FALL 2019

Oct 18–Nov 17

BY STEVEN DIETZ DIRECTED BY JOHN LANGS MFA IN Fall 2019 | Volume 16, No. 2 ARTS LEADERSHIP FEATURE In This Issue Feature 3 ‘Indecent,’ or What it Means to Create Queer Jewish Theatre in Dialogue 9 Meet the Host of Tiny Tots Concert Series 13 We’re Celebrating 50 Years Empowering a new wave of Arts, Culture and Community of socially responsible Intermission Brain arts professionals Transmission 12 Test yourself with our Online and in-person trivia quiz! information sessions Upcoming Events seattleu.edu/artsleaderhip/graduate 15 Fall 2019

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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. ANGELA NICKERSON ANGELA

2 FEATURE

The cast of Indecent in rehearsal at Seattle Rep.

‘Indecent,’ or What it Means to Create Queer Jewish Theatre in Seattle

by DANIELLE MOHLMAN

When Indecent opened at Seattle Rep on September 20, Indecent, which was the seventh- it marked a pretty significant first: the first time this most produced play in the country during the 2018-19 season, accord- theatre has produced a play by Paula Vogel. Vogel, ing to the Theatre Communications who’s arguably one of the most prolific and produced Group—and is likely to remain in the top ten this season as well— contemporary playwrights of our time, has been seen in explores the storied production recent years at Taproot Theatre Company (A Civil War history of Sholem Asch’s God of Christmas: An American Musical Celebration, December Vengeance. Vengeance, which was first read at a salon in Poland 2017) and Strawberry Theatre Workshop (How I Learned in 1906, was met with fear and to Drive, June 2018). But as I combed through Seattle ­animosity from the start. The Jewish patrons of the arts in Poland Rep’s production history, it became more and more clear refused to support a play that that Paula Vogel’s Seattle Rep debut is long overdue. showed Jews behaving ­immorally— communing with prostitutes and desecrating the Torah, to start. In an imagined meeting between stage manager Lemml and play- wright Eugene O’Neill, one that alludes to O’Neill’s actual defense of God of Vengeance in an obscenity ANGELA NICKERSON ANGELA

encorespotlight.com 3 The cast of Indecent in rehearsal at Seattle Rep.

case, Vogel writes, “They’re gonna those who feel wayward—as “Why must every Jew onstage claim they’re closing it because they grow into their best self.” be a paragon?!!” Asch exclaims, of Homosexualis. That’s bunk. Temple Beth Am is considered­ angry at the very suggestion. They’re closing it because the a Welcoming Synagogue, ­meaning Rabbi Benson shared that play shows that every religion— they’re not only actively creating­ this conversation surrounding even Jews—sell God for a price.” inclusive space for LGBTQIA+ “immoral” Jewish characters being Because, you see, God of Vengeance folks, they’re also striving for a considered anti-Semitic is still was the first Broadway play truly diverse leadership—from very much alive today. “I think to feature a romantic scene the synagogue’s staff and board it’s less about anti-Semitism as between two women. to their student leaders. Rabbi it is about portraying other Jews Rabbi Dana A. Benson, ­director Benson admitted that there’s badly,” Rabbi Benson said. “There of youth and family learning at still work to do, but that Temple is this concern about how we are Temple Beth Am and an avid Beth Am is committed to ­putting portraying ourselves because it theatre fan, was kind enough to in that work every day. may not be understood­ outside our speak with me about the themes One of the central plot points own community. I think this goes of Indecent and what it means to of Indecent is that the Jewish back to, you know the reference have queer Jewish representation ­gatekeepers in early 1900s theatre in Wet Hot American Summer, and onstage at Seattle Rep. Because refused to support Sholem Asch jokes that are missed and jokes so much of the play is about on God of Vengeance’s production.­ that are in-group and the way identity, we began with hers. Not only did they disapprove of that they’re coded for us to see or “Ultimately, if we wanted to the female love interests—a hear. Or Larry David’s character in go along the Game of Thrones moment played for laughs in Curb Your Enthusiasm—or Seinfeld. lines of naming ones identities Vogel’s script as the men in the At what point is it humorous? Is it as part of a title,” Rabbi Benson initial 1906 salon reading keep fun? Is it a laugh that’s both in- said, “mine might read: Rabbi refusing to read the female group as well as transcendent?” Dana Benson, Hufflepuff, soft roles—they were ­scandalized by Rabbi Benson thinks that the Butch, partner of roller derby the final moment of the play: a modern concern of any one Jewish playing librarian, daughter of ­desecration of the Torah. And character’s portrayal is more about Jewish-Hungarian lineage, child while Asch’s ­contemporaries it being “bad for Judaism.” “I of ­compassionate and kind par- are certainly pleased that he’s shouldn’t speak on behalf of the ents, singer of Broadway, creator ­writing Jewish plays—and in Jewish community,” Rabbi Benson of spiritually accessible learning Yiddish!—they ­cannot bring said, “but I still think there is opportunities, hoper for a ­better themselves to support ­theatre still this sense of pressure,­ with world, and willing mentor and where Jews are ­portrayed as none of us wanting to do some- guide for all learners—­especially anything less than perfect. thing that would reflect badly on ANGELA NICKERSON ANGELA

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4/30/19 12:11 PM The cast of Indecent in rehearsal at Seattle Rep.

the Jewish people. That’s very love in Indecent, which is a complex “This play now much true of our tradition.” and beautiful lens that honors any Andi Alhadeff, who plays community you view it through.” because of Chana, and Cheyenne Casebier, Alhadeff shared that ­exploring our current who plays Halina, were at the the emotional center of the play— very ­beginning of their rehearsal the relationship between Chana administration’s process when we spoke about the and Halina and the many forms ­central themes of Indecent. But it it takes—has been the easiest abhorrent human was clear that the play had hit a part of the entire process. She rights policies. ­visceral chord for both actors. credits the safe rehearsal room “I love that this play celebrates and the respect of her fellow cast This play now community, love and risk,” Casebier members. “I feel seen and cared said. “It speaks to different forms for by my colleagues,” Alhadeff because it is full of persecution and loss—and being said, “and that is a formula for of love. This play the other. We couldn’t be more the precious and ordinary kind of ready, as both a culture and society, magic that is human connection.” now because we to share and listen to this story.” Director Sheila Daniels was When Alhadeff first encountered initially drawn to Indecent because need to remember.” the play, it felt like the stories these of the inherent theatricality of characters were telling already lived Paula Vogel’s world. Daniels —Sheila Daniels deep inside her bones. “On top of loved the way Vogel played with being one of the most hauntingly epic scope and deeply intimate stunning plays I have ever seen or moments. When I asked her why we read, there was something about need this play now, she was ready this show that ­simply felt as though with an answer: “This play now it was a part of me,” Alhadeff because of our current adminis- said. “As a Jewish woman, I can tration’s abhorrent human rights certainly speak to the importance policies. This play now because of ­representation of Jewish stories, it is full of love. This play now particularly ones that move away because we need to remember.” from creating caricatures of obtuse When I asked her what it meant archetypes or solely hold up our to create queer Jewish theatre in scars and our history of tragedy. Seattle, Daniels responded that There is so much joy in what it is it means everything. “I teach,” to move through different layers of Daniels said, “and to know students ANGELA NICKERSON ANGELA

6 ANGELA NICKERSON in the play with Rabbi Benson, Benson, Rabbi play with the in hands. her through sift life feeling ­ of grandparents— her ash the ago, years ­ moment thirty toa back transported was she time, first for the direction stage that read she When reawakening. a as sees Daniels moment that actors’ a outsleeves, of the ing here,”just sitting said. Daniels my feet beneath ashes the feel can “I Auschwitz. through walk her Indecent the into moments unexplainable Holocaust.” the in souls many so we lost lost when of humanity all “They were tiny. of what The scope in,” people said. shipped Daniels they size exact the car of atrain areplica have they where station there. locals two with aday spend to enough fortunate was Daniels and of Łódź district Bałuty the of amount trip. Asignificant a research play, on went toPoland Daniels of it.”me proud apart tobe makes onstage themselves see to get will identities of those one or both inhabit who of mine When I brought up this moment Ibrought upWhen this spill ash with The play begins and intangible brings But Daniels at“We Radegast day that ended this todirect preparation In rehearsal room too, like too, room like rehearsal Indecent Indecent takes place in in place takes feeling feeling - 400 N43rdSt.Seattle,WA. 98103 LIGHTHOUSEROASTERS.COM Roasting finecoffeessince1993 Wholesale andRetail Sales 206-633-4775 ¿ ¿ encorespotlight.com 7 The cast of Indecent in rehearsal at Seattle Rep. DIALOGUE

she turned to a quote from the Talmud, the body of Jewish law. “Rabbi Simcha Bunim said to one of his students ‘You should always keep two pieces of paper, one in each pocket,’” Rabbi Benson para- phrased. “‘The first should say The world was created for my sake and the other should say I am but dust and ashes.’ And that’s to always remind us to live somewhere between humility and divinity. If we live in that balance, perhaps we can offer a little more kindness to the world.”

Indecent runs September 20 to October 26 at Seattle Rep. Tickets are available online at seattlerep.org or by calling the box office at (206) 443-2222. Encore Spotlight: Your backstage pass to each performance. Danielle Mohlman is a Seattle-based playwright and arts journalist. She’s a encorespotlight.com 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. JAMES HOLT JAMES ANGELA NICKERSON ANGELA

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

by Steven Dietz From the novel by Bram Stoker Directed by John Langs Beginning October 18, 2019 • Opening Night October 24, 2019 CAST Avery Clark*† John Seward Khanh Doan* † Mina Murray Lindsay W. Evans*† Maid, Vixen, Attendant Basil Harris* Renfield Claudine Mboligikpelani Nako*† Lucy, Fight, Movement, and Puppet Captain Brandon O’Neill*† Count Dracula Arjun Pande Jonathan Harker Rachael Beaver Cellist, Additional Music Composition

CREATIVE TEAM: Matthew Smucker Scenic Designer Deborah Trout Costume Designer Andrew D. Smith Lighting Designer Robertson Witmer Sound Designer, Composer Geoffrey Alm Fight Director Judith Shahn Dialect Coach Shelby Adele Rogers Hair and Make up Designer Lily Mcleod Assistant Lighting Designer Julieta Vitullo Dramaturg Erin B. Zatloka* Stage Manager Ruth Eitemiller* Assistant Stage Manager Corynn Carignan Stage Management Intern Rey Zane Kenan Directing Fellow * Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. † Members of ACT Core Company Running time: This performance is approximately 90 minutes. There will be no intermission. ASL interpreted performance: November 4th at 8:00pm. Dracula was originally produced by the Arizona Theatre Company, Tucson/Phoenix, Arizona. David Ira Goldstein, Artistic Director; Robert Alpaugh, Managing Director. The videotaping or making of electronic or other 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.

SHOW SPONSORS: Morgan Fund at The Seattle Foundation

THEATRE AND SEASON SPONSORS: IN-KIND AND MEDIA SPONSORS: A Contemporary The Norcliffe Katharyn Alvord Theatre Foundation Gerlich Foundation

encorespotlight.com A–1

WELCOME to ACT A Note from Artistic Director, John Langs John Langs PHOTO BY TRUMAN BUFFET

We’re here tonight because of a story so and zapped it all with his own narrative flare to irresistibly compelling that it has endured through animate a fictional character of such force that many centuries, countries, and incarnations to arrive he seems always to have existed in our collective at ACT in a powerful new iteration by Steven Dietz. imagination. Bram Stoker’s 1897 gothic novel established As times change, our insight into the possibilities Dracula as the most mesmerizing supernatural of Stoker’s story and its characters change too. Even villain ever to swoop through the dark corners of in 1897, Victorian ideas of male and female roles were our imagination. But he didn’t come out of nowhere. shifting. When Steven Dietz began to reinvestigate From the beginning he was there in the shadows the novel as a playwright to find its resonance for a waiting to be found, a piece at a time, and assembled 21st century audience, the character of Mina began to into being by Stoker’s magpie mind. assert herself immediately, advocating in draft after In the 1890s, Stoker was working for London draft the clarity of her purpose and the proactive stage star Henry Irving as business manager of his courage of a character often reduced to a helpless Lyceum Theatre. It’s likely that Stoker’s first whisper victim. of inspiration came from Hungarian traveler and As a director, my imagination was captured folklorist Armín Vambéry at one of Irving’s regular by the idea of retelling this story as a kind of dark post-show gatherings. From Vambéry, he heard of ritual. In Indonesia, I once attended a ceremony that the bloody history and dark legends of Transylvania left a huge impression on me: a dancer performed and the Carpathian mountains, and Stoker—a lover of in a state as close to religious ecstasy as I’ve ever scary stories since his sickly childhood—was caught. witnessed, finally drawing a blade and piercing their At the London Library he researched the brutal own flesh, a release that lifted the other performers career of Vlad Tepes, a 15th century Romanian and the audience into an entirely different realm of warrior-king known affectionately as “The Impaler”, experience. We’ve tried in this production to capture for his favorite mode of vengeance on those who a similar power that will thrill as well as entertain, opposed or betrayed him. Violent times bred violent satisfying all comers: those who are lovers of the lore men, but Vlad was in a class by himself—one account and legend; those drawn by the power of the myth; confirms an initimidating 20,000 impalements at one and those ready to see this story take flight again in go. It was his nickname, though—from the medieval a contemporary context. Romanian for “Dragon”—that really sparked Stoker’s Welcome to the nightside. Enter freely and go creative flame:Dracula. safely. Stoker combined Vlad’s name and exploits with Vambéry’s lurid tales of the undead; borrowed an arresting appearance and charismatic, manipulative personality from his boss (Irving was not amused);

encorespotlight.com A–3 A Note from Managing Director BECKY WITMER Becky Witmer PHOTO BY TRUMAN BUFFET

Welcome to Dracula, our closing production of the 2019 Mainstage Season! As the skies darken early and the wind and rain return, it feels like a great time to settle in for a timeless thriller! This time of year is also when our gratitude meter is at its high point. Thank you to our season ticket holders and ACTPass members who have been with us for the journey. Through your engagement with the stories and characters on our stages, we’ve had great conversations about local and global issues in 2019. We want to give a shout-out to our community partners who have joined us for dialogues, educational opportunities, in conversations with our staff and board, and who have participated in discussions with our audiences to dive deeper into the themes of our 2019 season. We’re grateful to the artists who give their all to the Mainstage, ACTLab, Core Company, and Young Playwrights Program. Our region is better because we have artists who create, innovate, and share their talents. ACT is unique and artistically ambitious because of the talents you share with our community. And finally, we couldn’t achieve our mission without the support of the people and organizations who donate to ACT. Ticket sales cover just 60 cents for every dollar it takes to make ACT Theatre possible. With a $6 million budget, that means we need to fill the balance of those dollars with help from the community. Forty percent of our annual budget comes from donations that help make ACT’s art and education programs affordable and accessible. In this time of giving, thank you in advance for thinking of ACT. We’ll turn your gift into a meaningful and memorable life experience! Please join us for the holidays and make plans to come back for next year’s banner season celebrating 55 years of ACT – A Contemporary Theatre! Warmly,

A–4 ACT – A Contemporary Theatre Photo by Alexander Sidorov © What draws us to HORROR? It all starts with FEAR. Fear is the ANTICIPATION that something is about to occur, and the ANXIETY that it’s going to be terrible. It is a part of our basic biological makeup. Fear keeps us alive and competitive as a species by making us cautious of the UNKNOWN, fearful of PAIN, and afraid of DEATH.

On a larger scale, fear protects us from the BREAKDOWN of SOCIETY and CULTURE by reinforcing behaviors that are biologically advantageous – making us wary of OUTSIDE THREATS and establishing prohibitions against socially deviant acts such as MURDER and INCEST.

When the things we fear actually HAPPEN, we experience HORROR – the dark REALIZATION and subsequent REVULSION that the world is now fundamentally, shockingly, and permanently altered.

Despite all of this unpleasantness, we enjoy the HORROR genre because it is equally CONFORMIST and SUBVERSIVE:

• It is a TEST of COURAGE. • It reinforces SOCIETAL ROLES and easily digestible notions of GOOD and EVIL. • It allows us to SAFELY experience TABOO subjects. • It creates a rush of HEIGHTENED EMOTIONS.

• It reflects our DREAMS and NIGHTMARES. Text Courtesy of Seattle MoPoP,

encorespotlight.com A–5 STEVEN DIETZ Playwright’s Note Steven Dietz PHOTO BY JOHN ULMAN

I write to you from the midst of an enormous surprised and humbled to say—was an adaptation shadow. It is a shadow cast by history and fate, that continues to be performed across the legend and myth. It is a shadow that has hovered country, twenty-five years later. But as it turns over literature and popular culture for over a out: Bram Stoker was not done with me. With the hundred years. It is the shadow of Bram Stoker’s encouragement and support of John Langs at ACT, Dracula. I returned to the story once Dracula survives (and again. And this time I found a continues to be the Rosetta “Are we complicit in young woman - Mina Murray Stone of vampiric literature) - who refused to be simply because of its audacity. It is the creation of evil? Dracula’s innocent Victorian a story that is not content Are we blind to the bride. This time Mina was not to deliver just one genre or beasts within us? content to have the men in the narrative style. Like the Count play discover the truth, detect the from Transylvania which it Does love endure motive, plot a course of action, celebrates, the reach of Stoker’s or does it devour?” and vanquish the perpetrator. novel is fully omnivorous: it is This time Mina was both a mystery of detection, a horror Dracula’s intended victim and story, a morality play, a social Dracula’s foremost adversary. critique, and a psychological thriller all at once. This time—in 2019—Mina is on a quest. The character of Dracula is not a metaphor; he is It is my great privilege to launch this new a brilliant, endless, seductive, fanged beast plotting adaptation with Seattle’s great artists and its to suck the blood from your throat. However, the adventure-hungry audiences. I believe great flawed certainties of Dracula’s victims—that Faith communities like ours are founded on both will protect, that Science will discover—produce passions and myths. Stoker’s Dracula invites a banquet of metaphorical questions: Are we us to indulge both: the restless passions of love, complicit in the creation of evil? Are we blind to intimacy, secrecy; the enduring myths of what the beasts within us? Does love endure or does awaits us on a darkened night, when the moon it devour? is full and the wolves are howling. In 1994, I made my first attempt to bring this iconic novel to the stage. The result—I remain Steven Dietz Who’s Who in Dracula

Macbeth, Julius Caesar (Wooden O); The Claudine CAST Talented Ones (Artists Repertory Theatre, Mboligikpelani Rachel Beaver Portland); You for Me for You (Portland Nako (Lucy) (Cellist) Rachael Beaver Playhouse). Claudine is an actor, is a cellist, vocalist, director, writer, and composer from Lindsay W. Evans teaching artist, and (Maid, Vixen, Dallas, Texas but has choreographer in Attendant) Lindsay called Seattle her the Seattle area. She joined ACT Theatre’s is bloody thrilled home for nearly 26 Core Company in 2017. Claudine was most to be back at ACT, years. Along with a steady career of bands recently seen on stage as Rosalind in Seattle creating with this and orchestras, she has become a solo Repertory Theatre’s critically acclaimed incredible ensemble! artist, mixing many genres, including rock musical production of . Nako She has previously appeared on ACT stages and R&B. is a two-time Gregory Award Winner for in Romeo + Juliet, (Gregory Award Outstanding Lead for her work in Little Bee Avery Clark (John nomination, supporting performance), (Book-It Repertory Theatre) and My Heart is Seward) Avery is a A Christmas Carol, and Sound—an ACTLab the Drum (Village Theatre). Claudine also 2018 ACT Core co-production with Azeotrope. Other Seattle works in film and television, starring most Company Member. credits include The Merchant of Venice notably as Sherry O’Neil in the Netflix Seattle credits include (Seattle Shakespeare Company), The Diary original series Everything Sucks! Nako Pass Over, , of Anne Frank (Intiman), The Children’s is committed to supporting art that centers (ACT), Hour (Arouet), and The Turn of the Screw marginalized voices through dynamic The Passage (Village Theatre), and Beatrice (Seattle Immersive Theatre). Further afield storytelling. Previously at ACT: Mary Warren and Benedict (Seattle Opera). Select New she has appeared with Deaf West Theatre, in The Crucible, Colleen/Itchy in Mr. Burns, York and Regional credits include the Coeurage Theatre Company, and Will A ­Post-Electric Play. original cast of Coronado (written by Dennis Geer Theatricum Botanicum in Los Angeles. Lehane, Invisible City); Measure for Measure, Lindsay attended Western Brandon O’Neill A Midsummer Night’s Dream, The Tempest University and when she’s not consorting (Count Dracula) (Shakespeare Theatre Company); Straight with the undead, she works in development Brandon is a 2018 White Men, Hedda Gabler (Studio Theatre); at the . She is Core Company Romeo & Juliet, Cymbeline, Count of Monte proud to be a 2019 ACT Core Company Member and was Cristo (Alabama Shakespeare Festival), member. Love, as ever, to Chad. seen last season at Hamlet, Pride & Prejudice, The Importance ACT in of Being Earnest (Orlando Shakespeare Basil Harris (Gregory Award Nomination) and Oslo. (Renfield) Basil most Theatre); Hamlet, The 39 Steps, Henry V Broadway Credits include Disney’s Aladdin recently appeared in (Arkansas Rep); Christmas Carol (Cincinnati (Original Broadway Cast); A Bronx Tale Seattle Shakespeare Playhouse); Journey’s End (Alley Theatre); (First Replacement). World Premieres: Company’s She The Heidi Chronicles (St. Louis Rep); The Beatsville, First Date (Gregory Award Stoops to Conquer Shape of Things (Premiere Stages); A Nomination), Ramayana (BWW Award, and as the evil Agatha Midsummer Night’s Dream (Pennsylvania Seattle Times Footlight Award), Saving Trunchbull in Matilda The Musical at Village Shakespeare Festival); and Rabbit Hole, Amy (Scandalous), A Christmas Story Theatre. He has performed locally on stage The 39 Steps (Theatre Squared). (World Premiere Cast Album). Select at Seattle Repertory Theatre, Seattle Regional: , , Khanh Doan Children’s Theatre, Strawberry Theatre Pride & Prejudice, A View From the Bridge, (Mina Murray) Khanh Workshop, and Empty Space Theater. Peter and the Starcatcher, Hunchback of is thrilled to be part Regional credits include Little Shop of Notre Dame (Gregory Award Nomination) of Steven Dietz’s Horrors and A Midsummer Night’s Dream Carousel, Pirates of Penzance (Gregory new adaptation of at Ohio’s Tantrum Theater, Jane Eyre at Award Nomination), Guys and Dolls Dracula! She is a 2017 Actors Express (Atlanta), and Robin Hood (Seattle Times Footlight Award), Rent, ACT Core Company at in NYC. He stars Rock of Ages, Candide. Seattle Symphony: member and you may have seen her in King in the locally produced, original series Sondheim at the Pops (Conductor: Marvin of the Yees, The Crucible, Ramayana and Rocketmen (now on YouTube and Vimeo) Hamlisch), Tribute to Marvin Hamlisch A Christmas Carol. Most recently, she and Automata (available on the online sci-fi (Conductor: Larry Blank), Beatrice & Benedict appeared in A Doll’s House, Part 2 at Seattle channel, Dust). Other film credits:Language (Seattle Opera). O’Neill voices the Cave of Repertory Theatre. Other credits: The Little Arts, Safety Not Guaranteed, 21 and Over, Wonders in Disney’s Aladdin the Musical Prince, Chitty Chitty Bang Bang, Peter Pan, Knights of Badassdom, and My Effortless worldwide, and the character of Prince Sleeping Beauty (Seattle Children’s Theatre); Brilliance. Television credits include: Grimm Uldren Sov in Bungie’s video game franchise A Tale for the Time Being (Book-it Repertory (NBC), Leverage (TNT), The Fugitive, and Destiny. Instagram: @brandononeillofficial Theatre); Jesus Christ Superstar (Village The John Report with Bob (CBS). This is Twitter: brandon_onei11 or visit brandon- Theatre); Miss Saigon (5th Ave Theatre); Basil’s first show at ACT. basilharris.com. oneill.com for more info.

encorespotlight.com A–7 Who’s Who in Dracula

Arjun Pande Dietz’s thirty-plus plays and adaptations Theatre, Kansas City Repertory Theatre, (Jonathan Harker) have been seen at over one hundred regional Children’s Theatre Company, and Childsplay Arjun is so grateful to theatres in the United States, as well as Theatre. Matthew was a founding ensemble be getting a second Off-Broadway. International productions member of Deus X Machina, and a longtime chance to collaborate have been staged in over twenty countries, company member at Seattle’s Annex Theatre. with playwright Steven including recently in Brazil, Thailand, South Matthew teaches at Cornish College of the Dietz after recently Africa, Estonia and Iran. His work has been Arts and received his MFA from the UW playing the role of “J” in the world premiere translated into a dozen languages. Recent School of Drama. of Dietz’s The Ghost of Splinter Cove in world premieres include This Random Charlotte, North Carolina. Closer to home, World (Humana Festival of New American Deborah Trout (Costume Designer) a you may have seen Arjun on one of ACT’s Plays); Rancho Mirage (Edgerton New Play Northwest designer, her recent work with stages as Humayun in Guards at the Taj, or as Award); On Clover Road (NNPN “rolling John Langs includes ACT’s The Crucible and part of the The Great Soul of Russia Reading world premiere”); and his interlocking plays Mr. Burns, A Post-Electric Play, and their Series with The Seagull Project and ACTLab. for adult and youth audiences (The Great collaboration on Seattle Opera’s Beatrice and In Seattle, he has performed repeatedly at Beyond and The Ghost of Splinter Cove) Benedict. Other highlights include Seattle Book-It Repertory Theatre, Seattle which premiered in Charlotte, NC earlier this Opera’s The Turn of the Screw; Seattle Shakespeare Company, Seattle Public year. His latest thriller, How a Boy Falls, will Repertory Theatre’s A Doll’s House part 2; Theater, and Washington Ensemble Theatre. premiere at Northlight Theatre, Chicago, in Arizona Theatre Company’s Native Gardens; If you would like to know which shows you 2020. A two-time winner of the Kennedy Alice Gosti’s durational piece How to might have seen him in, be sure to ask him. Center Fund for New American Plays Award Become a Partisan at St. Mark’s Cathedral; A Arjun is a lover of games and thunderstorms, (Fiction, Still Life with Iris), Dietz received the Year with Frog and Toad at Seattle Children’s and when he isn’t performing, he climbs PEN USA West Award in Drama for Lonely Theatre; and Portland Center Stage’s mountains, plays with cats, and tries to figure Planet, and the Edgar Award® for Drama Cyrano with Seattle’s Jane Jones. Theatres out the secrets of the universe. He is a proud for Sherlock Holmes: The Final Adventure. include: Actors Theatre of Louisville, The graduate of Brown University and his favorite Other widely produced plays and adaptations Alley Theatre (Houston), Alliance Theatre animal is the dragon, but above all else, he is include Yankee Tavern, Last of the Boys, (Atlanta), Denver Center Theatre Company, glad you are here—thank you for coming. Private Eyes, Jackie & Me, Paragon Springs, The Fifth Avenue, Intiman Theatre, Children’s American la Ronde, Inventing Van Gogh, and Theatre Company (Minneapolis), Oregon The Nina Variations. Currently a Dramatists Shakespeare Festival, Perseverance Theatre CREATIVE TEAM: Guild “Traveling Master,” Dietz teaches (Juneau), Shakespeare Santa Cruz, Syracuse Stage, and Yale Repertory Theatre. Ms. Trout John Langs (Director) John has been workshops in playwriting, storymaking, and co-founded the New York millinery company delighted to serve ACT as Artistic Director collaboration across the U.S. He and his wife, Mackey and Trout, holds an MFA from the since 2016, and previously as Associate playwright Allison Gregory, divide their time Yale School of Drama, is a member of United Artistic Director for three years. Before ACT, between Seattle and Austin. Scenic Artists, and teaches design at the John’s freelance career afforded him the (Scenic Designer) is University of Washington. opportunity to work with many prestigious Matthew Smucker pleased to return to ACT, where previous theatre companies across the country. He has designs include The Crucible, The Legend Andrew D. Smith (Lighting Designer) directed productions at Playwrights Horizons of Georgia McBride, Mr. Burns, A Post- Andrew is a Seattle-based Lighting Designer, NY, Ensemble Studio Theater NY, Milwaukee Electric Play, The Invisible Hand, Eurydice, most recently lighting Pass Over and Tribes Repertory Theatre, Lookingglass Theater , The Clean House, and The at ACT. National credits include: Native Company in Chicago, Circle X in Los Angeles, Women, among many others. His work Gardens (Arizona Theatre Company) , The The Resident Ensemble, New Century has appeared locally at The 5th Avenue Diary of Anne Frank (Indiana Repertory Theatre Company, Washington Ensemble Theatre (Rock of Ages, Man of La Mancha, Theatre), Cornerstone Theatre Company, Theatre, and Seattle Shakespeare Company. Elf, Oklahoma!, Candide), Seattle Repertory Flint Youth Theatre, Horizon Theater John received his directing degree from the Theatre (Dry Powder, Who’s Afraid of Virgina Company, Cincinnati Shakespeare Company, University of North Carolina School of the Woolf?, Three Tall Women, Circle Mirror Roust Theater, and Cardinal Stage Company. Arts. As a dedicated fan of original work, Transformation), Seattle Opera (Beatrice Locally his work has been seen at Seattle John has shepherded over a dozen projects and Benedict), Village Theatre (Matilda Repertory Theatre, Seattle Children’s to their premieres. The Musical, Into the Woods, Cabaret, Theatre, Book-It Repertory Theatre, Seattle Shakespeare Company, New Century Theatre Steven Dietz (Playwright) Steven Dietz Jesus Christ Superstar), Strawberry Theatre Company, Washington Ensemble, Azeotrope, is honored to return to ACT with Dracula, Workshop, Seattle Children’s Theatre, Strawberry Theatre Workshop, Seattle Public which marks his twelfth play (and seventh Intiman, New Century, Book-It Repertory Theatre, Theater Off Jackson, ArtsWest, world premiere) to be produced at the Theatre, Empty Space, and Tacoma Actors On the Boards, Velocity Dance Center, and theatre since 1988. Other world premieres Guild; and nationally at The Denver Broadway Performance Hall. Andrew holds at ACT include Bloomsday (Steinberg New Center for the Performing Arts, Paper Mill a BA from Duke University and an MFA from Play Award Citation), Becky’s New Car Playhouse, Theatre Under the Stars, Arizona the University of Washington, where he (Steinberg New Play Award finalist), and his Theatre Company, Portland Center Stage, currently teaches. widely produced docudrama, God’s Country. Artists Repertory Theatre, San Jose Repertory

A–8 ACT – A Contemporary Theatre Who’s Who in Dracula

Robertson Witmer (Sound Designer, Theatre and Seattle Children’s Theatre. Her Composer) Rob’s previous shows at ACT Shakespeare work includes dialect coaching PATRON INFORMATION include Romeo + Juliet, The Wolves, , at Oregon Shakespeare Festival, Utah and Daisy. Other recent credits include Uncle Shakespearean Festival and Shakespeare & Emergency Evacuation Procedures Vanya, (The Seagull Company. As an actor, she was last seen in In the event of an emergency, please wait for Project); Richard III, Timon of Athens, Bring My Antonia at Book-It Repertory Theatre. an announcement for further instructions. Down the House (Seattle Shakespeare Judith retired Emerita from the University of Ushers will be available for assistance. Company); Ironbound, Hand to God (Seattle Washington School of Drama, but still teaches Public Theater); The Ghost of Splinter Cove internationally in Mexico, Scotland, and most Emergency Number The theatre’s emergency number in the Union (Children’s Theatre of Charlotte); and Strange recently in Brazil. lobby is 206.292.7667. Leave your exact seat Fruit (Spectrum Dance Theater). His sound location with your emergency contact in case Erin B. Zatloka (Stage Manager) Erin is designs have also been heard at Seattle they need to reach you. Repertory Theatre, Intiman Theatre, Village glad to be back at ACT, where she last stage Theatre, and Teatro ZinZanni. Rob composed managed Until the Flood. Most recently Smoking Policy music for Black Beauty, and The Miraculous Erin worked at The as Smoking is NOT allowed in any part of the theatre or within 25 feet of the entrance. Journey of Edward Tulane (Seattle Children’s Assistant to the Stage Manager on West Side Story and Annie. Nothing in her life could Theatre); and has been seen onstage in Firearms Policy Mr. Burns, A Post-Electric Play (ACT); A happen without family and friends. Love to No firearms of any kind are allowed in any part Doctor in Spite of Himself (Intiman Theatre, Greg and Zoey. of the theatre. Yale Rep); and Go, Dog. Go! (Seattle Ruth Eitemiller (Stage Manager) has worked Food Children’s Theatre). Upcoming projects on many shows at ACT since interning here Food is not allowed in the theatre. Tuxedos & include Greenwood (Alvin Ailey American over ten years ago; some recent productions Tennis Shoes is the exclusive caterer of ACT. Dance Theater) and The Best Summer Ever! include The Year of Magical Thinking, (Seattle Children’s Theatre). Rob plays with Accessibility Romeo + Juliet, Oslo, A Christmas Carol, and several bands, including The Love Markets, ACT offers the Figaro MobiTxt® Closed The Crucible. Other recent Seattle credits Awesome, and the Toucans steel drum band. Captioning System for audience members who include The Picture of Dorian Gray with are Deaf / Hard of Hearing (HH). This system Rob is a Part-time Lecturer at UW School Book-It Repertory Theatre (directed by Victor is offered at multiple performances for each of Drama, and a member of United Scenic Pappas), Patti and the Kid with Frank Boyd & production. Devices can be requested upon Artists, Local USA-829. Libby King, (On the Boards) and NextFest 2018 arrival at the theatre. ACT is also equipped with the Williams Sound® Audio Equipment, with The 5th Avenue Theatre. Ruth is the Geoffrey Alm (Fight Director) is pleased to which amplifies stage sounds with the aid be returning to ACT to be a part of Dracula. recipient of the 2018 Melissa Hines Backstage of headsets (ask staff for assistance). ASL His work was last seen in Romeo + Juliet, Award and is proud to have been a company interpreted performances for the Mainstage Oslo, Dangerous Liaisons, The Mystery of member and production manager with Season are offered at least once per play (check Love & Sex, and Assassins (ACT). Recent New Century Theatre Company where she the website or contact the Ticket Office for ASL dates). Wheelchair seating is also available. local work includes Romeo & Juliet (Seattle helped create such shows as Mary’s Wedding, The Trial, and The Adding Machine. Shakespeare Company); Indecent and As Lost & Found You Like It (Seattle Repertory Theatre); and Call 206.292.7676 between 12:00pm and SPECIAL THANKS to Victor Moray Carmen and Rigeletto at Seattle Opera. 6:00pm, Tues–Sun. (Fang Specialist), Goldie and Don Silverman, National credits include work at The Old American Conservatory Theatre, Guthrie Address & Website Globe, Shakespeare Theatre Company, Theater, Oregon Shakespeare Festival, St. Louis ACT is located at Shakespeare Santa Cruz, Arizona Theatre Repertory Theatre, Seattle Repertory Theatre, 700 Union Street, Seattle, WA 98101. Company, and Kansas City Repertory and UW School of Drama. Steven Dietz thanks Ticket Office Phone: 206.292.7676. Theatre. Mr. Alm teaches stage fighting Administrative Office Phone: 206.292.7660. Bob Wright who was crucial to development at Cornish College for the Arts, the UW Fax: 206.292.7670. of this version of Dracula. Professional Actor Training Program, and Website: www.acttheatre.org. Freehold Theatre Lab. He is a Fight Master ACT operates under agreements with Theatre Rental with The Society of American Fight Masters, For information regarding booking, the following: and a proud member of SDC. contact [email protected].

Judith Shahn (Dialect Coach) began Group Sales dialect coaching at ACT thirty years ago Groups of 10 or more can save. and has coached dozens of shows over Call 206.292.7674 or the years. Most recently at ACT: Oslo, email [email protected]. Skylight, Tribes and A Christmas Carol. Other Please be considerate and keep personal This theatre operates under an agreement dialect coaching credits include: Porgy and fragrance to a minimum. Bess (Seattle Opera), Angels in America between the League of Resident Theatres and Actors’ Equity Association, the Union of (Intiman Theatre—including the revival) , Professional Actors and Stage Managers in A View from the Bridge ( Seattle Rep), as the United States. well as productions at Book-It Repertory

encorespotlight.com A–9 show sPonsoR ACT PRogRam sPonsoR EVENTS When you host your event sPonsoR event at ACT, you are supporting the art we create! Did you know that ACT is home to 8 different venues, including our theaters – all of which are available to rent? Our selection of versatile and unique spaces is perfect for company meetings, seminars, holiday parties, and more!

DONʼT MISS YOUR OPPORTUNITY

be a 2020 act sponsor be a 2020 act TO HOST A GREAT HOLIDAY PARTY!

is the exclusive caterer for ACT Events PaRtneRshiP • Community giving • oPPoRtunity

ContaCt Buy group tickets to [email protected] A Christmas Carol and receive a 20% venue rental discount. foR moRe infoRmation Email us at [email protected] Photo by Rosemary Dai Ross to learn more.

A–10 ACT – A Contemporary Theatre producers CIRCLE Visionary Producers ACT partners Nancy D. Alvord *^~ BE A part OF THE art Leslie Ray & Michael Bernstein * Katharyn A. Gerlich *^ act graciously thanks and recognizes the many Gary & Parul Houlahan *^ individuals and families investing in our mission. True-Brown Foundation ^ our community and cultural life are better for your Chuck Sitkin *^ participation. your continued generosity inspires and motivates — ThAnk you! Luminary Producers Chap & Eve Alvord Brad & Linda Fowler *^ executiVe Producers Elias & Karyl Alvord James Degel & Jeanne Berwick Jean B. Falls * Eric & Margaret Rothchild ^ Gian-Carlo & Eulalie Scandiuzzi ^ Donald & Goldie Silverman ^ Photo by Chris Bennion Anonymous creatiVe Producers Larry & Joan Barokas ^ Lawrence & Mary Ellen Hughes Douglas & Nancy Norberg Dr. Eric Bennett ^ Ted & Linda Johnson George & Linda Ojemann Allan & Nora Davis ^ Patricia Daniels & Bill Kuhn *^ Deborah Person Justin & Delaney Dechant Gregory & Diane Lind ^ Sarah Pierre-Louis Cherry Tinker & Bob Dowdy David Litwack Douglass & Katherine Raff ^ Dr. Tove Ryman & Rayner D’Souza Jim & Cheri Minorchio Teresa Revelle * Charles T. Fitzgerald *^ Furman & Susan Moseley Nicholas & Yvonne Roberts Ira & Courtney Gerlich Tim Mulligan & Sean Murphy Dr. Larry Hohm & Karen Shaw ^ Ellen & John Hill Erika J. Nesholm Fred Stark Cynthia Huffman & Ray Heacox Dr. Arnie & Judy Ness *^ David & Shirley Urdal ^ sustaining Producers Eric Taylor & Sheena Aebig Natalie Gendler ^~ Angela Stowell Allan & Anne Affleck ^ Norman & Lisa Judah Ethan Stowell Jack Lauderbaugh & Laurie Besteman *^ Eugene & Donna Mikov Jean Walkinshaw Peter & Fran Bigelow ^ Judith & Ben Simmons

This list reflects donations made to the Annual Fund between January 1, 2018 and December 31, * ACT Legacy Society member 2018. ACT works to maintain our list of donors as accurately as possible. We apologize for any ACT for the Future donor misspellings or omissions. Should you find any, please contact our office so that we may correct any ^ mistakes in future publications. Email [email protected] or call 206.292.7660 x1330. ~ Deceased

encorespotlight.com A–11 ACT partners BE A part OF THE art

act graciously thanks and recognizes the many individuals and families investing in our mission. our community and cultural life are better for your participation. your continued generosity inspires and motivates — ThAnk you! Photo by Chris Bennion actors CIRCLE

Benefactors Warren & Anne Anderson Lori Eickelberg Dana & Nicholas Masington Shelley Schermer Walter & Melinda Andrews Eleanor & Jeff Freeman Richard & Leanne Reel Vijay & Sita Vashee Sonya & Tom Campion Denise & David Foster Vishal Nigam & Carrie D. Rhodes Jean Viereck Sallie Chaney James & Barbara Heavey Jean A. Rhodes Michael Crystal Norma & Leonard Klorfine Donald & Jo Anne Rosen Stephen & Kathy Dewalt Jane & James Lyons ^ Faye Sarkowsky imPactors Shawn Aebi Anne Middleton Foster John & Laurel Nesholm Robert Elliot & Margaret Taylor Kermit & Danna Anderson ^ Julia & Michael Herschensohn Judy G. Poll Nancy & David Thacher Kendall & Sonia Baker Dale & Donna Holpainen Suzanne Ragen ^ Jim & Kathy Tune Rebecca Benaroya Dan & Connie Hungate Ken Ragsdale Judith Warshal & Wade Sowers * Alan & June Brockmeier Howard Wright III & Kate Janeway Evelyne Renee Rozner Nicholas Hart & Jennifer Weis Patricia & Theodore Collins Brad Edwards & Karen L. Koon Barry & Colleen Scovel ^ Mary & Donald Wieckowicz Dennis & Deborah DeYoung Ann McCurdy & Frank Lawler Warren & Nancy Smith Kathy & Chic Wilson Susan L. Ehlers Naomi & Yoshi Minegishi Rose and the late John Southall * Patricia Fearey Mark & Susan Minerich Ron & Carol Sperling Richard, Angela & Ian Finlay Sally A. Nelson Tammy Talman actiVists Ali & Robert Alexander Ellen Le Vita & Craig Davis John Langs * Donald Pogoloff Tatum Kerr & John Archer Kathy & Don Decaprio John O’Connell & Joyce Latino Ann Ramsay-Jenkins Marge & Dave Baylor Susan & Lewis Edelheit Randy Lee & Mari Hooten Lee Joe Schwartz Susan Leavitt & William Block Gary & Penny Ferguson Barrie Carter & Eileen Lennon Don Ferguson & Sheila Smith Corinne A. Campbell Dr. William Calvin & Alice Mailloux Mark & Arlene Tibergien Frank & Denise Catalano Dr. Katherine Graubard David Mattson * Mary Lou & Dirk Vanwoerden Dennis & Aline Caulley Rhonda & Jim Greer Marcella McCaffray George & Colleen Willoughby Cecilia Cayetano Margaret Haggerty James & Nancy McMurrer Rebecca & Rob Witmer * Thompson & Karen Challinor Ross & Kelsey Henry Franny & Casey Mead Kyoko Matsumoto Wright Hugh & Suzanne Clark Stephanie M. Hilbert *^ Sarah B. Meardon Ann P. Wyckoff Clement Family Foundation Sara C. Hoppin Dale Brown & David Moss Anonymous Trevor Cobb ^ Dr. Grady & Heather Hughes Beth Amsbary & James Nichols Todd & Sylvie Currie Keith Schreiber & Clare Kapitan Chris & BJ Ohlweiler

A–12 ACT – A Contemporary Theatre players CIRCLE ACT partners Lead PLayers Aaron Anderson Eric Mattson & Carla Fowler Paul & Linda Larson Catherine & Thurston Roach BE A part OF THE art Mary Ann Dot Fuller Thomas & Rhoda Lawrence Michelle & John Rosenthal Jean-Loup & Diane Bae Terry Gaddis & Lucy Gaskill-Gaddis Steven & Anne Lipner Barbara Sando act graciously thanks and recognizes the many individuals Don Beaty Sergey Genkin Hector Lizardi Harold Sanford and families investing in our mission. our community and Hugh & Rebecca Bergeson Hellmut & Marcy Golde David Longmuir Patrick & Karen Scott Philip Brazil Constance Gould Theodore & Mary Ann Mandelkorn Kathryn Shields cultural life are better for your participation. your continued Judith Frey & Flick Broughton Erin West & Matt Grabowski Marcella McCaffray Barbara & Richard Shikiar generosity inspires and motivates — ThAnk you! Bruce T. Burger Robert Greco Janet Westin & Mike McCaw Mika & Jennifer Sinanan Maxwell & Mindy Cameron Vera Kirichuk & Alexander Grigorovitch Carol McDonald Ronald Spaulding Photo by Chris Bennion Sandra & C. Kent Carlson Lawrence & Hylton Hard John & Gail Mensher Francia Russell & Kent Stowell Alicia & Jeffrey Carnevali Dr. Benson Harer Nancy & Charles Mertel Isabel & Herb Stusser Michael Moody & Martha Clatterbaugh Diana & Peter Hartwell Susan Trapnell & Erik Muller John & Barb Sutherland Ken & Sharon Clay Jill & Rodney Hearne Mary Ann & Bill Mundy Norm & Lynn Swick actors CIRCLE Kimberly & Peter Cleworth Heinrich-Dahlheimer Donor Advised Fund Lauren Mikov & John Muhic Judith Jesiolowski & David Thompson Susan Colligan Marjorie K. Hemphill Craig & Deanna Norsen Timothy Tomlinson Benefactors Robert Coneybeer Ronnie Henderson Kristin Olson Andrea & Bob Watson Jamila Conley F. Randall & Barbara Hieronymus Cynthia & Bruce Parks Eric Weber Warren & Anne Anderson Lori Eickelberg Dana & Nicholas Masington Shelley Schermer Carl Bunje & Patricia Costello Sara C. Hoppin Harry Reinert & Cecilia Paul Matt Aalfs & Alys Weinbaum Walter & Melinda Andrews Eleanor & Jeff Freeman Richard & Leanne Reel Vijay & Sita Vashee Kristen Crider Cheri Brennan & Tom Horsley Dr. Greg Perkins Nancy Weintraub Sonya & Tom Campion Denise & David Foster Vishal Nigam & Carrie D. Rhodes Jean Viereck Janice Dilworth & Greg Denton Susan & Philip Hubbard Chuck Perry Jay & Linda Willenberg Sallie Chaney James & Barbara Heavey Jean A. Rhodes Kathleen Smith-Dijulio & Don Dijulio C. David Hughbanks Andrea Rabinowitz Robert Kakiuchi & Keela Williams Hal Opperman & Jolynn Edwards Steven & Patricia Kessler Matthew & Linda Radecki Barbara J. Williams Michael Crystal Norma & Leonard Klorfine Donald & Jo Anne Rosen Joanne R. Euster, Ph.D Annemarie Riese & Terry Kisner David Ragozin Dianne & Douglas Wills Stephen & Kathy Dewalt Jane & James Lyons ^ Faye Sarkowsky Teresa Irene Ferguson Jim & Jean Kunz Connie Redmond Scott & Shirley Wilson John Aylward & Mary Fields Kristen Lance Cecilia Paul & Harry Reinert Diane & John Yokoyama imPactors Carol Finn Max & Shawn Langley Cindy & Lance Richmond Anonymous Shawn Aebi Anne Middleton Foster John & Laurel Nesholm Robert Elliot & Margaret Taylor Kermit & Danna Anderson ^ Julia & Michael Herschensohn Judy G. Poll Nancy & David Thacher Kendall & Sonia Baker Dale & Donna Holpainen Suzanne Ragen ^ Jim & Kathy Tune Rebecca Benaroya Dan & Connie Hungate Ken Ragsdale Judith Warshal & Wade Sowers * Alan & June Brockmeier Howard Wright III & Kate Janeway Evelyne Renee Rozner Nicholas Hart & Jennifer Weis THE act legacy society Patricia & Theodore Collins Brad Edwards & Karen L. Koon Barry & Colleen Scovel ^ Mary & Donald Wieckowicz ACT patrons who continue to support and ensure the ongoing tradition of presenting the best contemporary theatre for future generations Dennis & Deborah DeYoung Ann McCurdy & Frank Lawler Warren & Nancy Smith Kathy & Chic Wilson through estate planning, wills, and living trusts. Investments of all sizes can make significant future gifts by using tax-advantaged Susan L. Ehlers Naomi & Yoshi Minegishi Rose and the late John Southall * estate and financial planning options. Specific areas where ACT can benefit from your legacy are scholarships, endowments, capital Patricia Fearey Mark & Susan Minerich Ron & Carol Sperling projects, or operating costs. Questions or arrangements can be discussed with our Development Department at 206.292.7660 x1330. Richard, Angela & Ian Finlay Sally A. Nelson Tammy Talman Ellsworth C. Alvord Jr. Trust Stephanie Hilbert Dr. Arnie & Judy Ness actiVists Leslie Ray & Michael Bernstein Gary & Parul Houlahan Don Paterson Ali & Robert Alexander Ellen Le Vita & Craig Davis John Langs * Donald Pogoloff Laurie Besteman Suzanne Howard Lisbeth Pisk Tatum Kerr & John Archer Kathy & Don Decaprio John O’Connell & Joyce Latino Ann Ramsay-Jenkins Philip Brazil Ed Hutsell & Kathy Whitten Teresa Revelle Marge & Dave Baylor Susan & Lewis Edelheit Randy Lee & Mari Hooten Lee Joe Schwartz Marite Butners H. David Kaplan Chuck Sitkin Susan Leavitt & William Block Gary & Penny Ferguson Barrie Carter & Eileen Lennon Don Ferguson & Sheila Smith Jean Chen Carolyn Keim & Connie Rinchiuso GregRobin Smith Corinne A. Campbell Dr. William Calvin & Alice Mailloux Mark & Arlene Tibergien Frank & Denise Catalano Dr. Katherine Graubard David Mattson * Mary Lou & Dirk Vanwoerden Linda J. Clifton Bill Kuhn & Patricia Daniels Rose & the late John Southall Dennis & Aline Caulley Rhonda & Jim Greer Marcella McCaffray George & Colleen Willoughby James C. Egbert David Mattson Judith Warshal & Wade Sowers Cecilia Cayetano Margaret Haggerty James & Nancy McMurrer Rebecca & Rob Witmer * Jean Burch Falls Mike McCaw & Janet Westin Dorothy E. Wendler Thompson & Karen Challinor Ross & Kelsey Henry Franny & Casey Mead Kyoko Matsumoto Wright Charles Fitzgerald Catherine & Barry McConnell Normon & Karyl Winn~ Hugh & Suzanne Clark Stephanie M. Hilbert *^ Sarah B. Meardon Ann P. Wyckoff Linda & Brad Fowler Stephen McCoy & Larry Henderson Rebecca & Rob Witmer Sara C. Hoppin Clement Family Foundation Dale Brown & David Moss Anonymous Tal & Carol Godding Norman D. Miller~ John Langs Trevor Cobb ^ Dr. Grady & Heather Hughes Beth Amsbary & James Nichols Todd & Sylvie Currie Keith Schreiber & Clare Kapitan Chris & BJ Ohlweiler

encorespotlight.com A–13 ACT partners BE A part OF THE art

ACT gratefully recognizes the following corporations, foundations, government, and media agencies for their generous support of our 2019 programs. This funding from our community supporters enables ACT to offer outstanding contemporary theatre for many audiences, educational programs for a variety of student participants, and our continued theatre partnerships in ACTLab.

Photo by Rosemary Dai Ross

PLatinum circLe Partners | $50,000+ 2019 season sponsors ArtsFund The Shubert Foundation Seattle Office of Arts and Culture goLd circLe Partners | $25,000–$49,999 4Culture The Ginger & Barry Ackerley Foundation The Boeing Company John Graham Foundation The William Kenan Charitable Trust National Endowment for the Arts (NEA) Nesholm Family Foundation siLVer circLe Partners | $10,000–$24,999 ArtsWA — WA State Arts Commission The Elizabeth George Foundation act for the future Freestone Capital Management Grousemont Foundation Harvest Foundation HomeStreet Private Bank Microsoft Wyman The Morgan Fund at Seattle Foundation Youth Trust Peg & Rick Young Foundation Treeline Foundation Tuxedos & Tennis Shoes + thanK you to our dracula shoW sponsors Bronze circLe Partners | $4,000–$9,999 Ameriprise Financial Cortina + Fox Rothschild LLP The Lester & Phyllis Epstein Foundation The Morgan Fund McEachern Charitable Trust at Seattle Foundation Precept Wine+ coPPer circLe Partners | $1,000–$3,999 Badgley Phelps Wealth Managers City of Burien — Cultural Arts Division Clark Nuber, P.S. The Commerce Bank 2019 media sponsor F5 Networks Fales Foundation Jeffris Wood Fund Italics indicate 10+ years of support | + indicates in-kind support Wyman Youth Trust

A–14 ACT – A Contemporary Theatre matching gifts FOR ACT

did you know you can douBLe or triPLe your contriBution to act with a match from your emPLoyer, increasing the imPact of your suPPort? Many Puget Sound employers match gifts to 501(c)3 nonprofits; ACT receives matching gifts from Boeing, Gates Foundation, Microsoft, Realnetworks, and Tableau to name just a few. Please check with your employer to see if you can increase your gift to ACT with a corporate match.

ACT Trustee Rayner D’Souza and his wife Tove Ryman are generous and savvy Annual Fund donors who have their contributions matched by their employers, more than doubling their gifts. We’re pleased to share excerpts from an interview with Rayner about why he invests in ACT.

who do you attend act with? Mostly with Tove, but we bring friends who are interested in the play we are going to see. do you remember the first play you and tove attended together? Invisible Hand what’s your favorite pre-performance snack? Rayner D’Souza Pre-performance — spaghetti at Cortina or sushi at Japonessa. and Tove Ryman two miles into their what recent act play has inspired the most 375 mile walk on conversation afterwards? The Camino de Santiago. Passover — It gave a unique perspective about being a person of color in uS. I often now ask the question “could race have been a factor”? It also brought into perspective “white privilege” what’s your favorite play of all time at act? and made us conscious to so many institutions with racists pasts. one of my first plays at ACT wasIn the Next Room (2009). It’s Eg: FhA. difficult to choose a favorite play among so many good ones. But another one that stands out is Invisible Hand by . I did a play ever change your perspective on also like many of yussef El Guindi’s plays. (Threesome, Language something? if yes, what play? Rooms and People of the Book). The obstacles faced by people who are hearing impaired never crossed my mind and Tribes made me aware of these obstacles. why do you donate to act? I believe in the organization. ACT pushes the conversation…I have you ever attended an actLab performance? often think about and relive a play for days after. A play can yes. Several. I have an ACTPass which I love. It allows us the change you, sometimes a play can stay at the back of your mind flexibility to pick a play and we don’t care which seats we get and can inform your actions, convictions. A play that comes because there are no bad seats at ACT. ACT is such an intimate to mine is Hold These Truths about the internment of Japanese theatre with the furthest row being like 9 rows in. So the Pass is Americans. I want to support this. It’s why we donate to ACT. perfect. ACTLab performance that stands out was Dance Like a Man by Pratidhwani. have you ever been in a play? I don’t want to relive that! I was a deer-in-the-headlights and what do you consider your hometown? forgot my lines — think I was in 3rd or 4th grade and was the Seattle. It’s the longest I have spent in any one city and the city recreation of the nativity scene around Christmas. I identify with. It just feels like home (rain and everything).

Questions about matching gifts? Contact ACT’s Development team at 206.292.7660x1330 or email us at [email protected]. Thank you for your support!

encorespotlight.com A–15 ACT A Theatre of New Ideas ACT Board of EMERITUS COUNCIL FINANCE AUDIENCE SERVICES SCENIC DEPARTMENTS Richard C. Clotfelter Sheila Smith Miranda Swineford Derek Baylor† Trustees Esther Schoenfeld Director of Finance Audience Services Manager Technical Director Gary Houlahan Sandi Hogben Kate German Nick Murel Chair A Contemporary Payroll Coordinator Amber Granger Assistant Technical Director Chuck Sitkin Liz Camelia Monika Holm Amanda Quinn Immediate Past Chair Theatre Senior Accountant Peter Sakowicz Master Scenic Carpenter Xaviera Vandermay Leslie Ray Bernstein Foundation Audience Service Leads Mike Sterkowicz Vice Chair DEVELOPMENT Scenic Carpenter Board Bill Abelson Michael Crystal Michael Breeden Jeff Scott Kermit Anderson Michael Bontatibus Treasurer Director of Development Scenic Charge Artist President Renee Boehlke Erika Nesholm Jill Robinson Darian Clogston Lisa Bellero† Brad Fowler Secretary Development Officer Max Koh Assistant Charge Artist Vice President Sandy Leonard Matt Aalfs Carrie Campbell Will Widick Katherine Raff Alice Palatnick Joan Barokas Institutional Funding Manager Properties Master Secretary Marilyn Peneff Eric Bennett Claire Eisenfeld Blake Simpson Ken Ewert† Laurie Besteman Don Paterson Individual Giving Manager Gabrielle Turner Master Properties Artisan Bob Dowdy Treasurer Joceline Hitchcox-Lain Andy Walker † Rayner D’Souza Thomas Verdos Trevor Cobb Development Coordinator Mary Catherine Womack Charles Fitzgerald Lead Properties Artisan Michael Crystal Audience & Event Services Kristine Haroldson Dr. Michael Herschensohn Gary Houlahan Donor Events and Stewardship Andrew Creech Stephanie Hilbert Jim Minorchio STAGE OPERATIONS Coordinator Closed Caption Supervisor Cynthia Huffman Cindy Richmond Nick Farwell† Diane Lind Chuck Sitkin Bill Abelson Stage Operations Supervisor Bill Kuhn Darian Clogston MARKETING, SALES, James Nichols† Lauren Mikov AND COMMUNICATIONS Allexa Laycock Naomi Minegishi Master Stage Carpenter ACT Staff Amy Gentry Closed Caption Operators Tim Mulligan Pam Mulkern† Director of Sales & Marketing Christine Jew Judy Ness Master Electrician Dr. George Ojemann EXECUTIVE Teresa Rende Johnson Volunteer Coordinator Max Langley† Sarah Pierre-Louis John Langs Senior Marketing Manager Master Sound Engineer Artistic Director Teresa Revelle Amelia Peacock PRODUCTION Brittany Lawrence Margaret Rothchild Becky Witmer ACTLab Marketing Manager Alyssa Montgomery† ACTLab Technician Karen Shaw Managing Director Production Manager Goldie Gendler Silverman Jose “Jojo” Abaoag Tom Bardwell Meaghan Darling Sharyn Skeeter Press and Promotions Associate Executive and Artistic Manager Production Associate FOR THIS PRODUCTION Dr. Larry True Julia Luna Shelby Choo Katie Burnett Digital Communications Associate Zach Danneker ACTLab Production Manager ARTISTIC Dawn Schaefer Joe Leporati † ACT Advisory Margaret Layne Graphic Design Associate Ari Lidz Director of Casting COSTUME DEPARTMENT Sam Tsohonis Council Chris Bennion Tracy Hyland Amanda Mueller River Watts Sheena Aebig Production Photographic Services Education and Engagement Costume Shop Manager Scenic Carpenters Daniel D. Ederer Christa Fleming Manager Cedric Wright Jean Burch Falls Graphic Design Services Cora Brown Jeannie M. Falls Riley Gene Draper Laurel Blaine Star Zatine Todd Peacock-Preston John H. Faris Young Playwrights Program Susanne R. Sherman Telesales Manager Props Artisans Kathryn Alvord Gerlich Administrator First Hand Brad Fowler Irwin Michelman Kellie Dunn Ricky Spaulding Sally Mellis† Carolyn H. Grinstein Deborah Pryor Jeanna Gomez Brooke Morrison Wardrobe Master Sara Comings Hoppin Brian Dang Direct Sales Costume crafts C. David Hughbanks Courtney Kessler-Jeffrey Literary Interns Adam Vanhee Patti Emmert Kate Janeway Wardrobe Front Office Representative Ricky German Jonathan D. Klein Stitcher Jane W. Lyons ADMINISTRATION Gail Baraff Gloria A. Moses Ashley Lemmex Ticket Office Manager KD Shill Nadine H. Murray Operations Manager Holly Butterfield Costume Shop Assistant Douglas E. Norberg Rica Wolken Ticket Office Assistant Manager Kristin G. Olson IT Director Grace Helmcke Donald B. Paterson Martin Sisk Allexa Laycock Eric Pettigrew Data Resources Manager Brittany Peters Pamela Powers Nicole Song Katherine L. Raff Tuxedos and Tennis Shoes Ticket Office Leads Suzanne Ragen Catering Catherine Roach Bar and Concessions Greg Cochran Sandy Leonard Jo Anne Rosen York Building Services, Inc Nathan Smith Faye Sarkowsky Janitorial Services Carlo Scandiuzzi Ticket Office Representatives Rob Stewart* AC/R Services David E. Skinner Engineer Susan Trapnell Brian Turner George V. Willoughby Jane H. Yerkes † Denotes staff member has worked at ACT for 10 years or more t Member of ACT’s Core Company * Deceased

A–16 ACT – A Contemporary Theatre DIALOGUE

John Turman hosting the Tiny Tots Meet the Host concert series. of Tiny Tots Concert Series

by DANIELLE MOHLMAN

When John Turman moved to Seattle in 2015, hosting the Tiny Tots concert series was the furthest thing from his mind. He’d just graduated from Rice University and, after deciding to turn down a principal horn position at the and have fun and recognize the St. Paul Chamber Orchestra, joined the horn section at musicians. And we really wanted the Seattle Symphony. Now entering his fifth season with to change things up with our Tiny the Symphony and his second season as the Tiny Tots Tots programming, so we kind of scrapped the entire thing and concert series host, this Austin native is happy to now started from the ground up. And call Seattle home. we started writing our own scripts. Our main thing is it’s all based on really great music. We wanted “There’s just an action and typically left out of symphony to program some pieces with ­activism that I feel here in Seattle,” performances. How did you become ­substantial weight in the classical­ Turman said. “And politically, it’s involved in this concert series as ­cannon—because there are so many ­amazing. I hear more voices here a host? What drew you into this pieces that not only the kids can than anywhere else.” I had the age group? enjoy, but the parents as well. pleasure of speaking with Turman just before the start of the 2019-20 John Turman: When Amy Heald, And just knowing that learning Seattle Symphony season about our associate director of collab- classical music early on helps with his role as a host, and how that orative learning, joined the Seattle complex processing later in life. role has deepened his understand- Symphony a couple of years ago, And not pandering and saying that ing of early childhood education. she said “Let’s bring some of these this is “children’s music.” Because Symphony musicians onstage for all music can be children’s music. Danielle Mohlman: The Tiny Tots these kids.” It was an age we were concerts are geared toward children kind of missing out on. Because Exactly. It’s this cognitive devel- ages zero to five, a demographic they absolutely can understand opment cycle that Amy [Heald] JAMES HOLT JAMES ANGELA NICKERSON ANGELA

encorespotlight.com 9 John Turman hosting the Tiny Tots concert series.

­educated me about when she show, a brass quintet for another, Austin, Texas and bought me a brought me on to host. Danielle a percussion trio and a string three-quarter size classical ­guitar. Kuhlmann was the first host of quartet. And the final ­concert I was seven. And I thought, “Oh this structure of Tiny Tots that is a big chamber orchestra. yeah, I’m Stevie Ray Vaughan over we’re using right now. We had a here.” And then he bought me a woodwind quintet play a show Bringing it all together. guitar book. And it was just when and then Danielle read a book to I was learning how to read, so I go along with this ­composition. Yeah, exactly. So now we have learned how to tune the guitar­ And then the next year, Amy this whole program where the myself, and I learned how to read approached me and asked if I kids will see every instrument the first three lines of the treble wanted to host. And I said yes, of represented on stage ­throughout clef. That moment of getting that course. I love music ­education and the Tiny Tots series. Which is guitar and making sound on my I come from a background, you so much different than what we own for the first time was some- know, Texas high school—really were doing before. And we’re so thing that really, really drove solid music educators. I’ve known excited because people really do home that I wanted to do this. I a lot of great educators through- enjoy that. They enjoy taking­ wanted to learn this. And both out my life and I’m very grateful their kids to see a show for thirty my parents were in the Longhorn and privileged to have had that. minutes and they enjoy the Band [at the University of Texas, And so I’m really excited to give ­programming. And I hope they Austin]—that’s how they met. that back in this way. I’m still enjoy the characters that we get performing and people know that introduced to. I’m usually always Wow. I play in the Symphony and that’s wearing some type of sequined part of the fun. I’m like the friend ­garment—something that’s visually Yeah. And then band started for me who says, “Here’s what things are appealing. Stimuli is a big thing in sixth grade. And at the instru- really like in the Symphony.” And in their life right now. Sequins are ment petting zoo, the shortest line these kids are all zero to five and golden. Sequins are the key here. was for the French horn. And I I’m like, “You guys belong here thought it was really cool. And my just as much as the adults do.” Switching gears a little bit: when Aunt Betty Lou said, “You know, did you first discover your passion John, this is the most ­challenging Yeah! for music. Do you remember how instrument in the orchestra.” old you were? And I said, “Oh I can’t back down So Amy and I started brainstorm- from a challenge.” And I had some ing. It was her idea to do standard I do. I remember the exact moment. incredible music educators. My chamber music pieces, so we It was when my Grandpa Tom band director got me a CD of the have a woodwind quintet for one took me into the music store in Canadian Brass and The Planets. JAMES HOLT JAMES

10 Oh I love The Planets.

Right? It just kind of triggered my hunger. It really just activated the nerd inside. I loved ­organizing chamber music ensembles with my friends. And then I was drum major in high school and I loved being that kind of role model for band kids. And, you know, being in band is hard. Being in high school is hard. And I was happy to be a friend and mentor to a lot of people through that.

The Tiny Tots concert series at the Seattle Symphony begins on October 4 and 5 with The Percussion: 5, 6, Pick Up Sticks and continuing on with The Brass: March of the Toys on December 6 and 7. A full schedule of this season’s Tiny Tots concerts can be found at seattlesymphony.org.

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. JAMES HOLT JAMES

encorespotlight.com 11 12 3 2 1 IntermissionBrain Transmission chance to win tickets to an upcoming performance. Better yet, send us your answer to the bonus question for a you could treat your brain to this scintillating trivia quiz. Why stare at your phone for the hundredth time today when D C B A in the play? the following doesnotappear and Roman goddesses.Whoof appearances by three Greek control andmagicfeatures This tale ofshipwreck, familial October 15–November 10. Seattle Shakespeare Company The Tempest D C B A for whatisnowwhichborough? of Churches,the City another name New Yorker AnnaZiegler, isfrom will beperformed. The playwright, Seattle Rep, October 11–November 17at D C B A spend hischildhood? life inParis, France. Where didhe Chopin spentmuchofhisadult and promoter ofFrédéric Chopin. performer Ohlsson isanexpert Garrick Ohlssonwillperform. onOctober 1, Arts Performing At MeanyCenterforthe Minerva Iris Ceres Juno Manhattan The Bronx Brooklyn Queens Klow, Syldavia Warsaw, Poland Berlin, Germany Nice, France The Great Moment willplay at

@encorespotlight. tag and media to answer social your post to:line subject the in “Trivia Quiz” with answer your Email why? and best liked you that attended you performance arts last the was What BONUS 5 4 D C B A was his? the followingCatholiccardinals well-to-do patrons—which of Ludwig van Beethoven hadseveral recordings ofBeethoven’s music. Biss hasmademore thanten Jonathan Bisswillperform. At MeanyHallonNovember 5, D C B A the lasttwoyears? following hasnotbeenstagedin Puget Soundregion. Whichofthe have around beenperformed the other plays andadaptations Dietz’s Aprolificperformed. artist, adaptation of November 17,Steven Dietz’s At ACT Theatre October 18– [email protected] Children’s Theatre Go, Dog,Go! Giovanni de’ Medici BrownFinger” Mordecai “Three Cardinal Richelieu Archduke Rudolph Driftwood Players Yankee Tavern Lonely Planet Last oftheBoys Dracula atSeattle atWest ofLenin atEdmonds atSeattleRep willbe

or or

1—C Chopin1—C was born in what was then the Duchy of Warsaw, a state established by Napoleon in 1807 and which was dissolved 2—B Thisin 1815. moniker dates from the mid-19th century, before Brooklyn was absorbed into the growing city of New York. 3—D Minerva is a goddess of strategic warfare and may not have been thought thematically appropriate include to in the wedding scene in which the other goddesses appear. 4—All of the above. All of these have been staged since 2018. 5—A The youngest son of Emperor Leopold II, Rudolph was a close friend of Beethoven and the only one who paid Beethoven the pension he and others promised.

DIALOGUE DIALOGUE

Paul Heppner

We’re Celebrating 50 Years of Arts, Culture and Community

For the past fifty years, it has been our pleasure to Having worked with Encore since provide audiences with performance programs, festival you were a young man, you’ve seen guides and magazines that reflect and enhance the better than most the changes that have occurred in Seattle’s arts organizations of our community. community—the good and the bad. How has Encore adapted amongst Although you may not know it, a career change that brought his these changes? Encore has published many of passion for the arts to fill a need in the programs that you’ve read the Portland performing arts scene We were just talking about this at performances­ throughout the by launching Encore Magazine the other day—when I arrived in Greater Seattle Area and the San for the Arts. That quickly evolved Seattle in 1985, state of the art was Francisco Bay Area. Encore has into the programs for Portland an IBM Selectric typewriter! The become an established partner Opera and Encore arts programs. outstanding thing to note over to arts organizations ­throughout the years has been the appreciable these communities, and to Partnerships with arts organizations growth in depth and quality of the ­celebrate the fiftieth anniversary, are essential to your business—how performing arts, as well as the we talk to the president of Encore, did those relationships start? breadth and sophistication of the Paul Heppner, about Encore’s respective audiences. Interestingly ­history, its purpose, and the arts Librettos and theatre programs enough, even with the advent of the ­communities Encore serves. were commonplace, especially in internet in our data driven world, Europe where my dad ­collected the theatre program has remained Ciara Caya: Fifty years is quite the many souvenir programs. Creating a cherished part of the live perfor- milestone. Can you tell me a bit programs (typesetting, layout mance experience. Unlike the mass about how Encore was founded? and printing) in those days was media (print, digital or electronic) extremely labor intensive and attending a live performance is Paul Heppner: My dad, Philbrook performing arts organizations were enhanced by simply turning the Heppner, loved music, arts and, not set up to handle the production pages and reading a program that most of all, the opera. After having necessary, so a mutually beneficial­ gives you compelling and thought- worked as an architect, he made service model was developed. ful content about the people and

encorespotlight.com 13 CALENDAR

Encore publishes for over twenty organizations in the Greater Seattle Area and the San Francisco Bay Area.

the performances—it truly can ­philanthropy). We’ve been long- play a leading role in supporting make the event transformative. time supporters and fans of SIFF the great works of organizations and believe in our work with, that are transforming and building As the publisher of arts and support of Seattle Pride. This this region. We believe that finding organizations’ programs, year we were thrilled to begin smart ways to integrate media in Encore is usually (pardon the ­working with Seafair and all that it meaningful ways for consumers­ is pun) behind the scenes. In ­represents to our city and region. key, and we are focused on devel- what other ways are you and Over the years we’ve also provided oping products and programs that Encore involved with the Seattle support to smaller organizations— expand and enhance opportunities community and with the arts one of our favorites is Music4Life for all of our stakeholders. We’ve organizations you partner with? because of its impact on the lives of recently launched encorespotlight. young people in our public schools. com to start addressing the dis- We’re extremely proud to have tressing lack of arts coverage in had the privilege to work with, So, now that you have the first major media. Through this website and ­support through our work, fifty under your belt, what’s on we are also continuing our work numerous organizations outside stage for the next fifty? with youth, having partnered in the performing arts world. Last part with the amazing Press Corps year we were an integral part of a We’ve learned that the fulcrum for at TeenTix to provide both a plat- team of committed arts leaders to evolving our business centers on form (in print and digitally) for work with Seattle Foundation to providing services that connect the these amazing young journalists. transition and insure the future arts, culture and our community. of GiveBIG (the annual day of We recognize and are excited to SHAUN SWICK SHAUN ARTIST THE OF COURTESY

14 SHAUN SWICK

COURTESY OF THE ARTIST CALENDAR Seattle Symphony October 24–26 Schumann PianoConcerto Seattle Opera October 19–November 1 Cinderella ACT Theatre October 18–November 17 Dracula Tacoma Live Arts October 17–November 3 Shakespeare inLove Arts Meany CenterforthePerforming October 17–19 Sankai Juku Seattle Shakespeare Company October 15–November 10 TempestThe Seattle Rep October 11–November 17 The Great Moment Explore a full-season performing arts calendaratencorespotlight.com. arts Explore afull-seasonperforming Upcoming Events Seattle Symphony November 21–23 Stravinsky The RiteofSpring GroupSeattle Theatre November 15–24 Mrs. Krishnan’s Party India Ink Theatre Company: Ballet Pacific Northwest November 8—17 Locally Sourced Arts Meany CenterforthePerforming November 7 Danish StringQuartet Village Theatre November 7–February 2 Guys &Dolls Tacoma Live Arts November 2 Duke Ellington Orchestra Broadway at The Paramount October 29–November 3 Miss Saigon arts &culture tickets. Teens canenjoy tons of affordable events It’s FREEtosignup teentix.org to thearts! Your ticket entitles youto$5 for thepassthat with TeenTix! encorespotlight.com 17–19 atMeanyCenter. October Juku willperform dance troupe Sankai The JapaneseButoh 15 A MIDSUMMER NIGHT’S DREAM BY

OCT 27 - 29 · SIFF FILM CENTER

NOV 10 - 12 · SIFF FILM CENTER Hansard by Simon Woods

For tickets and info visit siff.net