McGuire Proscenium Stage / Feb 29 – April 5, 2020

The Guthrie Theater presents a SITI Company production of The Bacchae by EURIPIDES translation by AARON POOCHIGIAN created and performed by SITI COMPANY Theater Latté Da’s re-imagined staging of the beloved opera returns.

Painting: Bonjour Tristesse, Nicholas Harper LA BOHÈME MUSIC BY GIACOMO PUCCINI LIBRETTO BY LUIGI ILLICA AND GUISEPPE GIACOSA NEW ORCHESTRATION BY JOSEPH SCHLEFKE DIRECTED BY PETER ROTHSTEIN MUSIC DIRECTION BY ERIC MCENANEY

MAR 11 - APR 26, 2020 • RITZ THEATER • TICKETS ON SALE NOW! Inside

IN PICTURES An Iraqi Feast • 4

WELCOME From Artistic Director Joseph Haj • 5

GUTHRIE SPOTLIGHT A Timeline of Greek Tragedy • 8 GUTHRIE SPOTLIGHT Greeks at the Guthrie • 8

THE BACCHAE Cast and Creative Team • 11 Biographies • 12

PLAY FEATURES About SITI Company • 17 A Q&A With Director Anne Bogart • 18 The Dangerous Liberation of Theater • 20 PLAY FEATURE Backstory • 22 From the Director • 18 SUPPORTERS Annual Fund Contributors • 24 Corporate, Foundation and Public Support • 27 PLAY FEATURE Why Euripides Wrote The WHO WE ARE Bacchae • 20 Board of Directors and Guthrie Staff •28

GOOD TO KNOW Theater Information and Policies • 30

Guthrie Theater Program Volume 57, Issue 6 • Copyright 2020 818 South 2nd Street, Minneapolis, MN 55415 ADMINISTRATION 612.225.6000 EDITOR Johanna Buch BOX OFFICE 612.377.2224 or 1.877.44.STAGE (toll-free) GRAPHIC DESIGNER Brian Bressler guthrietheater.org • Joseph Haj, artistic director CONTRIBUTORS Anne Bogart, Helene Foley, Joseph Haj. Special thanks to SITI Company. The Guthrie creates transformative theater experiences that ignite the The Guthrie program is published by the Guthrie Theater. imagination, stir the heart, open the mind and build community through To advertise in the program, call 612.225.6213. the illumination of our common humanity.

GUTHRIE THEATER \ 3 IN PICTURES

An Iraqi Feast

In Heather Raffo’s Noura, which played on the proscenium in January and February, a family of Iraqi immigrants prepares to host a holiday meal with friends. Noura spends hours making dolma, chicken biryani and kubba mosul with samoon bread on the side — traditional Iraqi dishes that make cameos onstage during the electrifying dinner scene.

To help the cast and creative team experience Iraqi food and culture firsthand, cultural consultant Shaymaa Hasan came to rehearsal one afternoon bearing the ultimate gift of hospitality: a homemade feast inspired by the play and her beloved country. Then, just like in Noura, the company gathered around the table in a beautiful moment of camaraderie. PHOTOS: THIS PAGE: KATIE HAWKINSON; OLIVIA LOUISE TREE PLATH; OPPOSITE PAGE: T CHARLES ERICKSON PAGE: OPPOSITE TREE PLATH; OLIVIA LOUISE HAWKINSON; KATIE THIS PAGE: PHOTOS:

4 \ GUTHRIE THEATER PHOTOS: THIS PAGE: KATIE HAWKINSON; OLIVIA LOUISE TREE PLATH; OPPOSITE PAGE: T CHARLES ERICKSON A Christmas Carol For tickets andinformation, call or 1.877.44.STAGE (toll-free) or Destiny ofDesire McGuire Proscenium Stage McGuire Proscenium Stage McGuire Proscenium Stage McGuire Proscenium Stage McGuire Proscenium Stage the Box Office at 612.377.2224 Steel Magnolias June 20–Aug 23,2020 Feb 8–March 22,2020 July 25–Aug 29, 2020 Feb 29–April5,2020 April 11–May 31,2020 May 30–July11,2020 Sept 14–Oct27, 2019 Nov 12–Dec29, 2019 Twelfth Night Oct 26–Dec15,2019 Wurtele Thrust Stage Wurtele Thrust Stage Wurtele Thrust Stage Wurtele Thrust Stage Wurtele Thrust Stage Jan 11–Feb 16,2020 visit guthrietheater.org. The Bacchae Menagerie The Glass Cabaret Emma Noura Sweat 2019–2020 SEASON Dear Friends, Joseph Haj From Artistic Director of theater willstay withyou. with SITICompany have stayed withme—andIknow thisvibrant piece her alongtimefriendandcolleague. The lessons Ilearnedfrom acting American theater’s great philosopherandthinker, andI’mlucky to call To have Anne Bogartat thehelmofThe isagift.Shethe Bacchae an entire generation ofartists. and actor training hasbecome amethodologyemployed andrevered by theater landscapeisprofound. Their approach to ensemble-basedwork Bogart andTadashi Suzuki.The impact SITICompany hasmadeonthe and hadtheincredible opportunity to work withco-founders Anne moment for me. Asayoung actor, Iwas partoftheirinaugural season Presenting aSITICompany production at theGuthrieisafull-circle shared aesthetic. renowned ensemblewhotrains andperforms together inapowerfully current. I’malsothrilledto introduce Guthrieaudiences to aglobally the sametime, staying faithful to Euripides’text whilebeingundeniably is funny, irreverent andsmart.Itfeels onthefringesanddeadcenter at caughtourattention.Bacchae Their interpretation ofthisancienttale So it’s nosurprisethat SITICompany’s mesmerizingproduction ofThe societal moment. plays, searching for atitlewithresonance andrelevance to ourpresent classics. While planningfor 2019–2020, we beganconsidering Greek today, whichiswhy roughly halftheplays inany given seasonare Tyrone Guthrie’s visionandremains oneofourgreatest commitments The Western canonisinthe Guthrie’s DNA.Itwas thebedrock of enjoy theshow! Thanks for joiningus,and WELCOME GUTHRIE THEATER \ 5 Summer Camps and Intensives 2020

5 Things to Know

1 All kids and teens entering grades 3–12 are welcome, including the class of 2020. 2 Students work with professionals to develop their skills as artists and creative thinkers. 3 High school intensives run for one or two weeks and cover performance, directing and design. 4 Scholarships are available. 5 Summer camps and intensives are on sale now!

Join the fun at www.guthrietheater.org/camps.

PHOTOS: NATHAN DALE STUDIOS Inspired Primary Care Steps from the Guthrie Theater

MILL CITY CLINIC

mphysicians.org/millcity

PHOTO: ROLAND HALBE

Take a tour and explore the history and heart of the Guthrie Theater. • Backstage Tour • Architecture Tour • Costume Rentals Tour

612.377.2224 / guthrietheater.org

GUTHRIE THEATER \ 7 GUTHRIE SPOTLIGHT

Greeks at the Guthrie

“Euripidean drama is a thing both cool and fiery, equally capable of freezing and burning.” This quote by Friedrich Nietzsche, featured in the program from our 1987 production of The Bacchae, conveys the intense spectrum of emotions ever-present in Greek tragedy. Throughout the Guthrie’s nearly 60-year history, we’ve produced plays by all three great tragedians — Aeschylus, Euripides and Sophocles — and continually invited audiences to engage with these provocative Greek classics.

“I pray for no more youth To perish before its prime; That Revenge and iron- hearted War May fade with all that has gone before Into the night of time.” – The House of Atreus

The Gospel at Colonus conceived, adapted and directed by Lee Breuer from Oedipus at Colonus by Sophocles music composed, arranged and directed by Bob Telson The House of Atreus adapted by John Lewin from The Oresteia by Aeschylus directed by Tyrone Guthrie 1987 1972 1967 The Bacchae a new English version by Kenneth Cavander from Euripides directed by Liviu Ciulei Oedipus the King translated and adapted from Sophocles by Anthony Burgess directed by Michael Langham

“Great truths often sound like nothing,

until they are understood.” BRIMACOMBE); (GERALD AND ROBIN GAMMELL IN THE HOUSE OF ATREUS LEE RICHARDSON PHOTOS: COLONUS AT MORGAN FREEMAN IN THE GOSPEL ONE TOO); OF OEDIPUS THE KING (ACT THE CAST GIANNETTI) (JOE OF THE BACCHAE GIANNETTI); THE CAST (JOE IN IPHIGENEIA MONK O’CONNOR ISABELL WEHLE IN MEDEA (MICHAL DANIEL); JUNE GIBBONS AND BRENDA PHOTOS: AND RICHARD OOMS IN OEDIPUS (T CHARLES PETER MACON MONK O’CONNOR, ISABELL (MICHAL DANIEL); AULIS AT (MICHAEL BROSILOW) THEBES DUREN AND MIKE ELDER IN THE BURIAL AT SUN MEE CHOMET WITH DANIEL ERICKSON); – Dionysus in Kenneth Cavander’s The Bacchae

8 \ GUTHRIE THEATER “The nature of a god is not to be man’s friend, nor man’s enemy, nor man’s moral guide. … The gods are the unchangeable facts of existence, the terms upon which [humankind] enters this world.” – From a Medea program essay by translator Philip Vellacott

The Burial at Thebes Medea adapted by Seamus Heaney translated by Philip Vellacott from Antigone by Sophocles from Euripides directed by Marcela Lorca directed by Garland Wright

“Antigone’s action was one of Oedipus nonviolent civil disobedience, 1991 a new version of the Sophocles play by Ellen McLaughlin the breaking of a law 1992 directed by Lisa Peterson which she considered to be contrary to a higher law.” – A quote by academic Conor Cruise 2005 O’Brien in The Burial at Thebes program

2011 THE CLYTEMNESTRA PROJECT directed by Garland Wright

Iphigeneia at Aulis English version by W.S. Merwin and George E. Dimock, Jr. from Euripides “Historians seem to agree Agamemnon that Greek tragedy belonged English version by Robert Lowell to a period of transition from Aeschylus between the dominance of Electra an archaic theocracy and English version by Kenneth McLeish the emergence of a new, from Sophocles ‘modern’ order based on statism and laws.” – From a program essay by historian René Girard for The Clytemnestra Project (GERALD BRIMACOMBE); BRIMACOMBE); (GERALD AND ROBIN GAMMELL IN THE HOUSE OF ATREUS LEE RICHARDSON PHOTOS: COLONUS AT MORGAN FREEMAN IN THE GOSPEL ONE TOO); OF OEDIPUS THE KING (ACT THE CAST GIANNETTI) (JOE OF THE BACCHAE GIANNETTI); THE CAST (JOE IN IPHIGENEIA MONK O’CONNOR ISABELL WEHLE IN MEDEA (MICHAL DANIEL); JUNE GIBBONS AND BRENDA PHOTOS: OEDIPUS (T CHARLES AND RICHARD OOMS IN PETER MACON MONK O’CONNOR, ISABELL (MICHAL DANIEL); AULIS AT (MICHAEL BROSILOW) THEBES DUREN AND MIKE ELDER IN THE BURIAL AT SUN MEE CHOMET WITH DANIEL ERICKSON);

GUTHRIE THEATER \ 9 A playful world premiere

612.377.2224 / guthrietheater.org

Emma April 11 – May 31 by KATE HAMILL based on the novel by JANE AUSTEN directed by MEREDITH McDONOUGH

WHAT TO EXPECT FROM THIS FRESH ADAPTATION  Your favorite characters and plot points  A joyous, feminist take on the classic  Screwball comedy a la Lucille Ball  Quirky, modern twists  Gorgeous Regency-era trappings  Surprises aplenty The Guthrie Theater presents a SITI Company production of The Bacchae by Euripides translation by Aaron Poochigian directed by Anne Bogart created and performed by SITI Company

The Guthrie gratefully recognizes the Cast David & Leni Moore Family Foundation in alphabetical order as Leading Producers and Heidi & Michael Wilson and Audrey & Jim Lucas AGAVE Akiko Aizawa* as Associate Producers. SOLDIER J. Ed Araiza* SECOND MESSENGER Will Bond* Setting FIRST MESSENGER Leon Ingulsrud* The palace at Thebes. DIONYSUS Ellen Lauren* TIRESIAS Barney O’Hanlon* Run Time CHORUS Roshni Shukla* Approximately 1 hour, 30 minutes (no intermission) Samuel Stricklen* PENTHEUS Donnell E. Smith* CADMUS Stephen Duff Webber* Acknowledgments This adaptation was commissioned by the J. Paul Getty Museum and first performed at the Getty Villa on September 5, 2018. Creative Team The production was funded, in part, by DIRECTOR Anne Bogart+ public funds from the New York City TRANSLATOR Aaron Poochigian Department of Cultural Affairs, the Howard Gilman Foundation and the Fan SCENIC AND LIGHTING DESIGNER Brian H Scott† Fox and Leslie R. Samuels Foundation. COSTUME DESIGNER Lena Sands SOUND DESIGNER Darron L West† COMPOSER Erik Sanko PRODUCTION STAGE MANAGER Alyssa Escalante* STAGE MANAGER Ellen M. Lavaia* ASSISTANT DIRECTOR Nana Dakin ASSISTANT SCENIC AND LIGHTING DESIGNER Joey Guthman DRAMATURGS Helene Foley Norman Frisch CHORAL CONSULTANT Kelly Maurer REHEARSAL DIRECTOR Gian Murray Gianino EXECUTIVE DIRECTOR Michelle Preston PRODUCING DIRECTOR Megan E Carter GUTHRIE ASSISTANT DIRECTOR Addie Gorlin GUTHRIE DESIGN ASSISTANTS Erin Belpedio (lighting) Kevin Springer (sound)

*Member of Actors’ Equity Association †Member of United Scenic Artists Union +Member of Stage Directors and Choreographers Society

GUTHRIE THEATER \ 11 Will Bond Biographies Second Messenger

Will Bond is a founding member of SITI Company. He has taught Viewpoints and Suzuki training around the world and performed nationally and internationally with SITI, including Orestes, The Medium, Small Lives/Big Dreams, Culture of Desire, Bob (Drama Desk Award nomination for Outstanding Solo Performance), War of the Worlds – The Radio Play, bobrauschenbergamerica, Death and the Ploughman, Radio Macbeth, Who Do You Think You Are, Antigone, Persians, FALLING & LOVING (with STREB Extreme Action) and the SITI/Los Angeles Chamber Orchestra production of Lost in the Stars at UCLA’s Center for the Art of Performance. He has performed in Cast Tadashi Suzuki’s Dionysus, The Tale of Lear (in the role of Cornwall), Robert Wilson’s Persephone and A Rite with Bill T. Jones/Arnie Zane Company. Original works include History of the World From the Very Akiko Aizawa Beginning with Christian Frederickson; I’ll Crane for You, a solo dance Agave work commissioned from Deborah Hay; The Perfect Human V.1, Option Delete; and the 2013 EMPAC DANCE MOViES commission Lost & Akiko Aizawa joined SITI Company in Found with Marianne Kim and Brian H Scott. He is currently working 1997 and has appeared in 25 shows, on This American Moment (working title), a new play with SITI’s Gian including FALLING & LOVING (with Murray Gianino and Darron L West. STREB Extreme Action), The Bacchae (BAM), Steel Hammer (music by Julia Wolfe), A Rite (with Bill T. Jones/Arnie Leon Ingulsrud Zane Company), American Document First Messenger (with Martha Graham Dance Company), the theater is a blank page (with Ann Hamilton), Trojan Women (Getty Leon Ingulsrud helped found SITI Villa), bobrauschenbergamerica (American Repertory Theater), Company and currently serves as one of Radio Macbeth (The Public Theater) and Culture of Desire (New York its three co-artistic directors. With SITI, Theatre Workshop), all directed by Anne Bogart, and Hanjo (Japan he has directed Hanjo and appeared in Society), directed by Leon Ingulsrud. Other credits include Suicide Orestes, Seven Deadly Sins, Nicholas & Forest (directed by Aya Ogawa) and Sleep (directed by Rachel Alexandra, bobrauschenbergamerica, Dickstein). As a member of the Suzuki Company of Toga from 1987 Hotel Cassiopeia, Under Construction, to 1993, she performed in Trojan Women, Three Sisters, Dionysus, The Who Do You Think You Are, Radio Bacchae, The Chronicle of Macbeth, Ivanov, Waiting for Romeo and Macbeth, Antigone, American Document (with Martha Graham Dance Greetings From the Edge of the Earth, all directed by Tadashi Suzuki. Company), War of the Worlds – The Radio Play, Trojan Women, Cafe Aizawa is originally from Akita, Japan. Variations, A Rite (with Bill T. Jones/Arnie Zane Company), Persians, the theater is a blank page, The Bacchae and FALLING & LOVING (with STREB Extreme Action). Prior to joining SITI, Ingulsrud was a member J. Ed Araiza of the Suzuki Company of Toga for seven years where he appeared Soldier in Homage to Homo Ludins, King Lear, Dionysus, Macbeth, Ivanov and Greetings From the Edge of the Earth. During this time, he also served J. Ed Araiza is a member of SITI Company as resident director at the Art Tower Mito arts center in Mito, Japan. and has worked on multicultural and He also served as artistic director of Swine Palace in Baton Rouge, cross-disciplinary projects as a writer, Louisiana, for two years. Ingulsrud has taught in workshops and director and performer. Acting credits universities around the world and holds an M.F.A. in Directing from with SITI include The Bacchae, Persians Columbia University. In addition to directing, acting and teaching in and Trojan Women at the Getty Villa the theater, he translates Japanese contemporary plays and has been as well as Under Construction, Who Do a featured performer in games and on television. You Think You Are, Hotel Cassiopeia, A Midsummer Night’s Dream, bobrauschenbergamerica, Culture of Desire, The Medium, Small Lives/Big Dreams, War of the Worlds – Ellen Lauren The Radio Play and Nicholas & Alexandra. Dramaturg credits include Dionysus Radio Macbeth and Lost in the Stars. Other acting credits include Macbeth, Women and Water, The White Crow, King Lear, Tumbleweed, Ellen Lauren is a founding member and La Victima, The Cure at Troy, Santos & Santos, Keely and Du (original co-artistic director of SITI Company. cast), Yerma, Picnic and Principia Scriptoriae. Directing credits include Credits include FALLING & LOVING (with Ladeelroy, One Flew Over the Cuckoo’s Nest and Vaudevillevanya, a STREB Extreme Action); The Bacchae; musical adaptation of Uncle Vanya, in Austin, Texas; The Voluspa in Chess Match No. 5; Room; Persians; Trojan Reykjavik, Iceland; Savitri: Dancing in the Forest of Death in Chennai Women; bobrauschenbergamerica; the and Delhi, India; Medea Stories in Helsinki, Finland; and The Seagull, theater is a blank page; Radio Macbeth; bobrauschenbergamerica, Three Sisters and The Adding Machine. His Death and the Ploughman; Who Do bilingual adaptation of Miss Julia, based on the play by Strindberg, has You Think You Are; A Rite (with Bill T. Jones/Arnie Zane Company); been presented at La Mama, several international venues and Latino American Document (with Martha Graham Dance Company); Seven Theater Company’s Encuentro Festival. Araiza is a professor at the Deadly Sins (with New York City Opera); Hotel Cassiopeia; Going, UCLA School of Theater, Film and Television. Going, Gone; and Orestes, among others. She has been an associate

12 \ GUTHRIE THEATER artist with the Suzuki Company of Toga under the direction of Tadashi Donnell E. Smith Suzuki since 1996. Her credits include Electra, Dionysus, King Lear, Pentheus Oedipus and Waiting for Romeo. Lauren is a founding member of the International Consortium on Suzuki Training for Actors and produced Donnell E. Smith is making his SITI “Transformation Through Training: International Symposium on SCOT Company debut. Theater credits include and the Suzuki Training for Actors” at Skidmore College. She has the off-Broadway production of The served as representative guest faculty at TEAC Finland, RSC, Moscow Revolving Cycles Truly and Steadily Art Theatre, Toga Art Park, Banff Centre, Sfumato Theatre Bulgaria, Roll’d (The Playwrights Realm), Too Iceland Academy, Casa Teatro de Bogota, Maastricht Academy, Beijing Heavy for Your Pocket (George Street Academy, Attivo Teatro Milan, UCLA, Columbia University, The Ohio Playhouse), The People Before the Park State University and Windsor College. She is an ongoing faculty (u/s, Premiere Stages), A Raisin in the Sun member at The Juilliard School of Drama at Lincoln Center. Directing (Westport Country Playhouse), Kill Move Paradise (world premiere, credits include A Midsummer Night’s Dream (UCLA), Iphigenia and National Black Theatre) and The Seeds of Abraham (The Billie Holiday Other Daughters (Juilliard Group 43) and Trojan Women (Juilliard Theatre). Television credits include the title role in “Time: The Kalief Group 47). She has been a company member with Alley Theatre, Browder Story” (Netflix, Peabody Award) and “Snug’s House” (NBC StageWest and Milwaukee Repertory Theater. Lauren is the recipient Universal Kids, two Daytime Emmy Award nominations). Selected film of the TCG Fox Fellowship for Distinguished Achievement (2008– credits include FAWK, How the Light Gets In and The Grand Heist. 2010). Her essay “In Search of Stillness” was published in American His performance is dedicated to those grounded in their truth and Theatre magazine. searching for their light: be not dimmed, be not discouraged, be not deprived. www.smithdonnelle.com Barney O’Hanlon Tiresias Samuel Stricklen Chorus Barney O’Hanlon most recently appeared in FALLING & LOVING, SITI Company’s Samuel Stricklen has performed in several collaboration with STREB Extreme Action, SITI Company productions, including choreographed by Elizabeth Streb and Under Construction (Actors Theatre of directed by Anne Bogart. He previously Louisville), bobrauschenbergamerica, appeared in SITI’s production of The the theater is a blank page (UCLA’s Bacchae at BAM’s Next Wave Festival as Center for the Art of Performance) and well as several other SITI productions at Radio Macbeth. He was an understudy BAM, including War of the Worlds, bobrauschenbergamerica, Hotel in Superior Donuts on Broadway and Cassiopeia, Trojan Women, A Rite (with Bill T. Jones/Arnie Zane performed in the off-Broadway production of Creation: A Clown Show. Company) and Steel Hammer with the Bang on a Can All-Stars. Also Regional credits include Lost in the Stars (UCLA’s Center for the Art at BAM, he choreographed and performed in Charles L. Mee’s The of Performance), Six Degrees of Separation (The Old Globe), Current Glory of the World, directed by Les Waters. O’Hanlon’s recent credits Nobody (La Jolla Playhouse) and Clybourne Park (Premiere Stages). include choreographing the world premiere of Anne Washburn and Television and film credits include “The Mysteries of Laura,” “Law & Dave Malloy’s musical Little Bunny Foo Foo, directed by Les Waters Order,” “The Good Wife,” “Marlon,” “Bosch,” “Mozart in the Jungle,” at Actors Theatre of Louisville; Anne Washburn’s 10 Out of 12 at “Astronomy Club: The Sketch Show” and The Visit. He holds an M.F.A. Soho Rep., directed by Les Waters; and Sarah Ruhl’s The Oldest Boy, in Acting from the University of California, San Diego. directed by Rebecca Taichman at Lincoln Center Theater. Stephen Duff Webber Roshni Shukla Cadmus Chorus Stephen Duff Webber has worked with SITI Roshni Shukla is incredibly honored to be Company nationally and internationally, working with SITI Company. She received including FALLING & LOVING (with STREB her M.F.A. in Theater (Acting) from UCLA Extreme Action); The Bacchae; Hanjo; Lost and co-founded The Southland Company, in the Stars; Persians (Getty Villa); A Rite a nonprofit theater ensemble. She (with Bill T. Jones/Arnie Zane Company); recently played Sumita in the Canadian Steel Hammer; Cafe Variations; American premiere of Chitra Banerjee Divakaruni’s Document (with Martha Graham Dance Arranged Marriage at Toronto’s Ryerson Company); Antigone; Radio Macbeth (as Macbeth); Hotel Cassiopeia; Theatre and performed in the world premiere of Rabbit/Moon at Under Construction; Freshwater; Death and the Ploughman; War of Idaho’s Boise Contemporary Theater. An interdisciplinary artist, she the Worlds (as Orson Welles); bobrauschenbergamerica; systems/ directed Sarah Ruhl’s Eurydice at The Arena Stage in Los Angeles last layers (with music ensemble Rachel’s); La Dispute; A Midsummer year, and her full-length play, The Gita & The Gun, had a workshop Night’s Dream; Cabin Pressure; Going, Going, Gone; Culture of Desire; production at Art Share L.A. Shukla attended the British American The Medium; Private Lives; Hay Fever; War of the Worlds – The Radio Drama Academy’s Shakespeare program at Oxford University and had Play; and Short Stories. New York credits include The Golden Dragon the honor of studying with Tadashi Suzuki and the Suzuki Company (The Play Company), Death and the Ploughman (Classic Stage of Toga in Japan. She has appeared in the TV show “9-1-1” (Fox) and Company), War of the Worlds (BAM), Culture of Desire (New York onstage as Belle in A Christmas Carol and Laura (u/s) in The Glass Theatre Workshop), Trojan Women 2.0 (En Garde Arts), Freshwater Menagerie at A Noise Within; Volumnia in Coriolanus at The Arena (WP Theater), Hotel Cassiopeia (BAM), American Document (The Joyce Stage; Shilpa in Queen of the Remote Control at Sacramento Theatre Theater), Antigone (New York Live Arts), Radio Macbeth (The Public Company; and The 10 Freeway and Queen of Califas at The Los Theater) and Radio Play (Joe’s Pub). Regional credits include A.R.T., Angeles Theatre Center. Actors Theatre of Louisville, Milwaukee Repertory Theater, San Jose Repertory Theatre, Magic Theatre, The Kennedy Center, Portland Stage, Alabama Shakespeare Festival, Court Theatre and StageWest.

GUTHRIE THEATER \ 13 Lena Sands Creative Team Costume Designer Lena Sands is a costume designer, puppet artist and scenographer for live performance, installation and film. Her work supports the Anne Bogart unsettling of dramatic space and the wringing out of shared cultural Director routines. She collaborates with communities and other artists to investigate peoplehood, connection and our bodies. Sands’ designs Anne Bogart is one of the three co- have been seen at many venues, including BAM, REDCAT, Getty Villa, artistic directors of SITI Company, which Skirball Cultural Center, Kirk Douglas Theatre, Alliance Française she founded with Japanese director Nairobi and Edinburgh Festival Fringe as well as in warehouses, public Tadashi Suzuki in 1992. She is a professor parks and a horseback-riding ring. Her work in film and television at Columbia University where she runs has been seen on Amazon Prime, LVMH’s online magazine Nowness the graduate directing program. Works (www.nowness.com), Lifetime, “Live with Regis and Kelly,” REDCAT, with SITI include FALLING & LOVING; The Nantucket Film Festival and Los Angeles Women’s International Film Bacchae; Chess Match No. 5; Lost in the Festival. Sands’ work was recently on display at the State Historical Stars; Persians; Steel Hammer; A Rite; Cafe Variations; Trojan Women; Museum in Moscow as part of the exhibition “Innovative Costume of American Document; Antigone; Under Construction; Freshwater; the 21st Century: The Next Generation.” She holds an M.F.A. in Design Who Do You Think You Are; Radio Macbeth; Hotel Cassiopeia; Death for Performance from California Institute of the Arts. and the Ploughman; La Dispute; Score; bobrauschenbergamerica; Room; War of the Worlds – The Radio Play; Cabin Pressure; Alice’s Adventures; Culture of Desire; Bob; Going, Going, Gone; Small Lives/ Darron L West Big Dreams; The Medium; Noël Coward’s Hay Fever and Private Lives; Sound Designer August Strindberg’s Miss Julie; and Charles L. Mee’s Orestes. Recent operas include The Handmaid’s Tale, Handel’s Alcina, Dvořák’s Dimitrij, Darron L West has been a SITI Company member since 1993. He is a Verdi’s Macbeth, Bellini’s Norma and Bizet’s Carmen. Bogart is the Tony- and Obie-winning sound designer whose 30-year career spans author of five books: A Director Prepares; The Viewpoints Book; And theater and dance both on and off Broadway. His work has been heard Then, You Act; Conversations With Anne; and What’s the Story. in more than 600 productions across the U.S. and internationally in 14 countries. Additional honors include Drama Desk, Lucille Lortel, AUDELCO and Princess Grace Statue Awards, among others. Most Aaron Poochigian recently at the Guthrie, he designed sound for the 2019 production of Translator The Glass Menagerie.

Aaron Poochigian earned a Ph.D. in Classics from the University of Minnesota Erik Sanko and an M.F.A. in Poetry from Columbia Composer University. Winner of the Able Muse Poetry Prize, his book Manhattanite Erik Sanko is best known as a fixture of New York City’s downtown came out in 2017, and his verse thriller music scene, having worked with such luminaries as John Cale, Yoko Mr. Either/Or was released by Etruscan Ono, Jim Carroll and James Chance and the Contortions. He was Press in 2017. He was awarded a 2010– also a 16-year veteran and bassist with The Lounge Lizards. As a 2011 grant by the National Endowment for the Arts for his translation bass player, Sanko has played on more than 40 albums for musical work, and his poetry has appeared in The Best American Poetry, groups ranging from They Might Be Giants to Run DMC. He was the Poetry and The Times Literary Supplement. leader of the art/noise band Skeleton Key for 20 years and is currently composing a suite of music for shortwave radio and solo cello for cellist Jeffrey Zeigler. Brian H Scott Scenic and Lighting Designer Alyssa Escalante Brian H Scott hails from New York City. He is a SITI Company member Production Stage Manager and has designed lighting for Cafe Variations, Trojan Women and Persians at the Getty Villa; American Document with Martha Graham Alyssa Escalante is a proud Equity stage manager based in Los Dance Company; Under Construction; Who Do You Think You Are; Angeles. Recent credits include Fireflies, M. Butterfly, Photograph Hotel Cassiopeia; Death and the Ploughman; bobrauschenbergamerica 51, Culture Clash (Still) in America, Gem of the Ocean (South (2004 Henry Hewes Design Award); and War of the Worlds – The Coast Repertory); The Bacchae, the theater is a blank page (SITI Radio Play. Credits with Rude Mechs include Stop Hitting Yourself; Company); Hold These Truths (San Diego Repertory Theatre/ Now Now Oh Now; The Method Gun; I’ve Never Been so Happy; How Pasadena Playhouse); A Streetcar Named Desire; Mojada: A Medea in Late It Was, How Late; Lipstick Traces; Requiem for Tesla; and Match- Los Angeles; Happy Days (Boston Court Pasadena); Haunted House Play. He designed lighting for Ann Hamilton’s the event of a thread Party (Troubadour Theater Company); and Criers for Hire (East and the theater is a blank page. With Park Avenue Armory, he created West Players). She is originally from San Diego and a graduate of lighting for tears become…streams become… with Douglas Gordon Occidental College. and The Let Go for Nick Cave and Laurie Anderson’s Landfall, which featured the Kronos Quartet.

14 \ GUTHRIE THEATER Ellen M. Lavaia Michelle Preston Stage Manager Executive Director

Ellen M. Lavaia is originally from San Francisco but now resides Michelle Preston holds an M.F.A. in Performing Arts Management from in New York City. Broadway credits include The Lion King, Annie, Brooklyn College and a B.F.A. in Dance Performance from Northern Les Miserables and Matilda the Musical. New York credits include Illinois University. She began her career in arts administration at the Gentlemen Prefer Blondes, Macbeth and A Man’s a Man. Regional Columbus Symphony Orchestra before coming to New York where credits include The Bacchae, Steel Hammer, Persians and the theater she worked as a fundraiser for modern dance companies such as is a blank page. Lavaia has toured internationally through China, Urban Bush Women and the Bill T. Jones/Arnie Zane Company. Prior Georgia, Hong Kong, Italy, Romania, Slovenia, Switzerland, Japan to joining SITI Company in 2012, she was manager of planning and and United Arab Emirates. Additional credits include NBC’s “The projects for the School of American Ballet. She has served on the Sound of Music Live!” and the 2013 Tony Awards. She holds an board of Immediate Medium since 2009, was a participant in the 2011 M.F.A. from Columbia University and a B.A. from Gonzaga University. Arts Leadership Institute hosted by the Arts and Business Council of She is a proud member of Actors’ Equity Association, Local 764, New York and has served as a panelist for the Brooklyn Arts Council and SITI Company. Regrant Program, TCG Global Connections Grant, ART/NY Nancy Quinn Fund and NAMT Innovation and Exploration Fund. She is an adjunct faculty member for the Brooklyn College Performing Arts Kelly Maurer Management M.F.A. program as well as a member of the alumni board. Choral Consultant

Kelly Maurer has been a member of SITI Company since its inception. Megan E Carter Credits with SITI include Orestes, bobrauschenbergamerica, American Producing Director Document, Radio Macbeth, La Dispute, Hay Fever, The Medium, Small Lives/Big Dreams, A Midsummer Night’s Dream, Culture of Desire and Before joining SITI Company, Megan E Carter was producing director Cabin Pressure at theaters including The Joyce Theater, New York of CalArts Center for New Performance in Los Angeles where she Theatre Workshop, PS 122, Actors Theatre of Louisville, Walker Arts worked with Natalia Korczakowska, Nataki Garrett, Stan Lai, Roger Center, Wexner Center, Irish Life Theater Festival, The Public Theater Guenveur Smith and Travis Preston at venues such as REDCAT, (Under the Radar Festival), Bobigny (Paris) and Edinburgh Festival The Huntington Gardens, World Internet Conference in China and Fringe. Regional credits include Rainbow in What of the Night? at Malopolska Garden of Arts in Poland. She has developed and/or Milwaukee Repertory Theater, Hamlet at StageWest and Christine produced devised ensemble work with Ripe Time, Lear deBessonet, in Miss Julie at Actors Theatre of Louisville. Internationally, she has SITI, Palissimo and Rude Mechs as well as new plays by Liz Duffy toured with Tadashi Suzuki in the Suzuki Company of Toga’s Dionysus Adams, Sheila Callaghan, Virginia Grise, Dominique Morisseau and and director Robert Wilson in Persephone. She performed the roles Catherine Trieschmann, among others. Carter served as dramaturg of Jolly (as standby for Patti LuPone) in The Old Neighborhood on the American premiere of Jackie, written by Elfriede Jelinek and on Broadway and Hermia in Dead Man’s Cell Phone at Playwrights directed by Tea Alagić, and has edited several English translations of Horizons. She also performed in An Adult Evening of Shel Silverstein Jelinek’s plays. She developed many new works as associate artistic and The Water Engine at Atlantic Theater Company. Maurer teaches director of WP Theater from 2006 to 2013. Carter has been on faculty at SITI, Atlantic Acting School, NYU and workshops and universities at the SITI Conservatory and California Institute of the Arts and is throughout the U.S. currently on faculty at Einhorn School of Performing Arts. She holds an M.F.A. in Dramaturgy from Brooklyn College. Gian Murray Gianino Rehearsal Director

Gian Murray Gianino is a member of SITI Company who has created and performed in The Bacchae, Steel Hammer, Trojan Women, Train With SITI Company bobrauschenbergamerica, the theater is a blank page, Hanjo, Persians, This Summer Cafe Variations, Radio Macbeth, systems/layers and Freshwater. His New York credits include work at BAM, Second Stage, Signature Theatre, The Public Theater, Japan Society, WP Theater, Soho Rep. June 7 – July 4, 2020 and HERE. He has performed regionally and internationally at Yale SITI Company Summer Theater Institute at Skidmore College Repertory Theatre, Arena Stage, Actors Theatre of Louisville (Humana Saratoga Springs, New York Festival), Berkshire Theatre Festival, International Festival of Arts and Ideas, Purchase College (SUNY), Penguin Rep Theatre, Getty Villa, Sixty artists are invited to take part in a four-week intensive Court Theatre, Krannert Center, Walker Art Center, Wexner Center, workshop that includes rigorous physical movement, MC93 Bobigny (France), Bonn Biennale (Germany), Dublin Theatre theoretical research and the generation and performance of Festival (Ireland), GIFT Festival (Georgia), NYU Abu Dhabi (United new work. The program’s objective is to develop courageous Arab Emirates) and Theatre Olympics (Japan). His work for film theater artists who are able to integrate new influences includes Abaddon, Inside Me, Hospitality and Dead Canaries, and his from many disciplines into their work. Pre-professional and work for TV includes “The Affair,” “Limitless,” “White Collar,” “Law professional artists are encouraged to apply. & Order,” “Law & Order: SVU” and “All My Children.” A graduate of Wesleyan University and member of The Actors Center, Gianino is also The 2020 summer intensive will concentrate on collaboration, an artist-in-residence and faculty member at Skidmore College. focusing on different approaches to creating work and how our training forms the foundation for collaborative efforts with others. Special guest artists Charles L. Mee, Monica Bill Barnes and Rubén Polendo of Theater Mitu will be in residence alongside SITI Company members.

Applications are being accepted now through March 23. Learn more at www.skidmore.edu/summertheater.

GUTHRIE THEATER \ 15 THE GUTHRIE THEATER’S ANNUAL FUNDRAISING

CELEBRATING THE OPENING WEEKEND OF CABARET LIFE IS A CABARET FRIDAY, JUNE 26, 2020

Join us as we raise funds for the Guthrie Theater’s education, access and community engagement programs.

FOR MORE INFORMATION, VISIT WWW.GUTHRIETHEATER.ORG/GALA.

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WINONA, MINNESOTA MMAM.ORG • (507) 474-6626 Claude Monet (1840-1926) La Seine à Vétheuil, 1881. Oil on canvas. PHOTO: MICHAEL BROSILOW PHOTO:

16 \ GUTHRIE THEATER PLAY FEATURE

About SITI Company

SITI Company Akiko Aizawa, J. Ed Araiza, Anne Bogart, Will Bond, Gian Murray Gianino, Leon Ingulsrud, Ellen Lauren, Ellen M. Lavaia, Kelly Maurer, Charles L. Mee, Barney O’Hanlon, Neil Patel, James Schuette, Brian H Scott, Megan Wanlass, Stephen Duff Webber, Darron L West

Board of Directors J. Ed Araiza; Anne Bogart; Jennifer Greenfield; Jessica Hanna, secretary; Christopher L. Healy, treasurer; Kim Ima; Leon Ingulsrud; Alexandra Kennedy Scott, vice chair; Kevin Kuhlke; Ellen Lauren; Ruth Nightengale, chair; SITI Company was built on the bedrock of ensemble. They Diane Ragsdale believe that through the practice of collaboration, a group

Staff of artists working together over time can have a significant Michelle Preston, executive impact on both contemporary theater and the world at large. director; Megan E Carter, producing director; Will Gfeller, development manager; Jonathan Taylor, Founded in 1992 by Anne Bogart, Tadashi Suzuki and a group of like-minded education manager; Lanxing artists, SITI Company began as an agreement to redefine and revitalize Fu, producing associate; Ellen M. Lavaia, company manager; contemporary theater in the U.S. through an emphasis on international Velani Dibba, producing intern cultural exchange, training and collaboration. Through performances, educational programs and collaborations with other artists and thinkers, Consultants Christopher L. Healy, attorney; SITI Company challenges the status quo, trains to achieve artistic excellence Al Foote III, web programmer; in every aspect of their work and offers new ways of seeing and of being, John Wyszniewski, Everyman both as artists and global citizens. SITI Company provides a gymnasium for Agency; Schall & Ashenfarb, CPAs, LLC, auditor the soul where the interaction of art, artists, audiences and ideas inspire the possibility for change, optimism and hope. National Tour Representation SITI Company is a member of Pentacle (DanceWorks, Inc.), a SITI Company is deeply grateful to their generous donors: The Andrew nonprofit management support W. Mellon Foundation, Howard Gilman Foundation, National Endowment organization for the performing arts (Mara Greenberg, director). for the Arts, New York City Department of Cultural Affairs, New York State For booking information, contact Council on the Arts, Fan Fox and Leslie R. Samuels Foundation, The Shubert Sandy Garcia, director of booking, Foundation, Susan V. Berresford, Jeanne Donovan Fisher, Christopher & Amy at 212.278.8111 (x3425) or [email protected]. Learn more Healy, Kim Ima, Brian Kim & Michelle Preston, Daniel & Joanne Smith, Wendy at www.pentacle.org. vanden Heuvel, Jaan Whitehead, Debra Winger & Arliss Howard and Carol Yorke & Gerry Conn. www.siti.org SITI Company Anne Bogart To become a SITI Company contributor, call 212.868.0860 or visit @siticompany www.siti.org/support. PHOTO: MICHAEL BROSILOW PHOTO:

GUTHRIE THEATER \ 17 PLAY FEATURE

JOHANNA BUCH: You’ve been involved with SITI Company from the beginning. How have you seen the company evolve over the past three decades?

ANNE BOGART: We have developed the ability to rehearse a play as a collective, much in the way a Ouija board functions, where you put your hands collectively on a planchette, ask a question and wait for the planchette to start moving, slowly spelling out the answer to your question. In the case of our rehearsals, the planchette is the play itself. The embodiment of the play — the staging, physical actions and musicality — emerges from listening intently and following where “it” wants to go and what “it” wants to do. We start by trying, as best as we can, to ask a clear, germane question. Then, together, we stay present and listen closely until movement and momentum transpire. When a rehearsal is going well, the motion and decisions seem to happen by themselves without the encumberment of our own preconceptions, plans or desires. This approach requires that each person is thoroughly prepared A Q&A With and arrives with their own ideas but also, perhaps Director Anne Bogart paradoxically, shares an openness to influence, trusts the process and cooperates By Johanna Buch with what emerges. Through Writer and Publications Editor listening together, we eventually discover what the

play wants to be. GETTY TRUST PAUL J. ©2011 CRAIG SCHWARTZ, PHOTO:

18 \ GUTHRIE THEATER PHOTO: CRAIG SCHWARTZ, ©2011 J. PAUL GETTY TRUST The rehearsals Bacchae at the my extensive research preceding associative thinking.Butdespite for conceptual leapsoffaith and to free my imagination, allowing the in-depthinvestigation tends of theplay anditscontext, but history inspire anunderstanding dramaturgical study andproduction that Icherish. Notonlydoesthe play oropera. This isaperiod the first rehearsal ofaclassic researching andpreparing before of theplay.” to say, “contains theentire arc Konstantin Stanislavski was known action, eachgesture,” as[director] journey ofthestoryline. “Each on thestage and deliver thefull role, could potentially stand alone actor, nomatter how smalltheir for theentire arc oftheplay. Each each takingontheresponsibility of agroup ofactors, anensemble, How thrillingto beinthepresence responsible for thewholeevent. of individuals,eachwhomis of theexperience ofacollective generally robbed theater audiences whole storyline. This tendency has the littlebitsoftheirpartin an actor isonlyresponsible for into theater isthenotionthat actors. What hasseepedinsidiously storytelling away from individual editing hastaken thepower of of filmmakingand television, where largely dueto thetechnical nature surfaced inthetheater world AB: JB: AB: JB: studies fuseinto theproduction? Columbia University. How didyour researching The at Bacchae enhance thestorytelling? creating work asanensemble Tell usaboutyour time Inyour experience, how does Iusuallyspendtwo years Anendemicproblem has influence impossible to ignore. you from thepast. Itwillmake its mitigate itspower. Itwilltalkto , itwon’tBacchae allow you to of anancientplay asgreat asThe in thearcheological excavation If you listen carefully andengage about interpretation andstaging. imposition oftoo many notions Euripides fightsbackagainst the company to discover therightform. conceptual opinionsandallow the process to letgoofmy precious too many ideas;itwas apainful was theplay itself. Iarrived with biggest influence onourproduction Getty Villa inLos Angeles,the unfamiliar feel current? putting upwalls andbanningthe Do issues ofhubris,immigration, cultural andpoliticalmoment? familiar to ourcontemporary political sphere. Doesthissound private life, your social life orthe foreign orthechaoticfrom your Do notbantheunfamiliar, the Dionysus, themessage counsels: West. Led by theshape-shifting with acrucialmessage for the foreigners arrive from theEast In The, agroup Bacchae ofexotic designation oftheword “great.” is probably what contributes to our moment. This consistent relevance to bespeakingaboutthepresent a great classic play always seems of themomentitisperformed, and can onlybeseenthrough thelens be vitalto eachofus.Aclassic play because itsmessage continues to AB: JB: JB: mind lately? What has beenoccupying your theater’s great philosopher. Haj refers to you as American a mirror to ourcurrent society? Yes, on somany levels. Joseph How doesThe holdup Bacchae Perhaps The endures Bacchae audience doing? plot andstoryline? What isthe meaning are exchanged below the to theaudience? What layers of responsibilities dotheactors have of itsindividualmembers? What and what are theresponsibilities it meanto bepartofanaudience, civic space orarena? What does audience? What constitutes a required ofeachindividualinthe production speakto? What is the humanexperience doesthe and theaudience? What partof and empathically —to the actors physiologically, neurologically What isactuallyhappening— politics andethicsofthat space? and audiences share? What are the happen inthespace that actors the theater. What issupposedto around therole ofanaudience in dominant question for me revolves and families. conversations amongfriends experience leadsto many minds andbodies.Ihopethe resonatesBacchae inhearts, onstage together. IhopeThe actors share andrelish being is emboldenedby theway the memories. Ihopetheaudience different associations and own journey, enjoying radically audience membermakes their journeys. AndIhopeeach rich imaginative andassociative just enoughstimuli to ignite AB: visit www.siti.org/blog. creativity from AnneandSITICompany, For more musingsonart,theater and AB: JB: will The challengeus? Bacchae audience to make senseofit.How or listen to butadare to the simply somethingto lookat You’ve saidthat artisnot JoeHajisfar too kind.The Ihopeourproduction offers GUTHRIE THEATER \19 PLAY FEATURE

The Dangerous Liberation of Theater

By Helene Foley Production Dramaturg

Euripides apparently wrote The Bacchae while in Macedonia, shortly before his death in 406 B.C.E. and in the wake of a difficult period for Athenian democracy. The Peloponnesian War with Sparta and its allies was still going on. An oligarchic revolt in 411 had led to a Dionysus bloodbath in Athens, and the democracy was only just reestablishing itself. In Macedonia, Euripides was observing firsthand an autocratic regime.

Shortly after Euripides’ death, voice to everyone, including those just growing a beard, clearly has the comic poet Aristophanes’ who had virtually no public voice little experience with women and Frogs has the god of wine and in the city. In my view, he ended a is not confident in his authority. theater Dionysus descend to life spent writing and performing Dionysus has maddened all Hades with the intention of plays for Dionysus with The the women of the city, who are bringing Euripides back to keep Bacchae in part to reconsider now worshiping the god in the the city safe for producing its the future of both theater and mountains, leaving behind their choruses — that is, theater and democracy, and he is afraid of children, families and domestic all public choral performances what repressing Dionysus’ special duties. The god has also brought by democratic citizens in Athens. form of speech might mean. a chorus of Asian women with Like Aristophanes, Euripides likely him to demonstrate his worship worried about both the stability to Thebes, and this chorus risks of the democracy and the future imprisonment to perform its case. of the public performing arts. The Bacchae was performed in Festivals of Dionysus were central the Athenian theater of Dionysus If accepted, Dionysus brings wine, to Attic democracy; they were in front of the god’s two temples symposia, music, dance, special expensive for the city and the and before his statue, held by costumes — a valuable collective producers but inclusive of the his priest in the front row. The release for the whole city and, male citizen population. They play addresses the introduction by implication, theater itself. allowed people release from the of the worship of the god into While under the god’s influence, restrictions of ordinary life. In Thebes, his birthplace, which is people can shed their normal Frogs, Euripides defines himself resisted by his first cousin, the identities. Collectively, women as a democratic poet who gives a very young king Pentheus: He is feel empowered and liberated to

20 \ GUTHRIE THEATER MACEDONIA His crazed mother Agave carries Troy his head back to the city. Cadmus, PERSIAN Mount his wife Harmonia, Agave and her Olympus EMPIRE Aegean sisters are banished from Thebes GREECE Sea even though Cadmus accepted the god’s cult. Dionysus’ worship Ionian is established in Thebes and, Sea Delphi Thebes since the ending of the play is Athens damaged, we do not hear what regime replaces the descendants PELOPONNESUS of Cadmus in Thebes. Sparta The god and his chorus depart Mediterranean Sea for other Greek cities, Athens presumably included. imitate male activities like hunting; His attempt at repression fails. men can express an attraction to Dionysus releases the women sides of themselves they normally and escapes imprisonment. He In this play, Dionysus says that repress. Old men no longer feel tortures Pentheus offstage with he is the kindest and most their age. Asian women begin to phantoms and shakes his palace terrible of gods. If accepted, he seem less foreign; the choral odes with an earthquake. Pentheus is offers a festal liberation from in The Bacchae have democratic shocked to find the disguised god the stresses of ordinary life and undertones. Social identity outside and immediately plans to maintaining traditional social feels culturally imposed rather deploy military force against the identities for everyone in a city. than natural. women on the mountain. For the moment, he creates communal unity. If repressed, Thebes is a young city. Pentheus’ Yet he is vulnerable to the speech resistance is likely to fail, and an grandfather Cadmus founded it he allows the disguised Dionysus explosion of undifferentiated and and established order with the because the god can use amoral violence can occur. The help of the armed Sown Men language to disrupt his narrow speech with which The Bacchae sprung from a dragon’s teeth; cultural vision and introduce is concerned, as the chorus keeps one of them is Pentheus’ now- ambiguity and alluring impulses showing Thebes in its song and deceased father, Echion. The into his mind. Pentheus initially dance, is performed speech. city has not yet incorporated imagines that the women are We can only understand what everything festal and liberating having illicit intercourse with Dionysus is about by performing that Dionysus represents. men on the mountain. Although selves that are different from Pentheus can only imagine he hears that they are not, when our daily selves. We perform this keeping order by using military the stranger tempts him with speech in a group with our bodies force and imposing binary seeing what the women are as well as our voices. It is not oppositions — male versus female, doing, he resists with difficulty. strictly rational. We temporarily Greek versus barbarian — on his As he descends under the god’s enter another world as spectators city. He rejects the advice of his influence into an altered state, he or participants. Theater and the grandfather Cadmus, the priest agrees to go spy on them rather performing arts, like Dionysus, aim Tiresias, the servant who arrests than attacking them. Dionysus to communicate this potentially Dionysus, disguised as a mortal dresses him as a woman. Pentheus dangerous liberation in a form priest of his Bacchic cult, and begins to perform the role of a that invites us, unlike Pentheus, to a messenger who has seen the worshipper, to dance, to imagine hear what it has to say. maddened women tear apart the thrill of being carried back cattle and defeat armed men to the city in his mother’s arms. Reprinted with permission from Helene on the mountain to accept the The women on the mountain tear Foley. This essay was originally published on September 24, 2018, in the Eidolon online worship of Dionysus. Pentheus him apart. As he dies, Pentheus journal as part of their collaboration with does listen, but he cannot hear. recognizes his errors, but too late. the Brooklyn Academy of Music.

GUTHRIE THEATER \ 21 PLAY FEATURE

Backstory

SYNOPSIS When the god Dionysus learns that Pentheus, the young king of Thebes, has banned the people from worshiping him, he disguises himself and arrives in the city with plans to settle the score. Dionysus drives the women of Thebes, including Pentheus’ mother, Agave, into an ecstatic frenzy of FROM DIRECTOR ANNE BOGART dancing and hunting on Mount More than any other play in Western civilization, Euripides’ The Cithaeron. The king orders his Bacchae is probably the one that most directly addresses the art of soldiers to arrest anyone found theater. Dionysus is not only the god of divine ecstasy, fertility, wine engaging in the rites. and harvest, but also the theater. At one point, a bewitched Pentheus exclaims, “I seem to see two suns, the city of Thebes doubled.” Indeed, Dionysus, still in disguise, allows we attend the theater knowing that we are “seeing double.” We are himself to be arrested and sets aware, for example, that we are looking at an actor or precisely lit a trap for Pentheus. The god staging and scenery, but at the same time, we allow ourselves to enter breaks free of his chains and another world that is merely suggested by what is actually present. razes the palace with a giant earthquake. A messenger brings In our production, the role of Dionysus is personified by a woman rather sensational reports from Mount than a man. The chorus of Bacchant women is embodied by both men Cithaeron, including news and women. Toward the end of The Bacchae, our Agave speaks in that the women are behaving Japanese, transcending language — the eloquence of her emotional strangely and performing intensity communicates the unfathomable depths of her grief. incredible miracles. Dionysus persuades the king to disguise These theatrical choices are based on SITI Company’s ongoing himself as a woman and witness investment in international exchange, including a longtime what is taking place on the relationship with the Suzuki Company of Toga in Japan as well mountain. A second messenger as the creation of theater that unites historical perspectives with arrives in a state of shock, present-moment sensibilities. reporting that the women captured Pentheus and tore his FROM TRANSLATOR AARON POOCHIGIAN body apart. My translation of The Bacchae is exceptional in that it is intended for live performance. This emphasis means that the translation is Agave returns to Thebes, carrying comprehensible on a first hearing and that it preserves, formally, what she believes to be the head the incantatory quality of the poetry in the original. I translated of a mountain lion she killed with the dialogue and narrative sections into the iambic pentameter her bare hands. As her Dionysian of Shakespeare and set the choral sections apart with different ecstasy wears off, Agave realizes rhythms and rhyme to make clear these sections are songs and not she is carrying her son’s severed conversational speech. The resulting translation is a musical experience head. Dionysus appears in his true that modulates, as the original does, between spoken and sung lines of form and delivers devastating verse. Euripides was, famously, a poetic virtuoso, and I have done all I

consequences to Pentheus’ family. can to recreate the sonic richness of his original version in English. BERGER) (STEPHANIE OF THE BACCHAE THE CAST PHOTO:

22 \ GUTHRIE THEATER Tickets now on sale!

612.377.2224 / guthrietheater.org

Cabaret June 20 – Aug 23 book by JOE MASTEROFF based on the play by JOHN VAN DRUTEN and stories by CHRISTOPHER ISHERWOOD music by JOHN KANDER lyrics by FRED EBB (STEPHANIE BERGER) (STEPHANIE OF THE BACCHAE THE CAST PHOTO: directed by JOSEPH HAJ SUPPORTERS

Annual Fund Contributors We gratefully acknowledge the generosity of our donors whose annual support enables the Guthrie to remain a vibrant center for theater performance, education and training in our community. To join this group in ensuring the Guthrie continues to thrive, contact the Development Department at 612.225.6165.

PLATINUM PRODUCERS LEADING PRODUCERS PRODUCERS Antone & Genevieve Melton-Meaux $100,000 and above $25,000 – $49,999 $15,000 – $24,999 Helen Meyer The Martha & Bruce Atwater Fund Anonymous Martha Goldberg Aronson & Anne W. & Eldon C. Miller William & Penny George & Julia W. Dayton Daniel Aronson Jim & Linda Milow The George Family Foundation Katherine A. Harris & Stacy & Matt Bogart Mary & Ray Mithun Benjamin Y.H. & Helen* C. Liu The Hegardt Foundation Priscilla Brewster Todd Noteboom & Nancy Brasel W. Duncan & Nivin MacMillan John & Kathy Junek Jim & Julie Chosy Anne Paape Foundation Brad Lerman & Rita Conroy Terry & Sarah Clark Lisa Saul Paylor & Marc Paylor Margaret Wurtele Bill Lurton Margie & David Dines Brian Pietsch & David & Leni Moore Family William & Janice Dircks Christopher Hermann EXECUTIVE PRODUCERS Foundation Douglas R. Heidenreich Mary & Tom Racciatti $50,000 – $99,999 Wendy Nelson Diane & Tony Hofstede Ann Rainhart & Jason Digman Allen & Kathy Lenzmeier Richard & Annette Sattler Margee V. Kinney Michael & Char Solberg The Sanger Family Foundation Mary W. Vaughan Peter & Patricia Kitchak Ken & Sally Spence Lee & Peg Skold Weiser Family Foundation on behalf David & Diane Lilly Janis & James Stephenson Steve Thompson & Ron Frey of Irving & Marjorie Weiser Jennifer Melin Miller & David Miller Dr. & Mrs. Paul L. Trump Marilyn Carlson Nelson Joanne & Philip* Von Blon Jay Nibbe Frances & Frank Wilkinson Louise W. Otten Heidi & Michael Wilson Dr. Mitchell & Katherine* Pincus Charles & Julie Zelle Robert Rosenbaum & Maggie Gilbert Wayne Zink & Christopher Schout Steven & Catherine R. Webster DESIGNERS From the Board Chair ASSOCIATE PRODUCERS $5,000 – $9,999 $10,000 – $14,999 Anonymous (4) The arrival of spring always feels like a gift after Nima Ahmadi & Mia Divecha Cheryl & Rand Alexander Dr. Tadashi & Susan Allen Pete & Margie Ankeny the long months of winter. Days stretch out and Susan & Richard Anderson Peter & Sally Anson we can’t wait to enjoy milder temperatures and Family Fund Dale & Ruth Bachman signs of regeneration. As we move from winter Debra & David* Andreas The Beaupre Family Elizabeth Cook Atwater Sue A. Bennett to spring in Minnesota, the stark contrast often Karen Bachman Laura & Jon Bloomberg prompts a greater appreciation for the uniqueness Marc & Alicia Belton John L. Burbidge Abdhish & Mary Bhavsar Michael V. & Ann C. Ciresi of each season. Jennifer Reedstrom Bishop & Ellie Crosby – The Longview Jon Bishop Foundation Jane Robertson Blanch Fund John W. Dayton Theater moves in a similar way. There are tragedies Peter & Maura Brew Mary C. Dolan – The Longview like SITI Company’s The Bacchae that boldly take on Tyrone & Delia Bujold Foundation Buuck Family Foundation Charles & Barbara Donatelle complex themes, and there are joyous comedies like Jane & Ogden Confer Dr. Mary Anne Ebert & Kate Hamill’s fresh take on Emma. They impact us Dr. & Mrs. David Dahlgren Paul Stembler differently, yet they explore various aspects of our Dave & Pat Drew Ted Ferrara Gerald A. & Kay Erickson Richard & Beverly Fink common humanity. Polly Brown Grose Fund Mitch Finne & Sara Van Kempen of The Minneapolis Foundation Thomas Flavin N. Bud & Beverly Grossman Vicki & Si Ford Thanks to the steadfast generosity of our donors, Foundation Myron I. Frisch in memory of the Guthrie is able to share a wide variety of world- Joseph & Deirdre Haj Delores Arlean Lutz Linda N. & J. Laird Hanson Andrew Gaillard & class theater and community programs season Todd & Amy Hartman Megan Newstrom Gaillard after season. Simply put, we cannot do it without Timothy A. Huebsch Paul Gertenbach & Katherine Reed David & Stacey Hurrell Lynn Glesne you. On behalf of the board of directors, thank you Garry W. Jenkins & Jon J. Lee Dr. Stanley M. & Luella G. Goldberg for helping us further our vision to transform lives Lisa A. Johnson Mike & Barbara Goldner through the experience of theater. Christine Kucera Kalla & Mark Kalla Mary & Peter Gove Paul & Suzanne Keel Grinnell Family Fund of The Patrick S. Kennedy Minneapolis Foundation With gratitude, Iris & Jay Kiedrowski Daniel & Ruth Haggerty John & Maureen Knapp Philip & Janet Hallaway John S. Knapp Steve Hanson & James L. Chosy Audrey & Jim Lucas Susan Cary-Hanson Whitney & Elizabeth MacMillan The Head Family Foundation CHAIR, GUTHRIE BOARD OF DIRECTORS Kathy M. Marsh in memory of Marla J. Kinney Wayne G. Marsh Helen & Don Knutzen Susan & Edwin McCarthy Chad M. & Rafina Larsen/ Michael & Donna McCormick Larsen Fund

24 \ GUTHRIE THEATER Mary Ash Lazarus & Barry Lazarus Jeanne Corwin Fund of The Minneapolis Randy & Ann Cowan Foundation Jay & Page Cowles Kathleen F. & David W. MacLennan Susan & Richard Crockett From the Leading Producers Fund of The Minneapolis Doug & Kate Donaldson Foundation Charles Edge We are thrilled the Guthrie has brought to Minnesota Steve & Kathi Austin Mahle Hugh & Joyce Edmondson E. C. Mason Fund of The Duluth Sean & Meghan Elliott this new adaptation of Euripides’ The Bacchae, Superior Area Community M. Vaughn Emerson & Katie Haag directed by Anne Bogart and performed by SITI Foundation John J. & Debra E. Erhart Richard McCarthy Jr. & Dan Feidt & Margery Martin Company. Known for her generous curiosity and The C.A. Weyerhaeuser Todd Joseph Ferrara extraordinary invention, Bogart’s pioneering Memorial Foundation Fullerton Family Fund of The collaborations for the contemporary stage have won Julie M. McCombs Minneapolis Foundation McVay Foundation Jerry* & Ellen Gallagher international admiration. We are incredibly proud of Katherine Murphy Nathan George Joseph Haj and his team for making this engagement Jay & Jennifer Novak Heidi & Howard Gilbert Dr. David H. & Karen Olson Good Fund of The Minneapolis possible, and we look forward to hearing the Steve & Tamrah Schaller O’Neil Foundation responses from Guthrie audiences. Timothy J. Pabst & Dana Lindsay Bob & Julie Guelich Paradis Family Fund of The Bill & Aimee Guidera Minnesota Community Sandra & Barnard Hall Leni & David Moore, Jr. Foundation Lorraine R. Hart Nick & Judy Priadka Sally Hart Veronique & Maurice Sarano James Haskins & Mike Whistler Kay Savik & Joe Tashjian Thane & Blanche Hawkins Baci Fund/Rachael Scherer Todd Hess & Lee Tricker & Stephen Imholte of The Jayne & Al Hilde, Jr. Dr. Jan Meyer & Roger Jorgenson Cheryl Sullivan-Little Minneapolis Foundation Ian & Karla Hillier Sheila & Jim Moar Dr. Steven H. Tallant Ronald & Janet Schutz Jack & Linda Hoeschler Family Fund Todd & Brittany Moitz in memory of Catherine A. Taylor Miriam A. Seim Orville C. Hognander, Jr. Moitz & Nelson Families Joseph & Kaimay Terry Anne Larsen Simonson/Larsen Fund Gary & Andrew Whitford-Holey Alfred P. & Ann M. Moore Delroy & Doris Thomas Steven Snyder & Sherry Stern Char Hovi Paul & Jane Mortell Tim & Alice Thornton Carol & Doug Steenland Penny Hunt Erik & Karen Nelson Charitable Trust Marcia Townley Mary Ingebrand-Pohlad Jeffrey H.J. Nipper, M.D. & Teri Drake Cathryn L. Timmers Kinder Vealitzek Family Fund Kate Johansen Ron & Toni Noah Larry & Nancy Tschaekofske of The Minneapolis Foundation Ryan & Denise Johnson Valdemar & Marilyn Olson Fund Lou & Colleen Tschudy Joyce & Dennis Wahr Bruce R. Jones Carla Paulson Ruth & David Waterbury Cornie & Betty Ann Wiens Lucy Rosenberry Jones Tad & Cindy Piper Fund Steve & Melissa Wehrle David A. Wilson & Winton Jones Foundation of The Minneapolis Foundation Peter C. Welles Michael J. Peterman Drs. Charles R. & Sally B. Jorgensen Nathan Pommeranz Ellen M. Wells Karen & John Winkelman Lori & Jay Jorgenson Pleasant & Toni Radford Susan West Barbara A. Zell Jacky & Paul Junek E. Thomas Binger & Rebecca Dave Westrum Honey & Larry Zelle John Kaatz & Peggy Kjorstad-Kaatz Rand Fund of The Minneapolis Jan & Linda Willette Dr. Scott & Julie Kammer Foundation Tom & Nancy Willette ARTISTS Samuel L. & Sylvia Kaplan Lawrence M. Redmond Marion & Dave Williams $2,500 – $4,999 Ivars & Gloria Kauls Remele Family Fund Georgia & Peter Windhorst Anonymous (3) Lynda Kauls & Geoffrey Emerson of The Minneapolis Foundation John Windhorst Steven & Beverly Aanenson Tim Kellar Robin Ritter & Ben Emmons Penny Rand Winton Peggy Steif Abram & Jon Abram Vicki Keskitalo Jeannine Rivet & Sri & Aks Zaheer Rick & Joan Ahmann Steven & Karen Kittay Warren G. Herreid II Dr. Alvin S. & Sue Zelickson Dennis P. Albrecht Jim & Kathy Klock Thomas & Nancy Rohde Mollie Alexander & Frank Hogan Thomas Knabel & Kent Allin Jack & Marty Rossmann ADVOCATES The Joseph Allen Fund of Ann Kools Carol Rueppel $1,000 – $2,499 The Saint Paul Foundation Jodee & Nick Kozlak Jody & Tom Ryan An Anonymous Fund of The William & Suzanne Ammerman Drs. Kimberly Krohn & John Fishpaw Jo Ellen & H. L. Saylor Minneapolis Foundation Steven & Kathy Anderson Maureen Kucera-Walsh & Mike Walsh The Thomas L. & Lynn M. Schaefer Anonymous (8) The Gregory & Lauren Anthony Fund Anita Kunin Family Fund Alden* & Elizabeth Abraham Susan & Lloyd Armstrong Tom Lanqueteau & Paula Masko Peter Scherf Kevin D. Abrahamson Allen & Andi Barnard John & Heather Leiviska Michael Schmaltz Kathleen R. Adix Keith & Mary Bednarowski James & Susan Lenfestey Nancy Schwalm Lucille Hamer Amis Drs. Ellen & Michael Bendel-Stenzel Ilo & Margaret Leppik Nina & Frederick Schwenk Mike & Peggy Anderson Michael J. Blum & Abigail Rose Mac & Mary Lewis Kenneth & Katie Searl Elizabeth Andrus Fund of The Boren Family Fund of The George M. Logan & Susan H. Holman Allen Sever Minneapolis Foundation Minneapolis Foundation Dave & Peggy Lucas Rebecca & Mark Shavlik Sue & Phil Ankeny Family Fund of Jeffrey D. Bores & Michael Hawkins Pat & Sara Mack Craig & Mariana Shulstad The Minneapolis Foundation Lynn & Julie Boyd James Mackay & Lori Johnson Lawrence J. Sinak & Dr. Howard Ansel Will Bracken Family Foundation Joan Maclin Anne Black-Sinak Tim & Nancy Bakalakos Steve & Gail Brand Anita Makar Eileen M. Smith Andrew & Peggy Baker Michael & Carol Bromer Jim & Dr. Katie McClarty Julie Snortland Carole & Douglas Baker, Sr. Sara Brown Dr. Robert & Virginia McCollister Nikki Sorum & Simon Foster Grace & David Bartholet Robert & Janet Calander Robert & Polly McCrea Family Fund Margaret Spear Margaret & J.R. Beahrs Michael & Edith-Nicole Cameron of The Minneapolis Foundation Robert J. Spikings & Steven Robert Beck Richard & Jennie Carlson W. Thomas & Christine B. McEnery Jeffery P. Perkey Bryan & Mary Bennett Douglas & Renee Christensen Dr. William W. & Nadine M. McGuire Peter Spokes Cindy & Dave Berg Helen Cleveland Larry & Mary McIntyre Jim & Mimi Stake Julian Bernick & Jennifer Linde Stephen & Sylvia Cook Robert & Laurie McNeill Steven & Gwen Starr Marcy & Randy Betcher Benjamin & Laura Cooper Mersky Family Foundation Sulasalmi Fund of The Minneapolis Mark & Mary Boorsma Gisela Corbett & Peter Hyman Charles & Carolyn Meyer Foundation Verna Kay Bormann

GUTHRIE THEATER \ 25 Breyer Family Fund of The Minneapolis Foundation Beth Brill Questions about Suzanne Bross Mary Lou & Allan Burdick supporting the Guthrie? Martha & Ronald Caldwell Gary T. & Joan Capen Call 612.225.6200 or visit Paul Carolan www.guthrietheater.org/support Dr. Thomas C. & Anne Carrier Darlene J. & Richard P. Carroll to learn more. Family Fund of The Minneapolis Foundation Marilyn & Gerald Cathcart Cecil & Penny Chally Keith & Kristi Johnson Chip & Amy Pearson In memory of Desmond Heeley Richard W. & Jean Illsley Clarke Paul A. & Renee Johnson Charlotte Perez & Amy Pearson James Tucker Fund of The Minneapolis Richard & Bonnie Johnson Linda & Lee Petersen In memory of Helen C. Liu Foundation Ellen Jones & Robert McKlveen Ron & Kathy Peterson Judy & Bill Nicholas Clay Family Fund of The Gail & Tom Jones The Pickhardt Resnick Family Fund In memory of Diane Olson Minneapolis Foundation Dr. Michael & Cynthia Jorgenson Sarah Pillsbury Paula Baudhuin Larry A. Colbeck Suzanne Joyce Bill Pinegar Mike & Ann Brilley Cinda Collins Jane & Jim Kaufman Fund of Patricia L. Ploetz Olga Johnson Katie & Kevin Conneely The Minneapolis Foundation Lorraine A. Potuzak Susan K. Knotz Julie Corty Pamela & Ronald Kaufman John Powers Louise Knutson Russell Cowles Marie N. King Nancy & James Proman Kathleen & Richard Olson David & Vicki Cox Trisha Kirk & Sara J. Fenlason Emily Gene Reed Gloria J. Spong Barb Davis David Kirkland Kurt & Suzanne Retzler Pamela M. Zimba Cy & Paula DeCosse Fund Drs. James & Kelsey Klaas Wayne & Ann Rice In memory of Mary H. Smith of The Minneapolis Foundation John & Maureen Knoedler Ted & Aileen Rowe Dr. Max & Jane Boller John & Bette DeMars Kay Kulp Denise R. Rutherford & Richard & Jane Borchers Charles M. Denny, Jr. & Carol E. Daniel & Constance Kunin Maurice Kuypers Kathryn Childress Denny Fund of The Minneapolis Gretchen & Jim Kvikstad Peggy Ryan Jean Cunningham Foundation Suzanne & Miles Lahr Mark Rynda Nicole S. Eikenberry Tom & Mary Lou Detwiler Kathleen M. Lamb Lili H. & Andrea Scarpa William & Carmelita Ellis Mark & Janet Ditter Kirk & Jane Landman Bernie & Jane Schmitt Alice & Dean Fjelstul John & Maureen Drewitz in memory Richard C. Larsen Gail See Sheila Green of Arlene B. Bryant Wendy Willson Legge & Charles & Lorraine Sewich Brian & Mary Lamb David & Mary Jo Eide Gordon E. Legge Mary Sheehy David & Jeanine Landswerk Dr. Jan Elfline LeJeune Family Foundation David Simpson Barbara McBurney Robert Epps Dr. Ron Linde & Rob Ostrander Richard & Mary Jo Skaggs Judi & Michael Parks Jennifer & Sean Faeth Stephen Litton Helene & Jeff Slocum Richard & Margaret Pfohl Kathy & Bill Farley Cherryl Lofgren & Michael Zender Eleanor & Chris Smith Diane & David Rogers Tim & Noreen Farrell Eric J. & Larry J. Loyer-Trosdahl Dr. James & Joanne Smith Maureen Shaver Ruth & Leroy Fingerson Laraine MacKenzie Jodi Standke Dr. & Mrs. Richard Tompkins Brad & Arlene Forrest Laura Maharry Sara & Henry Stokman In memory of Kjersten Marie B.J. French Kevin & Eileen Maler Nancy & John Strom Ellingson Schladetzky, William Daniel & Carol Frenning Sharon Marx & Timothy Crimmins David Swanson in memory of David Schladetzky and Nelson Philip & Phyllis Garon Joseph Matula Penny Sweitzer Sidney Schladetzky Leland & Beverly Gehrke Sam & Patty McCullough Joseph P. Tamburino Beth Larson & Gene Smaciarz Tim Grady & Catherine Allan Fund Sheila & Bernard McDonagh Marsha & Gary Tankenoff In memory of Eleanor S. Steen of The Minneapolis Foundation Dick & Joyce H. McFarland Family Carolyn Taylor Carla Steen & Jeff Friedl Nina & Matthew Graham Fund of The Minneapolis The Thayer Family Foundation In memory of Miriam & Frederic Shirley M. Graham Foundation of The Minnesota Community Ten Eyck Joe Green & Trudi Anderson Karen & John Meslow Charitable Fund Foundation Anonymous Joan Growe David J. Meyer Gregory J. Thomas & Carol M. Downie Sengdara V. Grue Lavonne Michaud & Gregg Bloom Michael & Gloria Thurmes GUTHRIE CORPORATE COUNCIL Peggy Hall & Lee Barry Craig R. Miller Gerald & Susan Timm The next generation of Twin Cities Dr. Roger Hallgren Dr. Harry & Christina Miller Bill & Deb Tomczyk philanthropic leaders. Brita Hansen & Eric Hazen Lucy C. Mitchell – The Longview Lynn & Carol Truesdell Joshua Dorothy, Gregerson, Rosow, Jack Hansen & Joan LeGare-Hansen Foundation The Alice & Fred Wall Family Johnson & Nilan, Ltd. Emily & Jed Harris Jack L. & Chris Morrison Foundation Nathan George, Bind Health Leah Harrison Stich Fund Lynn & Anders Myhran Meg Walters & Per Hong Kate Johansen, Mayo Clinic Alfred & Ingrid Lenz Harrison NaLa Fund of The Minneapolis Frederick & Dorothy Waltz Ryan S. Johnson, Fredrikson & Brian Hart Foundation Judy L. Wertheimer Byron, P.A. Marguerite & Donald L. Harvey Keith & Paulette Nelson Patrick & Vera Whelan Nathan Pommeranz, Allianz Family Fund of The Minneapolis John & Joan Nolan Nedra & John Wicks Life Insurance Company of Foundation Kevin Nordby & Leslie Hanna-Nordby Ginger & Dodd Wilson North America Hugh, Pam, Nick & Toni Heinecke Linda Odegard & Harlan Cavert Frederick & Eleanor C. Winston Pleasant A. Radford Jr., Blue Cross Les & Judy Heinen Sandra Okinow Mary P. Wuest and Blue Shield Peter & Carolyn Hendrixson Benedict & Rita Olk Vicki Wyard Peter Scherf, U.S. Bank Nancy & Dean Heng A. Richard & Martha Olson *In remembrance Michael Schmaltz, Accenture The Julianna Marie Hillmer Joan & David Olson Ryan Warshaw, Best Buy Memorial Fund Stephanie Boening-Ondik & HONOR AND MEMORIAL GIFTS Karen & Chris Hodgson Dennis Ondik September 1, 2019 – January 24, 2020 AS OF FEBRUARY 19, 2020 Jon & Carole Holcombe Ahmad & Ruth Orandi In honor of David Ball We do our best to ensure that all David & Marjorie Hols Lawrence M. O’Shaughnessy Barri Maxwell donor listings are current and correct. Steve Horan Charitable Annuity Trust In memory of Jean Carlstrom To update your listing, please contact Vera Jane Lochtefeld at 612.225.6165 or Carlton Hunke & Kate Haugen Drs. Anita M. Pampusch & Jane Carlstrom [email protected]. The John & Ruth Huss Fund Frank J. Indihar In honor of Brooke Hajinian Suzanne & Thomas Inman Diana J. Pauling Joy K. & Kate Bussert (DAN NORMAN) IN NOISES OFF (DAN WINGERT SALLY PHOTO:

26 \ GUTHRIE THEATER Corporate, Foundation and Public Support Vital support from our corporate, foundation and government partners allows community members of all ages and abilities to access internationally renowned theater and celebrated artists. Grants from state and federal agencies and local and national foundations provide crucial operating support as well as key funding for new and ongoing programs. To learn more, contact the Development Department at 612.225.6166. For information about sponsorship opportunities and corporate benefits, contact us at [email protected].

$250,000 and above

This activity is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund.

$100,000 – $249,999

David & Janis Larson Foundation

$50,000 – $99,999

The Emerald Foundation

$25,000 – $49,999

Shakespeare in American Communities is a program of the National Endowment for the Arts in partnership with Arts Midwest.

Fred C. & Katherine B. Andersen Foundation; The Harold & Mimi Steinberg Charitable Trust

$15,000 – $24,999

The Edward R. Bazinet Foundation

$5,000 – $14,999 Hugh J. Andersen Foundation; Bernstein Global Wealth Management; Blythe Brenden-Mann Foundation; Boss Foundation; The Carlson Family Foundation; Emerson; William & Eva Fox Foundation; High Point Networks; Jani-King; Jefferson Lines; Jones Day; Lathrop GPM; Meristem Family Wealth; Mutual of America; Piper Jaffray, Inc.; Rahr Corporation; Margaret Rivers Fund; Robins Kaplan LLP; Schwegman, Lundberg & Woessner, P.A.; The Scrooby Foundation; Sherman Associates; Stinson LLP; Tennant Foundation; Wenger Foundation

$2,500 – $4,999 Dellwood Foundation; Hunt Electric Corporation; McGough Construction Co.; Palisade Asset Management; Peregrine Capital Management, LLC of The Minneapolis Foundation; Quality Furniture Rental; The Elizabeth C. Quinlan Foundation; Sit Investment Associates Foundation

$1,000 – $2,499 Alliiance; Bachman’s Inc.; Federated Insurance; Jamf Foundation; Art & Martha Kaemmer Fund of HRK Foundation; National Checking Company; Northland Aluminum Products, Inc. (Nordic Ware); Shapco Printing, Inc; The Alice & Fred Wall Family Foundation

In-kind support

(DAN NORMAN) IN NOISES OFF (DAN WINGERT SALLY PHOTO: 3M; Bauhaus Brew Labs; Soderberg’s Floral & Gift; Target

GUTHRIE THEATER \ 27 WHO WE ARE

Resident Dramaturg General Management Assistant Nina Nusse, Janice Radatz, Charlette Board of Carla Steen Rachel Smoka-Richardson Reiner, Maria Rodriguez-Dively, Resident Voice Coach Director of Finance Bridget Sabatke, Abby Turner, Directors Jill Walmsley Zager Janet E. Balej Tracy Villinski Director of Community Engagement Accounting Manager Audio Describers Chair Rebecca Noon Rose Block Elana Centor, Connie Fullmer, James L. Chosy Community Engagement Assistant Accounts Payable Specialist Laura Wiebers, Jean Wolff Past Chair Daisuke Kawachi Michelle Connealy Open Captioning Martha Goldberg Aronson Director of Education Accounting Specialist c2 inc, Hunter Gullickson Director Jason Brown Margaret Schuelke Box Office Manager Joseph Haj Education Program Managers Accounts Receivable Associate PattiJo Verdeja Treasurer Lauren Anderson, Bill Bertram Associate Box Office Manager Audrey Lucas Siddeeqah Shabazz Director of Facilities Todd Hughes Secretary Education Coordinator Bryce Wasiloski Box Office Supervisors Jennifer Reedstrom Bishop Madeline Achen Building Engineers Tor Chavarria, Chris Weiland Directors Guthrie Teaching Artists Angel Bustamante, Oriel Flores, Box Office Assistant Nima Ahmadi, Susan Allen, Alex Goebel, Alex Hathaway, Dave Sargent Alissa Rutherford Y. Marc Belton, Abdhish Bhavsar, Theo Langason, Marci Lucht, Director of Information Technology Senior Box Office Specialists Stacy Bogart, Peter Brew, Priscilla Suzy Messerole, Katherine Pardue and Services Kevin Drew, Matthew Everett, Brewster, Terry Clark, Senator Instructors Ross Anderson Liz Jensen, Kendra Plant, Richard J. Cohen, Linda N. Hanson, Sarah Jane Agnew, Ansa Akyea, Database Administrator Teri Schafer Todd Hartman, Diane Hofstede, Michael Anderson, Betsy Benjamin, Chris Jensen Season Ticket Specialists Timothy A. Huebsch, David Hurrell, Rush Benson, Seth Bockley, Brian Systems Administrators Devin Dolquist, Amirah Ellison, Garry W. Jenkins, Lisa A. Johnson, Bose, Shinah J. Brashears, James Kimberly Eyvindsson, Bret Pasek Eva Gemlo, Alex Goebel, Kathy John Junek, Christine Kalla, Paul Cada, Shanan Custer, Stephen Systems Support Specialist Gyro, Kevin Hansen, Marian Hughes, Keel, Patrick S. Kennedy, Jay DiMenna, Gabrielle Dominique, Amy Van Patten Kyle Kepulis, Johari King, Michelle Kiedrowski, John A. Knapp, Suzanne Annie Enneking, Laura Esping, Director of Human Resources Lutz, Kaija Pellinen, Sophia Kubach, David M. Lilly, Jr., Michael Stuart Gates, H. Adam Harris, Kyle Fitzwater Swenson, Dawn Tessmer McCormick, W. Thomas McEnery, Michelle Hutchison, Nathan Keepers, Human Resources Generalist Reservationists Jennifer Melin Miller, Helen Meyer, Mira K. Kehoe, Pedro Lander, Dylan Sadie Ward Suzanna Jack, Jane Krentz, Hannah Wendy Nelson, Todd Noteboom, Martin, Esther Ouray, Aaron Preusse, Human Resources Associate Pierce, Karen Prince, Bo Whitesman Lisa Saul Paylor, Brian Pietsch, Irene Juan Rivera Lebron, Jim Robinson, Olivia Snortland Group Sales and Tour Coordinator Quarshie, Ann Rainhart, Senator Julie C Ryan Shipley, Eli Sibley, Julie Manager of Safety and Security Kemi Ojelade A. Rosen, Robert A. Rosenbaum, Thoreen, Josh Tobiessen, Shirley Steve Brown Tour Guides Ronald Schutz, Lee Skold, Michael Venard, Suzanne Warmanen, Security Officers Ursula Bowden, Lukas Brasher-Fons, Solberg, Kenneth F. Spence, James Sean Wesche, Allison Witham, Tucker Adams, Colleen Barrett, Dan Dondelinger, Sandra Graves, P. Stephenson, Steven J. Thompson, Darian Wohlrabe David Bordwell, Rachel Canning, H. Adam Harris, David Larson, Steven C. Webster, Heidi Wilson Derek Dixon, Dylan Flasowski, Kyle Dylan Nicole Martin, Kemi Ojelade, Lifetime Directors DEVELOPMENT Hasse, Shaun Johnson, Ted Marth, Jeffery Perkey Martha Atwater, Karen Bachman, Director of Development Kristen Reinke, Joy Showalter, Front of House and David C. Cox, William George, Mollie Alexander Hogan Francis Sieg, Jodi Stoffel, Marc Zale Visitor Services Director Pierson M. Grieve, Polly Grose, Director of Institutional Giving Company Manager Sue Kotila Stephen W. Sanger, Douglas M. Nina Graham Cindy R. Berg Visitor and Volunteer Steenland, Mary W. Vaughan, Director of Corporate Giving Assistant Company Manager Services Manager Irving Weiser, Margaret Wurtele, Emily Essert Jeff Anderson Savannah McKnight Charles A. Zelle Director of Individual Giving Director of Marketing and House Managers Matt Haar Communications Maggie Gallagher, Thurston Development Events Manager Trisha Kirk Johansson, James Toetschinger Rose Dennis Associate Director of Marketing House Supervisors Interim Development Events Elizabeth Deacon Toua Moua, Brittany Pooladian, Guthrie Manager Marketing Manager Ole Ryan Merritt Rodriguez Kaitlin Schlick Ushers Staff Annual Fund Coordinator Senior Graphic Designer Tullio Alessi, Elliot Allen, Patricia Vera Jane Lochtefeld Brian Bressler Arnold, Tony Artym, Berto Borroto, ARTISTIC Individual Giving Coordinator Graphic Designer Andrew Brown, Jon Bushee, Malinda Artistic Director Mark Anthony Rodriguez Akemi Graves Champs, Eli Coats, Pat Collins, Ann Joseph Haj Development Database Specialist Writer and Publications Editor Conroy, Ona Conroy, Mary Crawford, Associate Artistic Director Andrew Buckholtz Johanna Buch Laini Devin, Lucy Farrell, Evelyn Jeffrey Meanza Development Administrative Video Content Producer Flaherty, Patti Gaurkee, Jake Griffith, Executive Assistant to the Director Coordinator Ryan Melling Redd Grutsch, Melissa Gubrud, Cathy Alise Hansen Constance DeLage Marketing Coordinator Hanson, Sharon Hanson, Liz Holst, Associate Producer Development Assistant Taylor Bye Leif Hove, Finn Jackson, Mycah Judy, Lauren Keating Teri Schafer Senior Communications Manager Lewis Levesque, Mitchell Levesque, Associate Producer, Dowling Studio Lead Kitchak Lounge Host Marita Meinerts Albinson Ellie Lockman, Sean Lynch, Jack Michael Perlman Kevin Drew Communications Coordinator Meeker, Soren Miller, Toua Moua, Director of Professional Training Kitchak Lounge Hosts Allie McCurnin Ginny Nemec, Nathan Noel, George Maija García Megan Brennhofer, Lewis Levesque, Communications Associate Norman, Evan Peterson, Brittany Training Programs Manager Alex Soukup Tosaka Thao Pooladian, Arlis Prescott, Bradley Jeremy Jones Accessibility Manager Prom, Jeffrey Quatier, Kyra Rahn, Em Artistic Associate/ MANAGEMENT Hunter Gullickson Rode, Sequoia Rogers, Kim Rosales, Resident Casting Director Managing Director American Sign Language Ole Ryan, Filsan Said, Susan Schaaf, Jennifer Liestman James Haskins Interpreters Bill Schaub, Madeline Schulz, Don Artistic Assistant Assistant to the Managing Director Elizabeth Bonderson, Mary Catherine, Shuler, Joshua Simpson, Asa Sims, Morgan Holmes Kurt Engh Sara Corliss, Erin Gardner, James Alex Soukup, Kris Stapleton, Casting Consultant General Manager Gardner, Patty Gordon, Jesse Lisa Torrez, Natasha Villanueva, McCorkle Casting, Ltd. Brooke Hajinian Koon, Lauri Krouse, Susan Masters, Madeline Wall, Michael Wesely

28 \ GUTHRIE THEATER Stage Door Receptionists Stitchers Annie Rupprecht, Michaela Savage, ACKNOWLEDGMENTS Jan Bruncati, Laini Devin, Mary Linda, Dana Shepard Douglas John Stetz, Angie Vo, More than 500 volunteers give Kevin Drew, Lewis Levesque, Costume Crafts Rigmor Vohra their time and talent in support Toua Moua, Nathan Noel, Vanessa J. Lopez Costume Rentals Assistant of the Guthrie’s activities. Christina Perault-Boughton, Wig Assistants Polly Bilski Karen Prince, Bradley Prom, Andrea L. Moriarity, Jessica Rau Costume Rentals Clerks The Guthrie is a constituent of Madeline Schulz, Anna Fenoglio Tift Wardrobe Supervisor Dawn Edwards, Doc Grauberger, Theatre Communications Group Day Staff Lauren E. Noyes Zoe Koenig, Mena Xiong and a member of the League Tony Artym, Laini Devin, Wardrobe Assistants Wardrobe and Wigs of Resident Theatres and Cathy Hanson, Sean Lynch, Ananda Frey, Carrie Monroe, Madison Blotz, Emma Chen, Minnesota Theater Alliance. Bradley Prom Kristen Sauter Hannah Fiedler, Emily Jannusch, Director of Retail and Wig and Wardrobe Technicians Molly O’Gara, Jessica Procopio, The Guthrie is a member of Merchandising Clara Cavins-Wolford, Molly Fox, Alexandra Schwalbe the American Arts Alliance Kay McGuire Jenny Gants-Moen, Jennifer James Electricians and Minnesota Citizens for the Store Sales Manager Head of Lighting and Projection Brent Anderson, Erin Belpedio, Arts, government advocacy Mitra Asbaghi Tom Mays Tiff Clem, James Eischen, Paul groups at the federal and state Store Associate Associate Head of Lighting Epton, Matt Gross, Jack Hinz, Kurt levels, respectively. Kevin Drew and Projection Jung, Andy Kedl, Mark Kieffer, Karin Store Sales Associates Ryan Connealy Olson, Jake Otto, Carl Schoenborn, Kimberly Johnson, Bryce Koenigs, Master Electrician Dave Salmonson, Mary Shabatura David Landskroener, Shaniya Andrew Sullivan Props Artisans Payton, Miles Scroggins, Mena Xiong Master Video Technician Ursula K. Bowden, Adam Clay, Lisa Director of Costume Rentals Owen Moldow Mei Ling Fong, Corinna Knepper The actors and stage managers Alicia Wold Production Electrician Troth, Nate Otto employed in this production Costume Rentals Assistant Megan Winter Sound Technicians are members of Actors’ Equity Julia Acton Lead Light Board Operator Merritt Benton, Lea Brucker, Association, the Union of Stephanie Richards Ted Greenbaum, Joe Kokal, Jason Professional Actors and Stage PRODUCTION Light Board Operator Miller, Zaneta Ogar, Phillip O’Toole, Managers in the U.S. Director of Production Angelina Vyushkova Tom Prestin, Rocky Rosga, Joshua Rebecca Cribbin Head of Props Savoie, Kevin Springer, John Steitz, Production Manager Sarah Gullickson Roni Strain, Nik Tranby, Mike Joel Krause Associate Head of Props Whitney, Julie Zumsteg Production Stage Manager Genoveva Castañeda Sound Design Assistant Directors and choreographers Tree O’Halloran Master Props Artisan C Andrew Mayer are members of the Stage Events Production Manager Stacey Schwebach Stage Hands Directors and Choreographers Mitch Baird Prop Buyer/Artisan Peter Artley, Gaea Dill-D’Ascoli, Society, a national theatrical Assistant Production Manager Rebecca Jo Malmström Jessica Kelley, Dave Salmonson, labor union. Sara L’Heureux Props Artisan Robin Wilcox 2019–2020 Stage Managers Erin Brandt Jason Clusman, Katie Hawkinson, Props Artisan Emeritus AS OF FEBRUARY 19, 2020

Jane E. Heer, Kathryn Sam Houkam, John “Linus” Vlatkovich Highlight denotes member of the Todd Kalina, Jamie J. Kranz, Head of Sound Senior Management Team The scenic, costume, lighting Timothy Markus, Stacy McIntosh, Reid Rejsa and sound designers in LORT Matthew Meeks, Olivia Louise Tree Master Sound Technicians theaters are represented by Plath, Brooke Redler, Nate Stanger Paul Estby, Alex Ritter United Scenic Artists, Local Technical Director Lead Sound Board Operator USA 829 of the International Jim Gängl Brandon Smith Alliance of Theatrical Stage Assistant Technical Director Sound Board Operator Employees. Sarah Schniepp Matthew Koch Scene Shop Supervisor Stage Operations Supervisor Jesse Delaney MJ Leffler Shopper/Buyer Props Liaison Alissa Gold Matt Dawson Guthrie costume and wardrobe Master Carpenter Master Stage Hands employees, stage hands and Christopher Sibilia Robert Barnwell, Craig Rognholt craftspersons are represented Carpenters Stage Hands by IATSE Local 13. Matthew A. Gilbertson, John Kirk, Ryan Volna Eric Kiekhaefer, Kristin Larsen, All scenery, props and costumes Mike Larson, Madelyn Smith OVERHIRES are designed specifically for Head of Scenic Art Carpenters Guthrie productions and built in Michael Hoover William Bankhead, Jackson Boever, the theater’s shops. Associate Head of Scenic Art Gaea Dill-D’Ascoli, Alicia Dvorak, Denise Dooley Bridget Gustafson, Michael Hall, Scenic Artist Jessica Kelley, Margot de Larminat Kathleen Carlson Koefod, Dalen O’Connell Costume Director Scenic Artists Amy Schmidt Lake Dolan, Lydia Francis, Costume Workroom Manager Laura Hohanshelt, Rebecca T. Tyler Stumpf Pavlenko, Dietrich Poppen Costume Design Assistant Costume Design Assistant Lisa Jones Katelynn Barker Drapers and Tailors Costumes Juliann Benson, dj gramann ii Helen Amman, Erin Connor, First Hands Mattie Ernst, Heidi Keil, Abbie Denee Anderson, Clare Brauch, Kenyon, Carol Lane, Amy Mills, Teresa Davich, Jeanie Jordan Jean Nelson, Tina Robinson,

GUTHRIE THEATER \ 29 GOOD TO KNOW

Theater Information and Policies

RESTROOMS POLICIES Public restrooms are located in the PROHIBITED ITEMS Food, recording lobbies on Levels Four and Five. devices and laser pointers are prohibited inside the theaters. During performances, four The Guthrie bans firearms on universal, ADA-accessible restrooms its premises. Please turn off phones that lock and provide privacy are and electronic devices prior to available to patrons of any gender the performance. Texting is not TICKET INFORMATION identity and expression on Levels allowed during the performance. BOX OFFICE WINDOW Open daily Three and Four. 10 a.m. – 8 p.m. PERFORMANCE DAYS NO SMOKING In accordance with 10 a.m. – 5 p.m. NON-PERFORMANCE DAYS LEVEL THREE One all-gender the Minnesota Clean Indoor Air Act, restroom is accessible from the smoking is prohibited in the theaters SINGLE TICKETS Tickets McGuire Proscenium Stage. Where and lobbies. Some productions may may be purchased online at Aisle 2 ends at the stage, pass use prop cigarettes onstage. guthrietheater.org, by phone at through the door on the right. 612.377.2224 or 1.877.44.STAGE PHOTO AND VIDEO Photos of the (toll-free) or in person at the LEVEL FOUR One all-gender restroom set are allowed before or after Box Office. is located in the main lobby next the show and during intermission to the men’s restroom, and two all- but not when artists are onstage. SEASON TICKETS Subscription gender restrooms are located at the Video or audio capture of any packages for the 2019–2020 end of the Von Blon Lobby, which performance is strictly prohibited. Season are on sale now. Call is past the main entrance to the 612.225.6238 or 1.877.99.SEASN Wurtele Thrust Stage. LEAVING DURING A PERFORMANCE (toll-free), visit guthrietheater.org Please let the first set of doors fully or stop by the Box Office. close behind you before opening EMERGENCY PROCEDURES the second set to prevent light GROUP TICKETS Groups of 15 or MEDICAL Please contact the from entering the theater. more receive ticket discounts and nearest usher, either inside or may enhance their experience outside the theater. DISRUPTIVE BEHAVIOR We reserve with tours, workshops and dining. the right to escort disruptive Call 612.225.6244 or 1.877.225.6211 FIRE The proscenium stage has two patrons from the theater at (toll-free). lower emergency exits, two upper any time. lobby exits on the orchestra level and two exits in each balcony that SHARE ON SOCIAL lead down and out to the Level Four Connect with us and share your lobby. Please exit to the lobby, where Guthrie experience. ushers will direct you to one of six fire exits that will take you outside the building on street level. Anyone @GuthrieTheater with disabilities should proceed to the lobby elevators and wait for SHOW HASHTAG

emergency personnel for evacuation. #GuthrieBacchae NORMAN DAN PHOTO:

30 \ GUTHRIE THEATER PHOTO: DAN NORMAN March 21-AprilMarch 12 World Premiere Starring Charity Jones & Andrew Erskine Wheeler Erskine Andrew & Jones Charity Starring directed by Ron Peluso play by ashort Teed on based Barbara Teed Barbara by and Hines Kim racial discrimination in housing in the Twinracial the in discrimination housing in Cities The Legacy of Don’t miss these two these miss powerful about dramas Don’t Saturday, April 4, 2020 Saturday, 4, April Benefit Theatre History the Date Save

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Star Tribune & CityPages Tribune & Star | 30. E. 10th St, St. Paul All New Version March 25-April 5 25-April March directed by Richard D. Thompson by Tom Fabel Eric and Wood

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music & lyrics by Chan Poling by Chan &lyrics music Hit musical is back! musical Hit Glensheen July 11-Aug 2 11-Aug July A shout-out to our subscribers Since the Guthrie’s beginning, season ticket holders have been our lifeblood. Your love of theater inspires us and helps ensure the Guthrie remains a cultural asset for the Twin Cities and beyond. We are honored to bring powerful stories to the stage and share them with you each season.

To all our subscribers: Thank you. Your commitment means the world to us. (DAN NORMAN) TWELFTH NIGHT (DAN PHOTO: JIM LICHTSCHEIDL IN JIM LICHTSCHEIDL PHOTO: