OCTOBER 2018 Oct 12–Nov 11

by J.T. Rogers directed by John Langs October 2018 Volume 15, No. 2

FALL 2018

Paul Heppner President

Mike Hathaway Contents Vice President Feature Kajsa Puckett 3 The Future is Female Vice President, Marketing & Business Development Dialogue Genay Genereux 9 Courtney Sale on Accounting & Office Manager The Velveteen Rabbit Production at Seattle Children's Susan Peterson Theatre Design & Production Director 13 Geoff Larson on Jennifer Sugden Assistant Production Manager illuminating literature with music Ana Alvira, Stevie VanBronkhorst Production Artists and Graphic Designers Intermission Brain Transmission

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2 ENCORE STAGES The Future (of Seattle Theatre) is Female

(from left) Haysam Kadri as Rasheed, Arden Pala as Zalmai, Nadine Malouf as Laila, Nikita Tewani as Aziza and Denmo Ibrahim as Mariam in A Thousand Splendid Suns, A.C.T. San Francisco. Photo by Jim Cox.

Female playwright- According to a nationwide study by genderqueer and non-binary conducted by Theatre Communications folks, which only make up 0.004% director teams are still Group, during the 2016–17 theatre of produced plays nationwide. a rarity nationwide, season, only 26% of produced plays were written by female playwrights. This But theatre companies across Seattle but this fall is full of statistic is personal to me. I’m a female- are doing their part to balance the women-led projects. identifying playwright working nation- scales and bring gender parity to ally. I’m a speck on that scale, but I do their stages. I had the opportunity to Danielle Mohlman count. Which is why I’m a little ashamed speak with women championing other explores four plays to say I was actually excited to see this women—artists from Seattle Repertory number. For several years, I’d been Theatre, ArtsWest, Washington coming to Seattle telling folks that female playwrights Ensemble Theatre and Seattle Public that showcase the make up only 20% of produced plays. Theatre. These theatres are not only That six percent jump—that’s huge! producing plays by female playwrights, talent, wit and power they’re also enlisting female directors of women. I don’t have to tell you that 26% to take the reins. Females are strong as is an abysmal statistic. And this hell, y’all. number doesn’t even include plays

encoremediagroup.com/programs 3 Nadine Malouf as Laila and Antoine Yared as Tariq in A Thousand Splendid Suns, The cast, musician and composer, David Coulter, in A Thousand Splendid Suns, A.C.T. A.C.T. San Francisco. Photo by Jim Cox. San Francisco. Photo by Jim Cox.

Carey Perloff, director ofA Thousand playwright for the job. She was familiar The play just finished a run at A.C.T. Splendid Suns at Seattle Repertory with Ursula Rani Sarma’s writing in San Francisco, part of a planned Theatre, fell in love with Khaled through a play produced at A.C.T.’s collaboration between A.C.T. and Hosseini’s novel—of the same name— Young Conservatory. Perloff was drawn Seattle Repertory Theatre. as soon as she read it. She was directing to the poetry of Sarma’s playwriting. Scorched by Wajdi Mouawad, a play “I have always found Seattle audi- set in the Middle East, at the time and ences to be adventurous, engaged turned to Hosseini’s novel as a piece of and generous,” Perloff said. “I also research and inspiration. She found the “The fact that I, a know that Seattle audiences are novel so richly drawn, so captivating, young woman of excited about work from diverse that she wanted to see the story on cultures and multiple points of stage—as soon as possible. Perloff, then color, get to direct view. This is such an unusual piece the artistic director of A.C.T. in San in every way, both in terms of form Francisco, met with Hosseini, who lives this piece . . . means and content, so it’s exciting to think in the Bay Area, and asked if he would that the seats at the of it playing in a city with such a consider allowing A.C.T. to adapt his strong theatre tradition and a really novel for the stage. table are shifting . . .” committed public.”

“For the most part, when we read news Perloff was quick to add that this isn’t a about Afghanistan it focuses on war “She has a stunning visual sense and literal adaptation of Khaled Hosseini’s and destruction,” Perloff said. “ButA an ability to convey extreme emotion novel. Rather, it’s a reimagining— Thousand Splendid Suns is a gorgeous without excess,” Perloff said. Sarma had utilizing all the tools of theatre at its story of three generations of women experience writing adaptations, which disposal, including live scoring using over a twenty-five-year period, forging was important to Perloff. But more found instruments like saws and bed a very unlikely friendship and finding importantly, she had a connection springs to create the music of this love—and even joy—in a whole new to Afghanistan and the characters world. future, amidst political chaos.” Hosseini had created. “She knew the part of the world that Khaled was “Seattle is in for a treat!” Perloff said. Once Hosseini agreed to the adapta- writing about, so her lens was personal, tion, Perloff set out to find the perfect intimate and true.”

4 ENCORE STAGES A Thousand Splendid Sunsruns October 5 to November 10 at Seattle Repertory Theatre.

Dominique Morisseau’s Skeleton Crew, the final play in her three-play cycle “The Detroit Projects,” was the third most produced play in the United States last season. It’s also the play that ArtsWest has chosen to open their 2018–19 season—an ensemble drama about one of the last auto stamping plants in Detroit and the people who work there.

Jay O’Leary, the play’s director, describes Skeleton Crew as a play about survival Jason Bowen, Caroline Stefanie Clay and Shannon Dorsey in Skeleton Crew, Studio and having power over your own soul. Theatre. Photo by Teresa Wood.

“Skeleton Crew explores how we persevere,” O’Leary said. “The humans within this play are very good at what they do. They are funny. They are smart. They are passionate. The key to surviving and thriving in life in general is how we fight. Do we fight with the soul in mind or do we fight with bitterness and ugliness within our hearts? These questions directly apply to our socio-political climate right now. The more ugliness we give, the more ugliness we receive.”

O’Leary added that not only are these characters dealing with how to survive a potential job loss, they’re also navigating morality and whether their definition of right and wrong can change when their hopes, dreams, even their next meal, are all in jeopardy. Caroline Stefanie Clay and Tyee Tilghman in Skeleton Crew, Studio Theatre. Photo by Teresa Wood.

O’Leary discovered Morisseau’s plays at a point of frustration. their rhythms into the marrow of your stage and screen as fully fleshed out “I was screaming about how desper- bones. That’s how she builds up the human beings, rather than grotesque ately we need playwrights who are humans of her scripted worlds—from stereotypes. female-identifying artists of color,” the universal dust that creates the sack O’Leary said. “My friend tossed over of blood and water which cradle our “The fact that I, a young woman of “The Detroit Projects” and I was imme- souls.” color, get to direct this piece out here in diately in awe of this woman’s power very white Seattle means that the seats and poetry. Dominique Morisseau’s She added that the people in Morisseau’s at the table are shifting,” O’Leary said. words sing and pulsate and thump plays are so rarely seen depicted on And she’s determined not only to take

encoremediagroup.com/programs 5 that seat, but to make the table bigger and producers dedicated to achieving than it’s ever been. “Because who the gender parity on stage. hell wants to eat the same bland meal with the same exact people over and “The Kilroys have exposed a messed-up over again? I don’t, and neither do you.” system that was essentially created to keep marginalized voices and identities Skeleton Crew runs September 20 to out of the conversation,” Detzer said. October 14 at ArtsWest Playhouse and “They took the idea that there are no Gallery. great women or trans playwrights and completely struck it down. What an amazing gift they have given us, the ability to move on to the next impor- Maggie Rogers discovered Sheila tant question: Why the f— aren’t these Callaghan’s playwriting her senior year plays being produced?” of high school. She was auditioning for college acting programs and fell in love Everything You Touch runs September 21 with a monologue from Tumor. to October 8 at 12th Avenue Arts.

“Sheila Callaghan’s work keeps popping up in my life as a constant reminder to take risks,” Rogers said. “Her work Washington Ensemble Theatre isn’t the is exciting to me because she doesn’t only company in town working with a apologize or write ‘pretty’ people. Her Kevin Kelly as Victor, Cheyenne Barton Kilroys founder. Tanya Saracho, perhaps characters are raw, visceral and in as Esme and Kiki Abba as Jess; the cast best known as the showrunner of Vida, of Everything You Touch, Washington your face.” is also fighting for nationwide gender Ensemble Theatre. Photo by Kendall Lauren. parity on stage. Her play Fade opens at Years later, Rogers is directing the Seattle Public Theatre this month. Northwest premiere of Everything You Touch at Washington Ensemble on public transit, by drunk dudes on “The Kilroys are such a valuable Theatre, her directing debut with the Capitol Hill—and have investigated resource for me,” said Director Pilar company. why it hurts so badly, even though I O’Connell. “The celebration of female know a stranger’s opinion should not and female-identifying playwrights and “What I love so much about this play hold any weight.” folks of color is incredibly important.” is that it is a love letter to every person who thought they were not enough,” Samie Smith Detzer, Washington O’Connell first encountered Saracho’s Rogers said. “It bluntly tackles body Ensemble Theatre’s artistic director, work when she was in college. She was image, food shaming, anxiety and the agrees that now is the perfect time to researching Latinx artists working horrors of going home, in a way that produce this play. nationally and stumbled upon Teatro deeply resonates with my dark sense Luna in Chicago, a theatre company of humor.” “This play is particularly potent when Saracho co-founded with collaborator you consider that we have only begun Coya Paz. O’Connell dug deeper, read- And she knows it’s a play that Seattle to scratch the surface of understanding ing every Saracho play she could find. needs right now. the degree to which our society believes that our bodies do not personally “I was drawn to Fade because I was “Seattle loves to pride itself on being belong to us,” Detzer said. “This play looking for a smart show that gave me politically correct, but I feel like fat explores how we can own our bodies. a different perspective of the Latinx shaming is the only widely accepted Plus, it’s funny! And witty! And experience,” O’Connell said. “This play prejudice in the city, and the country raunchy! And sweet!” addresses the idea of classism within for that matter,” Rogers said. “When your own culture, and although it is I moved to Seattle I found that I was In addition to being a prolific playwright a Latinx story, I think it’s universally often the fattest person in the room and writer and executive producer on relatable.” and a hot commodity on the Tinder Shameless, Sheila Callaghan is also a dating scene. Over the past three years founding member of The Kilroys, a O’Connell added that she loves I have grappled with being called fat— group of female-identifying playwrights Saracho’s style—witty and realistic

6 ENCORE STAGES My legacy. My partner.

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EAP full-page template.indd 1 7/25/18 1:30 PM Annie Dow in Fade, Primary Annie Dow and Eddie Martinez in Fade, Primary Stages. Photo credit unknown. Stages. Photo credit unknown.

with just a hint of film magic. It’s forward to sharing this play with price of ambition many women and a combination that’s incredibly Seattle audiences. women of color face in white and male appealing to actors. dominated professions,” Lareau said. “We were drawn to Fade because of “Through this microcosm of a play, we Seattle Public Theatre’s co-artistic the intersectional conversation it see the larger struggles faced by women director, Annie Lareau, is looking presents around class, culture and the in the workplace—all while calling into question the world of television and how it perpetuates dangerous stereotypes and the responsibility we have for shifting them.”

Fade runs October 12 to November 4 at Seattle Public Theatre.

This fall—and throughout the entire 2018–19 theatre season—make a commitment to see more plays by female and non-binary playwrights. Dig into The Kilroys list, reward theatres that demonstrate gender parity on their stages. Because who knows? You may be part of a national shift, one that will make today’s 26% feel like ancient history. ■

Danielle Mohlman is a nationally produced feminist playwright based in Seattle. Her play Nexus is among the 2015 Honorable Mentions on The Kilroys list. She is an alumnus of the inaugural class of Playwrights’ Arena at Arena Stage and a member of the 2018 Umbrella Project Writers Group.

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

Written by J.T. Rogers Directed by John Langs Cast Aaron Blakely* Joel Singer Christine Marie Brown* Mona Juul Avery Clark* Terje Rød-Larsen Mike Dooly Yossi Beilin Elena Joyner Swedish Hostess/German Wife Darragh Kennan* Johan Jorgen Holst/Finn Grandal Martyn G. Krouse Thor/German Husband Wasim No’mani Hassan Asfour Brandon O’Neill* Uri Savir Victor Pappas* Ahmed Qurie Jeff Spaulding Trond/American Diplomat MJ Sieber* Jan Egeland/Ron Pundak Kate Witt Marianne Heiberg/Toril Grandal R. Hamilton Wright* Yair Hirschfeld/Shimon Peres

Creative Team John Langs Director L.B. Morse Scenic Designer & Projections Designer Catherine Hunt Costume Designer Duane Schuler Lighting Designer Chris Walker Sound Designer and Composer Judith Shahn Dialect & Language Coach Lily McLeod Assistant Lighting Designer Zaki Hamid Cultural Consultant Geoffrey Alm Fight Coach Ruth Eitemiller* Stage Manager Anne L. Hitt* Assistant Stage Manager Mario Gomez Dramaturg Ahna Demaro Kenan Directing Fellow

Running time: This performance runs approximately 3 hours. *Members of Actors’ Equity Association, the Union of Professional Actors, and Stage Managers in the United States Oslo is presented by special arrangement with Dramatists Play Service, Inc., New York. Videotaping or making of electronic, or orht audio and/or visual recordings of this production or distributing recordings on any medium, including the internet, is strictly prohibited, a violation of the author’s rights, and actionable under United States Copyright Law.

THEATRE AND SEASON SPONSORS:

A Contemporary The Norcliffe Theatre Foundation Foundation

Katharyn Alvord Gerlich, Eulalie M. & Gian-Carlo Scandiuzzi, True-Brown Foundation

Closed Captioning devices are available at all performances and ASL will be available on October 26 (8:00pm). Please purchase designated ASL tickets by calling 206.292.7676, emailing [email protected], or visiting us in person. To read more about accessibility and the Figaro MobiTxt® Closed Captioning System, visit acttheatre.org. Audience members are cordially reminded to silence all electronic devices. All forms of photography and the use of recording devices are strictly prohibited. Please do not walk on the stage before, during, or after the show.

encoremediagroup.com/programs A–1 act SEASON 2 019

March 1-31

By William ShakeSpeare

april 6-May 26 May 31-June 23

a co-production with the 5th avenue theatre By antoinette muSic & lyricS By mark hollmann nWandu Book & lyricS By GreG kotiS

July 19-aug 11 Sep 6-29

world preMiere By Joan didion By yuSSef el Guindi

oct 18-nov 17

By Steven dietz

theatre that upendS eXpectationS Joshua castille and Gabriella o’fallon are Romeo + Juliet. SubScribe today ticket office 206.292.7676 | acttheatre.org photo by rosemary dai ross. A Note from act SEASON 2 019 Managing Director BECKY WITMER March 1-31 Theatre that UPENDS expectations.

Several years ago, I took a class on contemporary art where the class was trained to ask three questions when By William ShakeSpeare evaluating a piece: What do I see? How could it be different? Why did the artist do it this way? By the end of the exercise, we found that while we may not have fallen april 6-May 26 May 31-June 23 in love with the artwork, we had grown an appreciation for it and felt a connection with the artist’s intentions for its viewer. In live theatre as well, we can look at stories and perspectives and apply similar tools. What is the playwright saying in the play? What happened in real life? How is it different? Why did the artists tell it this way? a co-production with the 5th avenue theatre By antoinette muSic & lyricS By mark hollmann nWandu Book & lyricS By GreG kotiS Whenever we produce a play inspired by an historic event, we hope that audiences will reflect on what it means in contemporary life. So many of our patrons tell us this July 19-aug 11 Sep 6-29 is exactly why they subscribe to ACT, for access to a theatrical lens to view the world. Whether through Oslo, or any one of next season’s plays that turn history on its head, all of us at ACT are grateful that you are with us to examine these stories and to connect them with our world preMiere community and our world today. By Joan didion By yuSSef el Guindi Please join us for a talk-back and/or visit the Learn More section of each play page on our website to dig deeper into oct 18-nov 17 the themes of all of our productions.

Lean in. Engage. Question. We’re glad you are here.

By Steven dietz Becky Witmer

theatre that upendS eXpectationS Joshua castille and Gabriella o’fallon are Romeo + Juliet. SubScribe today ticket office 206.292.7676 | acttheatre.org photo by rosemary dai ross.

encoremediagroup.com/programs A–3 WELCOME

John Langs PHOTO BY TRUMAN BUFFET to ACT

As a theatre artist, you put months and years of energy into complex relationship comes with a perspective that may learning your craft, making yourself into the sharpest tool ask you—as it has asked us—to deal with some cultural you can be, so that your skills will be ready when you meet biases, preconceived ideas, and gaps in knowledge and a play that asks you for the very best you have to give in understanding. We’ve bumped up against them and talked order to realize itself. A play whose scale and appetite and about them both amongst ourselves in rehearsal and as ambition demand that we put ourselves individuals outside the rehearsal hall, and in its service, pray at the altar of its we’ll be continuing that dialogue with story, and make something with wide- “Words mean things, the larger community through a number reaching ramifications that an audience and if they’re used well, of panel discussions and pre-show talks will feel in its heart and take away as a during the run of the show. memorable experience. accurately, respectfully, Because this is a play that asserts the For all of us who’ve been working on it honestly, they can create value of talking and of listening—a story since mid-September, Oslo is that kind connection and change of blood enemies who manage at a crucial of play. moment to come together, sit across a even where it seems table, and look at each other as people, Based on extensive research, JT Rogers’ moving past their fiercely held political theatrical imagining of the back- none is possible.” agendas to a shared humanity and a patch channel meetings and conversations of common ground big enough to stand that led to the historic 1993 Oslo on together. Accords has the scope and drive of a Shakespearean history play and the adrenalin of a high-stakes political thriller, Of course, the Oslo Accords for many reasons didn’t work out but its heart and soul live in the relationships between the as the men and women in this play thought they would, but characters. The imperative to communicate is a central theme the fact that they happened at all...that is, to me, incredibly of its story, and the script reflects that—the dialogue is the reassuring. They showed that there’s always a window of action. Words matter. Words mean things, and if they’re hope, if we can just point to it and reach for it, maybe we can used well, accurately, respectfully, honestly, they can create get a glimpse of a better world beyond it. Even if the window connection and change even where it seems none is possible. disappears again we still know it’s there, waiting for us to connect and step through together. We’ve been looking all season long at the idea of “the space between,” and it seems as if right now that space is toxically It’s been a daily honor and thrill to work with this incredible expanding. People are backing off to their ideological company of fourteen actors, and we’re excited to share with corners, hiding behind their social media screens and lobbing you this play that feels for us like a great capstone to the emotional grenades at one another, shouting their positions adventure of this 2018 season. ever louder to drown out the shouting of others with different positions. That’s the world we’re living in, and we feel the cost of that diminishing communication every day. In a sense we have been living in that space between as we’ve worked on the script. We knew going in that the Israel/ Palestine conflict evokes passionate feelings and opinions John Langs on both sides, and this particular artistic exploration of that Artistic Director

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DESIGN BY Dapper + Associates Who’s Who in Oslo Christine Marie Aaron Blakely (Joel Darragh Kennan Brown (Mona Juul) is Singer) ACT Theatre: (Johan Jorgen Holst/ thrilled to be a 2018 Middletown and Other Finn Grandal) Darragh ACT Core Company Desert Cities. Other is delighted to return member. Previous ACT Regional Theatre: to ACT Theatre (where credits include Susan in Who’s Afraid of Virginia he was last seen as The Pitmen Painters, Woolf?, Photograph 51, Aristotle in Alex and Maria/Lisa in Mr. Burns, and Clybourne Park Aris, and to work again Mrs. Cratchit in A Christmas Carol, and Soccer at Seattle Repertory Theatre; How To Write with longtime friend and collaborator John Mom in The Wolves. Nationally, Christine has A New Book For The Bible at South Coast Langs. Recent credits: Antonio in The Merchant been seen on and off Broadway and her theatre Repertory, Seattle Rep, and Berkeley Rep; of Venice and Leontes in The Winter’s Tale work includes leading roles at the Guthrie, Sense and Sensibility at Book-It Rep, The Lion (Seattle Shakespeare Company), and Sherlock Old Globe, South Coast Rep, Shakespeare & in Winter at Shakespeare Santa Cruz; As well Holmes in both The Hound of the Baskervilles Company, Alabama Shakespeare Festival, and as productions with A Noise Within, Idaho Rep, and Sherlock Holmes and The American American Shakespeare Center, among others. and Southern Rep. Film: Outside In, We Need Problem (Seattle Repertory Theatre). Darragh Seattle audiences would know her work from to Talk About Kevin, and We Go Way Back. works in the development department at shows at Seattle Rep, Seattle Shakespeare, Television: Z Nation (Syfy), Grimm (NBC), The Seattle Repertory Theatre, teaches Shakespeare Village Theatre, Book-It Rep, Taproot, Seattle Librarians (TNT), Leverage (TNT), and recurring for Freehold Theatre Lab, and lives on Vashon Opera, Theatre22, Engaged Theatre Program, as Erich Raeder in Amazon Studios’ Emmy Island with his incredible family: Jessica, Finn, Thalia’s Umbrella, Sandbox Radio, ESTP and award winning, The Man in the High Castle. and Máire Kennan. 14/48 Projects. She was seen most recently as Hermione/Autolycus this summer in The Mike Dooly (Yossi Martyn G. Krouse Winter’s Tale with Engaged Theatre Program. Beilin) Previous roles (Thor/German Husband) Favorite roles include Masha in The Three include Playwright/ is pleased to make his Sisters (Baltimore Centerstage), The Baker’s Wahnotee/LaFouche in debut at ACT in this Wife in Into the Woods (Village Theatre), and An Octoroon, Gordon production of Oslo. He’s Irene in The Basement (Theatre22). She is a in Dead Man’s Cell been seen in acclaimed proud member of the core faculty at Freehold Phone (ArtsWest), The productions at several Theatre Lab, and has taught at SU, SPU, and Tiger in Bengal Tiger other regional theaters, Cornish. Late this Fall, she will be joining the at the Baghdad Zoo (WET); Stine in On Clover including Seattle Repertory Theatre, Seattle faculty at Interlochen Arts Academy as an Road, Matt in Talley’s Folly, Jake in The Public Theater, Book-It Repertory Theatre, Instructor of Theatre Arts, along with her Understudy (Seattle Public Theater); Sir Toby Seattle Shakespeare Company, Intiman Theatre, husband, Andrew McGinn. She holds an MFA Belch in Twelfth Night, Stefano in The Tempest, Washington Ensemble Theatre, and Sound from the Old Globe Theatre and is a member Costard in Love’s Labour’s Lost, Pompey in Theatre Company, among others. His work also of AEA, SAG-AFTRA, and AGMA. Antony and Cleopatra, Aufidious in Coriolanus, includes TV and film appearances as well as and Horatio in Hamlet (Seattle Shakespeare voiceovers for radio and video games. He lives Avery Clark (Terje Company); Iago in Othello, Larry in Closer, and in South Seattle with his girlfriend, his two Rød-Larsen) is a 2018 Lee in True West (Balagan Theatre). Mike loves teenage daughters, and a gecko. ACT Core Company Seattle, loves Theatre, and most of all, loves Member. Most recently you, for your continued support in making the Wasim No’mani he was seen in The Great Pacific Northwest the Theatre Capital of (Hassan Asfour) is Winter’s Tale (Engaged the World. proud and honored to Theatre); Beatrice and be a part of the Oslo Benedict (Seattle Elena Joyner cast and the ACT family. Opera); and The Crucible at ACT. Select New (Swedish Hostess/ He resides in LA where York and regional credits include Arcadia and German Wife) is a he is unemployed as the original cast of Coronado (written by recent Theater graduate a working actor. Born Dennis Lehane, Invisible City); Measure for from Cornish College of migrating Iraqi parents pursuing their Measure, A Midsummer Night’s Dream, The of the Arts. Credits higher education in theatre, Wasim spent his Tempest (Shakespeare Theatre Company); include Dynamite/ developing years meandering through sets, Straight White Men, Hedda Gabler (Studio Ensemble in Hairspray stages, and theaters throughout the united Theatre); Romeo & Juliet, Cymbeline, Count (Village Theatre); Doris in The Homefront states with big immigrant dreams of becoming of Monte Cristo (Alabama Shakespeare (Village Theatre’s 2018 Festival of New Musicals); Jean Claude-Van Damme. When the feasibility Festival), Hamlet, Pride & Prejudice, The Ensemble in The Boys From Syracuse (Showtunes of this ambition appeared improbable, he Importance of Being Earnest (Orlando Theatre); Vocalist in Kiss Me Kate Spotlight decided to turn his focus on becoming the best Shakespeare Theatre); Hamlet, The 39 Steps, Night 2018 (The 5th Avenue Theatre); Deloris actor he could be. The craft of telling a lie truly. Henry V (Arkansas Rep); A Christmas Carol Van Cartier in Sister Act, Soldier/Ensemble in He made his theatre debut in Arthur Miller’s (Cincinnati Playhouse); Journey’s End (Alley The Caucasian Chalk Circle, and the Witch in Death of a Salesman and has been plodding Theatre); The Heidi Chronicles (St. Louis Rep); Into The Woods (Cornish College of the Arts). the boards ever since. Wasim thanks his friends The Shape of Things (Premiere Stages); A Before moving to Seattle from Boston, she and family for their unreasonably durable Midsummer Night’s Dream (Pennsylvania studied voice at Berklee College of Music. support and is also deeply indebted to director Shakespeare Festival); and Rabbit Hole, The John Langs and the entire ACT family for their 39 Steps (Theatre Squared). warm welcoming of him to Seattle.

encoremediagroup.com/programs A–7 Who’s Who in Oslo Brandon O’Neill Midsummer Night’s Dream, A Winter’s Tale, R. Hamilton Wright (Uri Savir) ACT Theatre Much Ado About Nothing) and Strawberry (Yair Hirschfeld/Shimon appearances: Cat on a Theatre Workshop (Elephant Man, Gutenburg; Peres) R. Hamilton Hot Tin Roof, Assassins, The Musical, Accidental Death of an Anarchist Wright’s first role at First Date (Gregory and Prelude to a Kiss) to name just a few. He ACT was Vince in Sam Nom), Ramayana was the Associate Artistic Director of New Shepard’s Buried Child (BWW Award) A Century Theatre Co. and appeared in Festen, in the summer of 1981. Christmas Carol and O Lovely Glowworm, The Trial, The Adding His latest was in 2016 as Seattle Opera’s Co-Production of Beatrice and Machine, and directed the west coast Premiere Max in The Royale by Marco Ramirez. Between Benedict. Broadway: Disney’s Aladdin (Original of Annie Baker’s Pulitzer Prize-winner The Flick. those two productions were over forty great Cast), A Bronx Tale (1st Replacement). Select Film and Television credits include: Grassroots, experiences. Some of his favorites: Red Noses, regional: Pride & Prejudice, A View From the Gamers: The Hands of Fate, Z Nation, The Bach at Leipzig, Chorus of Disapproval, Intimate Bridge (Seattle Rep); Peter and the Starcatcher Boarding House, The Gift. All my love to Keiko. Exchanges, Middletown, Double Indemnity (CDAST); Beatsville (Asolo Rep), Hunchback of (Writer), End of the World, Souvenir (Director), Notre Dame (Gregory Nom) Carousel, Pirates Jeff Spaulding Enchanted April, The Revengers’ Comedies, of Penzance (Gregory Nom),Guys and Dolls (Trond/American The Pillowman, Assisted Living (Director), The (Footlight Award), Rent, Cinderella, Candide, Diplomat) A Seattle Odd Couple, Stuff Happens, Christmas Carol (The 5th Avenue Theatre). He also is the voice theater performer since and Marrying Katie. His original play Sherlock of Uldren Sov in Bungie’s video game franchise 1985, Jeff is excited to Holmes and the American Problem received its Destiny. Insta: @brandononeillofficial Twitter: make his ACT debut. world premiere in 2016 at The Seattle Repertory brandon_onei11 or visit www.brandon-oneill Credits include The Theatre and has had successful productions at .com for more info. Unsinkable Molly The Barter Theatre in Abingdon, Virginia and Brown, Camelot, and Babes In Toyland (Village Vertigo Theatre in Calgary, Alberta. Victor Pappas Theatre); Tales of a Fourth Grade Nothing (Ahmed Qurie) Acting: (Seattle Children’s Theatre); and Herbie in JT Rogers (Playwright) Broadway: Happy End; SMT’s Gypsy. He has appeared in productions J.T. Rogers’s plays Regional: American at Theater Schmeater, Annex Theater, Alice B. include Blood and Conservatory Theatre, Theater, Greenstage, and Civic Light Opera. Gifts (National Theater, California Actors In 2015, Jeff played the role of Frank Colacurcio London; Lincoln Theatre, New Mexico in Marxiano Productions, acclaimed Seattle Center Theater); The Repertory Theatre, Vice at the Triple Door. Most recently, Jeff Overwhelming(National Oregon, Marin & Sherwood Shakespeare performed as Baptista Minola in Second Story Theatre, followed by Festivals; Film, TV & Media: Language Arts, Rep’s Taming of the Shrew. Classical roles UK tour with Out of Joint and BBC Radio; Chaldea, Knightriders, PBS Theatre In America - include the Ghost in Hamlet, Macduff in the Roundabout Theatre); Madagascar (Theatre Cyrano de Bergerac, As the World Turns; Scottish play, and Launce in Two Gents. Special 503, London; Melbourne Theatre Company); Directing: The Price, Old Times, Other Desert thanks to his wife Kathleen for 33 years of love and White People (Off Broadway with Starry Cities, Mary Stuart, The Trip to Bountiful, and patience. Night Productions). As one of the original Stuff Happens (ACT); Skylight, The Glass playwrights for the Tricycle Theatre of London’s Menagerie, Gross Indecency, A Question Kate Witt (Marianne Great Game: Afghanistan, he was nominated of Mercy, Smash, Betrayal, Playland, The Heiberg/Toril Grandal) for 2009 Olivier Award. His works have been Importance of Being Earnest (Intiman); The was most recently seen staged throughout the United States and in Picture of Dorian Gray (Book-It Repertory as Menenius in Rebel Germany, Canada, and Israel, and are published Theatre); Mrs. Warren’s Profession, The Kat Productions’ by Faber and Faber and Dramatists Play Service. Importance of Being Earnest (Seattle Coriolanus. She has Recent awards include NEA/TCG and NYFA Shakespeare Company) and numerous others. worked with many fellowships, the Pinter Review Prize for Drama, Proud member AEA, SAG-AFTRA, SDC. Seattle-area theatres the American Theatre Critics Association’s including Wooden O, SecondStory Repertory, Osborne Award, and the William Inge Center MJ Sieber (Jan Arouet, ArtsWest, New Century Theatre for the Arts’ New Voices Award. Rogers’s Egeland/Ron Pundak) Company, 14/48, and Seattle Shakespeare essays have appeared in American Theatre Previous ACT credits Company. Favorite roles include Worcestor and in London’s Independent and The New include: The Crucible (Henry 4 Part 1), Mistress Quickly, (Henry 4 Part Statesman. He is a member of New Dramatists (Rev. Parris), Stupid 1), Elizabeth McKellen (The Long Road), Nancy and the Dramatists Guild and holds an Fucking Bird (Dev), Gorden (Third), Emilie (Emilie: La Marquise Du honorary doctorate from the University of Lt. of Inishmore (Davey), Châtelet Defends Her Life Tonight), Feste North Carolina School of the Arts. and A Christmas Carol (Twelfth Night), Casca (Julius Caesar), and Lisa (Fred). He has also appeared in shows with Kron (Well). Film/TV: Nurse Ratched (Z Nation), John Langs (Director) Seattle Rep (Dry Powder, Outside Mullingar, Julia (Julia’s Farm), Diana (The Noise Made By John has been delighted Photograph 51, Glengarry Glen Ross, Twelfth People), Nurse Pat (Two Pictures). She holds an to serve ACT as Artistic Night), Intiman (Native Son), Seattle MFA in Theatre from the University of Director since 2016, and Shakespeare Co. (Shakespeare in Love, A Mississippi. Kate lives in Magnolia with her previously as Associate husband, Steve, and their daughter, Molly. Artistic Director for three years. Before ACT,

A–8 ACT – A Contemporary Theatre Who’s Who in Oslo John’s freelance career afforded him the Production of The Women. Catherine also Lily McLeod (Assistant Lighting Designer) opportunity to work with many prestigious designed the costumes for the computer game is so happy to be working at ACT this season, theatre companies across the country. He has Riven. She has been a guest lecturer at both where she has assisted on numerous shows directed productions at Playwrights Horizons the University of Washington, and Cornish over the last three years. She is a Seattle-based NY, Ensemble Studio Theater NY, Milwaukee College of the Arts. lighting designer/assistant with a B.A. from Repertory Theatre, Lookingglass Theater Seattle University, a former intern of Seattle Company in Chicago, Circle X in Los Angeles, Duane Schuler (Lighting Designer) Duane’s Repertory Theatre, and a past FAIR Assistant at The Resident Ensemble, New Century Theatre work encompasses opera, ballet, and theatre. the Oregon Shakespeare Festival. Recent design Company, Washington Ensemble Theatre, and Opera productions include Turandot (La Scala); credits include Guards at the Taj and Measure Seattle Shakespeare Company. John received Cendrillon (Metropolitan Opera); Magic Flute for Measure (ACT); Pilgrims (Forward Flux); and his directing degree from the University of (Seattle Opera); La Fanciulla del West (Opéra Happy Happy Happy (Macha Theatreworks). North Carolina School of the Arts. John Paris); Elektra (Salzburg Festival), and Fidelio received the first annual Seattle Gregory (Covent Garden). Theatre credits include House Ruth Eitemiller (Stage Manager) has Award honoring excellence in direction for and Garden, A Picasso (Manhattan Theatre enjoyed spending the last ten years working The Adding Machine. Recent Seattle credits Club); Ragtime (The 5th Avenue Theatre); and with ACT on a variety of shows, including A include Beatrice & Benedict (Seattle Opera & The Importance of Being Earnest (Broadway). Christmas Carol (3 years), The Crucible, Alex Seattle Symphony); The Crucible, Alex & Aris Ballet credits include Swan Lake, The Snow & Aris, Bloomsday, Vanya & Sonia & Masha & (ACT). As a dedicated fan of original work, Maiden (American Ballet Theatre); The Spike, Other Desert Cities, Sugar Daddies, and John has shepherded over a dozen projects to Sleeping Beauty (Stuttgart Ballet); and Giselle Das Barbecü. Her recent credits include The their premieres. (Deutsche Ballet). Upcoming productions Picture of Dorian Gray with Book-It Repertory, include Jenufa (Santa Fe Opera); and Lucia Patti and the Kid with Frank Boyd & Libby L.B. Morse (Scenic & Projections Designer) (Oper Wien). Mr. Schuler is also a founding King, and NextFest 2018 with The 5th Avenue is a lighting, scenic, and multimedia designer partner of Schuler Shook, the theatre planning Theatre. Around Seattle she has worked with for the performing arts based in Seattle. and architectural lighting design firm whose Book-It Repertory, The 5th Avenue Theatre, Previous designs at ACT include: The Wolves projects include Seattle’s Marion Oliver McCaw Seattle Shakespeare Company, Seattle (scenic); Rapture, Blister, Burn (lighting); Hall, Lyric Opera of Chicago, and the David H. Children’s Theatre, The Seagull Project, and Pilgrims Musa and Sheri in the New World Koch Theater in New York. others. Ruth was a company member and (lighting); Fathers and Sons (lighting); and production manager with New Century Theatre Mitzi’s Abortion (multimedia). Recent Chris Walker (Sound Designer & Composer) Company, where she helped create such shows regional credits include: The Little Prince is very pleased to be returning to ACT this as Mary’s Wedding, The Trial, and The Adding (multimedia, Seattle Children’s Theatre); Ibsen season. In Seattle he’s worked at The 5th Machine. in Chicago(lighting, Seattle Repertory Theatre); Avenue Theatre, the Seattle Repertory Theatre Man of La Mancha (lighting; 5th Avenue and Intiman, and has been the resident Anne L. Hitt (Assistant Stage Manager) Theatre); Sherlock Holmes and the American sound designer at Seattle Children’s Theatre is delighted to be a part of the Oslo team! Problem (lighting/scenic/multimedia, Seattle since 2002. Previously he spent seven years A proud AEA/AGMA member, Anne most Repertory Theatre); Dancing at Lughnasa as resident sound designer for the American recently worked at Village Theatre (Hairspray). (scenic, Tantrum Theater); Constellations Repertory Theatre in Boston. He’s designed Other regional theater credits include: Seattle (lighting/scenic, Seattle Repertory Theatre); at regional theatres in San Francisco, Los Opera (An American Dream), The Wallis The Comparables (lighting, Seattle Repertory Angeles, San Diego, Phoenix, Houston, Annenberg Center for the Performing Arts Theatre); and Lizard Boy (scenic/multimedia, Chicago, Philadelphia, Washington D.C., and (Merrily We Roll Along), The Geffen Playhouse Seattle Repertory Theatre). L.B. is a member New York. Internationally he’s designed in (Barbecue and In & Of Itself), and many of United Scenic Artists Local 829, and is the Taiwan, Singapore, and Moscow. Commercially, shows with Center Theatre Group (Ahmanson Resident Designer at Seattle Repertory Theatre. he’s composed for Intel and Starbucks. He Theatre, Mark Taper Forum, and Kirk holds a B.F.A. in Classical Piano Performance Douglas Theatre). Anne has an MFA in Stage Catherine Hunt (Costume Designer) is so from Cornish College. Management from UC Irvine and is also the excited to be back at ACT and working again creator of SM Boot Camp. annehitt.com and with John Langs. Previously, they collaborated Judith Shahn (Dialect Coach) has been smbootcamp.com on the ACT premiere of Dangerous Liaisons coaching dozens of productions at Seattle area and Bethany. Favorite ACT productions include: theaters for the last 30 years. Most recently at The Mystery of Love & Sex directed by Allison ACT, Skylight, A Christmas Carol, and Tribes. ACT operates under agreements with Narver, Bloomsday, In The Next Room, The At other theatres: Porgy and Bess (Seattle the following: Pitmen Painters, and Bach at Lepzig, all directed Opera); The Lion, the Witch and the Wardrobe by Kurt Beattie. Locally, Catherine has designed (Seattle Children’s Theatre); Angels in America for Village Theatre, Seattle Repertory Theatre, (Intiman); and A View from the Bridge (Seattle Intiman, Seattle Opera, and Seattle Children’s Repertory Theatre). Judith recently retired from Theatre. Catherine has designed for Hartford 26 years of teaching at the Professional Actor Stage, Syracuse Stage, ChildsPlay, and The Training Program at UW and is currently a San Diego Repertory Theatre. Catherine is public speaking trainer for lawyers and business This theatre operates under an agreement the recipient of two Theatre of Puget Sound people with Vibrant Speaking. She recently between the League of Resident Theatres Gregory Awards, and a San Diego Theatre performed in an all-female cast of Coriolanus: and Actors’ Equity Association, the Union Critics Circle Award, as well as a LA Times Fight like a Bitch and will appear in My Antonia of Professional Actors and Stage Managers Drama Loge award for the Anne Bogart at Book-It Repertory Theatre in the fall. in the United States.

encoremediagroup.com/programs A–9 ACT PRODUCERS CIRCLE VISIONARY PRODUCERS $100,000+ PARTNERS Nancy Alvord *^~ Special Thanks to the following professionals Katharyn A. Gerlich ^ ACT and organizations who contributed A PART OF THE ART Gian-Carlo & Eulalie Scandiuzzi ^ to the production of Oslo: True-Brown Foundation ^ ACT graciously thanks and recognizes the many individuals The 5th Avenue Theatre Avi Eschinazi TS and families investing in our mission. Our community and LUMINARY PRODUCERS Seattle Repertory Esther Eschinazi hen you host your cultural life are better for your participation. Your continued $50,000–$99,999 Theatre Dag Skevik event at ACT you are generosity inspires and motivates—THANK YOU! Elias & Karyl Alvord Miso Samara supporting the art we Mariana Peters Chap & Eve Alvord Sophy Clair David Arne Ness create Leslie Ray & Michael Bernstein * Special thanks to the following individuals and Linda & Brad Fowler *^ Did you know that ACT is home organizations participating in Oslo engagement events: Gary & Parul Houlahan *^ to 8 different venues, including Ghaith al-Omari Zaki Hamid Temple De Hirsch Sinai EXECUTIVE PRODUCERS our theaters – all of which are Jordan Goldwarg Kids4Peace Rabbi Daniel Weiner $25,000–$49,999 available to rent? ACT gratefully acknowledges the following professionals Trevor Cobb & Carrie D. Rhodes & Our selection of versatile and and organizations who helped make this season a success: Cecilia Cayetano ^ Vishal Nigam Jean B. Falls * Eric & Margaret Rothchild ^ unique spaces is perfect for AJ Epstein Seattle Eye Care & Optical Grady Hughes, MD. Ira & Courtney Gerlich Chuck Sitkin *^ company meetings, seminars, Dr. Arnie & Judy Ness *^ Anonymous holiday parties, and more! PATRON INFORMATION CREATIVE PRODUCERS $10,000–$24,999 Emergency Evacuation Procedures amplifies stage sounds with the aid of headsets Joan & Larry Barokas ^ Jim & Cheri Minorchio In the event of an emergency, please wait for an (ask staff for assistance). ASL interpreted announcement for further instructions. Ushers performances for the Mainstage Season are James Degel & Furman & Susan Moseley will be available for assistance. offered at least once per play (check the website Jeanne Berwick Tim Mulligan & Sean Murphy or contact the Ticket Office for ASL dates). Allan & Nora Davis ^ Erika J. Nesholm Emergency Number Wheelchair seating is also available. The theatre’s emergency number in the Union Bill Kuhn & Patricia Daniels *^ Douglas & Nancy Norberg lobby is 206.292.7667. Leave your exact seat Lost & Found Justin & Delaney Dechant George & Linda Ojemann location with your emergency contact in case Call 206.292.7676 between 12:00pm and Charles T. Fitzgerald *^ they need to reach you. 6:00pm, Tues–Sun. Deborah Person Natalie Gendler ^ Teresa Revelle * DONʼT MISS Smoking Policy Address & Website Cynthia Huffman & Faye Sarkowsky YOUR OPPORTUNITY Smoking is NOT allowed in any part of the ACT is located at Ray Heacox theatre or within 25 feet of the entrance. 700 Union Street, Seattle, WA 98101. Eulalie Bloedel Schneider TO OST A AT Ticket Office Phone: 206.292.7676. Lawrence & Mary Ellen Hughes Goldie & Donald Silverman ^ HOLIDAY PARTY! Firearms Policy Administrative Office Phone: 206.292.7660. No firearms of any kind are allowed in any part Fax: 206.292.7670. Linda & Ted Johnson Bob Dowdy & Cherry Tinker of the theatre. Website: www.acttheatre.org. Gregory & Diane Lind ^ David & Shirley Urdal ^ is the exclusive caterer This list reflects donations made to the Annual Jean Walkinshaw for ACT Events Food Theatre Rental Fund between July 1, 2017 – June 30, 2018. ACT Naomi & Yoshi Minegishi Food is not allowed in the theatre. Tuxedos & For information regarding booking, works to maintain our list of donors as accurately Tennis Shoes is the exclusive caterer of ACT. contact [email protected]. as possible. We apologize for any misspellings or SUSTAINING PRODUCERS Buy group tickets to omissions. Should you find any, please contact our Accessibility Group Sales office so that we may correct any mistakes in future $7,500–$9,999 ACT offers the Figaro MobiTxt® Closed Groups of 10 or more can save. publications. Email [email protected] or A Christmas Carol and receive Captioning System for audience members who Allan & Anne Affleck ^ Eugene & Donna Mikov Call 206.292.7674 or call 206.292.7660 x 1330 a 50% venue rental discount. are Deaf/ Hard of Hearing (HH). This system email [email protected]. Dr. Eric Bennett ^ Dr. Larry Hohm & is offered at multiple performances for each * ACT Legacy Society member Laurie Besteman & Karen Shaw ^ Email us at [email protected] production. Devices can be requested upon Please be considerate and keep personal ^ ACT for the Future donor Jack Lauderbaugh *^ Judy & Ben Simmons arrival at the theatre. ACT is also equipped with fragrance to a minimum. ~ Deceased to learn more. the Williams Sound® Audio Equipment, which Peter & Fran Bigelow ^ Shanna & Ryan Waite Dr. Tove Ryman & Rayner D'Souza A–10 ACT – A Contemporary Theatre ACT PRODUCERS CIRCLE VISIONARY PRODUCERS $100,000+ PARTNERS Nancy Alvord *^~ Katharyn A. Gerlich ^ A PART OF THE ART Gian-Carlo & Eulalie Scandiuzzi ^ True-Brown Foundation ^ ACT graciously thanks and recognizes the many individuals and families investing in our mission. Our community and LUMINARY PRODUCERS cultural life are better for your participation. Your continued $50,000–$99,999 generosity inspires and motivates—THANK YOU! Elias & Karyl Alvord Chap & Eve Alvord Leslie Ray & Michael Bernstein * Linda & Brad Fowler *^ Gary & Parul Houlahan *^

EXECUTIVE PRODUCERS $25,000–$49,999 Trevor Cobb & Carrie D. Rhodes & Cecilia Cayetano ^ Vishal Nigam Jean B. Falls * Eric & Margaret Rothchild ^ Ira & Courtney Gerlich Chuck Sitkin *^ Dr. Arnie & Judy Ness *^ Anonymous

CREATIVE PRODUCERS $10,000–$24,999 Joan & Larry Barokas ^ Jim & Cheri Minorchio James Degel & Furman & Susan Moseley Jeanne Berwick Tim Mulligan & Sean Murphy Allan & Nora Davis ^ Erika J. Nesholm Bill Kuhn & Patricia Daniels *^ Douglas & Nancy Norberg Justin & Delaney Dechant George & Linda Ojemann Charles T. Fitzgerald *^ Deborah Person Natalie Gendler ^ Teresa Revelle * Cynthia Huffman & Faye Sarkowsky Ray Heacox Eulalie Bloedel Schneider Lawrence & Mary Ellen Hughes Goldie & Donald Silverman ^ Linda & Ted Johnson Bob Dowdy & Cherry Tinker Gregory & Diane Lind ^ David & Shirley Urdal ^ This list reflects donations made to the Annual Jean Walkinshaw Fund between July 1, 2017 – June 30, 2018. ACT Naomi & Yoshi Minegishi works to maintain our list of donors as accurately as possible. We apologize for any misspellings or SUSTAINING PRODUCERS omissions. Should you find any, please contact our office so that we may correct any mistakes in future $7,500–$9,999 publications. Email [email protected] or Allan & Anne Affleck ^ Eugene & Donna Mikov call 206.292.7660 x 1330 Dr. Eric Bennett ^ Dr. Larry Hohm & * ACT Legacy Society member Laurie Besteman & Karen Shaw ^ ^ ACT for the Future donor Jack Lauderbaugh *^ Judy & Ben Simmons ~ Deceased Peter & Fran Bigelow ^ Shanna & Ryan Waite Dr. Tove Ryman & Rayner D'Souza encoremediagroup.com/programs A–11 ACTORS CIRCLE

BENEFACTORS $5,000–$7,499 Eric Taylor & Sheena Aebig Michael Crystal Abha Khanna & Adam Porsch ^ Richard & Leanne Reel Warren & Anne Anderson James & Barbara Heavey Nicholas & Dana Masington George & Keri Rhodes Walter & Melinda Andrews Ross & Kelsey Henry Mark & Susan Minerich Nicholas & Yvonne Roberts Sonya & Tom Campion John & Ellen Hill Katherine & Douglass Raff ^ Donald & Jo Anne Rosen Sallie Chaney Lisa & Norman Judah Suzanne Ragen ^ Jean Viereck

IMPACTORS $2,500–$4,999 Kermit & Danna Anderson ^ Eleanor & Jeff Freeman Nadine & John Murray Tammy Talman Becky Benaroya Dale & Donna Holpainen John & Laurel Hesholm Margaret Taylor & Robert Elliot Jeffrey & Alicia Carnevali Kate Janeway & Howard Wright III John O'Connell & Joyce Latino Mark & Arlene Tibergien Patricia & Theodore Collins Karen L. Koon & Brad Edwards Richard Andler & Carole Rush Franklin & Karen Thoen ^ Dennis & Deborah DeYoung Peter & Kelly Maunsell Barry & Colleen Scovel ^ Jim & Kathy Tune Lori Eickelberg May McCarthy & Don Smith ^ Warren & Nancy Smith Vijay & Sita Vashee Patricia Fearey Frank Lawler & Ann McCurdy Rose & the late John Southall * Judith Warshal & Wade Sowers * Anne Middleton Foster Joy McNichols Ron & Carol Sperling Kathy & Charles Wilson

ACTIVISTS $1,500–$2,499

Ali & Robert Alexander Clement Family Foundation Craig Davis & Ellen Le Vita Ken Ragsdale John Archer & Tatum Kerr Todd & Sylvie Currie Eileen Lennon & Barrie Carter William & Rae Saltzstein Kendall & Sonia Baker Patrick J. & Lanie Dineen Charlotte Lin & Robert Porter Shelley Schermer Marge & Dave Baylor Susan & Lewis Edelheit David Longmuir Joe Schwartz William Block & Susan Leavitt Richard, Angela & Ian Finlay Alice Mailloux Sheila Smith & Don Ferguson June & Alan Brockmeier Genevra Gerhart Julia & Kyoko Matsumoto Wright Don & Kathy Smith-Dijulio Dr. William Calvin & Michael Herschensohn David Mattson * Isabel & Herb Stusser Dr. Katherine Graubard Stephanie M. Hilbert *^ Franny & Casey Mead Mary & Donald Wieckowicz Corinne A. Campbell Dr. Grady & Heather Hughes ^ Dayle Moss & David Brown Rebecca & Rob Witmer * Frank & Denise Catalano Dan & Connie Hungate Chris & BJ Ohlweiler Anonymous Dennis & Aline Caulley Clare Kapitan & Keith Schreiber Pamela & Gilbert Powers Thompson & Karen Challinor John Langs * PLAYERS CIRCLE

LEAD PLAYERS $750–$1,499

John Akin & Mary Stevens Kelly & Jeffrey Greene Lauren Mikov Evelyne Renee Rozner Aaron Anderson Margaret Haggerty Michael Moody & Martha Barbara Sando Mary Ann Lawrence & Hylton Hard Clatterbaugh Harold Sanford Peter & Jane Barrett Dr. Benson & Pamela Harer Amy Morgan John M. Seidler Michael Bauer Marjorie Kennedy Hemphill Bill & Mary Ann Mundy Darshana Shanbhag Susan Beller Amy Henry James Nichols & Beth Amsbary Mika & Jennifer Sinanan Robert Braun Dave Hewitt Craig & Deanna Norsen Ronald Spaulding Carl Bunje & Patricia Costello F. Randall & Barbara Hieronymus Daniel Nye Alec & Jane Stevens Bruce Burger Sara Comings Hoppin Heidi Ochoa Jeffrey A. Sutherland Maxwell & Mindy Cameron Gary Horsfall & Corrinne Martin Hal Opperman & Jolynn Edwards John & Barb Sutherland Midge & Steve Carstensen Susan & Philip Hubbard Cynthia & Bruce Parks Norm & Lynn Swick Steve Coulter Bob Kakiuchi Dr. Greg Perkins ^ Susan Trapnell & Erik Muller Chris Curry Steven & Patricia Kessler Chuck Perry Dirk & Mary Lou vanWoerden Diane Daggatt Kristen Crider Donald Pogoloff Ellen Wallach & Tom Darden Andrea Dahlke Rhoda & Thomas Lawrence Judy G. Poll Tom & Connie Walsh Kathy & Don DeCaprio Randy & Mari Lee Alan & Andrea Rabinowitz Nancy Weintraub Stephen & Kathy Dewalt Steven & Anne Lipner Matthew & Linda Radecki Barbara J. Wiliams Ray Engle Jane & James Lyons ^ Richard Rafoth Dianne & Douglas Wills Joanne R. Euster Eric Mattson & Carla Fowler David Ragozin Scott & Shirley Wilson Denise & David Foster Marcella McCaffray Ann Ramsay-Jenkins Susan Wolcott & George Taniwaki William Franklin James & Nancy McMurrer Cecilia Paul & Harry Reinert Richard Wortley Flick Broughton & Judith Frey Sarah B. Meardon Rao Remala Ann P. Wyckoff Gary J. Fuller & Randy L. Everett Gail & John Mensher Jean A. Rhodes Anonymous (2) Carol & Tal Godding Nancy Mertel Annemarie Riese & Terry Kisner Hellmut & Marcy Golde Erika Michael Bruce F. Robertson

THE ACT LEGACY SOCIETY ACT patrons who continue to support and ensure the ongoing tradition of presenting the best contemporary theatre for future generations throughestate planning, wills, and living trusts. Investments of all sizes can make significant future gifts by using tax-advantaged estate and financial planning options. Specific areas where ACT can benefit from your legacy are scholarships, endowments, capital projects, or operating costs. Questions or arrangements can be discussed with our Development Department at 206.292.7660 x1330.

Leslie Ray & Gary & Parul Houlahan David Mattson Teresa Revelle Michael Bernstein Suzanne Howard Mike McCaw & Chuck Sitkin Laurie Besteman Janet Westin Ed Hutsell & GregRobin Smith Jean Chen Kathy Whitten Catherine & Barry McConnell Rose & the late Linda J. Clifton H. David Kaplan John Southall Stephen McCoy & Jean Burch Falls Carolyn Keim & Larry Henderson Judith Warshal & Connie Rinchiuso Wade Sowers Charles Fitzgerald Norman D. Miller~ Bill Kuhn & Dorothy E. Wendler Linda & Brad Fowler Patricia Daniels Dr. Arnie & Judy Ness Normon & Karyl Winn~ Tal & Carol Godding John Langs Lisbeth Pisk Rebecca & Rob Witmer Stephanie Hilbert

encoremediagroup.com/programs A–13 3RD ANNUAL ACT gratefully recognizes the following corporati ons, ACT foundati ons, government, and media agencies for their Legacy Society Luncheon generous support of our 2018 programs. This funding from our community supporters enables ACT to off er outstanding The generous subscribers and donors who have chosen The Legacy Society is an extraordinary group of individuals PARTNERS contemporary theatre for many audiences, educati onal to remember ACT in their estate plans are a special group. who have provided a gift for ACT Theatre through either programs for a variety of student parti cipants, and our They are visionary. And uncommonly dedicated. Their their estate or a structured planned gift. ACT is pleased to conti nued theatre partnerships in ACTLab. philanthropy has helped propel ACT’s mission to present honor these individuals and is grateful for the opportunity A PART OF THE ART contemporary works on contemporary themes. The ACT to serve as a steward for these unique legacies. Legacy Society was created to honor these individuals, who have built their legacies through planned gifts that are If you have included ACT in your estate plans but are not yet a meaningful to them and beneficial to ACT. member of the Legacy Society, please let us know so we can extend an invitation to you to become part of this very special 2018 SEASON SPONSORS PLATINUM CIRCLE SPONSORS Members of the Legacy Society are invited to join us group. We would like to thank you for your generosity, and $50,000+ Monday, November 5 for our 3rd Annual Legacy Society include you in this and other Legacy Society events. Luncheon planned in their honor. ArtsFund Call the Development Office at 206.292.7660 x1330. The Boeing Company ^ Seatt le Offi ce of Arts & Culture The Shubert Foundati on

The John Graham Nesholm Family Foundation Foundation GOLD CIRCLE SPONSORS $25,000 - $49,999 4Culture John Graham Foundati on The Kenan Insti tute – The William Kenan Charitable Insti tute be creative Nesholm Family Foundati on ACT FOR THE FUTURE an integral Part of Seattle’s creative economy. SILVER CIRCLE SPONSORS THE NORCLIFFE FOUNDATION $10,000 - $24,999 As a home for great artists, emerging playwrights, and local talent, ACT is proud to ArtsWA – Washington State Arts Commission ^ invest in our creative economy and we know it makes the work on our stages better. Elizabeth George Foundati on ^ We need your support to continue to present productions that tell our Microsoft stories. We need your investment that says, Garneau-Nicon Wyman 4Culture The Morgan Fund at Seatt le Foundati on Family Foundation Youth Trust Yes! I support our region’s dedicated artists Treeline Foundati on and ACT’s Core Company. Donate today. A SPECIAL THANKS TO ACT'S BRONZE CIRCLE SPONSORS FALL 2018 YPP SUPPORTERS $5,000 - $9,999 McEachern Charitable Trust ^ ArtsWA – The Washington State Arts Commission ^ Peg & Rick Young Foundati on WaYs to give The Boeing Company Donation envelope | Call 206.292.7660 x1330 | Online at acttheatre.org/donate Elizabeth George Foundati on Photo Credits Avery Clark, Brandon O’Neill, Chip Sherman, Christine Marie Brown, Rachel Guyer-Mafune. Photo by Dawn Schaefer Jeff ris Wood Fund McEachern Charitable Trust 2018 MEDIA SPONSORS

Italics indicate 10+ years of support ^Indicates ACT's Young Playwrights Program supporters

A–14 ACT – A Contemporary Theatre ACT gratefully recognizes the following corporati ons, ACT foundati ons, government, and media agencies for their generous support of our 2018 programs. This funding from our community supporters enables ACT to off er outstanding PARTNERS contemporary theatre for many audiences, educati onal programs for a variety of student parti cipants, and our A PART OF THE ART conti nued theatre partnerships in ACTLab.

2018 SEASON SPONSORS PLATINUM CIRCLE SPONSORS $50,000+ ArtsFund The Boeing Company ^ Seatt le Offi ce of Arts & Culture The Shubert Foundati on

The John Graham Nesholm Family Foundation Foundation GOLD CIRCLE SPONSORS $25,000 - $49,999 4Culture John Graham Foundati on The Kenan Insti tute – The William Kenan Charitable Insti tute Nesholm Family Foundati on ACT FOR THE FUTURE SILVER CIRCLE SPONSORS THE NORCLIFFE FOUNDATION $10,000 - $24,999 ArtsWA – Washington State Arts Commission ^ Elizabeth George Foundati on ^ Microsoft Garneau-Nicon Wyman 4Culture The Morgan Fund at Seatt le Foundati on Family Foundation Youth Trust Treeline Foundati on

A SPECIAL THANKS TO ACT'S BRONZE CIRCLE SPONSORS FALL 2018 YPP SUPPORTERS $5,000 - $9,999 McEachern Charitable Trust ^ ArtsWA – The Washington State Arts Commission ^ Peg & Rick Young Foundati on The Boeing Company Elizabeth George Foundati on Jeff ris Wood Fund McEachern Charitable Trust 2018 MEDIA SPONSORS

Italics indicate 10+ years of support ^Indicates ACT's Young Playwrights Program supporters

encoremediagroup.com/programs A–15 ACT A Theatre of New Ideas David E. Skinner Rica Wolken Andrew L. Creech Marne Cohen-Vance† ACT Board of Susan Trapnell IT Director Brittany Peters Properties Master Trustees Brian Turner Timothy Norris Allexa Laycock Ken Ewert† George V. Willoughby Ticket Office Representatives Gary Houlahan Digital Marketing & Master Properties Artisan Jane H. Yerkes Chair Database Manager Jeremy Rupprecht Thomas Verdos† Audience Services Manager Chuck Sitkin EMERITUS COUNCIL Tuxedos and Tennis Shoes Lead Properties Artisan Immediate Past Chair Richard C. Clotfelter Catering Becky Plant Bar and Concessions House Manager Leslie Ray Bernstein Esther Schoenfeld STAGE OPERATIONS Vice Chair Robert Billups Jr. Nick Farwell† FINANCE Assistant House Manager Stage Operations Supervisor Michael Crystal A Contemporary Sheila Smith Treasurer Bill Abelson James Nichols† Theatre Director of Finance Amber Granger Master Stage Carpenter Erika Nesholm Sandi Hogben Monika Holm Secretary Pam Mulkern† Foundation Sarah Karnes Payroll and Accounts Payable Master Electrician Matt Aalfs Board Specialist Sandy Leonard Joan Barokas Keith Tavares Max Langley† Kermit Anderson Liz Camelia Eric Bennett Gabrielle Turner Master Sound Engineer President Senior Accountant Laurie Besteman Audience Services Brittany Lawrence Trevor Cobb Brad Fowler Christine Jew ACTLab Technician Bob Dowdy Vice President DEVELOPMENT Audience Services Affiliate Rayner D’Souza Brooke O’Neal Katherine Raff Charles Fitzgerald Associate Director of FOR THIS PRODUCTION Secretary Michael Herschensohn Development PRODUCTION Aly Bedford Stephanie Hilbert Don Paterson Alyssa Montgomery† Tim Gouran Jill Robinson Cynthia Huffman Treasurer Production Manager Erik Gratton Development Officer Tracy Hyland Grady Hughes Trevor Cobb Meaghan Darling Carrie Campbell Brandon O’Neill Diane Lind Michael Crystal Production Associate Institutional Funding Manager Connor Toms Bill Kuhn Gary Houlahan Patty Liang Audition Readers Kyoko Matsumoto Wright Jim Minorchio Rebecca Fink Production Runner Lauren Mikov Cindy Richmond Annual Fund Manager Cedric Wright Naomi Minegishi Katie Burnett Chuck Sitkin Megan Brewer Props Artisan Jim Minorchio ACTLab Producing Coordinator Annie Walters Casey Leugemors Tim Mulligan Development Coordinators Chris Ippoliito Judy Ness ACT Staff STAGE MANAGEMENT Scenic Carpenters George Ojemann Ruth Eitemiller Deborah Person MARKETING, SALES, Jim Westerland Stage Manager Teresa Revelle EXECUTIVE AND COMMUNICATIONS Stitcher John Langs Margaret Rothchild Amy Gentry Anne L. Hitt Artistic Director Carlo Scandiuzzi Director of Sales & Marketing Assistant Stage Manager Karen Shaw Becky Witmer Teresa Rende Johnson Goldie Gendler Silverman Managing Director Senior Marketing Manager COSTUME DEPARTMENT Rob Stewart Samie Detzer Amanda Mueller Larry True Amelia Peacock Artistic and Executive Manager Costume Shop Manager Ryan Waite ACTLab Marketing Manager Cora Brown Shanna Waite Cati Thelen Draper ARTISTIC Marketing & Communications † Kurt Beattie Manager Susanne R. Sherman ACT Advisory Artistic Director Emeritus First Hand Dawn Schaefer † Council Margaret Layne Graphic Design Associate Sally Mellis† Director of Casting Wardrobe Master Sheena Aebig Martin Sisk Daniel D. Ederer Tracy Hyland Ticket Operations Associate Courtney Kessler-Jeffrey Jean Burch Falls Education and Engagement Wardrobe Chris Bennion Jeannie M. Falls Manager Production Photographic Services John H. Faris Olivia Ochoa SCENIC DEPARTMENTS Brad Fowler Christa Fleming Young Playwrights Program Derek Baylor† Carolyn H. Grinstein Graphic Design Services Administrator Technical Director Sara Comings Hoppin Ahna Demaro Star Zatine C. David Hughbanks Nick Murel Kenan Directing Fellow Telesales Manager Jonathan D. Klein Assistant Technical Director Bob Ciak Jane W. Lyons Ian Bond Irwin Michelman Amanda Quinn Gloria A. Moses Mario Gomez Deborah Pryor Master Scenic Carpenter Nadine H. Murray Literary Interns Direct Sales Ron Darling Douglas E. Norberg Lead Scenic Carpenter Kristin G. Olson ADMINISTRATION Adam Vanhee Donald B. Paterson Front Office Representative Mike Sterkowicz Ashley Lemmex Eric Pettigrew Scenic Carpenter Operations Manager Gail Baraff Pamela Powers Ticket Office Manager Jeff Scott York Building Services, Inc Katherine L. Raff Scenic Charge Artist Suzanne Ragen Janitorial Services Holly Butterfield Assistant Ticket Office Manager Lisa Bellero† Catherine Roach AC/R Services Assistant Charge Artist Jo Anne Rosen Engineer Nicole Song Faye Sarkowsky Ticket Office Leads

† Denotes staff member has worked at ACT for 10 years or more

A–16 ACT – A Contemporary Theatre Dialogue Encore Stages in conversation

Ashley Byam as Boy, Christian Roe as Rabbit and Stephen Kennedy as Narrator in The Velveteen Rabbit, Unicorn Theatre. Photo by Manuel Harlan.

Courtney Sale describes herself as a director who’s passionate about new work and devised theatre. As the artistic director of Seattle Children’s Theatre, Sale has directed adaptations of Black Beauty and The Little Prince. But her work isn’t just limited to theatre for young audiences. Sale proudly collaborates with a number of nationally produced playwrights, including Steven Dietz, Kirk Lynn and Allison Gregory. Encore Stages had a chance to speak with her about the upcoming production of The Velveteen Rabbit at Seattle Children’s Theatre, a co-production with the Unicorn Theatre in London. The play runs November 1 to December 30 at Seattle Children’s Theatre.

What drew you to The Velveteen compassion takes time, action and Rabbit? Why this play now? evolving understanding. Once we truly Courtney Sale, artistic director of Seattle know those civilizing emotions, we can Children’s Theatre. Photo by Eva The Velveteen Rabbit is a story for overcome anything—even if it means Blanchard. multi-generational audiences always we experience loss. worth revisiting. For me, the play I was at a funeral a few years ago reminds us that love is a verb. The where a religious scholar said the only work of deepening kindness and way to take loss out of life is to take

encoremediagroup.com/programs 9 Christian Roe as Rabbit and Ashley Byam as Boy in The Velveteen Rabbit, Unicorn Theatre. Photo by Manuel Harlan.

love out of life. That idea has stuck indelible responsibility to make sure with me. As our world becomes more each of them knew how much I loved complicated and frightening, taking them! time to meditate on how to love one To me, what is exciting about Margery another is a radical act. The opportunity Williams’ language is that it takes the to gather in community and practice shape of the patience and generosity that idea across generations is wholly exhibited in the way my mom read compelling. to me as a child. The story holds a particular quality and slower time When did you become familiar signature—something I find lacking in with Margery Williams’ work? some of children’s entertainment today. What is it about her writing that excites you? The Velveteen Rabbit is directed by Purni Morell, former artistic director of My mom read the story many times to the Unicorn Theatre in London. What me. Not only a fabulous parent, she is drew you to Purni as a director? What wonderful with children—one of her was it about Unicorn that promoted you many gifts. My mom taught me how to partner with them on this play? to treat young people. She was patient Khanh Doan as Prince and Sydney between each page, comforting in her We are delighted to have Purni’s work Andrews as Fox in The Little Prince, voice and indulgent to every question on our stages at SCT. This is the first Seattle Children’s Theatre. Photo by I asked. The Velveteen Rabbit was one time we’ve worked together. What I Elise Bakketun. of the first books I read as a child that love about Purni is her fierce intellect made me see my toys anew. I owned and uncanny sense of humor. We a few Care Bears and the night after share a paramount value in that the I read the story I had to sleep with all work we make for children should of them tucked into my bed. I felt an flatter their intellect and imagination.

10 ENCORE STAGES JEWELERS & GALLERY When Only the Best Will Do

Family Owned Celebrating 40 Years

3500 Factoria Blvd. S.E., Bellevue, WA . 425.643.2610 . www.dacels.com

Untitled-1 1 7/5/18 11:29 AM This iteration of the play has received successful runs in both New York and London. We were thrilled we are able to bring the physical production from the UK to Seattle, as well as cast two local Seattle actors in the show. Those actors will rehearse in London in October. Like SCT, Unicorn Theatre holds a commitment to producing the highest quality work for children. We are like- minded in our dedication to new work. It’s a natural fit.

What are you most looking forward to about this production?

This iteration of the story activates all the things I want in a theatre experience—rough magic, beautiful language, playful physicality, live music—all built upon a story with real meaning and substance. The ability to invite the audience in through Khanh Doan as Prince and Sydney Andrews as Geographer in The Little Prince, Seattle multiple sensory experiences is always Children’s Theatre. Photo by Elise Bakketun. something I want to create in the theatre.

Are there any female playwrights, directors, choreographers or musical theatre writers—working in Seattle or VISIT CORNISH nationwide—that you’d like to shout out?

Learn More About BFA in Absolutely! Seattle enjoys one of the Performance Production most dynamic concentration of amaz- or Theater ing female directors and playwrights in the nation. I am so inspired by the artistry around me. To name a few: Allison Gregory, Cheryl West, Karen OPEN HOUSE & Hartman, Desdemona Chiang, Rosa AUDITIONS Joshi, Anita Montgomery, Valerie Curtis Newton, Elizabeth Heffron, Sheila Oct 12 Daniels, Jane Jones and the list goes on! Nov 17—18 Dec 2 Is there anything else you’d like to share about The Velveteen Rabbit? Feb 23—24 Whether you are young, recently young or previously young, this is a story for you. In the darkest time of the year as the days get shorter, it is such a great story to warm critical aspects of our humanity— cornish.edu namely, unconditional love. ■ Danielle Mohlman

12 ENCORE STAGES Dialogue Encore Stages in conversation

Nick Droz, musician of Bushwick Book Club. Photo by Libby Lewis.

Ever been inspired to write a song based on Moby-Dick or Ready Player One; The Outsiders or Delta of Venus? The Bushwick Book Club is a group of musicians who create original compositions inspired by books they read. These compositions are then presented to a live audience and their fellow songwriters. Encore Stages recently sat down with Geoff Larson, Bushwick’s executive director, to discuss playing bass, Commander Toad and how music can help illuminate literature.

What’s your background? executive director role at Bushwick and producing events, education programs I’m the executive director of Bushwick and recorded music in the Seattle area. Northwest, the parent organization to The Bushwick Book Club Seattle and What is Bushwick Book Club and how Geoff Larson, executive director of STYLE: Songwriting Through Youth did you get involved in it? Bushwick Northwest. Photo by Wade Trenbeath. Literature Education. I graduated from Western Washington University with a Our goal is to ignite passion for degree in Classical Performance on the literature and support musicians in upright bass while studying Jazz and their creative endeavors. More than I moved to NYC in 2009 with my jazz Composition. I’ve spent 20 years work- anything, Bushwick is a community quartet, Das Vibenbass. While living ing as a professional musician in a for artists to gather and share their in the city I ended up performing with variety of styles, having the opportunity compositions while supporting those a variety of groups and seeing some to tour the world. I now focus on my around them. amazing performances, including The

encoremediagroup.com/programs 13 Bushwick Book Club right there in writers. I have to note that Mary Doria Bushwick, Brooklyn. It was one of the Russell’s The Sparrowhas become one most electric songwriting showcases I of my top reads. It feels so real to me. had ever seen. When I made the move back to Seattle, I knew I would need to How does one become involved in start up a Bushwick chapter. I gathered Bushwick? Are you seeking out singers? a crew and we performed our first event in 2010. Bushwick is always looking for more musicians to perform in our How can music help illuminate programs. All you need to do is share literature? How can literature help one song inspired by the written word illuminate music? with us, and provide us with your Read and Destroy, musicians of Bushwick online presence. We love meeting Book Club. Photo by Marc La Pierre. Music is something that can bring out new performers and bringing more emotions in an unexpected way. The artists together to foster support and way a performer choses to represent collaboration. their inspiration certainly challenges We also love volunteers! It’s a Rollins, is a fantastic experience, and I each listener with their own experience wonderful way to help our organization cannot wait for this second performance with the same text. Each reader has a charge forward and get the chance (we did Parable of the Sower last season). unique take on a single passage and to support local artists and see our Octavia Butler is one of the best science will represent their experience accord- performances. You can volunteer by fiction writers I’ve read, and the musi- ingly. And then a listener will even have contacting us through our web page. cians found so much to create. a different inspiration from the music. It’s a beautiful cycle of ideas and Favorite Bushwick memories? If you could perform in front of any creation. Attaching a story to music author, living or dead, who would you can help bring a listener on a journey. Bushwick has too many to count—from pick? What sort of tune would you play? This is something I always love to do our multiple performances at Benaroya with my instrumental music. I love Hall and McCaw Hall, to performing This answer could change on any given hearing what journey a listener created with a full orchestra at Town Hall day, but I’ll pick one for today. I’m going while listening to my music. It’s actually Seattle. My favorite moment is picking with Mary Doria Russell. I know that the a game I like to play inside the classroom up a guitar and performing that first song I would write would be inspired by with our education program, STYLE. song back in 2010. It was my first The Sparrowand would be performed performance on guitar and vocals and with my upright bass with my dropped What books growing up touched my goal was to make sure everyone was D. There would be a solid drone with you? What books have you gravitated comfortable to bring their own songs to that low note and throughout the rest towards as an adult? this audience. of the bass giving sense of urgency and waiting (I know it’s weird). I think In my youth, I loved adventure and What are you looking forward to most I might focus on the loneliness our exploration. These have been found in next season? characters might feel while on a long the simplicity of Beverly Cleary or in journey through . . . Ok I won’t give Commander Toad, although I could I am ecstatic that we will have a place anything away. Read the book! not deny the beautiful poetry of Shel to call home next season. Thank you Silverstein or Dr. Seuss. I have fond to the Hugo House for providing us How can someone help Bushwick? memories of my parents reading me with a location for most of our events. those stories. As I grew into high school Our partnerships are a big deal to us. Come to a show. Bring your friends! age, I found Kurt Vonnegut, still one of This also includes Town Hall Seattle, You won’t be disappointed, and you’ll my favorite writers, and John Steinbeck. Seattle Arts & Lectures, The Vera be supporting local musicians. ■ As an adult, I’ve counted heavily on Project, Jack Straw Cultural Center and those around me to guide me towards Seattle7Writers. Jonathan Shipley is a freelance writer living what they love. Science fiction is some- As for our events, I’m looking forward in West Seattle. He’s been published in the thing I love beyond all. The creativity to our Parable of the Talents event on Los Angeles Times, Fine Books & Collections and thought towards the future cannot April 20, 2019 at Town Hall Seattle. Magazine, and Seattle Magazine, among be matched with these incredible Working with our curator, KEXP’s Riz others.

14 ENCORE STAGES Intermission Brain Transmission Are you waiting for the curtain to rise? Or, perhaps, you’ve just returned to your seat before the second act and have a few minutes to spare? Treat your brain to this scintillating trivia quiz! Email us the answer to the last question and have a chance to win tickets to a show!

1) Coming to Meany Hall on October 17, Marc-André Hamelin will showcase his prodigious talent on the piano. Who invented the piano?

a) Jean-Pian Forté b) Bartolomeo Cristofori c) Giovanni Battista Guadagnini d) Sébastien Érard Steinway grand piano with the fan 2) A People’s History will be performed by Mike Daisey at shaped strings disposition Seattle Repertory Theatre October 17–November 25. In this series of monologues, Daisey contrasts what he was taught in history class with Howard Zinn’s book A People’s 4) Arms and the Man by George Bernard Shaw will play History of the United States. Howard Zinn collaborated on October 23–November 18 at Seattle Shakespeare an extensive comic book adaptation entitled A People’s Company. From what Shavian play was the Broadway History of American Empire, published in 2008. Who was musical My Fair Lady adapted? the cartoonist who co-authored and drew this hefty tome? a) Major Barbara a) Mike Dawson b) Pygmalion b) Mike Allred c) Mrs. Warren’s Profession c) Mike Konopacki d) You Never Can Tell d) Mike Grell 5) At Meany Center on November 13, string quartet Brooklyn 3) On October 12–November 11, ACT Theatre will present Rider will perform. This young group recorded music by Oslo, a new play dramatizing the signing of the very the composer Phillip Glass in 2011. For what movie did real 1993 Oslo Accords between the Israelis and the Phillip Glass win a Golden Globe for his original score? Palestinians, as agreed by leaders Yitzhak Rabin, the prime minister of Israel, and Yasser Arafat, chairman of a) The Truman Show the Palestine Liberation Organization. Who was prime b) The Hours minister of Israel directly after Rabin? c) Kundun d) Notes on a Scandal a) Benjamin Netanyahu b) Ehud Olmert Bonus Question c) Ariel Sharon What was the last arts performance you attended that you d) Shimon Peres liked best and why? Email your response to [email protected]

with “Trivia Quiz” in the subject line.

for the same award. same the for for 2003 in and for 1998 in nominated also was Glass Dallwitz. von The Hours Hours The Kundun

. Glass won the Golden Globe for best original score in 1999 for this film, which he shared with Burkhard Burkhard with shared he which film, this for 1999 in score original best for Globe Golden the won Glass . – a 5.) Loewe. Frederick by music and Lerner Jay Alan by lyrics The Truman Show Truman The

debuted on Broadway in 1956 with book and and book with 1956 in Broadway on debuted musical The . – b 4.) 1984. in and 1977 in beginning served previously having minister, prime as term third his was It My Fair Lady Lady Fair My Pygmalion

collection of New York University’s Tamiment Institute Library & Robert F. Wagner Labor Archives. 3.) d – Shimon Peres. Peres became prime minister in 1995 after Rabin’s assassination. assassination. Rabin’s after 1995 in minister prime became Peres Peres. Shimon – d 3.) Archives. Labor Wagner F. Robert & Library Institute Tamiment University’s York New of collection

artist has enjoyed a long career as a political cartoonist and has published six books of labor cartoons with his business partner Gary Huck. Their original artworks are in the permanent permanent the in are artworks original Their Huck. Gary partner business his with cartoons labor of books six published has and cartoonist political a as career long a enjoyed has artist 1.) b – Bartolomeo Cristofori. The Italian master craftsman (b. 1655–d. 1731) created the first pianos around the turn of the 18th century. 2.) c – Mike Konopacki. The Wisconsin-based Wisconsin-based The Konopacki. Mike – c 2.) century. 18th the of turn the around pianos first the created 1731) 1655–d. (b. craftsman master Italian The Cristofori. Bartolomeo – b 1.)

encoremediagroup.com/programs 15