JUNE 2017 Photo by Dawn Schaefer BY BY MATTHEW LOPEZ DIRECTED BY

DAVID BENNETT Jun 9–JulJun 2 April-June 2017 Volume 13, No. 6

Paul Heppner Publisher SPRING 2017 Sara Keats, Jonathan Shipley Encore Stages Editors Susan Peterson Contents Design & Production Director Ana Alvira, Robin Kessler, 4 Time to Act: Shaun Swick, Stevie VanBronkhorst Arts Patrons Can Protect Production Artists and Graphic Design Arts and Culture Mike Hathaway 9 Dressed for the Part: A WORLD PREMIERE MUSICAL Sales Director Brieanna Bright, Joey Chapman, Harmony Arnold, Ann Manning, Rob Scott Costume Designer Based on the novel by Jane Austen Seattle Area Account Executives Book by Harold Taw Marilyn Kallins, Terri Reed Dialogue Music and Lyrics by Chris Jeffries San Francisco/Bay Area Account Executives 13 Encore Stages in Jonathan Shipley conversation with Ad Services Coordinator Janelle Velasquez JUL 12 - AUG 19 Carol Yip Sales Coordinator and Seán Griffin taproottheatre.org 206.781.9707 Sara Keats, Jonathan Shipley Intermission Brain Transmission Online Editors 204 N 85th St 15 Test yourself with our Seattle, WA trivia quiz

Encore Stages is an Encore Arts PROFESSIONAL THEATRE IN Leah Baltus A NEIGHBORHOOD SETTING Editor-in-Chief Program that features stories about Paul Heppner our local arts community side-by-side Publisher with information about performances. Dan Paulus Encore Arts Programs are publications Persuasion_EncoreArtsAd.inddNOT JUST 1 A WALK3/22/17 10:11 AM Art Director of Encore Media Group. We also publish Gemma Wilson, Jonathan Zwickel City Arts, the monthly arts & culture IN THE PARK Senior Editors magazine, and specialty publications, Amanda Manitach including the Offical Seattle Pride Guide Visual Arts Editor and the SIFF Guide and Catalog. Learn Barry Johnson more at encoremediagroup.com Associate Digital Editor Encore Stages features the following organizations:

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2 ENCORE STAGES Untitled-2 1 4/18/17 10:12 AM Time to Act Patrons Can Protect Arts and Culture

Billie Wildrick and the company of The Pajama Game at 5th Avenue Theatre. Photo by Mark Kitaoka.

Arts administrators say A trombone player warms up along of arts funding, has been threatened: Market Avenue during the Ballard Jazz funding at the federal level. that patrons have a say Festival. Painters and photographers in the future of the arts in of all levels of experience are hanging There were shockwaves felt nationwide when the White House released the America. their group show at the Mount Baker Neighborhood Center for the Arts. Three proposed 2018 federal budget. The Dollar Bill Cinema hosts a transgender budget calls for the elimination of the film festival, and there is a poetry slam at National Endowment for the Arts, Hugo House. Little kids are performing the National Endowment for the hip-hop at the Creative Dance Center, Humanities, and the Corporation for and the curtain rises on The Magic Flute Public Broadcasting. If the budget is at the Seattle Opera. There are original approved and, indeed, these historic paintings on the walls of our coffee institutions are eliminated, Seattle's shops and performances in the streets. arts and culture will be affected. Randy Engstrom, Director of Seattle’s Office of Seattle is bursting with art. Our citizens Arts and Culture, says, in a statement and, in turn, our city government, value issued in March, that the action “will the arts and support them generously. have profound economic and societal Art is everywhere because of arts impacts in Seattle and throughout the funding, and recently, one key source c o u n tr y.”

4 ENCORE STAGES “In times like these, when people feel stress and division, it’s the arts where Destination Retirement... we find meaning and solace,” says Luxury Living in Sunny Sequim Kristina Goetz, Artist Trust’s Director of Development. “Artist Trust helps make the telling of that truth possible.”

Fidelma McGinn, Vice President of the Seattle Foundation, believes in the power arts can wield. “Our mission [at the Seattle Foundation] is to ignite powerful, rewarding philanthropy to make greater Seattle a strong, more vibrant community for all.” Patrons get ready to GiveBIG

Patrons of the arts—theatre Designed with you in mind: audiences, museum members, The Lodge is an elegant full service, independent retirement community concert subscribers—are citizen offering fine dining, spacious apartments and individual cottages. philanthropists. The cost of admission Apartments are rented month to month with no upfront buy-in fee. or a season subscription goes a ways in helping arts organizations balance their www.thelodgeatsherwood.com budgets, and attendance records helps arts organizations makes their case to 660 Evergreen Farm Way, Sequim • 360-681-3100 major donors. But it is not only major Call today for a tour! gifts that make a difference to arts organizations: no amount is too small to make a difference to the organizations audiences respect and admire. McGinn urges patrons to donate during the Seattle Foundation’s annual GiveBIG campaign, which happens each May.

GiveBIG is one day each year that arts organizations use to maximize the donations they receive. The event is hosted online, through the Seattle Foundation’s website. Donors can give to specific organizations within the Seattle Foundation’s network. The program began in 2011, as a 24- hour online campaign designed to SEASONAL EXHIBITS raise money for various community organizations. That first year, GiveBIG FOR YOUR PALETTE Enjoy artistically inspired dishes crafted from local generated $3.6 million. It has grown ingredients, and see the personal story of Dale Chihuly significantly since then: last year, through his collections. GiveBIG raised $15.9 million for LUNCH / DINNER / HAPPY HOUR / WEEKEND BRUNCH more than 1,200 individuals, families, businesses and non-profits the Seattle Foundation serves. COLLECTIONSCAFE.COM LOCATED AT CHIHULY GARDEN AND GLASS 305 HARRISON ST / SEATTLE WA “The growth continues to amaze us 206.753.4935 every year, and so does the resources

encoreartsseattle.com 5 and the creativity non-profits invest in developing their funding campaigns,” says McGinn. Each individual group 2016/17 designs and implements an individual campaign for GiveBIG donations, but the collective energy of the day gives every organization a boost. Seattle is prepared

Seattle is in a fortunate position to be generally well-equipped to weather budget cuts by way of the White House. “The city of Seattle’s Office of Arts and Culture has seen its budget increase significantly, thanks in large part to the 1% for Arts plan, and the admission of tax surpluses propelled by the likes of Chihuly Garden and Glass and the Great Wheel,” says McGinn.

In the early 1970s, Seattle established a comprehensive system for assuring that creativity would remain a part of civil life in perpetuity. The city instituted the progressive 1% for Art ordinance, which has since become a model other cities have replicated worldwide. The proposal stipulated that, noted a Seattle Times article at the time, "All requests for appropriations for construction projects from eligible funds shall include an amount equal to one (1) percent of the estimated cost of such project for works of art" and that those monies would go for the "selection, acquisition, and/or installation of works JUNE 30 & JULY 1 of art to be placed in, on, or about A LIVE PRESENTATION OF public facilities.” In 2015, McGinn notes, the city invested 2001: A SPACE ODYSSEY $3 million to support more than 360 individuals and institutions. Following Pablo Rus Broseta, conductor Trump’s proposed NEA cuts, Engstrom Experience Stanley Kubrick’s spellbinding, Academy Award®-winning masterpiece. Recognized as one of the greatest works of science fiction cinema, 2001: A Space at the Office of Arts and Culture issued Odyssey is acclaimed for its technological realism, boldness and inspired use of music. a statement, which says, in part: Watch the film on the big screen with the iconic score, featuring the epic opening “Our office envisions a city driven by scene set to Also sprach Zarathustra by R. Strauss, performed live by the Seattle Symphony. creativity that provides the opportunity In association with Warner Bros., Southbank Centre London and the British Film Institute. to engage in diverse arts and cultural experiences.”

Mari Horita is the President and CEO of ArtsFund, an organization that gives FOR TICKETS: to the local arts community through 206.215.4747 | SEATTLESYMPHONY.ORG leadership, advocacy and grant making. In 2016, they supported over 100

6 ENCORE STAGES EAP 2_3 V template.indd 1 2/28/17 10:08 AM goals—they’re finding ways to combat what they’re seeing on the national stage. They’re fighting for equity through Join us for a post-show art.” Hsieh notes recent work by arts snack or a cocktail. organization like the Latino Theatre Projects, the Wing Luke Museum, and Our full menu is the Seattle Art Museum that puts diverse voices and perspectives front and center. available until 1am “There’s more intentionality about every night! inclusivity,” she says, “and it’s wonderful to see.”

Be that as it may, the current political climate has had some unexpected, adverse effects on arts funding. Asked if they’ve seen a shift in giving patterns since Trump’s ascendency, several arts The Seattle Symphony received $40,000 administrators say they have. “There’s from the NEA last year. Photo by Brandon been a focus on giving to social services Patoc. over the arts. People are donating to cultural institutions. Their investment Black Lives Matter and Standing Rock,” dollars and resources helps arts and Hsieh says. Artist Trust’s Kristina Goetz cultural organizations present over 10,000 agrees: “Who didn’t become a member of events, exhibits, and performances every the ACLU recently? I added them to my [personal] monthly giving budget, and 2030 5th AVENUE SEATTLE, WA 98121 year. Over 800,000 students received 206.448.2001 | palacekitchen.com they were a new one for me.” tickets to exhibits and performances @palace_kitchen through ArtsFund. They gave $2.4 Arts groups and artists are already million in grants last year to groups like adapting. “We need to tell our stories a the Seattle Art Museum, SIFF, Jet City little differently,” adds Goetz. Hsieh notes MEET THE NEW WORLD. Improv and Seattle Arts & Lectures. Since local artists are pursuing their creative SAME AS THE OLD WORLD. ArtsFund’s inception 47 years ago, the endeavors and then giving the proceeds organization has distributed more than from them to those well-known social $75 million. “We want to strengthen our service organizations. community with the arts,” Horita says. “The city is healthier with a diverse arts Investing in the arts at the sector.” federal level works Horita sees silver linings in regards to the political turmoil of late. “There’s “Let’s be clear, this was not about been an increase in dialogue and civic finances,” Randy Engstrom says of the engagement. It’s been a reminder to show proposed budget. “It was not an act of up and stand up for what we believe in.” strategy. It was a blunt instrument. An She paraphrased Republican politician ideological statement about the arts and Mike Huckabee, who recently wrote a creativity.” The NEA receives about $150 column in the Washington Post urging million in federal funding—that’s .004% Trump to not cut the NEA. “He says of the federal budget. Engstrom believes the arts civilize and humanize us all. that cutting the NEA is shortsighted and fiscally irresponsible. This isn’t a partisan issue. It’s about our A WORLD PREMIERE STAGING fundamental values.” In 2015, according to a report from the JUNE 7 - JULY 2 CENTER THEATRE AT THE ARMORY Kathy Hsieh, Cultural Partnerships and Bureau of Economic Analysis, the arts Grants Manager at Seattle’s Office of contributed more than 4% to our nation’s Arts and Culture, is encouraged as well. GDP, coming in at $704 billion. Agriculture “It’s inspiring to me,” she says. “Different and mining, combined, contributed to 3% of the GDP. 78,000 full-time jobs are groups are coming together for common TIX: 206.216.0833 | BOOK-IT.ORG

encoreartsseattle.com 7 Encore+CityArts_BGVL_1-6pgvert_031517.indd 1 3/21/2017 4:37:39 PM in the arts in Chicago, producing $2 billion in household income. In New York, ticket sales to Broadway shows alone gross $1.37 billion. Zachary Whittenburg, Communications and Engagement Director for Arts Alliance Illinois, summarizes it this way: for every dollar the federal government puts into arts organizations via the National Endowment for the Arts, the arts and culture sectors puts nine dollars back into the national economy.

The pattern holds up locally, too. ArtsFund published "An Economic Impact Study of Arts, Cultural and Scientific Organizations" in 2014. Polling 313 non-profits in King, Kitsap, Pierce and Snohomish counties, the report found that non-profit cultural organizations generate $2.4 billion for the state economy, supporting over 35,000 jobs, not including volunteers. The study revealed 1.18 million volunteer hours logged for central Puget Sound arts groups, done by approximately 29,000 volunteers. A separate study, done in 2014 by Independent Sector, estimated that each volunteer hour is worth $27.54; a value of $32 million.

What can concerned and caring patrons Retire in style. do? Volunteering time and donating money are a great start, even if it’s only Mirabella Seattle surrounds you with a few hours or dollars at a time. “Pick an the best of the city and the most organization or two or three, and become a monthly sustaining donor. That $10 luxurious services and amenities in become $120 a year. That $25 becomes town. No matter what you choose to $300,” says Goetz. Engstrom also do, you’ll experience stylish, worry- encourages patrons to buy tickets to arts free urban living at its finest. they want to support. “We all vote with our dollars,” Engstrom says. Patrons can also support the arts sector politically; Call today to find out how you can if local representatives hear from their retire in the middle of it all, with a full constituents that the arts matter to continuum of care at your fingertips. them, they can better advocate for arts funding. Seattle Foundations’s Fidelma McGinn says, “Engage. Volunteer. Be a 206-254-1441 donor.” ArtsFund’s Mari Horita agrees: retirement.org/mirabellaseattle “Attend events. Join a board. Write letters.” The lesson to arts-lovers is this: show up, stay active, engage and contribute. Together, the community Mirabella Seattle is a Pacific Retirement Services community and an equal housing opportunity. artists, administrators, and patrons can preserve and protect this valuable sector, no matter what happens at the federal

8 ENCORE STAGES level. < John Langs Becky Witmer Artistic Director Managing Director ACT – A Contemporary Theatre presents

By Matthew Lopez Directed by David Bennett Beginning June 9, 2017 • Opening Night June 15, 2017 CAST Adam Standley* Casey Claudine Mboligikpelani Nako* Jo Timothy McCuen Piggee* Miss Tracy Jeff Steitzer* Eddie Charles Smith Rexy, Jason

CREATIVE TEAM David Bennett Director Matt Smucker Scenic Designer Pete Rush Costume Designer Robert Aguilar Lighting Designer Kevin Heard Sound Designer Jessica Low Choreographer Kate Myer Dialect Coach Dennis Milam Bensie Wig Designer JR Welden* Stage Manager Tori Thompson Production Assistant Greg Fulton Guitar Coach Alex Bodine Kenan Directing Fellow Koko Jamison and Studio Glow Neon Artist 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. “Lost and Found” Music by Joe Tippett Lyrics by Matthew Lopez Originally commissioned by The Old Globe, San Diego, California (Louis Spisto, Executive Director) Originally developed and produced at the Denver Center Theatre Company (Kent Thompson, Artistic Director) New York Premiere at the MCC Theater September 9, 2015 (Robert LuPone, Bernard Telsey, & William Cantler, Artistic Directors; Blake West, Executive Director) The Legend of Georgia McBride is presented by special arrangement with Dramatists Play Service, Inc., New York. The video and/or audio recording of this performance by any means whatsoever are strictly prohibited.

THEATRE AND SEASON SPONSORS:

A Contemporary The Joshua Green The Norcliffe Theatre Foundation Foundation Foundation

Katharyn Alvord Gerlich, Eulalie M. & Gian-Carlo Scandiuzzi, Nancy Alvord, True-Brown Foundation Closed Captioning devices are available at evening performances on Jun 10, 13, 16, 20, 23, 27, 30 and matinee performances on Jun 17, 22, and Jul 1. 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 A–1 WELCOME

John Langs to ACT PHOTO BY TRUMAN BUFFET

Warm-hearted laughter—this is what I experienced the first time I read Matthew Lopez’s play The Legend of Georgia McBride. Laughter and gratitude that he chose to put such a wild and entertaining tale on the stage. I knew that it would offer our audience the chance to see the kind of tour-de-force performance that you have come to expect on our stages, and introduce most of you to a whole new world.

It has been a concerted effort on my part to select a season of plays that would take our entire community on an adventure, telling stories that expand our horizons and our empathy. Georgia McBride invites us into a world that has a remarkable history, using artistry and style to embody a political movement—a world that shows us what it truly means to be both fierce and fabulous—and it does it with the kind of panache that makes for great theatre. Under the delightful sequins and the glitter, the songs and the sass, there is strength, dignity, and an indomitable heart that make it more than just a confectionary evening of fun. It’s a story about the choices we make to support the ones we love, and the unexpected friendships we attract when we courageously leap into the unknown. And about how sometimes it takes a great mentor to help us accept all of the parts of ourselves as we journey into self-discovery and self-acceptance.

I hope you enjoy this behind-the-scenes peek into the remarkable world of drag; and for those who already live there, thank you for welcoming the rest of us in.

John Langs Artistic Director

A–2 ACT – A Contemporary Theatre encoreartsprograms.com A–3 s long as there’s been theatre, From Ancient Greece to there’s been drag. What Abegan as a way to sublimate women (casting men in female Angry Inch, Take a Look roles to exclude women from the arts) eventually became a way at the History of Drag for men and women to take on roles of the opposite sex and even BY BEN RIMALOWER, reflect the nuances of a more EXCERPTS FROM PLAYBILL in Theatre fluid understanding of gender, as society is evolving toward today. As a trans community emerges with its own distinct identity, traditional drag remains not only a cultural phenomenon, but a vital element of performance art across many disciplines and genres.

Shakespeare 1558-1603

Ancient Greece With all the dynamic female roles in Shakespeare, it's hard to believe this 800 B.C.-500 B.C. great oeuvre was once the exclusive domain of men. In Elizabethan times, Much of theatre history women had limited freedom or social traces its roots back to status and could not participate in Ancient Greece and drag any professional discipline, including can certainly do the same. Kabuki theatre. Adolescent boys played In Greek society, women 16th century the female roles, perhaps looking were considered vastly somewhat plausible in women's inferior to men and unfit In Japan, Kabuki actually began clothing with their less broad for the stage, one of the as a female-only discipline shoulders, softer faces and more society's most respected (with women playing roles of diminutive heights. The audiences of art forms. Thus, female both genders), but in the 16th the time were able to suspend their roles were played by men. century, women were banned disbelief, but you have to imagine from performing and so a new, G Theatre of Dionysus in Athens, the world didn't see the greatest all-male Kabuki was born. built in the late 5th century B.C. Lady Macbeth, Cleopatra, or Juliet Photo credit: From The Story of until years later when women were G Kabuki actors in 1813, by artist Utagawa the Greeks by H.A. Guerber. cast in the parts. Toyokuni. Art Gallery of South Australia.

G Engraving by Martin Droeshout, 1623, from the First Folio of Shakespeare, 1623. Courtesy of Folger Shakespeare Library.

800 B.C.-500 B.C. 1500s 1600s 1700s 1800s 1900s 2000s

A–4 ACT – A Contemporary Theatre Classical Opera 1750-1820 Victorian Era In Western opera, 1837-1901 some female roles were played by men, It was during the Victorian Modern Drag either countertenors era that the term "drag" 20th century (men who sing in a is believed to have been middle female, or alto, coined, as the long While still a vibrant aspect of some theatre, drag has also range) or sopranists and heavy skirts of the evolved into an art form unto itself. If 20th-century queer (men who sing in the day (particularly in the men and women experimented with cross-dressing to higher female, or exaggerated fashion worn express their individuality apart from traditional society soprano, range). At by men in female roles) (and their solidarity with each other), the inherent times, these roles were literally dragged along the presentational nature of drag made for a slippery slope played by castrati, men stage. Theatre flourished between performance and offstage life, with generations who were neutered as political and economic of drag kings and queens walking that line, each in their before adolescence stability made for safe own unique fashion. Some of those artists have identified so as to preserve nighttime passage (to as transgender, while for others it has been just playing their prepubescent and from performance a character. For some, it's a character, but one they feminine-sounding venues) and shows were don't take off, challenging society at times with the open voices. Less extreme, able to run for a long rebellion against traditional gender roles. but more unique to time. Eventually, this era Since the beginning of the LGBT liberation movement opera, has been the of theatre gave birth to and the 1969 uprising at the Stonewall Inn, drag has existence of "pants arguably the most famous been as closely linked to political action as it has been to roles," male parts example of cross-gender entertainment and as the years go on, this line continues played by women, casting, the title role in to be blurred. RuPaul began his career as a counter- such as Cherubino Peter Pan, a male part culture fringe artist alongside Lady Bunny and numerous in The Marriage of audiences not only accept other Alphabet City denizens of the '80s, but today hosts Figaro and Hansel in played by a woman, but one of the most successful reality competitions on TV—a Hansel and Gretel. expect to be played by a show business phenomenon that surely educates many Perhaps due to the woman. people otherwise unfamiliar with aspects of LGBT culture. heightened reality of As more and more TV and movies take on these stories, operatic music, this G Nina Boucicault, the first type of reverse casting person to portray Peter Pan, in theatre, with its live, in-person, real time nature, offers has been generally the 1904 debut of Peter Pan, or a singular environment for empathy and courage and the Boy Who Wouldn’t Grow U accepted by audiences p experimentation. at the Duke of York’s Theatre in for centuries. London. G Clockwise from top left: Harvey Fierstein in Hairspray, photo by Paul Kolnik/Photofest; RuPaul, drag queen and host of RuPaul’s Drag G The Marriage of Figaro at Race, courtesy of World of Wonder; Neil Patrick Harris in Hedwig and Seattle Opera in 2016. the Angry Inch on Broadway, photo by Joan Marcus; and Kevin Smith Photo by Jacob Lucas. Kirkwood in Kinky Boots, photo by Matthew Murphy.

800 B.C.-500 B.C. 1500s 1600s 1700s 1800s 1900s 2000s

encoreartsprograms.com A–5 BEHIND THE Glitz & Glamour

You may have seen Pete Rush’s exceptional costume design in ACT’s Little Shop of Horrors in 2014, or in 2013 with Gina Gionfriddo’s Rapture, Blister, Burn. Now, he brings his stunning craftsmanship to The Legend of Georgia McBride, where he’s not PHOTO BY CATI THELEN only designing with Elvis in mind, but with the personas of three drag queens in tow. “It’s always fun to work here at ACT. They have a How are you interpreting this show as great costume shop with a costume designer? resources so as a designer I I think it’s a play about clothes in a lot of can sketch something and ways. There are lots of moments of drag performance, and then lots of moments say, ‘I want it to look like this.’ of backstage life, and then moments of And a week later, it exists in everyday normal life. So there are three real life. They take fabric and different buckets that I’m designing toward: make it happen, and that’s the everyday, normal clothes that people wear, the hidden undergarments, that you How does could see backstage, and then the big, glorious, fabulous stuff input from the that goes on top of it. And then of course … there’s a character cast come into who’s an Elvis impersonator. How do you take those Elvis play during clothes and turn them into drag queen clothes? The character this process? makes a choice to do that, essentially. It adds a lot of fun challenges. We sat for an hour and a half in the fitting room and I got [the cast] into their drag bodies. We figured out: how big is What are you most excited for people to see in their chest, how big are their hips, find shoes that fit them, Georgia McBride? so we got their shape together. … They definitely are then influencing the design in terms of color and style. They’re the If we do our job right, every scene there’s something new to ones who have to wear it and own it. And I think this will look at. Very rarely will you see something repeated. At the continue throughout the whole rehearsal process—their input end of the show, people will be like, “Oh my god, how many is going to be something really valuable. different things did we see?” And that goes up to the finale, the very last moment of the show, when every single character There are so many layers that are underneath the final layer, comes out in a brand new costume. It’s a big explosion at the which is what you see, and that final layer has all the glitz and end. So I’m excited for people to see yet another fantastic glamour and sparkle. To get there takes a long time. It’s a huge outfit on top of fantastic outfit. volume of clothes. I think there’s probably like 40 different costumes in the show. It’s fun! But it’s challenging.

A–6 ACT – A Contemporary Theatre Who's Who in The Legend of Georgia McBride

Adam Standley (Casey) is a founding member of the new works ensemble, The Satori Group. He’s currently living in South Seattle with his beautiful and inspiring wife, Amanda, and his beautiful and awful dog, Bogie. He is a lead carpenter with LCM Builders. Credits include reWilding, Making of a Monster, Tragedy: a tragedy, and Winky (Satori Group); Bud Frump in How To Succeed In Business ... (The 5th Avenue Theatre); Daniel in Tribes, Con in Stupid F#@*ing Bird (Gregory Nomination), Mr. Burns in Mr. Burns, a post-electric play, (ACT); Prior in Angels in America: Part 1 and 2, Lyle Webb in John Baxter is a Switch Hitter, State Trooper/et al in Jane Nichols' idiotic We Won’t Pay, We Won’t Pay (Gregory Nomination) (Intiman); Leo in 4000 Miles (ArtsWest); Mike in Crash (Seattle Children’s Theatre). “You are fabulous creatures, each and everyone.”

Claudine Mboligikpelani Nako (Jo) is a two-time Gregory Award Winner for her leading performances in My Heart is the Drum (Village Theatre, 2016) and Little Bee (Book-It Repertory, 2015). She is a three-time recipient of the Gypsy Rose Lee Award from Seattle Theater Writers for her portrayal of Beneatha in A Raisin in the Sun (Seattle Repertory Theatre, 2017) in addition to the aforementioned roles. Claudine is an avid freelance teaching artist, director, and choreographer. She enjoys working with diverse students of all ages and backgrounds using theatre and dance to demonstrate cultural intersection and build community. Nako is also the librettist and lyricist for a new musical currently titled, Fabletown! Film: Sadie, Long Shot, Hearsay. TV/Web: Grimm, Strowlers, The Kickback. Commercial: Kroger Co., Toyota, Microsoft, Amazon, Discovery Channel, and others.

encoreartsprograms.com A–7 Who's Who in The Legend of Georgia McBride Timothy McCuen vocalist and instrumentalist with the surreal Theatre); and Man of La Mancha and Once Piggee (Miss Tracy) pop ensemble The French Project, and in On This Island (Village Theatre). Regional has appeared in 2011, he performed his show My Arm Is Up work includes Ordway Theatre, Casa multiple productions at in the Air (On the Boards)—where he has Manana, Peterborough Players, North ACT, most recently in been employed since 2001. He currently Carolina Theatre, Pioneer Theatre, and Jacques Brel… Locally, serves on the Board of Directors for the Portland Stage Company. he has been fortunate Lower Queen Anne co-op in which he enough to work at resides. Richard Gray (Music Director) TBD every major theatre. Nationally, his work has been seen on Broadway, the Denver Center Matthew Lopez Matthew Smucker (Scenic Designer) is Theatre Company, Milwaukee Repertory (Playwright) is the pleased to return to ACT where previous Theater, Portland Center Stage, Kansas City author of The designs include The Mystery of Love and Repertory Theatre, Arizona Theatre Whipping Man, one of Sex; The Invisible Hand; Mr. Burns, a post- Company, and Pioneer Theatre Company, the most celebrated electric play; Grey Gardens; Rapture, Blister, among others. His film and television credits and widely produced Burn; Sugar Daddies; Ramayana; First Date; include Navy Diver, Out Patient, After, new American plays of In the Next Room (or The Vibrator Play); The Crocodile Tears, Take One, The David the last decade. The Prisoner of Second Avenue, Rock‘n’Roll, Letterman Show and The 65th Annual Tony Manhattan Theatre Club production Yankee Tavern, Trip to Bountiful, Eurydice, Awards. Most recently, he directed A Raisin received Obie, Lortel, and Outer Critics Circle The Clean House, The Women, and The in the Sun at Seattle Repertory Theatre. awards including the John Gassner New Play Pillowman, among many others. Smucker’s Other directing credits include Village Award. It has since been produced at over work has appeared locally: Man of La Theatre, Theater Schmeater, Langston 100 U.S. theatres as well as internationally. Mancha, Oklahoma, Elf, Candide (The Hughes Performing Arts Center, Showtunes The Legend of Georgia McBride premiered 5th Avenue Theatre); Dry Powder, Who’s Theatre Company, and Cornish College of at the Denver Center for the Performing Arts Afraid of Virginia Wolf, Or, Circle Mirror the Arts where he is currently a professor in and ran off-Broadway at MCC Theatre in a Transformation, Three Tall Women, Speech the Theater Department. Timothy is a proud production that received multiple Drama & Debate, Memory House, Living Out recipient of the 2015 Lunt-Fontanne Desk, Lucille Lortel, and Outer Critics Circle (Seattle Repertory Theatre); Intiman, New Fellowship, the 2015 Gregory A. Falls Award nominations, including Best Play. Other plays Century Theatre Company, Seattle Children’s for Sustained Achievement, as well as include Somewhere (Old Globe, world Theatre, Book-It, Empty Space, The Village Gregory, Gypsy Rose Lee, and Footlight premiere), Reverberation (Hartford Stage Theatre, Tacoma Actors Guild, and Youth Awards for his work. Company, world premiere), The Sentinels Theatre Northwest; and nationally, at (London’s Headlong Theatre Company) and Houston’s Theatre Under the Stars, Arizona Jeff Steitzer (Eddie) Zoey's Perfect Wedding. Matthew holds Theatre Company, Portland Center Stage, has appeared in Inherit commissions from Roundabout Theatre San Jose Rep, Kansas City Rep, Tempe’s the Wind with Brian Company, Manhattan Theatre Club, South Childsplay, and Minneapolis’ Children’s Dennehy and Coast Rep, Williamstown Theatre Festival, Theatre Company. Smucker teaches scenic Christopher Plummer, and Harford Stage Company, where he design at Cornish College for the Arts and Mary Poppins recently served as their AETNA New Voices received his M.F.A. from the University of (Broadway); off- Fellow. For the past two seasons, he has Washington School of Drama. Broadway; in regional been the Inaugural Playwriting Fellow at the theatres across the country, most recently in Denver Center Theatre Company. Matthew Pete Rush (Costume Designer) designs Five Presidents (Arizona Theatre Company) was a writer on the HBO series The costumes and scenery for theatre. Previous and Kiss Me, Kate (Hartford Stage, The Old Newsroom and has recently adapted Javier designs for ACT include: Little Shop of Globe); in all of Seattle’s major theatres; on Marias’ Your Face Tomorrow trilogy for the Horrors; Rapture, Blister, Burn; Buzzer TV in The Fugitive, 30 Rock, and Law and screen as well as the biopic Dr. Q for Disney. (ACTLab); and Bad Apples (ACTLab). Order; and in film; has done hundreds of Other Seattle productions include: Hamlet, commercials, narrated audiobooks, and is David Bennett Electra, Antony & Cleopatra, Comedy of the Voice of God Multiplayer Announcer for (Director) Recent Errors, Coriolanus, Merchant of Venice, all the HALO games from Microsoft. productions include Henry 5 (Seattle Shakespeare Company); Buyer & Cellar (Seattle RENT, Jasper in Deadland, Hairspray in Charles Smith (Rexy, Repertory Theatre), Concert, Spamalot, Cinderella (The 5th Jason) is originally from Sarah Rudinoff’s Now, Avenue Theatre); Welcome to Braggsville, Rhode Island. Charles Now, Now (On the Cider House Rules, Slaughterhouse 5, The attended public Boards), and The Art of Racing in the Rain, The Amazing schools and worked Sound of Music (The 5th Avenue Theatre). Adventures of Kavalier & Clay, Sense & for the US Cycling Other Seattle favorites: Torso by Keri Healey Sensibility (Book-It Repertory); Cherdonna’s Federation before (American Theatre Critics Osborn new play Doll’s House, Mutherfucker With A Hat, moving to Seattle in winner); Miss Saigon, My Fair Lady, The Sprawl, BedSnake, Sextet, Tall Skinny Cruel 1991. In the 90s, he worked for several Most Happy Fella, The Buddy Holly Story, Boys (Washington Ensemble Theatre). He’s mortgage banks while also performing in, and A Chorus Line (The 5th Avenue additionally worked on projects at ArtsWest, designing, or stage managing numerous Theatre); The Neverending Story, Junie B. West of Lenin, Cornish Opera, Strawberry productions. More recently, he has been a Jones, and Bunnicula (Seattle Children’s Theatre Workshop, and Seattle Public Theater. Regional credits include: Hangar

A–8 ACT – A Contemporary Theatre Who's Who in The Legend of Georgia McBride Theatre, George Street Playhouse, Berkshire Ogunquit Playhouse, Ordway, Seattle John Langs (Artistic Theatre Festival, Bloomsburg Theatre Repertory Theatre, Seattle Shakespeare Director) John has Ensemble, and Kitchen Theatre Company. Company, Shakespeare Theatre Company, been delighted to Pete is also a member of New Century Theatre Under the Stars, and Village Theatre. serve ACT as Artistic Theatre Company, where he recently Kevin often does production work for Director since 2016, designed The Big Meal. Member of United Seattle’s BenDeLaCreme and is the founder and previously as Scenic Artists Local 829. of consulting firm Heard Audio, LLC. Associate Artistic HeardAudio.com Director for three Robert Aguilar (Lighting Designer) At years. John’s 16-year freelance career has ACT: Daisy, Little Shop of Horrors (The 5th Jessica Low (Choreographer) is a Seattle- afforded him the opportunity to work with Avenue Theatre co-production), The Lady based director, choreographer, actor, singer, many prestigious theatre companies across With All the Answers; Seattle area: The dancer, and arts educator. She has a B.A. in the country. He has directed productions at Pajama Game, How to Succeed..., Jasper Drama from the University of Washington Playwrights Horizons NY, Ensemble Studio in Deadland (The 5th Avenue Theatre); and was the 2014 Gregory Award recipient Theater NY, Milwaukee Repertory Theatre, Dry Powder, A Raisin in the Sun, Buyer for Outstanding Choreography for The Lookingglass Theater Company in Chicago, and Cellar, Lizard Boy, Dear Elizabeth, The Wild Party (Sound Theatre Company). Circle X in Los Angeles, The Resident Vaudevillians, Bo-Nita, I Am My Own Wife, Credits include: The Sound of Music (The Ensemble, New Century Theatre Company, Of Mice and Men, The K of D and boom! 5th Avenue Theatre; Assistant Director); Washington Ensemble Theatre, and Seattle (Seattle Repertory Theatre); The Cherry Singin’ In The Rain, Billy Elliot (Village Shakespeare Company. John received his Orchard, Three Sisters (The Seagull Project, Theatre; Associate Director); The Tutor directing degree fromthe University of North ACTLab); Barbecue, Wedding Band, The (Village Theatre; Choreographer); 9-5 The Carolina School of the Arts. Some of his Children’s Hour, Angels in America (Intiman); Musical (Seattle Musical Theatre; Director/ favorite directing credits include The Shaggs Trails (Village Theatre); Next to Normal, The Choreographer); Once On This Island, A Philosophy of the World (LA Drama Critics Yellow Wood,The 25th Annual… and Zanna Chorus Line (ArtsWest; Choreographer); Circle Award for Best Original Musical), and Don’t! (Contemporary Classics). Regional: Fiddler on the Roof, High Society, Brothers Karamazov (seven LADCC Awards Full Gallop (The Old Globe), 7 Spots on the Closer Than Ever, Nunsense 2, George including Best Production of the year and Sun (Cincinnati Playhouse). M., Swing! (Seattle Musical Theatre; Best Direction) and directing Kurt Beattie in Choreographer); Young Frankenstein, Man King Lear. John received the first annual Dennis Milam Bensie (Wig Designer) of La Mancha (Bigfork Summer Playhouse; Seattle Gregory Award honoring excellence Dennis Milam Bensie’s first wig show at Choreographer); and Rock ‘n’ Roll Twelfth in direction for The Adding Machine. Recent ACT was Little Shop of Horrors a few years Night, Jesus Christ Superstar (Harlequin Seattle credits include Mary’s Wedding ago. He was the Wardrobe and Wig Master Productions; Choreographer). Many (NCTC), The Three Sisters (The Seagull at Intiman for 20 seasons. His wig work thanks to David Bennett and ACT for this Project), and Othello (Seattle Shakespeare has also been seen at Oregon Shakespeare opportunity! Company). As a dedicated fan of original Festival, Actor’s Theatre of Louisville, work, John has shepherded over a dozen Berkeley Repertory Theatre, The Old Globe Kate Myer (Dialect Coach) is a longstanding projects to their premieres. in San Diego, the Alliance Theatre in Atlanta, faculty member at Cornish College of the Arizona Theatre Company, and all over Arts where she teaches Voice and Speech, Becky Witmer Seattle. If you see Jinkx Monsoon (winner Voiceover, Dialects, and Podcasting. She (Managing Director) of RuPaul’s Drag Race, season five) and her received her M.F.A. in acting from Brandeis has been with ACT hair is orange, it’s very likely that wig was University. She has performed, taught, and since 2011, serving as designed and created in Dennis’s tiny kitchen coached with Seattle Children’s Theatre, the General Manager in Wallingford. Seattle Opera’s Young Artist Training (2014-2015) and also Program, ACT, Seattle Public Theater, Village the Director of Kevin Heard (Sound Designer) is a Theatre, University of Washington, The 5th Marketing and Seattle-bred, NYC-based sound designer Avenue Theatre, Tacoma Actors Guild, The Communications (2011-2014). Becky began and theatre maker. For ACT: Assassins Immediate Theatre, Borealis Theatre, Vocal her career in arts management through (BroadwayWorld Seattle Award) and several Arts Northwest, New City Theater, and The marketing and communications. She was ACTLab collaborations. Other Seattle Boston Repertory Theatre. Most recently the Director of Marketing and Public designs: Sweeney Todd, Really Really, Buyer Kate worked as a dialect consultant to Relations at Intiman Theatre (2008-2011) & Cellar, Jinkx Monsoon’s Hedwig and Tony Award-winning lyricist, Brian Yorkey and Opera Colorado (2006-2008). She was the Angry Inch, Hotel on the Corner …, on his Netflix series, 13 Reasons Why. Kate the Associate Director of Marketing with Sense and Sensibility, several productions works internationally as a commercial voice Central City Opera (2002-2005). Becky is an for Teatro ZinZanni, and four productions talent and is a member of Actor’s Equity, advisory board member for TeenTix, a as Associate Designer for The 5th Avenue AFTRA/SAG, and is a founding member of founding co-chair of the Cultural Resource Theatre. Kevin has 15 Broadway and Off- Operating Theater. Collective, an Arts Business C onsultant Broadway design credits and has designed with Shunpike, and she frequently appears dozens of regional productions from coast JR Welden (Stage Manager) to come as a guest lecturer for Seattle University’s to coast and internationally with companies Arts Leadership M.F.A. program. She is a including Atlantis Theatrical (Manila), graduate of the Leadership Tomorrow ArtsEmerson, Asolo Rep, George Street, program. The Guthrie, Intiman, Merry-Go-Round,

encoreartsprograms.com A–9 ACT operates under agreements with the following:

This theatre operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

PATRON INFORMATION

Emergency Evacuation Procedures Sign Language interpreted and audio-described In the event of an emergency, please wait for an performances. For more information, email announcement for further instructions. Ushers will be [email protected]. available for assistance. Lost & Found Emergency Number Call 206.292.7676 between 12:00pm and 6:00pm, The theatre’s emergency number in the Union lobby is Tues–Sun. 206.292.7667. Leave your exact seat location with your emergency contact in case they need to reach you. Address & Website ACT is located at 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. Fax: 206.292.7670. 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 Wheelchair seating is available. The theatre is email [email protected]. equipped with the Williams Sound® Listening System for the hard of hearing; headsets are available from Fragrance 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.

A–10 ACT – A Contemporary Theatre ACT PARTNERS: A PART OF THE ART

ACT graciously thanks and recognizes the many individuals and families investing in our mission. Our community and cultural life are better for your participation. Your continued generosity inspires and motivates—thank you! PRODUCERS CIRCLE

Visionary Producers $100,000+

Nancy Alvord*^ Katharyn Alvord Gerlich*^ Eulalie M. & Gian-Carlo Scandiuzzi^ Linda & Brad Fowler*^ Eric and Margaret Rothchild Charitable Fund^ True-Brown Foundation^

Luminary Producers $50,000-$99,999

Allan & Anne Affleck^ Gary & Parul Houlahan*^ Brian Turner & Susan Hoffman^ Chap & Eve Alvord Gladys Rubinstein^~ David & Joyce Veterane^ Chuck Sitkin*^

Executive Producers $25,000-$49,999 Joan & Larry Barokas^ Gregory & Diane Lind^ Peter & Fran Bigelow^ Katherine & Douglass Raff^ Betty Bottler^ Don & Goldie Silverman^ Trevor Cobb & Cecilia Cayetano^ Shanna & Ryan Waite Allan & Nora Davis^ Steve & Diana White^ Jean Burch Falls* Mr. & Mrs. Clyde Wilson^ Charles Fitzgerald*^ Anonymous Sustaining Producers $10,000-$24,999 Kermit & Danna Anderson^ Yoshi & Naomi Minegishi Dr. Eric Bennett^ Jim & Cheri Minorchio Leslie Ray & Michael Bernstein* Dr. Arnie & Judy Ness^ James Degel & Jeanne Berwick, Berwick Degel Family Foundation Linda & George Ojemann Marianne & Benjamin Bourland Teresa & Geoff Revelle*^ Natalie Gendler^ Ingrid Sarapuu & Michael Anderson^ Richard Hesik & Barbara Johns Faye Sarkowsky Bill Kuhn & Patricia Daniels*^ Barry & Colleen Scovel^ Jane W. & James A. Lyons^ Spark Charitable Foundation May McCarthy & Don Smith^ Franklin & Stephanie Thoen^ The Estate of Norman D. Miller*~ David & Shirley Urdal^

This list reflects donations made to the Annual Fund between January 1, 2016 and January 1, 2017, as well as gifts to the ACT for the Future Campaign. 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 x 1224 * ACT Legacy Society member ^ACT for the Future donor ~Deceased ACT PARTNERS: A PART OF THE ART ACTORS CIRCLE

Benefactors $5,000-$9,999

Sheena Aebig & Eric Taylor Heather & Grady Hughes^ Richard Reel Melinda & Walter Andrews Lisa & Norman Judah Donald & Jo Anne Rosen Laurie Besteman & Jack Lauderbaugh*^ Abha Khanna & Adam Porsch^ Dr. Larry Hohm & Karen Shaw^ Sonya & Tom Campion Marvin & Helaine Lender Lisa Simonson^ Colin & Jennifer Chapman^ Nicholas & Dana Masington Margaret Stanley Dennis & Deborah DeYoung Eugene & Donna Mikov Alison & Doug Suttles Jerald Farley Sally Nelson Jean Viereck James & Barbara Heavey Douglas & Nancy Norberg Jean Walkinshaw Ross & Kelsey Henry^ Dr. Greg Perkins^ Kären White^ John & Ellen Hill Brooks & Suzanne Ragen^ Anonymous (2)

Impactors $2,500-$4,999

Jerome Anches~ Linda & Ted Johnson Charles & Benita Staadecker Robert Braun Karen Koon & Brad Edwards Robert & Shirley Stewart^ Michael Crystal Mark & Susan Minerich Tamzen Talman Rayner D'Souza Donald Paterson Nancy & David Thacher Anne Foster Nicholas & Yvonne Roberts Steven Tran Eleanor & Jeff Freeman Evelyne Rozner & Matt Griffin Jim & Kathy Tune Nicholas Hart Tove Ryman Vijay & Sita Vashee Julia & Michael Herschensohn Warren & Nancy Smith Judith Warshal & Wade Sowers* Stephanie M. Hilbert*^ Rose & the late John Southall* George & Colleen Willoughby Katherine Ann Janeway & H.S. Wright III Ron & Carol Sperling Anonymous (2)

Activists $1,500-$2,499

Richard Andler & Carole Rush Hashisaki/Tubridy Family^ John Oconnell & Joyce Latino Kendall & Sonia Baker Ms. Amy Henry Pamela & Gilbert Powers Becky Benaroya Dan & Connie Hungate Ken Ragsdale Corinne A. Campbell Clare Kapitan & Keith Schreiber Harold Sanford Frank & Denise Catalano Craig Davis & Ellen Le Vita William & Rae Saltzstein Dennis & Aline Caulley Eileen Lennon & Barrie Carter Joe Schwartz Patricia & Theodore Collins Charlotte Lin & Robert Porter Sheila Smith & Don Ferguson Steve Coulter Alice Mailloux Mark & Arlene Tibergien Todd & Sylvie Currie David Mattson Mary & Donald Wieckowicz Bob & Kristi Diercks^ Eric Mattson & Carla Fowler Kathy & Chic Wilson Lonnie Edelheit Frank Lawler & Ann McCurdy Conrad & Glenna Wouters Lori Eickelberg Joy McNichols Anonymous (2) Kevin Wilson & Emily Evans Dayle Moss & David Brown

A–12 ACT – A Contemporary Theatre PLAYERS Lead Players $750-$1,499 Matt Aalfs & Alys Weinbaum Jeannie M. Falls Gary Horsfall and Corrinne Nadine & John Murray Isabel & Herb Stusser Francois Ajenstat Penny Freedman Martin Sarah Navarre Jeffrey A. Sutherland John Akin & Mary Stevens Dot Fuller Alexander Grigorovitch & Vera James Nichols & Beth Amsbary Norm & Lynn Swick Kirichuk Aaron Anderson Lucy Gaskill-Gaddis & Terry Chris & BJ Ohlweiler Margaret Taylor Willis Kleinenbroich Peter & Jane Barrett Gaddis Hal Opperman & JoLynn Edwards Kathie & John Truax Victor Janusz Marge & Dave Baylor Gordon Gardiner Cynthia & Bruce Parks Dirk & Mary Lou Van Woerden Steve Langs Wendy Bradbury Jim Graham Valerie D. Payne Eric Weber Steven & Anne Lipner Phoebe Brockman Rhonda & Jim Greer Chuck Perry Nancy Weintraub Stephen & Ellen Lutz Bruce Burger Margaret Haggerty Judy Pigott Janet Westin & Mike McCaw* Dan & Carol Madigan Dr. William Calvin & Dr. Katherine Lawrence & Hylton Hard Judy G. Poll Dianne & Douglas Wills Tony Martello Graubard Rick & Cindi Hasselblad Richard Rafoth Ann P. Wyckoff Marcella McCaffray Jeffrey & Alicia Carnevali Rodney & Jill Hearne David Ragozin Susan Yates† Frances & Casey Mead Kevin & Lisa Conner Marjorie Kennedy Hemphill Barbara Sando Larry Yok Gail & John Mensher Jeff & Allison Craggs David Hewitt John Schoettler Diane & John Yokoyama Lauren Mikov & John Muhic Kathy & Don DeCaprio F. Randall & Barbara Hieronymus Judith Simmons Josette Yolo Wesley Moore & Sandra Walker Mike Dey Vaughn Himes & Martie Ann Ann Stephens Anonymous (6) Bohn Jim Mullin Patrick J. & Lanie Dineen Storms Family Trust Sara Comings Hoppin Bill & Mary Ann Mundy

This list reflects donations made to the Annual Fund between January 1, 2016 and January 1, 2017, as well as gifts to the ACT for the Future Campaign. 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 x 1224 * ACT Legacy Society member ^ACT for the Future donor Special Fund Donors ACT Endowment Donors ACT’s endowment is administered by the A Contemporary Theatre Foundation. Buster & Nancy Alvord The Ewert Family Sally Pence Rose & the late John Southall Joan & Larry Barokas Bruce & Dawn Goto Katherine & Douglass Raff David & Joyce Veterane Michael Corliss-Investco William Randolph Hearst Endowed Brooks & Suzanne Ragen The Peg & Rick Young Foundation Katharyn Alvord Gerlich Fund for Education & Outreach Herman & Faye Sarkowsky Anonymous Becky & Jack Benaroya Programs David E. & Catherine E. Skinner Charles Blumenfeld & Karla Axell Kreielsheimer Remainder Fund Kayla Skinner Ron & Jan Delismon Doug & Nancy Norberg Estate of Stuart Smailes

The ACT Legacy Society ACT patrons who continue to support and ensure the ongoing tradition of presenting the best contemporary theatre for future generations through estate planning, wills, and living trusts. Investments of all sizes can make significant future gifts by using tax-advantaged estate and financial planning options. Specific areas where ACT can benefit from your legacy are scholarships, endowments, capital projects, or operating costs. Questions or arrangements can be discussed with our Development Department at 206.292.7660 x1330. Nancy Alvord Tal & Carol Godding David Mattson Chuck Sitkin Leslie Ray & Michael Bernstein Stephanie Hilbert Mike McCaw & Janet Westin GregRobin Smith Laurie Besteman Gary & Parul Houlahan Catherine & Barry McConnell Rose & the late John Southall Jean Chen Suzanne Howard Steven McCoy & Larry Henderson Judith Warshal & Wade Sowers Jean Burch Falls Ed Hutsell & Kathy Whitten Norman D. Miller Dorothy E. Wendler Gartha Ferrand H. David Kaplan Dr. Arnie & Judy Ness Charles Fitzgerald Carolyn Keim & Connie Rinchiuso Lisbeth Pisk Linda & Brad Fowler Bill Kuhn & Patricia Daniels Teresa Revelle

A Special Thank You ACT gratefully acknowledges the following professionals and organizations who have helped make this season a success: Keith Johnson, Daqopa Brands LLC Donnatella Howe & Kara Sutra, Makeup Village Theatre AJ Epstein Consultants Wiley Basho Gorn Charlene Hall & Julie Miller Seattle Eye Care & Optical, Grady Hughes, MD MJ Sieber Seattle Repertory Theatre Tim Gouran

encoreartsprograms.com A–13 ACT Institutional Sponsors

ACT gratefully recognizes the following corporations, foundations, government and media agencies for their generous support of our 2017 programs. This funding from our community supporters enables ACT to offer outstanding contemporary theatre for many audiences, educational programs for a variety of student participants, and our continued theatre partnerships in ACTLab.

Platinum Circle $50,000+ ArtsFund Office of Arts & Culture Atsuhiko and Ina Goodwin Tateuchi Foundation^ The Shubert Foundation Inc. The Boeing Company The William Kenan Charitable Trust National Endowment for the Arts Gold Circle $25,000-$49,999 4Culture John Graham Foundation Nesholm Family Foundation Doris Duke Charitable Foundation MAP Fund Tuxedos & Tennis Shoes* Silver Circle $10,000-$24,999 Daqopa Brands* HomeStreet Bank Robert Chinn Foundation Elizabeth George Foundation Microsoft Corporation The Sheri and Les Biller Family Harvest Foundation Peg & Rick Young Foundation Foundation Treeline Foundation Bronze Circle $5,000-$9,999 Alhadeff Family Charitable Foundation Humanities Washington U.S. Bank Foundation The Chef in the Hat* Nordstrom WA State Arts Commission Horizons Foundation Sellen TEW Foundation Copper Circle $1,500-$4,999 Bob & Eileen Gilman Family Foundation Fales Foundation Trust Riddell Williams, P.S. The Commerce Bank Fran’s Chocolates* Seattle Foundation Crane Jewelers* Gordon Biersch Brewing Co. Seattle Actors Workshop Ethan Stowell Restaurants* Jeffris Wood Fund Washington Holdings* Eulalie Bloedel Schneider Foundation Loulay Kitchen & Bar Wyman Youth Trust

All italicized institutions are recognized as 10+ year supporters of ACT *Denotes in-kind support ^Denotes multi-year commitment ACT for the Future Campaign Donors 4Culture The Norcliffe Foundation State of Washington Department Joshua Green Foundation of Commerce Wyman Youth Trust

ACT gratefully acknowledges the following for their contributions to the 2017 Season:

THE JOHN GRAHAM FOUNDATION

2017 Media Sponsors:

A–14 ACT – A Contemporary Theatre ArtsFund strengthens the community by supporting the arts through leadership, advocacy and grant making. Campaign 2016 Donors Thank you to all our donors for sharing and supporting our vision of a community with a dynamic and world-class arts and cultural sector where the arts are accessible to all and valued as central and critical to a healthy society.

Visit www.artsfund.org for a full list of our donors and to learn more about ArtsFund Pledges and donations made between 7/1/15 - 5/31/16

$350,000 and up $100,000 - $349,999

$50,000 - $99,999

$25,000 - $49,999

Support from Microsoft Corporation, The Boeing Company, Sellen Construction, Starbucks Coffee Company and POP includes employee workplace giving.

$25,000 - $49,999 Clise Properties Inc. RealNetworks Foundation Ernst & Young LLP DLA Piper* Columbia Bank Safeco Insurance Foss Maritime Company Gensler Architects K&L Gates* The Commerce Bank of Washington* Seattle Mariners Baseball Club KING 5 Perkins Coie* Dapper + Associates Union Bank Medical Consultants Network, Inc.* Stoel Rives LLP* Davis Wright Tremaine LLP* Moss Adams - Seattle* $5,000 - $9,999 Washington State Combined Fund Dorsey & Whitney LLP* Nintendo of America Inc. Drive* Alaska Airlines, Inc. Orrick, Herrington & Sutcliffe LLP Getty Images Alaskan Copper & Brass Company and Alaskan Copper Works Puget Sound Business Journal $10,000 - $24,999 GMA Research Corporation Raisbeck Foundation Amazon Bessemer Trust R.D. Merrill Company BNY Mellon Wealth Management Vulcan Inc. CenturyLink *Includes employee workplace giving

Arts Benefactor Circle Jon and Mary Shirley Foundation Brad Smith and Kathy Surace-Smith Pete Higgins and Leslie Magid Higgins Conductor’s Circle Mary Snapp and Spencer Frazer James and Katherine Tune Mari Horita $10,000 - $24,999 Brad Vanderburg Gold Club Arlene A. Wright Heather Howard $50,000 and up Nancy Alvord Vijay and Sita Vashee Dan and Connie Hungate Ann P. Wyckoff Carl and Renee Behnke Norman Archibald Charitable David Jones and Grace Lao First Chair Lynn Hubbard and David Zapolsky Foundation $5,000 - $9,999 Janet Wright Ketcham Foundation Joshua Green Foundation Anonymous (1) Chap and Eve Alvord Anna Kinney Mary Pigott Judi Beck and Tom A. Alberg Bill and Nancy Bain Encore Ken and SaSa Kirkpatrick Pete and Julie Rose Florence & William Beeks - Las Brisas Foundation Steve Behnen and Mary Hornsby $2,500 - $4,999 Dana and Roger Lorenze Michael P. Bentley Bob and Clodagh Ash Tim Mauk and Noble Golden $25,000 - $49,999 Mr. William B. Beyers Creelman Foundation Jim and Barb Barnyak Karen and Rick McMichael Mrs. Jane Davis and Dr. David R. Davis Peter and Susan Davis Allan E. and Nora Davis Kumi and Anthony Baruffi Yazmin Mehdi and Liam Lavery Jim and Gaylee Duncan The Hugh and Jane Ferguson John H. Bauer Katharyn Alvord Gerlich Foundation Alison and Glen Milliman Ellen Ferguson Annette and Daniel Becker John Graham Foundation Kevin Fox Charlie and Eleanor Nolan The Sheri and Les Biller Family Cynthia Huffman and Ray Heacox William Franklin Douglas E. & Nancy P. Norberg Glenn Kawasaki Foundation Peter Horvitz Rod Fujita Glenna Olson and Conrad Wouters Patricia Britton and Stellman Sue and Artie Buerk Debbie Killinger Furuta Lee Foundation Brooks and Suzanne Ragen Keehnel C. Kent and Sandra C. Carlson Alice Ikeda Scott Redman Thom and Gwen Kroon Linda Cheng Sandy and Chris McDade Ed Kim Roberta Romero Charlotte Lin and Robert Porter Leslie and Dale Chihuly Neukom Family Loeb Family Charitable Foundations Stan and Ingrid Savage Douglas and Joyce McCallum Mack Foundation Melanie Curtice Schoenfeld-Gardner Foundation Norcliffe Foundation Blanche and Stephen Maxwell Lynne Eskil Nancy S. Nordhoff Keith Schreiber and Clare Kapitan Moccasin Lake Foundation Anthony and Erica Miles Robert Fleming Judy Pigott Heather Lowenthal and Jonathan Leigh and Louise Rabel Stephen P. and Paula R. Reynolds Eric Freyberg Sposato Carol R. Powell Rosanne Esposito-Ross and Louis Lynn and Brian Grant Family Rich and Leslie Wallis Satterberg Foundation Ann Ramsay-Jenkins and the Ross Maria Gunn Gail and Bill Weyerhaeuser Anonymous (1) William M. Jenkins Fund Daryl Russinovich Wes Hagen Korynne Wright Faye Sarkowsky Alane and Doyle Simons Richard and Marilyn Herzberg encoreartsprograms.com A–15 ACT A Theatre of New Ideas ACT Board of George V. Willoughby FINANCE Jeremy Rupprecht SCENIC DEPARTMENTS David E. Wyman, Jr. Sheila Smith Audience Services Manager Derek Baylor† Trustees Jane H. Yerkes Director of Finance Ty Bonneville Technical Director House Manager Gary Houlahan EMERITUS COUNCIL Sandi Hogben Nick Murel Chair Payroll and Accounts Payable Assistant Technical Director Richard C. Clotfelter Libby Barnard Specialist Charles Sitkin Esther Schoenfeld Assistant House Manager Amanda Quinn Past Chair Liz Camelia Ashley Bagwell Master Scenic Carpenter Ross Henry Senior Accountant Katie Bicknell Ron Darling Vice President A Contemporary Andrew Creech Lead Scenic Carpenter Douglas Fries Michael Crystal DEVELOPMENT Mike Sterkowicz Theatre Ryan Higgins Treasurer Clare Hausmann Weiand Scenic Carpenter Foundation Director of Development Monika Holm Teresa Revelle Sarah Karnes Jeff Scott Secretary Board Carrie Campbell Michael McClain Scenic Charge Artist Institutional Funding Manager Carlo Scandiuzzi Kermit Anderson Becky Plant Lisa Bellero† Major Gifts Chair President Grace Goodwin Jess Schlimmer Assistant Charge Artist Development Associate Shane Unger Matt Aalfs Lucinda Richmond Marne Cohen-Vance† † Audience Services Joan Barokas Vice President Robert Hankins Properties Master Eric Bennett Associate Director of Development Christine Jew Katherine Raff Ken Ewert† Leslie Ray Bernstein Audience Services Affiliate Secretary Amanda Rae Master Properties Artisan Laurie Besteman Development Coordinator Brian Turner † Trevor Cobb PRODUCTION Thomas Verdos Treasurer Jill Robinson Rayner D’Souza Lead Properties Artisan Development Officer Alyssa Byer Charles Fitzgerald Mike Crystal Production Manager Michael Herschensohn Brad Fowler Amber K. Lewandowski STAGE OPERATIONS Stephanie Hilbert Gary Houlahan MARKETING AND † Assistant Production Manager Nick Farwell Grady Hughes Charles Sitkin COMMUNICATIONS Stage Operations Supervisor Abha Khanna Amy Gentry Meaghan Darling James Nichols† Bill Kuhn Director of Marketing and Production Office Manager Master Stage Carpenter Diane Lind Communications Patty Liang Kyoko Matsumoto Wright ACT Staff Pam Mulkern† Aubrey Scheffel Production Runner Lauren Mikov Master Electrician Associate Director of Marketing Naomi Minegishi EXECUTIVE STAGE MANAGEMENT Max Langley James Minorchio John Langs Jillian Vasquez Jeffrey K. Hanson† Master Sound Engineer John Muhic Artistic Director Marketing Manager Judy Ness Production Stage Manager Ryan Dunn Becky Witmer Amelia Wade George Ojemann JR Welden†, Briana Kersten, Erin ACTLab Technical Associate Managing Director Groups Manager Margaret Rothchild B. Zatloka Cati Thelen Karen Shaw Samie Detzer Stage Manager FOR THIS PRODUCTION Goldie Gendler Silverman Literary and Executive Manager Marketing & PR Assistant Tori Thompson Naomi Weber Rob Stewart Dawn Schaefer Production Assistant Draper Larry True ARTISTIC Graphic Design Associate Ryan Waite Brent Roberts Kurt Beattie† Chris Bennion Shanna Waite COSTUME DEPARTMENT Craftsperson Artistic Director Emeritus Production Photographic Services Lisa A. Knoop Kristin Ginter † Margaret Layne Christa Fleming Costume Director Dresser ACT Advisory Director of Casting Graphic Design Services Pete Rush Jason Montgomery Council Angie Kamel Interim Costume Director Stagehand Artistic Engagement Manager SALES AND AUDIENCE Sheena Aebig Janet Edman Lind Brendan Patrick Hogan Emily Penick SERVICES Daniel D. Ederer Head Draper Sound Engineer Literary and Artistic Manager Jessica Howard Jean Burch Falls Director of Sales and Audience Susanne R. Sherman Megan Brewer, Mario Gomez, Jeannie M. Falls Services First Hand John H. Faris Arica Jeffery Kidd, Eliza Wu Sally Mellis† Brad Fowler Literary Interns Ashey Schalow Database Manager Wardrobe Master Carolyn H. Grinstein Alex Bodine Courtney Kessler-Jeffrey Sara Comings Hoppin Kenan Directing Fellow Scott Herman C. David Hughbanks Customer Service Manager Dresser Jonathan D. Klein Star Zatine Jane W. Lyons ADMINISTRATION Telesales Manager Gloria A. Moses Chris DeGracia Nadine H. Murray Capital Projects and Operations Bob Ciak Douglas E. Norberg Manager Irwin Michelman Kristin G. Olson Ana Rusness-Petersen Deborah Pryor Donald B. Paterson Events and Venue Manager Direct Sales Eric Pettigrew James Stone Adam Vanhee Pamela Powers Facilities Maintenance Front Office Representative Katherine L. Raff Brooks G. Ragen AC/R Services Stephanie Tett Susanne Ragen Engineer Levi Hawkins Ticket Office Lead Catherine Roach Rica Wolken Jo Anne Rosen IT Director Adera Gandy Faye Sarkowsky Emily Paul David E. Skinner Tuxedos and Tennis Shoes Maggie Rogers Susan Trapnell Catering Ticket Office Representatives † Denotes staff member has worked at ACT for 10 years or more Brian Turner Bar and Concessions

A–16 ACT – A Contemporary Theatre Dressed for the Part Harmony Arnold is Part of the Fabric of Seattle’s Performing Arts Community

Rich Gray and Chris DiStefano in Murder for Two at ACT Theatre. Photo by Jeff Carpenter.

"My job is to work with an Harmony Arnold is the costume Well and Living in Paris), to name a designer for the production Murder few. Arnold has also designed for film actor to achieve character," for Two, produced in collaboration (Waxie Moon in Fallen Jewel, Perfect 10), says costume designer with the 5th Avenue Theatre. "My job advertising and commercials. She is an Harmony Arnold. is to work with an actor to achieve Associate Professor of Performing Arts character," she says. It is the collaborative & Art Leadership (Theatre, Costume) at character development she appreciates Seattle University. "It is a team sport," she most in costuming actors. "I love the says of her costuming work, sitting in collaborative process." ACT's lobby. She’s taking a break for a few minutes from the production of Murder Arnold is no stranger to collaboration; for Two to talk about the show and her she has worked with the 5th Avenue process. Theatre (The Man of La Mancha), Seattle Repertory Theatre (Buyer & The cast of Murder for Two is a small Cellar, Venus in Fur, Bo-Nita), INTIMAN one. There are only two actors. Chris Theatre Festival (Lysistrata), Village DiStefano plays a crime investigator. Theatre (Snapshots), and another Richard Gray plays everyone else—ten ACT Theatre/5th Avenue Theatre different suspects. Together, the pair collaboration (Jacques Brel is Alive and make up the entire orchestra. Murder for

encoreartsseattle.com 9 directed by by will eno paul budraitis

Arnold designed costumes for the 5th Avenue Theatre production of Man of La Mancha. Photo by Mark Kitaoka.

Two takes place over 90 minutes with era and the work of Edward Gorey, with JUNE 1 - JULY 1, 2017 no intermission. How do you costume the addition of some bursts of colorful TICKETS: WEARENCTC.ORG someone who doesn't have time for a flourishes. The fashions of the 1970s costume change? The show is very busy harken back to the Victorian era through and fast-paced and it's a challenge for their textures and patterns, Arnold someone like Arnold. It is a challenge explains, but with more color. Arnold to costume an actor who plays dozens began working up this idea, looking of characters but never leaves the stage. deeper in 1970s culture: All in the Family "The whole show could be done with episodes, Phyllis Diller, Elton John, the GEOFFREY LARSON, MUSIC DIRECTOR a piano and a hat," she shares, but this board game Clue, Velma from the Scooby- production's approach is not that simple. Doo cartoons. The ideas showed up on SEASON FINALE Arnold’s designs are a piece of the puzzle Arnold's character boards, collections of FRIDAY, JUNE 16, 2017 8:00 PM in the creation of the play’s parade of images that inspire the costume designs First Free Methodist Church characters. to come.

Her process starts with a deep read of Even though there is no time for Gray the script. The actors and the director to change costumes on stage, Arnold Chamber Symphony Op. 110a arr. Barshai have ideas about costuming as they read created a character board for each of the script; Arnold does, too. They meet, them to inform the actor and the creative discuss and collaborate. With a creative team. By fleshing out the characters,

String Quartet No. 14 team that includes director Daniel Arnold helped flesh out the show. For “Death and the Maiden” Knechtges, scenic design by Carey Wong, DiStefano's character, her work was arr. Mahler lighting design by Rich Paulsen and somewhat more straight forward. A sound design by Christopher Walker, the simple, drab 1970s-looking detective look and feel of the whole production is outfit. For Gray, there were many boards Adagio for clarinet determined. "The production meetings covering inspiration across age and and strings include laughing, brainstorming and gender, including Chevy Chase, Tom

ERIC JACOBS collaboration," Arnold enthuses. "If you Selleck, Barbara Streisand. For one Clarinet bring a good care-free attitude to them, a character Gray plays, Dahlia, Arnold lot can get done." had the opportunity to go all-out. She

Tickets: $20 General, $15 Student/Senior describes it this way: "If Elton John and Murder for Two Tickets and information: SMCOmusic.org For , the inspirations that RuPaul conceived a child while watching came to mind included the Victorian

10 ENCORE STAGES onest ble & H Capa

Costume designer, Harmony Arnold. Photo by LaRae Lobdell. 206-855-6110 licensed - bonded - insured

Priscilla, Queen of the Desert, you’d have Bathroom & Kitchen Dahlia." Remodeling Main Line Water Service Arnold doesn't create the costumes Repair/Replacement Water Heater she designs alone. There are cobblers, & Copper Repiping drapers, shoppers and craft artisans Gas Piping & Water Filtration constructing the visions the creative team have. Arnold and her team need Repairs & Drain Cleaning to create multiples of each costume; CRAFTPL863D5 Affiliated with UA #26 there are several identical costumes to www.craftsman-plumbing.com of Western Washington use as actors sing, dance, and sweat. The costumes can’t just look good— they must function as well. Luckily, someone as experienced, creative, and collaborative as Harmony Arnold has mastered making functional, beautiful costumes with her collaborators.< 24th SEASON

JULY 1-21, 2017 BEETHOVEN • RACHMANINOFF • HAYDN • AND OTHERS. PLUS AN ALL LEONARD BERNSTEIN EVENING TO CELEBRATE HIS 100TH BIRTHDAY.

THE BELLINGHAM FESTIVAL ORCHESTRA & GUEST ARTISTS JEREMY DENK • MARC-ANDRE HAMELIN • ZUILL BAILEY • ROBERT MCDUFFIE AND THE CALIDORE STRING QUARTET

An Arnold-designed costume for the 5th Tickets: [email protected] • 360-650-6146 • bellinghamfestival.org Avenue Theatre production of Man of La Mancha. Photo by Mark Kitaoka.

encoreartsseattle.com 11 Business, meet box office.

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To learn what Encore can do for your business, visit encoremediagroup.com. Dialogue

Five Questions with Janelle Velasquez

Janelle Velasquez is in the David Bryne/ blood flowing. Fatboy Slim immersive disco musical, “It's a city full Here Lies Love, being staged at Seattle of artists who What piece of art has always inspired Repertory Theatre. A Seattle-native, she you? Why? earned her BFA from Ithaca College and are constantly West Side Story. I used to watch that film her MBA from Pepperdine. She has been day in and day out as a child. Maria was involved with Here Lies Love since its creating beauty the first role I ever played at arts camp. earliest iterations. She's also been on a The music rouses such excitement and few TV shows including CSI: Miami and and thought all the nostalgic feelings of being a kid 90210. and watching these people sing and provoking work dance and saying to myself, "I could do We sat down to talk to Velasquez for this one day." a few minutes about breathing, West — something that Side Story and Seattle's vibrant arts What do you like about Seattle's artistic community. is so important, community?

What first inspired you to be an actor? especially today.” First off, Seattle has such a vibrant and When did you realize you could do it for eclectic arts community, from music to a living? theatre to dance to glass blowing and What performance are you excited so on. It's a city full of artists who are To be perfectly honest, my acting about seeing? constantly creating beauty and thought inspiration was Jodie Foster's I am very excited to see this new provoking work — something that is so performance in Nell. I was a child and production of The Secret Garden at important, especially today. my mother forced me to see that film the 5th Avenue Theatre. I'm in love against my will — I wanted to see My with Lucy Simon's score and I heard It's also a community that takes risks. Girl 2 — and I'm happy she did. I was wonderful things about its run at I have been a part of Here Lies Love dumbfounded that someone could Shakespeare Theatre Company. from the very first workshop and it was transform in such an extreme and sad to see it come to a halt after such riveting way in order to tell a story. What do you do before you go on stage? successful runs in New York City and My rituals vary depending on whether London. Seattle is the first city to test But my true inspiration came in high a new configuration and breathe life school. I actually grew up in Seattle I'm doing a musical or a play. But sun salutations are a definite for both. back into this magnificent show. For and attended Roosevelt, which had an that reason I am both proud — being a outstanding theatre program led by I do a breathing technique I learned Seattle native — and grateful! the remarkable Ruben Van Kempen at in college where I pinch my noise and the time. He encouraged me to explore breathe in through one nostril for eight The city is spoiled to have such performance beyond dance — I was a slow seconds, hold for eight, and then extraordinary talent and top-notch PNB kid — by sending me to a Summer breathe out the other nostril for eight venues and, in turn, the artists are so Fine Arts Camp in Fairbanks, Alaska. It seconds and hold, repeating that cycle a fortunate to have such a supportive was there that I developed a passion for < few times. It sounds weird, but it helps community. acting and made the decision to pursue me to get the breath going and the performance as a career.

encoreartsseattle.com 13 Dialogue

Five Questions with Seán Griffin

Seán Griffin is appearing in the 5th Avenue Theatre's production of “Seattle knows The Secret Garden. He's playing Ben Weatherstaff, the gardener that helps that the very Mary Lennox settle into her new home. He's played a lot of roles in Seattle, many soul of the at the 5th Avenue: Carousel, Elf, Aladdin, Mame, West Side Story, My Fair Lady, city is its arts and more. He's also been in productions at Seattle Repertory Theatre, Intiman Theatre, Seattle Children's Theatre, and organizations. many others. Without them, We talked to him briefly about Irish superstitions, Broadway and Seattle's who are we? ” local talent.

When did you realize that you wanted to have heard so many great things about be an actor? When did you realize that it. I also want to see it because I think it's you could make a living at it? in competition with Come From Away, which I loved, for the Tony. I first realized I wanted to be an actor early on in life. I grew up in Ireland and What do you do to prepare before you hit inspired me. When I got to work with attended many performances of Gilbert the stage? her and became aware of her generosity and Sullivan and Pantomimes because I do some realaxation exercises and like on stage, her work ethic and her joy in my uncles were involved as actors and to be by myself. In my mind's eye I also performing, it has remained with me singers. One of my grandfathers was visualize certain things, which I will keep all these many years. She continues to a terrific singer. It wasn't until college to myself, being Irish and superstitious. inspire me. that I decided to pursue it as a career. Even though I have been doing this I realized I could make a living at it in What do you like most about Seattle's professionally for 55 years, I still have the first few years of my professional life artistic community? nerves. when it seemed that the jobs came along Seattle is a city that loves the arts. It is a one after the other. I was lucky and in What piece of art has always inspired city that supports the arts, even in times the right place at the right time and it you? Why? like now when government subsidies are seemed that I had the talent they were Sad to say, many people won't remember threatened. Seattle knows that the very looking for. the actress Colleen Dewhurst, but she soul of the city is its arts organizations. What artistic performance are you most was one of the best stage actresses of Without them, who are we? Without excited about seeing? Why? her time. I was lucky enough to appear them we would be so much less. Finally, I opposite her on Broadway in The Queen would like to thank the theatres that hire I am looking forward to seeing Dear and the Rebels. Watching her work mostly local talent and, thus, keeping me Evan Hansen on Broadway because I in many Eugene O'Neill plays always off the streets and out of trouble.<

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

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

1) Seattle Shakespeare Company is bringing Shakespeare’s comedy A Midsummer Night’s Dream to the stage. In the play, who is the king of the fairies?

a) Pyramus b) Lysander c) Oberon d) Demetrius

2) Welcome to Braggsville, a satire on contemporary American issues, is on stage at Book-It Repertory Theatre. The world premiere is based on the novel by what author?

a) T. Geronimo Johnson b) Kurt Vonnegut c) Denis Johnson d) Jess Walter Midsummer Nights Dream Act IV Scene I. Artist - Henry Fuseli (1741-1825) 3) The Legend of Georgia McBride, seen at Seattle’s ACT Theatre, about an 4) Taproot is bringing the murder 5) Les Ballets Trockadero de Monte Elvis-impersonator-turned-drag- mystery Busman’s Honeymoon to the Carlo takes the stage at Meany queen, takes place in what state? stage. It’s based on the work of what Center for the Performing Arts soon. a) New York famed crime novelist? What is unusual about this ballet troupe? b) Florida a) P.D. James c) Nevada b) Agatha Christie a) The troupe members are all d) Illinois c) Walter Mosley deaf. d) Dorothy Sayers b) The troupe are all children. c) The troupe are men in drag. d) The troupe is the oldest ballet Bonus Question company in the world. What was the last arts performance you Email your response to [email protected]

attended that you liked best and why? with Trivia Quiz in the subject line.

visit to Seattle. to visit

classical languages, she considered her best work her translation of Dante’s Dante’s of translation her work best her considered she languages, classical . 5) C – The troupe are men in drag. Founded in New York City in 1974, they tour Japan after their their after Japan tour they 1974, in City York New in Founded drag. in men are troupe The – C 5) . Divine Comedy Divine

finalist and received his MFA from the Iowa Writers’ Workshop. 3) B – Florida. Written by Matthew Lopez, the show will be directed by David Bennett. 4) D – Dorothy Sayers. A student of of student A Sayers. Dorothy – D 4) Bennett. David by directed be will show the Lopez, Matthew by Written Florida. – B 3) Workshop. Writers’ Iowa the from MFA his received and finalist

ANSWERS ANSWERS 1) C – Oberon. Shakespeare did not create him on his own. He was mentioned often in medieval literature. 2) A – T. Geronimo Johnson. The author is a PEN/Faulkner prize prize PEN/Faulkner a is author The Johnson. Geronimo T. – A 2) literature. medieval in often mentioned was He own. his on him create not did Shakespeare Oberon. – C 1)

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