyone in this building has a hand in that. It’s a wonder- More information regarding student matinees ful field trip. It’s something and programming can be found in the panel on that every school should have this page. ¿ Wholesale and Retail Sales ¿ the opportunity to do.” Roasting fine coffees since 1993 Clark is both a K–12 certified educator and a classically trained opera singer, a combination that Danielle Mohlman is a Seattle-based ­playwright and arts journalist. She’s a couldn’t be better suited to this frequent contributor to Encore, where role. She credits her own student she’s written about everything from matinee experience for putting her the ­intersection of sports and theatre on this path. “It changed my life,” to the landscape of sensory-friendly Clark said. “And I’m pretty sure it ­performances. Danielle’s work can also has changed others’ lives too.” be found in American Theatre, The Clark shared that La Bohème is Dramatist and on the Quirk Books blog. her favorite opera—and that, as a daniellemohlman.com 400 N 43rd St. Seattle ¿ 206-633-4775 Black woman, this will be the first LIGHTHOUSEROASTERS.COM time she’s been able to see herself ALAN ALABASTROALAN COMPANY THEATRE TAPROOT

8 Thank you for buying a ticket to see The Rivals. You have charge to attendees. The success is not in the profit a lot of choices, and it means so much that you chose to from the program – we spend much more on these join us. productions than we take in each summer. But as a non- profit theatre, it is a success: powerful theatre with great That ticket purchase is a business transaction, just like artists available to everyone and anyone who wants to going to a movie or paying for a trip. Except we, like other experience these incredible works. arts organizations, are a “not-for-profit” venture, and that term might be unfamiliar to you. Our touring program travels across the state, into schools from Pullman to Ocean Shores. We provide students with “Non-profit” or “not-for-profit,” I actually feel, are awful an opportunity to discover the language, characters, and terms. It sounds like we’re incapable of generating themes of Shakespeare’s plays as they were intended to profit for our business, and profit is a key piece of the be experienced, with live performers. But the financial commercial culture. Being a “non-profit” means the costs outweigh even the potential for “profit,” yet we will organization has a mission that’s about more than “profit.” continue offering our tour each spring. There are elements to life that make us better as human beings and should be part of our society, beyond profit. So, how do we make this work? Certainly through the The arts are such; they bring us together as people, speak ticket price you paid today (again, thank you!), but also to us of our shared humanity, challenge us, and help us through the generosity of those who believe in and value discover that we have far more in common than what what we offer. And through partnerships with other non- separates us. For me, especially when we feel so divided profits and government entities (such as Seattle Center). as a society, this is enormously important. We ask for contributions, not only because they help us to continue our mission-based work, but because they are As a “non-profit” we make different choices. If part of a shared investment in what the arts bring to all of us – a commercial company fails in making a profit, that and, in our case, specifically theatre classics. division or product will be eliminated. There is no longer New Coke, Pepsi Crystal, or Jolt Cola. No WebTV or Your shared belief in the value of classic theatre is a gift Blockbuster Video. No Remington Typewriters, and the to our company and to our shared community. I extend Edsel is long gone. my gratitude to you.

While we need to do our business well to continue John Bradshaw operation, profit is not our driving decision maker. Other Managing Director factors come into play: Do our efforts and programs support our mission? Are people well-served? Does our company’s work make a difference in people’s lives?

Wooden O, for example, is our free Shakespeare in the parks program, but it’s not really “free.” We pay artists, crew, staff, and site managers each summer. It’s professional level, high quality theatre, but with no

encorespotlight.com A-1 Tooting Your Own Horn After the play reopened, just for a bit of insurance, Sheridan wrote and published a review of The Rivals under a pen name. He proclaimed that the play would “certainly stand foremost in the list of modern comedies.” What’s the Story?

Lydia Languish is a young woman being courted by multiple suitors. She reads many romance novels and wants to marry purely for love. One of her suitors, Captain Jack Absolute, is a wealthy and high-class officer, so he pretends to be the lowly and poor “Ensign Beverley” to win Lydia’s affections.

She has two other suitors. One, Bob Acres, is a country buffoon whom Lydia hates, but Mrs. Malaprop approves of. The other is Sir Lucius O’Trigger, who sends letters to his love. However, Lydia’s crafty maid, Lucy, has been passing Sir Lucius’s letters to Mrs. Malaprop, who is actually in love with him.

Jack’s father, Sir Anthony, announces that he has found a match for Jack. Mangled and Immortalized Jack protests that he is already in love with someone, but discovers through Although she believes she’s an authority his servant that it is Lydia, who loves “Beverley.” When Sir Anthony and on language, Mrs. Malaprop has a habit Mrs. Malaprop introduce him to Lydia, he convinces her that he is actually of misusing words often to comic “Beverley” and has fooled Mrs. Malaprop into thinking he is Sir Anthony’s son. effect. The character’s peculiar trait became an actual noun that entered Jack’s friend, Faulkland, is in love with Lydia’s friend Julia, but he does not the English language 40 years after the believe that she could be as in love with him as he is with her. They argue character’s stage debut. (Photo of Actress constantly about what is the “right” way to act when you’re in love, and Louisa Drew in costume as Mrs. Malaprop.) Faulkland is jealous and suspicious of Julia.

Bob Acres confides in Sir Lucius that another man―the fictional “Beverley” ―is in love with the woman he is courting. Sir Lucius urges him to challenge “Beverley” to a duel for her affections, despite Acres not being a skilled fighter or very interested in fighting. When Jack arrives, he agrees to deliver the note to “Beverley.”

At their second meeting, Jack can no longer pretend to be “Beverley,” and Lydia discovers that he has been posing as the poor ensign. Sir Anthony and Mrs. Malaprop agree to the engagement, despite Lydia no longer being interested in marrying Jack. When Sir Lucius discovers that Jack is engaged to Lydia, he Taking the Stage…Again! challenges Jack to a duel, at the same time and place as Acres is planning to duel “Beverley.” Many of the same actors who appeared in Goldsmith’s premiere of She Stoops to Conquer took similar At the duel, Acres discovers that “Beverley” is actually his friend Jack, and roles in the original 1775 production Acres calls it off. Sir Lucius and Jack are about to fight when Lydia, Julia, of Sheridan’s The Rivals. Four actors Mrs. Malaprop, and Sir Anthony arrive to stop it. Sir Lucius confronts Lydia from last season’s production of She about the love letters they have exchanged under the name “Delia,” but Mrs. Stoops to Conquer play parts in Seattle Malaprop confesses that she was the one writing to him. When Sir Lucius is Shakespeare’s production of The Rivals. horrified, Sir Anthony comforts Mrs. Malaprop. Lydia confesses her love for (Photo by John Ulman.) Jack; Julia and Faulkland make peace; and Acres invites everyone to a party.

A-2 seattle shakespeare company Way, Way, Off Stage In 1774, the Continental Congress had basically outlawed plays, so the first professional production of The Rivals in the New World took place in Kingston, Jamaica in 1780 by The American About the playwright Company of Comedians. Richard Brinsley Sheridan was baptized in Dublin, Ireland on November 4, 1751, and was the third son of Thomas and Frances Sheridan, both writers in their own right. Thomas Sheridan was the author of a pronouncing dictionary and the advocate of a plan of public education that gave a prominent place to elocution; and Frances gained some fame as a playwright. The family moved to London while Sheridan was school aged, and he never returned to Ireland. Seeds of Inspiration In 1770, he moved to Bath and fell in love with soprano Elizabeth Ann Linley, A book of Sheridan’s parliamentary the daughter of the composer Thomas Linley. Elizabeth was also being speeches about catholic emancipation pursued by a Welsh squire, Thomas Mathews of Llandaff. To avoid Mathews’ inspired a young Frederick Douglass, advances, Sheridan escorted her to France, where she took refuge in a who bought the book with money nunnery. Sheridan fought two duels with Mathew in 1772 over Elizabeth and earned from shining shoes. In his married Elizabeth in Marylebone Church, London in 1773. autobiography he noted, “what I got from Sheridan was a bold denunciation His production of The Rivals opened in 1775 at the Covent Garden Theatre in of slavery and a power vindication of human rights.” London to poor reviews. It ran an hour longer than expected, mostly due to the abysmal acting choices of the actor playing Sir Lucius O’Trigger. Eleven days later, with significant edits to the script, and the replacement of the actor playing Sir Lucius O’Trigger, the second performance was a smash hit.

In 1777, Sheridan’s most famous play, The School For Scandal, earned him the title of “the modern Congreve” after William Congreve, a restoration playwright. Sheridan’s inspiration from the Restoration playwrights, combined with his own sophistication and spirited ridicule of pretentiousness is why this play is often considered the greatest comedy of manners in the English canon. TV Crossover The Rivals served as the inspiration Sheridan continued to adapt plays and produce at Drury Lane, but his interest for a 1958 episode of the television in politics led him to a seat on Parliament from 1780-1812. His 32 years in series Maverick starring James Garner. Parliament were spent as a member of the minority Whig party in opposition Sheridan was even acknowledged in to the governing Tories. the closing credits.

Elizabeth died in 1792, and he married Esther Jane Ogle, the daughter of the Adventurous Adoption dean of Winchester in 1795. Sheridan’s later years were consumed with debts, Chris Humphreys borrowed Sheridan’s disappointments, and worries over Esther’s cancer. The Drury Lane Theatre dashing leading man for a series of burned down in 1809. Sheridan was defeated in the general election of 1812. three Jack Absolute historical fiction Sheridan died July 7, 1816, in London, England and was buried with great novels that take place during the pomp in Westminster Abbey. Seven Years’ War and the American Revolution.

For more info about Richard Brinsley Sheridan, visit www.britannica.com/biography/Richard-Brinsley-Sheridan

encorespotlight.com A-3 Seattle Shakespeare Company is the Puget Sound region’s year-round, professional, classical theatre. We believe that the plays of William Shakespeare and other classic playwrights are timeless works that cross social and cultural boundaries. Our productions illuminate the relevance of these works — delighting, moving, and often surprising audiences.

For Youth & Teens For Everyone For Schools

Age-specificCamp Bill summer Wooden O brings two free School groups attending Student camps happen at the Seattle Center productions to parks across the Matinees get free study guides during July and August. Puget Sound in July and August. and a post-play Q&A with the cast.

Short Shakes is a seven-week Our Indoor Season of four to Our In-School Residencies after-school program that culminates five productions performs in Seattle bring active, customized curriculum in performances on our mainstage at theatres between October and May. into the classroom. the Seattle Center in fall and/or spring. Two small-cast productions Tour to schools and performing arts centers statewide from March to June. . Photo by HMMM Productions. by . Photo The Tempest

Our Mission “With the plays of William Shakespeare at our core, Seattle Shakespeare Company engages our audiences, our artists and our community in the universal human experience inherent in classic drama through the vitality, immediacy and intimacy of live performance and dynamic outreach programs.” To learn more about Seattle Shakespeare Company and these programs, please visit seattleshakespeare.org Gloria Lee Alcalá, Sydney Maltese, Benjamin Neil McCormack, Sidney Rakowiecki, and Malex Reed in Malex and Rakowiecki, Neil McCormack, Sidney Maltese, Benjamin Gloria Lee Alcalá, Sydney Cast Production Team Special Thanks Thomas/DavidThomas/David Director American Life Inc. ShannaShanna Allman Allman George Mount Scenic Designer Mrs. Malaprop Craig B. Wollam Production Sponsors Julie Briskman* Costume Designer Captain Jack Absolute Doris Black Avery Clark* Lighting Designer Sir Lucius O’Trigger Roberta Russell** Mike Dooly Sound Designer Sir Anthony Absolute Robertson Witmer** Bradford Farwell* Properties Designer Fog Robin Macartney Brandon Felker Choreographer Lucy Crystal Dawn Munkers Sophia Franzella Dialect Coach Lydia Languish Kayla Walker Alexandria J. Henderson* Technical Director Bob Acres Benjamin Radin Lamar Legend* Stage Manager Julia Melville Maria Gray* Jocelyn Maher Assistant Stage Manager Faulkland Grace Heller Calder Jameson Shilling Ensemble Kunvr Singh Stage Crew Ensemble Master Audio Engineer Jackie Thompson Xris Nil Master Electrician Danny Herter Wardrobe Master Anna Bowen

* Appearing through an Agreement between this theatre, The taking of pictures or the making Seattle Shakespeare Company, and Actors’ Equity of recordings of any kind during the There will be one 15 minute intermission. Association, the Union of Professional Actors and performance is strictly prohibited. Stage Managers in the United States. * * United Scenic Artists, Local USA 829 of the IATSE is the union representing the Lighting and Sound designers in Live Performance.

encorespotlight.com A-5 Avery Clark Indecent, Charles III, Photograph 51, You Cast Captain Jack Absolute Can’t Take it With You, The Imaginary Avery was most recently seen in Seattle Invalid, Twelfth Night, Noises Off, in Dracula, Pass Over, Oslo and The The Great Gatsby; Intiman: Caught, John Baxter, All My Sons, Grapes of Shanna Allman Crucible at ACT, where he is a core Shanna Allman company member. Select New York and Wrath, Richard III, A Thousand Clowns; Thomas/David Strawberry Theatre Workshop: Breaking Thomas/David regional credits include Arcadia and the Shanna has appeared previously with original cast of Coronado (written by the Code. New Century Theatre ShannaSeattle has Shakespeare appeared previously Company with as Kate Company: Festen, My Name Is Asher Seattle Shakespeare Company as Kate Dennis Lehane, Invisible City); Measure Hardcastle in She Stoops to Conquer, Marya, for Measure, A Midsummer Night’s Lev.; The 5th Avenue: Guys and Dolls; HardcastleMarya in Thein She Government Stoops to Conquer Inspector, Regional: Nebraska Shakespeare, in The Government Inspector, Francis Flute Dream, The Tempest (Shakespeare Francis Flute in A Midsummer, Marianne Night’s American Player’s Theatre, ACT San in A Midsummer Night’s Dream Theatre Company); Straight White Men, Dream, Marianne in The Miser, and, in Hedda Gabler (Studio Theatre); Romeo & Francisco, Shakespeare Theatre D.C. inthe The parks Miser, this and, past in the summer, parks this as past Tybalt with in Bradford was a company member at The summer, as Tybalt in Romeo and Juliet Juliet, Cymbeline, Count of Monte Cristo Romeo and Juliet with Wooden O. Other (Alabama Shakespeare Festival); Hamlet, Stratford Festival in Canada. TV: Grimm WoodenSeattle creditsO. Other include: Seattle credits Marie include: Antoinette and Leverage. Training: Webber Douglas Marie Antoinette in The Revolutionists Pride & Prejudice (Orlando Shakespeare in The Revolutionists (Theatre22); Brod Theatre); Hamlet, The 39 Steps, Henry Academy, London. Bradford lives in in(Theatre22); Everything Brod is Illuminated in Everything (Book-It is Illuminated Seattle with his wife Kate and daughters (Book-It Repertory); Mary Bennet in Miss V (Arkansas Rep); Christmas Carol Repertory); Mary Bennet in Miss Bennet: (Cincinnati Playhouse); Journey’s End Willa and Poppy. ChristmasBennet: Christmas at Pemberley at Pemberley (Taproot (Taproot Theatre Theatre Company); How I Learned to Drive, (Alley Theatre); The Heidi Chronicles Brandon Felker Company); How I Learned to Drive, (St. Louis Rep); The Shape of Things Rhinoceros, Our Town, and The Laramie Fog Rhinoceros, Our Town, and The Laramie (Premiere Stages); A Midsummer Night’s ProjectProject (Strawberry Theatre Theatre Workshop); Workshop); and and The War Party (Seattle Dream (Pennsylvania Shakespeare Brandon last appeared in All’s Well andThe TheViolet Violet Hour Hour and The War Party That Ends Well at Seattle Shakepseare Public Theater), among others. Shanna is Festival); and Rabbit Hole, The 39 Steps (Seattle Public Theater), among others. (TheatreSquared). Company and is quite pleased to be Shannaalso an isimproviser also an andimproviser Ensemble and Member returning as part of The Rivals. In Ensemblewith Unexpected Member Productions, with Unexpected as well as Mike Dooly addition to Seattle Shakespeare, he co-creator and performer of the improv Productions, as well as co-creator and and The Sir Lucius O’Trigger has worked locally with Seattle Public performerduos Prepared of the with improv Ted and duos Alice Prepared Theatre credits: Yossi Beilin in Oslo Theater, Book-It Repertory Theatre, withBastards Ted and Grimm Alice. and The Bastards (ACT); Playwright/Wahnotee/LaFouche Strawberry Theatre Workshop, ArtsWest, Grimm. in An Octoroon, Gordon in Dead Man’s and many others. He is also a long- Cell Phone (ArtsWest); The Tiger in standing member of the all-improv Julie Briskman company Unexpected Productions. Mrs. Malaprop Bengal Tiger at the Baghdad Zoo (WET); Curtis in Fire Season, Stine in On Clover Sophia Franzella Seattle Shakespeare Company: The Three Road, Matt in Talley’s Folly, Jake in The Penny Opera, Twelfth Night, The Comedy Understudy (Seattle Public); Sir Toby Lucy of Errors, Timon of Athens, and She Stoops Belch in Twelfth Night, Stefano in The Sophia Franzella is super jazzed to to Conquer. Julie was most recently seen Tempest, Costard in Love’s Labour’s be making her mainstage debut with at Seattle Repertory Theatre in Indecent, Lost, Aufidious inCoriolanus, Horatio in SSC! Sophia was last seen directing and as Sugar in Tiny Beautiful Things. Hamlet (Seattle Shakespeare) and Iago Faeriestruck at Annex Theatre this Locally, she has played major roles at in Othello, Lee in True West (Balagan). past fall. Recent performance credits ACT Theatre, The 5th Avenue Theatre, Select film/television credits:Sex and include: Persuasion and A Charlie Intiman, and Seattle Children’s Theatre. the City, Without a Trace, Law & Order Brown Christmas at Taproot Theatre, A National credits include, Yale Repertory (including SVU & Criminal Intent), 28 Proper Place at Village Theatre, and the Theater, Berkeley Repertory Theatre, Days, and local filmsDanger Diva, Adventure Musical Theatre Tour with Trinity Repertory Company, Milwaukee Strowlers, and Subferatu. Dooly thanks The 5th Avenue Theatre. Sophia is also Repertory Theatre, Portland Center Stage, you for your support in making the Great a co-founder and company member of Arizona Theatre Company, The Old Globe, Pacific Northwest the Theatre Capital of the experimental theatre lab, Filament: A and seven seasons as a member of the the World. Collab Lab (@filament.collablab). Thank Guthrie Theater acting ensemble. As the you for supporting the arts. Love to Co-Founder of THE SEAGULL PROJECT, Bradford Farwell Nathan. she played Arkadina in The Seagull, Olga Sir Anthony Absolute in The Three Sisters, and Ranevskaya Alexandria J. Henderson Previously at Seattle Shakespeare: in The Cherry Orchard. Julie is a proud Shakespeare in Love, Measure for Lydia Languish recipient of the prestigious Lunt-Fontanne Measure, Cymbeline, Julius Caesar. Alexandria J. Henderson is excited to Fellowship Broadway: Much Ado About Nothing, make her Seattle Shakespeare debut with The Miser. Seattle: Seattle Repertory: The Rivals. She holds a Bachelor of Arts

Shanna Allman Julie Briskman Avery Clark Mike Dooly Bradford Farwell

A-6 seattle shakespeare company degree in Music - Vocal Performance. spending 8 years living in New York City Alexandria will one day perform on and performing at theaters including Broadway, and until that day she will St. Ann’s Warehouse, LaMama, BAM, Production remain active in local and regional and Lincoln Center. Notable credits theatre. Alexandria has been seen most include Macbeth in Macbeth, Burbage/ recently as Elle Woods in Legally Blonde Garnet in Equivocation, Col. Brandon in Doris Black with Showtunes Theatre Company; Ali in Sense and Sensibility, Dr. Cauis in The Costume Designer The 5th Avenue Theatre’s Mamma Mia!; Merry Wives of Windsor (The American Doris Black is happy to be back with and Lorrell Robinson in Dreamgirls at Shakespeare Center); Sebastian in Seattle Shakespeare Company for Village Theatre (for which she won the Twelfth Night, Trinculo/Alonzo in The another design collaboration with 2017 Gregory Award for Outstanding Tempest (Aquila Theatre Company); George Mount. A few past favorites Supporting Actress in a Musical). Romeo in Romeo and Juliet, Polixenes include Shakespeare in Love, Waiting in The Winter’s Tale, Claudius in Hamlet Lamar Legend for Godot, As You Like It and The (Adirondack Shakespeare Company); Tempest. She has designed costumes Bob Acres Arthur De Bourgh in Miss Bennet for many other productions over the Lamar Legend is originally from New Christmas at Pemberly, Henry Brougham last 20 years, including designs for the York City. Recent credits include: in The Bishop’s Wife (Taproot Theatre Pacific Northwest Ballet, Alvin Ailey Frederick Douglass in Necessary Company). American Dance Theater, ArtsWest, Sacrifices(Taproot Theater); Darren Kunvr Singh The Seagull Project, theater simple, Lemming in Take Me Out (Strawberry Freehold Theatre, Book-It Repertory Ensemble Theatre Workshop); Hastings in She Theatre, Youth Theatre Northwest, Kunvr is excited to be making his Stoops to Conquer (Seattle Shakespeare and Intiman. She is designing her 9th professional debut with this theater. He Company); BJJ in An Octoroon season for Spectrum Dance Theater is currently attending and soon to be (ArtsWest); The Aviator in The Little and has been the costume designer for graduating from Cornish College of the Prince (Seattle Children’s Theatre); the Seattle Men’s Chorus and Seattle Arts. His recent credits with them include Calcifer in Howl’s Moving Castle (Book-It Women’s Chorus for 15 years. Her film A Beautiful Day in November on the Banks Repertory Theatre); James T. in Barbecue design work includes The Dark Horse, of the Greatest of the Great Lakes, and As (Intiman Theatre); Puck in A Midsummer Cthulhu, and Police Beat. Doris received You Like It. He is looking forward to be Night’s Dream (The Chicago Shakespeare her MFA in Costume Design from the making theater in the coming future. Theatre); and Legba in The Brother/ University of Washington. She and her Sister Plays (The Steppenwolf Theatre, family live in Edmonds. Chicago). He has received a Gregory Jackie Thompson Award from Theatre Puget Sound and Ensemble Maria Gray The Rising Star Award from The League Jackie Thompson is delighted to Stage Manager be making her debut with Seattle of American Theaters & Producers. Maria happily joins Seattle Shakespeare Shakespeare. Jackie is a graduate of Company for another production. Latest Jocelyn Maher the Acting Conservatory at the Pacific credits include: The Great Moment Julia Melville Conservatory Theatre (PCPA) and is (Seattle Repertory Theatre), The Bar currently in her final year at Cornish Jocelyn is incredibly grateful to return to Plays (The Williams Project), Behold the College of the Arts pursuing her BFA Seattle Shakespeare after most recently Dreamers (Book-It Repertory Theatre), in Musical Theatre. She has most appearing in She Stoops to Conquer. We Will Not Be Silent (Taproot Theatre recently been seen in the ensemble of Around Seattle, she has had the privilege Company), A Bright Room Called Day Sierra Repertory Theatre’s production to work with such theatres as ACT, Book- (The Williams Project), Richard III (Seattle of The Wizard of Oz, Cornish College’s It, Seattle Children’s Theatre, Seattle Shakespeare Company/upstart crow production of As You Like It as Audrey, Public Theater, The Horse in Motion, collective), Familiar (Seattle Repertory and in the ensemble of PCPA’s Annex, Macha Monkey Productions, Theatre), All’s Well that Ends Well and The production of Freaky Friday: The Musical. Theater Schmeater, Live Girls! and Merchant of Venice (Seattle Shakespeare 14/48. Jocelyn is a proud graduate of the Company). She is a transplant from University of Washington. Philadelphia, as well as the road where Calder Jameson Shilling she was Head of Props on several bus & truck National Tours from 2013 Faulkland through 2017. Maria also works as a Calder is a Seattle native who grew up Corporate Stage Manager, Event Project loving shows at Seattle Shakespeare Manager, Stagehand: focus Electrics and Company. It is truly a dream come true Properties, and is a proud member of for him to be on their stage. Calder has IATSE Local #8. recently moved back to Seattle after

Brandon Felker Sophia Franzella Alexandria J. Henderson Lamar Legend Jocelyn Maher

encorespotlight.com A-7 Grace Heller UW’s graduate program in Directing for Robertson Witmer Assistant Stage Manager the Stage and Screen. Crystal teaches Sound Designer Grace is excited to be back with the for Cornish and the University of Puget Rob’s previous shows for Seattle Seattle Shakespeare Company after Sound. Shakespeare Company include Richard Assistant Stage Managing for their Benjamin Radin III, Timon of Athens, and Bring Down recent production of The Tempest. the House. Other recent credits include Technical Director She received her BA in Theatre with Dracula, Romeo & Juliet, A Christmas concentrations in Theatre Management Ben is in his 4th season as the Technical Carol (ACT); The Falling and the Rising and Dramatic Writing from Western Director for Book-It Repertory Theatre (Seattle Opera); Greenwood (Alvin Ailey Washington University in June of 2019. and through that job he has also had American Dance Theater); Black Beauty, Her university credits include Pride and the privilege to serve in the same role The Miraculous Journey of Edward Tulane Prejudice (Assistant Stage Manager), for Seattle Shakespeare Company. He (Seattle Children’s Theatre); Ironbound, Winter Dances (Stage Manager), and is a Journeyman with IATSE Local 15 Hand to God (Seattle Public Theater); The WWU’s High School Dance Festival (Stage and has previously built scenery for Ghost of Splinter Cove (Children’s Theatre Manager). In 2018 she was the Company Seattle Repertory Theatre, ACT, Pacific of Charlotte); and Strange Fruit (Spectrum Management Intern for the Oregon Northwest Ballet, Seattle Opera and Dance Theater). His sound designs have Shakespeare Festival. many others. also been heard at Seattle Repertory Roberta Russell Theatre, Intiman, Village Theatre, and Robin Macartney Teatro ZinZanni. Rob plays with several Props Designer Lighting Designer bands, including The Love Markets, Robin Macartney is a freelance set and Roberta designs lighting and scenery, “Awesome,” and the Toucans steel drum props designer who has been fortunate and is a member of United Scenic band. Rob is a part-time lecturer at UW to work with a large number of the Artists local 829. Her work for Seattle School of Drama, and a member of United theatre companies in Seattle. She is Shakespeare Company includes Scenic Artists, Local USA-829. the resident set designer at Theatre Chamber Cymbeline, The Tempest, Off Jackson as well as the scene shop As You Like It, Waiting For Godot, A Craig B. Wollam supervisor for the University of Puget Midsummer Night’s Dream, and Julius Scenic Designer Sound’s Theatre Department. This is her Caesar. Recent design work includes Craig is excited to be designing with sixth season with Seattle Shakespeare set and lighting designs for Europe and George again, having designed more and her third touring show. The Impossibility of Now for producer than 100 productions with Seattle Thalia’s Umbrella. Roberta is also a Shakespeare. Craig’s work has been George Mount painter/ collagist, currently working seen at Strawberry Theatre Workshop, Director with portraiture and forms from nature. Gilbert & Sullivan, Langston Hughes, Please see Leadership Bios on page 16. Kayla Walker Intiman, Seattle Opera, Centerstage Theatre, Seattle Repertory Theatre, Book-It Crystal Dawn Munkers Dialect Coach Repertory Theatre, Village Theatre, Seattle Choreographer Kayla is an actress, dialect coach, Children’s Theatre, Spectrum Dance, Civic Northwest credits include The director, and educator. She is thrilled Light Opera, ArtsWest, Bellevue Opera, Government Inspector, A Midsummer to be working on her first main stage Wing Luke Museum, The Bruce Lee Exhibit Night’s Dream, Romeo & Juliet, Much Ado production with Seattle Shakespeare for Inter*Im, The Empty Space, Seattle About Nothing, and Love’s Labour’s Lost after many seasons with Wooden O! Public Theatre, Youth Theatre Northwest, (Seattle Shakespeare Company); Boeing, You may have seen her in the parks in Tacoma Actors Guild here in Washington. Boeing! and Hound of the Baskervilles Hamlet or Julius Caesar or productions Out of town, Craig has designed for (Seattle Repertory Theatre); Bad Apples she assistant directed, Pericles or King Arizona Theatre Co., Chicago Theatre and Mr. Burns: A Post-Electric Play (ACT); Lear. As an actress and dialect coach, Center, Atlanta’s 14th Street Theatre, Little Shop of Horrors (ACT/The 5th she has worked with Village Theatre (A Boston’s Lyric, Dance Theatre Workshop Avenue Theatre); Hairspray (Gregory Proper Place, Cabaret, Mary Poppins), of NY, Spoleto Festival of Italy, the Nominee), No Way to Treat a Lady, A Contemporary Theatre (Christmas Colony in Miami, the Zephyr in LA, Kohler Watt?!?, West Side Story and Peter Pan Carol), Book-It Repertory Theatre Arts Center in Sheboygan, and Actor’s (Village Theatre); Princess Ida (Seattle (Emma, I Am of Ireland), Annex Theatre Playhouse NYC. Craig lives in Walla Walla Gilbert & Sullivan Society – Gregory (Last Stop on Lilac, Girl, Bunnies, Zapoi!), operating DW Distilling with wife Allison & Nominee); Passing Strange (Sidecountry and many more. When not in the theater, friend Keith Dahlgren. Theatre/ACT); and the filmHer Heart. you can find her teaching yoga classes Crystal produced, directed, and designed around town, learning front-end web a Fosse retrospective for Carnival development, or recruiting at Microsoft. Actors’ Equity Association Cruise Lines. She trained at the British (AEA), founded in 1913, Dancing Academy and completed the represents more than 45-thousand actors and stage managers in the United States. Equity seeks to advance, promote and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. AEA is a member of the AFL-CIO, and is affiliated with FIA, an international organization of performing arts unions. The Equity emblem is our mark of Calder Jameson Shilling Kunvr Singh Jackie Thompson excellence. www.actorsequity.org

A-8 seattle shakespeare company Seattle Shakespeare Company’s 90-minute touring production Hamlet By William Shakespeare Directed by Ana Maria Campoy

In this brisk and engaging bilingual adaptation (English/Spanish), Prince Hamlet must navigate the treacherous court of Denmark after his uncle usurps the throne. Seeking to avenge his father’s death, March 29–April 1, 2020 Hamlet finds that nothing is as it seems in this classic Performed at the Center Theatre play of murder, betrayal, family, love, and loss.

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Donate in the lobby after the show; all first-time or increased gifts will be matched up to $7,000! Photo by HMMM Productions by Photo

encorespotlight.com A-9 By William Shakespeare · Directed by David Quicksall

March 17–April 12 Center Theatre in the Armory at Seattle Center

Modern Epic. It all began when Helen of Troy was fiercely abducted, and now for seven long years the Greeks and Trojans have been at war. Warriors cynically debate over the fate of their nations with little resolve. Ensnared in the madness are the young Greek prince, Troilus, and a Trojan traitor’s daughter, Cressida. Their love is tested and exposed to the savage and corrupting influence of wartime politics.

Both nations and lovers battle it out in this insightful drama of revenge and romance. Troilus and Cressida’s doomed devotion mirrors the world of war all around them. Classic characters from Iliad – Hector, Ulysses, Achilles, Ajax, Helen – leap to life with the help of Shakespeare’s imagination to reveal the follies of war.

WHO YOU’VE SEEN

Ian Bond Tim Gouran George Mount Titus Andronicus Shakespeare in Love As You Like It The Merchant of Venice All’s Well That Ends Well Mother Courage and Her Arms and the Man Children and others and others

Jim Gall Rachel Guyer-Mafune Arlando Smith Titus Andronicus The Winter’s Tale Shakespeare in Love Mother Courage and Her Julius Caesar Children Othello and others

Matthew Gilworth Jason Marr Andy Walker Shakespeare in Love Twelfth Night (Wooden O) Twelfth Night (Wooden O) Titus Andronicus King Lear (Wooden O) Henry IV Part 1 (Wooden O) Timon of Athens and others

A-10 seattle shakespeare company Shakespeare and the Alchemy of Gender With Lisa Wolpe

February 7-9, 2020 At the Isaac Studio Theatre The Worlds at Taproot Theatre a Stage Series Shakespeare and the Alchemy of Gender Cast is a solo show, written and performed Seattle Shakespeare’s new series by Lisa Wolpe, directed by Laurie Lisa Wolpe Woolery. It features stories about Lisa’s featuring leading artists and family (focusing on her father, Hans performers sharing their unique Wolpe, a hero of WWII) interwoven with Special Thanks pieces from Shakespeare including perspectives on Shakespeare Hamlet, Merchant of Venice, Richard Taproot Theatre Company and classical theatre. III, and more. Lisa is expert in gender- Mary Hunwicks flipping Shakespeare and is an actress, director, teacher, writer, traveler, and Grant Turner Next in the Series distinguished scholar. Her one-woman La Grande Shakespeare show explores her experiences as an activist for inclusivity, diversity, equity, Kyna Shilling and access. Scott Nolte Running time: 60 minutes with one 15 minute intermission.

Cry Havoc! With Stephan Wolfert Directed by Eric Tucker Lisa Wolpe is an actress, director, teacher, playwright, and producer. This one-person play unites In 1993 she founded the all-female, veterans with civilians. It shows us multicultural Los Angeles Women’s that the military men and women Shakespeare Company, which she ran of Shakespeare’s time wrestled for 23 years. She has toured her solo show Shakespeare & the Alchemy of with the same hopes and worries Gender to venues around the world. She that occupy our modern lives. It directs and performs internationally explores the difficulties that our at theaters including Great River veterans and their families face. Shakespeare, Prague Shakespeare, And maybe, just maybe, it will help Utah Shakespeare, Oregon Shakespeare, Orlando Shakespeare, Colorado them truly come home. Shakespeare, Berkeley Repertory, and more. May 29-31, 2020 at the Isaac Studio Theatre at Taproot Theatre

encorespotlight.com A-11 FOR THE “An event that you simply did not want to miss” – Broadway World

B rin g D ow n t CROWN! h e H ous e (20 17). P hoto by John Ulman.

“Seeing an all-female production of a Shakespeare play carries a kind of magic” – Seattle Weekly

Starting with the 30th Anniversary season in 2020-2021 Seattle Shakespeare Company is overjoyed to announce a long-term partnership with upstart crow collective. Together, both companies will produce the early plays of Shakespeare’s great history cycle and tell the beginning of the story that Bring Down the House (the Henry VI trilogy) and Richard III concluded.

Starting with Richard II in January of 2021 and following “Astonishing!” – Drama in the Hood with Henry IV (1 & 2) and Henry V in subsequent years, a Richard III (2018). Photo by HMMM Productions.. diverse female and non-binary cast will re-imagine these ns tio uc od epic dramas of family and political conflict that span Pr M MM three generations of the crown. by H oto ). Ph Richard III (2018 Photo by HMMM Productions by Photo Institutional Supporters Sustaining Donors The Arden Circle $25,000 and More Issaquah Arts Commission ArtsFund KUOW 94.9 FM Arden Circle members are pillars of support Shakespeare for a New Generation, a national Perkins Coie LLP who ensure Seattle Shakespeare Company’s program of the National Endowment for the U. M. R. Foundation, Inc. growth and development through a multi-year, Arts, in cooperation with Arts Midwest sustaining pledge of $1,500 or more. Treeline Foundation $1,000–$2,499 Tuxedos and Tennis Shoes, a DSquared Bill and Melinda Gates Foundation Matching David Allais Maria C. Mackey Company Gift Program The Bungie Foundation Sarah and Bob Alsdorf David Mattson $10,000–$24,999 Hewlett-Packard Matching Gifts Program Terry Barenz Bayless Peter and Kelly Maunsell Mercer Island Rotary Club 4Culture Kristina Silja Bennard Gustavo and Kristina Anglo-American Charitable Foundation Savage Color Mehas Arts Works, a program of the National Tulalip Tribes Charitable Fund Scott and Mary Berg Endowment for the Arts Wyman Youth Trust Sarah Merner and Craig Luther Black and Christina McKibben BMGI Anonymous (1) Wright Harvest Foundation Phillip S. and Carol Miller Marisa Bocci Microsoft Matching Gifts Program $500–$999 Nancy Miller-Juhos and The Morgan Fund Actors’ Equity Foundation, Inc. John A. Bodoia Fred Juhos The Norcliffe Foundation Mangetout Catering Jeannie Buckley Blank Michael Milligan and Safeco Insurance Foundation ORA Architects and Tom Blank Seattle Office of Arts & Cultural Affairs Tableau Software, Inc. Jeanne E Williams and Bauer Endowment for Theatre William H Gates III Matching Gifts Nicole Dacquisto Rothrock The O’Kelley - McCorkle and Tim Rothrock Family $5,000–$9,999 $100–$499 Dan Drais and Jane Mills Rosemarie and H. Pike Aer Lingus 501 Commons Lauren Dudley Oliver American Life, Inc. BentalGreenOak Rebeka Osborne Anne & Mary Arts & Environmental Education The Clarius Group, LLC Rick and Terry Edwards Fund At The Community Foundation of The Coca-Cola Foundation Emily Evans and Kevin Sue and Steven Petitpas Snohomish County Envirotest Wilson Mary Pigott ArtsWA The Gittelman Family Fund Jean and David Farkas The Boeing Company Johnson and Johnson Matching Gifts Program Madhu Rao Hazel Miller Foundation Mercer Island Lions Club Lynne Graybeal and Scott Jain Rutherford Horizons Foundation Symetra Matching Gifts Program Harron Darrell Sanders Mercer Island Community Fund Robert H. Green Moccasin Lake Foundation Mike Slass and Renée Workplace Campaign Donors Bert and Bob Greenwood Nesholm Family Foundation Thank you to the following companies Roub Seattle Rotary Service Foundation and organizations for encouraging giving David and Meg Haggerty Suzanne Skinner and Jeff U.S. Bankcorp Foundation James Halliday and Tyson Brown Walker Family Foundation through workplace campaigns: Greer Laura Stusser-McNeil and Boeing Employee Individual Giving Program John and Ellen Hill K. C. McNeil $2,500–$4,999 City of Seattle Employee Giving Adobe Matching Gifts Program Kristi and James Hudson Pat and Charlie Walker Expedia Employee Giving Bagley Charitable Trust King County Employee Charitable Campaign David and Sara Elizabeth Walker Family Foundation The Boeing Company Gift Matching Program Microsoft Workplace Campaign Hyre Expedia Matching Gifts Program Sarah Watstein Washington State Employee Combined Fund Helsell Fetterman LLP Ken and Karen Jones Janet Westin and Michael Drive The Hubbard Family Foundation Brian Kreger and Peggy McCaw Martin-Kreger Susan and Bill Wilder Angelique Leone and Jeanne and Jim Wintz Ronald Fronheiser Jolene Zimmerman Individual Supporters Amy Levenson and Brian Braeckel Anonymous (3) $10,000 and up Allan and Nora Davis Jean and David Farkas David C. Allais Dan Drais and Jane Mills Jeffery Fickes and John Hinds The Swans of Avon Warren and Anne Anderson Lynne Graybeal and Scott Stan and Jane Fields Jeannie Buckley Blank and Harron Helen Goh and Jeff Kadet Members of the Swans of Avon have Tom Blank Robert H. Green David and Meg Haggerty graciously bequeathed gifts to Seattle Bert and Bob Greenwood Mark and Michelle Hamburg Jane and Robert Doggett Shakespeare Company through estate planned Emily Evans and Kevin Wilson Lucy Helm Maureen Hughes Angelique Leone and Ronald Ken and Karen Jones giving, ensuring that their passion for the Teresa Flynn works of Shakespeare will live on and inspire Brett and Anne Gerry Fronheiser Sue and Bob Mecklenburg John and Ellen Hill Amy Levenson and Brian Clare Meeker and Dan Grausz future generations. Stellman Keehnel and Patricia Braeckel Gustavo and Kristina Mehas Britton Peggy Martin and Brian Kreger Sarah Merner and Craig Sarah and Bob Alsdorf Sandra Perkins and Jeffrey Ochsner Laura Larson Bill and Sally Neukom McKibben John A. Bodoia Maria C. Mackey Sue and Steven Petitpas Richard Monroe Sue and Steven Petitpas Philip Brazil Doug and Kimberly McKenna Madhu T. Rao Susan Featherstone Nelson Jain Rutherford Rosemarie and H. Pike Oliver Chuck Schafer and Phillip S. and Carol Miller Rick and Terry Edwards Marianna Clark The O’Kelley - McCorkle Family Darrell Sanders Rebeka Osborne Mike Slass and Renée Roub David Robinson Emily Evans and Kevin Nancy Talley Michele and Kyle Peltonen Wilson Mary Pigott Laura Stusser-McNeil and K. Jim and Kasey Russell Janet Westin and Michael Anonymous C. McNeil Goldie and Don Silverman Robert H. Green McCaw Shirley and David Urdal Suzanne Skinner and Jeff Susan and Bill Wilder Brown $5,000-$9,999 Anonymous Helen Stusser To learn more about joing The Arden Circle or Sarah and Bob Alsdorf Nancy Talley The Swans of Avon and planned giving options Luther Black and Christina Jim and Kathy Tune Wright $2,500-$4,999 at Seattle Shakespeare Company, please contact Richard and Catherine Marisa N. Bocci Terry Barenz Bayless Heidi McElrath, Development Director: Wakefield John A. Bodoia Garret and Katherine Blue 206-733-8228 x 268 Jay Weinland and Heather Betty Buckley Doreen and Ralph Boy or [email protected] Hawkins Weinland Paula and Paul Butzi Rick and Terry Edwards Anonymous (2)

encorespotlight.com A-13 $1,000-$2,499 Anne Repass and JJ Ewing Scott J. Miller Frederick Rivera Winsor Ralph Allais Kerry and Jan Richards Tom Miller and Terri Olson Ariel Rosemond Randy and Barbara Eric and Lynette Allais Paula Riggert Miller Karen Rotko-Wynn and Bruce Hieronymus John Aylward Valerie Robinson George Mount and Amy Wynn Bill Higham Bradley and Sally Bagshaw Harry Schneider and Gail Allsopp Chuck and Tommie Sacrison Stephanie Hilbert David Barnes and Jacqui Silvio Runnfeldt Allen and Amy Murray Karleen N. Sakumoto Karin Hirschfeld and Barnes Susan Schroeter-Stokes and Colette Ogle Paul Schneiderman Christopher Smith Julie Beckman and Paul Robert Stokes Craig and Rose Olson Ann Schuh Cynthia Huffman and Ray Lippert Bruce and Denise Smith Lisa and Keith Oratz Kris and Rob Shanafelt Heacox Kristina Silja Bennard Catherine Smith and Carl Hu Susan Pazina Mika and Jenny Sinanan Brien and Catharine Jacobsen Lenore and Dick Bensinger Sheila Taft Lenore Pearlman Kael and Malisa Spencer C.R. Kaplan The Bluechel Family Mick and Penny Thackeray Jay Pearson Mary Jo and Michael John Keegan Pirkko Borland Ann and Gregory Thornton Kevin Phaup Stansbury Kim Kemp John Bradshaw Mike and Lois Trickey Judy G. Poll Garth and Drella Stein Sally Kincaid Philip Brazil Yvonne and Bruno Vogele Erik PontiusShawn and Lynne Francia and Kent Stowell Gary Kirk and Norma Fuentes Toby Bright and Nancy Ward Kayla Walker Aebi Annie Thenell and Doug Moll Jill Kirkpatrick and Marcus Jeff Brown and Anne Pat and Charlie Walker Peter Aiau Howard and Joan Voorheis Wheeler Watanabe Judith Warshal and Wade Sam and Ruth Ann Saunders Helen Wattley-Ames and Bill Jorji and Jason Knickrehm Cory Carlson and Rhoda Altom Sowers Bridget Ardissono Ames Rich Sharon Coleman Jerry and Vreni Watt Deena and Bill Baron Joella Werlin Steven Krupa Loveday Conquest Dr. William Lee Weis Shawn Baz Greg Wetzel Paul La Grace and Robert Cumbow Jacqueline B. Williams Glen and Susan Beebe Leora Wheeler Richard Lane Gordon Davidson and Caroline Susan Winokur and Paul Leach Claire Beighle Elaine White Joellen and Donald Loeb L Feiss Lee and Emily Winstrom Nancy and Sam Bent Jerry and Karen White Allison Lombardo Stephanie and Walter Derke Sally and Richard Wolf Irv and Luann Bertram Wayne Winder and Amy Alice Mailloux David and Helen Dichek Anonymous (6) Molly Blank and Greg Johnson Eisenfeld Karri Matau and Shelton Lyter Mary Dickinson David and Debra Boyle Kate Wisniewski and Pete Barbara Mauer Christopher G. Dowsing of $500-$999 Greg Brake Tabor Ellen Maxson Morrow & Dowsing, Inc. Nina Abelman George W. Bright Robert and Cathy Wright Donna McCampbell Martha Evans Shawn and Lynne Aebi Diana Carey Anonymous (8) Corey McDaniel and Alber Lorri Falterman Peter Aiau Frank and Denise Catalano Sucupira Barbara and Tim Fielden Sam and Ruth Ann Saunders Sylvia and Craig Chambers $250-$499 Bill McJohn Patricia Friel Bridget Ardissono Lynne Cohee and Matt Smith Nina Abelman Vicki McMullin Slade Gorton Dana Armstrong and Matthew William S. Cummings Kathy Alm and Bill Goe Julie Anderson Miller Lisa Hagar Tebbs Nicole Dacquisto Rothrock and Tiffany Andersen and Nicholas Will and Joan Miller James Halliday and Tyson John Aylward Tim Rothrock Harper-Smith Megan Moholt Greer Shawn Baz Ronald G. Dechene and Robert Theo Angelis Charles and Kathleen Moore Lawrence and Hylton Hard Claire Beighle J. Hovden Sharon S. Armstrong George Mount and Amy Susan Herring Pirkko Borland Michael Doubleday and Sandra Mark Ashida and Lisbet Nilson Allsopp Mary Frances Hill Greg Brake Borg Harriet and Jon Bakken Isabella and Lev Novik In Memory of Melissa Hines Philip Brazil Lynn DuPaul Ann Beller Lenore Pearlman Ken Hitz George W. Bright Peter and Melissa Evans Tessa and Chris Bennion Jay Pearson Kristi and James Hudson Rita Calabro and James Kelly Donald and Ann Frothingham Bradley Berg Andrew Pearson and Carol Jane and Randall Hummer Frank and Denise Catalano Cheryl Gagne Barbara A Berry Lewis David and Sara Elizabeth Hyre Sylvia and Craig Chambers Kathleen and Richard Gary Captain Paul Bloch and David Perez C. J. Iblings Hugh and Nicole Chang Marjorie and Rick Goldfarb Sherilyn Bloch J. Gregory and Erlinda Perkins Mary and Tim Jewett Sharon Coleman Gail Goralski Walter and Paula Boos Mark Peterson Bill Johns Bob and Loretta Comfort John and Wendy Hardman Eloise Boyle and Jim Grams Llewelyn and Jonie Pritchard Karen Jones and Erik Nicole Dacquisto Rothrock and Greg Heinz Stephen Brady and Judith Greg Prussia Rasmussen Tim Rothrock Melissa Huther and Gordon Cohen Arlene Ragozin Steve and Carole Kelley Laura DelVillar Hof Erin and Jeff Breyman Red and Ready Karl and Anne Korsmo Stephanie and Walter Derke Trudi Jackson William Bronecke and Mary Laura and Jim Rehrmann Frida Kumar Mary Dickinson Cynthia B. Jones and Paul J. Sullivan Nancy Reichley and Tim Susan Coughlin and John Michael Doubleday and Sandra Lawrence Mary Rae Bruns and David Higgins Lauber Borg Steve and Suzanne Kalish Middaugh Steven and Fredrica Rice Simon Leake Lynn DuPaul Jeffrey Krauss Scott and Cindy Buchanan Asta Roseway Susan Leavitt and Bill Block Peter and Melissa Evans M Kroon Julia Buck Robert Rust Charlotte Lin and Robert Porter Lorri Falterman Tina Kuhnle Margaret Bustion Lee Scheingold James Lobsenz and Elizabeth Kathleen and Richard Gary Jim and Laura Laudolff Rita Calabro and James Kelly Megan Scott Choy Slade Gorton Kathleen Learned and Gerald Hugh and Nicole Chang Cahilan Shine Gerald and Janet Lockwood Madame Gradka Anderson Richard Conlin and Sue Ann Fred Smith and Sandra Berger Dr. Pierre and Felice Loebel Hattie and Rick Grant Marianne and Jim LoGerfo Allen Kevin St. John David Longmuir Sharon Griggins Jackson Loos Laurie Corrin Rebecca Staffel and Eric Berg David Mattson Jeff Harris and Judy Mary Anne and Chuck Martin Kristen and James Crandall Derek Storm and Cindy Peter and Kelly Maunsell Wasserheit Elaine Mathies Cathy and Phil Davis Gossett Tom Miller and Terri Olson Peter and Diana Hartwell Beth McCaw and Yahn Bernier Laura DelVillar Kimbrough Street and Art Miller Greg Heinz Ann McCurdy and Frank Lawler Denise and Brian Donaldson Schneider Nancy Miller-Juhos and Fred Randy and Barbara Joe McDermott and Michael Marcia and Daniel Donovan Shelly Sundberg Juhos Hieronymus Culpepper Bassim and Kara Dowidar Tom and Sarah Sweeny Michael Milligan and Jeanne E Melissa Huther and Gordon Mary Metastasio Patricia Dubrow Bevin Taylor William and Judy Morton Hof Michael Mikesell Angelica Duncan Dan Tierney and Sarah Harlett Mr. Swen Nater and Dr. Wendy C. J. Iblings Bruce and Elizabeth Miller Janet Elmore Heather and Eric Tuininga Ghiora Trudi Jackson Scott J. Miller David Epley Diane Undi-Haga Nick and Joan Nicholson Dr. Joe Phillips Susan Moseley Beth Etscheid Eugene Usui Charles G. Nordhoff Steve and Suzanne Kalish Meg and David Mourning Holly and Mike Ferraro Keith Vernon Cheryl and Tom Oliver Gary Kirk and Norma Fuentes John O’Connell and Joyce Douglas Paul Fletcher Jessica Wagoner Craig and Rose Olson Jeffrey Krauss Latino Gary Fuller and Randy Everett Judy and Mike Walter Anne Otten and James Adcock M Kroon Colette Ogle Christine and David Gedye Jim and Sharron Welch Sandra Perkins and Jeffrey Tina Kuhnle Hal Opperman and JoLynn Robert and Janet Gilchrist Janet Westin and Michael Ochsner Elaine Mathies Edwards Dave Gossett McCaw Meredith Perlman Donna McCampbell Lisa and Keith Oratz Madame Gradka Andrew Willner Kevin Phaup Beth McCaw and Yahn Bernier Susan Pazina Linda-Jo Greenberg Lin and Judith Wilson Lori Lynn Phillips and David C. Ann McCurdy and Frank Lawler Dr. Joe Phillips Jeff Harris and Judy Michael Winters Lundsgaard Joe McDermott and Michael Michael Pickett and Ann Wasserheit Ruth Woods Steve Pline and Tony Paul Culpepper Watson Nancy K. Harris Karen and Michael Zeno Cynthia L. Randall and Gary M. Mary Metastasio Judy G. Poll Peter and Diana Hartwell Chris and Laura Zimmerman Goldstein Michael Mikesell John Purdon Leanne and Rick Hawkins Spring Zoog and Richard T. Gail and Larry Ransom Bruce and Elizabeth Miller Megan and Greg Pursell Jay Hereford and Margaret Marks Ben and Margit Rankin Anonymous (10)

A-14 seattle shakespeare company $100-$249 Katie Humphries Jennifer Payne Gary Ackerman and Robin Elisa and Matt Huston Donna Peck-Gaines Dearling Dean Ishiki Maggie and Clint Pehrson Double Your Impact Brian Alkire Kimberly Jackson Gordon Peltonen Hal Angel Dan Johnson and Jill Chelimer Pamela Perrott with Matching Gifts Mary Ann Allen Laurence Jordan Molly and Pete Peterson The Atkinson Bowker Family Joynfields Marianne Pettijohn When you donate to Seattle Shakespeare Brian Atwater Joan Kalhorn Michelle Pham Company, your gift can go much further. Amanda Austin Karen Kalzer Doug Phillips Shirli Axelrod Ellen Kampel and Howard Pistol Many employers will match your gift to Jospeh Bakke and Claire Goodman Rachel Pody Marshall Paul Kassen Stephen Poteet non-profit organizations on a one-to- Sybil Barney and Joel Shepard Jessica Kato Rivy Poupko and Rebecca one basis. It’s an easy way to increase Christina and Patrick Barredo Sharon Kean Kletenik Jon Barwick Andrew and Polly Kenefick Susanna Pugh your impact here at Seattle Shakespeare Philip and Harriett Beach Deborah Kerdeman and David Daniel and Barbara Radin Company. Sandra and Jonathan Bensky Tarshes Kate and Gary Randall Scott and Mary Berg G. David Kerlick Brian and Roberta Reed Ellen Bezona Elisabeth Kirschner and Paul Kim and Ken Reneris How to match your gift Albert and Margaret Biggs England Laurie Richardson Bruce Bigley Kate Klein Eric and Karen Richter Check with your Personnel Department. Nancy Blythe Marianna and Agastya Kohli Mark Rising Janet and Kelby Boguch- Rita and Robert Kotler Daniel Ritter They will either provide you with a Gift Fletcher Bobbi Kotula Kirk Robbins Matching form or direct you to an online Patrick and Gayle Bryan Kenneth B and Lisa K Shirley Roberson Apanakhi Buckley Kranseler Kate and Stephen Robinson resource. If a form, you simply fill out the Erika Budell Akshay Kulkarni Annie Rosen employee part of the form and mail it to: Jean Burch Falls Mini Kumar Kermit Rosen and Louise Bush Robert Kunold Dinah and W. Ross Coble Bob Byrne Seattle Shakespeare Company Glen Campbell Ellen Lackermann and Neal Jean Rowlands-Tarbox Paul Carlson and Shawn Stephenson Stephen and Elizabeth PO Box 19595 Seattle, WA 98109 Carolyn Ladd Rummage Hanson We’ll take care of the rest! Martin and Rebecca Chaney Kari Larson Wendy Ruppel Holly Chartrand-Myers and Richard de Sam Lazaro and Sharon and Bryan Rutberg Pete Chartrand Madeline Cavazos Joseph W. Rutte J. Leach Harvey Sadis and Harriett Cody Stephanie Cherrington R. Hamilton Wright Laura Stusser-McNeil and K. C. 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Lusink David and Stacya Silverman Emily Davis Shakespeare in recognition In Memory Reiner and Mary Decher Kirby and Marlene Luther Jan Simonds and Laurence of the following people: From June 5, 2018 through Jeffrey Degroot Margo MacVicar-Whelan Shannon Mary Virginia Dombrowski David W. and Mary Anne Cydly Smith Sarah Alsdorf, by Cynthia December 5, 2019, donations Chelle Downey-Magee and Dail Madsen Randy Smith and Sharon Jones and Paul Lawrence were made to Seattle Magee Jr. Rubina Mahsud Metcalf John Bradshaw, by Shakespeare in memory of Keith and Karen Eisenbrey Heidi Mathisen and Klaus Jeffery Smith and Rita Bashaw Rev. M. Christopher Boyer the following people: Joyce Erickson and Kenneth Brauer Teresa Sparling Michele and Kyle Peltonen Brown Cathy and Michael McCarty Sandy Spear David and Stacya Silverman Kirsten Gleb, by Kathleen Marilyn Evans Richard McCorkle and Jan Florence Stiles Laura Stusser-McNeil and K.C. Scurlock Gwen and Henry Fenbert O’Kelley Isabel and Herb Stusser McNeil Thomas Arthur Grant, by David W. Francis Irene McCoy Mary Summerfield and Teresa Sparling Michelle Blackmon Margaret Friedman Drs. David and Jody McElrath Michael O’Neal Jessica Wagoner Melissa Hines, by Anonymous Joseph “Da Man” Fronheiser Patrick McKee Margaret Swain and Larry Becky and Rob Witmer Kishore Kumar, by Debabrata Susan and Albert Fuchs Anna McNally Stark Anonymous (Dave) Ghosh Bryant Fujimoto David Meckstroth Constance Swank Wally Bubelis, by William Gloria Mathies, by Elaine J. Fukuda Family Roger Mellem Seda and Soner Terek Bubelis Mathies Janice George Madonna Messina Diana Thomas Louise Butler, by John Anton Matosich, by Kristi and Lisbeth Gilbert and Susan E. Matthew Meyers Dan and Joanna Trefethen Bradshaw James Hudson Cook Tami and Joe Micheletti Dick and Linda Triboulet Joyce Brewster, by Sally and Rod Pilloud, by John Bradshaw Andrew Gocke Shelley Milligan The Fremont Troll Bradly Bagshaw Arthur H. Zevin, by Rona Zevin Irwin Goverman Natalie Moore Nancy Truitt Pierce and Joel Emily Evans and Kevin Wilson, Briana Guthrie Phoebe Ann and Malcolm A. Selling by Dick and Linda Triboulet This list recognizes donors Linda Haas Moore Elizabeth Turecek Dan Drais and Jane Mills, by with combined donations Reed Haggerty Diane M. Morrison and Joel C. Richard and Hazel Tutor Emily Evans and Kevin Wilson of $100 or more made Daniel Chaim Halperin Bradbury Meranda Tuttle David Haggerty, by Peter and from June 5, 2018 through Madeline and Peri Hartman Leslie Moser Paul Gregory Urla Melissa Evans December 5, 2019. Thank you! Duston and Kathleen Harvey John Mostrom and Cathy Muriel Van Housen Stellman Keehnel and Patricia If you wish to change your Erika Hastetter Woods Hattie and Arthur Vogel Britton, by Jay Hereford and acknowledgement listing, Ross Heise Edmond A. Mount, Jr. and Padmaja Vrudhula Margaret Winsor please contact Heidi McElrath, Paul and Jean Henderson Joan Dorian Patricia A. Ward Kishore Kumar, by Debabrata Development Director, at (206) Paul Herstein Sue Mozer Elizabeth Wasson (Dave) Ghosh 733-8228 x 268 or heidim@ Bridget Hiedemann Kaye Munson Elizabeth Weinstein The marriage of Evan Whitfield seattleshakespeare.org. Hildegard Protection Society Sabina Nawaz Gregory White and Brenda Joyner, by the Leonard Hill and Cathy Charles Nelson Bill Whitman Paolozzi Family Stevulak Scott and Pam Nolte Wendy Wiley Heidi McElrath, by Drs. David Adam McGuirk Leo Novakoski Ann Williams and John Taylor and Jody McElrath Kellen Holgate Anne Frances Owen Rob Williamson and Kim Phil and Carol Miller, by Lewis and Lisa Horowitz Ann Owens Williams Angelique Leone and Ronald Virginia Dangremond The Paolozzi Family Kay Wistar Fronheiser Houghtaling Robert Papsdorf and Jonetta Jodie Wohl Suzanne Skinner, by Karen Christopher Howard Taylor Larry Woodin Jones and Erik Rasmussen Heather Parker Marcy Woodruff

encorespotlight.com A-15 Board of Directors Leadership Contact Us Ticket Office: 206-733-8222 Board Officers John Bradshaw Admin Offices: 206-733-8228 Dr. Madhu Rao, President Managing Director Fax: 206-733-8202 Nicholas Harper-Smith, Vice President Now in his sixteenth season with Seattle Rebeka Osborne, Vice President Shakespeare Company, John is a graduate Seattle Shakespeare Jain Rutherford, Secretary of the University of Washington and has PO Box 19595 David Allais, Treasurer spent nearly his entire career as part Seattle, WA 98109 Board Members of the Seattle theatre community. At Ticket Office Hours Sarah Alsdorf Seattle Shakespeare, he has overseen the Tuesday–Friday: 12–6 pm Kristina Silja Bennard growth of the company from a budget of Marisa Bocci $398,000 to $2 million during his tenure seattleshakespeare.org Jeannie Buckley Blank and from serving 16,000 people a year Lynne Graybeal to 57,000; balanced the budget for 15 of Robert H. Green 16 seasons; and helped lead a merger Sara Elizabeth Hyre with Wooden O, an award-winning, free, Brian Kreger outdoor Shakespeare theatre (founded Staff Amy Levenson by George Mount). Prior to joining Seattle Patrick O’Kelley Shakespeare Company, he was Managing Leadership Director at The Empty Space Theatre and John Bradshaw, Managing Director Rebeka Osborne Jain Rutherford Director of Endowment and Planned Giving George Mount, Artistic Director Darrell Sanders at Seattle Repertory Theatre. John served as General Manager and Development Artistic Suzanne Skinner Michael Slass Director during construction and initial Makaela Pollock, Casting Director Laura Stusser-McNeil operations at Kirkland Performance Center. Lamar Legend, Diversity Programming Sarah Watstein At Seattle Children’s Theatre, he was part Coordinator Christina Wright of the development staff during the capital campaign to build the Charlotte Martin Sheila Daniels, Associate Artist Advisory Board Theatre. He has served on the boards of Box Office Kenneth Alhadeff TeenTix, Theatre Puget Sound, Book-It Repertory Theatre, and the Washington Lorri McGinnis, Box Office Manager John Bodoia Paula Butzi State Arts Alliance/Foundation as well as Thalia Shelver, Assistant Box Office Mary E. Dickinson, CPA for the Visiting Committee for the School of Manager Dan Drais Drama at the University of Washington. He Leah Dooley, Box Office Associate Emily Evans is the recipient of the 2012 Melissa Hines Jordan Lusink, Box Office Associate Barbara Fielden Award for Outstanding Theatre Practitioner. Emily Rome, Box Office Associate Slade Gorton Maria Mackey Gunn George Mount Communications David Haggerty Artistic Director Jeff Fickes, Communications Director Ellen Hill Since being named Artistic Director John Hill of Seattle Shakespeare Company in Eunice Choi, Graphic Designer Stellman Keehnel 2011, George has directed acclaimed Development Steve Kelley productions of Shakespeare in Love, Sarah Merner Much Ado About Nothing, Waiting for Annie Lareau, Institutional Funding Phil Miller Godot, Henry IV, part 1, and A Midsummer Manager Jane Mills Night’s Dream. George founded Wooden Heidi McElrath, Development Director Meg Pageler Mourning O Theatre Productions in 1994, producing Sienna Mendez, Events and Susan Petitpas free outdoor productions of Shakespeare’s Development Coordinator Mary Pigott works in parks throughout the region. Nicole Dacquisto Rothrock Credits include directing and/or acting in Education James F. Tune As You Like It, All’s Well That Ends Well, Michelle Burce, Education Director Pat Walker Arms and the man, King Lear, Romeo and Juliet, Julius Caesar, The Comedy of Errors, Casey Brown, Touring Program Manager Jay Weinland Steven Wells and Richard III, among several others. Zandi Carlson, Education Coordinator Jeanne C. Wintz, Ph.D. In 2008, Wooden O merged with Seattle Front of House Shakespeare Company and George, then also working as SSC’s Education Thalia Shelver, Lead House Manager Associate, became the manager of SSC’s Emily Rome, House Manager Outdoor and Touring programs, as well Dylan Zucati, House Manager as doing extensive work as a teaching Facilities Partners artist. In addition to running Wooden O, Operations George managed the company’s small- Victoria Watt Warshaw, Business cast, statewide touring shows, directing Manager productions of Romeo and Juliet, Othello, A Midsummer Night’s Dream, Macbeth, Production and Hamlet. As an actor and director, Louise Butler, Production Manager George’s work at other theatres includes Jocelyne Fowler, Costume Shop Manager productions with Book-It Repertory Theatre, Seattle Public Theater, ACT Theatre, Village Theatre, and Youth Theatre Northwest.

A-16 seattle shakespeare company ALAN ALABASTRO

TAPROOT THEATRE COMPANY DIALOGUE ‘The Shop Around the beyond. And after directing three three directing after And beyond. Corner the of viewing first for 20 over years—from her of life her one that’s part been for Lund, story personal deeply It’s that clear Stephen with Show “Have on her [ you seen 2016for album. the cast Broadway my energy matching said, Lund Broadway. “I love much,” herso on last was musical the when Amalia played who Benanti, Laura love of material—to shared our musical’s the as source serves Corner the Around Shop The 1940 the from movie everything we’d minutes, about Within talked bringing to thepre-production process iscontagious. debut thismonthwith since 1993,ismakingherVillage Theatre directorial director of associate artistic Taproot Theatre Company a gross understatement.Lund, as whohasserved To say thatKaren Lund iseasy to talkto wouldbe by Corner’ Me’ Karen Lund Returns to DANIELLE MOHLMAN to to

You’ve Mail Got at Village Theatre Village at She Loves Me Me Loves She The Shop Around Around Shop The ] Colbert

The Late The Late with ‘She Loves ?” —which —which is a is and and She Loves Me, across from Jerry Dixon [Village [Village Dixon Jerry from across sitting Lund: Ifound myself Karen audiences? 2020 for right it makes What now? musical this Why Mohlman: Danielle But now’s time.”searching. the gone Ihaven’tso necessarily Taproot, at fulfillment of artistic were younger. I’ve alot had really they when much—especially that home from away tobe wanted kids,” “And said. Lund Ijust haven’t is, I’ve raising “The been thing home base. artistic her from away towork ready is Lund seasons, several last forTheatre the at Taproot ayear to four shows and thejoy she’s your family and your connections connections your and family your with connections your like things, simple the tovalue us play asks the alot of ways in more.much Ithink difficult—sovalued so it was you income asteady and ajob to have here. it And was as there rough as Depression was the where Europe It’s time. turbulent a really 1930s in place takes of course, this And, family. It’s simple for them. really a and income love. asteady And agreat is idea of happiness Their or that. this great best next the be to simple. No trying very one is and earnest very are characters These news. the we’re in hearing that stuff toxic to some of the antidote an need we all I think now, to Right applaudI have him. Me Loves were—and they on how joyful based them he would rate and plays of audience. He alist to his had joy would bring that aseason was for looking really he was what And season. this chose how they about director], talking artistic Theatre kept rising to the top. to the And rising kept encorespotlight.com She Loves Me. Karen Lund, director of 9 She She Eric Ankrim and Allison Standley. She Love Me pre-production photo.

with your friends, and know that I’m really interested in the relation- the opportunity to direct She Loves those have worth. And it’s so sweet ship between Georg and Amalia. Me, one of the first things I said and so simple. And yet it’s so They are really intellectual equals, was, “Tell me about your audience. difficult for us to do that right now. which doesn’t typically happen in Tell me what they’re looking for.” stories from that era. They read the And we see these characters in this same books, they have the same And I want to be clear: I’m not sweet pocket, even though it might philosophy of life. They have razor- talking about pandering to an audi- not feel like that on the inside, sharp wit. There’s a lot of sparring ence. I’m talking about knowing because World War II is going to that happens between them and I’m them and meeting them where be worse. And they just don’t know really excited about creating those they are, so I know how best to what will happen. moments. I think their battles are challenge them. I have this theory going to be outstanding; they’re that if you can make somebody Right. But what we do know going to be super fun to watch. laugh, you can actually tell them is they’re going to have each some pretty hard truths. So, I need other. And it’s not just about the Oh, that’s so exciting! I do want to get you comfortable. You feel romantic relationships. It’s about to pivot a bit and talk about arts like you’re in your home, you’re this family of perfumery workers administration—and your role laughing, your heart is open. And who go through a difficult time as associate artistic director of then I can tell you a hard truth and actually become closer. The Taproot Theatre. How does arts that might change the way you support they give each other to be administration inform the way think or the way you behave. better people is just wonderful. you direct? One thing that I love about Taproot It’s way closer than coworkers. There Oh wow. You know what it is? I’m is that there’s consciously a are real, deep friendships there. always very mindful of the audi- dramaturg attached to each play, ence. I have to be, because of my which feels like a rarity, especially Yeah. You know they’re going to work as an arts administrator. But in Seattle. Can you talk a little last. You know they’re going to I also feel like it’s my pleasure to about the value of dramaturgy in support each other during the be. At Taproot, we’re in an ongoing Taproot’s artistry? war. That’s how I see it, at least. conversation with our audience— about the world around us, about I just find dramaturgy to be so Is there a particular moment or truth, about beauty, and about how important to the work that we’re song you’re excited to explore in one person can make an impact doing. I don’t care what the play rehearsals? on the world. When I was offered is: dramaturgy can add so much DANIELLE BARNUM DANIELLE

10 DANIELLE BARNUM daniellemohlman.com Dramatist in found be also Danielle’s can work ­performances. sensory-friendly of landscape the to ­ the from everything about she’s written frequent contributor to Encore, where She’s a journalist. arts and ­playwright Danielle villagetheatre.org orby calling425.257.8600. in Everett. Tickets are available onlineat February 28 to March 22atVillage Theatre at Village Theatre inIssaquahandfrom She Loves Me Ilove it much. so Because adramaturg. be director, Imight Iwasn’t if a think, I always It a­ design. me as helps props, set, costume the inform can actors. Dramaturgy just for the it’s And couldn’t imagine. not ever you that ways in creativity your spark can you learn that thing actors’ little work on stage. Any of the breadth and depth to the intersection of sports and theatre theatre and sports of intersection Mohlman blog. blog. Books Quirk the on and American Theatre American runs January 16to February 23 runs January  is ais Seattle-based director. director. , The The to Seattle’s arts. performing Encore isyour companion the go At the show or on encorespotlight.com encorespotlight.com 11 Intermission Brain Transmission

Why stare at your phone for the hundredth time today when DIALOGUE you could treat your brain to this scintillating trivia quiz. Better yet, send us your answer to the bonus question for a chance to win tickets to an upcoming performance.

The Rivals, a comedy of manners that first 4 The Children, playing February 7 through 1 debuted more than 240 years ago, will play March 15 at Seattle Rep, concerns retired at Seattle Shakespeare Company January 7 nuclear physicists trying to live quietly after a through February 2. A now common term was nuclear power plant-related disaster. Roughly coined in reference to a character in this play. how much of the U.S. national electricity It means to use a word that sounds similar to, generation is provided by nuclear power? but has a different meaning than the one you intended. Which word is it? A 6% B 14% A Spoonerism C 19% B Folderol D 63% C Malapropism D Mondegreen French pianist Hélène Grimaud will perform at 5 Meany Center on March 4. In addition to her At Taproot Theatre Company, Steel Magnolias musical accomplishments, the animal-loving 2 will play from January 22 to February 29. A artist founded a conservation center in New star-studded movie version, made soon after York state for which species? this play debuted, featured a young Julia Roberts. Which actor played her character’s A Mink husband, Jackson Latcherie? B Wolves C Bobcats A David Duchovny D Black Bears B James Spader C Kyle MacLachlan D Dylan McDermott

Book-It Repertory Theatre presents The Turn 3 of the Screw February 12 through March 8. The classic horror novella on which this play is based was originally published in 1898 as part of The Two Magics. This book’s publisher recently caused widespread outcry for barring

public libraries from purchasing more than one

copy of new e-books. Which publisher was it? programs. release and

public education and recovery recovery and education public

works to protect wolves through through wolves protect to works

A Simon and Schuster non-profit The Wolves. 5–B

B Macmillan 19 4–C

publication. publication.

C Random House following immediately sales

D Hachette increase to attempt an in

e-books a library can purchase purchase can library a e-books

limits the number of new new of number the limits

3–B Macmillan. The embargo embargo The Macmillan. 3–B

2–D Dylan McDermot Dylan 2–D

BONUS or “inappropriate.”

propos,” à “mal term French

What was the last arts performance you attended that you liked best and why? the appropriated Sheridan

name playwright Richard Richard playwright name

Mrs. Malaprop, for whose whose for Mrs. Malaprop,

Email your answer with “Trivia Quiz” in the subject line to: [email protected] character comedic for or post your answer to social media and tag @encorespotlight. called So Malapropism. 1–C ADAM SMITH ADAM

12 ADAM SMITH DIALOGUE for several years, Atkins has has Atkins years, for several idea on the simmering After place.” into just fell things Book-It And production. style of theScrew that adaptor tosuggest too. I’m I’m only not the certain for along time list on their been it’s “And said. Ithink Atkins for alongon time,” my list “ Book-Itpitching for years. she’stion periodically been of Screw the Turn open will day,the Atkins later, to years almost Fifteen Maurier, in 2005. an adaptation of writing her first play for the company, artist in the education department before She spent several years as a teaching history with Book-It Repertory Theatre. Rachel Atkins has along and wonderful BY DANIELLE MOHLMAN Own at Book-It at Own of the Screw’ Her Makes ‘The Turn Atkins Rachel The Turn of the Screw of theScrew The Turn would be a good agood would be , an adapta , an has been been has Rebecca The Turn The Turn The The - by Daphne du to to you drew What Mohlman: Danielle own. her James wholly novel Henry this tomake found away in high school. And then reading reading then And school. high in read it first she when story of the truth the was thought she what She remembered changed. has book this with experience her how much it,Roscoe, about who’s directing toCarol I’vehappening. is talked different something thinks body what’sknow every on. going And really you never and whole thing you where the read story this about something There is Atkins: Rachel The TurnThe Screw the of initially? initially? - leave some essence of that mystery? mystery? of that leave some essence follow, and understand but still able to be to going still are people it aplay that into turn and that is: how you do take challenge the sentence? It anybody. And be could “he” this What in he mean does about. he’s who talking identify pronouns but he uses doesn’twhich with frequency narrative—the of his structure Even the in audiences. for and open readers much so leaves that astory about interesting really just something there’s think And I different. completely something thinks adult, now she an as later it years encorespotlight.com Roscoe atBook-It. in Atkins andCarol between Rachel Sylvie Davidson Emma collaboration , thelast 13 14 children. these with happening be might what and story of the creepiness weird mysterious, the out moredraw of to stuff that use I’ve to or studying. tried reciting or reading would be children the that things and poems and songs of materials other in pull was did I up. thing One tightened really ever, it’sproduction just because Book-It mainstage shortest the It’snovella. be may This short. story. the Imean,into it’s a ­ some other in bringing was with alot of fun Ihad that things one of the that say I will You don’t me. have tell to story. of the mystery the it’s youof because to tell part ofThere don’t is, but Isort want rehearsals? looking forward to exploring in character relationship that you’re or amoment there Is rehearsals. of start the We’re before speaking Yeah, absolutely. those belong pronouns to. who I’m about sure, decisions, some make to having And materials materials both male and female roles. roles. female and male both playing cast non-binary and female all- an you had Theater, where History (Y)Our Not of reading the in echoed that Iloved seeing And I love that. right. really feels bodies female through only story that of telling idea the And depth. her beyond situation, way isolated out tothis way sent is and agoverness as job first her takes who woman young story—about a particular of this idea the of actors. And group strong We’ve really cast. got this this about mean, we’re excited really about. I excited really both are [and Carol That’s that I] something all-female an cast. with story this we’re that I’m telling excited really actors? Northwest this working with cast of Pacific you about excites What we’llso see. there, in stuff I got somecreepy day… the in back from rhymes nursery those of some Because so.I hope That’s I’m what for. going creepy. and incredible so sounds That at Seattle Public Public Seattle at This is is This daniellemohlman.com Dramatist be found in performances. Danielle’s workcanalso to thelandscape ofsensory-friendly the intersection ofsportsandtheatre she’s written abouteverythingfrom frequent contributortoEncore,where playwright andartsjournalist.She’s a Danielle Mohlman  calling 206.216.0833. can bepurchased online (book-it.org) orby MarchTheatre. 8atBook-ItRepertory Tickets The Turn oftheScrew story!” their tell them Let I’mand “Come on, like people. positions major artistic in are men it or writing are men that either it’s time, every country. And the on across working are people that projects other about hearing I keep And centennial. the we approach as now abig topicmovement is right women’s course, the Of suffrage production. the in involved no men would be on stage, there no men be would there not only that strongly Ifelt really And awomen’s like just feels story. movement, it suffrage the about is piece, that which reason. With Yeah, different for and atotally andontheQuirk Booksblog. American Theatre is aSeattle-based Book-It. Cast of runs February 12toruns February Rebecca , The at

CHRIS BENNION

ANGELA STERLING CALENDAR Seth Orza and Maria Chapman with company dancers in Pacific Northwest Ballet’s Cinderella. CALENDAR

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The Rivals Revolution 2020 January 7–February 2 January 31–February 8 Seattle Shakespeare Company Seattle Women’s Chorus

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Steel Magnolias The Turn of the Screw to the arts! January 22–February 29 February 12–March 8 Taproot Theatre Company Book-It Repertory Theatre Teens can enjoy tons Italian Baroque Grupo Corpo of affordable events January 24–25 February 20–22 Seattle Symphony Meany Center for the Performing Arts with TeenTix! It’s FREE to sign up Brian Brooks Moving Charlie Parker’s Yardbird Company February 20–March 7 for the pass that January 30–February 1 Seattle Opera entitles you to $5 Meany Center for the Performing Arts Scott Silven: At the arts & culture tickets. Cinderella Illusionist’s Table January 31–February 9 March 3–15 Pacific Northwest Ballet Seattle Theatre Group teentix.org ANGELA STERLING ANGELA CHRIS BENNION CHRIS

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