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Read the Program F E R O C I O U S L O T U S T H E A T R E C O M P A N Y presents the world premiere of Two Mile Hollow by Leah Nanako Winkler directed by Lily Tung Crystal Cast Michelle Talgarow as Blythe, a white woman Karen Offereins as Mary, her white daughter Greg Ayers as Joshua, her white stepson Sean Fenton* as Christopher, her other white stepson Rinabeth Apostol* as Charlotte, Christopher’s assistant * These actors and stage managers appear with the special permission of Actors’ Equity Association. Two Mile Hollow is one hour and 55 minutes, including one intermission. Potrero Stage | 1695 18th St, San Francisco, CA June 23 – July 15, 2018 Presented in partnership with Intersection for the Arts, as part of the INTER- SECT SF series, funded by Grants for the Arts A simultaneous world premiere with First Floor Theater (Chicago), Artists at Play (Los Angeles), and Mixed Blood Theatre/Theater Mu (Minneapolis) Creative Team Randy Wong-Westbrooke Set Designer Kathleen Qiu Costume Designer Kevin August Landesman Lighting Designer Michael Kelly Sound Designer Devin LaBelle Props Designer Carla Pantoja Fight Choreographer Rinabeth Apostol Dance Choreographer/ Fight Captain Min Kahng Song Composer Eric Crystal Song Orchestration Production Team Benjamin Shiu Stage Manager Cindy Cesca Yoshiyama Managing Director Sunshine Lampitoc Smith General Manager Annie Wang Dramaturg/Photography/ Graphic Design Matt Sykes Production Manager Nicole Meñez Assistant Director Alex Trono Assistant Stage Manager Csende Balogh Assistant Stage Manager Ryan Short Master Carpenter Leon Goertzen Casting Director May Liang Literary Manager Jaisette Herrera Marketing/Social Media Stephanie Crowley Public Relations We are so grateful to the following production sponsors who made this show possible: Ranee Lan Nate Chang & Jennifer Tye Ray Kelly & David Peck Rita Tung Letter from the Artistic Director While curating our fHERocious New Play Readings in 2016, a play came across our desks that made us stop in our tracks. We loved its irreverence, its boldness, and how we saw all the ways in which we, as people of color, were often viewed in American society. And it was funny. We chose to present a reading of Leah Nanako Winkler’s Two Mile Hollow in November of that year (the same week as another big event you might recall), and it was an audience favorite. Not only did people love it for its fierce comedy, but audiences also saw Winkler’s deep comment on race, class, and privilege in America. It was the perfect parody during that national moment, when our identity as Americans was being questioned more than ever before. When asked what prompted her to write Two Mile Hollow, Winkler says: “Once on a Youngblood writers retreat, a few of us noticed that a certain NYC theater’s new season consisted solely of what we deemed ‘white people by the water’ plays. I remember laughing about it at the time, but then I started to wonder how deeply these overblown narratives were ingrained in my brain...Why does this one dominant perspective keep getting produced over and over? How do these narratives affect representation on the stage? How does representation affect culture? Hopes and dreams?” How and why, indeed. Like Winkler, we at Ferocious Lotus, are working to subvert that “one dominant perspective.” We invite you to be surprised and delighted as you experience the comedic themes and satirical tropes that weave through Two Mile Hollow. But we also ask you to question the assumptions we all make of each other based on race, gender, and class. How do those assumptions affect the “other”? Whose stories get told…or not told, as the case may be? What is the true American story? The answer is dichotomous. We have a shared history as Americans. And yet each of our stories is as disparate and unique as the histories from which we come. What narratives are thrust upon us? And which narratives can we claim as our own? As Americans we continue to grapple with this tension. And as art- ists we continue to write our own stories and that of the nation’s to be richer, more inclusive, more empathetic. As the recent winner of the Yale Drama Series Award, among other accolades, Winkler’s star is rising in the American theatre world. As she puts her own mark on and creates a new narrative in our national canon, we’re thrilled to be the first company to bring her fierce, insightful work to the Bay Area. Have fun, laugh, and enjoy! And thank you for joining us at Two Mile Hollow. Lily Tung Crystal Founding Artistic Director Ferocious Lotus Theatre Company The Company Rinabeth Apostol* (Charlotte/Fight Captain/Choreogra- pher) is happy to work with some of her favorite artists in this production! Recent projects: world premieres of we, the invisibles (Humana Festival, Actors Theatre of Louisville), Madame Ho (Eugenie Chan), The Four Immigrants (TBA Outstanding Featured Actress - Musical nominee; The- atreWorks), A Thousand Splendid Suns (A.C.T.), and peerless (BATCC Principal Actress - Play; MTC). She originated prin- cipal roles in Monstress (A.C.T.), The Kite Runner (San Jose Rep, Arizona Theatre Company), The Cable Car Nymphoma- niac (FOGG), FireWork (TheatreFIRST), FIRST (PlayGround), Imelda: A New Musical (EWP). Select credits: Dogeaters (Magic), Othello (MTC), Aliens with Extraordinary Skills (B Street Theatre),Of Mice and Men (SJ Rep), Avenue Q (San Jose Stage), Red (TheatreWorks); plus collaborations with Berkeley Rep, Playwrights Foundation, Crowded Fire, NYU Skirball Center for the Performing Arts, and The Groundlings. Greg Ayers (Joshua) is happy to be working with Ferocious Lotus again after appearing in Crane. He has also worked at San Francisco Playhouse, SHN, Aurora Theatre, PCPA, and Denny’s (For a day. When he was 17. But when in the mid- dle of the lunch rush, a middle-aged man started calling an elderly woman nasty names because he thought she had cut him in line to get a table—Greg knew that this was not the job for him.) Greg would like to respond to all the people in his life who have ever said “Huh. You don’t LOOK Asian” with “Well, YOU don’t look like an asshole, yet here we are.” Sean Fenton* (Christopher) was most recently seen at The- atreWorks Silicon Valley in The Bridges of Madison County (Paolo) and Min Kahng’s The Four Immigrants: An American Musical Manga (Fred). Other favorite roles include: Song Lil- ing in M. Butterfly (SFBATCC Award finalist; Custom Made Theatre), The Old Man of the Moon in Where the Mountain Meets the Moon (TBA Award winner; Bay Area Children’s Theatre), Ladahlord inPasek & Paul’s James and the Giant Peach (Bay Area Children’s Theatre & Shanghai Children’s Art Theatre), Xiao Hai in The Song of the Nightingale(Altare - na Playhouse), Linus in You’re a Good Man, Charlie Brown (Willows Theatre), and Sammy in Blood Brothers (Altarena Playhouse). Sean is a graduate of Stanford Uni- versity and a board member for Crowded Fire Theater. * Member, Actors’ Equity Association, the labor union representing American actors and stage managers in the theatre Karen Offereins (Mary) is excited to be making her Fero- cious Lotus debut. She was last seen in Cutting Ball’s Oe- none and has performed with PlayGround, Word for Word, Playwrights Foundation, Shotgun Players, SF Theater Pub, SF Playhouse, Custom Made Theatre, AtmosTheatre, and Theatreworks. Michelle Talgarow (Blythe) is half Kalmyk and Filipino. She is excited to work, once again, with the Ferocious Lotus gang. She was in their co-production, with Impact Theatre, of MUTT by Christopher Chen. Michelle is a proud company member of Shotgun Players and is one of the coordinators for their Champagne Staged Reading Series. She is also a company member of the performance collective Mugwump- in. She has strong roots at the EXIT Theatre in SF, where two of her murals can be seen. Besides performing, Michelle is also a director and has been fortunate to have worked with many other local companies: The Ground Floor at Berkeley Rep, Central Works, Cutting Ball Theatre, Magic Theatre, and Bindlestiff Studios. Leah Nanako Winkler (Playwright) is a playwright from Kamakura, Japan and Lexington, Kentucky. Aside from Two Mile Hollow, her plays include Kentucky (Kilroys List, world premiere Page 73/ EST), God Said This (2018 Humana Fes- tival, upcoming at Primary Stages in 2019) and Hot Asian Doctor Husband (world premiere upcoming at Theater Mu). She is the 2017-2019 Jerome Fellow at the Lark, the inau- gural recipient of the Mark O’Donnell Prize from the Actors Fund and Playwrights Horizons, and an early recipients of the Audible commission for emerging playwrights. Most re- cently, Leah won the 2019 Yale Drama Series Prize. She currently writes for A24’s Untitled Ramy Youseff Project upcoming on Hulu. @leahnanako Lily Tung Crystal* (Director) is the founding artistic di- rector of Ferocious Lotus. She’s grateful to be working with this talented group of artists and to have the support of the Bay Area theatre community. Lily was nominated for a Theatre Bay Area Award for her direction of Chinglish at Palo Alto Players in 2015 and recently directed the one-act Revelation for Those Women Productions. This fall, she’ll be helming the Bay Area premiere of the musical Allegiance at CCCT. Lily is also an award-winning actor/singer who’s worked with theatres across the country, including Berkeley Rep’s Ground Floor, Crowded Fire, Magic Theatre, Mountain Play, New World Stag- es, PlayGround, Playwrights Foundation, Portland Center Stage, Ragged Wing, SF Playhouse, Syracuse Stage, Those Women Productions, and Woodminster. She does on-camera work and appeared in the Danny Boyle film Steve Jobs.
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