DECEMBER 2015 Nov 27–Dec 30, 2015
By Charles Dickens Adapted by Gregory A. Falls Directed by John Langs
Celebrating 40 years! Photo by Chris Bennion December 2015 Volume 12, No. 6
Paul Heppner Publisher Susan Peterson Design & Production Director Ana Alvira, Robin Kessler, Kim Love, Shaun Swick Production Artists and Graphic Design Presented by Mike Hathaway Sales Director Brieanna Bright, Joey Chapman, Gwendolyn Fairbanks, Ann Manning Seattle Area Account Executives GORDON JAMES Marilyn Kallins, Terri Reed, Tim Schuyler Hayman San Francisco/Bay Area Account Executives Brett Hamil Online Editor Jonathan Shipley Associate Online Editor Jonathan Shipley Ad Services Coordinator Carol Yip Sales Coordinator December Holiday Hours M-F: 11 am-6 pm Sat: 11 am-5 pm 10133 Main Street in Bellevue 425-777-4451 www.GordonJamesDiamonds.com Leah Baltus Editor-in-Chief Paul Heppner Publisher Marty Griswold Associate Publisher Dan Paulus Art Director Jonathan Zwickel Senior Editor Gemma Wilson Associate Editor Amanda Manitach Visual Arts Editor
The Paul Heppner President Mike Hathaway Vice President Marty Griswold One Director of Business & Community Development PLACE WHERE SNOW FALLS EVERY NIGHT Genay Genereux Accounting Sara Keats Experience the wonder of our spectacular holiday performance with toy soldier drummers, Marketing Coordinator costumed characters, exhilarating music, swirling snowflakes and glittering lights. Corporate Office 425 North 85th Street Seattle, WA 98103 p 206.443.0445 f 206.443.1246 SNOWFLAKE LANE: 7 pm, Nov. 27 – Dec. 24 CELEBRATION LANE: 7 pm, Dec. 26 – Dec. 31 [email protected] 800.308.2898 x105 www.encoremediagroup.com Learn more at snowflakelane.com 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. ©2015 Encore Media Group. Reproduction The Bellevue Collection without written permission is prohibited. The One and Only Snowflake Lane
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The Bellevue Collection The One and Only Snowflake Lane
TBC_SFL-2015_Ad_Encore_final.indd 1 10/29/15 8:22 AM EAP full-page template.indd 1 10/29/15 4:46 PM Contents
DECEMBER 2015 Nov 27–Dec 30, 2015
A Christmas Carol 13 By Charles Dickens 13 Title Page Adapted by Gregory A. Falls 14 Welcome to ACT Directed by John Langs 17 About the Play and Who’s Who 26 ACT Partners 28 ACT Board & Staff
Celebrating 40 years! Photo by Chris Bennion A CHRISTMAS TREASURE: HOW IT BEGAN BY SHELLEY HENZE SCHERMER, ACT DESIGNER
It was 1976 and after several years of spirits had to be made from scratch, of two reasons over the next several years. doing The Absurd Musical Revue ‘Does course, and were the most challenging. A: The stock platforms were used all year Christmas’, and some of us complaining The jolly Ghost of Christmas Present was so they had to be totally repainted for the about rehashing the same show, Greg easy: a green velvet and white “fur” robe next year’s Carol. B: Jerry Williams had [Falls] decided to change tactics and do an with hidden battery pack belt underneath convinced Phil [Schermer] to deaden the adaptation of Dickens’ A Christmas Carol to power twinkle lights in his head wreath hollow sound that platforms produced to present instead. We were pleased and and magical(!) “ice” goblet. Sheet rocker by topping them with Homasote, the horrified all at once. With only the source stilts brought impressive height to the material they used for bulletin boards then, material and little time or money to create Ghost of Christmas Future, though the which was basically half inch thick paper a period show (with effects and magic clanking sound they made—and which pressboard and was soft enough that the required!) we had more of a challenge than we could not silence without causing an surface was easily damaged, resulting in we had considered when whining about industrial hazard—was a bit annoying. many annoying touchups. the Musical Revue rehashes. (We rationalized it as his clanking bones We used many props and furniture Sally Richardson and I based our …[cough]) The Ghost of Christmas Past from the storeroom. (Scrooge’s money designs on the original John Leech proved elusive (an old man/child with a box, a prop that I had made for a show illustrations. Sally, with only a few period- flame on its head?) and was “reimagined” in ‘71, and benches from Fanshen in ‘73, and vaguely period-appropriate garments for several years to come. are still in the show!). We built what we in stock from that season’s Desire Under I made use of our stock platforms and couldn’t find and invested in expensive the Elms, borrowed as much as she could supplemented one built as the required scrim material to cover flats so special and built the rest of the costumes. The pop-up grave. This proved a problem for effects would show through. We built a
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Untitled-10 1 8/26/15 3:35 PM THE ORIGINAL SCROOGE JOHN CHEEKY GILBERT
John Gilbert as Scrooge PHOTO BY CHRIS BENNION
John Gilbert’s first show at ACT was In White America, the opening show of the second season in 1966. How fitting for a man who spent his life living according to his philosophy of speaking out against injustice. My most vivid memories of John are of the many years spent watching him in tech rehearsals as our one- mozart and-only Scrooge for many years. The original version of A Christmas THE Carol was very low tech compared to the current one and John played
, © Neil Mackenzie of Figaro The Marriage 2010 Opera New Zealand Scrooge with a long, sharp putty MARRIAGE nose, bent posture, and raspy voice, which must have been wearing OF FIGARO on his natural soothing tone. My jan 16-30 favorite bit of business from those shows was how he transformed from MCCAW HALL old Scrooge to Scrooge as a young 206.389.7676 man in all the Fezziwig/Belle scenes SEATTLEOPERA.ORG by simply changing his posture and coat. What amazing stamina he had, doing all of the performances in those early years with two shows A DELIGHTFUL COMEDY a day, six days a week, for a month. Mozart’s most popular opera is filled with chaos With English Subtitles. and hilarity as clever servants outwit arrogant Evenings 7:30 p.m. It was fitting that he last performed masters, crafty women outsmart foolish men Sundays 2:00 p.m. Scrooge the final year it was staged folk, and one crazy day ends in happiness and Featuring the Seattle Opera at the Queen Anne ACT in 1995, love. Brighten your winter with an “engrossing, Chorus and members of Seattle astute, and unmissable” (The New Zealand Symphony Orchestra. twenty years after he originated the Herald) staging of this charming favorite. role.
PRODUCTION SPONSORS: ANN P. WYCKOFF, MICROSOFT –Shelley Henze Schermer
6 ACT – A Contemporary Theatre CONTINUED FROM PAGE 4 KNOW MORE. dry ice fogger, rented a smoke machine, after years sitting in tech rehearsals DO MORE. and after much experimenting thanked and spending days working in the paint heaven for the new-fangled plastic snow room behind the stage during the runs. BE MORE. we bought and recycled after sifting It, like John Gilbert’s distinctive voice out the spirit glitter and assorted gunk! for Scrooge’s dialogue, was burned into Nevermind the time the Cratchits spent my brain. It took me years after we dinner in the aftermath of a blizzard when had new Scrooges and the new score MOVE UP in Your Career with an a rope broke. was substituted to no longer hear the Advanced Degree from the College Greg hired Bob MacDougall to write originals running in my head when I of Arts and Sciences. an original score for the show. He was watched the show. an actor who had been in several shows Greg was convinced our new that season and was also cast in Carol. Christmas show would sell and we would His music was an integral part of the do it again the next year. Phil, of course, show and three musicians—on an oboe, wasn’t. Greg was right. (This created a clarinet, and violin—performed it live new problem: where to store the scenery backstage. Some of the sound effects until the next year? The perennial were also live and performed by an actor. problem of all theatres: saving scenery, The clock chimes were on sections of props, and costumes is thrifty; having metal pipes hanging from a frame and the space to do so is not. Greg offered his Marley’s entrance was accompanied storeroom. That was how A Christmas by plucking the strings of our grand Carol came to reside in The Highlands for piano off stage left. The next year, with several years.) Carol became an annual a mind on the budget, it was recorded tradition for the Seattle-area audience and became taped sound cues for the and an essential part of ACT’s annual stage manager. I came to think of Bob’s financial support. It was so successful score as another character in the show that there was even a new show written
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Jeff Steitzer as Scrooge. PHOTO BY CHRIS BENNION
CONTINUED ON PAGE 9
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to mock it performed at the Seattle books, Greek myths, and Tales of the the lobby to sell custom ACT Christmas Repertory Theatre that they called Arabian Nights. Carol wrapping paper, ornaments, Inspecting Carol! As I had for the pre-Carol shows, canned plum puddings, a coloring book, Carol essentially became part of the I continued to decorate the theatre and other assorted holiday fare. Time annual Young ACT Company (lovingly for the happy folk who came for their marched on and Carol has now had a known as “yak”) tour as they were annual dose of holiday cheer until well “who’s who” list of directors, Scrooges, the core of the cast for the show for after the move downtown. Greg added and many Tiny Tims who grew, moved many years to come with John Gilbert scenes and characters, honing Carol into into more senior roles, and eventually left performing the lead. Carol also started what is now a gem of a script. The third acting behind. What never changes are a new career for Greg as a successful year after he bemoaned the desire for the annual creative costume re-fitting for playwright. The next YAC tour was The another “guest”, I volunteered to be in different-sized actors, and the occasional Odyssey, which he penned with Kurt the Fezziwig party as well as run the fog minor disasters like missed entrances, Beattie, and for many years to come the and grave backstage in my sausage curls misbehaving effects, and the rare real tours were of his own very successful and pantaloons. This arrangement was snow cancellation headaches. versions of various modern children’s not repeated. A gift shop was opened in “God bless us, every one!”
Dancers Richard Farell and Shelley Henze Schermer, John Gilbert as Scrooge, Marie Mathay as Belle, Lisa Sisley as Miss Fezziwig, and Jean Smart as Mrs. Fezziwig, in the 1978 production of A Christmas Carol. PHOTO BY CHRIS BENNION
encoreartsseattle.com 9 An ANCHOR on UNION and 7TH FOR 90 YEARS Eagles Aerie No. 1 – The Fraternal Order of Eagles was founded in February 1898 by six theatre owners gathered in a Seattle shipyard to discuss a musician’s strike. After addressing the matter, they agreed to “bury the hatchet” and form “The Order of Good Things” which has since grown into an international fraternal organization with the mission of promoting peace and hope through unity, justice, and equality. F.O.E. membership today exceeds 800,000, with more than 1,500 local Aeries in the U.S. and Canada. In 1925, they opened the doors of their new building: Aerie No. 1, at 700 Union 1920s exterior Street. The grand building, designed by architect Henry Bittman’s firm, was ornately covered in terra-cotta and housed Then, in 1996, ACT moved a sweeping auditorium, a bowling alley, downtown. The organization had a billiards parlor, and a gym, as well as outgrown its home in Lower Queen Anne residential apartments, a night club, and and had been looking for a new space halls for Eagles’ ceremonies. when the Eagles building came onto After the Order of Eagles left the the market. After extensive fundraising building, the building became the home of efforts, ACT realized its $30.4 million the Unity Church of Truth from the mid- goal with the generous support of donors 1950s until 1960. In 1961, Martin Luther as well as a number of grants from King Jr. gave a speech in the auditorium local businesses and organizations. A during his only visit to Seattle. By the mid- substantial amount of the money raised 1960s the space had become a popular went toward the significant renovations rock concert venue, and hosted The needed in order to turn the space into a Grateful Dead eight times, as well as many theatrical venue. The eighth floor, which other rock and roll legends. now houses ACT’s beautiful rehearsal space, was added during renovation; the Eagles auditorium converted into The Allen Theatre in the round; and the lower level transformed into The Falls Theatre and The Bullitt Cabaret. While the Eagles building boasts great grandeur, ACT has managed to reproduce the intimacy inherent to its cozy Lower Queen Anne venue in each of its new performance spaces. The building is now in its 90th year, as ACT welcomes over 150,000 patrons annually through its five unique performance venues. The relocation to the former Eagles lodge has allowed ACT Contemporary exterior. to grow its programming and ambitions, PHOTO BY SEBASTIEN SCANDIUZZI creating art in all corners of the building.
10 ACT – A Contemporary Theatre 1960s TIMELINE OF IMPORTANT DATES
The ‘60s saw the birth of ACT. Beginning as just an experiment during the summer season, over the course of the decade Gregory A. Falls’ brainchild bloomed into an established home for bold contemporary theatre in Seattle.
1965: ACT’s first season, a summer season run by Greg Falls as a new Seattle theatre experiment. The season opens with Arthur Kopit’s Oh Dad, Poor Dad, Momma’s Hung You in the Closet and I’m Feeling So Sad, which is very well received. ACT becomes incorporated as a non-profit organization with a board of directors. 1966: ACT expands to a seven- show season running from June to September. Important play of the season: In White America by Martin B. Duberman examines the black experience in U.S., and is considered both provocative and “timely.” 1968: ACT, having received strong support from the community, expands its season further, lengthening the run of each of the seven shows in its season, and, in so doing, overreaches its bounds. While the theatre suffers financially, the selection process for producing plays is refined. The most successful show of the season, Beckett’s classic Waiting For Godot, shows Falls that audiences crave an intellectual challenge. This pushes on ACT’s mission to provide work that sparks thought and conversation. 1969: A hit season following the overreaching scale of the 1968 season. Though the length of each show’s run is cut back down to 14 weeks, the season is a major success. The season cements ACT’s place in the community as a cultural institution that continues to provide Seattle with thought-provoking art, including the world premiere of Beverley Simons’ Crabdance.
encoreartsseattle.com 11 Women Painters of Washington 1970s Gallery at the Columbia Center INSPIRING GIFTED TIMELINE OF IMPORTANT DATES Showcasing art by women since 1930 STUDENTS
For tour and other info visit our website.
When I Am Among the Trees by Christine Gedye . . 701 5th Ave #310 , M-F 11-4 206 691 2625 seattlecountryday.org
“Nick PayNe’s gorgeous two-character drama may be James W. Monitor as Marley’s Ghost in The mosT sophisTicaTed daTe play broadway has seen.” A Christmas Carol. PHOTO BY CHRIS BENNION -the new york times ACT in the ‘70s was building a significant audience, growing to nearly ten times the size of its first season, and beginning to outgrow its first home in lower Queen Anne. The ‘70s also saw the beginning of a major ACT by NICK PAYNE tradition: The Falls adaptation of Dickens’ A Christmas Carol.
1976: ACT begins a beloved holiday tradition with its first production of A Christmas Carol, as adapted by Greg Falls. The theatre’s regular season also TICKETS ON SALE NOW expands, now running from June all the way through Thanksgiving and giving each play a full 24-peformance JAN 22 - FEB 21, 2016 season sponsor run. As the theatre continues to grow seattlerep.org // 206.443.2222 in its former home in Lower Queen Anne, this year marks the beginning of the multi-year renovation of the space to bring it up to date and strengthen it as a home for all the work that ACT wants to offer. World Hope Outreach seeks to meet both the physical and spiritual 1978: On opening night of Henry needs of those who have been confronted with challenges in their IV: Part One, the mayor declares it lives. We provide services to needy families and work with other to be ACT Theatre Day in Seattle. By organizations — training and equipping volunteers — to help restore 1978, ACT has garnered an audience the lives of those families, thereby creating better lives for them and for roughly ten times the size of its the world as a whole. opening season.
To support us and our mission please visit us at: WorldHopeOutreach.org/support
12 ACT – A Contemporary Theatre Kurt Beattie Carlo Scandiuzzi Artistic Director Executive Director ACT – A Contemporary Theatre presents
By Charles Dickens Adapted by Gregory A. Falls Directed by John Langs Music Composed and Conducted by Adam Stern
Beginning November 27, 2015 • Opening Day November 29, 2015 CAST Kurt Beattie*, Rob Burgess, Hillary Clemens*, Ava Drummond, David Drummond*, Ariyanna Fernandez, Sophia Franzella, Sarah Harlett*, Kristoffer Holtan, Charles Leggett*, Jason Marr, Matthew Floyd Miller*, Derek Mulkins, Heidi Myrick, Conner Neddersen, Brandon Oke, Matt Schwader*, Jasmine Jean Sim, G. Valmont Thomas*, Jen Taylor*, Kayla Walker CREATIVE TEAM John Langs Director Shelley Henze Schermer Scenic Designer Deborah Trout Costume Designer Michael Wellborn Lighting Designer Dominic CodyKramers Sound Designer Chris DiStefano Music Director Steven M. Klein Original Sound Designer Emily Penick Choreographer JR Welden* Stage Manager Erin B. Zatloka* Assistant Stage Manager Tori Thompson Production Assistant Ann Ciecko Assistant Lighting Director Alyssa Keene Dialect Coach Wiley Basho Gorn Kenan Directing Fellow Thomas Charles Speltz Directing Intern
Setting: London, England, 1843. Running Time: This performance runs approximately 90 minutes. There will be no intermission. *Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. The video and/or audio recording of this performance by any means whatsoever are strictly prohibited.
SHOW SPONSOR
THEATRE AND SEASON SPONSORS: A Contemporary Theatre Foundation
The Norcliffe Foundation
Katharyn Alvord Gerlich, Eulalie M. & Gian-Carlo Scandiuzzi, Nancy Alvord, Linda Brown & Larry True
Kurt Beattie* and Charles Leggett* will alternate playing the role of Ebenezer Scrooge. Understudies never substitute for listed players unless a specific announcement is made at the time of the performance. Check the cast board in the lobby for program changes.
This production is based on the 1996 production directed by Leslie Swackhamer. Audience members are cordially reminded to silence all electronic devices. All forms of photography and the use of recording devices are strictly prohibited. Please do not walk on the stage before, during, or after the show. Patrons wearing Google Glass must power down the device if wearing them in the theatre.
encoreartsprograms.com 13 WELCOME to ACT
Kurt Beattie
Dear Friends, process toward the most advanced and prosperous society. But of course, the very center of all that is good in this It’s been my experience at ACT that when Christmas story is located in the person of Tiny Tim, who, being a comes ’round, and it’s time to mount our production of cripple, is useless in such a value system. He certainly Charles Dickens’ immortal tale, the building suddenly has a can’t earn his keep. This isn’t important to his parents special light and joy in it—“bright eyes and beaming faces”, and his brothers and sisters; his health and well-being are as Dickens put it. In part, I think this is because there are what matters to them. In fact, as the novelist Walter Allen many children in the cast and in the audiences, unlike the pointed out, he is the center of love in the story, and in his rest of the plays we produce; and they always bring with kindly and vulnerable self, an ultimate source of goodness them the excitement of the holiday season, the hope and for all. Scrooge is drawn to him because imprisoned inside promise of the New Year. Scrooge is the memory of another little vulnerable boy: The story is of course about Scrooge and his change of himself. And with that realization comes enlightenment to heart. But counterpoised to him are the Cratchits—who Scrooge and all of us. None of us manage to survive and represent, at least in most of the tale, everything Scrooge thrive in the world alone: we all got a helping hand from isn’t and needs to be—and who carry the heart of the story someone, most of us from our parents, who gave us part of every bit as much as he does. Their care for one another, themselves selflessly, instinctively. And it is the good and even in their poor circumstances, gives us a sense of the right thing to do so in turn. greater possibilities of life and pleasure that can exist So thank you for joining with all of us fellow travelers because of human love. on this earth, in this wonderful gift from Charles Dickens Dickens hated the political economists of the day, in to each and every one of us this Christmas, and let us hope, particular the utilitarian thinkers inspired by British social for many, many Christmases to come. reformer Jeremy Bentham, who believed that the principal and most important relationships between people were economic ones—“the cash nexus”, as Thomas Carlyle put it. And that it should be the right and necessary course for those who couldn’t keep up their part in the marketplace Kurt Beattie to die, as failed experiments in the natural competitive Artistic Director
14 ACT – A Contemporary Theatre COMING SOON TO ACT
A co–production with The 5th Avenue Theatre
Feb 27–May 8
Endangered Species Project Buzzer Dec 14 Feb 3–21 Explore the great plays you seldom see. December Jackson just moved into a fantastic apartment in his features Life with Father by Howard Lindsay and old neighborhood; only it's not—his old street is in the Russel Crouse. Join ESP in 2016 as they bring throes of rapid gentrification. Money, race, love, trust, 12 plays back to the stage. and fear are at the door—buzz us in. Photo by Hayley Young Photography Young Hayley by Photo
Sandbox Radio LIVE! The Great Soul of Russia Dec 28 Feb 3, Mar 2, Apr 6 Seattle’s locally grown radio theatre returns with Join The Seagull Project and members of Seattle’s your favorite local writers, actors, and musicians vibrant artistic community as they explore how various reimagining theatre for radio—recorded LIVE! Russian artistic roads, past and present, begin and end December's theme is “The Big One". with Chekhov. Photo by TrumanBuffett 14/48: The World’s Quickest Worse Than Tigers Theater Festival Mar 24–Apr 17 Jan 8, 9, 15, 16 Olivia and Humphry’s quietly failing marriage is ready to eat them alive. Unless the escaped tiger 14 plays written, cast, directed, rehearsed, scored, outside their door does first. designed, and premiered in 48 hours. Photoby Joe Iano Illustration by Brenna Jenny Brenna by Illustration acttheatre.org | 206.292.7676 | 700 Union Street, Seattle
encoreartsprograms.com 15 A Note from Director JOHN LANGS
PHOTO BY TRUMAN BUFFETT
When I was younger, a pre-teen, and any serious meaningful to our community than our founder crisis would befall me—from a skinned knee, to and the story’s adaptor Greg Falls could have ever a rougher encounter with a sibling, or the sharp imagined; every December this production is met corner of a kitchen table—to heal the pain of the with a kind of gratitude and appreciation that moment my mother had a simple remedy: a grilled continues to surprise us all. cheese sandwich and a homemade milkshake. To It’s my fourth time at the helm of A Christmas me, there was nothing that soothed my troubled Carol. I go to work on it each year with an open soul faster than the warm/cold combination of heart, because each time I encounter its characters, that dairy-filled delight. scratching out a life in More than the taste and the harsh socioeconomic the sustenance, it was the “Every December this climate of turn-of-the- ritual of the thing: after production is met with century London, I find I crisis there was comfort am uplifted, healed, and a in a very particular form, a kind of gratitude bit reborn. Its power is in which created a feeling that and appreciation that the comfort: the tree in the I remember today. continues to surprise lobby, the music in the air, This is the 40th year the snow from the lighting of ACT’s A Christmas us all.” grid, and the anticipated Carol, and next year will clink-clink of our ancient be my first as Artistic Director. Many have asked if prop coins. We know what will happen. We can I will change this holiday tradition: is it time to try share this beautiful redemptive story with the next something new? I think it’s a good question, and generation, and like the grilled cheese sandwich and one we must never stop asking, as the challenge of milkshake, it is and always will be made with love. any art is to stay relevant, but I weigh this question Thank you for coming to gather with us again against the fact that Dickens’ tale endures in the way at the turning of the year to remember what is that it does and continues to resonate in people’s good, and to count our blessings together. May hearts year after year. This production is always the holiday season and the New Year bring us all a happy milestone in ACT’s calendar, a holiday comfort and joy. tradition that’s becoming something larger and more
16 ACT – A Contemporary Theatre Charles Dickens ON STAGE “Dickens enters the theatre of the world through the stage door…” — GEORGE SANTAYANA
s a young man, Dickens aspired himself completely into the character he to be an actor, but on the day of was creating, and for the time being he his audition with one of London’s had not only lost sight of his surroundings, premiereA theatre managers he came down but had actually become in action, as in with a bad cold and was unable to attend. imagination, the personality of his pen. ” Happily for English literature, if perhaps Within two months of its publication unhappily for the English stage (evidence in December 1843, eight stage adaptations suggests that had he become an actor, of A Christmas Carol were playing in the he’d have been second to none), Dickens West End—only one actually authorized didn’t pursue his acting ambitions further. by Dickens—but the most famous and However, he remained an avid theatregoer effective of its performances were those for the rest of his life, and participated eventually given by Dickens himself. His enthusiastically in amateur theatricals. The first public reading of A Christmas Carol most famous of these was The Frozen Deep was in 1853 at Birmingham for an audience (1857), an “Arctic melodrama” written with of 2,000, an immense crowd for the time. Charles Dickens, 19th century. HERBERT WATKINS his friend Wilkie Collins (The Moonstone, In this century before radio and television, The Woman in White) and first performed very few of Dickens’ devoted readers knew expressive face, and most of all the twinkle in the schoolroom of Dickens’ house in what he looked or sounded like, and the in his large, deeply-set brown eyes as he Tavistock Street with some of the windows opportunity to see him in person, reading announced in his rapid, emphatic way and part of a wall removed to extend the from his own work, was an event not to be “Marley-was-dead-to-begin-with …”, as if stage—no doubt to the dismay of the missed. Dedicated fans camped in the street he were already anticipating the thrills and playwright/star’s long-suffering wife! outside the auditorium the night before delights of and color; and once he began Although fate led Dickens away from tickets went on sale, as if for a rock concert, to read, people soon forgot their initial the professional stage, colorful theatrical and although Dickens always made sure reservations. Beyond his obvious gifts characters turn up regularly in his novels, that some seats were priced within reach as an actor, Dickens also had enormous and his writing process was a kind of one- of the working class at just a shilling each, charisma, and an ability to enthrall an man theatrical extravaganza. His daughter tickets were regularly scalped at prices far audience through sheer force of personality Mamie remembered an afternoon when, exceeding their face value. that we would describe now as “star recovering after a long illness, she was And what did they see, these people quality”. Eyewitnesses described the energy allowed as a treat to stay in her father’s who waited all night? Many in his audience of his movements as he walked briskly to study while he wrote. Mamie lay on the were, at first, disappointed. Dickens was the podium, his marvelously mobile and sofa, trying not to disturb him, when not an imposing figure physically, nor did expressive face, and most of all the twinkle suddenly he “jumped from his chair and he have the commanding vocal range of in his large, deeply-set brown eyes as he rushed to a mirror which hung near, and the most notable public speakers of the announced in his rapid, emphatic way in which I could see the reflection of some day. Still, he carried himself well and with a “Marley-was-dead-to-begin-with …”, as extraordinary facial contortions which he certain panache; what his voice lacked if he were already anticipating the thrills was making. He returned rapidly in scope it more than made up in and delights of the story he was about to to his desk, wrote flexibility, resonance and color; and tell and could hardly wait to get on with it. furiously for a once he began to read, people soon An American journalist wrote that to hear few moments, forgot their initial reservations. Dickens read A Christmas Carol was like and then went Beyond his obvious gifts as an hearing the very sound of Christmas bells, again to the actor, Dickens also had enormous and in time the readings became a holiday mirror. The facial charisma, and an ability to tradition for many people—just as families pantomime was enthrall an audience through now go every year to see The Nutcracker, or resumed, and then sheer force of personality that watch Frank Capra’s American gloss on A … he began talking we would describe now as Christmas Carol, It’s A Wonderful Life. rapidly in a low voice “star quality”. Eyewitnesses It’s not unusual for artists to be gifted in ... He had thrown described the energy of his more than one way, but what was unusual movements as he walked about Dickens was the degree to which Handbill for The Frozen Deep briskly to the podium, his at Tavistock House. marvelously mobile and CONTINUED ON PAGE 18
encoreartsprograms.com 17 CONTINUED FROM PAGE 17 his two talents were enmeshed. What the Cities. The connective tissue between a the world equal to seeing the house rise at writer’s imagination conceived, the actor writer and an actor, of course, is the drive you, one sea of delighted faces, one hurrah vitalized in solitary performances that the to tell a story, but writers tell theirs alone, of applause!” writer translated into literature, which the for an audience they can only imagine and So gather round with us again to listen actor then returned to three dimensions may never see. What joy it must have been to what Dickens’ great-granddaughter in the many readings from his work that for Dickens to stand on stage and see the Monica called “the greatest little book in Dickens gave in the final decade of his life. impact of his stories in real time, on the the world,” and join us and our actors in The process also worked in reverse: playing faces of his audiences! It’s interesting to celebrating the joys of the season and one of the role of The Frozen Deep’s conflicted note that there are no quotes from him the greatest storytellers who ever lived—off antihero, who sacrifices himself to save the about his writing as vibrant as this one the stage and on it. life of his romantic rival, directly inspired about acting: “I would like to be going all —MARGARET LAYNE
Dickens to create one of his most indelible over the kingdom,” he burst out one night Margaret Layne is ACT’s Director of Casting. characters, the dissolute but ultimately after a particularly successful performance, She holds a B.A. Cum Laude in noble Sydney Carton in A Tale of Two “and acting everywhere! There is nothing in English Literature from Yale University.
Oh My Dickens! From the Cast of A Christmas Carol e e e ACT’s A Christmas Carol has always been about The first time I saw Gregory Falls’ adaptation of A Remember “the wave”? Or maybe it’s still done, family to me: Scrooge’s search for a family; the Christmas Carol I was a brand new Seattle actor in down at Qwest Field or Safeco or wherever. Bodies families that come to see the show; the backstage my twenties. Mr. John Gilbert was playing the role of and arms of the throng lifted up in sequence, section family we create in rehearsals and performances; and, Scrooge most impressively, and Mr. Falls was billed as by section of the stadium, creating the large-scale now that my daughter and I are performing together the director and adapter. This adaptation was easily optical illusion of a slow-motion fandom zeitgeist for the first time, my actual family on stage. And the most joyful and moving staging of the Dickens dervish. Well, that is what you get to see in the Allen my very first Carol, at the “old” ACT 28 years ago, tale I’d ever witnessed. I gave myself over to the play, if: a) you are entering up through the trap door on introduced me to Seattle’s best family—its talented, took the journey joyfully, witnessed a few amazing the chaise as the Ghost of Christmas Present, and inexhaustible, and loyal blue-collar theatre artists. transformations, and enjoyed top notch performances b) you have a large belly. The chaise stops moving, A special treat in playing the Ghost of Christmas by a charming and energetic ensemble! The entire bless it; you stand up as gracefully as your long, Present is the chance to play with the audience—if show was a wonderful theatre experience, but the flowing, green, fur-lined satin gown, a schmatte you live for only one day, you gotta have some fun! actor who played Scrooge was incredibly talented and draped over your lap to catch falling glitter, and And in addition to being deep and important and immensely effective. I had to meet this actor, John your own balance will allow; you then begin The meaningful, A Christmas Carol is just plain fun. It’s Gilbert! I was told that Mr. Gilbert did not suffer fools Turn. Your arms are out wide, you stand in place on King Lear, but with a happy ending! gladly, and was warned by many to be very careful that chaise with your ugly big bare feet and begin a when approaching him. But years later I had the great (necessarily) slow 360° rotation, so that the whole DAVID DRUMMOND, CHRISTMAS PRESENT honor to meet, speak, and work with him, and for Allen audience is subjected to what Scrooge has some reason he took a liking to me and we became just undergone: the sight of a large, maniacally (and e good friends. Whenever we got together, I urged him amplified) laughing man with golden Robert Plant to tell me stories about the Seattle productions he locks dribbling out over a belly that looms and drifts Between us, we have performed A Christmas Carol had appeared in. Let me say here that Mr. Gilbert had (and jiggles), like a great pasty thunderhead, well for 10 seasons in five different cities. Each time, the entered a phase in his life where he wasn’t concerned beyond the fur lining of the gown. That is when you story only becomes more beautiful, more resonant, with painting a pretty picture of our business. He was see The Allen Arena Wave. Not one of the bodies and more important to us. And we are especially a kind of a Scrooge about the business of acting, move up with their arms side to side, mind you; more happy when we get to tell it together—our first time though never about the craft—he was still as in of an amused but instinctive—if not involuntary— at ACT we had just gotten engaged, and this year we love with that as I was. Invariably, however, the one backwards recoil. Accompanied, almost without fail, are in our second year of marriage! production he responded to questions about with with the balm of delighted (if astonished) laughter. HILLARY CLEMENS, SPIRIT 1, AND glee (well, as close to glee as John would ever allow All. The way. Around. The Allen. Arena. Over all MATT SCHWADER, FRED himself to get publicly) was A Christmas Carol at ACT. seven seasons of playing the role, it is the moment So when I perform in this play, I think of the first that made me the most nervous, and was the most Scrooge I ever saw in the theatre, the Scrooge who rewarding. Would the schmatte then slip obediently e would often giggle when speaking of that role he and harmlessly (not to say miraculously) off my lap “Business?! Mankind was my business!” Marley’s played for so many years. I think of my friend, and a before I stepped off the chaise? Would I manage words always grip my heart whenever I see or hear great Seattle actor, the late John Gilbert. that high step down onto the deck without looking this irresistible tale of redemption, of second chances, like a complete drunk? No matter; those worries fell of hope in spite of human frailty. I believe that God, G. VALMONT THOMAS, MARLEY away like Scrooge’s sins into the value of the present The Universe, Life, whatever you choose to call it, moment: virtually all of the elements and disciplines always gives us second chances; indeed, third, fourth, e involved in theatre-making—which is to say, nearly fifth chances, right up to our last moment of breath all of my colleagues—had conjoined to create an Charles Dickens picked the perfect title for his to know the best of ourselves and who we can be event of that entrance that lightened people’s hearts. metaphysical tale of redemption: a carol was for each other in this life. We are all Scrooge! We are I cherish, and as time passes more and more cherish, originally a ring dance complimented by singing. all blinded by selfishness. I always end up weeping that collaborative zeitgeist, and take relentless pride “Caroling” today almost universally means the public with joy for Scrooge because he gets another chance in having literally thrown my weight around to do singing of Christmas-related songs. I am so proud to know who he can be for others. I weep because my part. to have engaged in this wonder-filled dance (in the of The Universe’s generous love for him in giving round, no less!) sharing ACT’s crisp rendition of A him that chance. He’s me and you; a person who is CHARLES LEGGETT, SCROOGE (SPIRIT 2: 2002- Christmas Carol with our audiences. I am prouder fundamentally good, frail, deserving of redemption, 2006, 2008, 2014) still to have stood shoulder to shoulder in the grand equipped to be of great service to the world and chorale of carolers who have woven the tapestry mankind, if he endeavors to keep his heart open so of Ebenezer’s stirring reminder of our capacity for e he can see others’ hearts too. change. Truly, the opposite of fear is love. MATTHEW FLOYD MILLER, BOB CRATCHIT ROB BURGESS, MR FEZZIWIG
18 ACT – A Contemporary Theatre Who's Who in A Christmas Carol
Kurt Beattie (Ebenezer Miracle Worker, and Viola in Twelfth Night (Indiana Sophia Franzella Scrooge/Artistic Director) Festival Theatre). Chicago favorites include As You (Martha Cratchit/Miss has been creating theatre Like It (Chicago Shakespeare Theater); The Illusion Fezziwig) is ecstatic to be for Puget Sound (Court Theatre); Ski Dubai (Steppenwolf); Picnic making her ACT debut! audiences for over 40 (Writers’ Theatre; Jeff Award Nomination for Sophia moved to Seattle years as an actor, Supporting Actress); A Room With A View (Lifeline just over a year ago from playwright, and director. Theatre); and Mine, Dirty, The Three Sisters, and Austin, TX, where she His productions at ACT Blithe Spirit (The Gift). She’s lucky to share the studied the Meisner include Vanya and Sonia and Masha and Spike, stage and her life with Matt Schwader. Technique and earned her B.A. in Theatre from St. Bloomsday, Grey Gardens; Ramayana (with Sheila Edwards University. Most recently, Sophia Ava Drummond (Tiny Daniels); The Pitmen Painters; Double Indemnity; In appeared in the title role of the new work My Tim/Ignorance) is a third the Next Room, or the vibrator play; The Dear Miss Chancellor (Annex Theatre). Other grader at Parkwood Lieutenant of Inishmore; Rock ‘n’ Roll; Becky’s Seattle theatre credits include Little Red in Into the Elementary School in New Car; Intimate Exchanges; First Class; The Woods (STAGEright Theatre) and Anastasia in Shoreline. This is her first Pillowman; Mitzi’s Abortion; The Underpants; Bach Zapoi! (Annex Theatre). Sophia received the Best play ever. She ran away to at Leipzig; Vincent in Brixton; Black Coffee; Alki; Actress Award in the 2015 Seattle 48 Hour Film the circus five years ago, Moon for the Misbegotten; Fuddy Meers; Fully Project. She would like to thank John for taking a and spends most of her Committed; Via Dolorosa; and the holiday classic, chance on her. She would also like to thank her waking hours at The School of Acrobatics and New A Christmas Carol. Elsewhere he has directed at loving and supportive family, as well as her brilliant Circus Arts in Georgetown, where she’s a member Seattle Repertory Theatre, Empty Space Theatre, and inspiring partner Nathan. of the Amazing Circus 1-ders and the Mini Fly Intiman Theatre, Seattle Children’s Theatre, Team, SANCA’s youngest flying trapeze company. Sarah Harlett (Mrs. University of Washington, San Jose Repertory Fezziwig/Miss Clackett) is Theatre, Milwaukee Repertory Theater, The Alley David Drummond delighted to be back at Theatre in Houston, and Ojai Playwrights Festival. (Spirit 2) This is David’s ACT and a part of A As an actor, he has appeared in leading and major tenth time performing in Christmas Carol again! roles at ACT, Seattle Repertory Theatre, Intiman ACT’s A Christmas Carol, Recently seen in The Theatre, Empty Space Theatre, Seattle Shakespeare having first played the Memorandum Company, as well as many regional theatres Ghost of Christmas (Strawberry Theater throughout the country. Beattie is a recipient of the Present 28 years ago. Workshop), The Man Who Could Forget Theatre Puget Sound Gregory A. Falls Sustained Maybe he’ll get it right Anything (On the Boards), Cumulus (West of Achievement Award, and the Outstanding this time. He has performed with theatres large Lenin), and Middletown (ACT). Sarah has also Achievement in the Arts Award from ArtsFund. and small all over town, last appearing as the title performed at Seattle Children’s Theatre, Intiman character in Coriolanus (Seattle Shakespeare Theatre, New City Theater, Seattle Shakespeare Rob Burgess (Mr. Company). Everyone agrees his best work by far is Company, Seattle Repertory Theatre, and Empty Fezziwig/Topper) as Daddy in The Long Happy Life of Jack Henry Space Theatre. Internationally, she has performed Northwest born and Drummond (now in its seventeenth smash year), at the Centre de Danse in Paris with the Megan bred, Rob is happy to be and its sequel Ava’s Amazing Days (still playing to Murphy Company. Sarah is a current member of sharing the holidays with a packed house after eight years). An award- The Sandbox Artists Collective and a founding this wonderful group of winning audiobook narrator with close to 200 member of the Compound Collective, the artists and, of course, books recorded, he’s overjoyed to be out of his nationally acclaimed Seattle performance group you! A graduate of the stuffy little studio and breathing the fresh sooty air in Seattle from 1994–2000. Sarah graduated American Academy of Dramatic Arts, he has been of Victorian London. seen in numerous productions spanning several from Cornish College of the Arts, the Gaiety years in the Seattle area. Rob thanks his lucky stars Ariyanna Fernandez School of Acting (Dublin), and the British that his talented partner, Seattle-based costume (Elizabeth Cratchit/Lil American Drama Academy (Oxford). Fezziwig) currently designer Melanie Taylor Burgess actually said Kristoffer Holtan ‘yes’—lo, those many years ago! They are very attends Rhythm Fire (Charles Cratchit/Young proud of their progeny, Madison and Lily, and are School of Music. In July Scrooge) is thrilled to be both thrilled to be part of this grand creative 2015, she was the winner spending the holidays at community. of the Capital Lakefair ACT. He has performed in Voice Competition. Over Tarzan (Village Theatre Hillary Clemens (Spirit the past several years, she’s been cast in plays such KIDSTAGE) and last 1/Charwoman) is happy as Annie the Musical, Jack and the Beanstalk, and Christmas as Grover Dill to return to A Christmas has co-starred in a few commercials. She also won in A Christmas Story, The Musical (The 5th Avenue Carol after appearing as Seattle’s Freshest Voices 4th Annual Singing Theatre). He is passionate about acting, singing, Belle in 2013. Her most Competition. Film credits include: Speak Up, Jump, tap dancing, baseball, and creative writing. Thanks recent Seattle role was and Soul Stealer. Ariyanna enjoys reading, to Mom and Dad for their support and Desdemona in Othello drawing, soccer, spending time with her family encouragement! (Seattle Shakespeare from Guam, and is very passionate about music. Company). Elsewhere, recent roles include Daisy in Watch for her singing the National Anthem for the The Great Gatsby (Indiana Repertory Theatre), University of Washington’s athletic teams on TV. Juliet in Romeo and Juliet (Lake Tahoe Shakespeare She is thankful for the opportunity to be a part of Festival), Crystal in Bethany (The Gift Theatre; Jeff the cast here at ACT and thanks her friends and Award Nomination for Principal Actress, Time Out family for all of their support. Award for Best Actress), Annie Sullivan in The
encoreartsprograms.com 19 Who's Who in A Christmas Carol Charles Leggett Crimes, Criminal Minds, Law & Order, All Good Boy/Tootles in Peter Pan (Lyric Light Opera), Tiny (Scrooge) At ACT: Gooper Things. Training: NYU Graduate Acting. Tim in A Christmas Carol (Seattle Musical Theatre), in Cat on a Hot Tin Roof; Augustus Gloop in Willy Wonka, and Thing 2 in Spirit 2 in A Christmas Derek Mulkins (Peter Seussical. He studies acting, singing, and dancing Carol (seven iterations, Cratchit) is honored to be with Village Theatre’s Pathway program; is active in beginning in 2002); Victor making his ACT debut in Cub Scouts; and takes voice, piano, and ukulele Franz in The Price; Ben in A Christmas Carol this lessons. Thanks to Mom, Dad, Lauren, Kylie, and The Dumb Waiter; George holiday season! Other his dog Coby! Brown in The Pitmen Painters; Ray in Yankee roles include: Fagin’s gang/ Matt Schwader (Fred/ Tavern; Sheriff in The Trip to Bountiful; Joe Foster in Book Boy in Oliver! (The Dick Wilkins) returns to A Becky’s New Car; Marshall Herrick in The Crucible; 5th Avenue Theatre) and Christmas Carol after and Peter in Seven Ways to Get There (ACTLab). Elmer in The Best Christmas Pageant Ever (Seattle playing Fred in 2013. Charles is a recipient and three-time nominee of Public Theatre). Derek is enrolled in the Woodinville Most recent the Theatre Puget Sound Gregory Award for his High School drama program under the direction of performances: Gatsby in work at Seattle Repertory Theatre, ACT, and Seattle Josh Butchart. Special thanks to his voice coach, The Great Gatsby (Indiana Shakespeare Company, and has twice (2009 and Christopher D. Littlefield, Tim Hagerman, Karen Repertory Theatre), 2015) been nominated for The Stranger Genius Mitchell, and Alex Paz of The Arts Manifest. Love Romeo in Romeo and Juliet (Lake Tahoe Award. He worked the last three summers at and gratitude to Mom, Dad, Kayla, Grandparents, Shakespeare Festival), Tristan Tzara in Travesties, Intiman, and has appeared at Village Theatre, The Genevieve, Jake, and Matthew. Enjoy the show! Jack in The Importance of Being Earnest, and the 5th Avenue Theatre, Seattle Children’s Theatre, Heidi Myrick (Belinda title role in Hamlet (American Players Theatre). He’s Book-It Repertory Theatre, Portland Center Stage, Cratchit/Fan) is thrilled to appeared with Chicago Shakespeare Theater, and numerous smaller companies. be back at ACT in her Court Theatre, Goodman Theatre, Northlight Jason Marr (Men’s second production of A Theatre, and Remy Bumppo Theatre Company in Understudy) is delighted Christmas Carol! Some of Chicago; as well as Actors Theatre of Louisville, to be back with ACT for her favorite past credits Notre Dame Shakespeare Festival, and Utah another Christmas Carol! include Carousel (The 5th Shakespeare Festival. International: Royal He last appeared on the Avenue Theatre), Aladdin Shakespeare Company, Shakespeare Link Canada, ACT stage as Oliver in The (Centerstage Theatre), and Annie (Heavier Than Air and Montes Namuli Dance Company in Pitmen Painters. Recent Family Theatre). Besides theatre, Heidi also likes Mozambique. He’s voiced radio, television, and stage credits include being on camera and has been in several internet spots and played Ted Powell on NBC’s Mother Courage (Seattle Shakespeare Company) commercials, short films, and a TV miniseries. In her Chicago PD. Matt is thrilled to be in this and Humble Boy (Seattle Public Theater). He has spare time Heidi enjoys dancing, singing, baking, production with his wife, Hillary Clemens. performed with Book-It Repertory, Wooden O, drawing, and hanging out with her friends. Heidi Jasmine Jean Sim Washington Ensemble, Theater Schmeater, would like to thank her parents, family, and friends (Belle/Niece) graduated GreenStage, Taproot Theatre, Harlequin for their continued support. Merry Christmas! from Cornish College of Productions, the 14/48 Festival, Theatre Conner Neddersen the Arts in 2015 as well as Anonymous, Shakespeare Santa Cruz, Island Stage (Middle Scrooge/Grocer/ the Pacific Conservatory Left, and the Shakespeare Theatre Company in D.C. Guest/Spirit 3) is delighted for the Performing Arts He is also a co-founder of One Lump or Two to be making his ACT (PCPA) in 2013. Credits: Productions (Elsinore Diaries, Holiday of Errors). debut with this wonderful Mary Tilford in The Jason has a B.F.A. in Acting and Directing from UNC holiday tradition! Conner Children’s Hour and Rose in John Baxter is a Switch Greensboro and an M.F.A. from the Shakespeare is a Cornish graduate, and Hitter (Intiman Theatre), April in Dirty (ACTLab and Theatre Company’s Academy for Classical Acting at a member of New Century Washington Ensemble Theatre), Elisaveta in Grand George Washington University. He is married to the Theatre Company. Recent credits include: Poul in Hotel (Cornish Theatre), and Miranda in The beautiful and fabulous Jill Marr. Festen (NCTC); Prince Hal in Henry IV part 1 Tempest (PCPA and Kingsman Shakespeare Matthew Floyd Miller (Wooden O); Lucius in Feetway (Taproot Theatre); Company). She is scheduled to appear in 9 to 5 (Bob Cratchit) could not and Charlie in Mary’s Wedding (NCTC), for which with Seattle Musical Theatre in February! Love to be more pleased to he received a Gregory Award nomination for Mom, Dad, Andie, and Rory. embark on his first Outstanding Actor. Love to his mother and father, G. Valmont Thomas Christmas Carol with his and happy holidays to all! (Marley/Old Joe) returns to beloved ACT family. At Brandon Oke (Singing ACT after performing the ACT he has appeared in Thief/Master Fezziwig/ role of Chutes and Middletown, Rock’n Roll, Undertakers Assistant/ Ladders in Water By The The Underpants, and The Pillowman. On Broadway Turkey Boy) is a fifth Spoonful (West Of Lenin), he has appeared in Not About Nightingales, grader from Everett who Bottom the Weaver in A directed by Trevor Nunn (Circle in the Square) and really enjoys entertaining Midsummer Night’s The Invention of Love (Lincoln Center). In Los audiences. He appeared as Dream (Tennessee Shakespeare Company), Blue in Angeles he most recently appeared in the west Randy in A Christmas Party People (Berkeley Repertory Theatre), and coast premiere of Stupid Fucking Bird (The Boston Story, The Musical (The 5th Avenue Theatre; 2015 Wining Boy in The Piano Lesson (Syracuse Stage, Court; L.A. Drama Critics Circle Award for Best Gregory Award nominee and 5th Avenue Seattle Repertory Theatre). In the acting company Ensemble), The Mystery of Irma Vep (The Falcon), Subscribers’ Choice Award recipient for Best of Oregon Shakespeare Festival for 13 seasons, he and Yes, Prime Minister (Geffen), among numerous Supporting Actor); Jojo in Seussical Jr.; and in enjoyed playing the title character in Macbeth, regional credits. TV/Film: upcoming Colony, Major Jungle Book (Village Theatre). Other past roles: Lost Falstaff in The Merry Wives of Windsor, Feste in
20 ACT – A Contemporary Theatre Twelfth Night, and Lincoln in TopDog/UnderDog. degree from UNCSA. Some of his favorite directing northern Europe, and southeast Asia. Michael is the Next he is appearing at True Colors Theatre in credits include The Shaggs Philosophy of the World Production Manager at Seattle Children’s Theatre. Atlanta as Donny Dubrow in David Mamet’s (LA Drama Critics Circle Award for Best Original Dominic CodyKramers (Sound Designer) American Buffalo. Mr. Thomas always enjoys Musical), and Brothers Karamazov (seven LADCC is a faculty instructor in Seattle University’s creating theatre at ACT. Happy holidays to Awards including Best Production of the year and Performing Arts and Art Leadership Department, everybody! (Psst! Santa … ? G. Val loves playing Best Direction) and directing Kurt Beattie in King and continues to design locally. Earlier this year, he board games.) Lear. John received the first annual Seattle Gregory created the soundscape for Cat On a Hot Tin Roof Award honoring excellence in direction for The Jen Taylor (Mrs. (ACT), and will be designing Buzzer (ACTLab) in Adding Machine. Recent Seattle credits include New Cratchit/Fezziwig Dancer) January. His work has also been heard at Seattle Century Theatre Company’s Mary’s Wedding, The Previously at ACT Jen Children’s Theatre, Seattle Beckett Festival, Seattle Seagull Project’s The Three Sisters, and Othello played Janet in Steven Shakespeare Company, Seattle Repertory Theatre, (Seattle Shakespeare Company). As a dedicated fan Dietz’s Yankee Tavern and West of Lenin, upstart crow collective, Strawberry of original work, John has shepherded over a dozen Belle in A Christmas Carol. Theatre Workshop, Madcap Melodrama, and The projects to their premiere productions. Most recently, she played Flying Karamazov Brothers. Other west coast design Roxane in Cyrano Shelley Henze Schermer (Scenic Designer) credits include Universal Studios Hollywood Theme (Portland Center Stage) where she has also played has been associated with ACT designing props, Park, PCPA TheatreFest, Pasadena Playhouse, San Viola in Twelfth Night and Elizabeth in Pride and scenery, and costumes for the mainstage, Luis Obispo Little Theatre, Santa Clarita Repertory Prejudice. At Seattle Shakespeare Company, Jen cabaret, and children’s productions since 1971, East Playhouse, Hudson Theatre, and Oregon played Beatrice in Much Ado About Nothing, Eliza including: A Moon for the Misbegotten, Later Cabaret Theatre. Dominic earned an M.F.A. from Doolittle in Pygmalion, and Imogen in Cymbeline. Life, Custer, Amadeus, Fool for Love, On the California Institute of the Arts and a B.A. from UNC- She has performed in most of the theatres in Razzle, Little Shop of Horrors, Laughter on the Asheville, his hometown. He is a proud of member Seattle and is a founding member of New Century 23rd Floor, and two versions of A Christmas of United Scenic Artists USA-829. Theatre Company. Jen is a voice actor in radio, Carol. Her design work, locally, nationally, Chris DiStefano (Music Director) is very happy television, audiobooks, and numerous video and internationally, includes theatre scenery, to be back at ACT. A longtime fan of Dickens’ games, including the Halo series as Cortana and interactive museum exhibits, special events, novel, he is thrilled to join as the Music Director Dr. Halsey. If you have a Windows Phone or PC, conventions, and interior design, including ACT’s for this production, and to be a part of this Seattle she is the voice of your personal assistant. Kreielsheimer Place. She has also developed tradition. His last show was Grey Gardens at ACT in and produced live theatre. Her current project is Kayla Walker (Ladies’ 2013. Since then he went on to music direct James authoring Defining ACT 1964–1996. Understudy) is thrilled to and the Giant Peach (Seattle Children’s Theatre) spend another Christmas Deborah Trout (Costume Designer) is a and Dogfight (ArtsWest). He is back in Seattle after season with ACT. As a northwest designer. This past season’s work a year abroad in Paris, where he was studying life coach and actress, you includes Mr. Burns, a post-electric play (ACT); and how to live it, as well as vocal technique and may have seen her work American Dream (Seattle Opera); Alice Gosti’s philosophy. Bon spectacle! in Emma, I Am Of Ireland durational piece How to Become a Partisan (St. Steven M. Klein (Original Sound Designer) Mr. (Book-It Repertory Mark’s Cathedral); Cyrano (Portland Center Stage) Klein’s design credits include the world premieres Theatre); Zapoi!, Bunnies (Annex Theatre); Julius with Seattle’s Jane Jones; Seven Ways to Get of A Normal Life, Halcyon Days, Tears of Rage, and Caesar (Wooden O); Bengal Tiger (Washington There (ACTLab); and In the Garden of Rikki Tiki My One Good Nerve (ACT); Psychopathia Sexualis, Ensemble Theatre); This Land (Strawberry Theatre Tavi (Seattle Children’s Theatre). Other theatres Voir Dire, Jolson Sings Again, Scapin (adapted by Workshop); Mary Poppins, Cabaret (Village include: Actors Theatre of Louisville, The Alley Bill Irwin), and Largely/New York (Seattle Repertory Theatre); Theatre Schmeater; and Taproot Theatre. Theatre (Houston), Alliance Theatre (Atlanta), Theatre); numerous productions for both Seattle She is a proud graduate of Cornish College of the Arizona Theatre Company, Denver Center Theatre Children’s Theatre and Intiman Theatre; as well Arts and holds a B.F.A. in Theater and Original Company, Intiman Theatre, Children’s Theatre as the 1995 production of Wagner’s Der Ring des Works. Most days, you can find her at Village Company (Minneapolis), Oregon Shakespeare Nibelungen (Seattle Opera). His work has been Theatre KIDSTAGE where she manages an Festival, Perseverance Theatre (Juneau), Seattle heard nationally at The Kennedy Center, Arena exceptional musical theatre training program for Repertory Theatre, Shakespeare Santa Cruz, Stage, Philadelphia Drama Guild, Utah Shakespeare middle and high school students. Syracuse Stage, and Yale Repertory Theatre. Ms. Festival, La Jolla Playhouse, Mark Taper Forum, and Trout co-founded the New York millinery company John Langs (Director) Arizona Theatre Company. Mackey and Trout, holds an M.F.A. from the John has been delighted Yale School of Drama, and teaches design at the Emily Penick (Choreographer) is the Artistic to serve as Associate University of Washington. Associate at ACT, Artistic Director of RED STAGE, Artistic Director of ACT for and a local director and choreographer. Recent three years, and will Michael Wellborn (Lighting Designer) is pleased choreography credits include fight choreography become ACT’s Artistic to return to ACT’s production of A Christmas for Othello (Seattle Shakespeare Company), Director in 2016. John’s Carol for his 20th season. Other designs at ACT associate and movement direction for Mary’s 16-year freelance career have included Vanya and Sonia and Masha and Wedding (New Century Theatre Company), and has afforded him the opportunity to work with Spike, Eurydice, The Clean House, The Night of choreography for Don Nordo Del Midwest (Café many prestigious theatre companies across the the Iguana, Bach at Leipzig, and Das Barbecü Nordo). Favorite directing credits include The country. He has directed productions at Playwrights (1995). Wellborn has also designed lighting for Other Woman (Milwaukee Repertory Theater), Horizons NY, Ensemble Studio Theater NY, Seattle Repertory Theatre, Portland Center Stage, The Rose Tattoo (Ohio University), and The Secret Milwaukee Repertory Theatre, Lookingglass Theater Intiman Theatre, Seattle Children’s Theatre, and Rapture (Bucknell University). Favorite associate Company in Chicago, Circle X in Los Angeles, The The American University in Cairo. With Spectrum directing credits include Bethany (ACT), The Seagull Resident Ensemble, New Century Theatre Company, Dance Theater and the Ririe-Woodbury Dance (American Players Theater), An Iliad, and Ragtime Washington Ensemble Theatre, and Seattle Company, his work has toured the U.S., Mexico, (Milwaukee Repertory Theater). Upcoming directing Shakespeare Company. John received his directing
encoreartsprograms.com 21 Who’s Who in Special Fund Donors A Christmas Carol and choreography projects include R&J (Seattle ACT Endowment Donors Immersive Theatre), Worse Than Tigers (RED ACT’s endowment is administered by the A Contemporary Theatre Foundation. STAGE, ACTLab), and 9 to 5 (Centerstage Theatre). Buster & Nancy Alvord • Joan & Larry Barokas • Michael Corliss-Investco • Katharyn Alvord Gerlich • Emily earned her M.F.A. in directing from Ohio Becky & Jack Benaroya • Charles Blumenfeld & Karla Axell • Ron & Jan Delismon • The Ewert Family • University. Bruce & Dawn Goto • William Randolph Hearst Endowed Fund for Education & Outreach Programs • JR Welden (Stage Manager) has stage managed Kreielsheimer Remainder Fund • Doug & Nancy Norberg • Sally Pence • Katherine & Douglass Raff • Cat On a Hot Tin Roof, The Invisible Hand, Uncle Brooks & Suzanne Ragen • Herman & Faye Sarkowsky • David E. & Catherine E. Skinner • Ho to Uncle Sam, Mary Stuart, One Slight Hitch, Kayla Skinner • Estate of Stuart Smailes • John & Rose Southall • David & Joyce Veterane • Eurydice, The Underpants, and A Christmas Carol The Peg & Rick Young Foundation • Anonymous at ACT. He stage managed 10 seasons at Intiman Theatre, working on productions including The The ACT Legacy Society Grapes of Wrath; Nickel and Dimed; and The The ACT Legacy Society honors ACT patrons who continue to support and Mandrake Root, with Lynn Redgrave. At Seattle ensure the ongoing tradition of presenting the best contemporary theatre for Repertory Theatre, his credits include Blue Door, future generations through estate planning, wills, and living trusts. Investments The Chosen, and Pygmalion. of all sizes can make significant future gifts by using tax-advantaged estate and Erin B. Zatloka (Assistant Stage Manager) is glad financial planning options. Specific areas where ACT can benefit from your legacy to be back at ACT where she last assistant stage are scholarships, endowments, capital projects, or operating costs. Questions or managed Jacques Brel is Alive and Well and Living arrangements can be discussed with our Development Department at 206.292.7660 x1330. in Paris. Other favorites at ACT include Little Shop of Horrors, Pilgrims Musa and Sheri in the New ACT Legacy Society Members World, The Lieutenant of Inishmore, and Rock Nancy Alvord • Laurie Besteman • Jean Burch Falls • Linda & Brad Fowler • Tal & Carol Godding • ‘n’ Roll. Nothing in her life could happen without Suzanne Howard • H. David Kaplan • Carolyn Keim & Connie Rinchiuso • David Mattson • friends and family. Love to Greg and Zoey for they Mike McCaw & Janet Westin • Catherine & Barry McConnell • Steven McCoy & Larry Henderson are my true gifts this and every Christmas. • Dr. Arnie & Judy Ness • Lisbeth Pisk • Brooks & Suzanne Ragen • Teresa Revelle • Chuck Sitkin • GregRobin Smith • John & Rose Southall • Judith Warshal & Wade Sowers • Dorothy E. Wendler Carlo Scandiuzzi (Executive Director) is a founder of Agate Films Special Thanks and Clear Pictures, ACT gratefully acknowledges the following professionals and organizations who have helped producing such films as make this season a success: Prototype, Dark Drive, Outpatient, and The Keith Johnson, Daqopa Brands LLC • Seattle Children’s Theatre • AJ Epstein • Seattle Repertory Flats, and Indieflix, a Theatre • UW Drama • Joshua Carter • Cayman Ilika • Seattle Eye Care & Optical, Grady Hughes, MD distribution company. In 1979, Scandiuzzi started • Morgan Rowe, Youth Actor Casting Associate • David Hsieh • Maya Sugarman Modern Productions, bringing to Seattle such legendary bands as The Police, Devo, Nina Hagen, Iggy Pop, The Ramones, John Cale, Robert Fripp, James Brown, Muddy Waters, and PATRON INFORMATION many more. He performed in several plays at Empty Space Theatre including Aunt Dan and Emergency Evacuation Procedures Sign Language interpreted and audio-described Lemon, The Return of Pinocchio, and Dracula. In In the event of an emergency, please wait for an performances. For more information, email the early ‘80s, he collaborated with many Seattle announcement for further instructions. Ushers will be [email protected]. performance artists such as Norman Durkee, available for assistance. Lost & Found Alan Lande, and Jesse Bernstein. He also acted in Emergency Number Call 206.292.7676 between 12:00pm and 6:00pm, various films including Bugsy, The Public Eye, The theatre’s emergency number in the Union lobby is Tues–Sun. Another You, Casanova’s Kiss, and Killing Zoe. 206.292.7667. Leave your exact seat location with your He graduated from the Ecole Superieure D’Art emergency contact in case they need to reach you. Address & Website Dramatique of Geneva. Carlo currently serves as ACT is located at a member of the Seattle Arts Commission. Smoking Policy 700 Union Street, Seattle, WA 98101. Smoking is NOT allowed in any part of the theatre or Ticket Office Phone: 206.292.7676. within 25 feet of the entrance. Administrative Office Phone: 206.292.7660. ACT operates under agreements with the Fax: 206.292.7670. following: Firearms Policy Website: www.acttheatre.org. No firearms of any kind are allowed in any part of the theatre. Theatre Rental For information regarding booking, Food contact [email protected]. Food is not allowed in the theatre. Tuxedos & Tennis Shoes is the exclusive caterer of ACT. Group Sales Groups of 10 or more can save. Accessibility Call 206.292.7676 or This theatre operates under an agreement between the Wheelchair seating is available. The theatre is email [email protected]. League of Resident Theatres and Actors’ Equity Association, equipped with the Williams Sound® Listening System the Union of Professional Actors and Stage Managers in the for the hard of hearing; headsets are available from Fragrance United State the house manager for use, free of charge, with a Please be considerate and keep personal fragrance to valid ID and subject to availability. ACT offers American a minimum.
22 ACT – A Contemporary Theatre CELEBRATE
OF ACT.
To make your gift in celebration of A Christmas Carol TEXT* ACTNOW TO 56512
ACT IS YOUR THEATRE Photo by Chris Bennion Support your theatre by making a gift to ACT today acttheatre.org/donate | 206.292.7676 x1330
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encoreartsprograms.com 23 ACT Corporate, Foundation & Government Sponsors ACT gratefully recognizes the following corporations, foundations, and government agencies for their generous support of our 2015 programs. Without such tremendous community support, ACT would not be able to offer outstanding contemporary theatre, in-school educational programming, or community-based outreach.
THEATRE SPONSORS STAGE SPONSORS Northwest Asian Weekly $100,000+ $5,000–$9,999 Seattle P-I ArtsFund AHS Foundation UBS Financial Services Office of Arts & Culture Bob & Eileen Gilman Family Foundation Wyman Youth Trust Charlie’s Produce SEASON SPONSORS Encore Media Group MEDIA PARTNERS † $50,000–$99,999 Gordon Biersch Brewing Co† City Arts Magazine 4Culture † Horizons Foundation Classical KING FM Boeing Management Association † RealNetworks Foundation KCTS9 Shubert Foundation Inc. † Seattle Foundation KEXP † Tateuchi Foundation KUOW SHOW SPONSORS The Seattle Times† $25,000–$49,999 U.S. Bank Foundation The Stranger† John Graham Foundation WA State Arts Commission † Support provided through in-kind contributions. National Endowment For Arts SUSTAINING SPONSORS Nesholm Family Foundation $1,000–$4,999 EVENING SPONSORS BNSF Railway Foundation $10,000–$24,999 Break-Away Tours Daqopa Brands Butler Transportation LLC Elizabeth George Foundation Coffman Engineers Inc. Harvest Foundation DCI Engineers Microsoft Corporation Dramatists Guild Fund, Inc. Peg & Rick Young Foundation Jewish Transcript Media Theatre Development Fund KUOW 94.9 Tuxedos and Tennis Shoes† Lewis/Bill Morrison Hershfield Corporation
ACT gratefully acknowledges the following for their contributions to this production and season:
THE JOHN GRAHAM FOUNDATION
24 ACT – A Contemporary Theatre ManyACT thanks to thefor individuals the and organizations Future helping ACT toCampaign invest in artistic vision, maximize our facility’s potential, deepen and broaden community connection, and assure sustainability.
$100,000+ $25,000–$49,999 $10,000–$24,999 $5,000–$9,999 $1,000–$4,999 Nancy Alvord 4Culture Kermit & Danna Anderson Laurie Besteman & Jack Bob & Kristi Diercks Kathryn Alvord Gerlich Peter & Fran Bigelow Joan & Larry Barokas Lauderbaugh Geraldine Hashisaki & Frank Linda & Brad Fowler Betty Bottler Dr. Eric Bennett Colin & Jennifer Chapman Tubridy The Norcliffe Foundation Allan & Nora Davis Richard Hesik & Barbara Johns Trevor Cobb & Cecilia Cayetano Ross Henry Eric and Margaret Rothchild Charles Fitzgerald Bill Kuhn & Patricia Daniels Heather & Grady Hughes Stephanie M. Hilbert Gary & Parul Houlahan Gregory & Diane Lind Yoshi & Naomi Minegishi Abha Khanna & Adam Porsch $50,000–$99,999 Joshua Green Foundation Jane W. & James A. Lyons Barry & Colleen Scovel Dr. Greg Perkins Allan & Anne Affleck Katherine & Douglass Raff May McCarthy & Don Smith Lisa Simonson Teresa & Geoff Revelle Gladys Rubinstein Don & Goldie Silverman Dr. Arnie & Judy Ness Margaret Stanley Eulalie M. & Gian-Carlo Chuck Sitkin Mr. & Mrs. Clyde Wilson Ingrid Sarapuu & Michael Kären White Scandiuzzi Brian Turner & Susan Hoffman Anderson Dr. Larry Hohm & Karen Shaw David & Joyce Veterane Franklin & Karen Thoen Robert & Shirley Stewart Wyman Youth Trust Shirley & David Urdal Susan Yates
ACT Golden CelebrationSponsors Gala 2015 Donors Boeing The Commerce Bank Foster Pepper Attorneys at Law Naomi & Yoshi Minegishi: Heike Ambassadors Laird Norton Wealth Management In Kind Sponsors Daqopa Brands LLC Fran’s Chocolates Lovely Events Tuxedos and Tennis Shoes Catering Washington Holdings
Auction Donors The Ruins Jeannie M. Falls Frank Lawler & Ann McCurdy Charles & Margaret Fitzgerald 5th Avenue Theatre Trader Joe’s Ross & Kelsey Henry Lora-Ellen McKinney Maura Fitzmaken ACT Costume Shop Violets are Blue Stephanie M. Hilbert David & Penny Miller Ariel Glassman Alvin Goldfarb Jewelers Washington Ensemble Theatre Josef Krebs James Nichols Carole Goldberg Mark Anders David Williams Leonard Lewicki Angela Owens Linda Griffith John Aylward Jane W. & James A. Lyons Dr. Greg Perkins Sharron & David Hartman Gala Donors* BaDi Fitness $20,000+ Corrine Martin Riddell Williams Rick & Cindi Hasselblad Ben Bridge Linda & Brad Fowler Yoshi & Naomi Minegishi Jimmy Rodgers Richard Hesik & Barbara Johns Julie Briskman Teresa & Geoff Revelle Jim & Cheri Minorchio Ingrid Sarapuu & Heather & Grady Hughes Peter Bos Donald Paterson Michael Anderson Beverly & Richard Johnson Crane Jewelers $10,000–$19,999 Katherine & Douglass Raff John Siegler & Alexandra Read, MD Kristin Norberg Chap & Eve Alvord Cuisine by Suzanne Barry & Colleen Scovel Lisa Simonson Gerald Kroon & Elias & Karyl Alvord Bob & Kristi Diercks Dr. Larry Hohm & Karen Shaw Sheila Smith & Don Ferguson Roxanne Shepherd Gary & Parul Houlahan Four Seasons Hotel Don & Goldie Silverman John & Rose Southall Edie Lackland Eulalie M. & Gian-Carlo Gordon Biersch Tom Skerritt Robert & Shirley Stewart Steve Langs Scandiuzzi Scott & Lisa Helker David & Catherine Skinner University of Washington Rachael & Phillip Levine School of Drama David Hewitt $5,000–$9,999 Margaret Stanley Gregory & Diane Lind Judith Warshal & Wade Sowers Inn at Langley Sheena Aebig & Eric Taylor David & Joyce Veterane Lynda & Bob Linse Martha Wyckoff & Jerry Tone Inn at Laurel Point Allan & Nora Davis Shanna & Ryan Waite Dan & Carol Madigan Anonymous Inn at the Market Jean Burch Falls George & Colleen Willoughby Marcella McCaffray Intiman Theatre Festival Erika Michael Dr. Arnie & Judy Ness $500–$999 $250–$499 J.A. Jance Eugene & Donna Mikov Brooks & Suzanne Ragen Becky Benaroya Mary Alberg Jepun Bali Villas Lauren Mikov & John Muhic Leslie Ray & Michael Bernstein Dr. Eric Bennett Chase Anderson Phillip Levine Phil Mitterling Chuck Sitkin Luther Black Joan & Larry Barokas Diane & Gregory Lind Tina Montana Vijay & Sita Vashee Bob & Kristi Diercks Kurt Beattie & Marianne Owen Loulay Restaurant Colette J. Ogle Jean Viereck Janice Dilworth & Greg Denton Laurie Besteman & Nena Gifts Jack Lauderbaugh Pamela Reed & Sandy Smolan Rayner D’Souza Judy & Arnold Ness $2,500–$4,999 Brian Branagan & Cindy & Lance Richmond Natalie Gendler Joselynn & Randy Engstrom Osteria La Spiga Carissa Sanchez Dr. Leonard Rosoff, Jr. Charles & Eleanor Nolan Rhonda & Jim Greer Pacific Jazz Institute Beth & John Brennen Eric and Margaret Rothchild Linda & George Ojemann Sara Comings Hoppin Pacific Northwest Ballet David & Joyce Brewster Tove Ryman Ann Ramsay-Jenkins Cynthia Huffman & Ray Heacox Donald Paterson Jim Cantu Mr. Michael Sack Kate Purwin & Sergei Tschernisch Abha Khanna & Adam Porsch Pamela Reed Barbara Crowe Judith Simmons Brian Turner & Susan Hoffman Debbie Killinger Barry Scovel Dottie Delaney Nancy Stephens Virginia Wyman Karen Koon & Brad Edwards Seattle Seahawks John Delo Tamzen Talman Bill Kuhn & Patricia Daniels Karen Shaw & Larry Hohm Gale & Alan Devol Susan Trapnell & Erik Muller $1,000–$2,499 Christopher Mathews & Goldie & Donald Silverman Kermit & Danna Anderson Kristine Donovick & Jim Daly Rob & Becky Witmer Robert Lehman The Pink Door Debbie Devoto Julie Faison Mark & Tracy Mason *No goods or services were received for these contributions.
encoreartsprograms.com 25 ACT Partners ACT is dedicated to producing relevant works on contemporary themes. This is made possible by generous contributions from people in our community. We would like to recognize and thank the many kind individuals who have partnered with ACT this year. You inspire us all. Thank you.
THEATRE SPONSOR $100,000+ EVENING SPONSOR Katharyn Alvord Gerlich $10,000–$24,999 Eulalie M. & Gian-Carlo Scandiuzzi Trevor Cobb & Cecilia Cayetano Allan & Nora Davis SEASON SPONSOR $50,000–$99,999 Jean Burch Falls Nancy Alvord Betsy & Charles Fitzgerald Linda Brown & Larry True Linda & Brad Fowler Anonymous Ellen Hazzard SHOW SPONSOR $25,000–$49,999 Linda & George Ojemann Marion B. Keen Susan & John Pohl Yoshi & Naomi Minegishi Teresa & Geoff Revelle Anonymous Anonymous
ASSOCIATE Warren & Nancy Smith Katherine Ann Janeway & H.S. Wright III Dirk & Mary Lou Van Woerden $5,000–$9,999 John & Rose Southall Judith Jesiolowski & David Thompson Vijay & Sita Vashee Allan & Anne Affleck Garth & Drella Stein Clare Kapitan & Keith Schreiber Tom & Connie Walsh Melinda & Walter Andrews Tamzen Talman Agastya & Marianna Kohli Nancy Weintraub Joan & Larry Barokas Judith Warshal & Wade Sowers George & Linda Lamb Mary & Donald Wieckowicz Laurie Besteman & Jack Lauderbaugh Anonymous Craig Davis & Ellen Le Vita George & Colleen Willoughby Benjamin & Marianne Bourland SUSTAINING PARTNER Ed & Barbara Lee Dianne & Douglas Wills Dennis & Deborah DeYoung $1,000–$2,499 Eileen Lennon Kathy & Chic Wilson Charlotte Lin Susan Wolcott & George Taniwaki Gary & Parul Houlahan A Michael Adams Steven & Anne Lipner Ann P. Wyckoff Lisa & Norman Judah Rhett Alden & Marcia Engel Laura Lundgren Anonymous (9) Abha Khanna & Adam Porsch Kermit & Danna Anderson Stephen & Ellen Lutz Eugene & Donna Mikov Kendall & Sonia Baker SUPPORTING PARTNER Jane W. & James A. Lyons Dr. Arnie & Judy Ness Marge & Dave Baylor $500–$999 Alice Mailloux Katherine & Douglass Raff Dr. William Calvin & Monica Alcabin Tony Martello Donald & Jo Anne Rosen Dr. Katherine Graubard Chase Anderson Barbara Martyn Don & Goldie Silverman Corinne A. Campbell Jane & Brian Andrew Peter & Kelly Maunsell Chuck Sitkin Donald Cavanaugh Basil & Gretchen Anex Frank Lawler & Ann McCurdy Ron & Carol Sperling Jim Lobsenz & Elizabeth Choy Diane & Jean-Loup Baer Gail & John Mensher David & Shirley Urdal Clement Family Foundation Neil & Bekki Bergeson Lauren Mikov Jean Viereck Steven & Judith Clifford Luann & Irv Bertram Dayle Moss & David Brown Jean Walkinshaw Patricia & Theodore Collins Cleve & Judith Borth Jim Mullin FRIEND Kathleen Sneden-Cook & Jack Cook Wendy Bradbury Bill & Mary Ann Mundy $2,500–$4,999 Steve Coulter Carol & Jonathan Buchter Nadine & John Murray John Akin & Mary Stevens Todd Currie Margaret Bullitt James Nichols Richard & Constance Albrecht Kathy & Don DeCaprio Tina Bullitt Chris & BJ Ohlweiler Peter & Jane Barrett Chris DeGracia Susan Campbell Hal Opperman & JoLynn Edwards Lonnie Edelheit Bob & Kristi Diercks Kathryn & Bill Carruthers Valerie D. Payne Thomas P. & Christine M. Griesa Lori Eickelberg Frank Catalano Pamela & Gilbert Powers James & Barbara Heavey Anne Foster Dennis & Aline Caulley Alan & Andrea Rabinowitz Richard Hesik & Barbara Johns Mrigankka Fotedar Colin & Jennifer Chapman Matthew & Linda Radecki Jill & Rodney Hearne Eleanor & Jeff Freeman Martin Christoffel & Shirley Schultz Ken Ragsdale Heather & Grady Hughes Natalie Gendler Clark Family Charitable Fund Cindy & Lance Richmond Linda & Ted Johnson Genevra Gerhart Ellen & Phil Collins Richard Andler & Carole Rush Karen Koon & Brad Edwards Boyd & Ann Givan Kevin & Lisa Conner William & Rae Saltzstein Bill Kuhn & Patricia Daniels Rhonda & Jim Greer Jan & Bill Corriston Barbara Sando Kyoko Matsumoto Wright Lawrence & Hylton Hard Joan Cremin M. Darrel & Barbara Sharrard Joy McNichols Arlene & Doug Hendrix Linda Crome John Shaw Frances & Casey Mead Ross & Kelsey Henry Chris Curry Lisa Simonson Lee Ann & Randy Ottinger Margot & Paul Hightower Richard & Nancy Davis Sheila Smith & Don Ferguson Brooks & Suzanne Ragen Vaughn Himes & Martie Ann Bohn Clay & Karen Dawson Robert & Shirley Stewart Evelyne Rozner & Matt Griffin Nancy & Martha Hines Dottie Delaney Kim Stindt & Mark Heilala Ingrid Sarapuu & Michael Anderson Dale & Donna Holpainen Patrick J. & Lanie Dineen Jeffrey A. Sutherland Barry & Colleen Scovel Eric & Mary Horvitz Darrel & Nancy Dochow Mark & Arlene Tibergien Dr. Larry Hohm & Karen Shaw Grady & Heather Hughes Joanne R. Euster Timothy Tomlinson David & Catherine Skinner Joseph & Linda Iacolucci Jeannie M. Falls Jim & Kathy Tune Dean M. Ishiki Carol Finn
26 ACT – A Contemporary Theatre Rick Freedman Jean & Kirk Robinson Val Brustad Dmitri Kotchetov Ann & Donald Frothingham Randy & Willa Rohwer Anne Buchinski & Marc Coltrera Bob & Janet Lackman Dot Fuller Marc Rosenshein & Judy Soferman Michael & Lynne Bush Elizabeth Leber & Andrew Coveler Gary J. Fuller & Randy L. Everett Beverly Rowe John & Arlene Carpenter Mary Reeves Leber Lucy Gaskill-Gaddis & Terry Gaddis Richard & Nancy Rust Daniel Ciske Lyn & Doug Lee Jean Garber & Clyde Moore Harold Sanford John & Catherine Crowley Dave & Linda Leisy Sergey Genkin Marybeth & Jerry Satterlee Barb & Phil Cutler Arthur Mazzola Bruce & Peggy Gladner Mike Scully Ruth Darden David Johansen & Patrice McDermott Kelly & Jeffrey Greene Darshana Shanbhag Dan & Esther Darrow Carol McDonald Peter Hartley & Sheila Noonan Michael C. Shannon Emily Davis Bob & Sue Mecklenburg Diana & Peter Hartwell Barbara & Richard Shikiar Paul & Sandy Dehmer Mary Metastasio Phyllis Hatfield Judith Simmons James & Amanda Devine John Mettler Jean Henderson Gail & Robert Stagman Mike Dey Michael & Sarajane Milder F. Randall & Barbara Hieronymus Margaret Stanley Paula Diehr & Frank Hughes James Moore Stephanie M. Hilbert Jen Steele & Jon Hoekstra John & Julie Doces John Naye Jim & Linda Hoff Lisa & John Stewart Luella & Harold Drevecky Mari Osuna & Adam de Boor Earl & Mary Lou Hunt Isabel & Herb Stusser Gary and Manya Drobnack DJ Padzensky & Melissa Bloor Peter & Winifred Hussey Sally Sullivan Kristin & Jeff Dubrule Sally & Richard Parks David B. Johnson Norm & Lynn Swick Patrick & Susan Dunn A. Paulson Ms. Joan E. Mathews Julnes Margaret Taylor Jan Tervonen Chuck Perry Paul Kassen Dr. Barbara Thompson Vasiliki Dwyer Barbara Phillips Jerry Kenney Dennis M. Tiffany Glenn & Bertha Eades Judy Pigott Lura & David Kerschner Kevin Tighe Amanda Ebbert & Kathryn Johnson Darryn Quincey & Kristi Falkner Steven & Patricia Kessler Kim & Ann Torp-Pedersen Karen Elledge & Gerald Ginander Linda Quirk David & Karen King Sarah & Russell Tousley Kevin Wilson & Emily Evans Jeff & Pat Randall Alexander Grigorovitch & Vanguard Charitable Endowment Karen & Bill Feldt Alan & Barbara Rappoport Vera Kirichuk Program Lyn & Paul Fenton Murray & Wendy Raskind Dr. Edward & Mimi Kirsch Mary & Findlay Wallace K. Denice Fischer-Fortier & Charles & Doris Ray Jim & Jean Kunz Ellen Wallach & Tom Darden James M. Fortier Sharon Redeker Max Langley Dr. & Mrs. Kevin J. Ward Rynold & Judge Fleck Emily Riesser & Tom Sunderland Paul & Linda Larson Vreni Von Arx Watt Penny A. Freedman Jeff Robbins & Marci Wing Rhoda & Thomas Lawrence Jeff & Carol Waymack Mr. & Mrs. Phillip Frink Jr Carol Stockton & Jeffrey Robinson Christopher Mathews & Janet Westin & Mike McCaw Jean Gardner M. Lynn Ryder Gross Robert Lehman Greg Wetzel Jeff & Jeanne Garland Werner & Joan Samson Loeb Family Foundation Scott & Shirley Wilson Roger & Kris Garratt Betsy & Jason Schneier M.D. David Longmuir Nancy Worsham Carol & Tal Godding Duane & Pat Schoeppach Mark P. Lutz Josette Yolo Debra Godfrey & Jeffrey Sconyers George Schuchart C. Gilbert Lynn Joyce & Christian Zobel Connie Gould & Philip Rudman Sandra & Kenneth Schwartz Alex & Lynn MacDonald Igor Zverev & Yana Solovyeva Drs. Verena & Basil Grieco Roger & Marlys Seeman Jeffrey & Barbara Mandula Anonymous (2) Nancy & Joe Guppy David & Elizabeth Seidel Janet McAlpin CONTRIBUTING PARTNER Paul & Sheila Gutowski Mark & Patti Seklemian Catherine & Barry McConnell $250–$499 Cynthia Haboush Lynne & Bill Shepherd Kathy McGoldrick Robyn & David Hagel Sarah & Bharat Shyam Bob Alexander & Kathleen Devon Samuel B. McKinney Don Fleming & Libby Hanna John Siegler & Alexandra Read, MD Inez Allan Sarah B. Meardon Wier Harman & Barbara Sauermann Jeanne Simpson Bob & Sarah Alsdorf Mark & Susan Minerich Nancy R. Harris Helen F. Speegle Connie Anderson & Tom Clement Michael Moody & Martha Richard & Carol Harruff Ann Stephens Gilbert & Mary Jane Anderson Clatterbaugh Rodney & Jill Hearne Derek Storm & Cynthia Gossett Michael Anderson Aaron Moore Richard & Susan Hecht Richard & Diane Sugimura Sherri M. Anderson Ken Moore & Kali Sakai Jane & Joseph Heinrich Bill & Pat Taylor Margaret & Barrie Austin Wesley Moore & Sandra Walker Lloyd Herman & Richard Wilson Hazel Thomas Bruce P. Babbitt Sallie & Lee Morris Pat Highet Pieter & Tjitske Van Der Meulen Mark Barbieri Zack Mosner & Patty Friedman Deborah Horne Mike & Judy Waring Dr. & Mrs. J.E. Bassingthwaighte Robert Mustard Jenefer Hutchins V’ella Warren Kurt Beattie & Marianne Owen Craig & Deanna Norsen Joel Ivey & Sheyrl Murdock Jim & Sharron Welch Kathleen Bemis & Don Blair John Oconnell & Joyce Latino Wendy Jackson Leora Wheeler Ruth & Greg Berkman Cynthia & Bruce Parks Ann Janes-Waller & Fletch Waller Jay & Linda Willenberg Dennis Birch & Evette Ludman Susan Perkins Michael Dryfoos & Ilga Jansons Rob Williamson Siggi Bjarnason Donald Pogoloff Susan & Fred Jarrett Peggy & Dennis Willingham Kathleen & Rupert Bledsoe Judy G. Poll Christine Jew Kairu Yao Pirkko Borland Megan & Greg Pursell Ted & Kris Johnson Diane & John Yokoyama Jerome & Barbara Bosley Craig & Melissa Reese John & Nancy Jo Keegan Jan Zager Sean Bowles Stephen Reynolds & Omie Kerr Anonymous (3) Phillip Brazil Paula Rosput Reynolds Marjorie Raleigh & Jerry Kimball Dr. James & Donna Brudvik Bruce F. Robertson Weldon Ihrig & Susan Knox
This list reflects donations made to the annual fund between June 1, 2014 and October 1, 2015. ACT works to maintain our list of donors as accurately as possible. We apologize for any misspellings or omissions. Should you find any, please contact our office so that we may correct any mistakes in future publications. Email [email protected] or call 206.292.7660 x1330.
encoreartsprograms.com 27 ACT A Theatre of New Ideas ACT Board A Contemporary ADMINISTRATION SALES AND AUDIENCE COSTUME DEPARTMENTS Susanna Pugh SERVICES Lisa A. Knoop Of Trustees Theatre Operations Manager Costume Director Scott Herman Charles Sitkin Foundation Hannah Schirman Customer Service Manager Connie Rinchiuso† Chair Events and Venue Manager Costume Shop Foreman Board Ada A. Karamanyan Ross Henry James Stone Front Office Representative Kim Dancy† Vice President Kermit Anderson Facilities Maintenance Cutter President Kelton Engle Gary Houlahan AC/R Services Assistant Ticket Office Manager Sally Mellis† Treasurer Lucinda Richmond Engineer Wardrobe Master Vice President Laura Owens Bill Kuhn Rica Wolken Amelia Wade Joyce Degenfelder† Secretary Katherine Raff IT Director Kathryn Wahlberg Wig Master Secretary Joan Barokas Ashley Schalow Nina Yarbrough Eric Bennett Brian Turner Database Manager Ticket Office Representatives SCENIC DEPARTMENTS Treasurer Leslie Ray Bernstein † Tuxedos and Tennis Shoes Jim Moran Steve Coulter Laurie Besteman Brad Fowler Catering Audience Services Manager Technical Director Trevor Cobb Gary Houlahan Bar and Concessions Jeremy Rupprecht Derek Baylor† Rayner D’Souza Catherine Roach House Manager Assistant Technical Director Bob Diercks John Siegler Charles Fitzgerald Charles Sitkin FINANCE Ty Bonneville Austin Smart† Richard Hesik Sheila Smith Assistant House Manager Master Scenic Carpenter Stephanie Hilbert Director of Finance Lynch Resources Sean Wilkins Grady Hughes ACT Staff Sandi Hogben Telemarketing Lead Scenic Carpenter Abha Khanna Payroll and Accounts Payable Katie Bicknell Diane Lind EXECUTIVE Nick Murel Specialist Monika Holm Scenic Carpenter Kyoko Matsumoto Wright Kurt Beattie† Dave Clelland Hana Christenson May McCarthy Artistic Director Jeff Scott Ryan Higgins Lauren Mikov Accountant Scenic Charge Artist Carlo Scandiuzzi Monika Holm Naomi Minegishi Executive Director Linnea Ingalls Lisa Bellero† John Muhic DEVELOPMENT Michael McClain Assistant Charge Artist Judy Ness Becky Witmer Clare Hausmann Weiand Robin Obourn † George Ojemann General Manager Director of Development Marne Cohen-Vance Becky Plant Teresa Revelle Properties Master Samie Detzer Robert Hankins Shane Unger Ingrid Sarapuu † Executive Assistant and Associate Director of Development Adam Vanhee Ken Ewert Barry Scovel Board Liaison Audience Services Master Properties Artisan Karen Shaw Sarah Guthu Thomas Verdos John Siegler Grants Manager Christine Jew ARTISTIC Lead Properties Artisan Goldie Gendler Silverman Jill Robinson Audience Services Affiliate John Langs Rob Stewart Development Officer Associate Artistic Director Larry True PRODUCTION STAGE OPERATIONS Ryan Waite † Andrew P. Storms † Margaret Layne Alyssa Byer Nick Farwell Shanna Waite Development Coordinator Director of Casting Production Manager Stage Operations Supervisor † † Anita Montgomery Ruth Eitemiller James Nichols ACT Advisory Literary Manager and Director of MARKETING, SALES, Master Stage Carpenter AND COMMUNICATIONS Assistant Production Manager Education Pam Mulkern† Council Jessica Howard Skylar Hansen Emily Penick Master Electrician Sheena Aebig Director of Marketing and Sales Production Office Manager Artistic Associate Max Langley Daniel D. Ederer Kevin Boyer Megan Tuschhoff Kenna Kettrick Master Sound Engineer Jean Burch Falls Director of Communications and Production Runner Education Associate Jeannie M. Falls Creative Strategy Michael Cornforth John H. Faris Spencer Hamp ACTLab Technician Brad Fowler Karoline Nauss STAGE MANAGEMENT Literary Intern † Carolyn H. Grinstein Marketing Manager Jeffrey K. Hanson Wiley Basho Gorn Sara Comings Hoppin Jillian Vasquez Production Stage Manager FOR THIS PRODUCTION Kenan Director Fellow C. David Hughbanks Marketing Associate JR Welden Ron Darling Jonathan D. Klein Scenic Carpenter Marissa Stein Erin B. Zatloka Jane W. Lyons Graphics and Email Coordinator Stage Managers Sally Knight Gloria A. Moses David Hartig Costume Shop Stitcher Nadine H. Murray Danielle Walker Tori Thompson Scott Gray Douglas E. Norberg Marketing Intern Production Assistant Costume Shop Crafts Kristin G. Olson Valerie Brunetto Donald B. Paterson Public Relations and Jason Montgomery Eric Pettigrew Communications Manager Stage Carpenter Pamela Powers Sebastien Scandiuzzi Thomas Verdos Katherine L. Raff Video Manager Stage Carpenter Brooks G. Ragen Catherine Roach Apex Media Jo Anne Rosen Advertising Faye Sarkowsky Chris Bennion David E. Skinner Production Photographic Services Brian Turner George V. Willoughby Christa Fleming David E. Wyman, Jr. Graphic Design Jane H. Yerkes
EMERITUS COUNCIL Richard C. Clotfelter † Denotes staff member has worked at ACT for 10 years or more Esther Schoenfeld
28 ACT – A Contemporary Theatre An ANCHOR on UNION and 7TH FOR 90 YEARS
AXIS DANCE COMPANY DR. JACK NEAL’S Saturday, February 6, 2016 | 7:30 pm $29, $24 & $19 | Youth/Student $15 AXIS Dance Company has be- come one of the world’s most acclaimed and innovative en- FAMILY TRADITION sembles of performers with and without disabilities. Their ECA Engagement will include a newly-commissioned piece by choreographer Joe Goode, called to go again, that addresses veterans’ issues and themes of resiliency. LOUDON WAINWRIGHT III Friday, April 1, 2016 | 7:30 pm $39, $34 & $29 | Youth/Student $15 The 2010 GRAMMY® Award- winner for Best Traditional Folk Album is by far the most candid diarist of the sing- er-song-writers, wringing more human truth out of his contra- diction than any other songwriter of his generation. PATTI LUPONE Thursday, April 21, 2016 | 7:30 pm $79, $74 & $69 An American actress and sing- er best known for her work in stage musicals, Patti LuPone is a two-time GRAMMY® Award winner and a two-time Tony Award winner. She is also a 2006 American Theater Hall of Fame inductee.
ec4arts.org 425.275.9595 410FOURTHAVE.N. EDMONDSWA98020
Tickets SEATTLE start at CHAMBER $16 MUSIC SOCIETY WINTER JANUARY FESTIVAL 22-31, 2016 Jack in his Victorian costume with his two youngest children, Katey and Joe, in 1988. JAMES EHNES ILLSLEY BALL Artistic Director NORDSTROM RECITAL HALL at Benaroya Hall For the past 26 years the Neal family has EMILY: Please tell us a bit about Dr. bought-out an entire performance of Neal and his famous Christmas spirit. BOX OFFICE A Christmas Carol, generously sharing LISA: Our vision of our dad was that he 206.283.8808 // seattlechambermusic.org these 434 seats with family, friends, and was our own Mr. Fezziwig. He was always coworkers. ACT’s Artistic Associate, Emily doing something special for our friends Penick, sat down with the late Dr. Neal’s wife and referring dentists at Christmas time. Bette Neal, daughter Lisa Pignataro, and BETTE: Interestingly, Jack also identified son Craig Neal to learn more about this big- himself with Scrooge. He told us that as a hearted family’s tradition, and its humble young man Christmas was just another day beginnings one Christmas Eve in 1978. to him. But as our family grew, he saw the
CONTINUED ON PAGE 30
encoreartsseattle.com 29 CONTINUED FROM PAGE 29
Members of the Neal family at ACT. TOP ROW (LEFT TO RIGHT): Craig Neal, his wife Michelle Neal, Jack Neal, Bette Neal, Lisa Pignataro SECOND ROW: Calleia Neal, Collin Neal, Fiore Pignataro, Fiona Pignataro
importance of family traditions. Although EP: When and how did this generous was a wonderful start to their Christmas he wasn’t the “humbug” guy that Scrooge family tradition of buying an entire holiday. As the years went by, Jack loved was, he did come to the realization that performance of A Christmas Carol to hear people tell him that when they Christmas was not just another day. start? first came as our guest, they brought their CRAIG: My dad realized what a special young children and now their children are EP: What is a favorite memory of evening it was for us, and eight years later bringing their children. ACT’s A Christmas Carol? when our office was trying to decide what EP: What are your favorite seats to see the LISA: The first time our family went to A special event we could do for our referring show from? Christmas Carol was December 1978. My doctors at Christmas, my mom and dad LISA: Whether it was at the theatre in mother took my brother and I—we were 9 decided we should invite our referring Queen Anne, where ACT was founded, or and 11—on Christmas Eve. My dad, Jack doctors, their staff, and their families to an at the current Union Street location, there Neal, was in the hospital and although evening of theatre for A Christmas Carol. So has never been a bad seat in the house. we were sad that our dad wasn’t able to the tradition was born. I am just glad that BETTE: My daughter Katey went to A be with us, going to the theatre that night my partners, Dr. Galia Leonard and Dr. Kyle Christmas Carol when she was four. Her made that Christmas Eve seem magical. Sorenson, and I can continue this tradition. best seat in the house was sitting on her That Christmas Eve became one of our BETTE: Year after year, people always father’s lap. most favorite Christmas memories. said coming to see A Christmas Carol
30 ACT – A Contemporary Theatre WOMB ESCAPE IX ImprovImprov ComedyComedy ChampionshipChampionship IX Many of our guests have come year-after- year and have told us FridaysFridays && SaturdaysSaturdays Dec.Dec. 44thth -- 1919thth they are happy we have at the Black Box Theatre continued this tradition. It 8:05 PM is the perfect start to their CONCERTS COMEDY CELEBRATIONS AT EDMONDS www.BlackBoxEdCC.org COMMUNITY COLLEGE Christmas season. 20310 68th Ave West, Lynnwood WA 98036 | 425.640.1448
EP: In your family, are there any favorite Christmas Carol moments that you look forward to most each year? BETTE: Our favorite moments are when the lights go down and we are transported into a Victorian Christmas setting. The Christmas carolers, the costumes, the familiar characters create a sense of anticipation for the story to unfold. EP: What is something about ACT that you know, but other people might not? BETTE: Even though we have seen the show every year for over twenty-six years, each performance is different and unique from the year before. And although the story never changes, the adaptation does. The play is always amazing and entertaining, and the actors give 100% to their roles. So often, as we have gathered to leave the theatre, people have come to us and said no matter how many times they have seen this production it is still a thrill and it is always different. Many of our guests have come year-after-year and have told us they are happy we have continued this tradition. It is the perfect start to their Christmas season. EP: What do you enjoy most about the ACT experience? (206) 625-1900 WWW.5THAVENUE.ORG BETTE: Everything. The venue, the 2015/16 SEASON SPONSORS actors, the house managers. Everyone is (206) 625-1900 WWW.5THAVENUE.ORG wonderful to work with. Photo by Mark Kitaoka GROUPS OF 10 OR MORE CALL 1-888-625-1418 OFFICIAL AIRLINE PRODUCTION SPONSOR RESTAURANT SPONSOR ON 5TH AVENUE IN DOWNTOWN SEATTLE Photo by Mark Kitaoka
2015/16 SEASON SPONSORS OFFICIAL AIRLINE
encoreartsseattle.com 31 ARTISTIC PROFILE ACT DESIGNER, Celebrations Abound! SHELLEY HENZE Event Space SCHERMER & Catering A Q&A WITH NICKY DAVIS, FORMER ACT LITERARY INTERN THERUINS.NET
Handcrafting Artisan Confections in Seattle for Over 33 years Downtown 1325 1st Avenue I 206.682.0168 University Village 2626 NE University Village Street I 206.528.9969 Bellevue Shelley Henze Schermer, 1978 10036 Main Street I 425.453.1698 Georgetown 5900 Airport Way South I 206.508.4535 How did you come to ACT? designing on the mainstage as well as franschocolates.com the Young ACT Company shows. Greg I got my theatre degree at the University Falls and I developed a great working of Washington while Greg Falls was head relationship and I designed most of of the drama program there, and I applied his shows for many years. I became for the prop job at ACT in 1971, the year I the resident designer for the theatre, graduated. I was hired to be the set design decorating for Christmas, the mortgage and prop assistant, and the next year I took burning, Dickens Faire, etc. over the prop master job. So began my long career at ACT. When I started at ACT in the dark ages How has your relationship with ACT we opened a new show every two weeks. developed over the years? We had a two-day changeover, summer stock schedule. It never seemed difficult I started designing children’s shows at YOUR CHILD IS at the time! Unlike anywhere else I have EXCEPTIONAL ACT in 1972 and then, after a season worked over the years, Greg Falls’ ACT spent as the Rep’s prop master, I returned Visit us online or call 425.454.5880 was the best place to work. Greg would for information on tours and events. to ACT and after a few years began
PRESCHOOL – 8TH GRADE VISIT US AT STTHOMASSCHOOL.ORG CONTINUED ON PAGE 34
32 ACT – A Contemporary Theatre 1980s TIMELINE OF IMPORTANT DATES
PHOTO BY CHRIS BENNION
The ‘80s was a decade of transition for ACT, with the retirement of Greg Falls Book your exam online www.eyeeye.care after 23 years, handing over the reins to Jeff Steitzer. Additionally, 1317 E Pine St 206 / 420 / 8328 [email protected] the ‘80s was the theatre’s final decade in Lower Queen Anne.
1982: ACT is now considered to be one of the six major cultural institutions in Seattle, alongside the Seattle Symphony, Seattle Opera, Seattle Repertory Theatre, Pacific Northwest Ballet, and Seattle Art Museum. 1985: Jeff Steitzer comes aboard at ACT as a Resident Director. The theatre starts to think about either a major overhaul renovation or a change of location—as the home in Lower Queen Anne begins to show its age. 1988: Falls retires from his 23-year run as Artistic Director, to be replaced by ACT Resident Director, Jeff Steitzer. Steitzer turns the theatre’s focus toward the production of new works by English and American playwrights.
encoreartsseattle.com 33 CONTINUED FROM PAGE 32
theatre would become its own unique space, and the ballroom would fade to the background. We used rich bronze, burgundy, purple, and splashes of red with a classic diamond pattern and swirls to reflect the restored ballroom décor. The fabric colors on the seats came to me as a way to make the space decorative even when the seats were empty. The drapery and panels over the lights are acoustic requirements made decorative. The Falls Theatre, on the other hand, was the new, improved version of our old Queen Anne stage. Our traditional colors there were a deep blue with accents, so that “ACT blue” and cinnamon (now copper) were used in a bow to our history, with the green added to give it its own identity, and the stars and stripes reflected the connecting Eagle’s mural room decor.
The Falls Theatre, designed to look like the original ACT stage in Queen Anne. You’ve designed over 60 shows at ACT, what are some favorite always greet you warmly, and make period details that had to be restored projects you’ve worked on? Why? you feel like your job and opinion were and required us to make any new important. He treated everyone as an construction easily recognized as such, It always has to do with having a great equal part of the “family”. Those long days yet still blend with the old decoration. meeting of the minds brought to life. never seemed a burden. Challenging! I loved Man and Superman; getting to stretch the budget and backstage Do you have some favorite memories My husband, Phil, and Callison’s space to accommodate the three full or anecdotes from those days? architect, Gary Wakatsuki, spent sets Tom Gruenwald and I dreamed up, The technical director, Dick months reworking the spaces to including a 1902 car! For Custer, with Montgomery, kindly gave me Friday, suit our needs. They had to add the dear Johnny Kauffman directing, we set Saturday, AND Sunday off to get married shops above the existing roofline as out to evoke the Montana battlefield in 1972. (Remember that two-week there weren’t any spaces with enough and it came out exactly as envisioned. schedule?) And then there is the fact clearance to build the scenery. Former And I loved doing Catholics with Greg. that my wedding was the day of the ACT board president Jane Yerkes and Amadeus with Steitzer was a jeweled Watergate break-in. Of course, we didn’t I were asked to work with the Callison music box and illustrated how one can know it at the time! The annual marking interior team and we were determined turn paint, rope, plastic flowers, and of the date in the news reports did make to make the spaces welcoming and lots of glue-gunning into beautiful it easy to keep track of which anniversary colorful with a touch of whimsy. Over period detail. Little Shop of Horrors we were having. time I came to be in charge of the with Denise Ford pushed the limits of interior decoration. mechanics available at the time and You and your husband worked on was so much fun. I could go on ... oh, turning the Eagles building into The Allen Theatre was especially and then there was Steitzer’s and my a theatre venue. What was that difficult because we needed to visually On the Razzle, which was beautiful process like? What vision did you separate the theatre within the and nearly killed me ... my personal have for how to transform the space ballroom. Phil decided to make the “Scottish play” ... I mind-blocked the into a theatre? new stage a crater, inspired by a meteor title for years. shower one night. The idea was that The new building, being registered when you went down to your seat the historic, came with extensive existing
34 ACT – A Contemporary Theatre 1990s Jane Austen's TIMELINE OF IMPORTANT DATES
“ You must be the best a judge of your own Dec 2, 2m015 - Jamn 3, 2016 happiness.” Eat the Center eatre at the Armory book-it.org
The ‘90s at ACT saw three different artistic directors (from Steitzer to Shannon to Edelstein) and two different theatre spaces. The theatre moved into the heart of downtown in the middle of this decade, making the ‘90s a period of resettling and reimagining the possibilities for Seattle’s contemporary theatre.
1994/1995: Steitzer hands in his resignation as Artistic Director, as the board begins a capital campaign for the move out of the Lower Queen Anne location and transition into the theatre’s new home downtown. Peggy Shannon takes over the reins as Artistic Director at ACT. 1996/1997: ACT stages its final performance in its Lower Queen Anne home: Laughter on the 23rd Floor by Neil Simon, and transitions into the downtown location. ACT opens the doors at its new multiplex style home in the former Eagles’ auditorium in the heart of downtown Seattle, launching The World Needs Everyone. the new space mid-season with Tom Topor’s Cheap. The theatre It starts with children. struggles in its first season adapting to the new location, having lost Invest in the future today. many subscribers following the 1 in 6 children are born with a developmental disability or delay*, move. Peggy Shannon resigns as all children need the best start possible: making the most of their Artistic Director of the theatre, abilities and learning alongside kids of every ability. leaving the position open for nwcentergiving.org/donate/now acclaimed NY Director, Gordon Edelstein, who brings with him, Artistic Associate, Kurt Beattie. Partners Media ACT and the Seattle theatre Since 1967 Partners Celebrating 50 Years community suffer a major loss when Greg Falls passes away at age 75. *C.D.C. 2014
encoreartsseattle.com 35 GET WITH IT Visit EncoreArtsSeattle for an inside look at Seattlee’s performing arts.
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PROGRAM BEHIND ARTIST WIN IT PREVIEWS LIBRARY THE SCENES SPOTLIGHT 2000s TIMELINE OF IMPORTANT DATES
HOLIDAY VILLAGE A miniature town that captures giant imaginations. December 12 - January 3
BAINBRIDGE ISLAND, WA www.bloedelreserve.org
Artistic Director Kurt Beattie streamlined the season to six Cantina Leña is now serving Mainstage shows and A Christmas Carol. 2007 saw the beginning of BREAKFAST BURRITOS! the Central Heating Lab (now ACTLab), which has since become an integral part of the ACT experience. Scrambled eggs, crispy potatoes, pintos, melty queso, 2002: Edelstein leaves ACT in the hands of his Associate Artistic Director, taptio sour cream and your Kurt Beattie. choice of smoked pork, beef chuck, spicy chicken, chorizo or 2003/2004: ACT is forced to lay off the majority of its staff, and post a $1.7 braised kale. million dollar debt. With outstanding support from the community, and a generous half million dollar donation from ACT’s chairman of the board, Phil Breakfast served: Condit, ACT manages to pull through its financial crisis. The theatre emerges weekdays from 8-11 am as a more streamlined operation, with Kurt Beattie at the helm, producing a weekends from 9 am-3 pm five-play season in both 2003 and 2004. 2007: Kurt Beattie and ACT’s Executive Director Carlo Scandiuzzi open the Cantina Leña 2105 5th Ave., Seattle, WA 98121 doors of the Central Heating Lab, an experiment designed to foster new work 206-519-5723 and fill up the five theatre spaces available in ACT’s new building. www.cantinalena.com
encoreartsseattle.com 37 A CULINARY TRADITION FROM CELEBRATED CHEF TOM DOUGLAS’ TABLE TO YOURS
Every Christmas season, my wife, Jackie, whips up a FIG OR“FIGGY” pudding dates back to at least the 16th triple recipe of this batter filled with brandy soaked century and was a popular seasonal dish in the 19th century, fruits and toasted nuts, pops the baking pans into often given to holiday carolers. Figgy pudding is more like cake the oven, and fills the house with the scent of sweet than pudding and is made of dried fruit, a special cake batter, seasonings such as nutmeg and cinnamon, and seasonal spirits. spices. A modern update on the traditional steamed English pudding or weighty fruitcake, these little How does a dessert stand the test of time? Seattle chef extraordinaire Tom Douglas shares a modern take on figgy powdered sugar-dusted bars are suitably fruity and pudding for your family to enjoy this year. nutty, yet delicate in texture, and they’re an absolute breeze to make. JACKIE’S HOLIDAY FRUITCAKE BARS TomDouglas WITH DRIED CHERRIES AND BRANDY Makes 32 bar cookies INGREDIENTS DIRECTIONS 2 cups all-purpose flour Preheat the oven to 350°F. Butter a 9x13 baking pan and line the bottom with a piece ¾ tsp ground allspice of parchment, leaving a few inches of parchment overhanging the long sides of the ¾ tsp ground cinnamon pan; butter the paper. ¼ tsp ground cloves Whisk together the flour, spices, and salt; set aside. ¼ tsp ground nutmeg ½ tsp kosher salt Put the brandy in a saucepan, and bring to a simmer. Remove from heat and stir in 1 cup brandy the fruit. Transfer the mixture to a bowl and cool to room temperature. Add one cup 1½ cups dried cherries of the flour mixture to the fruit mixture and combine. Set both the fruit mixture and 1½ cups prunes, chopped remaining dry ingredients aside. medium-finely In an electric mixer with the paddle, on medium speed, beat the butter and 1 cup sultanas or golden the brown sugar until light and fluffy. Add the eggs, one at a time, beating well raisins to incorporate each egg. Mix in the vanilla. On low speed, add remaining dry ½ cup dark raisins ingredients and mix until just combined. Remove bowl from mixer and fold in fruit ½ cup currants mixture and pecans. Transfer batter to the prepared pan. 1 cup (2 sticks) unsalted butter, softened, plus Bake until cooked through and a skewer comes out with a few crumbs attached but no batter, about 50 to 55 minutes, rotating pan once halfway through baking time. more for buttering the pan 2 cups packed brown sugar Remove pan from oven and allow cake (still in the pan) to cool on a 3 large eggs wire rack for one hour. Then, use the overhanging parchment to lift 1 teaspoon pure vanilla the cake (in one large piece) out of the pan. Transfer to a wire rack extract and cool completely, still on the parchment, another 45 minutes or 1 cup pecans, toasted, more. Turn the cake over, peel off the parchment, then turn it over cooled, and chopped again to put it right side up. To move the fruitcake around, use a Recipe from medium-fine couple large spatulas or slip a large piece of cardboard under it. The Dahlia Powdered sugar as needed Bakery Using a serrated knife, cut the fruitcake into 32 bars and sprinkle Cookbook for sprinkling with powdered sugar before serving. (Morrow, 2012)
38 ACT – A Contemporary Theatre 2010s TIMELINE OF IMPORTANT DATES
Kurt Beattie and John Langs PHOTO BY SEBASTIEN SCANDIUZZI
ACT continues to grow and change, increasing and strengthening its presence as a home for bold, provocative voices in theatre, and challenging audiences with Mirabella works both old and new. In 2015, ACT celebrates its 50th Put yourself in anniversary and its 40th year of the middle of it. A Christmas Carol.
2011: ACT begins a musical co-production relationship with The 5th Avenue Theatre. 2015: ACT celebrates its 50th anniversary, opening the season with a throwback from its very first season in 1965, Tennessee Williams’ Cat On A Hot Tin Roof. Kurt Beattie ends his 12-year run as Artistic Director at the end of another season of great theatre, leaving ACT in the hands of Associate Artistic Director John Langs as it moves into the future.
Joshua Carter in Little Shop of Horrors ©TRACY MARTIN
encoreartsseattle.com 39 This is the little with a rare immune disease. And
this is the who works with the who are
both supported by these generous to repair tiny
immune systems, giving children like Ezra a second chance
at a healthy childhood.
CARE. RESEARCH. PHILANTHROPY. COMING TOGETHER EVERY DAY. Baby Ezra was diagnosed with a rare immune disease, leaving him unable to fi ght germs and infections. The collaboration between Seattle Children’s doctors, researchers and generous people like you make it possible for children like Ezra to have a brighter future. To learn more or donate, visit seattlechildrens.org.
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