JUL 11–AUG 11, 2019 SUMMER 2019

By William Shakespeare By William Shakespeare Directed by Mary Machala Directed by Leah Adcock-Starr

2019 SUMMER 2019–2020 2020 SPRING WOODEN O INDOOR SEASON TOUR Romeo & Juliet The Tempest Hamlet Twelfth NIght The Rivals Romeo & Juliet Troilus & Cressida Macbeth Summer 2019 Volume 15, No. 7 In This Issue Arts, culture and community Feature are our priority here at Encore 3 Pacific Northwest Ballet and it is these three pillars on Thinks Outside the Box which we were founded almost with OUTSIDE/IN 50 years ago. Since then a lot has changed. Dialogue Though we have evolved and 9 A Conversation extended our reach to new places with Choreographers and digital platforms, we are still 12 David Hsieh on the Encore that you have come Kim’s Convenience to expect over the years—the Encore program you hold in your Intermission Brain hands, enhancing your experience Transmission at every performance. 15 Test yourself with our Enjoy the show. trivia quiz!

PAUL HEPPNER President Encore Stages is an Encore arts MIKE HATHAWAY Senior Vice President program that features stories about KAJSA PUCKETT Vice President, our local arts community alongside Sales & Marketing information about performances. GENAY GENEREUX Accounting & Encore Stages is a publication of Office Manager Encore Media Group. We also publish Production specialty publications, including SUSAN PETERSON Vice President, Production the SIFF Guide and Catalog, Official JENNIFER SUGDEN Assistant Production Seattle Pride Guide, and GSBA Manager ANA ALVIRA, STEVIE VANBRONKHORST Guide & Directory. Learn more Production Artists and Graphic Designers at encorespotlight.com. Sales MARILYN KALLINS, TERRI REED Encore Stages features the San Francisco/Bay Area Account Executives following organizations: DEVIN BANNON, BRIEANNA HANSEN, AMELIA HEPPNER, ANN MANNING Seattle Area Account Executives CAROL YIP Sales Coordinator Marketing SHAUN SWICK Senior Designer & Digital Lead CIARA CAYA Marketing Coordinator

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Encore Arts Programs and Encore Stages are published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2019 Encore Media Group. Reproduction without written permission is prohibited.

2 Pacific Northwest Ballet Thinks Outside the Box—and the Theatre!— with OUTSIDE/IN

PNB School students in Christopher D’Ariano’s Youthquake at NEXT STEP: OUTSIDE/IN, 2018. Photo by Lindsay Thomas

Danielle Mohlman Once summer rolls around, nothing When it comes to merging a love of can stand between a Seattleite and the outdoors with a love of art, Pacific gets the inside scoop the outdoors. Which is why the Pacific Northwest Ballet has you covered. on Pacific Northwest Northwest Ballet made outdoor In June 2016, PNB started what will performance an annual tradition. hopefully be a very long tradition Ballet’s summer public of outdoor summer performance, performance, NEXT beginning with Sculptured Dance at Ask any Pacific Northwest resident the Seattle Art Museum’s Olympic STEP: OUTSIDE/IN. what their favorite time of year is and Sculpture Park in 2016 and 2017, and they’ll answer, without hesitation and continuing on with an annual series with a resounding amount of verve, of performances on their home turf in summer. Every workday ends with a 2018 and, now, 2019. detour through the Olympic Sculpture Park or a jaunt around Green Lake. Longtime ballet audiences may Every weekend is filled with long lazy remember the first iteration of PNB’s trips to Golden Gardens or taxing outdoor performance series: summer treks in hiking boots. But we’re still art performances held at Chateau Ste. lovers. Just don’t make us go inside. Michelle from 1992 to 1995. Audiences

encorespotlight.com 3 Museum. When PNB moved their outdoor performances from the Olympic Sculpture Park to Seattle Center in 2018, Gatsby came along for the ride.

With the entire Seattle Center campus available as a canvas, Gatsby chose to choreograph for the International Fountain, using the mythology of Oshun, the Yoruba goddess of art, love, beauty and fresh water as inspiration. When Gatsby is choreographing for indoor performance, they’re conscious of the limitations of the space and how those limitations affect the dynamics of the performance.

“When I’m choreographing for an The Purple Lemonade at Summer at SAM: Sculptured Dance, 2017. Photo courtesy of outside environment,” Gatsby said, Ron Gatsby “I really allow myself to choreograph movement without concern for the space around me. I can jump higher, reach farther and really stretch myself—both literally and figuratively.” were charged admission and, as the Sculpture Park bike path, played in story goes, there was always a little too the Pocket Beach or walked around Gatsby begins every rehearsal for his much rain. The best part of this new Seattle Center. It’s a joyous challenge upcoming NEXT STEPS: OUTSIDE/ and improved outdoor performance for dancers and choreographers. IN performance with a spoken piece, tradition? Admission is free and open a story or a meditation on the goddess to the public. “I think both choreographers and Oshun. This sets the tone for that day’s dancers love a new canvas,” Boal said. rehearsal, preparing the dancers for a Peter Boal, artistic director of the “So much of dance is created in a studio new set of choreography or a movement Pacific Northwest Ballet, cited access, for the stage. A backdrop of sculpture, workshop. inclusion and a total removal of water or landscape can inspire fresh entrance barriers as the main reasons perspective.” “One thing we’ve recently incorporated these outdoor performances are, and is rehearsing in Cal Anderson Park in always should be free. Boal says there’s a lot to look forward addition to a traditional studio space,” to at this year’s OUTSIDE/IN Gatsby said. “This allows us to see how “One of the reasons that we have been performance, but the performance the public organically responds to the interested in outdoor performances of he’s most excited about is a group- movement.” late is to create easier access to ballet,” choreographed piece created for Boal said. “We had 5,000 attendees the Kreielsheimer Promenade and There are many things you can’t at our first Sculptured Dance, many Fountain by PNB’s newest and youngest control when it comes to outdoor of whom were seeing PNB for the class of choreographers: the nineteen performance but the biggest outlier is first time. New settings bring new choreographers who make up New always going to be the weather. Gatsby inspiration and new audiences.” Voices: Choreography and Process for said that the worst thing a dancer Young Women in Dance. could face when performing outdoors And those new audiences sometimes is the possibility of rain. But with the surprise themselves. Boal recounted Ron Gatsby, artistic director of Purple entirety of their piece taking place in the joy he felt whenever an audience Lemonade Collective, first became the International Fountain, the scariest member stumbled upon Sculptured involved in PNB’s outdoor performance factor—water—is confronted head on. Dance or NEXT STEPS: OUTSIDE/ tradition through Purple Lemonade’s But that doesn’t make it any less of a IN—as they biked across the Olympic partnership with the Seattle Art challenge.

4 “The fountain has an effect on everything from the wardrobe to the way we move,” Gatsby said. “Because we are working with the fountain, I have to choreograph movement that is both dynamic and safe enough for the dancers to perform. I have to consider how they’re going to feel dancing in wet clothes, the type of footwear they wear.”

But Ron Gatsby will be the first to tell you: he loves a challenge.

Donald Byrd, artistic director of Spectrum Dance Theater, has been involved in this new tradition of outdoor PNB performance from the very beginning. When Peter Boal invited Byrd to choreograph a piece for the inaugural Sculptured Dance performance in 2016, he was eager to return to site-specific choreography.

“I saw it as an opportunity to return to a kind of work that had given me great pleasure earlier in my career,” Byrd said. “I also thought it would be a lot of fun.”

And it was fun. Byrd enjoyed the challenge of drawing the audience’s attention to the unique outdoor space, especially in the case of Untitled, which verdi was performed at the Roy McMakin sculpture of the same name.

“There is an interplay among the various elements,” Byrd said. “The RIGOLETTO terrain, sculpture, dancers, movement, audience and sound—including audience sounds; ambient sound like AUGUST 10–28 traffic, dogs and sirens; and the pre- determined sounds that the choreog- rapher has chosen—all play a role.” THE COST OF CORRUPTION NEW-TO-SEATTLE PRODUCTION! Verdi’s thrilling tale of lechery, betrayal, In Italian with English subtitles. Byrd was incredibly aware of the and revenge runs the emotional gamut in Evenings 7:30 PM audience’s role in the performance true operatic fashion while filling the stage Sundays 2:00 PM of Untitled. Because of the dancer’s with brilliant melodies, including the iconic proximity to the audience, and “La donna è mobile”. This powerful and MCCAW HALL the audience’s ability to view the evocative new staging mixes grit and 206.389.7676 glamour while drawing comparisons to performance from any angle, he SEATTLEOPERA.ORG/RIGOLETTO newsmakers of today. choreographed the piece as something to be eavesdropped on. It was a 2019/20 SEASON SPONSOR: IN MEMORY OF KARYL WINN PRODUCTION SPONSOR: breakup. KREIELSHEIMER ENDOWMENT FUND © Philip Newton

encorespotlight.com 5 Noelani Panatastico’s Picnic at Sculptured Dance, 2017. Photo courtesy of Pacific Christopher D’Ariano in Donald Byrd’s Northwest Ballet Wake the Neighbors at NEXT STEP: OUTSIDE/IN, 2018. Photo by Lindsay Thomas

The biggest challenge in choreograph- are underserved,” Byrd said. “None of ing for Sculptured Dance was being them get enough.” okay with the audience missing part of the performance—either because Which leaves Byrd wondering: How they were standing too far away or do we get to a point where art plays because other audience members were a critical role in the health and obstructing their view. In the end, it ­well-being of all our communities? “The audience’s was something Byrd simply had to be at How do we ensure that art becomes peace with. essential? proximity to the “I had to submit to the realness of the Christopher D’Ariano, a corps de ballet dancers makes circumstances,” Byrd shared. dancer at PNB, first became involved in NEXT STEP: OUTSIDE/IN last year as everything more While Byrd agrees that free public a participant in both the outdoor and performances like Sculptured Dance indoor components. As both a dancer intimate.” and NEXT STEPS: OUTSIDE/IN are and a choreographer in the same 2018 important to our community, he warns program, D’Ariano performed Donald that “free art” and “accessible art” Byrd’s solo piece Wake the Neighbor aren’t synonymous phrases. and then, mere minutes later, watched a company of PNB Professional “In terms of arts exposure, education Division dancers perform his own and awareness, all of our communities choreography: Youthquake. This year,

6 D’Ariano was inspired to create outside the theatre walls.

“Outdoor performances are more unpredictable,” D’Ariano said. “The audience is more involved and the dancers’ work is challenged by the direct gaze of every viewer around them. It becomes a more personal experience.”

The audience’s proximity to the dancers makes everything more intimate. Audience members are granted access into a 360-degree After Preparing the Altar, view of the choreography, giving Jane Wong the Ghosts Feast Feverishly every single moment a new and specific meaning. Audiences share June 1–September 1, 2019 in the sweat, breath and momentum Image: Jane Wong. After Preparing the Altar, the Ghosts Feast Feverishly (detail), of the piece, sharing in an orchestra- 2019. Photo: Jueqian Fang. Jane Wong: After Preparing the Altar, the Ghosts Feast Feverishly is organized by tion of tension and control. And the Frye Art Museum and curated by Amanda Donnan. Lead support for this exhibition is provided by the Raynier Institute & Foundation through the Frye dancers are stripped of the theatrical Art Museum | Artist Trust Consortium. Additional generous support is provided protections of the orchestra pit, stage by 4Culture/King County Lodging Tax and Frye members. Media sponsorship provided by KUOW. lights and curtain. 704 Terry Avenue | fryemuseum.org | Always Free “Creating for an outdoor space allows me, as a choreographer, room to explore the limits I can push,” D’Ariano shared. “Will the fourth wall be broken, or will the subject be like a fish in an aquarium? The magic lies in the intention.”

Sarah-Gabrielle Ryan, a corps de ballet dancer at PNB, first became involved in the ballet’s outdoor performance tradition as a dancer in Noelani Pantastico’s Picnic at the 2017 Sculptured Dance. The performance was such a success that the entire company was invited back to perform the piece at the 2018 NEXT STEP: OUTSIDE/IN.

“The main adjustment we made to dance outdoors was ditching our pointe shoes for sneakers, which I think we all enjoyed,” Ryan said. “We also had a much closer audience than we get in a theatre. I appreciated this because it allowed us to have a greater connection with our audience than we traditionally do from a raised and distant stage.”

encorespotlight.com 7 Simply being on the same level as the audience made Ryan feel like she was more than entertainment. She was a human being.

Ryan said the rehearsal process for Picnic wasn’t all that different from a traditional ballet rehearsal. Instead of adjusting for set pieces, Ryan was conscious of the placement of Alexander Calder’s The Eagle or the slope of the Boeing Green.

“We mostly had to make sure the choreography was feasible for grass so that our bodies were protected,” Ryan said.

Ryan loves that PNB includes free outdoor performance as part of their season. “I could seriously do an entire interview on this subject alone,” Ryan joked. When asked to comment on the importance of accessible art in our community, Ryan said this: “Accessible art is essential to all communities— and I love that PNB is contributing to ours.”

This year’s NEXT STEP: OUTSIDE/ IN will be held on Friday, June 14 at and around McCaw Hall. The outdoor portion of the performance is free and will be held from 6 p.m. to June 1 - August 25, 2019 7:30 p.m., surrounded by food trucks, a photo booth and PNB giveaways. Lightcatcher building Choreography by Dammiel Cruz, Christopher d’Ariano, Ron Gatsby, Mark Haim and the nineteen students See 60 innovative and from New Voices: Choreography and inspiring quilts that break Process for Young Women in Dance will the rules and make a be featured. The indoor portion of the statement. On display at performance is $25 and begins at 7:30 the Whatcom Museum in that evening. ■ Bellingham, Wash. Danielle Mohlman is a Seattle-based For more information visit: Luke Haynes; [The American Context #68] Double Elvis, 2012; 60 × 71 in. Courtesy of the artist. playwright and arts journalist. She’s a whatcommuseum.org/exhibition/modern-quilts/ frequent contributor to Encore, where she’s written about everything from the intersection of sports and theatre to the landscape of sensory-friendly performances. Danielle’s work can also be found in American Theatre, The Dramatist and on the Quirk Books blog.

8 Wooden O Sponsors

Gender and the Shifting Stage Theatre and performance arts have long been realms where gender bends and blends. In ancient Greek theatre men played every part, and famous female roles like Medea and Lysistrata were originally performed by men. At the beginning of the 1600s, Japanese Kabuki theatre was founded by an all-female acting company who played both male and female roles. However, when the artform’s popularity grew, women were banned from performing and the industry was taken over by men — who still play both male and female roles. Meanwhile in England, only men were allowed to act on the public stage, and female characters were played by teenage and young adult “Boy Players” in the all-male casts. Artistocratic women could act in masques (always silently and often scantily clad) which were performed exclusively for fellow members of the court. Even the Queen Consort commissioned, and frequently starred in, a series of all-female masques. Speaking Out of Turn Over the last decade, female and non-binary Shakespeare productions have gained popularity. Since only 17% of Shakespeare’s speeches are written for female characters, these stagings open up access to Shakespeare’s rich language and characters.

Mercer Island Kiwanis Club

Pictured from top: Therese Diekhans and Suzanne Bouchard in Julius Caesar (2014), photo by John Ulman. George Mount and Beethovan Oden in The Taming of the Shrew (2005), photo by Ken Holmes. The cast of Richard III, photo by HMMM Productions. Kate Wisniewski and Kate Sumpter in Bring Down the House, Part 1 (2017), photo by John Ulman.

encorespotlight.com A-1 At Seattle Shakespeare Company, we believe that the plays of William Mission Statement Shakespeare and other classic playwrights are timeless works that cross With the plays of William social and cultural boundaries. With their rich themes and wide gallery of Shakespeare at our core, Seattle characters, these plays examine the full breadth of human experience: love, Shakespeare Company engages jealousy, loyalty, leadership, passion, vengeance, romance, ambition, and our audiences, our artists and humor. Within these time-tested works are insights that continue to sing to our community in the universal contemporary audiences, and that is why we believe our region deserves a human experience inherent theatre committed to first-rate, professional productions of Shakespeare and in classic drama through the the classics. vitality, immediacy and intimacy of live performance and Whether set in Elizabethan England, in a backwoods trailer park, or in a dynamic outreach programs. 1950’s seaside resort, our productions illuminate the relevance of these works, delighting, moving, and often surprising audiences. Founded in 1991, Seattle Shakespeare Company is a non-profit organization and is Washington State’s only year-round, professional classical theatre Free Audience company. We operate with a budget of $2 million, a board of 21 trustees, Enrichment a corps of 320 volunteers, a staff of 20, and a pool of more than 200 artists. Each year, we offer more than 200 performances and educational Seattle Shakespeare Company opportunities through four arms of programming: provides several opportunities with each mainstage production The Indoor Season consisting of four to five professional productions for audience members to learn performed in multiple theatre venues from September through May. more about the play and interact with our artists. For dates and The Wooden O outdoor summer shows performing free Shakespeare times, visit seattleshakespeare. productions in parks for 13,000 people in 13 cities across the Puget org/enrichment Sound region.

Jumpstart Lecture Our Education Programs including workshops, school residencies, Get to know the play before you classroom teacher training, after-school classes, and summer camps see it! A member of our artistic that serve 25,000 young people each year and reach out to 140 schools team will bring you up to speed on across the state. the plot, characters, and history of the play, as well as artistic A State-Wide Tour bringing productions of Shakespeare’s plays to concepts for the production. schools and communities throughout Washington, traveling from Ocean Shores to Pullman. Post Show Talkback Join the cast after the These award-winning, professional programs reach across barriers of performance as they answer income, geography, and education to bring classical theatre to more than your questions and share some 58,000 people in Washington State each year. insights into the production.

Pictured: Danni Krehbiel and Rebecca M. Davis in As You Like It, photo by John Ulman.

A-2 seattle shakespeare company Two Nonprofits, Both Alike in Dignity . . . In the summer of 2008, Wooden O Productions (founded in 1994) and Seattle Shakespeare Company (founded in 1991) formally merged, and have provided year-round Shakespeare ever since. A Really Old Tradition 400 years ago, groups of actors toured around the English countryside — unloading scenery and costumes from Real magic happens when you know how the trick works and still believe it their wagon, performing a play, — and Wooden O is built on this kind of magic. If you arrive at the park early and moving on to the next town. enough, you can watch the cast assemble the set, go through vocal warm- Even Shakespeare’s own theatre ups, and practice fight choreography before getting into costume. During group, the King’s Men, took their the performances, stage managers run the sound system seated behind the shows on the road! Wooden O keeps this tradition alive, albeit audience, and actors skirt the sides of the audience on the way to entrances with updated tech. Before each and exits. The ancient hardwiring that enables humans to suspend disbelief performance the company van and immerse ourselves in performed storytelling kicks into gear as an actor drives onto the park, the cast steps onto the “stage,” and we are transported . . . unpacks and assembles the set, furnishes a pop-up “backstage” Twelfth Night with props and costumes, and Past Productions hooks up a portable sound This summer marks Wooden O’s system. After this performance 1996 third staging of Romeo and Juliet they will pack up everything and fourth staging of Twelfth Night! again, ready for the next park.

Romeo and Juliet Tempest Triage Wooden O performs rain or 1998 shine, and rarely cancels a show, but sometimes adjustments are needed, depending on the tenacity of the tempest:

2005 The electrical sound system is cut.

Fights are slowed down, ramps or platforms are not used. 2008 Some set and costume pieces are cut, to avoid water damage. 2012 Plays, Parks, and Picnics! Make a gift with the donation envelope in this program (include your contact info) to receive an Romeo and Juliet: Hans Altwies and Jeffery Mills e-cookbook of favorite picnic (1998). Hana Lass and Michael Place (2008), photos recipes from Wooden O cast, by John Ulman. Twelfth Night: Gary Smoot and Stephen Grenley (1996). Rebecca Olson and Kelly alumni, and staff. Kitchens (2005). Matt Shimkus, Jim Gall, and Emily Chisholm (2012), photo by John Ulman.

encorespotlight.com A-3 Plot Synopsis Prince Escalus of Verona interrupts a street brawl between the Montagues and Capulets, By William Shakespeare cautioning the two families against further violence. Romeo, a Montague, suffers from unrequited love for Rosaline, and so friends encourage him to crash the Capulets’ upcoming ball. At the ball he meets Juliet, the Capulets’ only child, and they fall in love at first sight. Later, Romeo stands below her balcony, and they confirm their love. Cast Production Team Tybalt Director The next day, they meet with Friar Shanna Allman Leah Adcock-Starr Lawrence and are married. Later that day, Juliet’s cousin Tybalt Montague Set Designer Ana María Campoy Craig B. Wollam challenges Romeo to a duel. Romeo is reluctant to fight, but Juliet Costume Designer his best friend, Mercutio, scorns Lexi Chipman Jocelyne Fowler his attempts to make peace. Balthazar / Ensemble Composer / Sound Designer Mercutio and Tybalt fight. Romeo Sarah Dennis Steven Tran tries to intervene, and Mercutio is Lady Capulet Properties Designer killed. Romeo kills Tybalt and is Alyssa Franks Robin Macartney banished from Verona. That night, Nurse Dance Choreographer he bids farewell to Juliet. Kathy Hsieh Alyza DelPan-Monley Juliet is heartbroken when her Capulet Fight Choreographer father demands that she marry Tracy Michelle Hughes* Alyssa Kay Paris. She goes to the Friar for Mercutio Technical Director help, and he offers her a potion Jonelle Jordan* Adrian Delahunt that will make her appear dead, promising that she will wake in Samson / Ensemble Stage Manager the crypt where Romeo will rescue Elizabeth Keck Xandria Easterday Callahan her. Juliet takes the potion and is Friar Lawrence Assistant Director found “dead” by her family. The Imogen Love* Mimi Santos letter from the Friar fails to reach Abram / Ensemble Assistant Stage Manager Romeo and, believing that she is Erica Matthews Grace Orr truly dead, he purchases a fatal Gregory / Ensemble poison from an apothecary and Natalie Modlin goes to her tomb. Special thanks Romeo American Life Inc In the crypt, Romeo finds Paris Sofía Raquel Sánchez mourning. They fight and Paris is Prince Escalus killed. Romeo drinks the poison Carrie Schnelker and dies beside Juliet. The Friar Paris arrives as Juliet wakes to find Annie Willis Romeo dead. He tries to talk her out of rash action, but, when Benvolio he flees, Juliet kills herself with Maile Wong Romeo’s dagger. The two families gather at the tomb to mourn their dead children. Joined in mutual grief, they are finally reconciled.

Adapted from Shakespeare’s Genealogies * Appearing through an Agreement between this theatre, by Vanessa James Seattle Shakespeare Company, and Actors’ Equity The taking of pictures or the making of Association, the Union of Professional Actors and recordings of any kind during the performance is Stage Managers in the United States. strictly prohibited.

A-4 seattle shakespeare company Plot Synopsis Viola and her twin, Sebastian, have been separated in a shipwreck on By William Shakespeare the coast of Illyria. Certain that he has died, Viola dresses as a boy and, assuming the name “Cesario,” enters the service of Duke Orsino. Orsino sends “Cesario” to woo Olivia for on his behalf, but Olivia dismisses Orsino’s suit and instead falls in love with “Cesario.” Meanwhile, Viola has fallen in love with Orsino. The head of Olivia’s household staff, Malvolio, is a highly Cast Production Team principled puritan. Her drunken Sir Toby Belch Director uncle, Sir Toby Belch, and his Eric Ray Anderson* Mary Machala friend, Sir Andrew Aguecheek, Sea Captain / Ensemble Set Designer seize every opportunity to make Charles Antoni Craig B. Wollam fun of Malvolio. They are assisted by Feste, Olivia’s clown, and Antonio / Ensemble Costume Designer Maria, her maid. Nick Edwards Kelly McDonald Maria tricks Malvolio into Feste Sound Designer Jerik Fernandez Robertson Witmer believing that Olivia is in love with him. Olivia, thinking that Malvolio Composer Malvolio has gone insane, has Chad Kelderman* Sean Patrick Taylor him locked up. Duke Orsino Properties Designer Jason Marr Robin Macartney Sir Toby, who has been encouraging Sir Andrew to Sir Andrew Aguecheek Fight Choreographer woo Olivia, persuades him to Benjamin McFadden Harry Todd Jamieson challenge “Cesario” to a duel. Viola Technical Director Both are too scared to fight. Michael Monicatti* Adrian Delahunt Viola’s twin, Sebastian, has Maria Stage Manager survived the shipwreck and Christopher Morson Caitlin Denney-Turner arrived at Orsino’s court with his Valentine / Ensemble Assistant Director friend Antonio. Sir Andrew and Tré Scott Dylan Zucati Sir Toby think he is “Cesario,” Olivia Assistant Stage Manager and provoke him to a duel, Brandon J. Simmons Emily Butzi which he easily wins. Olivia also Sebastian mistakes Sebastian for “Cesario” Andy Walker and, at last, finds her advances Special Thanks welcomed. Antonio is arrested by American Life Inc Orsino on old charges of piracy. Olivia announces that she has married “Cesario,” whom Orsino threatens to kill for betraying his trust. Finally, Sebastian arrives, “Cesario” reveals herself to be Viola, and Orsino, who was attracted to her as “Cesario,” now offers to marry her. Antonio * Appearing through an Agreement between this theatre, is pardoned, and Malvolio vows Seattle Shakespeare Company, and Actors’ Equity Association, the Union of Professional Actors and revenge on them all. Stage Managers in the United States. United Scenic Artists, Local USA 829 of the IATSE is The taking of pictures or the making of Adapted from Shakespeare Genealogies the union representing the Sound designer in recordings of any kind during the performance is by Vanessa James Live Performance. strictly prohibited.

encorespotlight.com A-5 learning from this brilliant ensemble. She is currently pursuing her BFA in Acting at DePaul Romeo & Juliet Cast University in Chicago but is very happy to be home in the best city in the world with her mom Shanna Allman and family for the summer! Tybalt Shanna was last seen with Seattle Shakespeare Alyssa Franks Company this spring as Kate Hardcastle in She Lady Capulet Stoops to Conquer. Past roles with the company Alyssa is a Seattle based actor, writer, and Shanna Allman also include Marya in The Government Inspector, educator, and thrilled to be making her debut Francis Flute in A Midsummer Night’s Dream, with Seattle Shakespeare Company and Wooden Marianne in The Miser, and Helena/Peter Quince O. She graduates this year with her Master’s in A Midsummer Night’s Dream (Educational Tour). in Acting from the University of Washington’s Other Seattle acting credits include: Mary Bennet Professional Actor Training Program. Recent in Miss Bennet: Christmas at Pemberley (Taproot local credits include Philamante in Learned Theatre); How I Learned to Drive, Rhinoceros, Ladies, Mary in Rutherford and Son, Fefu in Our Town, and The Laramie Project (Strawberry Fefu and Her Friends, Andromache in Trojan Theatre Workshop); and The Violet Hour and The Women, and Stephano in The Tempest. Prior War Party (Seattle Public Theater). Shanna is an to moving to Seattle, she taught at Salt Lake Ensemble Member with the all-improv company, School for Performing Arts and performed with Unexpected Productions, as well as co-creator and various theatre companies in Utah. Alyssa was Ana María Campoy performer of the improv groups Prepared with Ted classically trained at the Liverpool Institute for and Alice and The Bastards Grimm. Coming up Performing Arts in England where she graduated next: Everything is Illuminated (Book-It Repertory with her Bachelor’s of Fine Arts in Acting in 2013. Theatre) this September. Kathy Hsieh Ana María Campoy Nurse Montague Kathy is an award-winning actor, writer, and Ana María is a Mexican-American theatre artist director, most recently seen in Gambatte at the and educator. She is a teaching artist at Seattle Interstate Firehouse Cultural Center in Portland, Repertory Theatre and Arts Impact. Favorite M. Butterfly at ArtsWest, The White Snake with acting roles include Lucia in Fade (Seattle ReAct, and as Titania in ASL Midsummer Night’s Public Theater), Rayna in Above Between Below Dream with Sound Theatre. Kathy has also played Lexi Chipman (Seattle Children’s Theatre), and Catherine in Lady Capulet in Stepping Stone Productions’ a bilingual adaptation of David Auburn’s Proof Romeo and Juliet and Luciana in Tacoma Actors (Thriving Artists), which she also produced and Guild’s The Comedy of Errors. She won Footlight translated alongside director Arlene Martínez- and Gypsy Awards for acting in Chinglish at Vásquez. She’s developed three bilingual scripts ArtsWest and the Gregory Award for Sustained for Seattle Shakespeare Company’s Education Achievement in 2017. She has also worked with Tour: The Taming of the Shrew, Twelfth Night, and the Seattle Repertory Theatre, Book-It Repertory Macbeth, the latter which she also directed. She Theatre, ACT Theatre, Intiman Theatre, Taproot looks forward to her next adaptation, Hamlet, Theatre, The 14/48 Projects, Freehold Theatre, in 2020. At center of her work lives the driving Living Voices, and more. Her next show will be desire to create opportunities for artists of color, SIS Productions’ and Pratidhwani’s co-production to remove economic and geographical barriers of the romantic comedy Washer/Dryer by Nandita Shenoy about “Crazy Poor Asians” at Theatre Off Sarah Dennis for audiences and students, and to expand and deepen our American identity. Jackson in September. Lexi Chipman Tracy Michelle Hughes Juliet Capulet Lexi is a Southern California native who Tracy is excited to make her debut with Seattle graduated from Cornish College of the Arts’ Shakespeare Company. Most recently Tracy Theater Department in 2016. Her first roles performed in Skeleton Crew at ArtsWest, Crowns after graduation were in Seattle Shakespeare at Taproot Theatre, and Bright Half Life at 12th Company’s 2017 Educational Tour playing Juliet/ Avenue Arts. Other works you may remember Samson (Romeo and Juliet) and Bianca/Biondello her from are Emboldened, MWINDO, Wedding (The Taming of the Shrew). Since then she has Band, Trouble in Mind, We Won’t Pay, Stu for Silverton, and In the Next Room . . . The Vibrator Alyssa Franks performed with Island Shakespeare Company, Copious Love Productions, Theater22, Radial Play, to name only a few. She has worked at Theater Company, The Williams Project, Live Girls! theatres from Seattle to California, including Theater Company, Off Road Shakespeare, and ACT Theatre, Intiman Theatre, Seattle Repertory more. She is also one of the co-creators of Raisins Theatre, Seattle Children’s Theatre, New Century in a Glass of Milk, a local play series about the Theatre Company, Harlequin Productions, and lives and experiences of artists of color. Freehold Theatre. One show she holds near and dear to her heart is Pretty Fire, a one- Sarah Dennis woman show Ms. Hughes has had the privilege Balthazar / Ensemble of performing multiple times. Tracy proudly Sarah is thrilled to be a part of Wooden O. She acknowledges that she is blessed to do what was previously seen in A Midsummer Night’s gives her joy and feeds her soul, and for that she will be forever thankful. Kathy Hsieh Dream at Seattle Shakespeare Company and is infinitely grateful to be back playing with and

A-6 seattle shakespeare company Jonelle Jordan first role at Seattle Shakespeare Company! Mercutio She was previously seen in the UW School of Jonelle is happy to be back in the parks with Drama’s Romeo and Jules as Lady Capulet and Wooden O this summer, having played Regan in Ms. Flemming in the Undergraduate Theatre King Lear last year. Previous roles with Seattle Society’s Heathers. Shakespeare Company’s indoor seasons include: Sofía Raquel Sánchez Rosalind in As You Like It, Louka in Arms and Romeo the Man, Osip/Postmaster in The Government Inspector, and Emilia/Mopsa in The Winter’s Sofía is a 2018 graduate of Cornish College of the Tale. Jonelle originally hails from Louisville, Arts’ Original Works program. They are a Seattle Tracy Michelle Hughes Kentucky, and received her BFA in performance based actor making their Seattle Shakespeare from Otterbein University in Ohio. Other local Company debut. They have recently been seen credits include: Caught (Intiman Theatre); Frozen in Seattle Children’s Theatre’s Ghosted (Kayla,) (ArtsWest); Every Five Minutes, 99 Ways to F***k Seattle Public Theater’s Fire Season (Jessamyn), a Swan (Washington Ensemble Theatre); The Big Latino Theater Projects’ Brainpeople (Mayannah), Meal (New Century Theatre Company); Crimes eSe Teatro’s The Journey of the Saint (La Santa), of the Heart (Village Theatre); Bethany (ACT Cornish College of the Arts’ The Sins of Sor Juana Theatre); A Midsummer Night’s Dream, Romeo (Sor Juana Inéz de la Cruz), and Strawberry and Juliet (Off Road Shakespeare); and the NW Theatre Workshop’s Lydia (Ceci). premiere of A Maze with Theatre Battery in Kent. Carrie Schnelker Prince Escalus Elizabeth Keck Jonelle Jordan Samson / Ensemble Carrie enjoys performing both classical and Elizabeth is a recent transplant to the Pacific contemporary plays, with Shakespeare at Northwest and is thrilled to be making her debut the top of her list. This is her fifth season of with Seattle Shakespeare Company. Some outdoor Shakespeare and her first with Wooden favorite past roles include: Baskerville (Actress O. (The last four seasons were with Island One) with Taproot Theatre, The Mystery of Edwin Shakespeare Festival on Whidbey Island where Drood (Helena Landless), and The Marvellous she has played, among other roles, Malvolio in Wonderettes (Betty Jean). Twelfth Night, Prospero in The Tempest, both dukes in As You Like It, and Polina in Chekhov’s Imogen Love The Seagull.) She has also recently been seen Friar Lawrence in Harlequin Productions’ The Art of Racing in Imogen is delighted to return to Wooden O where the Rain and Fantastic Z’s Next Fall. Carrie is Elizabeth Keck she was last seen as Mistress Quickly in The married to Michael Sobieck and lives in a 100 Merry Wives of Windsor. Seattle Shakespeare year old house in West Seattle. Company prior appearances are Grusha/ Annie Willis The Judge in The Government Inspector and Holofernia in Love’s Labour’s Lost. Recent Paris appearances elsewhere include The Picture of Annie is delighted to make her Seattle Dorian Gray (Book-It Repertory Theatre) and The Shakespeare Company debut this summer! A Secret and Impossible League of the Noosphere recent graduate of the University of Washington, (Live Girls). Favorites over the years include: she double majored in Drama: Performance The Yellow Kid, Relative Values (Annex Theatre); and Political Science with a minor in Business Reverse Psychology, Under the Gaslight, Chicks Administration. Annie had the privilege of With Dicks (Empty Space Theatre); Deflowered in working on such UW mainstage shows as Fefu Imogen Love the Attic, What’ve We Done To Baby Jane (Re- and Her Friends (Cecelia), Angels in America bar), both of which she co-wrote/co-produced; Part 2 (Aleksii, Mormon Mother, Nurse Emily), Cloud Nine (Strawberry Theatre Workshop); These As You Like It (Phoebe), and The Inexplicable Streets (ACT Theatre); and at Bellingham’s Mount Redemption of Agent G (Molly, Abby, Wife, etc), Baker Theater Last of the Red Hot Lovers, Becky’s among others. Before UW, she was performing New Car, Jake’s Women, and Other Desert Cities. in Portland with Northwest Children’s Theatre where some of her favorite shows include Erica Matthews the world premiere adaptation of The Little Abram / Ensemble Mermaid (Ariel), the PAMTA and Drammy Award As a native of Atlanta, GA, Erica began her winning Mary Poppins (Chimney Sweep, Ms. acting journey on screen in television and Lark, ensemble), and the first show in Portland film projects throughout the southeast. She to include sensory awareness performances, Erica Matthews continues to practice theatre at the University Goodnight Moon (Old Lady). of Washington’s Professional Acting Training Maile Wong Program (PATP). She has most recently appeared in the University of Washington’s Benvolio productions of The Learned Ladies and Laundry Maile is an actress and teaching artist who and Bourbon. Living out her purpose is her is thrilled to return to Wooden O this summer passion. She aspires to inspire. (Pericles, 2017). She has recently appeared with Macha Theatre Works (Sheathed), Sound Natalie Modlin Theatre Company (The Rules of Charity and Gregory / Ensemble Nadeshiko), ArtsWest (PEERLESS), Seattle Public Natalie is an acting student at the University Theater/SIS Productions (The World of Extreme of Washington and is very excited to be in her Happiness), among others. She completed Natalie Modlin

encorespotlight.com A-7 Intiman Theatre’s Emerging Artist Program in Personnel Manager for Albatross Theatre Lab 2016 and is a graduate of Lakeside School and and will be making their directorial debut in the Wellesley College, where she studied theatre and fall with Sagittarius Ponderosa with Albatross. developmental psychology. They have a BFA in Technical Theater with an Emphasis in Stage Management from Stephens College, and they would like to thank their most amazing wife, Alina, for all her love and support. Romeo & Juliet Production Jocelyne Fowler Costume Director Sofía Raquel Sánchez Leah Adcock-Star Jocelyne Fowler has designed for Seattle Director Shakespeare Company’s Wooden O (King Lear, Leah is a director, educator, scholar, and Hamlet, Much Ado About Nothing, Henry IV part the founding artistic director of Off Road I, Two Gentlemen of Verona, The Tempest, Henry Shakespeare Company. A Midwest transplant to V), Seattle Shakespeare Company (Arms and the the Pacific Northwest, she has worked locally Man, Timon of Athens, Mrs. Warren’s Profession, with Pony World, Sound Theatre Company, Titus Andronicus, Richard II), Taproot Theatre Intiman Theatre, and Civic Rep, among others. (Arsenic and Old Lace, Lady Windermere’s Fan, A Leah lectures on Shakespeare for Bellevue Civil War Christmas), Book-It Repertory Theatre College and is a Drama Program Developer (Jane Eyre, Treasure Island, Emma, Pride and for the educational research philanthropy, Prejudice, Frankenstein, Anna Karenina, Hotel Carrie Schnelker Foundry10. With Off Road, Leah leads a troupe on the Corner of Bitter and Sweet), Harlequin of artists, activists, and clowns that tour brave Productions, Seattle Musical Theatre, Vashon and beautiful productions of Shakespeare’s Opera, Youth Theatre Northwest, SecondStory plays to public spaces, shelters, community Repertory, Bellevue College, Overlake School, and centers, and public libraries throughout others. She is the recipient of the 2016 Gregory the Seattle Metro Area. Leah is married to Award in Outstanding Costume Design. Kieran with whom she has two cats and a Alyssa Kay very large dog all of whom are named after Shakespearean clowns. Training: BAs in Theatre Fight Choreographer Arts, and Theology from Hamline University. Alyssa is a performer and choreographer MFA in Directing from the University of born and raised in Seattle and is delighted Washington. to be working with Seattle Shakespeare Annie Willis Company for the first time. She has served Adrian Delahunt as fight choreographer and intimacy director Technical Director for several area theater companies including Adrian is excited to work on another season of Off Road Shakespeare, Pratidhwani, ReAct Wooden O! Adrian’s work as a technical director Theatre, and Civic Rep and is committed to the and carpenter can be found on many stages safe and effective portrayal of violence and around the Sound, including the mainstage intimacy onstage. Alyssa has been an actor seasons of Seattle Shakespeare Company and combatant with the Society of American Fight Book-It Repertory Theatre. As a member of the Directors since 2011 and currently serves Seattle Scenic Studios team, Adrian worked to as the organization’s Northwest Regional bring professional quality scenery to a myriad Representative. She earned her degree in drama of schools and small companies in Seattle. from the University of Washington (BA ’05) and later studied physical theater at the Accademia Maile Wong Alyza DelPan-Monley dell’Arte in Arezzo, Italy. She currently lives in north Dance Choreographer Seattle with her husband Fox and their cat Bert. Alyza is a Seattle-based dancer and Robin Macartney choreographer, seeking to brighten her Properties Designer surroundings with splashes of whimsy, human connection, and goofy possibilities. Her work Robin always loves working with Seattle has been performed at On the Boards, Café Shakespeare Company. Professional credits Nordo, Book-it Repertory Theatre, Washington include technical work with Café Nordo, Youth Ensemble Theatre, and ArtsWest. She performs Theatre Northwest, New Century Theatre regularly with Tim Smith-Stewart and Jeffrey Company, Book-It Repertory Theatre, Theatre22, Azevedo, MALACARNE, and Donna. Annex Theatre, Bainbridge Center for the Performing Arts, Live Girls! Theater, Pork Filled Xandria Easterday Callahan Productions, and eSe Teatro. She is the scene Stage Manager shop supervisor at the University of Puget Sound as well as front of house manager/resident set Xandria (They/Them) is tickled pink to be designer at the Theatre Off Jackson. returning to Seattle Shakespeare Company and Wooden O. This is their 4th summer in the Grace Orr parks, and you may have seem them prancing Assistant Stage Manager around backstage last year during The Merry Wives of Windsor. Primarily a Stage Manager, Grace is a New York based artist who most Xandria has worked with Seattle Shakespeare recently worked at the Spoleto festival on Pay Company/Wooden O, Book-It Repertory No Attention to the Girl. She has worked at The Theatre, Village Theatre, and many other Brick, Theater for the New City, Chain Theater, local companies. They are the Production and BAM, and Target Margin Theater. She is currently writing her first play focusing on trauma healing

A-8 seattle shakespeare company and resilience. Grace is thrilled to be back for the summer and working with Wooden O! Twelfth Night Cast Mimi Santos Assistant Director Eric Ray Anderson Mimi is a lover of Shakespeare and is always Sir Toby Belch very excited to be working with Leah Adcock- Eric was born in Tacoma and has been living Starr. This will be her first time working with in and working out of Seattle since 1981. Seattle Shakespeare Company and her first time At Wooden O he has appeared as Sir John Assistant Directing a show. She is so happy Falstaff in The Merry Wives of Windsor and Eric Ray Anderson it is Wooden O’s Romeo and Juliet; she is all as Adam/Sir Oliver Martext in As You Like It. about free theatre and Romeo and Juliet is a Recent roles include the title role in Krapp’s play that touches her heart every single time. Last Tape at Key City Public Theatre and Donny She was last seen in Off Road Shakespeare’s in American Buffalo at Seattle Immersive Twelfth Night as Maria. She is a University of Theatre. He has also performed at Seattle Washington graduate. She can’t wait for you to Shakespeare Company, ACT Theatre, Seattle see this brilliant play. Repertory Theatre, Village Theatre, Tacoma Actors Guild, Dukesbay Theatre, Empty Space Steven Tran Theatre, Arizona Theatre Company, Huntington Composer / Sound Designer Theatre Company, Portland Center Stage, and Steven is a multi-hyphenated theater artist. many others. Television appearances include He recently composed additional music, Twin Peaks: The Return, Z Nation, and Grimm. Charles Antoni arrangements, and orchestrations for the He performs in three bands in the Puget Sound world premiere of The Last World Octopus area as ukulelist and vocalist: The Miss Mamie Wrestling Champion at ArtsWest. He has Lavona Band, Eray and the Lost Positives, and worked as a music director and accompanist The Klein Party. at theatres including Seattle Repertory Theatre, The 5th Avenue Theatre, Village Theatre, Charles Antoni Book-It Repertory Theatre, Seattle Musical Sea Captain / Ensemble Theatre, and A Sensible Theatre Company. He Charles is a recent transplant from Ohio. He recently appeared as Tom Twist/Pimple the moved to Washington last February after Maid in Seattle Shakespeare Company’s She graduating with his BFA in Theater Performance Stoops to Conquer and was a 2018 Intiman from Ohio University and has since dived Theatre Emerging Director. Steven is the into the Seattle scene. He has been seen on Nick Edwards playwright/performer of The Sonata Years, an ArtsWest’ stage as Dez in Skeleton Crew, has autobiographical actor-musician solo show, partnered with Seattle Children’s Theatre for a which was last performed in a sold-out run at traveling school tour of Ghosted, a piece written 18th & Union and will be workshopped under the by local play writer Trista Baldwin dealing with direction of Sara Porkalob at Seattle Repertory mental heath and awareness for teens, and can Theatre’s The Other Season this July. be seen in Is God Is this fall with Washington Ensemble Theatre. Along with being an actor, Craig B. Wollam Charles is also a photographer and musician Set Designer running his own production company, Create For more than than two decades and over 100 Reality Productions. He believes everyone is productions, Craig has been honored to work with capable of accomplishing their wildest dreams Seattle Shakespeare Company and Wooden O. and lives by the slogan, “the world is yours, if Jerik Fernandez Previous Wooden O designs include every show, you take it.” save two that Wooden O has produced. As a freelance lighting and scenic designer, Craig has Nick Edwards worked for Arizona Theatre Co, Lyric in Boston, Antonio / Ensemble Chicago Theatre Center, Zephyr in LA, The Colony Nick is an actor of scripted and improvised in Miami, Kohler Art Center in Sheboygan, and work, as well as a writer and director. This is Actors Playhouse in NY. Locally, he has designed his debut with Wooden O. Most recent projects: at Seattle Repertory Theatre, Seattle Opera, co-directing Claim of Thrones (Jet City Improv); Intiman Theatre, Empty Space Theatre, Tacoma acting in A Bright Room Called Day (Williams Actors Guild, Bellevue Opera, NW Asian American, Project); writing a play about the travel ban Alice B Theatre, Spectrum Dance, Gilbert and called Banned From Entry (18th & Union, Radial Sullivan Society, Village Theatre, Centerstage, Theater Project); acting in Teh Internet is Serious Chad Kelderman CLO, and Book-It Repertory Theatre. His teaching Business (Washington Ensemble Theatre); takes him to Roosevelt, Bush , Kamiak, Seattle writing TRUMP the KING (Theater Schmeater); Prep, and Evergreen, Craig closed his non-profit, and performing with 14/48: The World’s Seattle Scenic after 18 years. He now runs DW Quickest Theatre Festival (Seattle, Leicester, Distilling with Keith Dahlgren and Craig’s wife Wolverhampton).Selected credits: Bozo, etc. Allison in Walla Walla. (Every Five Minutes, Washington Ensemble Theatre), Ari (Undo, Annex Theatre), devising ensemble (Spectacle Lunatique, Redmoon Theatre of Chicago), Tom Wingfield (The Glass Menagerie, Mount Baker Theatre), Jack Lovington (The Jammer, Balagan Theatre), and in Wagner’s Sketches at Seattle Opera. Jason Marr

encorespotlight.com A-9 Jerik Fernandez Theatre); The Cider House Rules, The Financial Feste Lives of the Poets, Slaughterhouse 5, Owen Jerik has just graduated with his BFA in Acting Meany’s Christmas Pageant, and Treasure Island from Cornish College of the Arts. Before (Book-It Repertory Theatre); History Boys and Cornish, Jerik spent two years with the Pacific Vertical Hour (ArtsWest); Sprawl (Washington Conservatory of the Performing Arts where Ensemble Theatre); Humble Boy (Island Stage he was seen in You Can’t Take It with You (The Left); and The Art of Bad Men (MAP Theatre). Man) and Argonautika (Castor/others). At Ben has also appeared on television in TNT’s The Cornish, he was seen in Spring Awakening (Adult Librarians and CW’s Jane the Virgin. Ben lives in Burbank, CA with his endlessly supportive and Benjamin McFadden Males) and Much Ado About Nothing (Dogberry). Jerik’s most recent credits include Grease loving fiancé. (Vince Fontaine) at Berkeley Playhouse and My Michael Monicatti Ántonia (Marek) at Book-It Repertory Theatre. Viola Chad Kelderman Michael is thrilled to make his Wooden O Malvolio debut this incredibly talented cast. A recent Chad is delighted to be making his Wooden O graduate of the University of Washington School debut. He was last seen at Seattle Shakespeare of Drama, university credits include Emcee th Company as the Sergeant and Peasant Farmer in Cabaret, William Barfée in The 25 Annual in Mother Courage and Her Children and as Putnam County Spelling Bee, Moritz in Spring Faustus in Wittenberg. Other Seattle credits Awakening, and Silvius/Charles in As You Like Michael Monicatti include the title role in The Cat in the Hat (Seattle It. He was most recently seen onstage in ACT Children’s Theatre); Truth Like the Sun (Book-It Theatre’s Skylight, directed by John Langs, and Repertory Theatre); The Royal Family (Intiman in the ensemble of Seattle Repertory Theatre’s Theatre); The Tempest and A Midsummer Night’s Public Works production of The Odyssey. Dream (Tacoma Actors Guild); and As You Like Christopher Morson It, Twelfth Night, Great Expectations, and The Servant of Two Masters (The Bathhouse Theatre). Maria Chicago credits include: The Misanthrope and This will be Chris’s third time exploring the world The Play’s the Thing (Court Theatre), and Troilus of Illyria since graduating from Cornish College and Cressida (Chicago Shakespeare Company). of the Arts! He spent the last year in LA as a core Chad is a graduate of Carnegie Mellon School member of The Liminal Space Players which of Drama. He is grateful to get the chance to be recently produced The Tempest. Past credits Christopher Morson Nate and Sylvie’s dad and Mary’s husband. include: Dry Land (Seattle Public Theater); Room Service and A Charlie Brown Christmas (Taproot Jason Marr Theatre); The Adventures of Huckleberry Finn, Duke Orsino The Dog of the South, The Brothers K, and Pink Jason is delighted to be playing with Wooden and Say (Book-It Repertory Theatre); All’s Well O again! Past roles with the company include That Ends Well, Much Ado About Nothing, Twelfth Cornwall in King Lear and Ferdinand in Love’s Night, The Two Gentleman of Verona, and Titus Labour’s Lost. Recently he appeared in M. Andronicus (Seattle Shakespeare Company); Butterfly at ArtsWest. In December he played and A View From the Bridge (Seattle Repertory John McClane in The Habit’s A Very Die Hard Theatre). Film and TV: Syfy’s Z Nation, Netflix Christmas at Seattle Public Theater. Other credits Original’s Everything Sucks! and American Vandal. include Titus Andronicus and Hamlet (Seattle Seattle Films: Chaldea, The Son, the Father, Iron, Tré Scott Shakespeare Company); The Pitmen Painters and Prospect. And coming soon Deep Creak. and Dangerous Liaisons (ACT Theatre); 63 Trillion Tré Scott (West of Lenin); and Humble Boy (Seattle Public Theater). He has performed with Shakespeare Valentine / Curio / Ensemble Santa Cruz, Shakespeare Theatre Company, and Pacific Conservatory of the Performing Arts Book-It Repertory Theatre, among others. He is graduate and current Cornish senior, Tré is a co-founder of One Lump or Two Productions. blessed to be making his Seattle Shakespeare Jason has a BFA in Acting and Directing from UNC Company/Wooden O debut. He last appeared Greensboro and an MFA from the Shakespeare as Orlando in Cornish College of the Arts’ Theatre Company’s Academy for Classical Acting production of As You Like It and can be seen at George Washington University. He is married to next in the Washington Ensemble Theatre’s the extraordinary Jill Marr. production of Is God Is. Brandon J. Simmons Benjamin McFadden Brandon J. Simmons Sir Andrew Aguecheek Olivia Benjamin most recently appeared with Seattle Brandon is delighted to return to Seattle Shakespeare Company is this past season’s Shakespeare Company where he has appeared All’s Well That End’s Well as Dumaine the Elder; numerous times, most recently in The previously he had been in Cymbeline and Government Inspector. Brandon is an actor, Wooden O’s Love’s Labour’s Lost. With Seattle writer, director, and producer for theater. He Shakespeare, he spent three seasons with the co-founded The Seagull Project and served as Educational Tour in Romeo and Juliet, Macbeth, an administrator and ensemble member from Hamlet, and Othello. Work at other theatres 2011 until 2018. His play Is She Dead Yet? (a includes Danny, King of the Basement, Where The white comedy) received the 2016 Gregory Award Andy Walker Wild Things Are, and Crash (Seattle Children’s for Outstanding New Play. His work as director

A-10 seattle shakespeare company has appeared at ArtsWest, Theatre Battery, Annex Theatre, the Double Indemnity, Anna Karenina, and many short stories. For Flux Salon, Seattle Public Theater, Youth Stage, and 14/48: Wooden O/Seattle Shakespeare Company: Romeo and Juliet, The World’s Quickest Theatre Festival. As an actor he has The Winter’s Tale, Hamlet, and Love’s Labour’s Lost. She was appeared as Lord Henry Wotton in Book-It Repertory Theatre’s a writer/actor/improvisationalist with Dudley Riggs’ Brave acclaimed The Picture of Dorian Gray, Antonio Salieri in New Workshop in Minneapolis, MN performing locally and Amadeus at Seattle Public Theater, Arthur in Feathers and Teeth across the Midwest, and the Artistic Director of the socio/ at Washington Ensemble Theatre, and Lopakhin in The Cherry political, improv group Off the Wall Players in Seattle where Orchard at The Seagull Project, among others. she directed, acted, and co-wrote Every Which Way But Lucid!, Mad Dogs and English Majors, A Fistful of Transfers, and many Andy Walker more. Master Gardener, Master Pruner, Master Composter, Sebastian and beekeeping keep her otherwise occupied. Andy is excited to be making his Wooden O debut with Twelfth Night! Andy has performed regionally with The Colorado Kelly McDonald Shakespeare Festival, Little Theatre of the Rockies, Island Costume Designer Shakespeare Festival, and SOAPbox Productions. Andy is also This is Kelly’s fifth production working with Wooden O, a recent graduate of The University of Northern Colorado and previously designing Pericles, Love’s Labour’s Lost, As You he originally hails from Whidbey Island. Like It, and Julius Caesar. Mainstage designs include The Winter’s Tale and Romeo and Juliet. Work around town has been seen with ArtsWest, Book-It Repertory Theatre, Café Nordo, Cornish College of the Arts, Intiman Theatre, Taproot Twelfth Night Production Theatre, and Village Theatre. Sean Patrick Taylor Emily Butzi Composer Assistant Stage Manager Sean has been involved in Wooden O shows in some capacity Emily is excited to be working with Wooden O for the first or other since 2001, most recently in As You Like It in 2015. time. When not in Seattle, she is an itinerant opera stage Other recent credits include Justice Shallow in Greenstage’s manager, primarily at Anchorage Opera in Alaska (La Bohème, The Merry Wives of Windsor, Gonzalo in The Tempest with Fern Candide, As One, An American Dream) and Florentine Opera in Shakespeare Company, and Telegin in Akropolis Performance Milwaukee, WI (Prince of Players, il Barbiere di Siviglia). Lab’s production of Uncle Vanya. A scholar of language and literature, he provided the translations of A Doll’s House and Adrian Delahunt Cyrano de Bergerac for Seattle Shakespeare Company. Technical Director Please see Romeo and Juliet production bios. Craig B. Wollam Set Designer Caitlin Denney-Turner Please see Romeo and Juliet production bios. Stage Manager This is Caitlin’s third summer working with Wooden O and Robertson Witmer her first time being in charge of the whole shebang. She was Sound Designer the assistant stage manager for Pericles (2017) and Love’s Rob’s previous work with Seattle Shakespeare Company Labour’s Lost (2016). Caitlin has also previously worked with includes As You Like It, Richard III, King Lear, and Bring Down Seattle Shakespeare Company in their mainstage season on the House. Other recent credits include Romeo + Juliet (ACT Titus Andronicus. Other regional credits include: Urinetown Theatre); Uncle Vanya (The Seagull Project); The Ghost of (ACT Theatre/The 5th Avenue Theatre), American Junkie (Book- Splinter Cove (Children’s Theatre of Charlotte); The Miraculous It Repertory Theatre), Hairspray, Newsies, Billy Elliot (Village Journey of Edward Tulane (Seattle Children’s Theatre); and The Theatre), and Lizard Boy (Seattle Repertory Theatre). Agitators (West of Lenin). His designs have also been heard at Seattle Repertory Theatre, Village Theatre, Spectrum Dance Harry Todd Jamieson Theater, and Teatro ZinZanni. Rob is a part-time lecturer in Fight Choreographer sound design at University of Washington, and is a member of Harry is a locally-based actor, director, designer, choreographer, United Scenic Artists — 829. and teaching artist and has worked with with such institutions as Seattle Opera, Seattle Public Theater, Book-It Reperatory Dylan Zucati Theatre, Seattle Repertory Theatre, ACT Lab, New City Theater, Assistant Director ArtsWest, Seattle Children’s Theatre, Theater Schmeater, This is Dylan’s fourth show with Seattle Shakespeare Balagan Theatre, The Horse in Motion, Annex Theatre, Company and his second time in the park with Wooden O. Shakespeare Walla Walla, The 14/48 Projects, and, of course, Twelfth Night marks Dylan’s first time assistant directing with Wooden O, among others. At Seattle Shakespeare Company, the company. Dylan began directing last year assisting on he was most recently seen in She Stoops to Conquer and most Dacha Theatre’s Light Princess and Shakespeare Dice: As You recently choreographed fights for As You Like It. Harry is a Like It. Dylan is also a Board Member of Dacha Theatre. graduate of Western Washington University. Robin Macartney Properties Designer Actors’ Equity Association (AEA), founded in 1913, represents more than 45-thousand actors and stage Please see Romeo and Juliet production bios. managers in the United States. Equity seeks to advance, promote and foster the art of live theatre as an essential Mary Machala component of our society. Equity negotiates wages and Director working conditions, providing a wide range of benefits, including health and pension plans. AEA is a member of Mary was a founding member of Book-It Repertory Theatre the AFL-CIO, and is affiliated with FIA, an international where she directed her adaptation of A Confederacy of Dunces organization of performing arts unions. The Equity and Lady Chatterley’s Lover, along with Waxwings, Silver Water, emblem is our mark of excellence. www.actorsequity.org

encorespotlight.com A-11 Sarah Harlett and Suzanne Bouchard in Richard III, photo by HMMM Productions.

The Tempest The Rivals By William Shakespeare By Richard Brinsley Sheridan Directed by Annie Lareau Directed by George Mount Oct 15–Nov 10, 2019 at the Center Theatre Jan 7–Feb 2, 2020 at the Center Theatre We’ve Got Magic to Do. Stripped of power, position, and All You Need is Love. Romance novels have given young wealth, for 12 long years Prospero has plotted in exile (and wealthy!) Lydia Languish some ridiculous notions, on an enchanted island, waiting to exact revenge. When and she insists on marrying a poor man for the sake enemies sail too close, Prospero conjures a magical of true love. Hoping to woo the young woman, Captain storm to shipwreck the passengers. The mysterious Jack Absolute pretends to be a poor naval officer. Aiding island holds secrets, along with curious creatures, and and thwarting Jack’s pursuit are a collection of comic fantastical spirits. While dispensing justice and watching characters including his crusty and cranky father Sir over his daughter’s emerging romance, Prospero’s old Anthony, Lydia’s meddling and misspoken aunt Mrs. wounds begin to heal, and reconciliation and forgiveness Malaprop, and a pair of adversaries: the jovial Bob Acres now seem within reach for all. and the salty Sir Lucius O’Trigger. Will romance spark in the midst of hilarious circumstances and mistaken identities? Troilus & Cressida By William Shakespeare Macbeth Directed by John Langs By William Shakespeare Directed by Desdemona Chiang Mar 17–Apr 12, 2020 at the Center Theatre Apr 21–May 17, 2020 at the Center Theatre Modern Epic. It all began when Helen of Troy was fiercely abducted, and now for seven long years Something Wicked This Way Comes. The world is the Greeks and Trojans have been at war. Warriors torn apart by war, and a military leader’s rapid rise to cynically debate over the fate of their nations with little power is foretold by a trio of witches. With enthusiastic resolution. Ensnared in the madness are the young encouragement from his wife, Macbeth begins a seemingly Greek prince, Troilus, and a Trojan traitor’s daughter, endless chain of grisly murders to further their ambitions. Cressida. Their love is tested by exposure to the savage But guilt and suspicion plunge their lives into madness, and corrupting influence of wartime politics. driving the pair down a path of destruction that ultimately leads to a ruin of their own making.

Season Tickets Start at $88 | seattleshakespeare.org All titles, artists, and dates subject to change. Institutional Supporters Sustaining Donors

$25,000 and More Helsell Fetterman LLP The Arden Circle Horizons Foundation ArtsFund Arden Circle members are pillars of support BMGI Issaquah Arts Commission The Morgan Fund Mercer Island Community Fund who ensure Seattle Shakespeare Company’s Treeline Foundation Perkins Coie LLP growth and development through a multi-year, Tuxedos and Tennis Shoes, a DSquared Company sustaining pledge of $1,500 or more. $1,000–$2,499 $10,000–$24,999 Actors’ Equity Foundation, Inc. David Allais Peter and Kelly Maunsell 4Culture Expedia Gives Matching Gift Program Anglo-American Charitable Foundation Hewlett-Packard Matching Gifts Program Sarah and Bob Alsdorf Gustavo and The Hubbard Family Foundation Kristina Mehas ArtsWorks, a program of the National Terry Barenz Bayless Endowment for the Arts Mercer Island Rotary Club Sarah Merner Harvest Foundation Savage Color Scott and Mary Berg Microsoft Matching Gifts Program Tulalip Tribes Charitable Fund and Craig McKibben The Norcliffe Foundation U. M. R. Foundation, Inc. John A. Bodoia Anonymous (1) Nancy Miller-Juhos Safeco Insurance Foundation Jeannie Buckley Blank and Fred Juhos Seattle Office of Arts & Cultural Affairs and Tom Blank Walker Family Foundation $500–$999 Phillip S. and Carol Miller Williams and Bauer Endowment for Theatre Mangetout Catering Nicole Dacquisto Michael and ORA Architects Rothrock and $5,000–$9,999 Swimming Bear Consulting Jeanne E Milligan William H Gates III Matching Gifts Tim Rothrock Aer Lingus Rosemarie and American Life, Inc. Dan Drais and Jane Mills Anne & Mary Arts & Environmental Education $100–$499 H. Pike Oliver Lauren Dudley Fund At The Community Foundation of The Clarius Group, LLC Mary Pigott Snohomish County The Coca-Cola Foundation Rick and Terry Edwards ArtsWA Envirotest Jain Rutherford Bagley Charitable Trust The Gittelman Family Fund Emily Evans Suzanne Skinner The Boeing Company Johnson and Johnson and Kevin Wilson KUOW 94.9 FM Matching Gifts Program and Jeff Brown Jean and David Farkas Moccasin Lake Foundation Mercer Island Lions Club Laura Stusser-McNeil Nesholm Family Foundation Symetra Matching Gifts Program Rotary Club of Seattle T-Mobile Matching Gift Program Lynne Graybeal and K. C. McNeil and Scott Harron U.S. Bankcorp Foundation Tuxedos and Tennis Washington State Arts Commission Workplace Campaign Donors Robert H. Green Shoes, a DSquared Wells Fargo Foundation Thank you to the following companies Company and organizations for encouraging giving Bert and $2,500–$4,999 through workplace campaigns: Bob Greenwood Walker Family Adobe Matching Gifts Program Foundation Bill and Melinda Gates Foundation Matching Boeing Employee Individual Giving Program Tyson Greer Gifts Program City of Seattle Employee Giving and Jim Halliday Pat and Charlie Walker Expedia Employee Giving The Boeing Company Gift Matching Program John and Ellen Hill Steve Wells The Bungie Foundation King County Employee Charitable Campaign Fales Foundation Trust Microsoft Workplace Campaign James and Janet Westin Hazel Miller Foundation Washington State Employee Combined Fund Drive Kristi Hudson and Michael McCaw Ken and Karen Jones Susan and Bill Wilder Angelique Leone Jeanne and Jim Wintz and Ronald Fronheiser Individual Supporters Jolene Zimmerman and Maria C. 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Williams Karen Rotko-Wynn Michael Lockman Patrick and Gayle Bryan James Halliday and Tyson Greer Wayne Winder and Bruce Wynn and Ellwood Davidson Scott and Cindy Buchanan Mary Frances Hill and Amy Eisenfeld Robert Rust Jackson Loos Apanakhi Buckley In Memory of Melissa Hines Susan Winokur and Paul Leach Karleen N. Sakumoto Margo MacVicar-Whelan Jean Burch Falls Ken Hitz Lee and Emily Winstrom Susan Schroeter-Stokes David W. Marcia and David Butchart Nadja Honeywell Sally and Richard Wolf and Robert Stokes and Mary Anne Madsen Joseph and Ann Butwin Kristi and James Hudson Anonymous (5) Ann Schuh Alice Mailloux Bob Byrne Jane and Randall Hummer Wolfram and Rita Schulte Ellen Maxson Glen Campbell David and Sara Elizabeth Hyre $500–$999 David and Stacya Silverman Drs. 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A-14 seattle shakespeare company Susan and Albert Fuchs and Klaus Brauer Paul Schneiderman Bryant Fujimoto Barbara Mauer Carolyn Schott J. Fukuda Family Florence Mayne Susan Schulkin Double Your Impact Janice George Richard McCorkle Barbara Schwartz Alan Gibbs Irene McCoy Mike Scully with Matching Gifts Dave Gossett Deirdre and Jay McCrary Anisha Shankar Linda-Jo Greenberg Corey McDaniel Maureen Shaw When you donate to Seattle Shakespeare Janice and Abigail Grimstad and Alber Sucupira Jeff Shaw and Stacy Quan Company, your gift can go much further. Briana Guthrie John and MJ McDermott Angela Silva Linda Haas Nancy and Jim McGill Jan Simonds Many employers will match your gift to non- Reed Haggerty Patrick McKee and Laurence Shannon Daniel Chaim Halperin David Meckstroth Abner the Skeleton profit organizations on a one-to-one basis. R. 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If a form, you simply fill out the Leonard Hill and Cathy Leslie Moser Florence Stiles employee part of the form and mail it to: Stevulak John Mostrom Ann Strosnider Gary Holland, Jackie and Cathy Woods Isabel and Herb Stusser Seattle Shakespeare Company McGourty, Quinn, and Kyle Edmond A. Mount, Jr. Mary Summerfield Myra Horiuchi and Joan Dorian and Michael O’Neal PO Box 19595 Lewis and Lisa Horowitz Sue Mozer Margaret Swain Seattle, WA 98109 Virginia Dangremond Charles Nelson and Larry Stark Houghtaling Jane Nichols Constance Swank We’ll take care of the rest! Christopher Howard Brendan Bevin Taylor Kathy Hsieh and Lindsey O’Connor Jen Taylor Cynthia Huffman Pamela O’Sullivan Seda and Soner Terek and Ray Heacox Anne Frances Owen Robert and Marion Thomas David and Stacya Silverman The wedding anniversary Elisa and Matt Huston Ann Owens Maria Tomchick Laura Stusser-McNeil of Emily Evans Daniel Ichinaga Margaret and John Pageler Robert Townsend and K.C. 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Cook Richard and Shelly Lamoreaux Roberta Roberts Sam Zeiler by Debabrata (Dave) Ghosh Elaine Mathies Kari Larson Kate and Stephen Robinson and Dawn Frankwick The marriage of Evan G. Val Thomas, Christopher and Courtney Lee Annie Rosen Spring Zoog Whitfield and Brenda Joyner, by Rae and Bill Saltzstein Barbara Lees Kermit Rosen and Richard T. Marks by the Paolozzi Family Will, by Tom Stiles Peggy and Ronald Levin and Louise Bush Wendy Zupan Heidi McElrath, Arthur H. Zevin, by Rona Zevin Alan and Sharon Levy Dinah and W. Ross Coble Anonymous (13) by Drs. David Bonnie Lewman Jean Rowlands-Tarbox and Jody McElrath This list recognizes donors Charlotte Lin Stephen In Honor / On Behalf Phil and Carol Miller, with combined donations and Robert Porter and Elizabeth Rummage From December 5, 2017 by Angelique Leone of $100 or more made from Arni Litt Wendy Ruppel through June 5, 2019, and Ronald Fronheiser September 22, 2017 through Sue Livingstone Pete Rush donations were made to Patrick O’Kelley, March 22, 2019. Thank you! and Donald Padelford Sharon and Bryan Rutberg Seattle Shakespeare in by Richard McCorkle If you wish to change your Allison Lombardo Joseph W. Rutte recognition of the Victor Pappas, acknowledgement listing, Kirby and Marlene Luther Mark Sanders following people: by Bobbi Kotula please contact Heidi McElrath, Valerie Lynch Mary Saylor Suzanne Skinner, Development Director, at and Putnam Barber and William Potter Sarah Alsdorf, by by Karen Jones (206) 733-8228 x 268 or Mary Machala Marguerite Shelly and Mike Reiss and Erik Rasmussen [email protected] Rubina Mahsud and James Schellentrager John Bradshaw, by Laura Stusser-McNeil Karri Matau and Shelton Lyter Michael Schick Kathy Alm and Bill Goe and K. C. McNeil, by Elizabeth Mathewson and Katherine Hanson Rev. M. Christopher Boyer The Clarius Group, LLC Heidi Mathisen Douglas Schneider Michele and Kyle Peltonen Shelly Cohen

encorespotlight.com A-15 Board of Directors Leadership Contact Us Ticket Office: 206-733-8222 Board Officers John Bradshaw Admin Offices: 206-733-8228 Dr. Madhu Rao, President Managing Director Fax: 206-733-8202 Nicholas Harper-Smith, Vice President Now in his sixteenth season with Seattle Rebeka Osborne, Vice President Shakespeare Company, John is a graduate Seattle Shakespeare Jain Rutherford, Secretary of the University of Washington and has PO Box 19595 David Allais, Treasurer spent nearly his entire career as part Seattle, WA 98109 Board Members of the Seattle theatre community. At Ticket Office Hours Sarah Alsdorf Seattle Shakespeare, he has overseen the Tuesday–Friday: 12–6 pm Marisa Bocci growth of the company from a budget of Jeannie Buckley Blank $398,000 to $2 million during his tenure seattleshakespeare.org Lynne Graybeal and from serving 16,000 people a year Robert H. Green to 57,000; balanced the budget for 15 of Sara Elizabeth Hyre 16 seasons; and helped lead a merger Brian Kreger with Wooden O, an award-winning, free, Laura A. Larson outdoor Shakespeare theatre (founded Staff Amy Levenson by George Mount). Prior to joining Seattle Shakespeare Company, he was Managing Leadership Dr. Douglas McKenna Patrick O’Kelley Director at The Empty Space Theatre and John Bradshaw, Managing Director Director of Endowment and Planned Giving George Mount, Artistic Director Rebeka Osborne Jain Rutherford at Seattle Repertory Theatre. John served Artistic Darrell Sanders as General Manager and Development Makaela Pollock, Interim Casting Director Suzanne Skinner Director during construction and initial Sheila Daniels, Associate Artist Michael Slass operations at Kirkland Performance Center. Zoe Shields, Casting Associate Laura Stusser-McNeil At Seattle Children’s Theatre, he was part Sarah Watstein of the development staff during the capital Box Office Christina Wright campaign to build the Charlotte Martin Lorri McGinnis, Box Office Manager Theatre. He has served on the boards of Thalia Shelver, Assistant Box Office Advisory Board TeenTix, Theatre Puget Sound, Book-It Manager Kenneth Alhadeff Repertory Theatre, and the Washington John Bodoia State Arts Alliance/Foundation as well as Communications Paula Butzi for the Visiting Committee for the School of Jeff Fickes, Communications Director Mary E. Dickinson, CPA Drama at the University of Washington. He Thea Roe, Graphic Designer Dan Drais is the recipient of the 2012 Melissa Hines Award for Outstanding Theatre Practitioner. Development Emily Evans Barbara Fielden Annie Lareau, Institutional Funding Slade Gorton George Mount Manager Maria Mackey Gunn Artistic Director Heidi McElrath, Development Director David Haggerty Since being named Artistic Director Erin Barber Brown, Events and Ellen Hill of Seattle Shakespeare Company in Development Coordinator John Hill 2011, George has directed acclaimed Education Stellman Keehnel productions of Shakespeare in Love, Michelle Burce, Education Director Sarah Merner Much Ado About Nothing, Waiting for Casey Brown, Touring Program Manager Phil Miller Godot, Henry IV, part 1, and A Midsummer Zandi Carlson, Education Coordinator Jane Mills Night’s Dream. George founded Wooden Meg Pageler Mourning O Theatre Productions in 1994, producing Front of House Susan Petitpas free outdoor productions of Shakespeare’s Leah Dooley, Site Manager Mary Pigott works in parks throughout the region. Dylan Zucati, Site Manager Nicole Dacquisto Rothrock Credits include directing and/or acting in James F. Tune As You Like It, All’s Well That Ends Well, Operations Pat Walker Arms and the man, King Lear, Romeo and Victoria Watt Warshaw, Business Jay Weinland Juliet, Julius Caesar, The Comedy of Errors, Manager Steven Wells and Richard III, among several others. Jeanne C. Wintz, Ph.D. In 2008, Wooden O merged with Seattle Production Shakespeare Company and George, Louise Butler, Production Manager then also working as SSC’s Education Jocelyne Fowler, Costume Shop Manager Associate, became the manager of SSC’s Meghan Roche, Associate Production Outdoor and Touring programs, as well Manager as doing extensive work as a teaching Facilities Partners artist. In addition to running Wooden O, George managed the company’s small- cast, statewide touring shows, directing productions of Romeo and Juliet, Othello, A Midsummer Night’s Dream, Macbeth, and Hamlet. As an actor and director, George’s work at other theatres includes productions with Book-It Repertory Theatre, Seattle Public Theater, ACT Theatre, Village Theatre, and Youth Theatre Northwest.

A-16 seattle shakespeare company Dialogue Encore Stages in conversation

Kiyon C. Ross’s Do. Not. Obstruct. at Summer at SAM: Sculptured Dance, 2016. Courtesy of Pacific Northwest Ballet

A Conversation with Dammiel Cruz, Miles Pertl and Kiyon C. Ross aren’t yet household names, but they will be. Cruz joined the Pacific Northwest Ballet as an apprentice in 2016 and was Choreographers promoted to the corps de ballet later that same year. Pertl joined PNB as a corps de ballet dancer in 2015 after being a corps de ballet member at both Stuttgart Ballet Dammiel Cruz, Miles in Germany and Het Nationale Ballet in the Netherlands. And Ross joined PNB in Pertl and Kiyon C. Ross 2001, the very same year he created his first piece of choreography. He’s been the NEXT STEP program manager at PNB since 2012, a position he held simultaneously with his career as a soloist at PNB before retiring from dance in 2015.

Together, these three represent the past, present and future of choreography at the Pacific Northwest Ballet and beyond. And because we have sunshine on the brain, we wanted to talk to them about their experience choreographing for the outdoors and how performances like Sculptured Dance (2016–2017) and NEXT STEP: OUTSIDE/IN (2018–present) affect the way they choreograph.

encorespotlight.com 9 Sculptured Dance and fell in love with it. I was exposed to choreographers I had never worked with, met amazing dancers from our city and got to dance outside and mingle with those watching. It was so cool!

Kiyon C. Ross, choreographer of Do. Not. Obstruct. for the 2016 Sculptured Dance: When choreographing for traditional spaces, I know generally what I have to work with. There’s usually a square space with a number of wings for entrances and exits. Sometimes there’s a space for dancers to cross over behind the cyclorama. And usually there’s a curtain—and at the very least top lighting and side lighting. Creating a site-specific work PNB School students in El baile final, choreographed by Angeli Mamon and Dammiel requires the same level of planning, Cruz for NEXT STEP, 2017. Photo by Lindsay Thomas preparation and creative process as choreographing for the stage. But being in a space already occupied by art (like the Olympic Sculpture Park) How does choreographing for an and using that art as an inspiration, outdoor performance compare to is unforgettable. I certainly had to choreographing for a more traditional approach the site-specific commission theatre space? with flexibility. But that flexibility allowed me to find new ways of Dammiel Cruz, choreographer for expressing movement. It forced me to the 2019 NEXT STEP: OUTSIDE/IN: consider bodies in space in ways that Choreographing for an outdoor setting were completely unorthodox to me. “Art doesn’t can be very different. Luckily a lot of the movement involved in my piece can need to feel be easily performed outside. Sometimes What was your most joyful experience dancing on concrete or grass can limit choreographing for Sculptured Dance? high-minded or one’s ability to turn well. Either way, I Ross: The most joyful experience elite. By providing believe dancing outside is a great way for me was being able to share my to get more of the community involved art with so many people. Making accessible art, in the arts! art accessible and approachable is extremely important—especially for we provide a place Miles Pertl, choreographer of Riding an art form like dance. Sometimes the Wave for the 2018 NEXT STEP: going to the theatre can create barriers where our entire OUTSIDE/IN: Dancing outside offers for people, both economically and community can the dancers and the choreographers a socially. Having art in your community completely different experience. The where you live and being able to access gather.” audience is so close that you can hear it with your friends and neighbors every “Oooh,” every sigh, every chuckle. is a meaningful experience. Seeing This is a stark contrast to dancing on the faces in the crowds—and seeing the stage at McCaw Hall where the people take a moment from riding audience appears as a black void, only their bikes, walking their dogs or their making themselves known by their evening strolls to appreciate dance applause at the end of the performance. in a space that is meant to be shared Before OUTSIDE/IN, I had danced in by everyone—is certainly a cherished both of the first two years’ iterations of memory from this experience.

10 PNB’s outdoor performances are free to the community. Talk to me about the importance of accessible art in our community. Cruz: I absolutely love that PNB’s outdoor performances are free of charge. I believe it’s incredibly important to have accessible art not only in our community, but communities everywhere because it gives the opportunity for all minds to be inspired. Art provides an outlet for people to express themselves.

Pertl: Art doesn’t need to feel high- minded or elite. By providing accessible Encore Spotlight: Your backstage art, we provide a place where our entire community can gather. Each pass to each performance. one of us gets bogged down with work, school and personal drama. But when encorespotlight.com you come to an event like OUTSIDE/ IN or any of the other events around our city, you are entering a place of community and shared experience. You get a glimpse into the artists’ lives and their experience might mirror your own. Many of the artists I know are creating art not for the money, but for the opportunity to share it with everyone. ■

This Dialogue has been excerpted and lightly edited from three separate interviews, all conducted in April 2019.

Danielle Mohlman is a Seattle-based playwright and arts journalist. She’s a frequent contributor to Encore, where she’s written about everything from the intersection of sports and theatre to the landscape of sensory-friendly performances. Danielle’s work can also be found in American Theatre, The Dramatist and on the Quirk Books blog.

June 20-July 20 • 306.786.0151 www.harlequinproductions.org

encorespotlight.com 11 Dialogue Encore Stages in conversation

Annie Yim, Lia Lee and James Yi in Kim’s Convenience at Taproot Theatre. Photo by Robert Wade

David Hsieh on Bringing ‘Kim’s Convenience’ to the American West Coast Stage

One of Seattle’s most prolific directors and actors, David Hsieh is well known for bring diverse work to the stage as the founding artistic director of ReAct. His many credits also include performances in Book-It’s productions of The Brothers K and Hotel on the Corner of Bitter and Sweet, as well as in The Happy Ones and The Best Christmas Pageant Ever at Seattle Public. Co-directing Kim’s Convenience with Taproot Theatre’s founding artistic director Scott Nolte, Hsieh is realizing a long- held ambition in bringing Ins Choi’s warm-hearted comedy about a Korean family and their friends to local audiences.

Actor and director, David Hsieh. Photo by John Ulman

12 “I think everyone can relate to each of the four family members in different ways, as well as the variety of other characters that visit the store.”

Annie Yim and James Yi in Kim’s Convenience at Taproot Theatre. Photo by Robert Wade

Rosemary Jones: Kimbits, as fans Who is your favorite character in the there are some scenes and sections of the series Kim’s Convenience are Kim family? of dialogue from the play peppered known, largely come from watching I’m not one who likes to pick favorites. into various episodes of the series, the Canadian television sitcom starting I actually like them all . . . and that’s particularly the first season, there are in 2016 or streaming on Netflix since what I find intriguing about the play many differences. For instance, in the 2018. Did you first encounter Ins Choi’s and how it’s written. I think everyone play, Jung left 16 years ago and in the Kim’s Convenience as the stage play can relate to each of the four family series it’s only been about nine years, or online? members in different ways, as well as so the characters are all younger and David Hsieh: When the published the variety of other characters that at a different point in their lives. As version of the script was first printed visit the store. Growing up second each season has unfolded the series in 2012, a copy of it landed on my generation in an immigrant Asian has expanded and grown and diverged desk. (I was the drama book buyer at family, I can definitely relate to both more and more. There are some things a local bookstore at the time.) I knew [the Kim’s adult children] Jung and in the play that are quite different, nothing about it but being a play with Janet’s characters and what they are and probably can’t happen in the Asian themes. I added it to my huge going through in the play. But the timeline of the series any more, almost ever-shifting pile of plays to read. I parents of course are also so wonderfully becoming an alternate reality. I think didn’t actually get to it until a few written, in particular the part of [the TV audiences will be intrigued to see years later after hearing Ins Choi being father] Appa, who is such a fun role and the play and these differences and what interviewed on the radio one night. an amusing take for the audience. On inspired the TV show. He was talking about the play and its a personal level, I don’t have a strong great success at the Toronto Fringe and relationship with my own father, so When did you hear about the Taproot subsequent Soulpepper tour as well the storyline between Appa and Jung is Theatre production? as the new series in the works. I dug particularly affecting for me. Scott Nolte notified me over a year my copy out the pile and read it, and ago that they were hoping to get immediately fell in love with the script. What are the differences you see the rights to do this American West I don’t have Netflix or anything but between the Canadian series and the Coast premiere and asked if I’d be when Scott first asked me to help with original play? interested in working on the project. I the production, I binge-watched [the Well the TV series was inspired by the immediately and enthusiastically said series] on YouTube and am now a huge yes and a few months later, the rights fan of that as well. play, but there are differences. While the family and basic plot is similar, and were confirmed.

encorespotlight.com 13 AJ EpstE in p r E s E nts How does co-directing work with Scott Nolte? the I think it works really well. This is my first chance to work at Taproot, a theatre that I’ve admired for decades. Agitators Scott and I have known each other by MAt sMArt Directed by Valerie Curtis-NewtoN for many years. We have the same they shared an enduring friendship and agitated sensibilities and appreciation of theatre the nation. susan B. anthony & Frederick Douglass Carol roscoe reginald André Jackson as well as the same take on Kim’s as susAn B. AntHOnY center stage in tHe aGitators. as FrEdEriCk dOuglAss Convenience. He obviously knows the JunE 6 - JunE 30 WEst OF lEnin space really well, and of course I have tiCkets at: www.westoFleNiN.Com 203 nOrtH 36tH st., FrEMOnt a unique perspective for this play and we make a good team.

As co-director, what’s your biggest SOUND THEATRE COMPANY PRESENTS challenge in preparing for opening night? Well, as with any production I’ve helped direct, our biggest challenge is to create and present the best production of the play as we possibly can. We have an amazing cast. I think AN AMERICAN LYRIC Seattle audiences are really going to enjoy this production. You know it’s going to be a good show when BY CLAUDIA RANKINE you’re still laughing and being moved ADAPTED FOR THE STAGE BY to tears by the play deep into the rehearsal process, another testament STEPHEN SACHS to the brilliant script created by Ins. Our greatest joy will be to see Seattle DIRECTED BY JAY O’LEARY audiences enjoying this timely and universal story of family love. It’s been so well received at every place it has SEATTLE PREMIERE JULY 11-28 CENTER THEATRE been produced. I hope this show will be one of Taproot’s biggest successes.

Taproot Theatre’s production of Kim’s Convenience runs May 15 through June 22. In Collaboration w/ After Kim’s Convenience opens, Hsieh will be directing the West Coast premiere of Salty by AJ Clauss, a play about penguins and zookeepers, for ReAct Theatre at 12th Ave Arts.■ INFO & TICKETS SOUNDTHEATRECOMPANY.ORG Rosemary Jones has written about arts Radical Hospitality - Tickets start at $5 and culture in the Pacific Northwest for the Cornish magazine, Capitol Hill Times,

WASHINGTON STATE Encore, Examiner.com and others. Additional ARTS COMMISSION work can be seen at rosemaryjones.com.

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encorespotlight.com 15

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