OCTOBER 2015 Oct 16–Nov 15, 2015

By Anne Washburn Score by Michael Friedman Lyrics by Anne Washburn

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encoreartsseattle.com 3 Contents

OCTOBER 2015 Oct 16–Nov 15, 2015

Mr. Burns 9 9 Title Page 10 Welcome to ACT 13 About the Play and Who’s Who 20 ACT Partners 24 ACT Board & Staff

By Anne Washburn Score by Michael Friedman Lyrics by Anne Washburn

Directed by John Langs Barry Blankenship by Illustration

THE INCREDIBLE JOURNEY: NEW PLAY DEVELOPMENT IN THE USA BY ANITA MONTGOMERY, ACT’S LITERARY MANAGER

The existence and process of new play not to mention for playwrights who struggle seismic historic shifts in theatrical production development is hardly a new one in the long to sustain livelihoods and find avenues of and practice: first, a pronounced trending history of the theatre. William Shakespeare, production for their work within them. away from the actor-manager-driven once an emerging writing talent, had his And just exactly what is new play entertainments of the 19th century to a more plays developed in 16th century England by development? In extremely broad terms, it is ensemble-based, socially conscious theatrical the companies with whom he worked as a an endeavor involving a playwright working style at the turn of the century; and second, playwright and actor. The plays of Russian with the support of a group of theatre the influence of an innovative professor of dramatist Anton Chekhov were developed artists on a new piece of writing for the English Literature at Harvard University by the Moscow Art Theatre in the 19th theatre, trying to move it forward and into a named George Pierce Baker, who included century, and in the same century in Germany, production, onstage, in front of an audience. a history of drama as part of his curriculum Bertholt Brecht formed his own company, Thewhat of new play development is infinitely and began offering a course in playwriting the Berliner Ensemble, and relied heavily on more consistent and straightforward than the to Radcliffe students in 1903. By 1913 the its members to refine and promote his epic how, which is as various and multifaceted as class, which had opened up to Harvard theatre style. But in the United States, a focus the theatrical art form and its practitioners. students and required them to write a series on new work for the theatre is a relatively The attention placed in the American of one-act plays and one three-act play, had recent phenomenon. It is also an evolving, theatre on the promotion and support of morphed into a workshop that involved highly mercurial, and somewhat controversial new plays began in earnest in the early 20th participation by members of the larger, off- one, with varying degrees of commitment, century, and has really only firmly taken campus community. By pulling an audience sustainability, and success across the vast and root over the last 50 years. This growth can into the support (and often, the productions) varied landscape of contemporary theatres, be attributed in large part to a couple of of his students’ work, George Pierce Baker

4 ACT – A Contemporary Theatre ECA SPECIAL ENGAGEMENT: THE ROCKY HORROR PICTURE SHOW Friday, Oct. 30 Doors @ 9 | Show @ 10 pm $20, $15 & $15 (Party pack incl. w/ticket) The mother of all cult classics hits ECA’s big screen with a live cast this Halloween! Pull up your fishnets, starch your gold shorts, and get ready to become PHOTO BY SEBASTIEN SCANDIUZZI a creature of the night at the strangest, sexiest film Ramayana fight workshop of all ages! Rated R. Under 17 requires an accom- panying parent or adult guardian. succeeded in educating not only his students, ECA FAMILY SERIES: but also his audience in how to receive and OKAIDJA & SHOKOTO Saturday, Nov. 21 | 11 am engage with new work. His groundbreaking $10 ($2 Arts for Everyone) program is widely considered a major building This high-energy family per- formance explores a dynamic block in the evolution of American new play fusion of rhythms from Ghana, Brazil, Cuba, Peru, and the development and the beginning of the training Deep South that is sure to make your soul sing. of theatre artists in American higher education. THE PRINCESS BRIDE The established theatrical style pre-1900 QUOTE-ALONG revolved around melodrama, a highly popular Saturday, Nov. 28 | 12 Noon $20, $15 & $15, Youth/ genre with clear demarcations of right and Student $15 wrong: thrilling adventures heavily reliant In partnership with SIFF, enjoy the beloved swashbuckling fairytale on on spectacle, in which heroes were rewarded our state-of-the art film system. The film event will include quote-along subtitles for all the best lines, and villains punished. They were frequently free inflatable swords, and Rodents of Unusual Size! adaptations of novels, mostly European, and meant to showcase big stars like James ec4arts.org O’Neill, the famous father of playwright 425.275.9595 410FOURTHAVE.N. Eugene O’Neill, who played the title role EDMONDSWA98020 in The Count of Monte Cristo for years and established his name and his fortune on Broadway. These large, populist entertainments dominated the theatre of the late 1800s, and FRANZ ERHARD are still very much in evidence in the large Broadway musical offerings of today. But as WALTHER: the pressures and concerns of a changing THE BODY world and an impending war seeped into public consciousness, a new form of theatrical DRAWS expression, with an emphasis on economic and social issues, began to search for and OCTOBER 31, 2015 — find a home. And for the first time, the voices MARCH 06, 2016 of playwrights began to be included in the creative engines of this more experimental and FALL OPEN confrontational emerging form. The teens and twenties saw extraordinary HOUSE growth in what started as the Little Theatre FRI, OCT 29 movement, with smaller, more experimental DOORS OPEN AT 7:30 companies within and outside of New York springing up and including playwrights in their artistic mix, forming a particular aesthetic and making original work together. Two of the most famous of these were the Provincetown Players and the Group Theatre. Both companies devoted themselves to the work of American playwrights and afforded HENRY ART GALLERY HENRYART.ORG creative homes, valuable resources, and Franz Erhard Walther. 16 Lufteinschlüsse (Large Paper Work: 16 Air Enclosures), 1962. Photo: Hartmut Seidel. Courtesy of The Franz Erhard Walther Foundation. CONTINUED ON PAGE 6

encoreartsseattle.com 5 CONTINUED FROM PAGE 5 Women Painters of Washington

Gallery at the Columbia Center critical first productions to playwrights whose Showcasing art by women since 1930 work and careers went on to become the backbone of the American theatre. For Eugene O’Neill, widely considered America’s first great dramatist, the Provincetown Players, founded in the summer of 1915 by a group of artists, were instrumental in launching and sustaining his career. Even after O’Neill had achieved success on Broadway, he returned to the Players and continued to have his When I Am Among the Trees by Christine Gedye 701 5th Ave #310 , M-F 11-4 productions mounted at what he considered his home theatre. In 1934 the New York City-based Group Theatre, whose focus on socially relevant new plays was at the core of its mission, produced a play by a young actor in their company, Clifford Odets, called Waiting For Lefty, dramatizing the struggles of the American working class. The show was an immediate sensation, and established Odets as a major new voice. These two important dramatists, and the support they received from their visionary collaborator theatres, paved the way for the aspiring playwrights- become-legends who followed in their footsteps: Arthur Miller, Tennessee Williams, and Edward Albee. These acknowledged heavyweights of the American theatre gained traction in this new and fecund environment, honed their craft, found receptive audiences, and exploded onto the Broadway stage in the 1940s and ‘50s, ushering in what is now referred to as the Golden Age of American theatre. This was a shining moment for new plays on the “Great White Way”, elevating the status of the form and recognizing the playwright as an integral part of making great theatre. Broadway has become unrecognizable from the days when the straight play The World Needs Everyone. dominated its stages. Though it has always It starts with children. been considered the high bar for American theatre artists, from playwrights to directors Invest in the future today. to actors, Broadway is no longer a welcoming 1 in 6 children are born with a developmental disability or delay*, environment for new plays. In fact, very few all children need the best start possible: making the most of their new plays find a home on Broadway stages abilities and learning alongside kids of every ability. today, due in large part to the prohibitive cost of putting them up. There is no room nwcentergiving.org/donate/now for “failure,” which on Broadway means less critical than commercial failure, and there is certainly no interest or investment Partners Media Since 1967 Partners in the exploration and cultivation of new Celebrating 50 Years work. Partly in reaction to this inhospitable *C.D.C. 2014 financial climate, and out of the continued

6 ACT – A Contemporary Theatre connection between the playwright and and the playwright between connection ameaningful provide itdoes in aproduction, notalways result a does Though commission aplay. to write asumofmoney providing Many theatres commission playwrights, different andthroughways models. several work. for new and support kind ofprogramming and stilldooffersome ofthem did quarters three about plays, new theatres didnot include the of development of these several of Though the missions theatres were around non-profit. the country few. Bythe late 1970s halfofallprofessional a to name TheatreGuthrie inMinneapolis, Washington DC’s Arena andThe Stage, YorkNew Lincoln Center Theater, City: theatre of companies insideandoutside ofthe some firstbignon-profit establishing and the National for Endowment the Arts, the from Fordlarge grants Foundation inthe late 1950swith began development, play in the U.S., onnew their with focus ofResident (LORT) Theatres of the League inthe not-for-profitexists rise theatre. The play now development professional new and well,ifnotallofthe work most of inAmerica,”Development stillalive is Machine:Dream Thirty Play ofNew Years , “The inthe 1988Dramaarticle Review insightful inhis Anderson by Douglas the Transfer,” Commercial used aphrase of Though the “Dream play development. homeofnew the undisputed become has theatre and or emerged regional non-profit pressure ofthe commercial theatre, the Theatre movement and from away the inthe Little immersion oftheatre artists rehearsal forUncleHotoSam Actor Trieu Tran andDirector RobertEganin This support manifests in a variety of of variety ina manifests support This CONTINUED ON PAGE 25 work they are doing. The of Actors Theatre are doing. work they together andshare information the about to come for theatre artists opportunities andnumerous atmosphere, meals providing ortwoinaconvivial a longweekend place take over usually play festivals New ofalldisciplines. andtheatre artists work, producers ofnew playwrights, between theatre, are source agreat ofconnectivity bythe invited host aroundfrom the country including theatre audiences, professionals for readings or staged firstproductions given Plays playwright-centric programming. play and ofnew form immensely popular ofworldlineup premieresan are also front andcenter. and their work ofplaywrights needs specific the to placing play dramaturgy anddevoted innew trained teams accesswith to artistic come residencies These playwrights. career mid-,andestablished for early-, residencies amultitudeprovide ofshort- andlong-term Center are that three Playwrights based York,Center inNew andthe Minneapolis- the take ofaninvitation form can to join Aresidency of the pressure ofproduction. to dotheir work outside for playwrights valuable timeandspace offer can residency thea endgoal, as aproduction playwright a Rather than offering for playwrights. andassistance source advocacy ofvaluable andproducer. writer relationship between lasting anda firstproduction, all-important the aworkshop, inreadings, results often and andinstitutional staff resources, artistic the commissioning theatre, access to an

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2 7 TDR 061515after 1_6v.pdf 6/15/15 4:12PM A NEW ERA FOR ACT: WELCOME, JOHN LANGS INCOMING ARTISTIC DIRECTOR BY BECKY WITMER, ACT’S GENERAL MANAGER PHOTO BY TRUMAN BUFFETT

John Langs has worked as a freelance director in Seattle holds, creating new ones, and engaging in conversation FUN FACTS since 2004 with Seattle Shakespeare Company’s King with the tremendous audiences that participate in the ABOUT Lear. His Lear was none other than our own Kurt exploration of process, performance, and ideas.” JOHN LANGS Beattie—and so began the creative partnership that As John moves into the role of Artistic Director, he HOMETOWN: would bring Langs to the helm of ACT Theatre 12 years is clearly defining his objectives. The Mainstage Season Palo Alto, CA later. John joined the ACT staff as Associate Artistic will feature plays that reflect the current conversation KIDS: Son, age 5, Captain, Director in 2013 and takes over as Artistic Director this in our city and the world, stories that entertain, and named after my coming January, following Kurt’s retirement. also “legacy plays” that highlight important figures and grandfather. John first directed at ACT in 2008 when he staged The events throughout history. You may see Shakespeare. FIRST THEATRE Adding Machine with New Century Theatre Company You may see a musical. You will definitely see world EXPERIENCE: in ACTLab (then Central Heating Lab). That show premieres and epic stories. My grandmother made me learn and perform, established him as a highly sought after director and ACTLab is where experimentation really takes hold “Brush Up Your collaborator in Seattle. He has since staged The Trial and and where John plans to increase ACT’s focus on new Shakespeare” in her Mary’s Wedding with NCTC; numerous productions with play development. ACTLab’s newly refined mission living room. We had Seattle Shakespeare including Hamlet, The Merchant is to nurture groundbreaking creative process and straw hats and canes. of Venice, Romeo and Juliet, Antony & Cleopatra, and product. New plays, unique collaborations, community NEIGHBORHOOD YOU LIVE IN: Othello; and Our Town with Seattle University. engagement, and bold ideas are what ACTLab is about. Lower Queen Anne He began directing on the ACT Mainstage in In looking at casting and actor training, John is FAVORITE SEATTLE 2012 with The Pinter Festival (The Dumb Waiter and committing to a diverse (age, race, experience) company RESTAURANT: Celebration), followed in later seasons by Middletown, of actors to participate annually in ACT’s Mainstage Lecosho Bethany, and approaching four consecutive turns or ACTLab productions. This commitment to create NW EXPERIENCE directing A Christmas Carol. For ACTLab, he’s directed a small Core Company will guarantee at least three YOU MOST LOOK FORWARD TO: The Seagull and The Three Sisters with The Seagull show contracts per year for actors, offer on the job Riding a ferry. I hear Project, as well as the recent world premiere of Seven professional training for young artists, create greater the San Juan Islands Ways To Get There. diversity throughout the season, and provide an are amazing. John’s 20-year freelance career has afforded him opportunity for the artists to grow and build their craft FAVORITE the opportunity to work with many great artists at through a year-long creative work environment. ACT MUSICAL/PLAY: Enrico IV by Pirandello prestigious theatre companies across the country. He’s will also reaffirm partnerships with local universities to directed in New York at Playwrights Horizons and help foster the development of new work and to provide PIE vs CAKE: Pie. No, cake. No … pie. Ensemble Studio Theater, Milwaukee Repertory Theatre, opportunities for students. Both. The Lookingglass Theater Company in Chicago, Circle John is incredibly excited about programming his UMBRELLA OR X in Los Angeles, The Resident Ensemble Players in first mainstage season. “I’ve been in a conversation with RAINCOAT: Delaware, and American Players Theatre in Wisconsin. ACT audiences for several years now and the plays we’ve I’m with Rihanna. “I’m so happy to call Seattle home and to land at selected for 2016 reflect where that conversation is going SONG YOU SING this remarkable theatre. ACT stands out as a beacon of next. It is an exciting time to launch this season as we AROUND THE OFFICE: creativity and collaboration—aligned with the innovative are going into an election year, after our milestone 50th “Everything is reputation Seattle is known for,” says Langs. “I have deep anniversary, and during a time when Seattle is changing. Awesome” from admiration and gratitude for Kurt Beattie. I look forward There is a lot to talk about! Meet me in the lobby and tell The Lego Movie. I have a 5 year old. to building on the established relationships ACT me what you think.”

8 ACT – A Contemporary Theatre Kurt Beattie Carlo Scandiuzzi Artistic Director Executive Director ACT – A Contemporary Theatre presents

By Anne Washburn Score by Michael Friedman Lyrics by Anne Washburn Directed by John Langs

Beginning October 16, 2015 • Opening Night October 22, 2015

CAST Anne Allgood* Jenny/Marge Christine Marie Brown* Maria/Lisa Andrew Lee Creech Sam/Scratchy Erik Gratton* Matt/Homer Claudine Mboligikpelani Nako* Colleen/Itchy Bhama Roget* Quincy/Bart Adam Standley Gibson/Mr. Burns Robertson Witmer Musician/Actor

CREATIVE TEAM John Langs Director Matthew Smucker Scenic Designer Deb Trout Costume Designer Geoff Korf Lighting Designer Dominic CodyKramers Sound Designer Casey James Music Director Crystal Dawn Munkers Choreographer Emily Penick Associate Director Frank Honts Dramaturg Jeffrey K. Hanson* Stage Manager David Hartig Production Assistant Wiley Basho Gorn Kenan Directing Fellow Connor Zaft Directing/Dramaturgy Intern Marcella Barbeau Assistant Lighting Designer Robert Macdougall Fight Coach

Running Time: This performance runs approximately two hours and 15 minutes. There will be one intermission, between Acts 2 and 3. Time: Act 1: very near future Act 2: Seven years after that Act 3: 75 years after that *Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Mr. Burns, a post-electric play is presented by special arrangement with SAMUEL FRENCH, INC. The video and/or audio recording of this performance by any means whatsoever are strictly prohibited. Playwrights Horizons, Inc. produced the New York City premiere of the play off-Broadway in 2013. Originally produced in June, 2012 by Woolly Mammoth Theatre Company, Washington, DC, Howard Shalwitz, Artistic Director; Jeffrey Herrmann, Managing Director. Mr. Burns was Commissioned by The Civilians, New York, NY Steven Cosson, Artistic Director For the language of the remembering of The Simpsons’ episode “Cape Feare” the author would like to credit the Civilians actors involved in the initial workshop: Quincy Tyler Bernstine, Maria Dizzia, Gibson Frazier, Matt Maher, Jennifer Morris, Colleen Werthmann, and Sam Breslin Wright.

THEATRE AND SEASON SPONSORS: A Contemporary Theatre Foundation

The Norcliffe

Foundation Theatre Development Fund

Katharyn Alvord Gerlich, Eulalie M. & Gian-Carlo Scandiuzzi, Nancy Alvord, Linda Brown & Larry True

Audience members are cordially reminded to silence all electronic devices. All forms of photography and the use of recording devices are strictly prohibited. Please do not walk on the stage before, during, or after the show. Patrons wearing Google Glass must power down the device if wearing them in the theatre. encoreartsprograms.com 9 WELCOME to ACT

Kurt Beattie

Dear Friends, belief in and love of our community, and a collection of achievements and aspirations that have guided ACT Welcome to the last Mainstage production of ACT’s 50th since our beginning. We think our job is to be a cultural Anniversary Season! Over the course of the season, we’ve and artistic engine that exists for everyone, artists and looked back to a great American classic produced by ACT audiences alike, and to reach in all directions, historically in 1965, its first year of existence, Cat On A Hot Tin Roof, and societally, to engage through the art form of theatre in in honor of our distinguished past and the great body of the richest conversations we can create about how we all work created by Tennessee Williams. We’ve produced live, and what our civilization means. And, of course, to world premiere plays by Yussef El Guindi and Steven make artistic work of the highest standard. Dietz, representative of our commitment to exciting The artists, patrons, staff members, and supporters who contemporary playwrights—and, it should be noted, local have made ACT what it is since it began literally number in writers, Seattle’s writers. We’ve brought a vibrant new the millions. I wish I could name them all. In toto, they are work to Seattle by Anne Washburn, Mr. Burns, which has one of the most positive reminders to me of what makes stunned national theatre audiences with its vision of our life worth living: intellectual enlightenment, art, pleasure, future. In fact, Mr. Burns was helped to its highly successful spiritual fulfillment, fellow feeling, and consciousness. All debut production in New York with a workshop by our of which means, if you don’t get too high-falutin’ about it, colleagues at Seattle Repertory Theatre, so one can think of just a very good time, even if the message is sometimes our production as a total community effort! Similarly, our dark and disturbing. Thanks to you all for your presence, production of Mr. Burns also projects the future in that it is for all these renewing beginnings and endings, your being directed by John Langs, who will begin his tenure as ACT’s here and elsewhere, your story in this story. Long may you new artistic director in 2016, and will inaugurate what I’m and ACT wave. sure will be a great new era of theatre-making at ACT. All of this season’s plays were chosen to have a thematic relationship to one another, to give you a sense of everything ACT has been, is now, and strives to be: a dynamic theatre center devoted to the exploration of Kurt Beattie the art form, a 50-year continuity representative of our Artistic Director

10 ACT – A Contemporary Theatre COMING SOON TO ACT

By Charles Dickens Adapted by Gregory A. Falls Directed by John Langs

Nov 27–Dec 30 Photo by Chris Bennion

The Great Soul of Russia Exploring the Work of Oct 21, Nov 18 Quiara Alegría Hudes The Seagull Project explores how various Russian Nov 11 artistic roads begin and end with Chekhov. October Enjoy a reading in Spanish from a Pulitzer Prize- features “The Seventh Siege”, followed by “The Little winning playwright. Elliot, A Soldier’s Fugue traces Trilogy” in November. the legacy of war through three generations of a

Photo by Paul Lippert Paul by Photo Puerto Rican family. A Glimmer of Hope or Skin Ham for the Holidays: or Light Who’s Afraid of Virginia Ham? Oct 30–Nov 14 Dec 3–20 Glimmer is a dance-theatre-cabaret-glam-rock musical Merry. Mirthful. Mad. Ham returns with zany, full of uncommon encounters, raucous spectacle, and gender-bending holiday sketch hijinks. Devilish virtuosic dancing, choreographed and directed by social satire, loony musical parodies, and more wigs than Dolly Parton.

Photo by Kevin Kauer KT Niehoff. Endangered Species Project Sandbox Radio LIVE! Nov 9, Dec 14 Dec 28 Explore the great plays you seldom see. November Seattle’s locally grown radio theatre returns to ACT features Bertolt Brecht’s The Resistible Rise of Arturo Ui, with your favorite local writers, actors, and followed by Howard Lindsay and Russel Crouse’s musicians reimagining theatre for radio—recorded Life With Father in December. LIVE! December's theme is “The Big One". Photo by TrumanBuffett acttheatre.org | 206.292.7676 | 700 Union Street, Seattle

encoreartsprograms.com 11 A Note from Director JOHN LANGS

PHOTO BY TRUMAN BUFFETT

A confession: although I am not a religious person, Humanity has nurtured these stories, loved and I spend a lot of time in rehearsals in a prayerful needed them. They point toward hope that we can state. I am praying that the theatrical machine we come together to survive and rebuild in the face of build to deliver the story will be blessed often by a disaster. “spirit.” This “spirit,” for lack of a better term, will Some of these stories have become the travel through the specific work of actor, director, cornerstones of western culture. How a story grows and designer, to meet up with you, our audience, in in mythic authority is one of the central questions a meaningful way. This process is full of metaphors. of Mr. Burns. Anne Washburn posits that collective “We just build the machine for God to come human need can actually incubate a story over time. through.” Or, “We build the bottle, Zeus provides Stories are handed down, generation to the lightning.” As director, I am trying to find a way generation, like that parlor game of “telephone”. to allow something bigger than all of us to happen Facts are embellished. Events are enshrined. The when we gather around the proverbial campfire. narrative takes on power. This play makes me In the past three years, in my position as wonder about the origins of The Ramayana, The Associate Artistic Director, I have had the chance Iliad, and the Bible. How were these stories told the to read hundreds of scripts. Never in my life have very first time, and who were the great storytellers I encountered one that comes anywhere near what that delivered them with the kind of power that you are about to see. Anne Washburn’s imagination, embedded them in our collective consciousness? in collaboration with devising theatre troupe The Is it possible that a strange little interlude Civilians, has captured lightning in a bottle. Mr. of a cartoon, used as transition material on a Burns has become the most produced American Tracy Ullman variety show, could encode itself play of the 2014–2015 season. in the collective psyche and become an enduring This popularity speaks to the wildly creative inspirational epic? In the theatre, anything is spirit that has been encouraged from every director, possible. actor, and collaborator who takes on this script. A friend once said to me that an artist is just a Stories like Mr. Burns are an invitation for theatre craftsperson on a really good day. I would say then artists and audiences alike to tap into our universal that Anne Washburn, Michael Friedman, and The human need to tell a very particular kind of story— Civilians had a “very good day.” the story of its own demise and resurrection. In Here at ACT, we believe in the bold and the Biblical times it was a great flood and a series of daring, in taking risks and shaking things up. We plagues. In our modern times we have seen stories have gone after this material with a tribe of excellent of nuclear holocaust, climate catastrophe, towering craftspeople, hoping that together around this infernos, and more recently, the zombie apocalypse. campfire, with you, we will have a good day.

12 ACT – A Contemporary Theatre Survival of the Fittest Stories Excerpts from an Interview with Playwright Anne Washburn BY NIRMALA NATARAJ

You’ve said that Mr. Burns emerged You used found dialogue in writing The choice of The Simpsons seems from an idea that had been knocking Mr. Burns when you developed it with The appropriate. It’s an animated show set around in your head for years: you Civilians back in 2011. What was that like? in a world that is always going to endure wanted to take a pop-culture narrative We got together and asked actors to come no matter what happens. and see what it meant and how it up with any Simpsons episode they could It is a good thing to have hit upon, consciously changed after the fall of civilization. recount. “Cape Feare” was the one they had or not. Because the characters are eternal and I recently realized that the idea partially the best memory of. Matt Maher muscled because it’s a cartoon, you have such a wide range stemmed from September 11, 2001. I was in his way through it with them, and Maria of stories to choose from. And the characters are New York then. We were convinced that the Dizzia and Jenny Morris chipped in. Then archetypal. Bart Simpson is a trickster, similar city would come under some other attack, we had a second telling, and a third one at to mythical characters like Coyote or Kokopelli. so we were thinking about things in a very which there were a couple of actors who He always gets into trouble and always ends up drastic way. As I was pondering the end of hadn’t previously been in the room. From surviving. His heart is in the right place, but he’s civilization, I imagined that in the midst of these three iterations, I made a master pure mayhem. And Homer is the idiot, the holy a catastrophe, people would tell stories if version of the play and edited it a lot and fool. Because the play takes place right after the they had any down time. I was interested in did tiny bits of rewriting, but basically, apocalypse and The Simpsons is about a family, which stories would be told, how they would all the material in the first act that has I thought the survivors would care more; the be told, what media makes the transition to do with the actors telling the episode questions of what your bonds are, who your from the visual to the spoken, and how these came directly from spoken English. We community is, become really relevant. stories mutate. We are used to telling stories are trained as writers in written English, about things we’ve seen and books we’ve but this is limiting. Even if you are an What do you think makes the “Cape read, and in the context of an apocalypse, exact observer, you can only kind of come Feare” episode so memorable? people would be most interested in up with believable dialogue between two When I tell people I wrote a play about it, something everyone would have in common, people, but to re-create a group-think many who are familiar with the show say, so that’s where the idea of basing the play on process without actually hearing people talk “I know that one. It’s my favorite!” Jon Vitti, a TV show came from. it out is really hard. the head writer of The Simpsons for a few

encoreartsprograms.com 13 seasons, was one of several people who left background. The activities and obsessions structure: the first act would take place after season five. I remember him saying of the characters are pretty different from roughly around now, the second act would that “Cape Feare” was the last episode that those you might see on a television show take place seven years in the future, and the particular group of writers was responsible like The Walking Dead, for example. third act would be a fully fledged theatrical for. It was a rule in The Simpsons that you Maybe so, but at the same time, the stakes gesture far into the future. I was also could never have just one primary reference are enormous. The characters are not just thinking a lot about Greek drama because it point, which is why the show always had people sitting around and putting on a play was created by a society that was still in deep multiple references in a single episode; in their leisure time. At first their storytelling trauma over the fall of Athenian democracy, if people didn’t understand a particular is casual, but you have to understand: which was the height of civilization at that reference, they could swiftly find another if audiences don’t enjoy their show, the time. Until you get to the forms that are one they did get. “Cape Feare” is a unique characters don’t eat. I also think we assume common now, all the drama of ancient case. Although there are six million other the characters are doing a lot of surviving, Greece and the Old World includes music references in the episode, “Cape Feare” but we’ve all seen the movies and the TV and dance, which are super satisfying when follows the 1991 film Cape Fear almost shows, and we know what that survival- they are combined. The degree to which from beginning to end. So people retain it oriented post-apocalyptic world looks like, contemporary drama is performed without because it contains an intact story. so I didn’t feel the need to repeat that here. music is something I find curious. In the Although Cape Fear is not really an old future of Mr. Burns, the characters don’t story, it pivots on an extremely old fear: I’m curious about the role of come from theatrical backgrounds. They being powerless. It’s a nightmare a lot of commercials and song mash-ups aren’t familiar with today’s conventions, so in people have – you call for help, nobody can in the play. Their addition feels like some ways, they have no reason not to make help you, and the menacing thing is coming the characters’ attempt to find some the most exciting plays they can. your way. There’s something very punitive semblance of normalcy. and raw and awful about the 1962 film and In Mr. Burns, the commercials and song How do you think the “Cape Feare” 1991 remake, but the Simpsons episode is mash-ups might serve to create a kind of story would evolve if we found much scarier. Even though it’s a cartoon, painful nostalgia, but they also provide ourselves 175 years into the future? the focus is on the child, and the child who the kind of reassurance kids get when they It all depends on the civilization around is being targeted is someone nobody pays hear a family story over and over again, and it. The story could mutate into a beautiful attention to. It makes the story even darker, they freak out if you change any details. meditation, or it could be grand and crude which is also part of its appeal. The people in this world need storytelling and propagandistic, depending on who’s in to not be creative. They want to recreate power. But, surely, it would be more detailed, What was the weirdest piece of their old world as exactly as possible in and it would be much more removed from information you came across in your their entertainment. However, because the original concept of The Simpsons. It research for the play? I think humans always need to express might even be blasphemous to say it was I don’t think any of it seemed weird or their anxieties, the commercials and the originally a cartoon! You’d want it to take on strange, unfortunately. I was surprised to megamix of songs become the areas where, reverential proportions in order for it to have find out how many nuclear power plants we under the disguise of “we used to have historical buy-in. It’s similar to how we’d like have in the United States. I was startled to commercials and they looked like this,” or to believe that if something is important now, discover that all of our policies on nuclear “we used to have song compilations and it must have a grand and glorious origin. regulation are being enforced in the absence they looked like this,” the creative urge of emergency plans or crisis management. reaches out of the shock of trauma. It’s the Mr. Burns is a memory narrative that People proceed as though they’re always beginning of recovery and healing. creates the future from the detritus of going to have an unbroken chain of civic the past. control for thousands of years, and it’s not By the time we get to the end, there is a Yes, the current day is always being shaped like that’s ever happened or is even possible. complete stylistic shift. What was going by the past. We always talk about “the through your mind when you decided good old days.” We tend to have these Mr. Burns doesn’t feel like the typical to have this grand third act? firm narratives about the past, but they post-apocalyptic story; the details of the Even before I knew the story would revolve are selective at best, and often, albeit disaster are palpable but they’re in the around The Simpsons, I wanted a three-act innocently, completely false.

Nirmala Nataraj is a freelance writer in the San Francsico Bay Area and Publications Manager for the American Conservatory Theater. This article is reprinted with permission from Words On Plays, Vol. XXI, No. 4. © American Conservatory Theater, 2015. To read the complete interview, visit www.act-sf.org

14 ACT – A Contemporary Theatre Central Characters HOMER SIMPSON: the patriarch of the family, who often trips over her clothes. She does not speak (with works—as much as Homer ever works—as the a few notable exceptions), but has shown indications Nuclear Safety Inspector at the Springfield Nuclear of high intelligence and dexterity. Power Plant. Homer is bumbling, lazy, clumsy, incompetent, and often enraged by Bart, but also MR. BURNS: Homer’s boss, the evil owner of the fiercely loyal to his family. He thinks with his stomach Springfield Nuclear Power Plant. Mr. Burns is and acts on impulse, loves donuts, and has been generally disliked throughout Springfield, as his described as “creatively brilliant in his stupidity”. D’oh! primary objective is to accumulate wealth and power, at the expense of everything else—he has MARGE SIMPSON: the matriarch of the family, patient no concern for his employees’ safety and can’t and grounded, who puts up with the chaos around recall most of their names. Mr. Burns is the richest her and brings the voice of morality and reason. Marge and oldest citizen of Springfield, and his absurdly is most of all a homemaker and mother, though in advanced age is the cause of many anachronistic search of excitement she sometimes takes up jobs on jokes and outdated mannerisms. the side. She is a moral force in the community, and a loving though often long-suffering parent. SIDESHOW BOB: (real name Dr. Robert Underdunk Terwilliger, PhD) originally an abused sidekick BART SIMPSON: the oldest child of the family, popular, on Krusty the Klown’s TV show, Sideshow Bob mischievous, rebellious, and with a healthy disrespect attempted to frame his boss for murder, was caught for authority, Bart is consistently in trouble and is by Bart, and sent to prison. Now Sideshow Bob is proud of his underachievement at school. He has an evil genius and criminal mastermind who makes an often-turbulent relationship with his parents frequent murderous and destructive plans, including and a sibling rivalry with Lisa, but underneath his many attempts to kill Bart, the Simpson family, or troublemaking exterior shows signs of integrity and Krusty. In a running reference to Wile E. Coyote, heart in many situations. He is a big fan of Krusty those plans are continuously foiled by less intellectual the Clown and The Itchy & Scratchy Show, which he people. (Stepping on rakes is another running gag, watches with Lisa. used so often now that writers and fans simply call it “the rake joke”.) LISA SIMPSON: vegetarian, feminist, Buddhist, environmentalist, and politically liberal, Lisa can ITCHY & SCRATCHY: Itchy is a sadistic, anthropomorphic often be found fighting for various causes. She blue mouse; Scratchy, an anthropomorphic black cat. plays the baritone saxophone, and is the most The Itchy & Scratchy Show is usually presented as intelligent member of the Simpson family, joining the 15-60 second cartoon segments on Krusty the Springfield Mensa chapter. Clown’s TV show, often parodies of famous cartoons or films. Itchy is nearly always the victor in their MAGGIE SIMPSON: the baby of the family, Maggie is violent battles, and the cartoons are always full of nearly always seen sucking on her red pacifier, and absurd amounts of gratuitous violence. Supporting Characters KRUSTY THE CLOWN: The Krusty the Clown Show background). He is full of real concern for the airs on TV in Springfield; Krusty is a hard-drinking education of his students, and is constantly entertainment world veteran, who is often assisted fighting for better resources and to keep control by Bart in various crises but will invariably forget over the school. who Bart is the next time around (possibly due to the large amount of drugs Krusty uses). Krusty’s WILLIE THE GROUNDSKEEPER: groundskeeper at character design is meant to look like Homer in Springfield Elementary; gruff, rude, and intensely clown makeup, the implication being that Bart proud of his Scottish heritage. worships a man who is actually his father in disguise. APU: Apu Nahasapeemapetilion is a naturalized MOE SZYSLAK: the owner and bartender of Moe’s citizen from the fictional Ramatpur, has a PhD in Tavern, Moe is often engaged in illegal or black computer science, and is proprietor of the Kwik-E- market activities, and is often the target of prank Mart convenience store. “Thank you, come again!” calls from Bart. CHIEF WIGGUM: the chief of police in Springfield, NED FLANDERS: The Simpsons’ genuine, well-meaning, usually depicted as incompetent and irresponsible friendly neighbor with a perfect family, Ned is an on the job. evangelical Christian and a well-respected member of the Springfield community. Homer has a love-hate MAYOR QUIMBY: the longtime mayor of Springfield, relationship with Ned Flanders. a slick career politician with the motto “corruptus in extremis.” TROY MCCLURE: a movie-star has-been, Troy often hosts educational videos, infomericals, and other NELSON MUNTZ: a fourth-grader at Springfield films seen on Springfield’s televisions. “Hi, I’m Troy Elementary and the biggest bully in town. (With the McClure; you may remember me from…” possible exception of Mr. Burns.)

MS. KRABAPPEL: Bart’s fourth-grade teacher at MILHOUSE VAN HOUTEN: Bart’s best friend, loyal and Springfield Elementary, a cranky and jaded teacher smart but gullible; a target for bullies like Nelson. who chain-smokes during school hours. MARTIN PRINCE, JR: a fourth-grader at Springfield PRINCIPAL SKINNER: Principal of Springfield Elementary Elementary, Lisa’s rival for top of the class, and one School and a man of strict discipline (from a military of Nelson’s favorite targets for bullying.

ILLUSTRATIONS BY DEB TROUT encoreartsprograms.com 15 Who's Who in Mr. Burns

Anne Allgood (Jenny/ Erik Gratton (Matt/ Adam Standley Marge) happily returns Homer) moved to Seattle (Gibson/Mr. Burns) is home to ACT! Among from Los Angeles nearly honored to make his numerous appearances four years ago. Excited to ACT debut in such a here: Mary Stuart, The debut at ACT with this radical play. This Price, The Clean House, production, he began his collaboration is full of Vincent in Brixton, The recent cartoon run playing huge talents that he’s Prisoner of Second Shrek for Coeur d’Alene humbled to work with. Avenue, The Women, Eurydice, Miss Summer Theatre this August. Before that, he In Seattle, Adam has worked at Intiman Witherspoon, Ramayana, Das Barbecü!, Old enjoyed a sold-out run as Billy Pilgrim in a world Theatre, Seattle Children’s Theatre, Seattle Times, and A Christmas Carol (thrice). She’s premiere version of Slaughterhouse-Five (Book-It Shakespeare Company, Seattle Opera, and starred on Broadway in Carousel, The Most Repertory Theatre). With Village Theatre, he’s Washington Ensemble Theatre. As a founding Happy Fella, Beauty and the Beast, The Sound of recently worked on Mary Poppins and performed member of the new works ensemble, The Satori Music, and Imaginary Friends. Regional credits the title roles in The Foreigner and The Noteworthy Group, his work there comprises the majority of include: Other Desert Cities, Company, Jane Eyre, Life of Howard Barnes. Among other favorite the pride in his life. His wife and puppy take up and many others. In Seattle: Cymbeline, Angels in projects across the country are the one-actor show the rest. Recent Satori Group acting credits America (Intiman Theatre); Bad Dates, The Jacob Marley’s Christmas Carol and some of include reWilding, Making of a Monster, and Constant Wife, You Can’t Take it With You, Shakespeare’s best, including Hamlet, Rosalind, Winky; directing credits include Tragedy: a Boeing, Boeing (Seattle Repertory Theatre); and Jacques. He also played a beaver on Grimm tragedy and Making of a Monster. Recent Cabaret (Village Theatre); Seattle Children’s and is the co-host of “The Lazy Muses Podcast.” regional credits include Prior in Angels in Theatre; and others. For The 5th Avenue Theatre, America: Part 1 and 2; Lyle Webb in John Baxter she has appeared in leading roles in over a dozen Claudine is a Switch Hitter; State Trooper/et al in Jane productions, and coming up this Christmas: The Mboligikpelani Nako Nichols’ idiotic We Won’t Pay, We Won’t Pay; Sound of Music. Enjoy! (Colleen/Itchy) makes her Joe/et al in Stu For Silverton; and Eddie in the ACT debut in Mr. Burns. beautiful Trouble In Mind. Christine Marie Recent credits include the Brown (Maria/Lisa) is title role in the premiere Robertson Witmer thrilled to return to ACT stage adaptation of Chris (Musician/Actor) is a after playing Susan in The Cleave’s novel Little Bee Seattle native, where he Pitmen Painters in 2012. (Book-It Repertory Theatre) and Camae in The works as a freelance A former New Yorker, Mountaintop (Snowy Range Summer Theatre). musician and sound Christine has appeared on Favorite musical roles include Heidi in [title of show] designer. Recent credits and off Broadway and (Balagan), Cathy in The Last Five Years (SRST), and include Seven Ways to nationally at the Old Globe, The Guthrie, Janet in The Rocky Horror Show (Seattle Musical Get There, The Three Baltimore Center Stage, Shakespeare & Company, Theatre). She has performed in various regional and Sisters (ACTLab); Venus in Fur (Seattle Repertory South Coast Repertory Theatre, and many others. international venues, including work as a lead Theatre); Comedy of Errors, Tartuffe (Seattle Elsewhere in Seattle, her work has been seen at singer/dancer and vocal captain for Carnival Cruise Shakespeare Company); The Flick (New Century Seattle Repertory Theatre, Village Theatre, 14/48 Lines’ Playlist Productions. In addition to the stage, Theatre Company); and The Return of Chaos Festival, Theatre Anonymous, SOAP Fest, Engaged Nako works in film and television and can be seen (Teatro ZinZanni). His onstage appearances Theatre Program, Sandbox Radio LIVE!, and in multiple national commercials. Nako is a freelance include A Doctor in Spite of Himself (Intiman Endangered Species Project (ESP). As a member of youth theatre director and a passionate advocate Theatre, Berkeley Repertory Theatre); Fiddler on the faculty at Freehold Theatre Lab, she teaches for arts education. In spring 2016 she will play the the Roof (Village Theatre), and West (On the Intro to Acting, Auditioning, and Scene Study. She lead role of Efua in Village Theatre’s world premiere Boards). In 2013, Rob received the Gregory holds an M.F.A. from the Old Globe and is a musical production of My Heart is the Drum. Award for Outstanding Sound Design. member of ESP, the Sandbox Artists’ Collective, AEA, and SAG-AFTRA. Bhama Roget (Quincy/ Anne Washburn’s Bart) has been acting in (Playwright) recent plays Andrew Lee Creech Seattle since 1999, and include 10 out of 12 (Sam/Scratchy) is ecstatic to has performed in several (Soho Rep), Mr. Burns be making his official ACT productions at Seattle (Woolly Mammoth, debut in Mr. Burns! A Repertory Theatre, Seattle Playwrights Horizons), casual-to-serious Simpsons Children’s Theatre, Seattle Devil At Noon (A.T.L. enthusiast, Andrew is a Shakespeare Company, Humana Festival), The homegrown actor, writer, and the dearly departed Empty Space Theatre. As a Small (Clubbed Thumb), transadaptations of and hip-hop artist whose standup comedian and improviser, she has Euripides’ Iphigenia In Aulis (Classic Stage work has been showcased throughout Seattle and performed at the Hollywood Improv, Mbar, Largo, Company), Orestes (Folger), and The Texas. Past Credits: Passing Strange (Sidecountry and El Cid in Los Angeles, and is a 15-year Internationalist (13P; Vineyard Theater). Honors Theatre, ACT); Trouble in Mind (Intiman Theatre); member of the celebrated Bainbridge Island include a Guggenheim, a PEN/Laura Pels award, Girl, You Know It’s True (Theatre Off Jackson, Gypsy improv group, The Edge. She has been seen on a Whiting, a NYFA fellowship, Susan Smith Rose Lee Award Nomination). Up next: Buzzer television in ABC’s Grey’s Anatomy and TNT’s Blackburn finalist, and several MacDowell and (West of Lenin, ACT). Thanks to V for holding me Leverage, as well as on the hit web shows Cookus Yaddo residencies. Her play Antlia Pneumatica up when my feet get tired. Love to my family for Interruptus and Wrecked, for which she won the will premiere at Playwrights Horizons in the undying support. Shout out to Andy at Kinko’s— 2013 Indie Series Award for Best Lead Actress in a spring of 2016. you always got my back! Comedy. This is Bhama’s first time on stage at ACT.

16 ACT – A Contemporary Theatre John Langs (Director) How to Become a Partisan (St. Mark’s Cathedral), records. He has written hits for Elton John: “Are You Incoming Artistic Director of Cyrano (Portland Center Stage) with Seattle’s Jane Ready for Love”, “Mama Can’t Buy You Love”; the ACT, John’s 16-year Jones, Seven Ways to Get There (ACTLab), and In the Freemasons: “Love on my Mind”; J-Lo; the Spinners; freelance career has Garden of Rikki Tiki Tavi (Seattle Children’s Theatre). Johnny Mathis; Dee Dee Bridgewater; the O’jays; Lou afforded him the Other theatres include: Actors Theatre of Louisville, Rawls; the Temptations; and many more. West coast opportunity to work with The Alley Theatre (Houston), Alliance Theatre rap artists sample his tracks (Young Gunz, Lil’ Cease, many great artists at (Atlanta), Arizona Theatre Company, Denver Center Notorious B.I.G, Method Man, and others). He has prestigious theatre Theatre Company, Intiman Theatre, Children’s Theatre received numerous commissions, notably “Spirals” companies across the country. He has directed Company (Minneapolis), Oregon Shakespeare Festival, for celebrated Canadian dancer Margie Gillis, productions in New York at Playwrights Horizons Perseverance Theatre (Juneau), Seattle Repertory award-winning “Euphoric #1” for Puget Sound Flute and Ensemble Studio Theater, Milwaukee Repertory Theatre, Shakespeare Santa Cruz, Syracuse Stage, Quartet, and “Breakwater” for Felix Skoronek. He Theatre, Lookingglass Theater Company in Chicago, and Yale Repertory Theatre. Ms. Trout co-founded the has written musicals and opera, notably: “Big Boss” Circle X Theatre in Los Angeles, The Resident New York millinery company Mackey and Trout, holds and “Mirabelle” (commissioned by the International Ensemble Players in Delaware, New Century Theatre an M.F.A. from the Yale School of Drama, and teaches Children’s Festival). He is an adjunct at Cornish Company, Washington Ensemble Theatre, and design at the University of Washington. College and Seattle University and teaches privately. Seattle Shakespeare Company. John received his directing degree from the University of North Geoff Korf (Lighting Designer) is an associate Crystal Dawn Munkers (Choreographer) North- Carolina School of the Arts. Over the course of his artist of New Century Theatre in Seattle and west choreography: Boeing, Boeing and Hound career, he has enjoyed directing a wide variety of a member of the ensemble of Cornerstone of the Baskervilles (Seattle Repertory Theatre); No productions. Some of his favorites include King Lear Theater in Los Angeles. He serves as the Head of Way to Treat a Lady, West Side Story, Peter Pan, The with Kurt Beattie in the leading role, The Shaggs Design at the University of Washington’s School Noteworthy Life of Howard Barnes, and Watt?!? (Vil- Philosophy of the World (L.A. Drama Critics Circle of Drama. He is a graduate of California State lage Theatre); Dick Whittington and His Cat (Seattle Award for Best Original Musical, Backstage Garland University, Chico and the Yale School of Drama. Children’s Theatre); Passing Strange (Sidecountry Award for Best Direction, nominated for Lucile Lortel Theatre); Much Ado About Nothing, Love’s Labour’s and Drama Desk awards celebrating excellence Off Dominic CodyKramers (Sound Designer) is a faculty Lost, and As You Like It (Seattle Shakespeare Compa- Broadway), and Brothers Karamazov (seven LADCC instructor in Seattle University’s Performing Arts and ny); Gypsy and CHICAGO (Seattle Musical Theatre). Awards including Best Production of the Year and Art Leadership Department, and continues to design Director/Choreographer credits: Just Fosse (Carnival Best Direction). John received the first annual Seattle locally. Earlier this year, he created the soundscape for Cruise Lines), A Chorus Line (Seattle Musical Theatre), Gregory Award honoring excellence in direction for Cat On a Hot Tin Roof (ACT), and will be designing Forever Plaid (Bellevue Civic, Tacoma Actors’ Guild, The Adding Machine. Last year, Seattle audiences Buzzer (ACTLab) in January. His work has also been Second Story Repertory), and the film Her Heart. were able to catch John’s directing work in NCTC’s heard at Seattle Children’s Theatre, Seattle Beckett production of Mary’s Wedding and The Seagull Fest, Seattle Shakespeare Company, Seattle Repertory Frank Honts (Dramaturg) is honored to make Project’s production of The Three Sisters. As a Theatre, West of Lenin, upstart crow, Strawberry his ACT debut with Mr. Burns. Dramaturgy credits: dedicated fan of original work, John has shepherded Theatre Workshop, Madcap Melodrama, and the Flying Henry IV Parts One and Two, King Lear, Measure over a dozen projects to their premiere productions, Karamazov Brothers. Other west coast design credits for Measure, The Two Gentlemen of Verona and is thrilled to lead ACT into its 51st season. include Universal Studios Hollywood Theme Park, PCPA (Utah Shakespeare Festival); Amelia (Renaissance TheatreFest, Pasadena Playhouse, San Luis Obispo Theatreworks); Good People, In the Next Room Matthew Smucker (Scenic Designer) is pleased Little Theatre, Santa Clarita Repertory East Playhouse, (Forward Theater Company). Recent directing to return to ACT, where previous designs include Hudson Theatre, and Oregon Cabaret Theatre. Dominic projects: Affluence, Rep Lab (Milwaukee Repertory), Sugar Daddies; Rapture Blister Burn; Grey Gardens; earned an M.F.A. from California Institute of the Arts 9 Circles (Midwest premiere), and Speech & Debate. Ramayana; First Date; In the Next Room, or the and a B.A. from UNC-Asheville, his hometown. He is a As an assistant director, Frank has worked at the vibrator play; Vanities; The Prisoner of Second proud of member of United Scenic Artists USA-829. Goodman Theatre, Milwaukee Repertory, California Avenue; Yankee Tavern; The Trip to Bountiful; Rock Shakespeare Theater, and American Players Theatre. ’n’ Roll; Below the Belt; Dr. Jekyll and Mr. Hyde; Jeffrey K. Hanson (Stage Manager) Now in his For three seasons, Frank was artistic associate at Eurydice; The Clean House; The Women; and The 26th season at ACT, Hanson has stage managed Forward Theater Company (Madison, Wisconsin). Pillowman. Smucker’s regional credits include Elf, more than 70 shows including Little Shop of Horrors; Education: A.B., history, Brown University. Oklahoma!, and Candide (The 5th Avenue Theatre); Sugar Daddies; The Pinter Festival; The Pitmen Who’s Afraid of Virginia Woolf, Or, Circle Mirror Painters; Double Indemnity; In the Next Room, or Emily Penick (Associate Director) is the Artistic Transformation, Speech & Debate, and Three Tall the vibrator play; Becky’s New Car; The Lieutenant of Associate at ACT, Artistic Director of RED STAGE, and Women (Seattle Repertory Theatre). He has worked Inishmore; Das Barbecü; The Women; Stuff Happens; a local director and choreographer. Favorite directing for Intiman Theatre, Seattle Children’s Theatre, The Pillowman; Mourning Becomes Electra; A Skull credits include The Other Woman (Milwaukee Village Theatre, Arizona Theatre Company, Portland in Connemara; Quills; Laughter on the 23rd Floor; Repertory Theater), The Rose Tattoo (Ohio University), Center Stage, San Jose Rep, Kansas City Repertory The Gospel at Colonus; Halcyon Days; The Revengers’ and The Secret Rapture (Bucknell University). Favorite Theatre, Houston’s Theatre Under the Stars, and Comedies; and Lloyd’s Prayer. At The 5th Avenue associate directing credits include: Bethany (ACT), Minneapolis Children’s Theatre Company. Smucker Theatre, he has been production stage manager for The Seagull (American Players Theater), An Iliad, received the 2011 Gregory Award for Outstanding Grease; Jacques Brel is Alive and Well and Living in and Ragtime (Milwaukee Repertory Theater). Recent Scenic Design, a 2012 Seattle Magazine Spotlight Paris; A Chorus Line; Oklahoma!; Candide; Irving choreography credits include fight choreography for Award, and appeared on The Stranger’s 2011 Berlin’s White Christmas; Hello Dolly!; and Mame. He Othello (Seattle Shakespeare Company), associate and Genius Awards short list. Smucker teaches at has stage managed Metamorphoses, and The Cider movement direction for Mary’s Wedding (New Century Cornish College of the Arts and received his M.F.A. House Rules, Parts One and Two (Seattle Repertory Theatre Company), and choreography for Don Nordo from the University of Washington School of Drama. Theatre); and for Seattle Children’s Theatre, Intiman Del Midwest (Café Nordo). Upcoming directing and Theatre, and Arizona Theatre Company. choreography projects include R&J (Seattle Immersive Deb Trout (Costume Designer) is a Northwest Theatre), Worse Than Tigers (RED STAGE, ACTLab), designer. This past season’s work includes American Casey James (Music Director) is an award-winning and 9 to 5 (Centerstage Theatre). Emily earned her Dream (Seattle Opera), Alice Gosti’s durational piece songwriter/composer with many gold and platinum M.F.A. in directing from Ohio University.

encoreartsprograms.com 17 Who's Who in Mr. Burns Special Fund Donors Kurt Beattie (Artistic ACT Endowment Donors Director) has been creating ACT’s endowment is administered by the A Contemporary Theatre Foundation. theatre for Puget Sound Buster & Nancy Alvord • Joan & Larry Barokas • Michael Corliss-Investco • Katharyn Alvord Gerlich • audiences for over 40 years as Becky & Jack Benaroya • Charles Blumenfeld & Karla Axell • Ron & Jan Delismon • The Ewert Family • an actor, playwright, and director. His productions at Bruce & Dawn Goto • William Randolph Hearst Endowed Fund for Education & Outreach Programs • ACT include Bloomsday, Kreielsheimer Remainder Fund • Doug & Nancy Norberg • Sally Pence • Katherine & Douglass Raff • Vanya and Sonia and Masha Brooks & Suzanne Ragen • Herman & Faye Sarkowsky • David E. & Catherine E. Skinner • and Spike; Grey Gardens; Ramayana (with Sheila Kayla Skinner • Estate of Stuart Smailes • John & Rose Southall • David & Joyce Veterane • Daniels); The Pitmen Painters; Double Indemnity; In the The Peg & Rick Young Foundation • Anonymous Next Room, or the vibrator play; The Lieutenant of Inishmore; Rock ‘n’ Roll; Becky’s New Car; Intimate The ACT Legacy Society Exchanges; First Class; The Pillowman; Mitzi’s Abortion; The Underpants; Bach at Leipzig; Vincent in Brixton; The ACT Legacy Society honors ACT patrons who continue to support and Black Coffee; Alki; Moon for the Misbegotten; Fuddy ensure the ongoing tradition of presenting the best contemporary theatre for Meers; Fully Committed; Via Dolorosa; and the holiday future generations through estate planning, wills, and living trusts. Investments classic, A Christmas Carol. Elsewhere he has directed at of all sizes can make significant future gifts by using tax-advantaged estate and Seattle Repertory Theatre, Empty Space Theatre, financial planning options. Specific areas where ACT can benefit from your legacy Intiman Theatre, Seattle Children’s Theatre, University of are scholarships, endowments, capital projects, or operating costs. Questions or Washington, San Jose Repertory Theatre, Milwaukee arrangements can be discussed with our Development Department at 206.292.7660 x1330. Repertory Theater, The Alley Theatre in Houston, and ACT Legacy Society Members Ojai Playwrights Festival. As an actor, he has appeared in leading and major roles at ACT (most recently as Nancy Alvord • Laurie Besteman • Jean Burch Falls • Linda & Brad Fowler • Tal & Carol Godding • Ebenezer Scrooge in A Christmas Carol), Seattle Suzanne Howard • H. David Kaplan • Carolyn Keim & Connie Rinchiuso • David Mattson • Repertory Theatre, Intiman Theatre, Empty Space Mike McCaw & Janet Westin • Catherine & Barry McConnell • Dr. Arnie & Judy Ness • Lisbeth Pisk • Theatre, Seattle Shakespeare Company, as well as many Brooks & Suzanne Ragen • Teresa Revelle • Chuck Sitkin • GregRobin Smith • John & Rose Southall • regional theatres throughout the country. Beattie is a Judith Warshal & Wade Sowers • Dorothy E. Wendler recipient of the Theatre Puget Sound Gregory A. Falls Sustained Achievement Award, and the Outstanding Special Thanks Achievement in the Arts Award from ArtsFund. ACT gratefully acknowledges the following professionals and organizations who have helped Carlo Scandiuzzi (Executive make this season a success: Director) is a founder of Agate Keith Johnson, Daqopa Brands LLC • Seattle Children’s Theatre • AJ Epstein Films and Clear Pictures, Seattle Repertory Theatre • UW Drama • Joshua Carter • Cayman Ilika producing such films as Seattle Eye Care & Optical, Grady Hughes, MD • Stephen O’Bent • Dwight Beckmeyer Prototype, Dark Drive, Outpatient, and The Flats, and Indieflix, a distribution company. In 1979, Scandiuzzi PATRON INFORMATION started Modern Productions, bringing to Seattle such legendary bands as The Police, Devo, Nina Hagen, Iggy Emergency Evacuation Procedures Sign Language interpreted and audio-described Pop, The Ramones, John Cale, Robert Fripp, James In the event of an emergency, please wait for an performances. For more information, email Brown, Muddy Waters, and many more. He performed in announcement for further instructions. Ushers will be [email protected]. several plays at The Empty Space including Aunt Dan and available for assistance. Lost & Found Lemon, The Return of Pinocchio, and Dracula. In the early Emergency Number Call 206.292.7676 between 12:00pm and 6:00pm, ‘80s, he collaborated with many Seattle performance The theatre’s emergency number in the Union lobby is Tues–Sun. artists such as Norman Durkee, Alan Lande, and Jesse 206.292.7667. Leave your exact seat location with your Bernstein. He also acted in various films including Bugsy, emergency contact in case they need to reach you. Address & Website The Public Eye, Another You, Casanova’s Kiss, and Killing ACT is located at Zoe. He graduated from the Ecole Superieure D’Art Smoking Policy 700 Union Street, Seattle, WA 98101. Ticket Office Phone: 206.292.7676. Dramatique of Geneva. Carlo currently serves as a Smoking is NOT allowed in any part of the theatre or within 25 feet of the entrance. Administrative Office Phone: 206.292.7660. member of the Seattle Arts Commission. Fax: 206.292.7670. Firearms Policy Website: www.acttheatre.org. ACT operates under agreements with the No firearms of any kind are allowed in any part of the following: theatre. Theatre Rental For information regarding booking, Food contact [email protected]. Food is not allowed in the theatre. Tuxedos & Tennis Shoes is the exclusive caterer of ACT. Group Sales Groups of 10 or more can save. Accessibility Call 206.292.7676 or Wheelchair seating is available. The theatre is email [email protected]. equipped with the Williams Sound® Listening System This theatre operates under an agreement between the League for the hard of hearing; headsets are available from Fragrance of Resident Theatres and Actors’ Equity Association, the Union the house manager for use, free of charge, with a Please be considerate and keep personal fragrance to of Professional Actors and Stage Managers in the United States valid ID and subject to availability. ACT offers American a minimum.

18 ACT – A Contemporary Theatre CELEBRATE

OF ACT. Photo by Sebastien Scandiuzzi Sebastien by Photo ACT IS YOUR THEATRE

Support your theatre by making a gift to ACT today acttheatre.org/donate | 206.292.7676x1330

encoreartsprograms.com 19 ACT Corporate, Foundation & Government Sponsors ACT gratefully recognizes the following corporations, foundations, and government agencies for their generous support of our 2015 programs. Without such tremendous community support, ACT would not be able to offer outstanding contemporary theatre, in-school educational programming, or community-based outreach.

THEATRE SPONSORS STAGE SPONSORS Morrison Hershfield Corporation $100,000+ $5,000–$9,999 Northwest Asian Weekly ArtsFund AHS Foundation Seattle P-I Office of Arts & Culture Bob & Eileen Gilman Family Foundation UBS Financial Services Charlie’s Produce Wyman Youth Trust SEASON SPONSORS Encore Media Group $50,000–$99,999 Gordon Biersch Brewing Co† MEDIA PARTNERS 4Culture † Horizons Foundation City Arts Magazine Boeing Management Association † RealNetworks Foundation Classical KING FM Shubert Foundation Inc. † Seattle Foundation KCTS9 † Tateuchi Foundation KEXP SHOW SPONSORS KUOW† $25,000–$49,999 U.S. Bank Foundation The Seattle Times† John Graham Foundation WA State Arts Commission The Stranger† National Endowment For Arts SUSTAINING SPONSORS † Support provided through in-kind contributions. Nesholm Family Foundation $1,000–$4,999 EVENING SPONSORS Alaskan Copper & Brass Company $10,000–$24,999 BNSF Railway Foundation Daqopa Brands Break-Away Tours Elizabeth George Foundation Butler Transportation LLC Harvest Foundation Coffman Engineers Inc. Microsoft Corporation DCI Engineers Peg & Rick Young Foundation Dramatists Guild Fund, Inc. Theatre Development Fund Jewish Transcript Media Tuxedos and Tennis Shoes† KUOW 94.9 Lewis/Bill

ACT gratefully acknowledges the following for their contributions to this production and season:

THE JOHN GRAHAM FOUNDATION

20 ACT – A Contemporary Theatre ACTMany thanks to thefor individuals the and organizations Future helping ACT toCampaign invest in artistic vision, maximize our facility’s potential, deepen and broaden community connection, and assure sustainability.

$100,000+ Gary & Parul Houlahan $5,000–$9,999 Linda & Brad Fowler Joshua Green Foundation Laurie Besteman & Jack Lauderbaugh The Norcliffe Foundation Katherine & Douglass Raff Colin & Jennifer Chapman Eric and Margaret Rothchild Don & Goldie Silverman Trevor Cobb & Cecilia Cayetano Mr. & Mrs. Clyde Wilson Heather & Grady Hughes $50,000–$99,999 Yoshi & Naomi Minegishi Allan & Anne Affleck $10,000–$24,999 Barry & Colleen Scovel Gladys Rubinstein Kermit & Danna Anderson Lisa Simonson Chuck Sitkin Joan & Larry Barokas Margaret Stanley Brian Turner & Susan Hoffman Dr. Eric Bennett Kären White David & Joyce Veterane Richard Hesik & Barbara Johns Wyman Youth Trust Bill Kuhn & Patricia Daniels $1,000–$4,999 Gregory & Diane Lind Bob & Kristi Diercks $25,000–$49,999 Jane W. & James A. Lyons Geraldine Hashisaki & Frank Tubridy 4Culture May McCarthy & Don Smith Ross Henry Peter & Fran Bigelow Dr. Arnie & Judy Ness Stephanie M. Hilbert Betty Bottler Ingrid Sarapuu & Michael Anderson Abha Khanna & Adam Porsch Allan & Nora Davis Dr. Greg Perkins Betsy & Charles Fitzgerald Teresa & Geoff Revelle Eulalie M. & Gian-Carlo Scandiuzzi Dr. Larry Hohm & Karen Shaw Robert & Shirley Stewart Susan Yates

ACT for All Seasons Gala 2014 Donors $10,000+ $1,000–$2,499 Barry & Colleen Scovel Eugene & Donna Mikov Christian Gruye May McCarthy & Don Smith Jason Astorquia Dr. Larry Hohm & Karen Shaw Paul & Linda Niebanck Kirsi Hall Eulalie M. & Gian-Carlo Scandiuzzi Dr. Eric Bennett Don & Goldie Silverman Nicholas & Yvonne Roberts Marja Hall Tuxedos and Tennis Shoes Laurie Besteman & Jack Sheila Smith & Don Ferguson Seattle Executive Fitness Wanda Herndon Lauderbaugh John & Rose Southall Jen Steele & Jon Hoekstra Stephanie M. Hilbert $5,000–$9,999 Dennis & Aline Caulley Margaret Stanley Robert & Shirley Stewart Tula Holmes Sheena Aebig & Eric Taylor Cave B Winery True Fabrications Franklin & Stephanie Thoen John Hynes Becky Benaroya Colin & Jennifer Chapman Joan Toggenburger Inn at Cannon Beach Linda & Brad Fowler Dottie Delaney $500–$999 Linda Brown & Larry True Inn at Laurel Point Fran’s Chocolates Monica Alcabin Mike Dey Kate Purwin & Sergei Tschernisch Graciela Kawa Richard Hesik & Barbara Johns Kurt Beattie & Marianne Owen Bob & Kristi Diercks Vijay & Sita Vashee Letter Press Distilling Heather & Grady Hughes Ben Bridge Jeweler Foster Pepper & Shefelman Marianna Veress Smirnes Kevin Lynch Gregory & Diane Lind Bon Vivant Wine Tours Gordon Biersch Brewing Co. Shanna Waite Kyoko Matsumoto Wright Dr. Arnie & Judy Ness Crane Jewelers Nicholas Hart Rob & Becky Witmer Neiman Marcus Prop Gallery James M. Curtis III Rodney & Jill Hearne Chris & BJ Ohlweiler Teresa & Geoff Revelle Dacels Jewelers Hydroplane & Raceboat Museum $250–$499 Pamela Reed & Sandy Smolan Herman & Faye Sarkowsky Timothy De Clue Alexandria Rossoff Jewels & Rare Inn at Langley Robert Rosner E & J Gallo Winery Finds Bill Johnson Ivan Rouzanov $2,500–$4,999 Anonymous Chase Anderson Maria Kolby-Wolfe & Michael Marybeth & Jerry Satterlee Allan & Anne Affleck Shmuel El-Ad & Patricia Emmons Joan & Larry Barokas Wolfe Lisa Schaures Marcia Bartholme Joselynn & Randy Engstrom Burke Museum Bill Kuhn & Patricia Daniels School of Acrobatics & New Viktoriya Mya Berlyant Mr. R. B. Cairns La Spiga Osteria Frank Ferrante Circus Arts Beth & John Brennen Jack Clay Candy Lee & Rocke Koreis Ferrari of Seattle Susan Simons Trevor Cobb & Cecilia Cayetano Patricia Dill Dan & Carol Madigan Mrigankka Fotedar Lisa Simonson Rhonda & Jim Greer El Gaucho Menashe & Sons Jewelers Fernando Garcia Mathew Smucker Linda & George Ojemann Finn River Farm & Cidery Yoshi & Naomi Minegishi Ross Henry UW School of Drama Marie Peters Jude Fisher The Nordhoff Family Stephen B. Hilbert Washington Ensemble Theatre Ann Ramsay-Jenkins Betsy & Charles Fitzgerald Palmer Chiropractic Clinic Cynthia Huffman & Ray Heacox Robin Weiss Sub Pop Records Jean Fleischfresser John Peeples Victor Janusz Martina Welke Cathy & Ron Thompson Ariel Glassman Dr. Greg Perkins Linda & Jason Lowry Woodland Park Zoo Brian Turner & Susan Hoffman Bernadine & Sean Griffin Ingrid Sarapuu & Michael Anderson Erika Michael Law Offices of Karen Zimmer Virginia Wyman

encoreartsprograms.com 21 ACT Partners ACT is dedicated to producing relevant works on contemporary themes. This is made possible by generous contributions from people in our community. We would like to recognize and thank the many kind individuals who have partnered with ACT this year. You inspire us all. Thank you.

THEATRE SPONSOR $100,000+ EVENING SPONSOR Katharyn Alvord Gerlich $10,000–$24,999 Eulalie M. & Gian-Carlo Scandiuzzi* Joan & Larry Barokas* SEASON SPONSOR $50,000–$99,999 Trevor Cobb & Cecelia Cayetano* Nancy Alvord Allan & Nora Davis* Linda Brown & Larry True James Degel & Jeanne Berwick, Berwick Degel Family Foundation Anonymous Jean Burch Falls SHOW SPONSOR $25,000–$49,999 Betsy & Charles Fitzgerald* Marion B. Keen Linda & Brad Fowler* Yoshi & Naomi Minegishi* Ellen Hazzard Anonymous Linda & George Ojemann

ASSOCIATE SUSTAINING PARTNER D.W. & Shirley Logan Margaret Bullitt $5,000–$9,999 $1,000–$2,499 Laura Lundgren Tina Bullitt Allan & Anne Affleck* John Akin & Mary Stevens Stephen & Ellen Lutz Susan Campbell Walter & Melinda Andrews Kermit & Danna Anderson* Meg & Jake Mahoney Kathryn & Bill Carruthers Laurie Besteman & Jack Lauderbaugh* Marge & Dave Baylor Tony Martello Dennis & Aline Caulley Gary & Parul Houlahan* Benjamin & Marianne Bourland Barbara Martyn Colin & Jennifer Chapman* Gregory & Diane Lind* June & Alan Brockmeier Kyoko Matsumoto Wright Martin Christoffel & Shirley Schultz McKibben Merner Family Foundation Dr. William Calvin & Dr. Katherine Peter & Kelly Maunsell Clark Family Charitable Fund Dr. Arnie & Judy Ness* Graubard Joy McNichols Trevor Cobb & Cecilia Cayetano* Katherine & Douglass Raff* Corinne A. Campbell Lauren Mikov Ellen & Phil Collins Barry & Colleen Scovel* Donald Cavanaugh Dayle Moss & David Brown Patricia & Theodore Collins Don & Goldie Silverman* Clement Family Foundation John Muhic Kevin & Lisa Conner Chuck Sitkin* Steven & Judith Clifford Bill & Mary Ann Mundy Kathleen Sneden-Cook & Jack Cook David & Shirley Urdal Steve Coulter Nadine & John Murray Jan & Bill Corriston Jean Viereck Chris DeGracia James Nichols Joan Cremin Jean Walkinshaw Dennis & Deborah DeYoung Hal Opperman & JoLynn Edwards Linda Crome Marcia & Klaus Zech Lonnie Edelheit Valerie D. Payne Chris Curry Anonymous Lori Eickelberg Pamela & Gilbert Powers Richard & Nancy Davis Joanne R. Euster Matthew & Linda Radecki Kathy & Don DeCaprio FRIEND Jeannie M. Falls Richard Rafoth Dottie Delaney $2,500–$4,999 Anne Foster Ken Ragsdale Patrick J. & Lanie Dineen Peter & Jane Barrett Eleanor & Jeff Freeman Cindy & Lance Richmond Darrel & Nancy Dochow Peter & Fran Bigelow* Natalie Gendler David & Valerie Robinson Fund Rick Freedman D.T. & Karen Challinor Genevra Gerhart Richard Andler & Carole Rush Ann & Donald Frothingham Bob & Kristi Diercks* Lawrence & Hylton Hard William & Rae Saltzstein Dot Fuller Thomas P. & Christine M. Griesa Rodney & Jill Hearne Frank & Leslie Schipper Gary J. Fuller & Randy L. Everett James & Barbara Heavey Arlene & Doug Hendrix M. Darrel & Barbara Sharrard Lucy Gaskill-Gaddis & Terry Gaddis Richard Hesik & Barbara Johns* Ross Henry* John Shaw Boyd & Ann Givan Heather & Grady Hughes* Margot & Paul Hightower Robert & Shirley Stewart* Hellmut & Marcy Golde Linda & Ted Johnson Stephanie M. Hilbert* Timothy Tomlinson Kelly & Jeffrey Greene Lisa & Norman Judah Vaughn Himes & Martie Ann Bohn Jim & Kathy Tune Rhonda & Jim Greer Karen Koon & Brad Edwards Nancy & Martha Hines Brian Turner & Susan Hoffman* Peter Hartley & Sheila Noonan Bill Kuhn & Patricia Daniels* Dale & Donna Holpainen Dirk & Mary Lou Van Woerden Phyllis Hatfield Frances & Casey Mead Joseph & Linda Iacolucci Tom & Connie Walsh Marjorie Kennedy Hemphill Eugene & Donna Mikov Katherine Ann Janeway & H.S. Wright III Nancy Weintraub Jean Henderson Lee Ann & Randy Ottinger Judith Jesiolowski & David Thompson Mary & Donald Wieckowicz Eric & Mary Horvitz Brooks & Suzanne Ragen Clare Kapitan & Keith Schreiber George & Colleen Willoughby Cynthia Huffman & Ray Heacox Donald & Jo Anne Rosen Abha Khanna & Adam Porsch* Kathy & Chic Wilson Earl & Mary Lou Hunt Evelyne Rozner & Matt Griffin Agastya & Marianna Kohli Ann P. Wyckoff Peter & Winifred Hussey Ingrid Sarapuu & Michael Anderson* Greg Kucera & Larry Yocom Anonymous (9) Dean M. Ishiki Dr. Larry Hohm & Karen Shaw* Craig Davis & Ellen Le Vita David B. Johnson David & Catherine Skinner SUPPORTING PARTNER Ed & Barbara Lee Ms. Joan E. Mathews Julnes Ron & Carol Sperling $500–$999 Eileen Lennon Jerry Kenney Garth & Drella Stein Chase Anderson Bill Lewis Lura & David Kerschner Mark & Arlene Tibergien Jane & Brian Andrew Charlotte Lin Steven & Patricia Kessler Judith Warshal & Wade Sowers Luann & Irv Bertram Jim Lobsenz & Elizabeth Choy David & Karen King Cleve & Judith Borth Anonymous Dr. Edward & Mimi Kirsch 22 ACT – A Contemporary Theatre George & Linda Lamb CONTRIBUTING PARTNER Richard & Susan Hecht Derek Storm & Cynthia Gossett Max Langley $250–$499 Lloyd Herman & Richard Wilson Sally Sullivan Paul & Linda Larson Rhett Alden & Marcia Engel F. Randall & Barbara Hieronymus Jeffrey A. Sutherland Rhoda & Thomas Lawrence Bob Alexander & Kathleen Devon Pat Highet Margaret Taylor Christopher Mathews & Robert Lehman Bob & Sarah Alsdorf Deborah Horne Bill & Pat Taylor Loeb Family Foundation Connie Anderson & Tom Clement Cynthia & John Howe Hazel Thomas C. Gilbert Lynn Sherri M. Anderson Jenefer Hutchins Dennis M. Tiffany Alex & Lynn MacDonald Basil & Gretchen Anex Joel Ivey & Sheyrl Murdock Kim & Ann Torp-Pedersen Janet McAlpin Bruce P. Babbitt Wendy Jackson Sarah & Russell Tousley Frank Lawler & Ann McCurdy Mark Barbieri Ann Janes-Waller & Fletch Waller Pieter & Tjitske Van Der Meulen Kathy McGoldrick Dr. & Mrs. J.E. Bassingthwaighte Michael Dryfoos & Ilga Jansons Padmaja Vrudhula Samuel B. McKinney Kathleen Bemis & Don Blair Christine Jew Mary & Findlay Wallace Mary Metastasio Neil & Bekki Bergeson Ted & Kris Johnson Mike & Judy Waring Mark & Susan Minerich Ruth & Greg Berkman Paul Kassen Jim & Sharron Welch Aaron Moore Dennis Birch & Evette Ludman John & Nancy Jo Keegan Leora Wheeler Ken Moore & Kali Sakai Siggi Bjarnason Omie Kerr Peggy & Dennis Willingham Wesley Moore & Sandra Walker Pirkko Borland Alexander Grigorovitch & Vera Kirichuk Erin Wong Sallie & Lee Morris Wendy Bradbury Weldon Ihrig & Susan Knox Nancy Worsham Zack Mosner & Patty Friedman Dr. James & Donna Brudvik Jim & Jean Kunz Kairu Yao Cynthia & Morris Muscatel Anne Buchinski & Marc Coltrera Bob & Janet Lackman Diane & John Yokoyama Craig & Deanna Norsen Carol & Jonathan Buchter Elizabeth Leber & Andrew Coveler Sylvia Young David Nyberg Michael & Lynne Bush David Longmuir Anonymous (4) John Oconnell & Joyce Latino Rose Cano Mark P. Lutz *Denotes ACT for the Future Chris & BJ Ohlweiler John & Arlene Carpenter Jeffrey & Barbara Mandula Campaign Donor Donald Pogoloff Mary Casey-Goldstein & Steve Arthur Mazzola Judy G. Poll Goldstein Catherine & Barry McConnell Gifts in Tribute Megan & Greg Pursell Daniel Ciske David Johansen & Patrice McDermott Happy Birthday to ACT, and In honor of Charles & Doris Ray John & Catherine Crowley Carol McDonald Clayton & Susan Corzatte: Anonymous Cecilia Paul & Harry Reinert Barb & Phil Cutler Sarah B. Meardon In memory of Victoria D. Anderson: Stephen Reynolds & Paula Rosput Ruth Darden Bob & Sue Mecklenburg Kermit & Danna Anderson Reynolds Dan & Esther Darrow John Mettler In honor of Joan Barokas: Carol & Bruce Bruce F. Robertson Emily Davis Michael & Sarajane Milder Backer; Frank & Jan Gonzalez; Susan Marc Rosenshein & Judy Soferman Clay & Karen Dawson Jim Mullin & Jim Powell; Lynn & Anthony Wartnik Beverly Rowe Paul & Sandy Dehmer Sarah Navarre In honor of Kurt Beattie: Dawn Barbara Sando James & Amanda Devine John Naye Maloney; Jeff Robbins & Marci Wing Harold Sanford Mike Dey Mari Osuna & Adam de Boor In honor of Laurie Besteman: Gabriela Marybeth & Jerry Satterlee Paula Diehr & Frank Hughes DJ Padzensky & Melissa Bloor Acero Mike Scully Luella & Harold Drevecky Cynthia & Bruce Parks In memory of Clayton Corzatte: Darshana Shanbhag Jeff Dubrule A. Paulson Anonymous Michael C. Shannon Jan Tervonen Susan Perkins In honor of Emily Davis: Stephanie Hilbert Peter Shattuck Vasiliki Dwyer Chuck Perry In honor of Jean Falls: Susan & Patrick Barbara & Richard Shikiar Glenn & Bertha Eades Barbara Phillips Dunn Lisa Simonson* Amanda Ebbert & Kathryn Johnson Darryn Quincey & Kristi Falkner In loving memory of Melissa Hines: Jeff Slesinger & Cynthia Wold Suzanne Edison Linda Quirk Martha Hines Gail & Robert Stagman Karen Elledge & Gerald Ginander Jeff & Pat Randall In memory of Carolyn Keim: David & Margaret Stanley* Kevin Wilson & Emily Evans Sharon Redeker Marjorie Baylor; Sarah Nash Gates; Jen Steele & Jon Hoekstra Carol Finn Craig & Melissa Reese Ken & Josie Johnson; Local 887 Isabel & Herb Stusser Rynold & Judge Fleck Emily Riesser & Tom Sunderland Theatrical Wardrobe Union; Angela Norm & Lynn Swick Penny A. Freedman Jeff Robbins & Marci Wing Owens; Braunell Price; Carl & Lonnie Dr. Barbara Thompson Jean Garber & Clyde Moore Carol Stockton & Jeffrey Robinson Price; Grant & Leigh Price; Jeff Kevin Tighe Jean Gardner Randy & Willa Rohwer Robbins & Marci Wing; Kevin Tighe; Vanguard Charitable Endowment Jeff & Jeanne Garland Richard & Nancy Rust Claudine Trujillo Program Sergey Genkin M. Lynn Ryder Gross In memory of Mrs. Louise McKinney: Ellen Wallach & Tom Darden Bruce & Peggy Gladner Werner & Joan Samson Dr. John & Callie Vassall Dr. & Mrs. Kevin J. Ward Carol & Tal Godding Betsy & Jason Schneier M.D. In honor of Judy Ness: James & Sheila Jeff & Carol Waymack Debra Godfrey & Jeffrey Sconyers George Schuchart Woodcock Janet Westin & Mike McCaw Connie Gould & Philip Rudman Sandra & Kenneth Schwartz In honor of Carlo Scandiuzzi: Frank & Greg Wetzel Drs. Verena & Basil Grieco Zoa & William Shumway Leslie Schipper Dianne & Douglas Wills Nancy & Joe Guppy Sarah & Bharat Shyam In honor of Rob Stewart: Brenda & Scott & Shirley Wilson Paul & Sheila Gutowski John Siegler & Alexandra Read, MD Jeffrey Atkin Susan Wolcott & George Taniwaki Cynthia Haboush Jeanne Simpson In honor of Kyoko Matsumoto Josette Yolo Robyn & David Hagel Don & Kathy Smith-DiJulio Wright: Debra Corner Joyce & Christian Zobel Don Fleming & Libby Hanna Helen F. Speegle In memory of Leda Yolo: Josette Yolo Anonymous (3) Judy Wasserheit & Jeff & Ash Harris Lisa & John Stewart Gifts made to the Annual Fund between Nancy R. Harris Margaret Stoner & Robert Jacobsen June 1, 2014 and June 1, 2015

ACT works to maintain our list of donors as accurately as possible. We apologize for any 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.

encoreartsprograms.com 23 ACT A Theatre of New Ideas ACT Board A Contemporary ADMINISTRATION SALES AND AUDIENCE COSTUME DEPARTMENTS Susanna Pugh SERVICES Lisa A. Knoop Of Trustees Theatre Operations Manager Costume Director Jessica Howard Charles Sitkin Foundation Hannah Schirman Director of Sales and Audience Connie Rinchiuso† Chair Board Events and Venue Manager Services Costume Shop Foreman Ross Henry James Stone Scott Herman Kim Dancy† Vice President Kermit Anderson Facilities Maintenance Customer Service Manager Cutter President Gary Houlahan AC/R Services Ada A. Karamanyan Sally Mellis† Treasurer Lucinda Richmond Engineer Front Office Representative Wardrobe Master Vice President Bill Kuhn Rica Wolken Kelton Engle Joyce Degenfelder† Secretary Katherine Raff IT Director Laura Owens Wig Master Secretary Joan Barokas Ashley Schalow Amelia Wade Eric Bennett Brian Turner Database Manager Kathryn Wahlberg SCENIC DEPARTMENTS Treasurer Ticket Office Representatives Leslie Ray Bernstein † Tuxedos and Tennis Shoes Steve Coulter Laurie Besteman Brad Fowler Catering James Moran Technical Director Trevor Cobb Gary Houlahan Audience Services Manager Bar and Concessions Derek Baylor† Rayner D’Souza Catherine Roach Jeremy Rupprecht Assistant Technical Director Bob Diercks John Siegler House Manager Charles Fitzgerald Charles Sitkin FINANCE Austin Smart† Richard Hesik Sheila Smith Kristi Quiroz Master Scenic Carpenter Assistant House Manager Stephanie Hilbert Director of Finance Sean Wilkins Grady Hughes ACT Staff Sandi Hogben Lynch Resources Lead Scenic Carpenter Abha Khanna Payroll and Accounts Payable Telemarketing Diane Lind EXECUTIVE Nick Murel Specialist Katie Bicknell Scenic Carpenter Kyoko Matsumoto Wright Kurt Beattie† Dave Clelland Ty Bonneville May McCarthy Artistic Director Jeff Scott Monika Holm Lauren Mikov Accountant Scenic Charge Artist Carlo Scandiuzzi Hana Christenson Naomi Minegishi Executive Director Rome Davis Lisa Bellero† John Muhic DEVELOPMENT Monika Holm Assistant Charge Artist Judy Ness Becky Witmer Clare Hausmann Weiand Robin Obourn † George Ojemann General Manager Director of Development Marne Cohen-Vance Becky Plant Teresa Revelle Properties Master Samie Detzer Robert Hankins Luke Sayler Ingrid Sarapuu † Executive Assistant Associate Director of Development Shane Unger Ken Ewert Barry Scovel Adam Vanhee Master Properties Artisan Karen Shaw Sarah Guthu Nina Yarbrough Thomas Verdos John Siegler ARTISTIC Grants Manager John Langs Audience Services Lead Properties Artisan Goldie Gendler Silverman Andrew P. Storms Associate Artistic Director Rob Stewart Development Coordinator and Christine Jew Larry True Margaret Layne† Board Liaison Audience Services Affiliate STAGE OPERATIONS Ryan Waite Director of Casting Nick Farwell† Shanna Waite Stage Operations Supervisor Anita Montgomery† MARKETING AND PRODUCTION Literary Manager and Director of COMMUNICATIONS Alyssa Byer James Nichols† ACT Advisory Education Production Manager Master Stage Carpenter Kevin Boyer Council Emily Penick Director of Marketing and Ruth Eitemiller Pam Mulkern† Artistic Associate Communications Assistant Production Manager Master Electrician Sheena Aebig Daniel D. Ederer Kenna Kettrick Karoline Nauss Skylar Hansen Max Langley Jean Burch Falls Education Associate Marketing Manager Production Office Manager Master Sound Engineer Jeannie M. Falls Spencer Hamp Jillian Vasquez Megan Tuschhoff Michael Cornforth John H. Faris Literary Intern Marketing Associate Production Runner ACTLab Technician Brad Fowler Carolyn H. Grinstein Wiley Basho Gorn Marissa Stein Sara Comings Hoppin Kenan Director Fellow Graphics and Email Coordinator STAGE MANAGEMENT FOR THIS PRODUCTION † C. David Hughbanks Danielle Walker Jeffrey K. Hanson Ron Darling Jonathan D. Klein Marketing Intern Production Stage Manager Scenic Carpenter Jane W. Lyons Valerie Brunetto JR Welden Connor Zaft Gloria A. Moses Public Relations and Erin B. Zatloka Directing/Dramaturgy Intern Nadine H. Murray Stage Managers Communications Manager Jeanna Gomez Douglas E. Norberg David Hartig Crafts Kristin G. Olson Sebastien Scandiuzzi Production Assistant Donald B. Paterson Video Manager Scott Gray Eric Pettigrew Apex Media Crafts Pamela Powers Advertising Desiree Naomi Stone Katherine L. Raff Chris Bennion Stitcher Brooks G. Ragen Production Photographic Services Catherine Roach Jo Anne Rosen Christa Fleming Faye Sarkowsky Graphic Design David E. Skinner Brian Turner George V. Willoughby David E. Wyman, Jr. Jane H. Yerkes

EMERITUS COUNCIL Richard C. Clotfelter † Denotes staff member has worked at ACT for 10 years or more Esther Schoenfeld

24 ACT – A Contemporary Theatre CONTINUED FROM PAGE 7

Louisville’s Humana Festival is one of the programs at ACT provides a snapshot of our earliest and most famous of these, inviting ongoing efforts to engage with playwrights, audiences every spring to witness the birth of and to participate in and support the a slate of world-premiere plays and making challenging and extraordinarily fulfilling Louisville a destination for theatregoers work of bringing new plays to the American and practitioners. South Coast Repertory theatre. It is indeed an incredible journey. Theatre’s Pacific Playwrights Festival, and The New Play Award Now in its 10th Denver Center Theatre Company’s New Play year and sponsored by a generous multi- Summit are two other important generators year grant from Gian-Carlo and Eulalie M. of new play support and production in the Scandiuzzi, the New Play Award provides regional theatre. between one and three playwrights a cash Support the Workshops and staged readings of award, housing, airfare, and a ten-day, fully new plays are a ubiquitous part of all new supported workshop culminating in two businesses play development programs and can be readings at ACT. Four of the six plays we that support immensely useful to a playwright and a have chosen for this award have gone on to theatre company invested in the work. There professional productions at reputable houses. equality for is, however, an all too common syndrome New Works For The American Stage many writers complain of, articulated ACT’s commissioning program supports everyone. beautifully by one of ACT’s favorite and and celebrates the creation of new work, most produced playwrights, Steven Dietz, while heightening the engagement between in his 1987 article in American Theatre ACT, playwrights, and patrons. Launched in Find them at Magazine, “Workshopped To Death.” A play 2005 with Becky’s New Car by Steven Dietz, may get stuck in the reading/workshop loop, which premiered at ACT in 2008, NWAS ShopOUT.org meaning that it receives multiple staged commissions provide a substantial financial readings at multiple theatres, but does not award for the playwright and have, to date, move forward to a full production. And supported nine plays in development. for all playwrights there is no better way of Hedgebrook Women Playwrights discovering the potential of a new play than a Festival Each May ACT invites a playwright full production. to participate in this two-week writing At ACT, the production of contemporary residency at the Hedgebrook retreat on work has always been a core value. Greg Whidbey Island. ACT provides an on-staff Falls founded this theatre company in 1965 dramaturg and hosts public readings at the with a vision centered on bringing new, end of the residency. socially conscious and exciting theatre to Icicle Creek New Play Festival ACT an adventurous Seattle audience. Since our participates in solicitation and selection of doors opened 50 years ago, ACT has placed new work, casting, direction, and dramaturgy significant energy toward the development in this late-summer festival and has assisted of new work and investment in the next in the launch of seven new plays, including generation of writers for the theatre. Having Pilgrims Musa and Sheri in the New World by commissioned more than 40 plays and Yussef El Guindi, which premiered at ACT in presented over 35 world premieres, created 2010; and Bloomsday by Steven Dietz, which programming in support of new work, and premiered at ACT this season. invited an audience to engage with the work The Construction Zone A quarterly at many levels of development, the vision of reading series with an emphasis on bringing Greg Falls continues to thrive. ACT’s New playwrights to Seattle for workshops focused Play Development initiatives most recently on their developing scripts. Fifteen-hour include participation in the National New workshops culminate in a reading and post- Play Network, which we joined last year, and play discussion in ACTLab. which involves us in a collaborative effort to The Playwrights Circle A new bi- Your LGBT Chamber of Commerce provide “rolling world premieres”, meaning monthly initiative launched at ACT in 2015 a series of first productions, for new plays brings playwrights and invited collaborators among member theatres around the country. to the table to hear unrehearsed first-time The following list of new play development readings of new plays in an informal setting.

encoreartsseattle.com 25 ON THE TOWN FIND IT | DO IT | WIN IT

Festen Bell + Whete: Private Dining WIN IT! La Revue New Century Theatre Company Enjoy modern interpretations of old world De Cuisine presents its biggest production dishes for your next special event or Music of Remembrance partners with yet. Based on the Danish film The party. Enjoy dining options, whether you Whim W’him choreographer Olivier Celebration, this powerhouse drama need a special menu, a la carte options, or Wevers to create a new dance set to is full of dark secrets and is set in a an all-inclusive event. Beverage options Bohoslav Martin’s delightful jazz ballet family-run hotel. Tony Award-nominee include a list of specific cocktails, an La Revue de Cuisine. Wilson Milam directs. open bar, or pre-arranged pairings. Our NOVEMBER 8 OCTOBER 28 – NOVEMBER 21 team will work with you to create an Enter to win two tickets! 12th Avenue Arts unforgettable experience for you and ENCOREARTSSEATTLE.COM/WIN-IT wearenctc.org your dinner guests. musicofremembrance.org bellandwhete.com

Seattle Children’s Theatre Bellevue Arts Museum WIN IT! Dracula at From professional productions Counter-Couture: Fashioning Identity Taproot Theatre to a robust drama school, SCT in the American Counterculture Taproot’s brand new adaptation of provides experiences for all ages. celebrates the handmade fashion and Bram Stoker’s Dracula, directed by This year includes titles for the style of the 1960s and 1970s. Often Nathan Jeffrey, takes you on a chilling whole family, from beloved classics referred to as the hippie movement, the adventure following the unlikely allies to exciting new works by talented Counterculture of the era swept away that join forces to defeat an ancient writers. Check out what this season the conformism of the previous decade villain. has to offer. and professed an alternative lifestyle SEPTEMBER 25 – OCTOBER 24 Seattle Children’s Theatre, Seattle Center whose effects still resonate today. Enter to win two tickets! sct.org SEPTEMBER 4 – JANUARY 10 ENCOREARTSSEATTLE.COM/WIN-IT Bellevue Arts Museum taproottheatre.org bellevuearts.org CURATED IDEAS AND EXCLUSIVE OFFERS EncoreArtsSeattle.com/on-the-town

Encore OnTheTown 091515.indd 1 9/18/15 11:38 AM ON THE TOWN FIND IT | DO IT | WIN IT Artistic Profile MARGARET LAYNE BY NICKY DAVIS, ACT LITERARY INTERN

Margaret Layne has been at ACT for twenty years and has worked with five (going on six) artistic directors. I had the pleasure of sitting down with her to talk about how she got into casting and how she got started at ACT. A native New Yorker, Margaret’s love of the arts started early, when Festen Bell + Whete: Private Dining WIN IT! La Revue her artistically minded parents began taking her to ballet, concerts, and De Cuisine New Century Theatre Company Enjoy modern interpretations of old world theatre. Her first musical was Fiddler on The Roof, but what she remembers presents its biggest production dishes for your next special event or Music of Remembrance partners with most vividly is her first straight play: Mary Chase’s Harvey, with Jimmy With the help of her godfather, Margaret moved west in 1994, and yet. Based on the Danish film The party. Enjoy dining options, whether you Whim W’him choreographer Olivier Stewart and Helen Hayes. In the play, Jimmy Stewart’s character has an with an introduction from an old friend to then ACT Board President Celebration, this powerhouse drama need a special menu, a la carte options, or Wevers to create a new dance set to imaginary friend: a giant, invisible, white rabbit. “I distinctly remember David Skinner, she landed a job as part-time assistant to Artistic is full of dark secrets and is set in a an all-inclusive event. Beverage options Bohoslav Martin’s delightful jazz ballet watching Jimmy Stewart and thinking, ‘How is he doing that? How is Director Peggy Shannon. “It was several steps back from my previous family-run hotel. Tony Award-nominee include a list of specific cocktails, an La Revue de Cuisine. he making me see a giant invisible white rabbit?’” From that moment, positions, frankly, but I thought, just let me get in the door and then I’ll Wilson Milam directs. open bar, or pre-arranged pairings. Our NOVEMBER 8 Margaret was hooked on theatre and the magic of actors. figure out what needs doing and do that,” she remembers. At that time, OCTOBER 28 – NOVEMBER 21 team will work with you to create an Enter to win two tickets! 12th Avenue Arts unforgettable experience for you and At Yale, Margaret studied English literature, but also acted in ACT didn’t have an official casting director; auditions were organized ENCOREARTSSEATTLE.COM/WIN-IT wearenctc.org shows, was head usher at Yale Repertory Theatre, and wrote theatre by the assistant production manager. Margaret started helping with your dinner guests. musicofremembrance.org bellandwhete.com criticism for the Yale Daily News. Everyone, including Margaret, scheduling, gradually taking on more and more of the responsibility, thought she would become a writer, but by serendipity her first job out until eventually actors began contacting her directly. “In a way I feel of college was at The Dramatists’ Guild in New York, and from there like they chose me, they knew it was a good fit before I did. I’d always she went on to work at Roundabout Theatre Company, where she had a lot of interaction with actors in my other jobs, and I’d always got the education in theatre management that she carries with her to loved their company and had a rapport with them, but I had no idea this day. Hired as assistant to then-Managing Director Todd Haimes, how to be a casting director, I made it up as I went along. And after I’d Margaret worked with him for five years and credits him with teaching been doing it for about a year and a half, I got the official title,” she says. her the importance of treating artists and colleagues with respect, Over the years Margaret has developed her own casting style and honesty, compassion, and integrity. “Those things I learned from him I describes her job as “part matchmaker, part psychologist, and part hope I’ve managed to carry with me and continue here,” she says. After mom,” with a focus on treating actors with kindness, respect, and Roundabout, Margaret spent two years as Assistant to Robert Brustein warmth, and it’s clear listening to her how deeply she cares for this at the American Repertory Theatre (ART) at Harvard, where she acting community and how much she delights in seeing them succeed. had an eye-opening experience working amidst a more avant-garde When I asked what her favorite parts of her job are, she immediately Seattle Children’s Theatre Bellevue Arts Museum WIN IT! Dracula at theatrical sensibility and an array of brilliant auteur directors. (“One had two answers. of them was always quitting, and Bob would have to go to their house “Thesecond greatest thing that happens is when you bring in an actor From professional productions Counter-Couture: Fashioning Identity Taproot Theatre and coax them to come back and finish directing the show.”) the director hasn’t seen before, or barely seen before, and they deliver to a robust drama school, SCT in the American Counterculture Taproot’s brand new adaptation of After ART she returned to New York with no clear idea of what exactly the way you hope, and afterwards the director turns to you and provides experiences for all ages. celebrates the handmade fashion and Bram Stoker’s Dracula, directed by This year includes titles for the style of the 1960s and 1970s. Often Nathan Jeffrey, takes you on a chilling to do next, and bounced between a handful of jobs including the says something like, ‘Where the hell did you find that person? Let’s call whole family, from beloved classics referred to as the hippie movement, the adventure following the unlikely allies Metropolitan Opera and bartending in Broadway theatres. (She can them back.’ Because then I know I’m doing my job well all around–for to exciting new works by talented Counterculture of the era swept away that join forces to defeat an ancient still pour a perfect shot.) During a three-year stint at Scholastic, Inc., the director, the show, the theatre, but also for the actor, because I’m writers. Check out what this season the conformism of the previous decade villain. Margaret started receiving postcards from friends who had moved to working for them, too, trying to find them the right opportunity to shine. has to offer. and professed an alternative lifestyle SEPTEMBER 25 – OCTOBER 24 Seattle, describing it as not only beautiful, but a place where someone But the greatest thing is when an actor who has auditioned for you many Seattle Children’s Theatre, Seattle Center whose effects still resonate today. Enter to win two tickets! could really make a sustainable living in the arts. Having never been times but somehow never quite closed the deal comes in one day and sct.org SEPTEMBER 4 – JANUARY 10 ENCOREARTSSEATTLE.COM/WIN-IT west of Ohio, she came to scope out the city and its theatre scene for for some reason suddenly everything connects. Maybe it’s the language, Bellevue Arts Museum taproottheatre.org herself, and immediately knew that she wanted to work at ACT. Seeing maybe it’s the character or the story, maybe it’s just finally cosmically bellevuearts.org productions at the Queen Anne location, she was drawn by the same their moment, but this time it all comes together and you see them, right sense of community she’d felt at Roundabout and ART. “It sounds in front of you, step up into themselves, into their potential, and become CURATED IDEAS AND EXCLUSIVE OFFERS EncoreArtsSeattle.com/on-the-town soppy, but you could feel the love in those shows, how much love more of the artist they can be. It’s like watching the sails of a ship fill with everyone had for the work and for each other.” wind, and they’re flying. That’s the best.”

encoreartsseattle.com 27

Encore OnTheTown 091515.indd 1 9/18/15 11:38 AM WORLD PREMIERES AT ACT 2015 2001 Bloomsday by Steven Dietz Polish Joke by David Ives

2013 2000 Assisted Living by Katie Forgette God of Vengeance by Donald Margulies 2012 In the Penal Colony by Philip Glass First Date: A New Musical Book by Austin Winsberg, Music & Lyrics by Alan Zachary & Michael Weiner 1999 Temporary Help by David Wiltse Double Indemnity Uncle Ho to Uncle Sam by Trieu Tran and Robert Egan 1998 Ramayana by Yussef El Guindi and Scent of the Roses by Lisette Lecat Ross Agnes Smedley: Our American Friend by Doris Baizley Stephanie The Summer Moon by John Olive Timm, with the Ramayana Affiliate Artist 1997 1992 Working Group Trust by Steven Dietz Going to St. Ives by Lee Blessing 2011 1991 Pilgrims Musa 1996 Tears of Rage by Doris Baizley Cheap* by Tom Topor and Sheri in the Willi: An Evening of Wilderness and *First performance in Kreielsheimer New World by Spirit by John Pielmeier Yussef El Guindi Place, downtown Seattle Halcyon Days by Steven Dietz Double My One Good Nerve by Ruby Dee Indemnity Adapted by David Pichette 1990 and R. Hamilton Wright, Based on the 1995 A Normal Life by Erik Brogger book by James M. Cain, Co-Produced Handing Down the Names by Steven with San Jose Repertory Theatre Dietz 1989 The Language of Flowers by Edit Happenstance by Steven Dietz and Eric 2008 Villarreal Bain Peltoniemi Fathers and Sons by Michael Bradford (World Premiere by The Hansberry 1988 Project) Pilgrims Musa and Sheri God’s Country by Steven Dietz Becky’s New Car by Steven Dietz in the New World 1984 2007 Thirteen by Lynda Myles First Class by David Wagoner 1980 2006 Catholics by Brian Moore Mitzi’s Abortion by Elizabeth Heffron 1978 2005 Ballymurphy by Michael Neville The Ugly American by Mike Daisey 1975 2004 Quiet Caravans by Barry Dinerman Alki by Eric Overmyer 1994 Gray’s Anatomy by Jim Leonard, Jr. 1972 2002 Voices in the Dark by John Pielmeier Echoes by N. Richard Nash The Education of Randy Newman by Randy Newman, Michael Roth & 1993 1969 Jerry Patch The Red and the Black by Jon Klein Crabdance by Beverley Simons PHOTOS BY CHRIS BENNION

28 ACT – A Contemporary Theatre ACT History 50 YEARS NOW ONLINE ACT’S ARTISTIC ASSOCIATE, EMILY PENICK, SAT DOWN WITH THE DEDICATED TECH GENIUS BEHIND ACT’S NEW HISTORICAL WEBSITE, ACT BOARD MEMBER BILL KUHN…

EP: What inspired you to spearhead this Witmer opened up the ACT archives to here. And people I really enjoy, like Judd website project? me and we started pawing around in there. Hirsch and Kevin Tighe, performed here BK: I’m a nerd, basically. I’m data-oriented, There’s also a reasonable representation of as well. Seeing them on stage is amazing. and I used to be a huge movie fan. I spend early ACT programs at the University of Then there’s our wonderful local actors time on IMDB looking at who did what, and Washington. UW is very open to people like Bob Wright, whom I think everyone who directed whom, and so-on, so that was accessing their archives, which turned out knows has done a ton of shows. Well, an inspiration. We were at a board meeting to be the missing piece of the puzzle. And look at the website and see how many he’s about two years ago, discussing how ACT with that wonderful resource, we could be done. Marianne Owen appeared in her was coming up on its 50th Anniversary, and 100% complete. The support of the UW 25th show at ACT in Bloomsday this year. I wondered, “Does anyone know what we’ve Library system is what closed the door on A tremendous commitment to the craft. done?” It was a huge question in my mind, it. And I also have to say my wife, Patricia And then there are the Seattle-born people because one of both its blessings and curses Daniels, is very is that theatre is so ephemeral. I just wanted good at proofing all to have a way to celebrate both the actors of my data. While that do all their work, and all the people on we have scans of all the production teams. the programs, all of the data present EP: Please tell us a little bit about the man is actually hand Explore 50 years behind the awesome new historical website. entered, so her of ACT’s Mainstage BK: I’m on the board of trustees, and this proofing was a vital productions at is my fourth year. I’ve been in Seattle since step in the process. 1977, and I’ve been coming to ACT for www.ACTTHEATREHISTORY.org about fifteen years now. I got a Masters in EP: You’ve Computer Science from the University of personally relived Washington in 1981, and lived my whole the history of ACT by making this website. who have gone on to have pretty incredible professional career in technology. I was What, in your vast research, did you find careers, like John Aylward. How many chief architect of Getty Images from 1999 was most surprising? shows was he in here before he appeared to 2006. I always wanted to keep my hands BK: It’s an amazing community that Greg on so many television shows? He’s well dirty, so I’ve programmed through my Falls built. I never met him, but I’ve met his recognized nation-wide, and we were lucky entire life, and still program now. I’m not lovely widow. What he was able to produce to have him back for Cat on a Hot Tin Roof. a zillionaire, so this is a way that I can give was a community. If you look in some of back to the theatre that isn’t necessarily the old programs, on opening night, there EP: What’s next? monetary but has value. was a little slip of paper put in the program BK: Three things are next. I am wrapping that said “Everyone, please join us after the up assimilating all the data for a similar EP: How long did it take? show for a light supper and chat.” Can you project for A Christmas Carol. Another BK: There are a lot of different angles to imagine that? It’s absolutely amazing. He side thing is getting the ACT archives a it. How long did it take me to program had an incredible sense of vision, and I’m little more cleaned up and organized. And it? Probably less than a month of full- sure it wasn’t easy, particularly in some of finally, I’ve written an android app that time work. I programmed it, and then a those early years. But he kept it going, and has all the information from the historical wonderful professional web designer that that’s what we all have as a city to celebrate website, so you don’t have to be online I’d worked with before, Krista Fleming, now. It’s a great thing. to access it. I’m hoping to get this into came in. I can make it all work and say the android stores as a free download for “This is what the pages look like … ” (and EP: Any fun facts you learned about ACT’s people. You can see exactly how many they all look hideous) but Krista comes in history that you’d like to share? plays each actor did, and other fun facts. and she puts the gloss on it that makes it BK: I was surprised to see that Samuel L. ACT has such an incredible commitment look beautiful. Jackson did a show here with the Negro to Seattle and the arts, and it’s fun to have The other part is getting all the data for Ensemble Company. I looked up his bio the data about it at your fingertips. There it. The website has a copy of every single after seeing this, because I didn’t know he’d are precious few cultural institutions in the program of every Mainstage production ever done stage work. He did it for a very city of Seattle today that have been around that ACT has done, through its 50 years. short time, and we were lucky to have him. for fifty years. You can pretty much count When I started collecting the data over a Also TV’s Patrick Duffy, who starred in those on one hand, and I’m very proud to year ago, ACT’s General Manager Becky Dallas. Ruby Dee did a one-woman show be associated with ACT as one of those.

encoreartsseattle.com 29 THROUGH THE DECADES 1960s 2000s The ‘60s saw the birth of ACT. Beginning as just an experiment during the summer Artistic Director Kurt Beattie streamlined season, over the course of the decade Gregory A. Falls’ brainchild bloomed into an the season to six Mainstage shows and established home for bold contemporary theatre in Seattle. A Christmas Carol. Beattie and Executive Director Carlo Scandiuzzi instituted 1965: ACT’s first season, a summer season run by Greg Falls as a new Seattle theatre experiment. the Central Heating Lab (now ACTLab) ACT becomes incorporated as a non-profit organization with a board of directors. in 2007, creating a multiplex of live 1966: ACT expands to a seven-show season running from June to September. performance under one roof.

2002: Edelstein leaves ACT in the hands of his Associate Artistic Director, Kurt Beattie. 1970s 2007: Kurt Beattie and ACT’s Executive ACT in the ‘70s was building a significant audience, growing Director Carlo Scandiuzzi open the doors to nearly ten times the size of its first season, and beginning of the Central Heating Lab, an experiment to outgrow its first home in lower Queen Anne. The ‘70s designed to foster new work and fill up the also saw the beginning of a major ACT tradition: The Falls five theatre spaces available in ACT’s new adaptation of Dickens’ A Christmas Carol. building. 1976: ACT begins a beloved holiday tradition with its first production of A Christmas Carol, as adapted by Greg 2010s Falls. The theatre’s regular season also ACT continues to grow and change, expands, now running from June all the increasing and strengthening its presence way through Thanksgiving and giving as a home for bold, provocative voices in each play a full 24-peformance run. James W. Monitor as theatre, and challenging audiences with 1978: On opening night of Henry IV: Part One, the mayor Marley’s Ghost in A works both old and new. In 2015, ACT declares it to be ACT Theatre Day in Seattle. Christmas Carol. celebrates its 50th anniversary and its

© CHRIS BENNION 40th year of A Christmas Carol.

2011: ACT begins a musical co-production 1980s relationship with The 5th Avenue Theatre. The ‘80s was a decade of transition for ACT, with the retirement 2015: ACT celebrates its 50th anniversary, of Greg Falls after 23 years, handing over the reins to Jeff Steitzer. opening the season with a throwback from its Additionally, the ‘80s was the theatre’s final decade in Lower very first season in 1965, Tennessee Williams’ Queen Anne. Cat on a Hot Tin Roof. Kurt Beattie ends his 12-year run as Artistic Director at the end of 1982: ACT is now considered to be one of the six major cultural another season of great theatre, leaving ACT institutions in Seattle, alongside the Seattle Symphony, Seattle in the hands of Associate Artistic Director Opera, Seattle Repertory Theatre, Pacific Northwest Ballet, and John Langs as it moves into the future. Seattle Art Museum. Jeff Steitzer in rehearsal 1988: for Red Noses. Falls retires from his 23-year run as Artistic Director, to be replaced by ACT Resident Director, Jeff Steitzer. Steitzer turns the theatre’s focus toward the production of new works by English and American playwrights. 1990s The ‘90s at ACT saw three different artistic directors (from Steitzer to Shannon to Edelstein) and two different theatre spaces. The theatre moved into the heart of downtown in the middle of this decade, making the ‘90s a period of resettling and reimagining the possibilities for Seattle’s contemporary theatre.

1994/1995: Peggy Shannon takes over the reins as Artistic Director at ACT. 1996/1997: ACT stages its final performance in its Lower Queen Anne home: Laughter on the 23rd Floor by Neil Simon, and transitions into the downtown location. ACT opens the doors at its new multiplex style home in the former Eagles’ auditorium in the heart of downtown Seattle, launching the new space mid-season with Tom Topor’s Cheap. ACT and the Seattle theatre community suffer a major loss when Greg Falls passes away at age 75. Joshua Carter in Little Shop of Horrors ©TRACY MARTIN

30 ACT – A Contemporary Theatre STAGE TO SCREEN SERIES: NATIONAL THEATRE LIVE! Hamlet OCT 15 | LIVE FROM LONDON VIA SATELLITE! OCT 19-21 | SIFF CINEMA UPTOWN Academy Award nominee Benedict Cumberbatch (“Sherlock,” The Imitation Game) takes on the title role of Shakespeare’s great tragedy. Broadcast live from the Barbican in London.

Skylight ENCORE PRESENTATION NOV 17 & 18 | SIFF FILM CENTER The original 2014 London production of the Tony Award- winning play returns, starring Bill Nighy and Carey Mulligan, directed by Stephen Daldry.

Coriolanus ENCORE PRESENTATION NOV 19-23 | SIFF FILM CENTER Tom Hiddleston stars in Shakespeare’s searing tragedy of political manipulation and revenge, as staged at the Donmar Warehouse in 2014.

Jane Eyre LIVE SATELLITE PRESENTATION! DEC 8 | SIFF CINEMA UPTOWN Charlotte Brontë’s story of the trailblazing Jane is as inspiring as ever. This bold and dynamic production uncovers one woman’s fight for freedom and fulfillment on her own terms.

TICKETS & SHOWTIMES AT SIFF.NET Sponsored in part by: SIFF CINEMA EGYPTIAN COME ENJOY BEER,SIFF CIDER, FILM CENTER OR WINE IN805 YOURE Pine St SEAT SIFF CINEMA UPTOWN Seattle Center · NW Rooms 511 Queen Anne Ave N

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