May 30–June 22, 2014

©Sebastien Scandiuzzi

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TP 061713 kitchen 1/3s.pdf CONTENTS

May 30–June 22, 2014

The Price A1

A-1 Title Page A-2 Welcome to ACT A-3 Coming Soon to ACT A-4 About the Play A-8 Who’s Who A-10 ACT Partners A-16 ACT Board & Staff

©Sebastien Scandiuzzi

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ENCORE ARTS NEWS FROM CITY ARTS MAGAZINE

opened and you’re like, ‘When did that Seeing Green happen?’” Stone34 is the first Kinetic artist Casey Curran captures project in Seattle’s Deep Green Pilot a building’s eco-goals in brass. Program, which requires participating BY GEMMA WILSON buildings to reduce both energy and INSIDE CASEY CURRAN’S Capitol Hill studio apartment, intricate wire water usage by creations hang from the wall and sheets of brass, rolled like plastic 75 percent. The wrap, lay on an enormous worktable. At the center of the room, an building’s green array of plants—Northwest natives, foxgloves, dandelions and ivy—sit features include on low black tables, rendered in painstaking detail from cold-work rooftop rainwater Casey Curran in brass. Some shine under a dark, irregular patina, oxidized by a capture, public his home studio. combination of salt and ammonia. bike racks and Not only has each leaf and petal been crafted by hand, Curran has landscaping with also hand-made wire coils that bring power to the entire piece—his first edible plants like hops, lavender, thyme, blueberries, oregano, major commission and his largest, most complicated project to date. strawberries and kiwi fruit. In April, the 7-foot by 8-foot finished piece was installed in the A little over a year ago, the building’s developer, Skanska USA, lobby of Stone34, a new mixed-use building at the corner of N. 34th approached Curran and asked him to submit a proposal for an St and Stone Way in Fremont. Thick Corten steel wraps the building’s installation. “Casey reminded us of how nature is always going to be lobby, laser-cut to appear cracked open, with Curran’s flora bursting vibrant,” says Skanska development associate Marlene Bailey. “At the out. “Almost like when you’re walking on the sidewalk and a flower’s least opportunity it’s going to burst into life and breathe.” broken through,” he says. Curran also works full-time as the paint studio supervisor at Cornish Curran’s installation connects to the building’s power grid, College of the Arts (his alma mater), designs sets for theatre company programmed to slowly change the position of the flowers every 10–15 Saint Genet and is preparing for a show at Roq La Rue Gallery this minutes. When energy use is high, the flowers wilt. When energy-use summer. But he put in hundreds of hours over the last five months on minimums are met, they blossom. the Stone34 piece. “When you walk into the building, we don’t want you to really In the past Curran has created mechanical sculptures that move, but notice movement,” Curran says. “It should have that natural quality this time he worked with a programmer and an electrical engineer. “I’m to it, where you put a flower in the window and then an hour later it’s very analog,” he says. “They made it so I didn’t electrocute myself.” n MIGUEL EDWARDS MIGUEL

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0146 NEIKEL performing arts seattle Virginia Woolf April 8.375x10.875.indd 1 3/5/14 1:26 PM Untitled-21 1 3/18/14 1:53 PM Order Early ENCORE ARTS NEWS FROM CITY ARTS MAGAZINE for Best Selection! Tickets from $27 CDN Courageous Curiosity Ana Maria Pinto da Silva digs into ideas with provocative slideshow parties.

EIGHT YEARS AGO, Ana Maria Pinto da Silva I literally did not know one single person here. founded the Seattle chapter of PechaKucha My friend Paul had gone through my graduate 20x20, an inclusive presentation format that degree program with me at the Harvard School brings people together to share ideas in more of Design and he was good friends with the than 730 cities around the world. She’s since founders of PechaKucha in Tokyo; he founded orchestrated 52 free events on art, design, the San Francisco chapter. He was like, You inspiration, change—drawing recent crowds of should start a PechaKucha in Seattle. It’ll be a 300+. Pinto da Silva works by day as designer great way for you to get to know people. And it at Microsoft; PechaKucha is her labor of love. was true! LEAH BALTUS PechaKucha is a story about friendship, a story about community. It’s also a story about mischief How would you describe the format of and yes-ness. We had an event called Going PechaKucha? Rogue on my 40th birthday. The first presenter The end result of an evening of PechaKucha is was a burlesque artist who did a burlesque Under the Tents in Vanier Park, Vancouver, Canada that you feel like you went to a wonderful party. act while she was doing her presentation. The June 11 – Sept 20 Each person gets six minutes and 40 seconds audience was going nuts. The next presenter was 1-877-739-0559 • bardonthebeach.org exactly—20 slides, 20 seconds each. It doesn’t doing a presentation on cakes and quilts. You matter if you’re Bill Gates or Bill Gates’ intern— would have thought, cakes and quilts right after that’s exactly as much time as you get. a burlesque dancer? Her cakes were so insane, What’s amazing is that no one is good at so exquisite, her quilts were so fascinating that it. Very few people have that pattern down. she’s getting offers of marriage yelled out from Proven But what people are really curious about is the audience. each other. They want to know who you are. BardOnBeach SIFG14 1_6v.pdf PechaKucha presentations might be about You’re doing a poetry event in April. It’s Results someone’s work or fascination with something, a great, diverse line-up. What are you but because the format makes you vulnerable, expecting? you have to be yourself. I have no idea! We’ve never Even people who are really done an all-poetry event. accomplished I never review people’s are human—and you can “Because the presentations. I invite them see yourself in that. You can and that’s it. I say yes. It’s their say, Hey! I could probably format makes six minutes and 40 seconds. I present! I have something trust them. that I’m working on that’s you vulnerable, I’m working with Kathleen worthy. Flenniken—she was the you have to be Washington State poet In February you did an laureate last year—and a poet Afrofuturism event at the yourself.” named Lindsey Renee Walker Northwest African American who spoke at our Telling Tales Museum. event last November. You It was phenomenal to be at NAAM. The presenter know how there are levels of silence? There’s a roster really represented the crème de la crème speaker and the room is quiet and then another of thinkers and makers and shakers within the speaker comes on and the room gets even See for Yourself: African-American community, focused on a topic quieter? That’s what happened with Lindsey’s Healthy.BastyrCenter.net that is so future-forward. We had Okanomodé poem. The room got silent. You could feel this Soulchilde—he’s a performance artist—he just electric current moving through the audience. So 206.834.4100 took the house down. He sang through his entire I reached out to her. presentation. Barbara Earl Thomas read a poem that she premiered at a PechaKucha about a What else do you have planned? year ago. It’s about the premature, violent deaths The event after that is about art and technology, of black boys in our country and it’s incredibly looking at the overlap between the world of art powerful. and the world of digital electronic arts. We have several other events planned—there will be one Our holistic health services include: How did you start the PechaKucha in Seattle? on design leadership and one called Watch Me I’d been living in the Bay Area for over 20 years Now about our surveillance culture. I’m learning Naturopathic Medicine • Nutrition and then I went to graduate school back East. to be courageous and to talk about the things Acupuncture • Counseling When I finished I was offered a job in Seattle but that the community needs to talk about. SHANNON PERRY SHANNON ad proofs.indd 1 6 ENCORE STAGES 3/25/14 12:10 PM

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Bubble Up Fat Cork applies obsessive attention to the most celebratory of beverages.

BY JONATHAN ZWICKEL

LIKE MOST AMERICANS, I most often and rotated a quarter turn every day for the encounter champagne as either an $8 bottle next 15 months to 15 years. At the end of of supermarket saccharine to cut with OJ for the aging process, the grower uncaps the Sunday brunch or as a signifier of fantastic bottles and, in a mystifying process called wealth to spill over a Kardashian’s chest in a disgorgement, removes the dead gunky yeast music video. Turns out there’s more to it. cells from the bottle, leaving a clear golden Fat Cork, a champagne retailer and liquid. To perfect levels of alcohol, acidity, subscription service based out of a stylish sweetness and carbonation, he’ll add a few basement office in Queen Anne, points milliliters of sugar-fortified wine—known conscientious drinkers toward the libation’s in French as a dosage—and then cork the BIT 041814 Clay 1_6v.pdf richly storied and delicious middle ground. bottle for a few more months. The result Over the course of an hour-long tasting, of this tedious, labor-intensive méthode Fat Cork founder Bryan Maletis detailed champenoise is an occasion appropriate for champagne’s nuances in origin, production the word voilà. and palate and poured from four different Unlike typical importers or distributors, bottles. He described the 70-some varieties Fat Cork tracks each bottle’s grape blend, he sells at Fat Cork as “grower champagnes,” vintage, disgorgement date and dosage and, meaning the grower of the grapes is also the in keeping with the process-related over- maker of the champagne. This rare proximity sharing of food geeks, prints this info on Untitled-2 1 4/18/14 10:48 AM between grape and bottle is akin to fine every bottle. The reason is quality control wine and single-malt scotch—and a far cry and total disclosure—based on grapes and from most well known “Grandes Marques” sugar content and date of disgorgement, an champagne houses, which source and blend astute drinker can predict the flavor of any grapes from some 19,000 growers throughout given champagne. the Champagne region of northern France. I’m certainly not astute, but I am a drinker, Fat Cork champagnes are mostly organic and the champagne I was given was rich and or, to a greener extreme, biodynamic, complex. Maletis, a compact, 30-something grown in accordance to celestial cycles and dynamo in khaki pants and Vans sneakers, Gallic superstition. They are family-made allowed me four from the robust middle of in tiny quantities from only the best grapes, the good-champagne spectrum. The first redolent of their terroir. They are, in a word, was dry-ish and yeasty, the second bright We believe eyewear should be fun. artisanal. and fruity, the third brighter and fruitier still Paging through the Sexy Book—Fat Cork’s (“clear gummy bears,” Maletis noted), the At 4 Your Eyes Only, we delight in catalog—Maletis explained champagne’s final rosé a floral confection. Like all of his finding eyewear that is different, production process. It starts as wine from champagnes, they ranged from $40 to $150 but still charming, beautiful and one of three grape varietals, all native to per bottle, including the impressive magnum wearable. We are a small, local the chalky soil and damp, chilly climate of he opened. Champagne. This flat wine ferments in a Maletis repressurized and re-chilled boutique dedicated to helping you metal or wood vat and is then transferred the bottles in preparation for a Fat Cork find the perfect pair of glasses. to pop-topped glass bottles, along with tradition. The following afternoon, 50 or so yeast and sugar. The yeast metabolizes local Fat Cork subscribers would visit the the sugar in the bottle and, when no more store to pick up their bi-monthly champagne sugar remains, dies off. Millions of tiny collections and sample several bottles. The yeast corpses aging in the wine impart store is open for standard retail, he said, but good champagne’s chewy flavor; the second taste is developed by tasting. n Wallingford Center fermentation provides its bubbles. 1815 N 45th St. Seattle 206.547.7430 The bottles are then angled nose-down in FAT CORK racks to sink dead yeast cells into the neck 111 W. John St. Suite 136A fatcork.com 4YourEyesOnlyOptical.com CHONA KASINGERCHONA

encoreartsseattle.com 7 BOOK SMART Seattle Bids for UNESCO City of Lit A few years ago in Iceland, writer Ryan Boudinot sat down with a poet named Sjón, Bjork’s frequent collaborator, and had a con- versation that might substantially increase the prestige and reach of Seattle’s literary culture. Sjón and Boudinot discussed Reykjavik’s recent designation as a UNESCO City of Literature— what it meant for the city’s writers and readers, what it meant for the city as a whole. The United Nations Educational, Scientific and Cultural Organization designates cities as exemplary in particular art forms, including music, film, design, gastronomy, crafts and folk art, media arts and literature. Once UNESCO designates a City of X, that city enters a network of creative cities around the world with which it can start collaborating. Current UNESCO Cities of Literature include Kraków, Iowa City, Dublin, Edinburgh, Melbourne, Norwich and Reykjavik. To enter this network, a city has to make a bid de- tailing its past contributions to literature, a plan for what it’ll do with the designation, a statement about what the city can bring to the network and endorsements from five other UNESCO cities. After the conversation with his new Icelandic friend, Boudinot felt inspired. At Elliott Bay Book Company’s 40th anniversary reading, he proposed to the crowd that Seattle make a bid. When the people at the reading said yes, he assembled a veritable literary Justice League to help push Seattle’s bid, which the city council unanimously approved back in January. “I’m not applying to become a City of Literature,” Boudinot says. “I’m just trying to get Seattle to see itself as it truly is, which is a city of international significance in literature.” The possibilities of the designation are exciting. Exchanges could send Seattle writers to other Cities of Literature, and they’d send writers to Seattle. Northwest publications could gain more visibility internationally. Local writ- ers could work on projects related to freedom of expression and other human rights issues. Plus, Seattle would have a seat at the table for UNESCO’s annual Creative City Summit, where all 41 creative cities gather to develop inter- national programming and to discuss issues of literary importance. There could also be opportunities for literary tourism and education programs. On March 12 at Town Hall, Boudinot, Ed Murray, Deputy Mayor Hyeok Kim and local liter- ary luminaries Elissa Washuta of the University of Washington, Gary Luke of Sasquatch Books, Rick Simonson of Elliott Bay Book Co., Tree Swenson of Richard Hugo House and Nancy Pearl of everywhere spoke as representatives of their respective literary interests. The team was confident that the city had a good shot at the bid. The UNESCO application was submitted in March and Seattle will find out whether or not it receives the designation in November. As the lights rose on the pews, a friend and fellow poet next to me said, “Now I really want to go home and write.” That kind of eagerness for reading and writing was one tangible benefit of the bid, and many took it away with them that night. RICH SMITH

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

Beginning May 30, 2014 • Opening Night June 5, 2014

CAST Anne Allgood Esther Franz Charles Leggett Victor Franz Peter Lohnes Walter Franz Peter Silbert Gregory Solomon

CREATIVE TEAM Victor Pappas Director Robert Dahlstrom Scenic Designer Rose Pederson Costume Designer Alex Berry Lighting Designer Brendan Patrick Hogan Sound Designer JR Welden Stage Manager Becca Rowlett Production Assistant Robert Franklin Assistant Lighting Designer Alyssa Keene Dialect Coach

Place: The Attic Floor of a Manhattan BrownstoneTime: Fall, 1967

Running Time: This performance runs approximately two hours and 30 minutes. There will be one 15-minute intermission.

The Actors and Stage Managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

The Price 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. THE VIDEOTAPING OR MAKING OF ELECTRONIC OR OTHER AUDIO AND/OR VISUAL RECORDINGS OF THIS PRODUCTION IS A VIOLATION OF UNITED STATES COPYRIGHT LAW AND AN ACTIONABLE FEDERAL OFFENSE.

PRODUCTION SPONSOR:

THEATRE AND SEASON SPONSORS:

A Contemporary Theatre Foundation

Katharyn Alvord Gerlich, Eulalie M. & Gian-Carlo Scandiuzzi, Nancy Alvord, Betty Bottler, Gregory & Diane Lind, Chuck Sitkin, Chap & Eve Alvord

Audience members are cordially reminded to silence all electronic devices. 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 A-1 Welcome to ACT Kurt Beattie

Arthur Miller’s work has established itself as an enduring even more so. In the wake of his father’s fall, Miller went from contribution to world theatre. Now acknowledged as one of being the privileged kid of an upper class Jewish family, to a America’s greatest playwrights, the core group of his plays— young man working a procession of menial jobs throughout the Death of a Salesman, The Crucible, A View from the Bridge, All city, and with no support for his college education initially other My Sons, and The Price—have been continuously performed than his labor. These experiences deeply influenced him. The and revived all over the world during the last seventy years. In Common Man was a reality for him; the men and women who part, I think this is because of his ability to create enormously worked in sweatshops and warehouses and laboring jobs for accessible characters, and, in most of these plays, powerfully hard bosses and little pay became his everyday acquaintances. imagined families whose humanity and flaws are recognizable One of his most moving, if rarely performed plays, A Memory to nearly everybody. Another achievement of these plays is their of Two Mondays, chronicles this, by placing the audience in the masterful probing of American society and its aspirations. Most middle of an auto parts warehouse for a close encounter with its of us would define the American ethos instinctively as a belief spirited but struggling employees, toiling in anonymity like so in freedom for the individual and his right to the opportunity many millions. to achieve material success, coupled with the sense that society The Price leaps forward a generation from A Memory of should be fair, open to everyone, “with liberty and justice for Two Mondays, and feeds its dramatic power with the split all” as the Pledge of Allegiance put it, and enlightened. Most journey of two brothers who lived very different lives: Walter, of Miller’s plays are haunted by this promise of America, its an entrepreneurial doctor for whom the creed of self-interest idealism and potential, and its history of crushing people on the became absolute, and Victor, who sacrificed a scientific way to achieving those ends. career to be his father’s caretaker, and ended up a cop, a Miller’s father was a successful businessman who lost profession without much stature in the world of the elite. Their everything in the Great Depression. The Miller family had backgrounds torture them. In one of the most moving speeches to move from their comfortable home in Manhattan to the of the play, Victor relates how sudden the collapse of 1929 was, Gravesend neighborhood in Brooklyn. The path of Miller’s and how destructive it was emotionally to their father. In this father’s life clearly informs Miller’s conception of The Price’s play, as in many others of Miller’s, the consequences of history dead father and his legacy. It’s symbolized by the ponderous force moral and pragmatic decisions on people that cannot be furniture that his sons and heirs, Victor and Walter Franz, have evaded. It strikes me that Miller does something else uniquely to sell, furniture made for larger rooms and more prosperous well: his best plays, without any bowing to abstraction or times which has now become relatively worthless, a spiritual stylistic cleverness, with absolute concentration on the mundane albatross. And so, in a way, at least in Miller’s value system, have and average, somehow become profound immense summaries of America’s materialist obsessions. American civilization, its dreams and hopes placed side by side At the moment, Manhattan is relentlessly becoming a high with its often devastating reality. priced reservation for the wealthy. (As is Gravesend, Brooklyn, believe it or not!) But when I was a boy in New York, in the late ’50s and early ’60s, the city was much more of a blue-collar town. The fabulously wealthy lived there, but also large numbers of working class and middle class people. In Miller’s day, it was Kurt Beattie, Artistic Director

A-2 ACT THEATRE COMING SOON TO ACT THEATRE

Jul 18–Aug 17 Three celebrated writers and their trio of short plays deliver magic, surprise, wonder, and a dose of science fiction fantasy to the Summer.

Terre Haute Swing Time May 15–Jun 15 Jun 16 A famous expatriate author travels from Paris to Seattle’s popular theater for radio show brings you Terre Haute, Indiana to interview America’s most their summer episode “Swing Time.” Featuring notorious terrorist on death row. musical guests Cascadia Big Band, curvaceous crooners The Riveting Rosies, and fresh new plays for radio. ©Ian Johnston © Truman Buffett

Passing Strange The Construction Zone Jun 8–29 Jun 24 A comedy-drama musical about a middle class Join us for the second event of this year’s new black youth as he explores life through travel, sex, play reading series. Worse Than Tigers by drugs, and rock ‘n roll. Mark Chrisler is the story of a couple who desperately needs to embrace their misery in order to be happy.

Endangered Species Project Hands Solo: Pianoman Jun 9 Jul 10–20 Experience the great plays you seldom see. Seattle’s own Victor Janusz brings his acclaimed, June features The Good Person of Szechwan one-man show with music to ACT. Follow his path by Bertolt Brecht. from being fired by his piano teacher at age 8 to an epiphany involving Mexico’s patron saint. © Jimmy Malecki

acttheatre.org | (206) 292-7676 | 700 Union Street, Seattle THE PA S T AND ITS POWER Why I Wrote The Price by ARTHUR MILLER EXCERPTS FROM THE NEW YORK TIMES, NOVEMBER 14, 1999

The sources of a play are both obvious and mysterious. The But as the dying continued in Vietnam, with no adequate Price is first of all about a group of people recollected, as it resistance to it in the country, the theater, so it seemed to were, in tranquility. The central figures, the New York cop me, risked trivialization by failing to confront the bleeding, Victor Franz and his elder brother, Walter, are not precise at least in a way that could reach most people…One had to portraits of people I knew long, long ago, but close enough, feel the absence—not only in theater but everywhere—of and Gregory Solomon, the old furniture dealer, is as close as any interest in what had surely given birth to Vietnam, I could get to reproducing a dealer’s Russian-Yiddish accent namely its roots in the past. that still tickles me whenever I hear it in memory… Indeed, the very idea of an operating continuity between past and present in any human behavior was démodé “The Price grew out of a and laughably close to an old-fashioned irrelevancy. My need to reconfirm the power impression, in fact, was that playwrights were either uninterested in or incapable of presenting antecedal material of the past, the seedbed of altogether. Like the movies, plays seemed to exist entirely in current reality, and the way to the now; characters either had no past or none that could possibly reaffirm cause and somehow be directing present actions. It was as though the culture had decreed amnesia as the ultimate mark of effect in an insane world.” reality… The Price grew out of a need to reconfirm the power Behind the play—almost any play—are more or less of the past, the seedbed of current reality, and the way to secret responses to other works of the time…The Price possibly reaffirm cause and effect in an insane world. It was written in 1967, and…it may as well be admitted that seemed to me that if, through the mists of denial, the bow of in some part it was a reaction to two big events that had the ancient ship of reality could emerge, the spectacle might come to overshadow all others in that decade. One was the once again hold some beauty for an audience…It speaks to a seemingly permanent and agonizing Vietnam war, the other spirit of unearthing the real that seemed to have very nearly a surge of avant-garde plays that to one or another degree gone from our lives. fit the absurd styles. I was moved to write a play that might Which is not to deny that the primary force driving The confront and confound both… Price was a tangle of memories of people. Still, these things …But the ‘60s was a time when a play with recognizable move together, idea feeding characters and characters characters, a beginning, middle and end was routinely deepening idea. condemned as “well made” or ludicrously old-fashioned. 1968, when the play is set, was already 40 years since

A-4 ACT THEATRE the Great Crash, the onset of the transformed America New York Brownstones, Upper West Side of the Depression decade. It was then that the people in this play had made the choices whose consequences they had now to confront. The ‘30s had been a time Everything is illuminated when we learned the fear of doom and had stopped being kids for a while,…the time…when…the birds in the light of the past. came home to roost and the past became present. And It is always along the that Depression cataclysm, incidentally, seemed to teach that life indeed had beginnings, middles, and a side of us…on the inside, consequential end. looking out. Plays leave a wake behind them as the pass into history, with odd objects bobbing about in it. Many of these, in the case of The Price, are oddly funny for such –Jonathan Safran Foer a serious work. I had just finished writing it and with my wife…went to the Caribbean for a week’s vacation. Hurrying onto the beach in our first hour there, we noticed a man standing ankle-deep in the water, dressed in shorts and a wide-brimmed plantation hat who looked a lot like Mel Brooks.…In fact, he was Mel Brooks. After a few minutes’ chat…he wanted to know if I was writing and I said we were casting a new play called The Price and he asked what it was about. “Well,” I said, “there are these two brothers…” “Stop, I’m crying!” he yelled, frightening all the Protestants lying on the beach… Hooverville in New York’s Central Park, 1933

encoreartsprograms.com A-5 Dusting off an old record GALLAGHER and SHEAN TUNING IN TO THE WORLD OF THE PRICE

“Gallagher and Shean” was a musical vaudeville act in the 1910s and 1920s featuring Edward Gallagher and Al Shean (née Schoenberg). Capitalizing on the craze for all things Egyptian that followed Howard Carter’s discovery of Tutankhamun’s tomb in 1922, the duo performed in incongruous Egyptian costume (Gallagher in a tourist’s white suit and pith helmet, Shean in a fez and skirted coat) and were famous for their opening number, “Mr. Gallagher and Mr. Shean,” introduced in Ziegfeld Follies of 1922 and later recorded by Bing Crosby and Johnny Mercer, as well as Jackie Gleason and Groucho Marx (a nephew of Mr Shean). Its famous call-and-response refrain–“Absolutely, Mr. Gallagher?/Positively, Mr Shean!”–became their tagline and is still imitated today, notably in a series of 1990s radio spots for Pitney- Bowes.

A-6 ACT THEATRE I think the tragic feeling “ is evoked in us when we are in the presence of a character who is ready to lay down his life, if need be, to secure one thing—his sense of personal dignity. From Orestes to Hamlet, Medea to Macbeth, the underlying struggle is that of the individual attempting to gain his “rightful” position in society. Sometimes he is one who has been displaced from it, sometimes one who seeks to attain it for the first time, but the fateful wound from which the inevitable events spiral is the wound of indignity and its dominant force is indignation. Tragedy, then, is the consequence of a man’s total compulsion to evaluate himself justly... If rank or nobility of character were indispensable, then it would follow that the problems of those with rank are the particular problem of tragedy. But surely the right of one monarch to capture the domain from another no longer raises our passions, nor are our concepts of justice what

Jobless men waiting in a 1930s breadline they were to the mind of an Elizabethan king. The quality in such plays that does shake us, however, derives from the underlying fear of being displaced,

the disaster inherent in being torn away from our chosen image of what and who we are in the world. Among us today this fear is strong, and perhaps Your past is always stronger, than it ever was. In fact, it is the common your past. Even man who knows this fear best. if you forget it, it ” remembers you. –Arthur Miller

–Sarah Dessen

encoreartsprograms.com A-7 Who's Who in The Price

Anne Allgood (Esther Law School. After law school he served as law Award, received two Emmy awards and three Franz) has happily clerk for the Washington State Court of Tony Awards for his plays, as well as a Tony appeared at ACT in Appeals, was an associate at a boutique Award for Lifetime Achievement. He also won Mary Stuart, Sugar appellate law firm, and served as associate an Obie award, a BBC Best Play Award, the Daddies, Ramayana, general counsel for an online legal research George Foster Peabody Award, a Gold Medal The Pinter Festival, The firm where he helped shepherd its acquisition for Drama from the National Institute of Arts Prisoner of Second by a leading multi-national information and Letters, the Literary Lion Award from the Avenue, Rock ‘n’ Roll, services provider. He now combines his careers New York Public Library, the John F. Kennedy Das Barbecü, The Women, The Clean House, as actor and lawyer by coaching attorneys and Lifetime Achievement Award, and the Algur Vincent in Brixton, Eurydice, Miss Witherspoon, other professionals on public speaking and Meadows Award. He was named Jefferson and A Christmas Carol (twice). Her credits presentation skills. Lecturer for the National Endowment for the encompass Broadway and regional theatres Humanities in 2001. He was awarded the across the country. This winter she appeared Peter Silbert (Gregory 2002 Prince of Asturias Award for Letters and as Polly in Other Desert Cities for Arizona Solomon) Peter is the 2003 Jerusalem Prize. He received Theatre Company and Indiana Repertory happy to return to honorary degrees from Oxford University and Theatre. She has appeared at every major Seattle where he lived Harvard University and was awarded the Prix theatre in Seattle, notably in Boeing, Boeing, and worked for many Moliere of the French theatre, the Dorothy and You Can’t Take It With You, The Constant years. Among his Lillian Gish Lifetime Achievement Award, and Wife, and Bad Dates at Seattle Repertory favorite shows at ACT the Pulitzer Prize. Theatre, and in starring roles in a dozen are Tales From productions at the 5th Avenue Theatre. Hollywood, Our Country’s Good, Red Noses, Victor Pappas Upcoming: Angels in America at Intiman. The Revenger’s Comedies, and seven (Director) previously productions of A Christmas Carol as Ebenezer directed Other Desert Charles Leggett Scrooge. In 2003 he moved to Milwaukee, Cities, Old Times, Mary (Victor Franz) At ACT: where he had worked since the ‘80s, to Stuart, The Trip to Ben, The Dumb Waiter; become a member of the Resident Acting Bountiful, and Stuff George Brown, The Company at Milwaukee Rep. Among the 60+ Happens at ACT. He Pitmen Painters; Ray, shows he did there, favorites are Shelly Levine served as Associate Yankee Tavern; Sheriff, in Glengarry Glen Ross, Gloucester in King Artistic Director of Intiman Theatre for seven The Trip to Bountiful; Lear, Sigmund Freud in Hysteria and Father years, directing productions of The Joe, Becky’s New Car; Ferreira in Silence by Steven Dietz, which Importance of Being Earnest, Playland, Spirit 2, A Christmas Carol (2002-06, ‘08); toured Japan in 1995 and 1998. He has also Betrayal, Smash (world premiere), The Turn of Marshall Herrick, The Crucible. Charles is a worked at Intiman, Seattle Repertory Theatre, the Screw, The Glass Menagerie, Gross recipient (and three-time nominee) of the the late Empty Space, and around the country Indecency: The Three Trials of Oscar Wilde, A Theatre Puget Sound Gregory Award for his at the Oregon and Utah Shakespeare Festivals, Question of Mercy, and Skylight. Other work at Seattle Repertory Theatre, ACT, and Berkeley Rep, La Jolla Playhouse, Arizona directing credits include The Importance of Seattle Shakespeare Company, and has Theatre Co., The Goodman Theatre, and The Being Earnest (Seattle Shakespeare appeared at the Village Theatre, The 5th Huntington Theatre. He currently lives in the Company); I Am My Own Wife (Portland Avenue Theatre, Seattle Children’s Theatre, small town of Standish, Maine. Center Stage); An Ideal Husband (Pioneer Book-It Repertory Theatre, Portland Center Theatre Company); Othello (Idaho Stage, Intiman, Empty Space, and numerous Arthur Miller Shakespeare Festival); Ghosts (Utah smaller companies including Strawberry (Playwright) was born Shakespeare Festival); Falsettos, Follies, and Theatre Workshop. Later this summer Charles in New York City and Anyone Can Whistle (Showtunes Theatre will play Roy Cohn in Angels in America at studied at the Co.); and the world premiere of Mark Intiman. University of Michigan. Jenkins’ All Powers Necessary and Convenient His plays include The for the University of Washington. He was a Peter Lohnes (Walter Man Who Had All The co-founder of Shadow and Light Theatre Franz) In addition to Luck (1944), All My where he directed Two By Pinter. He received regular film, television Sons (1947), Death of a Salesman (1949), The the Los Angeles Drama Critics Circle Award and commercial work, Crucible (1953), A View From The Bridge and for Outstanding Direction for the world Mr. Lohnes has A Memory of Two Mondays (1955), After The premiere of Jamie Baker’s South Central Rain, appeared in many Fall (1964), Incident At Vichy (1964), The Price and several of his productions have been productions at the (1968), The Creation of the World and Other honored with Footlight Awards by The Seattle Seattle Repertory Business (1972), The Archbishop’s Ceiling Times. He spent a decade as Associate Chair Theater, Intiman Theatre, ACT, The Denver (1977), The American Clock (1980) and of the Graduate Acting Program at NYU’s Center Theatre, The Milwaukee Repertory Playing For Time (1985). Later plays include Tisch School of the Arts, where he received Theatre, Tacoma Actors Guild, Portland Center The Ride Down Mt. Morgan (1991), The Last the David Payne Carter Award for Teaching Stage, The 5th Avenue Theatre, Seattle Yankee (1993), Broken Glass (1994), Mr. Excellence. He is a proud member of AEA, Children’s Theatre, and many others. He Peters’ Connections (1998), Resurrection Blues SAG-AFTRA, and SDC, and serves on the recently took a hiatus from acting and (2002), and Finishing The Picture (2004). He board of Seattle Actors Workshop. graduated cum laude from Seattle University twice won the New York Drama Critics Circle

A-8 ACT THEATRE Robert Dahlstrom (Set Designer) has Brendan Patrick Hogan (Sound Designer) As Carlo Scandiuzzi designed scenery, lighting, and costumes the Resident Sound Designer at ACT, Hogan (Executive Director) is a for many companies including, locally: ACT has designed over 30 productions since 2009. founder of Agate Films Theatre, Intiman Theatre, Seattle Repertory In addition to productions at ACT, his designs and Clear Pictures, Theatre, Seattle Opera, and Village Theatre and compositions have been heard locally at producing such films as of Issaquah. Theatres elsewhere include: theaters such as Seattle Repertory Theatre, Prototype, Dark Drive, Alliance Theatre, American Conservatory Washington Ensemble Theatre, and Seattle Outpatient, and The Theater, American Repertory Theatre, Den Shakespeare Company, and nationally at Flats, and Indieflix, a Nationale Scene of Bergen, International Arizona Theatre Company, Center Theatre distribution company. In 1979, Scandiuzzi Theatre Center of Moscow. Opera elsewhere Group (CA), and George Street Playhouse started Modern Productions, bringing to includes Grand Théâtre de Genève, Royal (NJ). Compositions and design for film and Seattle such legendary bands as The Police, Opera Copenhagen, Opéra Décentralisé de video include local productions such as Waxie Devo, Nina Hagen, Iggy Pop, The Ramones, Neuchâtel, Washington Opera at the Kennedy Moon in Fallen Jewel and global organizations John Cale, Robert Fripp, James Brown, Center, San Francisco Opera, Cincinnati including Amnesty International (Reggie Muddy Waters, and many more. He Opera, and the opera companies of Calgary, Clemons: Justice Derailed). performed in several plays at The Empty Edmonton, Winnipeg, and Montreal. Space including Aunt Dan and Lemon, The Dahlstrom enjoyed a long association with JR Welden (Stage Manager) Welden has stage Return of Pinocchio, and Dracula. In the early the M.F.A. Design Program at University of managed Uncle Ho to Uncle Sam, Mary Stuart, ‘80s, he collaborated with many Seattle Washington’s School of Drama, 1971-2010. One Slight Hitch, Eurydice, The Underpants, performance artists such as Norman Durkee, and A Christmas Carol at ACT. He stage Alan Lande, and Jesse Bernstein. He also Rose Pederson (Costume Designer) has managed 10 seasons at Intiman working on acted in various films includingBugsy , The designed costumes for more than one productions including The Grapes of Wrath, Public Eye, Another You, Casanova’s Kiss, and hundred professional productions at theaters Nickel and Dimed, and The Mandrake Root Killing Zoe. He graduated from the Ecole from Broadway to Seattle. She designed with Lynn Redgrave. At Seattle Repertory Superieure D’Art Dramatique of Geneva. over 25 productions for ACT including Mrs. Theatre, his credits include Blue Door, The Carlo currently serves as a member of the California; Language of Flowers; Glengarry Chosen, and Pygmalion. Seattle Arts Commission. Glen Ross; Merrily We Roll Along; Sunsets and Glories; Lloyd’s Prayer; The Downside; Kurt Beattie (Artistic Polish Joke; Absurd Person Singular; The Director) has been Nina Variations; The Notebook of Trigorin; creating theater for ACT operates under agreements with Temporary Help; My Children, My Africa; Puget Sound audiences the following: and Hapgood. On Broadway, she designed for over 40 years as an the costumes for Largely, New York. She has actor, playwright, and designed many productions for the Seattle director. His productions Repertory Theatre, including An American at ACT include Grey Daughter; The Heidi Chronicles; and The Gardens, Ramayana (with Sheila Daniels), The Sisters Rosenzweig. She has also designed Pitmen Painters, Double Indemnity, In the Next for Seattle Children’s Theatre, New City Room, or the vibrator play, The Lieutenant of Theater, The Empty Space, Tacoma Actors Inishmore, Rock ‘n’ Roll, Becky’s New Car, Guild, Portland Center Stage, Arizona Theater Intimate Exchanges, First Class, The Pillowman, Company, Cleveland Playhouse, Idaho Mitzi’s Abortion, The Underpants, Bach at Shakespeare Festival, The Kennedy Center, Leipzig, Vincent in Brixton, Black Coffee, Alki, and Berkley Repertory Theater where her Moon for the Misbegotten, Fuddy Meers, Fully work was nominated for a Bay Area Drama Committed, Via Dolorosa, and the holiday Critics Award. classic, A Christmas Carol. Elsewhere he has directed at Seattle Repertory Theatre, The Alex Berry (Lighting Designer) Alex is Empty Space, Intiman Theatre, Seattle excited to finally get to light a show in the Children’s Theatre, University of Washington, Allen Theatre! Lighting Design at ACT, Falls San Jose Repertory Theatre, Milwaukee Theatre: Other Desert Cities, First Date, Repertory Theatre, The Alley Theatre in Das Barbecü, Runt of the Litter, Jumpers. Houston, and Ojai Playwrights Festival. As an Issaquah Village Theatre; Lighting Design: actor, he has appeared in leading and major The Tutor, Take Me America, Jesus Christ roles at ACT (most recently as Ebenezer Superstar, Sleuth, The Gypsy King, Million Scrooge in A Christmas Carol), Seattle Dollar Quartet. Scenic and Lighting: Beauty Repertory Theatre, Intiman Theatre, The Empty and the Beast, The Who’s Tommy, Cats. He is Space, Seattle Shakespeare Company, as well the proud owner of AlexBerryDesign creating as many regional theatres throughout the corporate events and experiences around the country. Beattie is a recipient of the Theatre world. He sends his love to his wife Heather Puget Sound Gregory A. Falls Sustained and his kids Aresa & Eliot. Achievement Award, and the Outstanding Achievement in the Arts Award from ArtsFund.

encoreartsprograms.com A-9 PATRON INFORMATION Special Fund Donors ACT Endowment Donors

Emergency Evacuation Procedures ACT’s endowment is administered by A Contemporary Theatre Foundation. In the event of an emergency, please wait for an announcement for further instructions. Buster & Nancy Alvord • Joan & Larry Barokas • Michael Corliss-Investco • Katharyn Alvord Gerlich • Ushers will be available for assistance. Becky & Jack Benaroya • Charles Blumenfeld & Karla Axell • The Ewert Family • Bruce & Dawn Goto • William Randolph Hearst Endowed Fund for Education & Outreach Programs • Kreielsheimer Emergency Number The theatre’s emergency number in the Union Remainder Fund • Doug & Nancy Norberg • Sally Pence • Katherine & Douglass Raff • lobby is (206) 292-7667. Leave your exact seat Brooks & Suzanne Ragen • Herman & Faye Sarkowsky • David E. & Catherine E. Skinner • location with your emergency contact in case Kayla Skinner • John & Rose Southall • Estate of Stuart Smailes • David & Joyce Veterane • they need to reach you. The Peg & Rick Young Foundation • Anonymous Smoking Policy Smoking is NOT allowed in any part of the theatre or within 25 feet of the entrance. The ACT Legacy Society Firearms Policy No firearms of any kind are allowed in any part The ACT Legacy Society honors those who remember ACT in their wills or other estate of the theatre. plans. Legacy Society members ensure ACT’s ongoing tradition of presenting the best of contemporary theatre for future generations. Investments of all sizes can make significant Food future gifts by using tax-advantaged estate and financial planning techniques. Notify ACT of Food is not allowed in the theatre. Tuxedos & Tennis Shoes is the preferred your arrangements by calling Rebecca Lane at (206) 292-7660 ext. 1321. caterer of ACT Theatre. Nancy Alvord • Laurie Besteman • Jean Burch Falls • Accessibility Linda & Brad Fowler • Suzanne Howard • H. David Kaplan • Wheelchair seating is available. The theatre Mike McCaw • Catherine & Barry McConnell • Dr. Arnie & Judy Ness • Lisbeth is equipped with the Sennheiser Listening Pisk • Brooks & Suzanne Ragen • Teresa Revelle • Chuck Sitkin • GregRobin System for the hard of hearing; headsets are Smith • Dorothy E. Wendler • Janet Westin • John & Rose Southall available from the house manager for use, free of charge, with a valid ID and subject to availability. ACT Theatre offers American Sign Language interpreted and audio-described performances. For more information, Special Thanks email [email protected]. ACT gratefully acknowledges the following professionals and organizations who have helped Lost & Found make this season a success: Call (206) 292-7676 between Keith Johnsen, Daqopa Brands LLC • Seattle Children’s Theatre • AJ Epstein • 12:00pm and 6:00pm, Tues-Sun. Seattle Repertory Theatre • UW Drama • Mike Dodge • Avast! Recording Co. • Address & Website Serenza Salon & Spa • Intiman Theatre • Carlson Audio • Tim Gouran • Megan Liz Cole ACT Theatre is located at 700 Union Street, Seattle WA 98101. Ticket Office Phone: (206) 292-7676. Administrative Office Phone: (206) 292-7660. Fax: (206) 292-7670. Website: www.acttheatre.org.

Theater Rental For information regarding booking, contact [email protected]. ACT ♥’s We’re Growing

Group Sales Groups of 10 or more can save. TeenTix our Board Call (206) 292-7676 or Did you know that any The ACT Board of Trustees is a dynamo email [email protected]. teenager (13-19 years old) group of volunteers committed to Fragrance can sign up for a free making sure ACT is strong, healthy, and Please be considerate and keep personal TeenTix pass? on track to achieve our mission. fragrance to a minimum. Teens use the pass to purchase From young professionals, to established $5 day-of-show tickets to ACT and community leaders, the ACT Board is a diverse dozens more organizations around group sharing a common goal: Support ACT the region. Theatre!

Welcome, teens – If you are passionate about ACT and everyone at ACT is glad you interested in getting more involved, are here! this just might be a great way to start! Know a teen who should have a Email Richard Hesik for more information: pass? Send them to teentix.org. [email protected]

A-10 ACT THEATRE ACT Corporate, Foundation & Government Sponors ACT gratefully recognizes the following corporations, foundations, and government agencies for their generous support of our 2014 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 EVENING SPONSORS Charles Schwab $100,000+ $10,000-$24,999 E & J Gallo Winery† ArtsFund Elizabeth George Foundation Encore Publishing† Harvest Foundation Fales Foundation Trust SEASON SPONSORS The Peg & Rick Young Foundation Foster Pepper & Shefelman $50,000-$99,999 Tateuchi Foundation Glass Distillery† Office of Arts & Culture, City of Seattle TEW Foundation Gordon Biersch Brewing Co.† The Boeing Company True Fabrications Associates† HSBC The Shubert Foundation, Inc. Loulay Kitchen & Bar† STAGE SPONSORS † SHOW SPONSORS Pike Brewing Company $5,000-$9,999 Traver Gallery† $25,000-$49,999 Fran’s Chocolates† 4Culture Washington Holdings Homewood Suites† The Paul G. Allen Family Foundation Nordstrom John Graham Foundation MEDIA SPONSORS RealNetworks Foundation City Arts Magazine† Joshua Green Foundation The Seattle Foundation KCTS 9† Microsoft Corporation Wyman Youth Trust KEXP† Nesholm Family Foundation KUOW† Tuxedos and Tennis Shoes† SUSTAINING SPONSORS KING FM† $1,000-$4,999 Seattle Magazine† 2bar Spirits† Carlson Audio Systems† †Support provided through in-kind contributions

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

CARLSON AUDIO • SYSTEMS

THE JOHN GRAHAM FOUNDATION

encoreartsprograms.com A-11 Give at least $100 per year to ACT Give at least $100 per year Mainstage productions to the Bring ACT’s Falls and Allen stages the Central Heating Lab Fund new play production in find their voice in the Offer young people space to Playwrights Program Young Create a vibrant community Enjoy exclusive invitations, opportunities, and recognition in thanks for your generosity and more! » » » » » » Become an ACT Partner » Visit acttheatre.org/partners or use one of our donation boxes to give now. Visit acttheatre.org/partners or use one of our donation Donate to ACT today and be a Part of the Art! today and Donate to ACT ACT THEATRE

ACT PARTNERS A-12 ACT Partners ACT Theatre’s mission is to raise consciousness through theatre—a mission 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 $10,000–$24,999 Eulalie M. & Gian-Carlo Scandiuzzi* Colin & Jennifer Chapman* Katharyn Alvord Gerlich Trevor Cobb & Cecilia Cayetano* Allan & Nora Davis SEASON SPONSOR $50,000–$99,999 James Degel & Jeanne Berwick, Berwick Degel Family Foundation Nancy Alvord Jean Burch Falls Betty Bottler Linda & Brad Fowler* Gregory & Diane Lind* Heather & Grady Hughes Chuck Sitkin* Bill Kuhn & Patricia Daniels* SHOW SPONSOR $25,000–$49,999 Yoshi & Naomi Minegishi Chap & Eve Alvord Katherine & Douglass Raff* Linda Brown & Larry True Teresa & Geoff Revelle* Richard Hesik & Dr. Barbara Johns* Margaret Stanley* May McCarthy & Don Smith* Robert & Shirley Stewart* Dr. Arnie & Judy Ness* Jean Walkinshaw Anonymous

ASSOCIATE FRIEND SUSTAINING PARTNER Phyllis Hatfield $5,000-$9,999 $2,500-$4,999 $1,000-$2,499 Ellen Hazzard Sheena Aebig & Eric Taylor Richard & Constance Albrecht John Akin & Mary Stevens Rodney & Jill Hearne Allan & Anne Affleck Kenneth & Marleen Alhadeff Rhett Alden & Marcia Engel Marjorie Kennedy Hemphill Benjamin & Marianne Bourland Akhtar & Alka Badshah Kermit & Danna Anderson Vaughn Himes & Martie Ann Bohn Sonya & Tom Campion Peter & Jane Barrett Jason Astorquia Nancy & Martha Hines Natalie Gendler Kurt Beattie & Marianne Owen Kendall & Sonia Baker Dale & Donna Holpainen James & Barbara Heavey Don Beaty & Carrie Sjaarda Joan & Larry Barokas Gary & Parul Houlahan John & Ellen Hill Laurie Besteman & Jack Lauderbaugh Eric Bennett Dan & Connie Hungate Dr. Larry Hohm & Karen Shaw Bruce Butterfield & Irene Stewart Peter & Fran Bigelow Joseph & Linda Iacolucci Jane W. & James A. Lyons Estate of George Carlson Sarika & Samir Bodas Victor Janusz McKibben Merner Family Foundation Bob & Kristi Diercks Dr. William Calvin & Dr. Katherine Steve Jensen Nadine & John Murray Thomas P. & Christine M. Griesa Graubard Judith Jesiolowski & David Thompson Linda & George Ojemann Lee Dicks Guice Corinne A. Campbell Clare Kapitan & Keith Schreiber Dr. Greg Perkins Stephanie M. Hilbert* Dennis & Aline Caulley Lura & David Kerschner Marie Peters Katherine Ann Janeway & H.S. Donald Cavanaugh Joanne M. Kuhns Eric and Margaret Rothchild Wright III Manisha Chainani George & Linda Lamb Charitable Fund Lisa & Norman Judah D.T. & Karen Challinor Steve Langs Herman & Faye Sarkowsky H. David Kaplan Clement Family Foundation Eileen Lennon Lisa Simonson* Karen Koon & Brad Edwards Steven & Judith Clifford Steven & Anne Lipner Garth & Drella Stein Greg Kucera & Larry Yocom Patricia & Theodore Collins Jim Lobsenz & Elizabeth Choy Brian Turner & Susan Hoffman Marcella McCaffray Steve Coulter Laura Lundgren Spark Charitable Foundation Bill & Mary Ann Mundy Craig Davis & Ellen Le Vita James Madison David & Shirley Urdal The Nordhoff Family Kathy & Don DeCaprio Alice Mailloux Vijay & Sita Vashee Kate Purwin & Sergei Tschernisch Dennis & Deborah DeYoung Tony Martello David & Joyce Veterane Brooks & Suzanne Ragen Eva & Gary Dines Eric Mattson & Carla Fowler Jean Viereck Ann Ramsay-Jenkins Michael Dupille Peter & Kelly Maunsell Kären White* Donald & Jo Anne Rosen Lonnie Edelheit Ann McCurdy & Frank Lawler Marcia & Klaus Zech Ingrid Sarapuu & Michael Anderson Lori Eickelberg Samuel B. McKinney Barry & Colleen Scovel Charles & Margaret Fitzgerald Joy McNichols Debra Sinick & David Ballenger Anne Foster Frances Mead John & Rose Southall Richard & Mary Beth Gemperle Gail & John Mensher Ron & Carol Sperling Boyd & Ann Givan Eugene & Donna Mikov Cathy & Ron Thompson Kelly & Jeffrey Greene Kelly Miller & Ruthann Stolk Mark & Arlene Tibergien Charles & Lenore Hale Mark & Susan Minerich Annette Toutonghi & Bruce Oberg Lawrence & Hylton Hard Michael Moody & Martha Anonymous (2) Peter Hartley & Sheila Noonan Clatterbaugh

encoreartsprograms.com A-13 Dayle Moss & David Brown Darrel & Nancy Dochow Pamela Reed & Sandy Smolan Dorothy A. Brown Sally Nelson Carole Ellison Craig & Melissa Reese Dr. James & Donna Brudvik James Nichols Steven Engle Jan & Kerry Richards Val Brustad Chris & BJ Ohlweiler Joanne R. Euster Cindy & Lance Richmond Carol & Jonathan Buchter Sue Oliver Amy Faherty & Jeff Kephart Jeff Robbins & Marci Wing Carl Bunje & Patricia Costello Hal Opperman & JoLynn Edwards Jeannie Falls Judy & Kermit Rosen Margaret Bustion Don Oxford Nancy Federici Marc Rosenshein & Judy Soferman Joel Buxbaum Cynthia & Bruce Parks Kevin & Tricia Fetter Marybeth & Jerry Satterlee Judith Callahan & John Van Valerie D. Payne Mrigankka Fotedar Sandra & Kenneth Schwartz Bronkhorst Bill & Beth Pitt Rick Freedman Michael C. Shannon John & Arlene Carpenter Alan & Andrea Rabinowitz Jeffrey & Eleanor Freeman Barbara & Richard Shikiar Christopher Chan Ken Ragsdale Ann & Donald Frothingham Jeff Slesinger & Cynthia Wold Kent & Sharlyne Clawson Sharon & Paul Ramey Maradel Krummel Gale Jay Soroka & Jane Reisman Nicole Boyer Cochran David and Valerie Robinson Fund Sergey Genkin Jeanne Soule Patrick & Jerri Cohen Evelyne Rozner & Matt Griffin Genevra Gerhart Helen Speegle Marc Coltrera & Anne Buchinski William & Rae Saltzstein Michael Greer, MD & Steve Bryant Carol Stockton & Jeffrey Robinson Kevin & Lisa Conner Barbara Sando Meg & David Haggerty Isabel & Herb Stusser Judith & Thomas Connor Terry Scheihing & Ben Kramer Wier Harman & Barbara Sauermann Sally Sullivan Dan & Esther Darrow M. Darrel & Barbara Sharrard Diana & Peter Hartwell Norm & Lynn Swick Emily Davis John Shaw F. Randall & Barbara Hieronymus Arthur & Louise Torgerson Clay & Karen Dawson Judith Simmons Jim & Linda Hoff Paul G. & Mary Lou Dice Vibrans Paul & Sandy Dehmer Marianna Veress Smirnes Susan & Philip Hubbard Ellen Wallach & Tom Darden Dottie Delaney Sheila Smith & Don Ferguson Alice Ikeda & Philip Guess Mike & Judy Waring Ron & Jan Delismon Kathleen Sneden-Cook & Jack Cook Dean M. Ishiki Judith Warshal & Wade Sowers Mike Dey Elaine Spencer & Dennis Forsyth Ann Janes-Waller & Fletch Waller Eric Weber Paula Diehr & Frank Hughes Kim Stindt & Mark Heilala David B. Johnson Robin Weiss Mary Virginia & Julian Dombrowski Jeffrey A. Sutherland Joan Julnes Dr. Sheree Wen Kristine Donovick & Jim Daly Christine Swanson Gail & David Karges Janet Westin & Mike McCaw Ellen Downey Tamzen Talman Steven & Patricia Kessler Marjory Willkens Vasiliki Dwyer Timothy Tomlinson Deborah Killinger Dianne & Douglas Wills Shmuel El-Ad Dirk & Mary Lou Van Woerden Alexander Grigorovitch & Vera Susan Wolcott & George Taniwaki Susan Elizabeth Tom & Connie Walsh Kirichuk Maria & Michael Wolfe Lynne & Hollie Ellis Nancy Weintraub Dr. Edward & Mimi Kirsch Josette Yolo Constance Euerle Steve & Diana White Agastya & Marianna Kohli Jan Zager Thea & Alexander Fefer Mary & Donald Wieckowicz Max Langley Igor Zverev & Yana Solovyeva Karen & Bill Feldt Kathy & Chic Wilson Candy Lee & Rocke Koreis Joyce & Christian Zobel Doug & Robin Ferguson Mr. & Mrs. Clyde Wilson Robert Lehman & Christopher Anonymous (8) Carol Finn Cathy Woo Mathews K. Denice Fischer-Fortier & James M. Ann P. Wyckoff Gary Lindsey CONTRIBUTING PARTNER Fortier Anonymous (7) Arni Litt $250-$499 Betsy & Charles Fitzgerald Loeb Family Foundation Sarah & Robert Alsdorf Rynold & Judge Fleck SUPPORTING PARTNER Stephen & Ellen Lutz Renate & Croil Anderson Ricky Flickenger $500-$999 C. Gilbert Lynn Jane & Brian Andrew Rob Folendorf Reham Abdelshahid Theodore & Mary Ann Mandelkorn Basil & Gretchen Anex Mary Fosse Monica Alcabin Bill & Holly Marklyn Loren & June Arnett Andy Foster Richard Andler & Carole Rush David Marty Adel Assaad Jane & Richard Gallagher Bruce P. Babbitt Shaula & Darrin Massena Diane & Jean-Loup Baer Jean Garber & Clyde Moore Marge & Dave Baylor Kyoko Matsumoto Wright Jerry & Judy Baker Jean Gardner Richard & Lenore Bensinger Maxine Mattson Ronald & Marcia Baltrusis Bruce & Peggy Gladner Luann & Irv Bertram Tim Mauk & Noble Golden William D. & Marjory A. Barbee Carol & Tal Godding Cleve & Judith Borth Sarah B. Meardon Bob & Melisse Barrett Debra Godfrey & Jeffrey Sconyers Stanley & Barbara Bosse David Meckstroth Dr. & Mrs. J.E. Bassingthwaighte Catherine Gorman Wendy Bradbury Erika Michael Carolyn Bechtel Claire & Paul Grace Matthew Brantley Lauren Mikov Julie Beckman & Paul Lippert Dick & Jan Gram Susan Campbell Michael & Sarajane Milder Ruth & Greg Berkman Rhonda & Jim Greer Midge & Steve Carstensen Adam & Shellie Moomey Dennis Birch & Evette Ludman Joe & Nancy Guppy Martin Christoffel & Shirley Schultz Sallie & Lee Morris Siggi Bjarnason Paul & Sheila Gutowski Clark Family Charitable Fund Jim Mullin Gail & Randy Bohannon Kevin & Molly Haggerty Jack Clay Cecilia Paul & Harry Reinert John Boling Marja Hall Judy & Bob Cline Molly Pengra Pirkko Borland Valerie Hamrick & Randall Whiteside Ellen & Phil Collins Chuck Perry Jerome & Barbara Bosley Libby Hanna & Don Fleming Jan & Bill Corriston Carol Pierce James Brashears Richard & Susan Hecht John & Catherine Crowley Donald Pogoloff Karen Brattesani & Douglas Potter Lisa Helker Chris Curry Joan Potter Roberta & Victor Bremson Arlene & Doug Hendrix Angela Davila Carol Radovich Mark Brewster Amy Henry Patricia & Cor DeHart Marjorie Raleigh & Jerry Kimball Barry & Patricia Briggs Amy Jo & Barbara Henry John Delo Jeff & Pat Randall June & Alan Brockmeier Pat Highet James & Amanda Devine Alan & Barbara Rappoport Brad & Amy Brotherton Eric & Mary Horvitz

A-14 ACT THEATRE Rob Howell & Jackie Bardsley John Scearce & Nancy Buckland Gifts in Tribute Matching Gifts Dr. Julie Hungar Betsy & Jason Schneier M.D. In honor of Joan Barokas: Judy & ACT would like to thank the following Weldon Ihrig & Susan Knox Garreth Schuh Kermit Rosen corporations for their contributions Joel Ivey & Sheryl Murdock Karen & Patrick Scott In honor of Kurt Beattie & Marianne through Gift Matching Programs. We Cathy Jeney Mike Scully Owen: Dawn Maloney greatly appreciate the support of these Mark Jenkins David & Elizabeth Seidel In honor of Kurt Beattie & Carlo institutions and their employees. Andy & Nancy Jensen Deborah Senn Scandiuzzi: Sean Shanahan & Paula Jenson Sean Shanahan & Kathleen McGill Kathleen McGill Adobe Systems Inc, Matching Gift David Johansen & Patrice McDermott Lynne & Bill Shepherd In memory of Lana Denison: Dr. Program Ted & Kris Johnson Gursharan Sidhu Arnie & Judy Ness Alaskan Copper & Brass Company Amgen Foundation Linda & Ted Johnson Don & Goldie Silverman In appreciation of Nicole Boyer- Applied Precision William & Sandy Justen Peggy O’Neill Skinner & John Skinner Cochran: Mark Jenkins Bank of America Foundation Nancy Karasan Julie & Sam Smith In memory of Mark Chamberlin: Bentall Capital Paul Kassen Naomi Spinak Eleanor Howard Bill & Melinda Gates Foundation Kay Keovongphet Gail & Robert Stagman In memory of Clayton Corzatte: Jeff The Boeing Company Gary & Melissa Klein Alec & Jane Stevens Robbins & Marci Wing; Anonymous Carillon Point Account Jim & Jean Kunz Lisa & John Stewart In honor of Petra Franklin & Carlo Casey Family Programs Jill Kurfirst Margaret Stoner & Robert Jacobsen Scandiuzzi: Linda & Brad Fowler CBIC Insurance Edie Lackland Derek Storm & Cynthia Gossett In honor of Richard Hesik & Barbara Chevron Bob & Janet Lackman Stephen Strong & Lorri Falterman Johns: Bob & Phyllis Hesik The Chubb Corporation Sharon Lamm Richard & Diane Sugimura In memory of Melissa Hines: Martha CIGNA Matching Gift Program Paul & Linda Larson Bill & Pat Taylor & Nancy Hines Citibank, N.A./Citicorp Becky Lathrop & Rob Witmer Margaret Taylor In honor of Carolyn Keim & Connie Eli Lilly & Co. Foundation Rhoda & Thomas Lawrence Michael Thompson Rinchiuso: Angela Owens Expedia, Inc. Lyn & Doug Lee Dennis M. Tiffany In honor of Teresa Revelle: Dr. Arnie Google Midge & Richard Levy Joan Toggenburger & Judy Ness Harbor Properties, Inc David Longmuir Sarah & Russell Tousley In memory of Tim Quandt: Gene & IBM International Foundation Mark P. Lutz Christopher & Mary Troth Karen Quandt Key Foundation Dan & Carol Madigan Andrew Valaas In memory of Patty Rose’s Merck Jeffrey & Barbara Mandula Constance Vorman & Pres Sloterbeck mother, Marian: PCLELC Cameo Microsoft Corporation Matching Lyle & Liz Martin Jorie Wackerman Subcommittee The Prudential Foundation Matching Lora & Parker Mason Mary & Findlay Wallace In memory of Collin Schreiber, for Gifts Arthur Mazzola Vreni Von Arx Watt the Laurie Schreiber family: The Puget Sound Energy Louise McNerney & Jan Sobieralski Bruce Weech Lake Stevens Elementary School RealNetworks Foundation Bob & Sue Mecklenburg Randall Weers Counselors Russell Investments Col. Norman D. Miller Jim & Sharron Welch SAFECO Matching Funds Wesley Moore & Sandra Walker Gregory Wetzel Satori Software Starbucks Matching Gifts Program Roger J. Morris Leora Wheeler Sun Microsystems Foundation Annette & Gordon Mumford Peggy & Dennis Willingham United Way of King County Robert Mustard Michael Winters The UPS Foundation Sarah Navarre Nancy Worsham US Bancorp Foundation John Naye Conrad & Glenna Wouters Verizon Foundation Cindy & Ed Neff Kairu Yao Washington Chain and Supply, Inc Dan & Denise Niles Anonymous (5) Washington Mutual Foundation Craig & Deanna Norsen * Denotes ACT for the Future Matching Gifts Program Colette J. Ogle Campaign Donor Zymogenetics Inc. Katherine & James Olson Clarke O’Reilly ACT works to maintain our list of Tina Orr-Cahall donors as accurately as possible. Mari Osuna & Adam de Boor We apologize for any misspellings Angela Owens or omissions. Should you find any, Angela Palmer please contact our office so that John Peeples we may correct any mistakes in Susan Perkins future publications. Email Barbara Phillips [email protected] or Greg & Sherre Piantanida Judy G. Poll call (206) 292-7660 x1330. Sheila Preston Comerford Megan & Greg Pursell Darryn Quincey & Kristi Falkner Charles & Doris Ray Steve & Denise Reibman Marilyn Robbins Drs. Tom & Christine Robertson Bruce F. Robertson Richard & Nancy Rust M. Lynn Ryder Gross Stuart & Amy Scarff

encoreartsprograms.com A-15 ACT A Theatre of New Ideas ACT Board A CONTEMPORARY FINANCE Sales and Audience COSTUME DEPARTMENTS THEATRE FOUNDATION Sheila Smith Services Carolyn Keim* Of Trustees Kermit Anderson Director of Finance Jessica Howard Costume Director Charles Sitkin President Tobi Beauchamp-Loya Associate Director of Sales Connie Rinchiuso* Chairman Lucinda Richmond Payroll & Human Resources Ashley Schalow Costume Shop Foreman Colin Chapman Vice President Manager Ticket Systems Associate Kim Dancy* President Katherine Raff Ash Hyman Lynch Resources Cutter Richard Hesik Secretary Senior Accountant Telemarketing Sally Mellis* Vice President Catherine Roach Joe Mangialardi Wardrobe Master Lisa Simonson Treasurer DEVELOPMENT Ticket Office Manager Fawn Bartlett Treasurer Colin Chapman Maria Kolby-Wolfe Georgina Cohen Assistant to the Costume Director Director of Development Bill Kuhn Brad Fowler Assistant Ticket Office Manager Joyce Degenfelder Secretary John Siegler Rebecca Lane A. Aiden Karamanyan Wig Master Lisa Simonson Major Gifts and Campaign Joan Barokas Front Office Representative Charles Sitkin Manager Laurie Besteman Brian Turner Jaron Boggs SCENIC DEPARTMENTS Trevor Cobb Erik Jansen Kelton Engle Steve Coulter* Bob Diercks Corporate Relations Manager Megan Tuschhoff Technical Director Charles Fitzgerald ACT Staff Ticket Office Representatives John Osebold Derek Baylor Ross Henry Grant Writer Jim Moran Assistant Technical Director Stephanie Hilbert EXECUTIVE Angela Palmer Audience Services Manager Grady Hughes Kurt Beattie* Austin Smart* Donor Relations Manager Diane Lind Artistic Director Jeremy Rupprecht Master Scenic Carpenter Kyle Thompson House Manager Kyoko Matsumoto Wright Carlo Scandiuzzi Sean Wilkins Development Coordinator: Board May McCarthy Executive Director Libby Barnard Lead Scenic Carpenter Lauren Mikov & Office Operations Michelle Berweiler Robert Hankins Michael Sterkowicz Kelly Miller Julia Nardin Katie Bicknell Executive and Artistic Manager Nick Murel Naomi Minegishi Kaillee Coleman Development Coordinator: Scenic Carpenters John Muhic Stewardship & Special Events Dennis Hardin Judy Ness ARTISTIC Ryan Higgins Mona Lang* George Ojemann John Langs Monika Holm Scenic Charge Artist Dr. Greg Perkins MARKETING, SALES, Associate Artistic Director Becky Plant Lisa Bellero* Teresa Revelle AND COMMUNICATIONS Robin Obourn Assistant Charge Artist Margaret Layne* Becky Lathrop Ingrid Sarapuu Kristi Quiroz Casting Director & Director of Marketing and Marne Cohen-Vance* Barry Scovel Luke Sayler Artistic Associate Communications Properties Master Karen Shaw Adam Vanhee John Siegler Anita Montgomery* Audience Services Ken Ewert* Margaret Stanley Literary Manager and Marketing and Master Properties Artisan Rob Stewart Director of Education Christine Jew Communications Thomas Verdos Larry True Audience Services Affiliate Kenna Kettrick Aubrey Scheffel Lead Properties Artisan Brian Turner Education Associate Associate Director of Marketing Sita Vashee PRODUCTION Robert Keene Karoline Nauss Joan Toggenburger* STAGE OPERATIONS ADVISORY COUNCIL Literary Intern Marketing Coordinator Producing Director Nick Farwell* Dr. Ellsworth C. Alvord, Jr.* Stage Operations Supervisor Emily Penick Marissa Stein Alyssa Byer Aubrey Davis Artistic Intern Graphics & Email Coordinator Central Heating Lab Production James Nichols* Daniel D. Ederer Nicky Davis Manager Master Stage Carpenter Jean Burch Falls ADMINISTRATION Marketing Intern Jeannie M. Falls Emily Cedergreen Pam Mulkern Adam Moomey* John H. Faris Mark Siano Production Office Manager Master Electrician Operations Manager Brad Fowler Public Relations Manager Skylar Hansen Max Langley Carolyn H. Grinstein Susanna Pugh Sebastien Scandiuzzi Production Runner Master Sound Engineer Sara Comings Hoppin Venue Manager Video Manager Brendan Patrick Hogan C. David Hughbanks Robert McDonald Megan Rosenfeld STAGE MANAGEMENT Resident Sound Designer Jonathan D. Klein Facilities Maintenance Keith Larson* Haley Watson Jeffrey K. Hanson* Michael Cornforth Jane W. Lyons AC/R Services Video Interns Production Stage Manager Central Heating Lab Technician Louise J. McKinney* Engineer Apex Media JR Welden Gloria A. Moses Lawrence Curington Advertising Erin B. Zatloka FOR THIS PRODUCTION Nadine H. Murray IT Support Manager Chris Bennion Stage Managers Kurchta Harding Douglas E. Norberg Rica Wolken Production Photographic Services Becca Rowlett Stage Carpenter Kristin G. Olson Tessitura Manager Production Assistant Donald B. Paterson Christa Fleming Dave Misner Eric Pettigrew Tuxedos and Graphic Design Sound Technician Pamela Powers Tennis Shoes Catering Jeanna Gomez Katherine L. Raff Bar and Concessions Dresser Brooks G. Ragen Julia Trimarco Catherine Roach First Hand Jo Anne Rosen Sam Rubinstein* Justine Wright Faye Sarkowsky Stitcher David E. Skinner Johans Deschapelles La Rosa Walter Walkinshaw* Fencing Coach Dr. Robert Willkens* George V. Willoughby *Denotes staff member has worked David E. Wyman, Jr. at ACT for 10 years or more Jane H. Yerkes

A-16 ACT THEATRE ENCORE ARTS NEWS FROM CITY ARTS MAGAZINE GOLD FROM HERE ON Raz Simone narrates Seattle’s unconscious. BY CLAYTON HOLMAN

olomon “Raz” Simone, square-jawed, drums, widescreen strings and live District. When he speaks, his voice carries an with lank and sinew, like a young boxer instrumentation. The album exists outside of amalgamation of black, white, Christian and with reach, unlocks his new office rap’s feedback loop—it must, because Simone street dialects, the result of exposure to a wide space. A black bandana encircles his pays little attention to hip-hop at large. variety of communities. “I know people that S Raiders cap; gold rings leave only his “I am not a hip-hop head,” he says, “but I have never left the block they grew up on,” he thumbs free. am hip-hop.” Simone, who didn’t hear Tupac says. “So I’m glad I had that experience.” The office for his entertainment company until eighth grade, views rap primarily as the When he was 17, Simone got his girlfriend Black Umbrella sprawls three rooms on the vessel for his writing. “I don’t look at hip-hop pregnant. He exhausted himself working base of Queen Anne’s west slope. A black as a martial art, like I need to learn from our multiple jobs, going to school and taking couch, an empty conference table and a few predecessors,” he says. “If there’s some hip-hop college classes through the Running Start cardboard boxes sit on its green carpet. Like council that wants to do a review and say that program. “I was like, this isn’t working,” he Simone and his company, the office is in a state I’m revoked or whatever, then f**k ’em. This is says. “No one cares that I have a child coming of transition. me.” into the world.” So he began selling drugs. For In March, Black Umbrella released Simone’s The 24-year-old is a thoroughbred Seattleite, months he kept the pregnancy and his street first LP,Cognitive Dissonance, in partnership raised by his mother in West Seattle, White life hidden from his mother, a time he describes with 300 Entertainment, the latest venture Center, the north end and the Central as his darkest. of Lyor Cohen, a music-industry titan, As an outlet, Simone wrote poetry until onetime manager of Run-D.M.C. and former he realized he was writing raps. He fronted CEO of Warner Music Group. 300 is shifting On Cognitive Dissonance, a fledgling punk-rap band, Razpy & the the industry’s bloated model toward digital Simone aims to Vigilantes, for several years. In 2010, his first efficiency using social media data, and Simone solo songs surfaced on YouTube—one of is its first signee. It’s a unique partnership that complicate Seattle’s which was a video shot by Central District gives Simone full artistic and business control. self-identity. His themes rapper/producer Sam Lachow. The two later Cognitive Dissonance sounds like Seattle collaborated on the popular 2012 EP 5 Good because it sounds like nowhere else. The are universal but Reasons. In early 2013 Simone put out his first production, handled by Simone and a informed by a distinctly solo EP, Solomon Samuel Simone. Both EPs small team, is movie-trailer boom-bap, a showcased Simone’s sneering sincerity and conglomeration of thick synths, subservient local experience. gut-punching couplets: I’m glad I had an absent CHONA KASINGERCHONA

encoreartsseattle.com 9 ENCORE ARTS NEWS FROM CITY ARTS MAGAZINE

Kal Klass, D.D.S. father, not an angry dad/Being a bastard child never made me mad, he raps on “These Kids Throw Rocks.” He spent the rest of 2013 beating a gun charge in New York and finishingCognitive Dissonance. As an MC, Simone is more architect than craftsman. The vision takes precedent. If he has to squeeze bars to make them fit, he will. His voice, which can sound like weathered gravel or shiny silt, stretches and tightens, grunts and gasps, in service of his narrative. These vocal contortions abut polished and digestible hooks. His lyrics are equal parts microscope and telescope, a flurry of converging tensions. On THE ACTOR’S DENTIST “Natural Resources,” he champions love of self: We’re no longer niggas, we’re gods now/ Chosen as “Best Dentist” in We’re no longer black, we’re gold from here on out. On “Swim Away” he casts aspersions at his Seattle Met Magazine, 2014 counterparts, snarling, If they could they would let somebody else walk in their feet. He wields complex compassion on “8 Rangs,” declaring that he’ll buy a house for every mom and my 1001 Broadway, Suite #314 whores on the strip, but later warns his son’s mother that he might put rings where your cheek JULY 11-13, Broadway and Madison is at. 18-20, 25-26 “They’ll Speak” is Simone’s veritable mission 18-20, 25-26 Seattle, WA 98122 statement. He constructs a panoramic paranoia TICKETS SALES BEGIN MAY 26TH: . . (206) 324-3800 in which addicts flatter dealers for handouts, 800 838 3006OR starving men wear gold teeth and men make themikado.brownpapertickets.com www.drklass.com “life decisions off no sleep.” By the time he WWW.PATTERSONG.ORG remembers his dreams for “a big house, big wedding, big ring,” we’ve forgotten these things exist. Simone narrates Seattle’s unconscious, tHe brink: the unheard stories of its black community. Anne fenton He makes the music he never heard growing KK 041614 tooth 1_6v.pdf up in a city that favors sunnier rap sounds. 3/1 – 6/15 “Seattle is an extreme as far as the gentrification and the muting of people,” he says. “There’s a disconnect. A lot of people in different neighborhoods don’t go out to events. There’s nothing there for them.” But Simone’s concerns with representation extend further than music. The city’s murder rate, while relatively low, is concentrated in the poorer black communities. “Chances are that if someone dies in Seattle, we know them, so it means more because it’s targeted toward us,” he says. “It’s frustrating, because how do you tackle that? How do you get people behind that? It’s not affecting enough people to really do anything, and it gets more and more narrowed down each day.” On Cognitive Dissonance, Simone aims to complicate Seattle’s self-identity. His themes are universal but informed by a distinctly local experience. So far people are listening. The Henry Huffington Post premiered the shadowy video Art for “They’ll Speak” and NPR debuted Cognitive GAllery Dissonance in early March. Simone played a couple of showcases at South by Southwest and HenryArt.orG will play Sasquatch! this summer. As Seattle’s accelerating urban transformation Anne fenton. Mystical Fire [video stills]. 2013. Single- shakes up the geographies of people and recasts channel video (color, sound); 65 min. Courtesy of the artist neighborhood landscapes, Simone’s voice gains in relevance and power. His story is the city’s story. It’s one we need to hear. n KK 041614 tooth 1_6v.indd 1 4/16/14 1:14 PM 10 ENCORE STAGES ENCORE ARTS NEWS FROM CITY ARTS MAGAZINE

CLASSICAL UPDATE Seattle Symphony Launches Label A brand-new indie label launched in Seattle this April, and its first release captures a blockbuster live performance by a band with more than 50 members. The Seattle Symphony’s latest platform is Seattle Symphony Media, a record label helmed by music director Ludovic Morlot and executive director Simon Woods. In the last few decades, the Symphony has released more than 100 recordings through small classical labels or major- label imprints, but SSM gives the directors an unprecedented degree of creative control and Symphony musicians greater opportunity for financial reward. “Look at what’s happened in the pop business,” Woods said after a listening party held in an office at Benaroya Hall in THE OUTSIDERS mid-March. “There’s so much movement towards artists controlling their own destiny. Same has happened in the Industrial Revelation wrecks expectations. classical music business.” The Symphony has been recording every BY JONATHAN ZWICKEL performance since Benaroya opened in 1998, but SSM will focus on recordings he night tilted toward unpredictable contraction, so intent on expression that from the last three years and onward, as Industrial Revelation took the breakage may occur. beginning with Morlot’s celebrated tenure stage at the old Comet Tavern, with That was in January 2013. In the fall, IR as music director. Morlot, French by birth, its broken-down bar stools and released their third full-length album. It and Woods collected the works of modern broken-down barflies and bouncer proved the point: These guys mess with French and American composers for Tmissing a tooth taking cash at the door. Clad expectations. the first three releases, including Ravel, in ties and polite pastel sweaters, the band Oak Head refines the unhinged energy Gershwin, Ives, Henri Dutilleux (a personal had come to play their music at this fraying of their live show, tames it into a more friend of Morlot’s) and more. dive, but the Comet would not accommodate fluid ride. It’s mixed and engineered, a “With our own label we can be nimble on the band without incident. shave of the stubble that might otherwise our feet and literally say, ‘That concert was They started their set a quartet: trumpet, roughen a live set. But even with its trad-jazz great, it’s coming out on CD four months Rhodes electric piano, upright bass and instrumentation, Oak Head rocks (thanks in later.’” drums, blasting a song that built delicious no small part to Josh Rawlings’ scuzzy, filtered Each release will be available as a tension and rose to a golden climax. The tone on the Rhodes). In this case, it rocks with compact disc, iTunes download, high- Rhodes hummed like an engine at cruising an instrumental precision and intimacy native definition iTunes download and 5.1 speed, the horn shone like a solid beam of to trained jazz guys playing as aggressively Surround Sound lossless download. Woods light, drums percolating and distinct, bass and intuitively as any musicians in the city. said that as of now there are no solid plans alert and proud. At the release of the album, for vinyl, but he’s considering it. Too proud, maybe. In an IR left for tour. They spent 10 During the listening party, Woods played instant, something happened, He all but days circling the Northwest snippets of each release. The sound quality and Evan Flory-Barnes, the big dropped the and then returned to Seattle was stunning (granted, these were the 5.1 man on the big instrument, and played a welcome-home versions piped through a high-end sound suddenly held the neck of shambles to show. That night at Vermillion— system) and the selections brilliant in their his bass at a wrong, violent the floor like another unconventional venue diversity and impact. Each demonstrated angle, cracked from its wooden melded to IR’s unconventional the perpetual vitality of classical music—as shoulders. He all but dropped a throttled music—the band was even well as an alluring freshness to anyone the shambles to the floor like a corpse. stronger, bolder than before. bred on a steady diet of pop and hip-hop. throttled corpse and, ashamed Songs from the album were For many, classical offers an entirely new of what he’d done or just mad as intensified and augmented from language to learn, rich and undeniably hell, ducked off the stage and bolted out the the recording. The room echoed, pressurized moving. front door. The remaining musicians played with kinetic energy, breezy with release. “We want to take the Seattle Symphony on, indifferent to the absence, insistent even Industrial Revelation embodies jazz; jazz to a broader audience,” Woods said. “We’re on erasing it with more sound for the next 40 is meta-musical, embodying everything one of the top 15 American orchestras but minutes. else. And so IR rocks. But really they’re just not as well known as some of the others. This, I realized, is the best rock band in virtuoso musicians playing risky and loose. It’s time to change that.” JONATHAN ZWICKEL Seattle. They are a joy to hear. They slide around Ferocious and loud, with messy feelings the music scene, doing the thing they do, Listen to selections from Seattle Symphony all driving at a specific pinpoint of an idea mercurial and misplaced and unsung. As Media at cityartsonline.com/symphony. n

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Mix and Match Dana Landon looks to the street for fashion’s evolution.

BY AMANDA MANITACH WHO Dana Landon, the 31-year-old freelance photogra- pher and street-style journalist whose blog It’s My Darlin, now in its sixth year, has spawned fans amongst both fashionistas and strangers on Seattle’s streets. IT’S MY DARLIN Landon’s infatuation with personal style goes back to being a small-town girl growing up in Connecticut and Idaho, where people thought she was crazy for wearing heels on a weekday. Pre-internet, she obsessed over clippings of Bill Cunningham’s New York Times photos mailed to her by an aunt and uncle in New York City. When she moved from Boise to Seattle in 2007, Landon was inspired. Without knowing anything about photography—but knowing exactly what she was looking for—she grabbed a camera and began to document what- ever caught her eye. THE LOOK “I dream of a closet that is a carefully edited mix of one-of-a-kind second-hand finds and timeless, artful pieces from Totokaelo and Baby & Co., where I can wake up and easily pick any combination of beautiful things to make the perfect outfit. In reality my closet is a total mess of all the things that caught my eye over the years. Right now I’m wearing a lot of menswear, oversized layers, white, navy and clean lines. On any given day, I’m likely wearing a mix of thrifted items, an investment piece (designer heels or jewelry by Hitchcock Madrona or Rachel Ravitch) and a basic picked up from Zara or J.Crew.” STYLE ICONS “It will be different tomorrow but right now: artist Cathy Cooper, Betty Blue, 1930s and 1940s work wear/tomboy style but somehow at the same time the ’90s, Garance Doré, Totokaelo and Annie Hall. Always people I see on the street. BEYOND GRUNGE “Seattle gets a bad rap when comes to fashion, but when I arrived I felt like there was so much amazing personal style everywhere I looked. I like that we aren’t slaves to fashion. I see our style as an inspired com- bination of resourcefulness, practicality and

LAUREN MAX supporting local.”

encoreartsseattle.com 13 ENCORE ARTS NEWS

BOOK OF THE MONTH In 2002, photographer and lifelong animal lover Annie Marie Musselman found a sick pigeon near her home in Seattle. She FINDING TRUST dialed 911 ANNIE MARIE MUSSELMAN and soon (Kehrer Verlag) after received a call from a volunteer at the Sarvey Wildlife Care Center in Arlington, Wash. The volunteer drove 55 miles EARS 031114 shakespeare 1_6h.pdf at night to pick up the bird and nurse it back to health. Musselman soon became a Sarvey volunteer herself: cleaning cages, cutting meat, feeding and intubating animals, anything required by the many creatures that call Sarvey home— some for now, some forever. Musselman had recently lost her mother and was searching for something of meaning in her life. Sarvey became a home for her, too. “The struggling animals at Sarvey taught me to love the here and now, and be mindful of each moment,” Musselman writes in her book Finding Trust. Every Thursday for six years, in addition to Costume Renderings by Sarah Nash Gates her volunteer work, Musselman documented THANK YOU the residents of Sarvey—birds of prey, bobcats, foxes. The images she captured defy many conventions of animal photography. Shunning RETIRING SCHOOL OF DRAMA EXECUTIVE DIRECTOR anodyne images of pets as well as pages upon pages of anything sloe-eyed and heart- warming, Musselman’s photos are emotionally SARAH NASH GATES complex, depicting Sarvey with kindness and without agenda. “Every wild thing has a soul full of strength, and my goal was to portray them for your decades of service to the University of Washington like humans.” In Finding Trust, an eagle lies wide-eyed, and for your leadership in the local theater community. motionless on a medical table. A raccoon sits on a volunteer’s lap, looking as comfy as a toddler. Birds are held swaddled in From your friends at the place for arts on campus. shabby towels and a fawn stands at a screen ArtsUW door, gazing longingly at the world outside. These are the quotidian moments of a place Musselman fondly describes as “an animal shantytown held together by rare donations and lots of love.” Fighting for life and grappling with death are common occurrences at Sarvey, and Musselman captures animals in both states with respect and compassion. On one page, two tiny cottontail rabbits—eyes barely open and tiny paws still a pink shade of tender infancy—fit comfortably inside a woman’s manicured hand. A page later, “Cottontail Going to Heaven” captures the soft face of a rabbit looking up toward the plastic cone fitted over its face as light pours in from a nearby window. Musselman’s open-hearted empathy filters every image. They’re sad and happy, straightforward and un-glamorous. By capturing everyday moments in an Kelly We are School Burke Dance School Henry Meany Hall School UW Museum Program DXARTS Ethnic for the World extraordinary setting with love and honesty, she of of Art of ArtsUW Art of Natural Drama Cultural Gallery Performing Music Series reminds us of our connection—and obligation— artsuw.org History and Center Arts Culture to the natural world. GEMMA WILSON

14 ENCORE STAGES Untitled-5 1 4/4/14 8:34 AM A New Online Arts Experience Where the performance never ends

Pacific Northwest Ballet’s Carla Körbes in Alexei Ratmansky’s Don Quixote. Photo © Angela Sterling.

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