2017 2018
IN THIS ISSUE
NOVEMBER/DECEMBER 2017 Title Page. 2 Cast. 3 Letter from Artistic Director David Ivers. 4 Letter from Managing Director Billy Russo. 5 Director’s Note . 6 An Interview with the Playwright. 7 The Cast . 10 The Creative Team. 13 Executive Leadership. 17 About Arizona Theatre Company . 19 ATC Board of Trustees...... 22 Donors . 23 ATC Staff. 30 Theater Information...... 32
The Herberger Theater Center, Arizona Theatre Company’s home in downtown Phoenix.
Cover art by: ESSER DESIGN
1 2017 2018 David Ivers Billy Russo Artistic Director Managing Director
THE RIVER BRIDE BY MARISELA TREVIÑO ORTA
Kinan Valdez ...... Director Regina Garcia...... Scenic Designer Rose Pederson ...... Costume Designer David Lee Cuthbert ...... Lighting and Projection Designer Emiliano Valdez...... Sound Designer Brian Jerome Peterson...... Resident Sound Designer Gregory W. Towle...... Associate Projections Designer Rosalinda Morales and Pauline O’con, CSA...... Casting Mindy B. Johnson*...... Stage Manager Bruno Ingram*...... Stage Manager
The River Bride was developed in residency with AlterTheater Ensemble, San Rafael, California. World Premiere Produced by Oregon Shakespeare Festival. Artistic Director Bill Rauch Executive Director Cynthia Rider
On this original Arizona Theatre Company production, the ATC Production Staff is responsible for scenic construction, costume construction, lighting, projections, sound, props, furniture, wigs, scene painting and special effects.
PRODUCTION SPONSOR:
2017/2018 SEASON SPONSORS: I. MICHAEL AND BETH KASSER
2 2017 2018
CAST
(IN ORDER OF APPEARANCE) Paula Rebelo...... Belmira Sarita Ocón*...... Helena Leandro Cano* ...... Sr. Costa Sean Burgos...... Duarte Dena Martinez* ...... Sra. Costa Hugo E. Carbajal* ...... Moises
*Denotes members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. THERE WILL BE NO INTERMISSION. ADDITIONAL STAFF Tajh Oates...... Assistant to the Stage Manager Tony Andrea...... Scenic Design Assistant Joe C. Klug...... Scenic Design Assistant David Morden...... Voice and Dialect Consultant Brent Gibbs...... Movement Consultant UNDERSTUDIES Marissa Medina Munter...... Belmira Marissa Salazar...... Helena and Sra. Costa Adam Grodman...... Moises Alec Michael Coles...... Duarte and Sr. Costa
Arizona Theatre Company operates under agreements between the League of Resident Theatres (LORT) and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States; Stage Directors and Choreographers, an independent national labor union; and United Scenic Artists Local USA-829, IATSE.
The Actors and Stage Managers The Director is a member of the The Scenic, Costume, Lighting and employed in these productions are Stage Directors and Choreographers Sound Designers in LORT Theatres members of Actors’ Equity Association, Society, an independent national are represented by Union Scenic the Union of Professional Actors and labor union. Artists Local USA-829, IATSE. Stage Managers in the United States.
To learn more about The River Bride, please visit the Learning & Education page on our website at arizonatheatre.org for a comprehensive free Play Guide. The Play Guide contains historical information, cultural context, and more.
Cell phones and other devices that make a noise can greatly disturb your fellow audience members and the performers. PLEASE TURN THEM OFF before the performance.
3 2017 2018
LETTER FROM ARTISTIC DIRECTOR DAVID IVERS
It’s a gift to bring Marisela Treviño Orta’s The River Brideback home. As the winner of Arizona Theatre Company’s 2013 National Latino Playwriting Award, it is an honor to have it fully real- ized on our stages. A hauntingly beautiful narrative, The River Brideborrows from Brazilian myth and folklore to remind us of the power and majesty of storytelling. I know you’ll find depth and value in the exploration of another culture’s look at love, loss, longing, and its deep connectivity to the natural (and unnatural?) world that surrounds the characters. At its core, The River Bride is both mysterious and universal; it asks important questions of family and loyalty as Ms. Orta writes with profoundly textured language to illuminate the balance between custom, tradition, expectations, and dreams.
I hope you’ll share your feelings with us as we look toward telling universal stories that continue to engage new voices and new communities. It’s a distinct honor to have both the playwright Marisela Treviño Orta and director Kinan Valdez return to Arizona. They represent the very best our regional theatre has to offer: kind, generous of heart, adventurous, highly skilled, and fully committed to examining our world and accurately reflecting what it looks like. I am grateful to them both for bringing great vision and courage to their craft.
Thank you for your generosity, too. We are moving ahead ourselves, and looking down our own metaphorical river with the hopes our hard work will continue to generate the kind of magic, faith, and belief so readily available in this beautiful production of this important new play.
Wishing you well,
David Ivers
[email protected] Artistic Director Arizona Theatre Company
4 2017 2018
LETTER FROM MANAGING DIRECTOR BILLY RUSSO
I am so thrilled to return to Arizona Theatre Company this year in the official capacity as Managing Director. I had the great privilege to meet many of ATC’s family of audience, donors, board, and staff during my time here over the last eighteen months as the executive management consultant and acting managing director. During that time, I came to have great affection for the Board of Trustees; the communities of both Tucson and Phoenix; and especially the talented, committed, and resilient staff of this great organization. During the search process for the new artistic leadership of the organization, I got to know David Ivers very well, and it became im- mediately clear that we had a shared vision of the value of ATC in the cultural life of Arizona and the immense opportunities for its future. That, added to my newfound love of living in the desert and the vibrant and varied cultural lives of Phoenix and Tucson, I was thrilled to be asked to join David as part of the new Executive Leadership of the organization.
At the beginning of ATC’s 50th Anniversary Season, I witnessed a unique galvanization of the communities behind ATC, and the outpouring of support both financial and of friendship was beyond impressive and of a scale rarely seen in the American regional theatre industry. Because of such support, we were able to move forward with a season that was grounded in the belief that for an arts organization to thrive and be vital it must be brave and ambitious in its program- ming and – with fiscal responsibility – strive to bring its audiences work that is exciting in both scope and aspiration. We are thrilled to report that in the 2016/2017 season, subscription sales increased by over 16%, single tickets increased by 45%, the annual fund contributed income was 25% above the past ten-year average, and with the implementation of a multi-year Fund for Working Capital Campaign, the year ended with an operating surplus of nearly $1 million.
All of this success and forward momentum could not have been possible without the stalwart support shown by the communities in Tucson and Phoenix, and across the whole state of Ari- zona. David Ivers and I are well aware that there is still a lot of work to be done to place ATC on a firm financial footing and to properly capitalize the organization’s operations, and we are thrilled to be embarking on this next chapter together from a position of strength and growth. We resolve to live up to that belief and vote of confidence.
I’m sure you will be hearing from us in the near future about other ways you may engage with the company and support Arizona’s only fully professional producing theatre, but right now I just wanted to say thank you.
With deep gratitude,
Billy Russo [email protected]
5 2017 2018
A LETTER FROM KINAN VALDEZ
Traversing the globe and transcending all boundaries with a force like water, the awesome power of storytelling sweeps across time and pours its riches into the rivers of human life with a grandeur as majestic as the mighty Amazon. As human beings, we are forever satiating our thirst at the timeless shores of story. Within its watery wells, we soak in the wonder and wisdom of lives lived eons ago as well as yesterday. We nourish our spirits and replenish our hearts seeking the knowledge gifted to us by our forbearers: human beings like us now living eternally as part of the great life-giving stream of story.
With poetic imagination, playwright Marisela Treviño Orta dips into these magical waters and brings forth The River Bride. Drawing inspiration from the Brazilian folklore and fairy tales of the magical and mysterious botos – pink river dolphins floating along the “enchanted” tributar- ies of the Amazon – she weaves a timeless tale of love and loss experienced by a young human family living along the banks of the great river. Within her delicately woven fabric, the potent threads of story pulsate with poetry and passion. And, like all great storytellers, she wraps her words around us in a gentle embrace akin to a warm blanket, inviting us to sit with her by the fire and bask the light of reflection – this time, on our relationship to the fantasies and realities of human love.
At its heart, The River Bride is a timeless and modern meditation on love and its opposite force—fear. The play believes fiercely in the transformative power of love: the beautiful ways we can change the course of our lives by fully giving ourselves to another. And yet, it also recognizes, almost with brutal clarity, the ways fear can dominate our existence and thrust us towards seemingly safe choices that hurt in the long run. This is the reflection offered to us by our playwright in this “adult fairy tale”: do we choose the way of fear? Or do we choose love?
This question of love or fear is as old as human existence and is instantly recognizable in the lives we live today. It’s a question we lovingly invite you to ponder as we journey together through the magic of theatre down the waters of the Amazon, guided by master storyteller Marisela Treviño Orta, and collectively bathe our spirits in the rich and glorious rivers of our common humanity.
6 2017 2018
AN INTERVIEW WITH MARISELA TREVIÑO ORTA
HOW DID YOU BEGIN WRITING FOR THE THEATRE? I found my way to theatre quite haphazardly. Unlike many of my playwriting peers, I didn’t grow up going to theatre. But I did write short stories and fiction from a very young age. In high school, I found my way to poetry and was a poet for about 10 years. I left my home state of Texas for California, where I enrolled at the University of San Francisco to get an MFA in Creative Writing. My on-campus job at USF introduced me to a social justice theatre company made up of Latino immigrants that were working in the city’s Mission district. I joined as their Resident Poet and, after a year of watching them collectively write plays, I decided to explore the genre. My last semester in grad school I audited a playwriting class with the goal of writing my first full-length play. My instructor, playwright Christine Evans, encouraged me to submit to the 2005 Bay Area Playwrights Festival and my play, Braided Sorrow, was accepted as part of the festival lineup, which really put me onto the playwriting path. Theatre was such a welcoming community that encouraged and supported my early work. And unlike poetry, it’s not a solitary process. Instead, theatre is collaborative and allows for other artists to interpret my work, to bring their own creativity to set design, costumes, lighting, sound, and direction.
CAN YOU TALK A LITTLE BIT ABOUT THE DEVELOPMENT OF THIS PIECE? WHAT WAS YOUR INSPIRATION? This is kind of a silly story. But the point is that inspiration comes from anywhere. For me it was a TV show called River Monsters. It’s pretty dramatic for a show about a man fishing. I was watching a marathon of River Monster episodes. And the producers—to make these re- runs more interesting—had decided to post fun facts at the bottom of the TV screen. While watching the episode about piranhas in the Amazon, there was an entire section on the river dolphins that live in the Amazon River. Then a bit of trivia flashed across the bottom of the TV screen—a brief mention about the Amazonian folklore that the river dolphins turn into handsome men. It’s really fortuitous that I happened to look at the TV screen at that moment because I was folding laundry. I was already working on my play Wolf at the Door and there just so happens to be a shapeshifting character in it. I had realized recently that Wolf at the Door was a fairy tale and I had it in my head that I should write a trio of fairy tale plays. When I saw the information about the river dolphins transforming, I knew that was the seed of the next play. After the initial spark of inspiration, I usually begin a play with gathering images. The photogra- pher Toni Frissell and her work—especially her photos from Weeki Wachee, Florida— became a wonderful touchstone for the play.
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AN INTERVIEW WITH MARISELA TREVIÑO ORTA
The first draft I wrote pretty quickly. Though, at the beginning of the process I was very con- fused by the formal way the characters were speaking. That may sound odd—that the play- wright was surprised by the way her own characters spoke. But for me, I focus on characters that begin to feel so real it’s like they take over and tell me what they’re doing and how they sound. Originally, I had planned for Belmira to be the main character. But after the first scene with her sister Helena, I found myself drawn to the older sister. This shift meant re-imagining the boto (Amazon dolphin) as well. Traditionally, the boto is kind of a trickster. But in The River Bride he’s more like Hans Christian Andersen’s mermaid.
THE RIVER BRIDE WAS PRODUCED LAST SEASON AT THE OREGON SHAKESPEARE FESTIVAL. DID THE EXPERIENCE OF GETTING IT ON ITS FEET PROMPT YOU TO MAKE ANY CHANGES TO THE SCRIPT / REVEAL ANYTHING NEW TO YOU? Going into the world premiere, I knew I wanted to work on the younger sister Belmira. While I think she’ll always be a polarizing character, I wanted to make sure she was not the villain of the play. The River Bride is a cautionary tale about love—about letting fear and insecurity get in the way of love. During the world premiere rehearsal process, I rewrote one of the scenes at the end of the play that specifically addressed this issue. We dedicated an entire rehearsal day to working the scene in what I called the “Thunderdome” rehearsal—three versions of the scene were pitted against one another until it was clear which version best suited the narrative.
ACCORDING TO HOWLROUND, THE RIVER BRIDE IS PART OF YOUR “GRIM LATINO FAIRY TALE CYCLE,” ALONG WITH WOLF AT THE DOOR AND ALCIRA. WHAT DO THESE PLAYS HAVE IN COMMON? WHERE DOES THE RIVER BRIDE FALL IN THE CYCLE? The River Bridewas the second play I started in the cycle, but the first one I finished.Wolf at the Door is the play that kicked off the cycle, and in fact when I began writing that play I had no idea that I was writing a fairy tale. I had set out to write a myth, but was perplexed by the play. I didn’t quite have a handle on it. It was while watching Jim Henson’s The Storyteller that I realized Wolf at the Door was in fact a fairy tale. But when I say “fairy tale” I don’t mean the sanitized Disney versions. I’m drawing inspiration from much older and darker stories, like the fairy tales collected by the Brothers Grimm. Those stories were dark and often violent because they were helping children navigate a dangerous world. I think of the plays in my cycle as cautionary tales for adults to help us navigate our emotional lives.
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AN INTERVIEW WITH MARISELA TREVIÑO ORTA
The Western fairy tale canon also offers me a well-known structure and familiar tropes such as the use of the number three, tests of character, love at first sight, and transformations—in fact, currently all of the plays in the cycle have shapeshifting.
That’s the fairy tale side of the cycle. But I call my plays grim Latino fairy tales because each play in my cycle is also inspired by a specific folklore or mythology from Latino culture. The River Bride is inspired by the folklore about the river dolphins, Wolf at the Door is inspired by Mesoamerican beliefs about the afterlife, and Alcira is inspired by Aztec mythology.
DO YOU HAVE A FAVORITE MOMENT IN THE RIVER BRIDE THAT YOU’D LIKE TO SHARE (WITHOUT GIVING AWAY SPOILERS, OF COURSE)? My favorite moment came out of the world premiere rehearsal process—just something an ac- tor improvised, but it so perfectly encapsulated the love story between Sr. and Sra. Costa. I’ve often enjoyed their love story—the example of a couple so very much in love after more than eighteen years together. This isn’t really a spoiler—because I won’t tell you exactly when it happens—but I call it the “caveman moment.” Sr. Costa picks up Sra. Costa and carries her off. Only thing is, I can’t guar- antee that it will be in every production—because each show will need to take into account whether actors can safely create this moment. We don’t want actors to throw out their back. But I’m keeping my fingers crossed that this moment can be a part of this particular production.
WHAT DOES THE FUTURE HOLD FOR YOU, IN TERMS OF READINGS AND PRODUCTIONS OF YOUR WORK? ARE YOU CURRENTLY WORKING ON ANY NEW PLAYS? I am currently in my final year at the Iowa Playwrights Workshop, where I am getting my second MFA—this one in playwriting, obviously. This last year is pretty hectic—I’m teaching, I’m a student, I’m thinking about what’s next, and juggling outside projects as a professional playwright. After I graduate I have a few projects lined up. One is the world premiere of Wolf at the Door, the next play in my fairy tale cycle. That production will be with New Jersey Rep. I’m really excited about that play. And I’m also working on an adaptation of a young adult novel for a children’s theatre and a commission inspired by the Bay Area which I used to call home.
9 2017 2018
THE CAST
Paula Rebelo (Belmira) is a Brazilian actress based in Los Angeles. She is thrilled to be making her debut with ATC. Select credits include The Clean House (Boise Contemporary Theater); The Temptation of St. Antony (Four Larks Ovation Award winner for Acting Ensemble); Sheila Callaghan’s That Pretty Pretty; or The Rape Play (Son of Semele); Theatre Movement Bazaar’s Big Shot (South Coast Repertory Bootleg Theater, and international tours to Scotland and China); and CalArts Center for New Performance’s Prometheus Bound (The Getty Villa). In early 2018, Rebelo will be playing Gwenevere in Theatre Movement Bazaar’s newest show, The Grail Project, in Los Angeles. She holds a B.F.A. from CalArts. www.paularebelo.com.
Sarita Ocón (Helena) is thrilled to make her ATC debut. Theatrical cred- its include The Mathematics of Love (Brava Theater); The Crucible (Play- Makers Repertory); To The Bone, Othello, Waiting For Lefty (Ubuntu Theater Project); PLACAS (Los Angeles Theatre Center, Gala Hispanic Theatre, Puerto Rican Traveling Theater, South Coast Repertory, San Francisco International Arts Festival, and others); Twelfth Night (Califor- nia Shakespeare Theater); Bengal Tiger at the Baghdad Zoo (San Francisco Playhouse); Ghost Light (Berkeley Repertory Theatre);Night Over Erz- inga (Golden Thread Productions); Ghosts of the River (ShadowLight Productions); The House on Mango Street, School of the Americas, Dog Lady / Evening Star (Teatro Visión). Sarita received her BA from Stanford University and is the recipient of the 2016 RHE Charitable Foundation Artistic Fellowship. She is a proud company member of HERO Theatre in Los Angeles and Ubuntu Theater Project in Oakland. She is a co- founding member of the Bay Area Latino Theatre Artists Network. www.saritaocon.com.
10 2017 2018
THE CAST
Leandro Cano (Sr. Costa) Regional favorites include Rules of Seconds (La- tino Theater Company); , Motherf***er With the Hat, Jesus Hopped the ‘A’ Train, One Flew Over the Cuckoo’s Nest, American Falls (barebones productions); El Henry (La Jolla Playhouse); Of Mice & Men (Pittsburgh Playhouse); Stories, Romeo & Juliet, Fables (Denver Center Theatre Com- pany); Oedipus el Rey, Colony Collapse (The Theatre @ Boston Court); American Falls (Echo Theater Company); The Tempest, The Fattest Man in the World Lives Upstairs (Yale Summer Cabaret); The Rats, Amigo’s Blue Guitar, American Buffalo, Caucasian Chalk Circle, Genesis, Don Juan (Per- severance Theatre). Film: Jonestown, Fugue, In the Death Room, Coming & Going. Television work includes: Bull, CSI: Miami, Castle, Without a Trace, Life, Huge, General Hospital, Boston Legal, Days of Our Lives.
Sean Burgos (Duarte) is a Los Angeles-based actor in film/TV and voiceover in both English and Spanish language markets. He has just wrapped on the feature film Emerald Run starring alongside Baywatch star David Chokachi. Previously, he starred in the indie shorts: Elie’s Overcoat, The Case of Conrad Cooper, and Coyotes. Sean is co-founder of Actor’s Circle Ensemble and has starred in The Indian Wants the Bronx and Hedda Gabler off-Broadway, and Experiment at South Coast Repertory. His company also sponsors the hit Orange County New Playwright’s festival, OC- Centric. Sean has made his mark in the voiceover world, lending his voice to a multitude of radio/TV advertisements, trailers, animation, and video games. His recent credits include: Comedy Bang Bang!, Para Ellos, and Ubisoft’s Assassin’s Creed III: Liberation.
11 2017 2018
THE CAST
Dena Martinez (Sra. Costa) is thrilled to be working at Arizona Theatre Company. Her regional theatre credits include: Fuddy Meers and A Street- car Named Desire (Marin Theatre Company); American Night and The House of the Spirits (Denver Center Theatre Company); Sunsets and Mar- garitas and Distracted (TheatreWorks); Barancas and Holy Food (Magic Theatre); American Night (Cal Shakes); The Taming of the Shrewand La Posada Magica (San Jose Rep). Other theatres include: Seeing Double and Secrets in the Sand with the San Francisco Mime Troupe, August: Osage County and Mr. Burns: A Post-Electric Play (Capital Stage); The Clean House and Vanya and Sonia and Masha and Spike (Pacific Rep); Reckless and Gibraltar (San Jose Stage); This World in a Woman’s Hands (Shotgun Play- ers), Cloud Tectonics, and Dia De los Cuentos (B Street Theatre), Simply Maria and El Soldado Razo (El Teatro Campesino). Ms. Martinez has also worked with Campo Santo, Teatro Vision, Word for Word, Berkeley Rep, and American Conservatory Theatre. TV/Film: La Pastorela, Village of the Damned, Technolust, Wolf, You Can Choose, Short Stories and Tall Tales. Voic- es for Pixar Animation and Zoetrope.
Hugo E. Carbajal (Moises) is excited for his first show with Arizona Theatre Company. Mr. Carbajal is a collective member of the Tony Award-winning political theatre company The San Francisco Mime Troupe. He has per- formed with companies such as Marin Theatre Company, AlterTheater Ensemble, TeatroVision, and Su Teatro. Mr. Carbajal was also in the premiere of Marisela Treviño Orta’s Heart Shaped Nebula at Shotgun Theatre Ensemble. Television credits include Goliath on Amazon, Chance on HULU, and Scandal on ABC.
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THE CREATIVE TEAM
Marisela Treviño Orta (Playwright) is an award-winning playwright - whose accolades include ATC’s own 2013 National Latino Playwriting Award - in her third year at the Iowa Play- wrights Workshop. Her plays include: American Triage; Braided Sorrow (2006 Chicano/Latino Literary Prize in Drama, 2009 Pen Center USA Literary Award in Drama); Ghost Limb (2017 Brava Theater world premiere); Heart Shaped Nebula (2015 Shotgun Players world premiere); and Woman on Fire (2016 Camino Real Productions world premiere). Currently she is work- ing on a cycle of fairy tales inspired by Latinx mythology which includes The River Bride (2016 Oregon Shakespeare Festival world premiere), Wolf at the Door, and Alcira. Most recently, Ms. Orta presented her new play Shoe at the Kennedy Center as part of the National New Play Network’s MFA Playwrights Week. She is an alumna of the Playwrights Foundation’s Resident Playwright Initiative, a founding member of the Bay Area Latino Theatre Artists Network, and a Steering Committee member of the Latinx Theatre Commons.
Kinan Valdez (Director) returns to Arizona Theatre Company, where he directed last season’s production of La Esquinita, USA. Recent credits include: Off-Broadway:La Esquinita, USA (Pregones/Puerto Rican Traveling Theater); Regional credits: Lydia (Miracle Theatre), Zoot Suit and Heart of Heaven (Center Theatre Group), Corridos Remix (San Diego Repertory). Other theatres: Zoot Suit (National Tour), Popol Vuh Trilogy, Mummified Deer, Victor in Shadow, and Sam Burgesa & The Pixie Chicks (El Teatro Campesino). Film: Ballad of a Soldier (ETC/CTR Productions). Mr. Valdez is a 20-year ensemble member of the world-renowned El Teatro Campesino, a lecturer in the Theater Arts department at the University of California Santa Cruz, and a national organizer for the Latinx Theatre Commons.
Regina Garcia (Scenic Designer) returns to Arizona Theatre Company, where she designed La Esquinita, USA. She is an Illinois-based scenic designer, who has had longstanding relationships with renowned Latino theatres including Repertorio Español, the Puerto Rican Traveling Theater, INTAR, and Pregones Theater. Recent projects include The Merry Wives of Windsor (Oregon Shakespeare Festival); The Rembrandt (Steppenwolf); and El Paso Blue (GALA Hispanic Theater, Helen Hayes Nomination). Ms. Garcia is a Fellow of the NEA/TCG Career Development Program for Designers and the Princess Grace Awards, USA. She is a company member with Rivendell Theatre Ensemble (Chicago) and a Regional Associate Member of the League of Professional Theatre Women and Advisory Board for the Latinx Theatre Commons.
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THE CREATIVE TEAM
Rose Pederson (Costume Designer). Arizona Theatre Company:The Heidi Chronicles, Fertility Rights, Fires in the Mirror, Dancing at Lughnasa, Shadowlands, Private Eyes, La Malinche. Broadway: Largely New York (Kennedy Center). Regional: 47 plays including Roz and Ray, View From The Bridge, Outside Mullingar, Red, Road to Mecca, and The Heidi Chronicles (Seattle Repertory Theatre); 28 plays including The Royale, The Price, Middletown, The Invisible Hand, and Uncle Ho to Uncle Sam (A Contemporary Theatre); Nickel and Dimed and Uncle Ho to Uncle Sam (Mark Taper Forum); The Importance of Being Earnest(Berekely Repertory Theatre); How To Succeed in Business and The Pajama Game (The 5th Avenue Theatre);Nickel and Dimed, Electra, Ghosts (Intiman Theatre). Other theatres include New Century Theatre, Idaho Shakespeare Festival, Portland Center Stage, Artists Repertory Theatre, Seattle Children’s Theatre, PlayMakers Repertory Company, The Merc Playhouse, and Theatre Under The Stars.
David Lee Cuthbert (Lighting and Projection Designer) returns to Arizona Theatre Company, where he designed lights for Chapter Two, An Act of God, Disgraced, Around the World in 80 Days, The Importance of Being Earnest, God of Carnage, and Lost in Yonkers; lights and projec- tions for Snapshots, Next to Normal, The Kite Runner, and Enchanted April; and lights, projec- tions, and scenery for Romeo and Juliet. He lit Billy Crystal’s 700 Sundays on Broadway and its subsequent tours and the HBO film. Off-Broadway, his lighting and projections for The Snow Queen won the award for best overall design at the New York Musical Theater Festival. Internationally, he designed Terminal, directed by Joseph Chaikin, and his scenic and lighting design for The History (and Mystery) of the Universehas been seen at major theatres across the country. His regional credits include San Jose Rep, Arena Stage, American Repertory Theater, La Jolla Playhouse, and The Old Globe. Mr. Cuthbert is a Professor of Design at the University of California, Santa Cruz.
Emiliano Valdez (Sound Designer) is a second-generation music composer and performer whose career has spanned 25 years of professional theatre and music production work. His regional musical director/composer credits include Popol Vuh: Heart of Heaven (Center Theatre Group). Other credits include: Shrunken Head of Pancho Villa, Ubu Roi, The Four Agitators, Zoot Suit, La Virgen de Tepeyac, La Pastorela, La Gran Carpa de Los Rasquachis, Corridos Remix, Voices of the Community, and Shockingly Shockley. Professional film and television credits include: Ballad of a Soldier, Beto the Diabetic, A Nightmare on Aids Street, Mexico: an IMAX Experience, The Kwoon, Amor y Tomates, and Oscar.
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THE CREATIVE TEAM
Brian Jerome Peterson (Resident Sound Designer) celebrates his 32nd season at ATC, where he has designed 84 productions, including Chapter Two, Holmes and Watson, La Esquinita USA, An Act of God, King Charles III, Fences, Disgraced, Five Presidents, Wait Until Dark, Around the World in 80 Days, The Importance of Being Earnest, The Sunshine Boys, Jane Austen’s Emma, The Great Gatsby, God of Carnage, Ma Rainey’s Black Bottom, Lost in Yonkers, Ain’t Misbehavin’, George is Dead, Somebody/ Nobody, Enchanted April, Touch the Names, I Am My Own Wife, Twelfth Night, Tuesdays with Morrie, Crowns, Macbeth, The Pirates of Penzance, The Immigrant, A Streetcar Named Desire, Oh Coward!, Copenhagen, Fully Committed, and The Mystery of Irma Vep (for which he won an ari- Zoni Award), and the world premieres of Sherlock Holmes and the Adventure of The Suicide Club, Dr. Jekyll and Mr. Hyde, Sherlock Holmes: The Final Adventure, Inventing van Gogh, Rocket Man, Minor Demons, and The Holy Terror. His designs have been heard in many theatres including Geva Theatre Center, Berkeley Repertory Theatre, Seattle Repertory Theatre, The Cleveland Play House, Northlight Theatre, Portland Center Stage, Ac- tors Theatre of Louisville, San Jose Repertory Theatre, Milwaukee Repertory Theatre, and the Bay Street Repertory Theatre.
Gregory W. Towle (Associate Projection Designer) is returning to ATC for the fifth time with The River Bride, having previously worked on Snapshots (Associate Projections Designer), Romeo and Juliet (Associate Projections Designer), Around the World in 80 Days (Projections Designer), and Next to Normal (Assistant Projections Designer). His other credits include All the Way at Arena Stage and Into the Woods at Village Theatre.
Rosalinda Morales and Pauline O’con (Casting) bring together diversified experiences from the theatre, independent, network and studio casting worlds. Uniting their professional relation- ships in the agency and management communities, and utilizing various sources outside of the normal casting search criteria, they work collaboratively with their filmmakers, producers and directors in creating a cast that showcases the increasingly diverse population of audiences that exist today.
15 2017 2018
THE CREATIVE TEAM
Mindy B. Johnson (Stage Manager) is thrilled to be returning to Arizona Theatre Company and the beautiful cities of Tucson and Phoenix. Previous Stage Management credits at ATC include Dirty Blonde (2002), and ASM for How I Learned to Drive, Picasso at the Lapin Agile, The Mys- tery of Irma Vep, Play On!, The Gershwin’s Fascinating Rhythm, and As You Like It (1998-2000). Ms. Johnson has also stage managed at Utah Shakespeare Festival, Seattle Repertory Theatre, Seattle Children’s Theatre, Seattle Opera, Tennessee Repertory Theatre, Shakespeare Santa Cruz, and Dallas’ Kitchen Dog Theater. Other credits include Project Manager at Gary Musick Pro- ductions in Nashville, Tennessee, producing shows for Celebrity Cruises, Norwegian Cruise Lines, and Oceania Cruises (2003–2016). Ms. Johnson holds a BFA from Southern Methodist University and is a proud member of Actors’ Equity Association. When she is not stage manag- ing shows, Ms. Johnson is a National Academy of Sports Medicine Certified Personal Trainer and owns a successful skincare business.
Bruno Ingram (Stage Manager) has worked as a professional stage manager since 1998 for a number of companies. ATC: Ring of Fire, Talley’s Folly, The Underpants, Anna in the Tropics, Macbeth, Pride and Prejudice, Hank Williams: Lost Highway, Ella, To Kill a Mockingbird, Some- body/Nobody, Ma Rainey’s Black Bottom, Woody Guthrie’s American Song, and The Mountaintop. Other regional credits include productions at Cleveland Play House, Kansas City Repertory Theatre, Penumbra Theatre Company, Dallas Theater Center, Pasadena Playhouse, and Theatre for a New Audience.
Tajh Oates (Assistant to the Stage Manager) has previously served as Assistant to the Stage Manager for ATC’s productions of Ring of Fire, La Esquinita, USA and An Act of God. He has a Bachelor of Arts in theatre from Georgia Southern University. Previously, he has worked as a Deck Carpenter and as stage crew for productions of Henry V, South Pacific, and Henry IV, Part II at Utah Shakespeare Festival.
16 2017 2018
EXECUTIVE LEADERSHIP
David Ivers (Artistic Director) began his tenure as Artistic Director on July 1, 2017, and is honored to be part of this vibrant and inspiring community. In partnership with the inimitable and insightful Managing Director Billy Russo, he is hard at work creating community-based initiatives, advanced- planning procedures, and staff-focused partnerships aimed at fostering institutional stability. Other immediate goals include improving our patron/donor relations and executing the finest slate of programming in our buildings as we honor our loyal audiences and seek to engage with new ones. He arrives in Arizona after seven seasons as Artistic Director of Tony Award-Winning Utah Shakespeare Festival, having acted in or directed over fifty-five productions over twenty seasons. As Artistic Director, he helped usher in a forty million dollar expansion of facilities including two new theatres, a new rehearsal hall, costume shop, and administrative offices. His tenure is marked by a significant re-brand of the organization and several key initiatives including the launch of WORDS (cubed) new play program, which recently featured the World Premiere of Neil LaBute’s How to Fight Loneliness. Earlier in his career, Mr. Ivers was the Associate Artistic Director of Portland Repertory Theatre while continuing to collaborate with Portland Center Stage, the Oregon, Alabama and Idaho Shakespeare Festivals, and others. He also spent ten years as a resident artist involved with over forty productions at the acclaimed Denver Center Theatre Company. He has acting credits in Seattle, Portland, Utah, Denver, Chicago, Massachusetts, Alabama, California, including: Salieri in Amadeus, a nightly “audience choice” rotation of Oscar and Felix in The Odd Couple, Scapin in Scapin, Truffaldino in A Servant of Two Masters, Richard in Richard II, Tony Wendice in Dial M for Murder, Benedick in Much Ado About Nothing, Jake in Stones in His Pockets, Gary in Noises Off, Jonathan in A Prayer for Owen Meany, and has been involved with over one hundred other productions at LORT A, B+, and B institutions. In the last several seasons, his directing work has been seen with The Utah Shakespeare Festival, The Guthrie Theatre (where he will return in November to direct Blithe Spirit), Berkeley Repertory Theatre (Hand to God, One Man Two Guvnors), The Oregon Shakespeare Festival (The Coconuts, Taming of the Shrew), South Coast Repertory Theatre, Pioneer Theatre Company, and more. In addition, Ivers has taught at several colleges and universities and gave his first TEDx talk in 2015. He is thrilled at the opportunity to join Arizona Theatre Company and would like to extend his gratitude to the board and staff. He is eager to live with his wife, Stephanie, and boys, Jack and Elliot, in such a thriving and culturally rich community. Email anytime, he’d love to hear from you (really, he would) [email protected].
17 2017 2018
EXECUTIVE LEADERSHIP
Billy Russo (Managing Director) has served as Acting Managing Director of Arizona Theatre Company since 2015 and permanently took on the position beginning on July 1, 2017.
Previously, he was the Managing Director of American Repertory Theatre at Harvard University, where during his tenure they produced All The Way, starring Brian Cranston, and Finding Neverland. He served as the Man- aging Director of New York Theatre Workshop, a major Off-Broadway Theatre company in New York, where he lead a financial turnaround of the organization, retiring an organizational deficit and rebuilding cash reserves. During his time there, he produced the original productions of the musical Once and the play Peter and the Starcatcher, both of which transferred to Broadway in the 2012 season, garnering 13 of the 26 competitive Tony Awards handed out that year. He also served as General Manager of Playwrights Horizons in New York, where he helped oversee the construction of a new six-story facility in the heart of Times Square. Notable productions during that period were the world premieres of I Am My Own Wife (Tony Award for Best Play and Pulitzer Prize for Drama), and the musical Grey Gardens. He was also the Associate General Manager at Manhattan Theatre Club.
While in London, Billy was the Associate Producer with David Pugh, Ltd; there, he produced, among others, the English Language Premiere of Yasmina Reza’s Art in the West End, starring Albert Finney, Courtenay, and Ken Stott.
Billy was an adjunct assistant professor for Columbia University’s Theatre Producing and Man- agement MFA Program, where he taught Advanced Theatre Budgeting. He received a BFA from New York University’s Tisch School of the Arts.
18 2017 2018
ABOUT ARIZONA THEATRE COMPANY
The Herberger Theater Center, Arizona Theatre Company’s home in downtown Phoenix. Under new leadership – and now celebrating tional opportunities, access initiatives, and its 51st-season – Arizona Theatre Company community events. Through the schools and boasts the largest subscriber base of any per- summer programs, ATC focuses on teaching forming arts organization in Arizona, with Arizona’s youth about literacy, cultural devel- more than 130,000 people each year attending opment, performing arts, specialty techniques performances at the historic Temple of Music used onstage, and opens their minds to the and Art in Tucson, and the elegant Herberger creative power of dramatic literature. With Theater Center in downtown Phoenix. Each approximately 450 Learning & Education season of carefully selected productions reflects activities annually, ATC reaches far beyond the rich variety of world drama – from classic the metropolitan areas of Tucson and Phoenix, to contemporary plays, from musicals to new enriching the theatre learning experience for works – as audiences enjoy a rich emotional current and future audiences. experience that can only be captured through live theatre. Touching lives through the power Mr. Ivers and Mr. Russo continue to work of theatre, ATC is the preeminent professional on strategic planning, creative thinking, and theatre in the state of Arizona. Under the adventurous programming all aimed at serving direction of Artistic Director David Ivers in the current mission: “To inspire, engage and partnership with Managing Director Billy entertain – one moment, one production and Russo, ATC operates in two cities – unlike one audience at a time.” any other League of Resident Theaters (LORT) Stay tuned for announcements, new events company in the country. and exciting new access initiatives. You’ll find ATC shares the passion of the theatre through us here: www.arizonatheatre.org. a wide array of outreach programs, educa-
19 2017 2018
ABOUT ARIZONA THEATRE COMPANY
IN A RECENT INTERVIEW WITH KATHY ALLEN OF THE ARIZONA DAILY STAR, DAVID IVERS SPOKE AT LENGTH ABOUT HIS VISION FOR ATC AND HIS HOPES FOR THE FUTURE.
(Printed here with permission)
THE PULL OF ATC: “I knew about the (financial) THE PLAYS: “The notion of community, the troubles ... but I learned over the process of the notion of inclusivity, will always have a pres- first interview — which was in a conference ence in the seasons I select. ... How do we room at Sky Harbor Airport in December — that serve the community, how is the community this place is ripe with potential. The production involved in the stories we tell on stage, and values are already there; David (Ira Goldstein) how will we look toward inclusivity in terms has done some really, really smart things. For me, of parity, diversity, and toward voices we may it’s a community and a theater that just needs not have heard from? … I have to be conscien- some re-engagement with itself, with where it tious of titles that drive people to the theater, lives in both cities. I would never label myself but I would also like to put on our regional a visionary, but I would probably suggest that theater big-boy pants and do some work that I’m an institution builder. ... So (the ATC job) is a little bolder, thematically, and entertains gradually became, ‘Oh this is sounding more but gives us an opportunity for community and more attractive.’ ” discourse. ... The most important thing is that what is on that stage is full of virtuosity BUILDING A SEASON: “I am in the process of and excellence — that will always drive the identifying a staff-driven and a community- vision of the theater.” driven season selection committee. They will probably start in September and will meet ARIZONA ARTISTS: A complaint that has followed twice a month through January. We’ll read ATC is the lack of local talent on stage. One of plays, we’ll discuss them, production will be the obstacles is that actors have to be available involved, development will be involved. ... They on a full-time basis; many Arizona artists have will have a voice, have a responsibility to bring jobs outside the theater. “My intention is to scripts to the table, but the ultimate decision open the floodgates and say ‘you are welcome rests with me in consultation with the manag- here.’ There is a baseline bar of excellence ing director (Billy Russo).” Goldstein selected that this theater has. If you are at that ability the 2017/18 season as an artistic director had and level, and you can make it work to work not yet been hired. The first season that will here, you will.’” reflect Ivers’ vision is 2018/19.
20 2017 2018
ABOUT ARIZONA THEATRE COMPANY
DIVERSIFICATION OF STAFF, ARTISTS, PLAYWRIGHTS: “We have to do a big job of getting out and “In (the 2018/19 season), that is a priority. letting people know we are here, we are new. We’ve got to do it. ... I’m interested in the And our shows have to be brilliant.” representation in staff and people you don’t see, as well. That gets hard to report on. … I OTHER TUCSON THEATERS: Ivers has some meet- don’t want to be in a position to be defensive ings already planned with the artistic staff of and say, ‘but you haven’t seen how diverse we local theaters. “That at least begins the process are.’ I don’t want to talk about it, I want it of asking ‘What’s your experience in Tucson? to appear. This is a national epidemic, which How can ATC help? Shall we stay out of the means there is far more competition to attract way?’ (For instance) I don’t want to borrow diversified artists. That’s thrilling, but it also diversity issues from a smaller theater that has makes it hard.” Latin support and a voice and knock it on its pins. Yet we have a responsibility to the com- DIVERSIFICATION OF THE AUDIENCE: With the munity (to do diverse works). So, (we may) exception of Borderlands Theater and a few work together.” others, Tucson audiences are overwhelmingly white and older. “We need to have a conversa- AN AUDIENCE MEMBER: “It’s absolutely my inten- tion about how we diversify the audience. How tion to see plays at other theaters here, with do we get people here witnessing their stories, this caveat: I will be there when I can at plays stories that are different from the ones you or in Phoenix and Tucson, but I have two young I have been told our whole lives? … These are boys and a wife, and they are the priority at necessary conversations.” night. I won’t be at every single play at every company, but I will have staff go when I can’t. BUILDING AN AUDIENCE: Ivers will appoint an I have to balance the 6-9 p.m. hours with my audience development committee, but he thinks family, read to them, be with them. If that goes the programming will be key in bringing in away, you’ve nothing left for the inspiration.” new audiences. He also wants to enhance the experience for current theatergoers, which he IN THE END: “I don’t know how we are going to thinks will help spread the word that ATC is cross everything off the list, but we are going on the move. “This theater has to come alive to start by putting one foot in front of the in a different way. Not just in the experience other. … My biggest fear is that I would let (in the theatre), but everything that’s around audiences down.” Success, says Ivers, depends it.” Bands after performances, discussions with on ATC keeping community at the center, and artists in the patio, events in the Cabaret Theatre, “it’s about the culture of the staff, how we think are some of the things he plans. He hopes the together, and how ATC leads to open up our word spreads about what ATC is doing. arms to say ‘how can we can help.’ We can’t always be asking; we have to give, too.”
21 2017 2018
2017/2018 BOARD OF TRUSTEES
BOARD OFFICERS BOARD OF TRUSTEES Lynne Wood Dusenberry Cameron C. Artigue, Past Chair Chair Michael Flatt Susan Plimpton Segal Jay Glaser Chair-Elect Jeff Guldner Kevin Gebert Pam Hait Vice Chair (Tucson) Liz Hernández Mary Hamway David Ivers Vice Chair (Phoenix) Priscilla Márquez Robert Taylor Sandra C. Maxfield Secretary Joseph Mollica Jeffrey Gold Keith Murfee-DeConcini Treasurer Linda “Mac” Perlich Karen Peters Billy Russo
EMERITUS TRUSTEES Paul Baker, Katie Dusenberry, Darryl Dobras, Carol DuVal Whiteman, Shirley Estes, I. Michael Kasser, Donald Nickerson*, Marilyn Papp*, George Rosenberg*, Dr. John Schaefer, F. William Sheppard
HONORARY TRUSTEES Bob Begam*, Betsy Bolding, Joan Kaye Cauthorn, Jack Davis, Slivy Edmonds, Norma Feldman, Catherine (Rusty) Foley, Joe Gootter, Carol Kraemer, Jessica Lazarus, Sally Lehmann, Gerry Murphy, Emily Rosenberg Pollack, Nina Trasoff, Janos Wilder, Ruth A. Zales
David Ira Goldstein Artistic Director Emeritus, Jessica L. Andrews Managing Director Emeritus
A special note of thanks to the partners and staff at Lewis Roca Rothgerber for hosting ATC’s Board of Trustees’ meetings. *Deceased
22 2017 2018
CORPORATE, FOUNDATION, AND GOVERNMENT PARTNERS
ATC IS PROUD TO ACKNOWLEDGE SUPPORT FROM THE FOLLOWING COMMUNITY PARTNERS JULY 1, 2016 TO SEPTEMBER 22, 2017
CORPORATIONS/ Lightwave Technical Consulting Actor’s Equity Foundation Michael Flatt Charitable Fund ORGANIZATIONS Lincon Enterprises Akron Community Foundation at the Arizona Community Anonymous (1) Maynard’s Market and Kitchen Andrew Family Foundation Foundation Aloft Hotels McGraw Hill Financial Applied Materials Foundation Mary Jo Ghory Advised Fund at the Greater Cincinnati American Express Meijer, Inc., Subsidiaries Arizona Community Foundation Foundation and Affiliates APS Arizona Community The Harold and Jean ASU Gammage Allan and Alfie Norville Foundation of Cochise Grossman Foundation Philanthropic Fund Ballard Spahr LLP Arizona Community The Herberger Foundation at the United Way of Tucson Foundation of Flagstaff The Barber Family Legacy Fund and Southern Arizona Herbst Family Foundation at Vanguard Charitable Arizona Community Foundation Ogletree Deakins of Yavapai County The Molly and Joseph BeachFleischman PC Herman Foundation Osborn Maledon, P.A. Arts Foundation for Tucson The Benevity Community The Connie Hillman Family Impact Fund PICOR Commercial Real and Southern Arizona Estate Services Foundation Break-Away Tours AYCO Charitable Foundation Donald Pitt Family Foundation Hirsch Family Foundation The Carriage House Bank of America Charitable at the United Way of Tucson Foundation Holsclaw Advisory Endowment Fund Courtyard by Marriott - and Southern Arizona at the Community Foundation Phoenix Downtown BD2 Donor Advised Fund for Southern Arizona Resolution Copper Mining at the Community Foundation Cox Communications Renaissance Phoenix Downtown for Southern Arizona Jewish Community Foundation of Greater Phoenix, Inc. Crest Insurance Group Residence Inn by Marriott Jeffrey F. Berg and The DesertLeaf – Phoenix Downtown Debra H. Paget Fund Jewish Community Foundation of Southern Arizona Downtown Kitchen + Cocktails Riggins Farms, Ltd. at the Cornell University Foundation Bill and Kathy Kinney The Employee Community RLI Charitable Gift Fund at Philanthropic Fund Fund of Boeing Arizona Fidelity Charitable Leonard J. and Irene Brown Foundation, Inc. at the Community Foundation ExxonMobil Foundation Schwab Charitable Fund for Southern Arizona Joan Kaye Cauthorn Advised Fund Matching Gifts Program Scottsdale Cultural Council David C. and Lura M. Gust Rosenfeld P.L.C. at the Community Foundation Scottsdale League for the Arts for Southern Arizona Lovell Foundation Michael J. and Charlotte A. Harris Smithfield Trust Company Francis Chapin Foundation McCulloh McTavish Foundation Philanthropic Fund The Minneapolis Foundation at the United Way of Tucson Snell & Wilmer L.L.P. Alan and Gail Cohn Foundation, Inc. and Southern Arizona SRP Community Foundation for Margaret E. Mooney Foundation Herberger Theater Center Steptoe and Johnson, LLP Southern Arizona The John and Helen Murphey Foundation Holualoa Arizona, Inc The Greenleaf/Molberg Family Cornell University Foundation Myers Vitkin Foundation, Inc. Honeywell International Fund at Schwab Charitable Nancy M. and Peter E. Davis PICOR Charitable Foundation Hotel Congress Theater League Inc. Community Fund at the Community Foundation Virginia G. Piper Charitable Trust Hotel Tucson City Center United Way of Tucson and Southern Arizona for Southern Arizona Rea Charitable Trust IBM Matching Grants Program UNS Energy Corp. The Bill and Donna Dehn Rochester Area Community Jewish Federation of Charitable Fund Foundation Southern Arizona Valley of the Sun United Way at the AYCO Charitable Russ and Carolyn Russo Foundation Jim Click Automotive Team Vanguard Charitable Foundation Endowment Program Salt River Community I. Michael and Diamond Family Donor Advised Fund Children’s Foundation Beth Kasser Foundation Watermill Financial Group at the Jewish Community at the United Way of Tucson Wilson Property Services, Inc Foundation Shapiro Family Philanthropic Foundation and Southern Arizona Zazu Pannee Park Regent Feldman Family Foundation The Shubert Foundation KXCI Community Radio Fidelity Charitable Gift Fund Law Office of Bernadette Ruiz Sarah B. Smallhouse Advised Fund FOUNDATIONS Joanie Flatt Family Foundation at the Community Foundation Lewis Roca Rothgerber Christie, LLP Absolon Foundation at the Arizona Community for Southern Arizona Foundation 23 2017 2018
CORPORATE, FOUNDATION, AND GOVERNMENT PARTNERS
FOUNDATIONS Tucson Foundations GOVERNMENT (continued) Tucson Osteopathic Arizona Commission on the Arts Medical Foundation City of Tempe Arts and Culture The Eliot Spalding Foundation Tucson Realtors Charitable National Endowment for the Arts The Stocker Foundation Foundation Phoenix Convention Stonewall Foundation University of Arizona Foundation Center and Venues Texas Instruments Foundation Joseph and May Winston Foundation Phoenix IDA Today is a Good Day Foundation Phoenix Office of Arts and Culture Torosian Foundation INDIVIDUAL DONORS ANGELS Carole and Richard Kraemer Lauren and Michael Gordon Jennifer Hecker-DuVal $25,000 AND UP Sandra and Dr. Robert Maxfield Pamela Grissom and Fred DuVal Rosanna Miller Eric Hamburger Deanna Evenchik-Brav Anonymous (1) Joseph A. Mollica and Dottie Sellers Mary and Geoffrey Hamway Catherine “Rusty” Foley Paul and Alice Baker Susan and Jeffrey Rein Jeffrey Hatcher Lois and Harry Garrett Shirley Estes Jill and Herschel Rosenzweig Theresa and William Hawgood Dr. Mary Jo Ghory Joanie Flatt Jennifer Gross and Jerry LeFevre Richard Schoen Bob and JoAnne Hungate Michael Flatt Elliott and Sandra Heiman I. Michael and Beth Kasser Ron and Patricia Schwabe Rebecca and Albert Johnson Mack Jones Richard and Sally Lehmann Enid and Michael Seiden Tandy and Gary Kippur Drs. Steven and Marta Ketchel Bill Lewis and Rick Underwood Janie Shapiro and Slobodan Popovic Drs. Paul and Mary Koss Hotchy Kiene Ann Lovell and Tom Warne Nancy Swanson Lori Mackstaller Drs. George and Maria Knecht Dolly and Jim Moran Jack Wahl and Mary Lou Forier Jill and Kevin Madden Mr. and Mrs. Mark Landay Allan Norville Elyce and Mark Metzner Janice and Robert Leff Carol and Lex Sears PRODUCER’S Joseph A. Mollica and Dottie Sellers Susan and Stacy Litvak Chef Janos and Rebecca Wilder CIRCLE Jack and Becky Moseley Caroline and Peter Morse $5,000 - $9,999 Lyn Papanikolas and Deborah Moss and Stephen Collins PLAYWRIGHT’S David Mackstaller John and Helen Murphey GUILD Anonymous (1) Mac and Russ Perlich Charles and Carol Otto Mary and Matthew Palenica $10,000-$24,999 Fran and Jim Allen Mary Beth and Gerald Radke Christine and John Augustine Susan P. Segal Sandy and James Peebles Anonymous (1) Carmela and Michael Blank F. William Sheppard and Valerie and Herschel Richter Jessica L. Andrews and Betsy Bolding Range P. Shaw Jody Summerset Roll Timothy W. Toothman Dr. Jose and Frances Burruel Michael Willoughby Tom and Eileen Rotkis Ken and Judy Ryan Mary Jan and Paul Bancroft Joan Kaye Cauthorn Linda Wurzelbacher Drs. John and Helen Schaefer Mr. A. Frederick Banfield and Dino J. and Elizabeth Ms. Eileen M. Fitzmaurice Murfee DeConcini DESIGNER’S Judy Seinfeld In Memory of Rick Call Darryl and Mary Ann Dobras Joanne Sibley CIRCLE Ingeborg and Ralph Silberschlag Bruce and Katie Dusenberry Norma and Stanley G. Feldman $2,500 - $4,999 Col. Mary Pat Sullivan Bruce L. and Lynne Wood Ted and Barb Frohling Dusenberry Danielle and Steven Thu Gail and Patric Giclas Anonymous (1) Jay Glaser Barbara Vogen Bruce and Edythe Gissing Mary and Cameron Artigue David Ira Goldstein and Dr. Richard and Madeleine Wachter Michele Robins Goldstein Davie Glaser in loving memory Jacklyn Connoy and William Maguire Nancy and Jeff Werner of David H. Glaser Vanne and Robert Cowie Paulette and Joe Gootter James Wezelman and Denise Grusin Rob and Laurie Glaser Bill and Donna Dehn Jeff Guldner and Sydney Reed Michael Willoughby Ellyn and Jeff Gold Courtney Johnson Gary Wolff and Sandy Gibson 24 2017 2018
INDIVIDUAL DONORS
DIRECTOR’S Susan and Donald Pitt Margaret and Dennis Fesenmyer Matthew and Jo Ann Madonna Mallory and Donald Riegger Ronna Fickbohm and Jeff Willis Priscilla and Edmund Márquez CIRCLE Linda and Reid Schindler Patricia Fluhrer Dorothy and Roy Mayeske $1,750 - $2,499 Cathy Shell Pamela Frame Irene Monson Anonymous (2) Evelyn G. and Daniel J. Simon Mr. and Mrs. John Francesconi Donnasu and Jim Moody Judy Ackerman and Richard Epstein Sean D. Sweat Michael Garrison and John J. Lopez Shirley G. Muney Roberta Aidem Shoshana and Robert Tancer Renee and Peter Gerstman Nina and Brian Munson Mara and Keith Aspinall Stephen and Susan Thompson Angela and Jeffrey Glosser Keith Murfee-DeConcini Judy Balan-Pearl Richard Walker Terry Goddard Ruth Murphy and John Hay Mary Ellen and Emery Bartle John and Connie Ann Kathryn and Edwin Goss Douglas Ng Barbara and William Bickel Nygaard Wareing Donita Gross Jean and Jordan Nerenberg Denice Blake and John Blackwell Russ and Kay Weed Betty and Leonard Guarraia Ann Patterson-Barton Susan and Brian Boylan Taryn and Mark Westergaard Anne and David Hameroff Linda Pulaski Barry D. Brown Ellen Wheeler and David Nix Rebecca and Todd Hanley Mark Quale and Teresa Kim Ed and Arlene Cohen Allan and Diana Winston Cristine and Ed Hansen Sandra Rausch Shelley M. Cohn and Sarajean and Jeri Harwood Chuck and Terri Roehrick Mollie C. Trivers BACKERS Kathy and James Haun Randee Ross Len and Doris Coris $1,000 - $1,749 John Hay and Ruth Murphy Dr. and Mrs. Sanford H. Roth Marnie and Harvey Dietrich Suzie Hazan and Michael Burns Jonathan Rothschild and Zoe and Andrew Dowd Anonymous (6) Stephen and Amanda Heitz Karen Spiegel Melissa and Gene Einfrank Amy and Bob Adams Pat and Fred Henning Russ and Carolyn Russo Drs. Thomas Elliott and Joanne and Howie Adams Ed and Sandy Holland Drs. Adib and Vivi Sabbagh Cindy Rankin Neil Ampel and Nancy March Cathy and Michael Holmberg Michael and Enriqueta Salvo Ellis F. Friedman and Irene Jeannette and Robert Barnes Lee and Patrick Howe Judy and Harold Samloff Stern Friedman Mary and Bret Batchelor John Hudak Anne and Elmon Sapp Becky and Dave Gaspar Nancy and Dave Baxter Jacqueline Hufford-Jensen Claire Sargent Harry George and Cita Scott JoAnn and Dave Becker Deborah and Jeffrey Jacob Betty Anne Sarver Mary and Robert Gillett Barbara and Franklin Bennett Judy and William Jenney Ellie and S.L. Schorr Pam and Glen Hait Susan Berg John Paul Jones III Marc and Tracy Schwimmer Pauline and Gene Hechler Sandy and Chuck Bonstelle Denice Just Deborah and Robert Sharpe Leslie Hall and Ted Jarvi Patrick Butler and Debbie Martha and George Kellner Sarah and David Smallhouse Goodman-Butler Robert Hershey-Lear Mr. and Mrs. Joseph Kendhammer Bruce Spencer Ray Carroll Julianna Kasper Teresa Kim and Mark Quale Phyllis E. and Richard D. Stern Sara and Cristiano Castellini Robyn Kessler and Jeff Timan Janice and Alvin Kivel Ms. Susan M. Swick Shirley Chann Dr. and Mrs. Ronald Kolker Gabrielle Klein Cindy Traylor Virginia Clements and Tom Rogers Judy and Sam Linhart Don Klomp Karla Van Drunen and Fred Littooy Jan Copeland Elaine Litvack Joan Koppenbrink Sally Van Slyke Judie Cosentino Phil and Nora Mazur Lynne Lagarde and Bob Stankus Emily and Bob Vincent Barbara and John Cummings Elsa McTavish Eileen and John Lamse Jean K. Wagner Marjorie and George Cunningham Constance Melendez Sally Lanyon Nancy and Ted Wolter A. Ennis Dale Drs. Richard and Yvonne Morris Mary and John Leavitt Marilyn and Peter Woods Leslie Dashew and Jack Salisbury Trudi and Robert Murch Stanley Lehman and Susan Chaikin Punch and Casey Woods Carol David and Hillary Wyler Peggy and Gerry Murphy Christiane G. Leslie Julianne and Raymond Woosley Julie and Mark Deatherage Pat and Wayne Needham Phoebe Lewis Margaret Wunder Gina and Rick DeGraw Patti Norville Spector Ms. Edith E. Luty Ruthie Zales and Ken Greenfield Deanna Evenchik Dr. and Mrs. Charles W. Otto Anne and Ed Lyman Steven Fass
25 2017 2018
INDIVIDUAL DONORS
PATRONS Drs. Clara Curiel and Kai Catherine Horness Kathryn and Richard Merkel Lewandrowski Elaine Hoyne and Lisa Rempe Frances Merryman $500 - $999 Patricia and Dennis DeConcini Lori and David Iaconis Douglas and Jane Metzger Anonymous (7) Phil Derkum and Flora Yee Brian Indrelunas Marilyn and Robert Metzger Michelle and Tim Abraham Jan and Leo Dressel Lisa and Gary Israel Michelle and Joseph Millstone Joseph Acker Kimberlyn Drew and Andy Moore Margaret Iverson Helene and Michael Miron Gail Adams and Jay Goodfarb Gail E. Dunlap Abe Jacob Roger Morris Rebecca Albrecht and Mary Durham-Pflibsen Frank and Caroline Jank Judee Morrison Norris Livoni John Dyster Donald E. Jenks Christine Muldoon Susan and Larry Allen Janet and Harold Eastin Helen and Robert Jennette Essie Nadler Al and Janet Anderson Roberta Goldstein Marcelle and Leonard Joffe Carolyn and Carl Nau Lori Angus Wilson and Jay Angus Stevie and Karl Eller Celinda Johnson Ann Nichols Judy and Ned Armstrong Karen and Lionel Faitelson Robert and Susan Johnstone Peggy Odendahl Char and Alan Augenstein Fred Farsjo and Patti Payne Karen and Charles Jonaitis Deborah Oseran and Stephen R. and Suzanne K. Barber Dr. Nelson Faux Leianne Jones Bobby Present Michael Bass Tom Feeney and Carmen John Jordan Norizan Osman and John Irby Richard Bates Bermudez Nathan Joseph Alyce Pennington John Bechman Mary Jo Fitzgerald Jamie and Bill Kelley Kathie and Bill Peterson Trudie and Peter Beestrum Denise Ford Kathryn Kellner Todd Peterson Tony and Maria Beram Patricia and Gary Fridley Nancy and Burton Kinerk Laura and Tom Pew David and Bonnie Bickford Elizabeth and Dietmar Gann Susan and Everett King Tad and Linda Pfister Ned and Sue Bloomfield Drs. Margot W. and J.D. Garcia Jo and Bob Koeper Brian Pracko Susan and Richard Bookspan Gary and Gini Gethmann Kathryn Lamm Paul Rathjen Kay Bouma Roberta Gillilan Jane Langenfeld and Penny Rauzi Martha Brightwell Leslie and Richard Glaze Duncan Chang Becky and Norman Rebenstorf Carol and Daniel Bronte Cathleen and Thomas Godfrey Jim and Gloria Lawrence Ann H. Redding Suzanne and Dan Brown Muriel and Marc Goldfeder Anne Leary and Bill Hemelt Drs. Linda Riordan and Sylvia and Herb Burton Stephen Graff Maxine and Jeffrey Leonard David Siegel Jean and Michael Butterfield Susan and Loring Green Jim LeValley and Nancy Philippi Douglas and Arlene Ripley Hanna and Don Callaghan Tom and Nancy Green Dr. Alan Levenson and Jenni and Todd Rockoff Tyna Callahan and Dimitri Dwaine Greer Rachel K. Goldwyn Christina and James Ronstadt Voulgaropoulos Jerome and Anita Gutkin Carol and Norman Levine Bobbe Rosenberg Brian and Lauren Cantoni Rita Hagel Nanci and Doug Levy Susan Rotkis and Patrick Elaine and Sidney Cohen Michael Hamant and Don Livesay DeConcini Kris and Earl Cohen Lynnell Gardner Dr. Howard Luber Brenda and Jim Rowland Sara Cohen Robin and John Harris Debbie and Clint Mabie David and Sonja Saar Steven Cohen and Elizabeth and Jerrold Hatcher Brendan Mahoney and Sarah and Noel Salt Michael Godnick Suzanne and Lester Hayt Gordon Street Rita and Steven Schlosser Mary Kathleen Collins Ken Hegland and Clementa Mannarelli Eve Schocket Arlan Colton and Kirk Smith Barbara Sattler and Gary Molenda Jacqueline and Paul Schulz Susan G. Connell Michael Heimbuch and Mr. and Mrs. Thom Mansur Robyn and Edward Schwager Joe Coyle Mitchell Bunting Susan and Ron Mark Arleen and Fred Schwartz Margaret and James Coyle Sharon and Louis Hekman Dejan and Susan Markovich Arlene and Morton Scult Gayla and Harlan Crossman Dr. and Mrs. Arthur L. Herbst Lorene Martin Polly and Joe Seeger Alicia and Jon Crumpton Sharon and Jesse Hise Rudy and Maria Mathews Barbara and George Seperich Sidney Hollander Cecelia Matson Mary Jo Sheldon-DiVito Andy McKnight and William DiVito
26 2017 2018
INDIVIDUAL DONORS
PATRONS Shirley and Thor Anderson Sherry Dailey Athia Hardt Alma and Dan Angelo Sandra and Anthony Dalessandro Bonnie and Michael Harris (continued) Julia and Neal Armstrong James Darling and Gina Lynn and Michael Harris $500 - $999 Susan Johnson-Ash and Murphy Darling Michael and Phyllis Hawkins Gregory Ash Augusta Davis Julie Karcis and James Seward Candy and Jeffrey Hazen Judy and Bob Atwell Judith and Chauncey Dayton Kelley Shore Liz Hernandez Rae and Peter Aust Martin de Wett Harvey and Rita Simon James Herzfeld Eva and Martin Bacal David DeConcini Carol and Barry Smith Susan Hetherington Pamela and Frank Bangs Jeff DeConcini Richard Snodgrass and Donna Hetler and Richard Newman Merrie Brucks Dr. and Mrs. Peter Bankoff Pennie DeHoff and Larry Wurst Bethany and William Hicks Linnet and Robert Spangler Martha Baron Don and Jonae DeLong Tom and Sandy Hicks Alice and Joel Steinfeld Kathryn Bates Tom Dinwiddie and Jackie Keith Marcia and Gregory Hilliard Darryl and Helen Stern Cheryl Beard Kathy Dixon Lynn Hoffman Molly Stranahan and Tom Curtin Dr. Cash and Susanne Beechler Maedell and Harold Dixon Marta and Robert C. Holl Herbert and Kerry Stratford Larry Berle Aimee and Stephen Doctoroff Gerri and Barry Holt Olga and James Strickland Judy Berman Patricia and Ronald Donnell Charlotte Howey Carolyn and John Stuart Mary Bielski and Hal Holman Donal Drayne Darrell and Frances Hutchinson John Szafranski Betsy and Henry Bogen Cathy Dresbach Susan and Richard Imwalle Sandra Thall Joyce and William Bohnert Nann and Tony Durando Dr. Ralph A. and Anna L. Jackson Carol and Charles Thompson Mary and Daniel Boone Lee and Spencer Elliott Frank Jacobson Hugh Thompson Betsy and Bill Bowen Elaine and Mario Espericueta Deborah Jamieson and Carrie Toth Susan and John Bowers Ann and Charles Fina Scott DeWald Gayle A. Traver Sharon and Barry Briskman Nancy and Richard Fintzy Linda and Ralph Jensen Vera Tucker Diane and Donald Bristow Helen V. Fisher David Johnson Catherine and Bruce Uhl Richard Broderick and Marcia Fisher Kimberly Johnson Roberta King David and Nancy Ulmer Laurie Fitzgerald Mary and Thomas Johnson Martha Brodersen Susan and Evan Unger Sherman and Sarilyn Fogel Richard Johnson Corrine Brooks John Wareing and Connie Robin Hiller and Tim Fuller Beverly and Robert Jones Nygaard Wareing The Honorable and Mrs. Kevin Gebert and Whitney Sheets Robin and Michael Kaiserman Michael J. Brown Wendy Watson Jane Gellman Hy Kaplan and Sue Vardon Jeanne and Eugene Bryan Steven and Linda Wegener Cleona Genzer Lynn and Chris Karabinas Sharley and Graham Bryce Ronald and Mary Weinstein Ami and John Giardina Philip Keller Bonnie and David Burnett Barbara Wich Lynn and Gary Gieser Carol and Allen Kern Karen L. Campbell and Tobey Gitelle Sandra A. Kilkuts Kathleen and Robert Winder Joseph Tylutki Patricia and R. Terry Glover Kim and David King Michael Winters Jennifer and Michael Caplan Elaine and John Goetz Roberta King and Richard Elaine and Morton Cederbaum Elaine and Stanley Goldberg Broderick FRIENDS Judith Chapman Midge and Gerald Golner Don and Susan Kjerland $250 - $499 Maureen and John Chestnut Rita Golub Irina Kirilova and Ovadan Anne and Fred Christensen Veronica and Arthur Gonzales Amanova-Olsen Anonymous (9) Joyce A. and Richard S. Clark Dr. Robert W. Gore Marsha and Donald Klein Audrey and Daniel Abrams Joyce Cohen and Leon Smith Janet Grace Linda and Bill Knox Pauline Albert Frances Cohen Ellen Gurewitz Karen and Sherwin Koopmans Kristin Almquist Shirley and Mark Cohen Sara and Andrew Gyorke Kay and Philip Korn Dr. and Mrs. Joseph Alpert Lorraine Crawford Robert Haddock and Ann Stanton Nina and Michael Kotin Ovadan Amanova-Olsen Vic and Ronald Crowe and Irina Kirilova Terrence Hanson Jessica and Stephen Kozloff Michael Crumly Lynn Krabbe and Bruce Kilbride
27 2017 2018
INDIVIDUAL DONORS
FRIENDS Michael and Patricia Ore Dr. Caren Siehl THE ENCORE Marilyn and Michael Orenstein Amy and Lee Silverthorn (continued) Shana and Richard Oseran Rita and Harvey Simon SOCIETY $500 - $999 Stephen Ott Patricia Simpson Susan and Chuck Ott Mary Smith HONORS THOSE FRIENDS Barbara and Theodore Kraver Alisha Owens Susan and Eddie Smith OF ATC WHO HAVE Tamar Rala Kreiswirth Greg Parston and Judith Hargadon ESTABLISHED A GIFT and John DeLuca Richard Snyder and Linda Jensen THROUGH A BEQUEST, Karen and Arvie Lake Ellie Patterson Barbara Solin TRUST ARRANGEMENT, Larry Larson James Peebles Lois and Lowell Sorenson OR OTHER ESTATE Joan Le Fevre Clyde and Jane Perlee Jan and Paul Spaeth PLAN PROVISION. Patricia and David Lebowitz Karen and William Peterson Gloria and Mark Spies Mark and Susan Leder Thomas Pickrell and Barbara Zippel Rica and Harvey Spivack Anonymous (1) Adrienne and Keith Lehrer Margo and Steven Pike Connie Stapleton Cameron and Mary Artigue Lori Levine and Gary Benna David Plane and Katharine Jacobs Linda Staubitz Helen and Robert Begam Bertie Levkowitz and Thomas Herz Brian Popadak Claire Steigerwald Dr. and Mrs. James F. Blute, III Mary Jane Lipshie Robert Pratt Anna Steiner Betsy Bolding Jennifer Lohse and Jason DePizzo Sheila and Robert Press Lorraine and Adolph Stern Mr. and Mrs. Vincent Buonomano* Tiffany Lopez William Rapp and Kathy Kolbe Christopher Stocks Joan Kaye Cauthorn Mark Luprecht Lu and Jim Reffkin Becky and Harold Strain Steven Cohen and Michael Godnick Gypsy and David Lyle Kurt Reinke Chris Swahn Jacklyn Connoy and William Maguire Carol and Phil Lyons Joan Roberts Jay Sykes Len and Doris Coris Suzan Makaus Janet and Roger Robinson Linda and David Tansik Virginia Dayton* William Maki Anne Roediger Shirley and Ted Taubeneck Mrs. Dorothy D. DeMiller* Jackie Manning Elaine Romero Jean P. Thomas Lorenzo and Slivy Edmonds Cotton Stan Marks Emily Rosenberg Pollock Patricia and Martin Thomas Carol Fink Irene Marsh Gerald Rosenquist Marjorie and Neil Thornton Deborah and Daniel Rowe Cheryl and Howard Toff Ted and Barb Frohling Loraine Martin Harry and Lois Garrett Michael Matich Carol and Arnold Rudoff Marlene Tompkins Sharon and Richard Rundle C. and Dale Tretschok Dr. Mary Jo Ghory Shirley and Stanley Matlick Mr. Terrance M. Hanson Naomi and Gene Matusow Billy Russo Rick Unklesbay and Margaret Norem Mr. and Mrs. Edward J. Harrison Ann and George Mavko Dee Ann and James Sakrison David and Kathryn Unger Mrs. Arthur Henderson* Kenneth and M. McQuade Ellen and Stephen Saltonstall Austin Urton Andrew F. Holtz Lynda Menis Jennifer and Charles Sands Joan and Gerald Vandevoort Ms. Tana Jones Gloria and Walter Merkel Sarah Sanford-Miller Clague Van Slyke Mrs. Theodosia P. Joyce Darrel and Ann Merwin Dina Scalone Sharon and Marc Weisel I. Michael and Beth Kasser Jeffrey Messing Tom and Chris Schatzman Louise and James Weiss Everett King* Forrest Metz Jennifer Schneider Wendy and Elliott Weiss Bill and Kathy Kinney D.B. and Margaret Michel Dr. Howard and Trudy Schwartz Philanthropic Fund Lovable Bill and Ann Welch Joyanne and Fred Mills Ann and Perry Sells at the Community Foundation Marjorie and Lester Westphal Mr. and Mrs. George Mink Susan and Mark Sendrow for Southern Arizona Constance Whitehead and M. Capp Phyllis Morgan Neelam and Gulshan Sethi Maxine and Jonathan Marshall* Lois and Martin Wienshienk Melvin E. Mounts Robin Shafman Les and Phyllis Minsuk Steven Wiesenberger Joan A. Morris John Munic Beverly and Herb Shealthelm Brad Wines Melvin E. Mounts Dana and Rick Naimark Robert Sheely Pamela and Dennis Winsten Peggy and Gerry Murphy Eleanor Nellemann Whitney Sheets and Kevin Gebert David Wohl Don* and Peg Nickerson Richard Newman and Donna Hetler Dr. Marvin Siegel and Ms. Eileen Bloom Barbara and Michael Wright
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INDIVIDUAL DONORS
GIFTS IN Pauline Urbano Hechler ENCORE CIRCLE GIFTS IN by Sant Singh and Sant Kaur (continued) MEMORY OF HONOR OF Khalsa and William Finley Mike and Beth Kasser by Joan Mary-Lynn Carmichael by Cathy Martha and Terry Allen Perl Clara Gay Ashton Kaye Cauthorn Advised Fund, Dresbach , David Ira Goldstein Endowment for the Arts by Nancy and Jerry Williams Eglin & Bresler Architects, and Michele Robins Goldstein, John D. Ratliff, Jr. and Harry George and Cita Scott, Rick Call by Anonymous Janet Arnold and Tom Rees Vicki Ratliff Frances Merryman, Law Office of Ronald Robinette and Don Conn by Margot Conn Dino DeConcini by Susan Rotkis Bernadette Ruiz, Judy Seinfeld Sharon Roediger David Fisher by Marcia Fisher and Patrick DeConcini and Sarah B. Smallhouse Arnold and Carol Rudoff Gwendolyn Fletcher William Dehn by Kathryn Myers Sandy Maxfield by Joan Kaye Robert V. Schauer* by Barbara F. Wentz Mary Ann and Darryl Dobras by Cauthorn Advised Fund Greg Schoen Rose Gottlieb by Anonymous Nancy and Reese Woodling Jack McConnell Rich Schoen Lynne Wood Dusenberry by Margie McConnell William C. and Deborah Roy L. Gross by Donita Gross by Joe Coyle Phoenix Box Office Personnel Chisholm Scott Sandy Hatfield by Shirley Estes by Marjorie and Lester Westphal F. William Sheppard Tadeusz and Stefania Anne and Paul Hochberg Eminowicz by Miss Tillie Jeffrey Rein by Meijer, Inc. Daniel J. and Evelyn G. Simon by Davie Glaser George E. and Shirley Estes by Pauline Janice and Howard Richard Margorie G. Springer* Bob Maxfield by Dr. and and Gene Hechler by Betsy and James Morrow Mrs. Ronald Kolker Robert and Shoshana Tancer Judith and Ken Falewicz Bill Sheppard and Range Roy Van Note Alfie Norville by Anonymous, by Jeff Falewicz Shaw by Keith Bevan, Shirley Regina and Gregory Byrne, Jessica Spencer Walker* Stanley Feldman by Deborah Estes and Susan Watchman Kimberly Anne Clements and and Terry Corbett Taryn and Mark Westergaard Scott Mackenzie, Stevie and Oseran and Bobby Present Linda and Richard H. Whitney Karl Eller, Lynn and Gary Gieser, Jay Glaser by Linda and Rick Small by Edward Leven Charlotte Harris Philanthropic Jordan Brickman Mary Stofft by Robert Stofft Fund, Allan and Alfie Norville YOUNG PATRONS Philanthropic Fund, and Rob and Laurie Glaser by Herb Stratford by Dejari Carol and Jacob Strubles Deborah and Jeffrey Jacob and Susan Markovich Kim and David King by Roberta Judy Oswald by Ms. Edith E. Luty David Ira Goldstein Summer on Stage by Vicky Loebel Keith Murfee-DeConcini Aidem, Jeanne and Eugene Mary Swallow and Jerry George Rosenberg Bryan, Joan Kaye Cauthorn Turner by Ruth Reiman THEATRE BUFFS by Debby and Doug Kennedy Advised Fund, Jay Glaser, John Schroeder by Ann-Marie Lori and David Iaconis, Sarah J. Wich by Barbara Wich Martha Brightwell and David Cristofani Frank Jacobson, Jennifer Lohse and Jason DePizzo Pauline and Gene Hechler Paulita Sedgwick Drs. Steven and Marta Ketchel by Henrietta S. Barassi Grandchildren Mason Kelber, Kim and David King Jacob Kelber and Larry Smith by Frank Davis Nadia Hutchinson Lynne Lagarde and Bob Stankus and F. William Sheppard by Alice and Marty Kelber Eileen and John Lamse and Range P. Shaw Great Theater! by Michael Hyland Mary and Dennis McMacken Diane Carol Stone by Bruce Maach Michael and Patricia Ore Shannon Harral Rita and Steven Schlosser by Tad and Linda Pfister
*Gifts have been actualized
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STAFF
David Ivers, Artistic Director Billy Russo, Managing Director
ARTISTIC
ARTISTIC ASSOCIATE RESIDENT COSTUME LEARNING & EDUCATION TEACHING ARTISTS Tim Toothman DESIGNER Kate Haas, Mark Swinerton, DIRECTOR OF Kish Finnegan Jessi Young, Rania COMPANY MANAGER LEARNING & EDUCATION Zeineddine John Geersten RESIDENT SOUND DESIGNER Israel Jimenez Brian Jerome Peterson ASSISTANT COMPANY LEARNING & TEACHING ARTIST MANAGER CASTING ASSOCIATE EDUCATION ASSOCIATES APPRENTICES Shannon Harral Matthew Wiener Holly Ann Garner, Jasmine Shana Brewer, Elizabeth Broeder, Heather Lee Harper, PLAYWRIGHT-IN-RESIDENCE Roth Jamie Hogan, Darryl Ordell, Elaine Romero Christine Peterson, Nicholette Shaffer
PRODUCTION
PRODUCTION MANAGER SCENERY ASSISTANT LIGHTING & PROJECTIONS Jennifer Smith PROPERTIES MASTER TECHNICAL DIRECTOR LIGHTING & Jason Dearing ASSOCIATE Phillip Blackwood PROJECTIONS SUPERVISOR PRODUCTION MANAGER ARTISANS ASSISTANT TECHNICAL Kat Seaton Christopher Gerling Christopher Hokin, DIRECTOR MASTER ELECTRICIAN John Wareing PRODUCTION INTERNS Dominic DeRiso Lexy Canon Amber Moldrem, Monica MASTER CARPENTER STAFF ELECTRICIAN Munoz, Ashley Wright COSTUMES & WARDROBE Arthur Potts Thomas Goldkuhl COSTUME SHOP MANAGER STAGE MANAGEMENT STAFF CARPENTERS Darcy Elora Hofer LIGHT BOARD OPERATOR (PHX) Nick Fleming, Scott Greenleaf, Sawyer C. Stroud PRODUCTION STAGE Sara Hill COSTUME DESIGN MANAGER MANAGER Kish Finnegan OVERHIRE CARPENTER SOUND Glenn Bruner STAFF DRAPER Tawd Bell SOUND SUPERVISOR STAGE MANAGER Phyllis Davies SCENIC CHARGE ARTIST Brian Jerome Peterson Bruno Ingram WARDROBE SUPERVISOR Brigitte Bechtel PRODUCTION SOUND ASSISTANTS TO THE Sandahl Masson STAFF SCENIC ARTIST ENGINEER STAGE MANAGER Mallory Harwell LEAD DRESSER (PHX) Mathew DeVore Emma DeVore, Tajh Oates Paul Elliott OVERHIRE PAINTERS SOUND BOARD OPERATOR (PHX) DRAPER STAGE OPERATIONS Patti Polk, Liz Weibler Billy Lopez Liz Weibler STAGE OPERATIONS MANAGER PROPERTIES FIRST HAND Kasi Love Marthe Witte STAGE CARPENTER (PHX) PROPERTIES MASTER STITCHERS Scott Wagner Paul Lucas Kyra Jones Robin Strand
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STAFF
ADMINISTRATION
GENERAL MANAGER MARKETING CONSULTANTS Herb Stratford PATRON RELATIONSHIP MANAGER GRANTS MANAGEMENT ASSOCIATE Ron May Alexis Smith-Schallenberger Ashley La Russa ONLINE ENGAGEMENT COORDINATOR MARKETING & COMMUNICATIONS ADMINISTRATIVE ASSISTANT Erin Treat Crowley Communications Angela Aldrin MARKETING COORDINATOR IN-HOUSE GRAPHIC DESIGN FRONT OFFICE VOLUNTEERS Colin Buck Columna Richard Giuliani Pat Boysen, Elizabeth Claiborne, Barb PROGRAM BOOK COORDINATOR Dominick-Price, Mary Donovan-Popa, FACILITIES – TUCSON Ellen Gurewitz, Cindy Morseth, Lynda Chloe Loos Rigoletti, Wendy Sander, Linda Vogel TEMPLE MANAGER AUDITORS Kellie Ann Murphy Beach, Fleischman & Co. ACCESSIBILITY FACILITIES MANAGER IT SUPPORT ACCESSIBILITY COORDINATOR Horace Ashley Lightwave Technical Consulting Eileen Bagnall MAINTENANCE TECHNICIANS PUBLIC RELATIONS Dean Morgan, Andrew Baker The Kur Carr Group, Inc. DEVELOPMENT TICKET SALES & DIRECTOR OF DEVELOPMENT HOUSE MANAGEMENT Julia Waterfall-Kanter MAJOR GIFTS OFFICER TICKET SERVICES MANAGER Pauline Urbano Hechler, CFRE Geri Silvi INDIVIDUAL GIFTS OFFICER BOX OFFICE MANAGER (TUC) Carley Elizabeth Preston Michi Yamasaki STEWARDSHIP COORDINATOR ASSOCIATE BOX OFFICE MANAGER (PHX) Elizabeth Westrick-Von Ogden Linda Schwartz ASSISTANT BOX OFFICE MANAGER (TUC) FINANCE Carrie Luker DIRECTOR OF FINANCE CUSTOMER SERVICE & ADMINISTRATION REPRESENTATIVE (TUC) Carrie Toth Sara Kavitch ACCOUNTING ASSOCIATE BOX OFFICE AGENTS (TUC) Debbie Archuleta Ellie Fimbres, Sara Smiley Katie Christensen HOUSE MANAGER (TUC) Maria G. Moreno Bill Bethel SUBSCRIPTION SALES REPRESENTATIVE Karen Cuthbert
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THEATER INFORMATION
Restrooms are located in the first- and Please call 602-254-7399 x0 regarding second-floor lobbies between Center items left at the Herberger Theater Center. Stage and Stage West. Monday – Friday: 10:00 am to 5:00 pm Please leave your name and seat location Saturday & Sunday: 12:00 pm to 5:00 pm with our Patron Services Manager if you Evenings: One hour prior to performance The Herberger Theater Center strives to be are expecting emergency calls during accessible to all patrons. Request special the performance, and leave the phone service when purchasing tickets or number 602-254-7399 x0 with your The Box Office is located on the southeast arriving at the theater. Infrared assistive telephone service. side of the building, near the corner of listening headsets are available in the 3rd and Monroe Streets. lobby. Arizona Theatre Company provides audio-described performances for the The Herberger Theater Center provides visually impaired and ASL interpretation free tours of the facility by appointment. Tickets can be purchased in person for the hearing impaired. Call the Box Call 602-254-7399 x197. at the Box Office, by calling Office for dates and performance times. 602-252-8497, or through our website at www.HerbergerTheater.org. Purchase your parking pass from the Patrons arriving after a performance has Herberger Theater’s Box Office or online prior begun may be asked to wait in the lobby. to the performance and park at the Arizona The Herberger Theater Center accepts At the appropriate time, latecomers will Center Parking Garage for only $6.00. cash, personal checks, American Express, be escorted to available seating near the Discover, MasterCard, and Visa. back of the orchestra or to the balcony, Located at 5th Street & Fillmore Street. Valid and may proceed to their ticketed seats Monday – Friday, from 5:00 pm to 4:00 am at intermission. and all day on Saturday and Sunday. Refunds are offered for canceled performances only. Please turn off all cell phones, pagers, and watch alarms before entering Please contact Arizona Theatre Company the theater. for group discounts. 222 Put A Fork In It Catering sells beverages as well as light and delicious food items 8 00 60 minutes prior to performances and during intermission. Beverages purchased in the lobby are permitted in the theater. 02 2 7 Children under 3 years of age are not To avoid intermission lines, you can pre- permitted in the theaters, unless otherwise purchase your food and drinks and have specified by the performing company. them ready when intermission begins. 02 2 2 8 7 02 2 8 21 Emergency exits are indicated by the red Smoking is prohibited in the Herberger Exit signs located above certain doors. Theater Center. In the event of smoking Please check the location of the nearest onstage, non-nicotine electric cigarettes or exit after you have taken your seat. It may non-nicotine herbal substitutes will be not be the same way you entered. used, and a sign will be posted in the lobby.
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