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DDIRDIERICRETECECTDTEED BD YB BYY DDADAWAWWNNN M M MOONONNIQIQIUQUEUE EW W WILILILLLILAIAIMAMMSSS PLAYWRIGHT PROFILE LISA KRON Welcome to the second production of our 2018–2019 season! For our 21st season, we’re doing something special: The Public Theater became an artistic an 18-month “double-season” featuring the works home for Lisa, developing and produc- of Anna Deavere Smith and Lisa Kron in dialogue. ing her plays Well, which transferred to As a Profile Theatre family member, you get to Broadway, earning Tony nominations take a year-long journey seeing the world through for Lisa and co-star Jayne Houdyshell; the eyes of our Featured Writers. By the end of In The Wake, Lisa’s most traditionally the season, you’ll feel like old friends. So who is well-made play; and Fun Home, her Lisa Kron? Welcome to her “Playwright Profile.” musical written with Tony-winning Lisa grew up in Lansing, Michigan and like many composer Jeanine Tessori, which also artists, moved to New York after college. As a transferred to Broadway, winning 5 teenager and young woman in Michigan and in of its 12 Tony nominations, includ- New York, she pursued acting in straight plays, ing Best Musical of 2015. The Five increasingly dissatisfied with the roles for women, Lesbian Brothers reunited at New York and especially LGBTQ women. Seeing the work of Theatre Workshop with a new piece, the pioneering group Split Britches had a profound Oedipus in Palm Springs, winning the impact. Lisa writes, “It was so beautiful and complete and so utterly unlike 2006 GLAAD Award for Outstanding anything I had ever seen before. It was strange yet totally familiar. Funny New York Theater. and heartbreaking and so sexy. It was nonlinear—that blew my Midwestern Throughout it all, what makes MIND. And—they made it themselves.To me this was a revelation.” Lisa’s writing indelibly Lisa’s Through Split Brithes, Lisa found her way to the WOW Cafe, a hot-bed for is her interest in the mix experimental lesbian-centered work in New York’s East Village, the city’s bo- hemian heart. At WOW’s tiny storefront theatre she found a like-minded tribe of theatrical forms—from of theatre-makers devising their own work, writing their own plays, sometimes the straight play to solo in a few months, sometimes in a few days, with sets and costumes made from story-telling to ensemble- found materials. It was here that she started doing her own solo work. And it was here that she, her girlfriend Peg Healy, and friends Maureen Angelos, generated work, sometimes Babs Davy, and Dominique Dibbell, formed The Five Lesbian Brothers. co-existing in the same Throughout the ‘90s, both Lisa’s solo work and the plays created with the piece—her commitment to Brothers gained increasing prominence, and were produced throughout New politically-engaged work, and York at PS 122, The Kitchen, Dixon Place, HERE Arts Center and eventually at her conviction that laughter large off-Broadway venues like New York Theatre Workshop. In 1997, The Public Theater, produced Lisa's breakout solo play 2.5 Minute Ride which opened to and tears, joy and sorrow, can rave reviews, winning OBIE, Drama-logue and GLAAD Awards. inhabit the same moment.

2 PROFILE THEATRE • THE SECRETARIES FROM THE ARTISTIC FROM THE DIRECTOR DIRECTOR JOSH HECHT DAWN MONIQUE WILLIAMS I’ve often said that laughter is a As I was just getting started as a young professional way of saying “Me too.” We laugh in the theatre, I assisted a brilliant and dynamic woman because something is familiar. whom I desperately looked to for mentorship. That We laugh because it’s true. We experience shaped me for years, in fact to this very laugh because we see ourselves day. I vividly remember her scolding me when I asked in a comic’s words or an actor’s to come in late one day so I could celebrate my daugh- portrayal. I think you’ll do a lot ter’s birthday over breakfast, “Don’t talk about your of laughing tonight. The Five Lesbian Brothers kid!” she told me. “You’ll never work.” So, for years I carried the shame are comedic icons, and we’ve gathered an of being a young mother and never talked about being a single parent incredibly talented cast and crew to interpret in theatre settings. Never made a single excuse. In instances when their words. it came up, I felt panic and embarrassment as if I were meant to keep But the phrase “me too” has a different reso- my being a mother a secret in order to succeed. This same excep- nance than it did a year ago. Today, “me too” and tional director reprimanded me in rehearsal once saying, “You eat another phrase often found in comedy improv too much in front of the actors, they won’t take you seriously.” The circles, “time’s up,” have become rallying cries evidence of my being overweight was clear and not something that for a truth and reconciliation movement that has could be hidden or kept secret. For years I refused to eat in front of shone a light on the pervasiveness of misogyny actors, in rehearsal, in social settings, with low blood sugar and in our day-to-day lives. What is made plain in hungry. It didn’t matter—I wanted to be taken seriously, to prove I had these moments, when a tear in our cultural fabric the stamina. I tortured myself—over my weight, over needing a sitter, reveals a truth that has always been there, is over being found out. I worked so hard to make it look easy, until one that misogyny, like white supremacy, like hetero- day, in my thirties, the dam broke. And that is why I am compelled to normativity, impacts our lives from the moment tell this story. Lisa Kron tells us “The play examines the ways in which we are born until the moment we die, because it women are the enforcers of sexism. The rules that are enforced has been baked into our culture from the start. involve weight, food, sexuality.” I know. I have been there. So let’s look at it. Let’s talk about it. Let’s cut it out. The Five Lesbian Brothers are comedic icons, and we’ve gathered an incredibly talented cast and crew to interpret their words. ABOUT PROFILE THEATRE Misogyny is the subject of The Secretaries, though the Brothers have turned their incisive lens Founded in 1997 by Jane Unger, Profile Theatre has always on the painful ravages of internalized sexism. centered a season around a single writer, spending much of Heavy stuff for a June comedy. But hasn’t this its first fifteen years exploring the work of some of the 20th always been the function of our best comics? Centuries most important masters and bringing many of them To reveal us to ourselves? To disarm us with to Portland to develop work. laughter before they hit us with a mordant truth Profile’s second Artistic Director, Adriana Baer, led the theater (a rhythm one playwright friend calls “funny from 2012-2015. Adriana was interested in exploring the writers funny WHACK!”)? But comedy only works when we would come to think of as our “21st Century Masters,” con- there’s empathy. David Grimm has said that temporary writers investigating the most pressing concerns comedy, like drama, asks us to acknowledge that of our time. Josh Hecht became Artistic Director in 2017. His we humans are deeply flawed, but whereas in commitment to new work and robust community engagement drama our flaws are our undoing, in comedy they has led to two new commissions in 2018-2019 and our Com- are but a chapter in a greater striving to improve. munity Profile Program that uses art-making as a means of Lisa has said that for her, this play’s focus is community-building. not the cartoonish violence enacted on the lum- Over the past twenty years Profile’s Featured Writers have berjacks, but the far more insidious emotional won 10 Pulitzer Prizes (plus 4 finalists), 20 Tony Awards (plus violence between the women. The Secretaries 7 nominations), 18 Drama Desk Awards, 24 Obie Awards and premiered in 1994, but its comedy feels as fresh 3 MacArthur “Genius” Awards. In 2010, Profile Theatre was and its critique feels as necessary today as it awarded an inaugural “New National Theatre Company” Award ever has. More so. Elaine Romero said recently from the American Theatre Wing designed to bring national at- that comedy both reveals our own complicity tention to “the most inspiring and innovative theatre companies and liberates us to point a finger at someone on our national landscape.” More recently, Profile has twice far worse. It is in this way an accusation with been recognized by Age and Gender Equity in the Arts for its empathy. It is a call for all of us to be better. leadership in equity, diversity and inclusion.

THE SECRETARIES • PROFILE THEATRE 3 Presents THE SECRETARIES A FIVE LESBIAN BROTHERS PLAY By Maureen Angelos, Babs Davy, Dominique Dibbell, Peg Healey, and Lisa Kron Directed By Dawn Monique Williams^

CAST Jamie M. Rea*...... Dawn Midnight Kelly Godell*...... Ashley Elizabeth Fratangello Claire Rigsby...... Patty Johnson Jen Rowe...... Peaches Martin Andrea White...... Susan Curtis

DESIGNERS & Megan Wilkerson+...... Scenic Design Wanda Walden...... Costume Designer PRODUCTION Jennifer Lin...... Lighting Designer Jen Raynak...... Sound Design Emily Wilken...... Props Master Stephanie Mulligan*...... Stage Manager Lilo Alfaro...... Production Assistant Kristen Mun...... Fight Director

PRODUCERS CIRCLE FOR THIS PRODUCTION Leslie Johnson, Executive Producer

Run time is approximately 90 minutes with no intermission. The Secretaries is presented by special arrangement with SAMUEL FRENCH, INC. PHOTOS, VIDEO OR AUDIO RECORDING OF THIS PERFORMANCE IS STRICTLY PROHIBITED.

SEASON SPONSOR: WINE SPONSOR:

THIS SEASON IS FUNDED IN PART BY:

This production made possible Profile Theatre is a member of Theatre Communications Group (TCG), the national organization for the American theatre. with support from *Member of Actors’ Equity Association, the professional union of actors and stage managers. +Represented by United Scenic Artists - Local USA 829 of the International Alliance of Theatrical Stage Employees.

^

4 PROFILE THEATRE • THE SECRETARIES CAST & CREATIVE TEAM

JAMIE M. REA JEN ROWE Scapin The Cheat, Anna Bella Eema, and Dawn Midnight Peaches Martin The Tempest. Dawn, who frequently lectures Seen last on the Alder Stage Jen just closed a produc- on contemporary Shakespeare performance as Jack in Artist Repertory tion of This Girl Laughs, and African American Theatre History, was Theatre’s, The Importance This Girl Cries, This Girl awarded a TCG Leadership U residency grant, of Being Earnest, Jamie is Does Nothing at CoHo and funded by the Mellon Foundation, and is a delighted to make her debut is delighted to make her former Killian Directing Fellow at the Oregon with Profile Theatre Project Profile debut with The Sec- Shakespeare Festival. She is an alum of the in this scathingly funny satire. She was seen retaries. Previously seen at Portland Center Drama League Directors Project and holds most recently as Macbeth, in Shaking the Stage (JAW Festival [4 yea rs]), Artists Rep an MA in Dramatic Literature and an MFA Tree Theatre’s Macbeth. Favorite other local (Speech and Debate, Distracted), Third Rail in Directing. Dawn is a proud member of the credits include: Kristine in STT’s A Doll’s (Middletown), Portland Playhouse (Bloody Stage Directors and Choreographers Society. House (Drammy: Best Supporting Actress), Bloody Andrew Jackson, After the Revolution, MEGAN WILKERSON Anna in CoHo/Many Hats, The Snowstorm Twelfth Night, A Christmas Carol [4 yea rs], Scenic Design (Drammy Finalist: Best Actress), and this Mr. Burns: A Post Electric Play, Peter and the Megan is a Resident Artist at Artists Rep- summer she flies to Chicago to begin work Starcatcher), Our Shoes Are Red/The Per- ertory Theatre and a member of Chicago’s on a commission from the Goodman with formance Lab (Ursula, Oh, The Humanity). Women’s theatre, The Rivendell Theatre En- Sojourn Theatre, On the Playground. She is She is represented by Q6 Model and Talent. semble. She was a recipient of Chicago’s After co-founding Artistic Director of the Beirut hellojenrowe.com Wedding World Theatre Project where she Dark Award for Outstanding Scenic Design will be directing Jesus Hopped the ‘A’ Train ANDREA WHITE and her work has been recognized by The as part of CoHo’s 23rd season. Susan Curtis Chicago Tribune, The Oregonian, The Austin Andrea White has been Critics Circle, and The Milwaukee Journal KELLY GODELL seen on stage as Dyonisia Sentinel. Regionally Megan has worked with Ashley Elizabeth in Portland Experimen- The Oregon Shakespeare Festival, The Mil- Fratangello tal Shakespeare Theater’s waukee Repertory Theatre, Skylight Opera, Kelly is delighted to be Pericles Wet, Antigone in First Stage Children’s Theatre, The Michigan back on the Profile stage. Profile Theater’s Antigone Opera, and the Pittsburgh Public Theatre. She was most recently seen Project and The American Daughter, Artist Next season you can see her work on stage in the world premiere of Repertory Theater’s Two Sisters and a Piano in Portland for Artists Rep and Portland Kodachrome at Portland and Nickel and Dimed, Portland Playhouse’s Center Stage. Center Stage and is Co-Producing and per- Radio Golf, Ma Rainey’s Black Bottom, and WANDA WALDEN forming in Radiant Vermin at CoHo Theatre Gem of the Ocean. Andrea is a two time Best Costume Designer in the fall. Other favorite credits include Supporting Actor Drammy Award winner Wanda is a Costume Designer, Actor, Visual Noises Off (Third Rail Repertory) Miss Julie for her roles in Theater Vertigo’s Hell Cab Artist and Writer. She has costumed plays for (Shaking the Tree) and Learn to be Latina and Sophia in Artists Repertory Theater’s over thirty years with an impressive amount (Milagro Theater). Television credits include Two Sisters and a Piano. Andrea’s Television of credits. Most recent Productions include Grimm and Leverage. Kelly has a BFA from and Film credits include, Family Matters, In This Corner Cassius Clay at Oregon Chil- the University of Oregon and is a member of Living Single, NYPD Blue, Grimm, and the dren’s Theatre; All my sons at Portland Actors the Actors Equity Association. film Extraordinary Measures. Andrea is cur- Conservatory: Left Hook at Vanport Mosaic; rently an Artist and Playwright in residence Sibling Rivalry at Confrontation Theatre; CLAIRE RIGSBY at Buckman Arts School. Patty Johnson How I learned What I Learned at Portland Previously seen at Profile DAWN MONIQUE WILLIAMS Playhouse and An Octoroon at Artists Rep. in the staged reading Director Wanda is a Board member and Resident of Stage Kiss by Sarah A native of Oakland, California, Dawn is a Costumer for Passin Art Theatre. Wanda is Ruhl, Claire is excited to resident artist at the Oregon Shakespeare a prolific writer of Historical Scripts and is be making her full pro- Festival where she directed Merry Wives Artistic Director of Retro-Spect Productions, duction debut with this of Windsor in 2017. Dawn, a 2016 Princess A Theatrical Modeling Company. wonderfully wacky play full of powerhouse Grace Theatre Fellowship recipient, is a direc- JENNIFER LIN women. Previous Portland credits include tor, poet, and scholar whose recent directing Lighting Designer The Thanksgiving Play at Artists Rep, A credits include Romeo and Juliet, August Jennifer is a freelance lighting designer and Christmas Carol at Portland Playhouse and Wilson’s The Piano Lesson, and Lynn Not- stage technician who has been working various productions with Oregon Children’s tage’s By the Way, Meet Stark. She’s directed behind the scenes for Portland theatre, opera Theatre, Broadway Rose, Proscenium Live a range of plays including the English lan- and dance since 2008. She attended Portland Reading Project, and Live Onstage. Thanks guage premiere of Gracia Morales’ NN12, State University and in 2007 received The to Dawn, Josh, and her friends and family for Othello, Twelfth Night, In the Blood, Steel Kennedy Center American College Theatre all their support. Magnolias, Children of Eden, The 25th Annual Festival’s Achievement Award for her light- Spelling Bee, Little Shop of Horrors, Burial ing design for PSU’s production of Electra. at Thebes, Medea, Antigone Project, and La Jennifer is a company member of Third Rail Ronde; international directing credits include Repertory Theatre, and a member of IATSE Edinburgh Festival Fringe productions of local 28.

THE SECRETARIES • PROFILE THEATRE 5 CAST & CREATIVE TEAM

JEN RAYNAK Parnassus On Wheels, The Seven Wonders of The Happiest Song Plays Last. He is a Drama Sound Design Ballyknock, Brave Smiles (also by The Five Desk Award-winning director whose pro- Jen has designed sound in Portland for Lesbian Brothers), As You Like It, and Dear ductions have been seen in New York at over 20 years, including stints with Port- Galileo. Based in the Pacific Northwest, she MCC Theater, The Cherry Lane, The Duke land Center Stage and Third Rail Repertory has been a frequent participant in interna- on 42nd Street, New World Stages, Culture Theatre. She recently designed and composed tional programming, through which she has Project, regionally at The Guthrie Theater, for This Girl Laughs, This Girl Cries, This Girl collaborated with theatre artists in India, the Berkshire Theatre Group, the Humana Does Nothing at CoHo Theatre, and designed Vietnam, Pakistan, and Australia. Stephanie Festival at Actors Theatre of Louisville, Wings of Fire at Willamette University. By received her BA in Theatre Arts from Linfield Signature Theatre (DC) and internationally day, Jen is the Carproelsofly Department College. She is an Arts Envoy for the U.S. at the Dublin Arts Festival and the Edin- Head at the Winningstad Theater. Department of State, and a proud member burgh Festival Fringe and elsewhere. His of Actors’ Equity. collaboration with Ping Chong and Company EMILY WILKEN was commissioned by and premiered at The Props Master LILO ALFARO Kennedy Center before touring the north- Emily is a professional artist on staff as the Production Assistant east. His writing has received the support Scenic Charge Artist and craftsperson with An ASM and MBA candidate, Lilo is con- of the Jerome Foundation. He is formerly Oregon Children’s Theatre. This is her third tinuing her work in theatre to engage in the Director of Playwright Development at time joining a Profile team, having designed conversations like the ones that will inevi- MCC Theater and the Director of New Play props for The Call and Blue Door. Addition- tably be sparked by this play. Unforgettable Development at WET. He’s served on the ally she’s a scenic designer, having designed performance credits include: intense behind- faculty of the New School for Drama MFA locally for Action/Adventure Theatre, Beirut the-wheel singing, business-y Powerpoint Directing program, the Fordham University Wedding World Theatre Project, Broadway presentations, and hand that appears from MFA Playwriting program, Purchase College Rose Theatre, Corrib Theatre, Enlightened behind the curtain with that prop you forgot. SUNY’s BFA Dramatic Writing program and Theatrics, Lincoln High School, Milagro, has been a guest artist at The Juilliard School, and Valley Repertory Theatre. Upcoming KRISTEN MUN NYU’s Dramatic Writing MFA, Carnegie designs include Romeo and Juliet with Port- Fight Choreographer Mellon’s MFA Playwriting, University of Min- land Actors Ensemble, Ordinary Days with Third Rail Repertory, Milagro, Profile nesota’s BFA Acting program and others. Broadway Rose, the Day of the Dead produc- Theatre, Portland Playhouse, Action tion with Milagro, and The Taming with Coho Adventure, defunkt, Shaking the Tree, Productions. www.emilywilken.com Theatre Vertigo. Drammy Award winner in 2012 and 2013, Leslie O Grant winner 2015. FOR THIS PRODUCTION STEPHANIE MULLIGAN Outside of Portland: Oregon Shakespeare Stage Manager Festival, Utah Shakespeare Festival, Idaho ASL INTERPRETERS Stephanie has stage Repertory Theatre. Dot Hearn, Kassie Hughes managed for many fine companies, including JOSH HECHT GRAPHIC DESIGN Portland Center Stage, Artistic Director Kira Batcheller Clackamas Rep, Artists Josh is the Artistic Director of Profile Rep, and Broadway Rose. Theatre where he recently directed the PUBLIC RELATIONS Most recently, she stage managed Scarlet Concert Staging of Anna Deavere Smith’s Jen Mitas for Portland Playhouse. Stephanie is also a Twilight: Los Angeles, 1992 as well as the PRODUCTION SERVICES director in both the professional and educa- rotating repertory productions of Quiara Artists Repertory Theatre tional arenas. Favorite recent shows include Alegría Hudes’ Water by the Spoonful and

THE FIVE LESBIAN BROTHERS Writers The Five Lesbian Brothers are Maureen Angelos, Babs Davy, Dominique Dibbell, Peg Healey, and Lisa Kron. The Brothers came together as a theater company in 1989 after performing together in various other combinations at the Obie award-winning WOW Cafe Theatre in New York City’s East Village. Together the Brothers have written five plays, Voyage to Lesbos (1990), Brave Smiles (1992), The Secretaries (1994), Brides of the Moon (1996), and Oedipus at Palm Springs (2006), which was written by Maureen Angelos, Dominique Dibbell, Peg Healey, and Lisa Kron. The Brothers’ work has been presented Off-Broadway and Off-Off Broadway by New York Theatre Workshop, the Joseph Papp Public Theatre, the WOW Cage Theatre, Downtown Art Company, Performance Space 122, Dixon Place, la Mama, the Kitchen, and the Whitney Museum of American Art at Phillip Morris. They have toured to London, Los Angeles, San Francisco, San Diego, Houston, Columbus, Seattle, Philadelphia, Boston, and the deep woods of Michigan. Their plays have also been produced by other companies throughout the United States and, believe it or not, in Zagreb, Croatia. The Brothers are the recipients of a Village Voice Obie Award, a New York Dance and Performance Award (“Bessie”), a GLAAD Media Award, and a New York Press Award as Best Performance Group. An anthology of their plays entitled Five Lesbian Brothers/Four Plays was published in 2000 by Theatre Communications Group and was nominated for a Lambda Literary Award.

6 PROFILE THEATRE • THE SECRETARIES Mission: To produce a season of first-class productions and community engagement activities centered around a single writer whose vision broadens our perspective on our world and deepens our collective compassion. 2018–2019 Lisa Kron / Anna Deavere Smith STAFF 2017 Quiara AlegrÍa Hudes DIVERSITY AND INCLUSION INITIATIVE Josh Hecht, Artistic Director 2016 Tanya Barfield Matthew Jones, Managing Director 2015 Sarah Ruhl In 2016, Profile Theatre launched its Diversity Aiyana Cunningham, and Inclusion initiative, committing to 2014 Sam Shepard three consecutive seasons producing the Director of Patron and Donor Relations work of women and writers of color. The Karl Hanover, 2012–2013 Athol Fugard Initiative was born out of a desire to correct Box Office and Administrative Coordinator 2011–2012 15th Anniversary Season a persistent imbalance in the diversity and Jamie M. Rea, Line Producer complexity of lives we see reflected on Dana Lynn Barbar, Marketing Assistant 2010–2011 Lee Blessing our stages. It is our belief that by actively 2009–2010 Horton Foote working to correct this imbalance in our own BOARD OF DIRECTORS programming, we more accurately reflect the Pancho Savery, Melissa Stewart, 2008–2009 Neil Simon world around us, produce work of increasing President Secretary 2007–2008 John Guare relevance to our city and community, and help Melissa Bockwinkel, Stephen Schuitevoerder dream into being the dynamic and inclusive Treasurer Stephen Young, 2006–2007 Wendy Wasserstein world we want. We also believe that by Arlena Barnes Director Emeritus 2005–2006 Lanford Wilson continuing to program the most accomplished Linda Jensen mid-career writers of our time, all members RESOURCE COUNCIL 2004–2005 Terrence McNally of our audience, whatever their background, Adriana Baer Mary Simione 2003–2004 Romulus Linney will recognize themselves in these stories. Lue Douthit Patrick Stupek 2002–2003 Edward Albee Erika George George Thorn Leslie Johnson Jane Unger 2001–2002 Harold Pinter Len Magazine Julie Vigeland 2000–2001 Arthur Miller Susan Magazine Priscila Bernard Weiden 1999–2000 Constance Congdon WEB PROFILETHEATRE.ORG Mike Lindberg Actors’ Equity Association (AEA), founded in 1913, represents more 1998–1999 Tennessee Williams PHONE 503.242.0080 than 50,000 actors and stage managers in the United States. Equity seeks to advance, promote and foster the art of live theatre as an 1997–1998 Arthur Kopit EMAIL [email protected] essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. AEA is a member of the AFL-CIO, and is affiliated with FIA, an international organization of performing arts unions. The Equity emblem is our mark of excellence. www.actorsequity.org

SUSTAIN PROFILE THEATRE

SUPPORT With an annual gift of LEAVE A LEGACY Ensure that your JOIN THE PROFILE THEATRE $100+ you are welcomed into our sustaining contributions continue for GUILD Serve as a Profile Theatre Family Circles and gain access to the years to come by honoring Profile ambassador and gain insight into our intimacy of the playmaking process. with a legacy gift. creative work with our committed core of sustaining volunteers. PRODUCE Turn your passion for an JOIN OUR BOARD OF DIRECTORS exciting season or production into a Lead the way forward to ensure we gift of significant impact by joining our have adequate resources to advance Producers Circle. our unique mission.

Contact Aiyana Cunningham, Director of Patron & Donor Relations [email protected] • 503.242.0080 • www.profiletheatre.org/support

THE SECRETARIES • PROFILE THEATRE 7 This list acknowledges gifts given between THANK YOU TO OUR GENEROUS DONORS June 1, 2017 and May 31, 2018

$25,000 AND ABOVE Kristine Olson Ann J Howard Jerry Colson Ronni Lacroute Kushagra Pathak+ (in honor of Howard Rosenbaum) & Veloris Montonye Meyer Memorial Trust Richard and Mary Rosenberg Frances Johnston Peg Conley James F. & Marion Charitable Foundation Alan Jones Cynthia Crumlish L. Miller Foundation Gilbert Shaw Rich & Jean Josephson David Deutsch Fred W. Fields Fund of the Mary Simeone Hank Keeton & Norma Jean Nancy Drake Oregon Community Foundation Kathleen Stephenson-Kuhn* Standlea Carol Flanagan Dan Wieden & Priscilla Melissa Stewart & Don Merkt Kathryn Kelly* Carolyn Gassaway Bernard Wieden Darci & Charlie Swindells Ed & Elaine Kemp Leslie Glasser Jeff & Carol Kilmer Roxanne Goebel $10,000–$24,999 $500–$999 Carol Kimball Elinor Gollay Advancing Gender Equity Kay & Roy Abramowitz David Kinder Anonymous in the Arts Ann Bardacke & David Wolf Diane Kondrat Sheila Greenlaw-Fink The Collins Foundation Richard Bradspies & Dore Everett Anonymous Roger Griffith The Kinsman Foundation Nita Brueggeman & Kevin Hoover Margaret Larson Donald & Lynnette Houghton The National Endowment & Richard Lewis for the Arts Sonia Buist M.D. Beth Hutchins Amy Lawrence Oregon Community Foundation Debi A. Coleman Susan Johnson Bob & Janet Conklin Scott Lewis Spencer Keller Regional Arts & Culture Council, & Sarah Slipper including support from the City of Deborah Correa & Mark Wilson Helen Kelley Jacklyn Maddux Portland, Multnomah County and Carmen Egido & Abel Weinrib & Arthur Pierson Jennifer Lakey the Arts in Education Access Fund Jason Glick Christy Marchant Jeanette Leahy The Shubert Foundation Lynn Goldstein Gary McDonald Kirsten Lee Judy Henderson* & Barbara Holisky Cheryl Leonard $5,000–$9,999 Jessie Jonas Charles Meshul Mair Lewis The Autzen Foundation Marcia Kahn & Maureen Ober Douglas Lucas Francie & Paul Duden & Howard Rosenbaum Bill & Nancy Meyer Dorothy Lyman Anonymous Michael & Dolores Moore Corrine Oishi Erin Mallon Jackson Foundation North Star Foundation & Lindley Morton Rosanne Marmor Leslie Johnson + Portland General Electric Laura Potter Karla Mason Oregon Arts Commission Rosalie & Ed Tank Wendy Rahm Nancy Matthews Oregon Cultural Trust Rick Rees Michael Olich Janet R. Schwartz $100-$499 Norma Reich Carlton Olson The Standard Veronica Paracchini Charles & Judith Rooks Phyllis Oster Rose E. Tucker Charitable Trust Scott & Rachael Anderson Rick & Halle Sadle Mary Overman Work for Art, including Linda Apperson Darrell Salk & Tricia Knoll Shari Powell contributions from more than 75 Adriana Baer & Ryan Durham Devani Scheidler companies & 2,000 employees Carol Sherman Rogers Laura Barton & James Kearney The Wyss Foundation Dr. Howard Rosenbaum Karl & Linda Boekelheide Olivia A. Solomon Steve Young & Jane Fellows Charles & Barbara Ryberg Christine Bourdette Pam Sterling Vincenza Scarpaci & Richard Lovett Patrick Stupek+ Curtis Schade $2,500–$4,999 Rita S Charlesworth Gary Taliaferro & Jacquie Siewert-Schade Diane Herrmann Vince & Valri Chiappetta Peter Thacker & Lynn Taylor Karen Schneider The Ralph and Adolph Jacobs Nathan Cogan Foundation Marcia Truman John Shethar Chris Coughlin Linda Jensen & Robert Nimmo Tom & Linda Unger Andrew Simon CSz Portland (in honor of Jane Unger) Elisabeth & Peter Lyon Dre Slaman Marvin & Abby Dawson+ Judi & J Wandres Anonymous Aarisa Smith Christian Dreyer Carolyn Wood Pancho Savery James Smith Mrs. Leslye Epstein Bradley Wulf & Ryan Bradshaw Jesse Smith Stephen Schuitevoerder & Dr. Herman Taylor Janet Zell & Maryann Yelnosky Patricia Garner $1,000–$2,499 Martha Spence Rich & Erika George+ UP TO $99 Anonymous Anonymous Robert & Melissa Good Amanda Andersen Elizabeth Anderson Margaret Thompson Barbara Howard & Suzanne Berwind Arlena Barnes & William Kinsey Roz Tucker & Marvin Gordon-Lickey Marjorie Bowers Don & Mary Blair David & Julie Verburg Dawn Hayami Mary Franes Bowers Melissa Bockwinkel Larry Williams+ Robert & Amy Hayes Kate Bredeson Wendy & Tom Hawkins Charles Williams Dot Hearn Steve Brennock Carol Ann Robert Holub Jay Hecht Randy Brown & Patrick Wohlmut Dan Klores Richard Hollway Cate Burnstead Kathleen Worley Leslie Labbe & Nancy Kurkinen Priscilla Carlson Susan & Leonard Magazine Margaret Collins

Work for Art Participants: These patrons direct their support to Profile Theatre Sustaining Producers who make through the Work for Art Program within the Regional Arts & Culture Council. * a recurring monthly donation.