FEBRUARY 7 - MARCH 15, 2020 | SHOUT SISTER SHOUT! | TRUE WEST | THE CHILDREN WEST TRUE SISTER SHOUT! | | SHOUT BY lucy kirkwood DIRECTED BY TIM BOND BY DIRECTED AUGUST WILSON'S JITNEY | THE IMPORTANCE OF BEING EARNEST | LYDIA AND THE TROLL THE AND | LYDIA BEING EARNEST OF THE IMPORTANCE | JITNEY WILSON'S AUGUST

AS YOU LIKE IT | INDECENT | THE GREAT MOMENT GREAT THE | | INDECENT LIKE IT YOU AS WINTER 2020 WINTER Winter 2020 | Volume 16, No. 4 FEATURE In This Issue Feature 3 The Joy and Value of a Student Matinee Dialogue 9 Karen Lund Returns to ‘The Shop Around the Corner’ with ‘She Loves Me’ at Village Theatre 13 Rachel Atkins Makes ‘The Turn of the Screw’ Her Own at Book-It Intermission Brain Transmission 12 Test yourself with our trivia quiz! Upcoming Events 15 Winter 2020

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2 ANGELA NICKERSON FEATURE The Joy and Value of a identity to intimacy choreography. tointimacy identity Jewish from everything covering aQ&A— than aconversation like felt more what in engaged audience the where musicians, and cast the for apost-show with discussion stayed students many performance, the After own. their with energy audience’s the matched but they toa10:30accustomed a.m. curtain, of Theseason. cast 2019-20 of the matinee student Rep’sSeattle at first firsthand this towitness enough lucky I was if you drop allpretense andmeetthemontheirlevel. but onlyifyou move them.Andthey willengage,butonly They willlaugh, butonlyifyou’re funny. They willgasp, There’s nothingmore honestthan ateenageaudience. by Student Matinee Student DANIELLE MOHLMAN Indecent Indecent wasn’t wasn’t aged white guys. School groups groups School guys. white aged middle- about plays enough get tosay, not supposed kids but these is matinee doesn’t play that astudent have only the season, This with. works Reed schools the from interest of amount incredible an always ment so, manager. But even there’s Rep’sReed, Seattle engage youth audience,” Lee family Alex said audience—ora young to a even to shows our target necessarily “At Rep, we Seattle don’t True West. True “I’m probably

- Seattle Rep teaching artists. artists. teaching Rep Seattle from support additional and classroom the in taught be can that aplay guide complete with Initiative, Core State Standards Washington’saround Common programmed is matinee student educational the about he’s thinking always ­ an is sold-out performances ­cultivating while And forming. also was for list wait of matinees student for the students of 600 list await had Reed ways.” exciting and new in ­ are that things in music. They’re with plays ­ stories. They’rePOC in interested in interested are people young and

At the time of our interview, interview, of our time the At Jitney Jitney exciting part of Reed’s part job, exciting August Wilson. A Wilson. August by component. Each Each ­component. Shout Sister Shout! Shout! Sister Shout Students at a performance Students ataperformance encorespotlight.com of Vietgone challenging challenging atSeattleRep. interested interested 3

“As an artist, director and SEASON SPONSORS educator, that’s my jam,” Reed said. “Theatre is for everyone, you know?” And while Seattle Rep doesn’t THE program their season with young audiences in mind, Seattle Children’s Theatre (SCT) certainly does. It’s not uncommon for SCT to program four to six student matinees into each week of the performance schedule. “That’s sisterhood the bare minimum that we’ll do,” OF REVOheroes said Darioush Mansourzadeh, MEDIA SPONSORS SCT’s school shows associate. Mansourzadeh added that he’s become a bit of an expert on the Seattle Public Schools bus system, scheduling student matinees around the transporta- tion needs of the district. “Bus LUTIOdrivers have a very important job, and I don’t think a lot of BY LAUREN GUNDERSON people respect that community.” Despite being a member of the marketing department, education JAN 16 – FEB 9 artswest.org is top of mind for Mansourzadeh. Like Reed, Mansourzadeh is always thinking about how SCT’s season NISTS ties into the national and state education standards. Black Beauty, which opened SCT’s 2019-20 season, centers on empathy toward animals, so the theatre began thinking about how to tie empathy into the classroom curriculum. “What does it mean to be kind to someone who may never know your kindness?” Mansourzadeh asked. But the student matinee experience doesn’t end at curtain call. Each performance has a ­post-show element that’s indi- vidually suited to the show and the age of the audience. For Balloonacy, a one-man play written for 3- to 6-year-olds, the post-show element was learning a song. For The Diary of Anne Frank, which was geared toward a middle school audience, things went a little differently. “The middle schoolers were a little more rambunctious during the show, and it really affected the cast,” Mansourzadeh said. “One of the cast members went out and spoke about empathy and sympathy and how this play relates to society today. We actually

4

had one middle school where every single student wrote an apology letter to the cast, which was really nice for the cast to see. Sometimes learning in theatre isn’t what we expect it to be, but that was a learning moment for them.” At the Pacific Northwest Ballet (PNB), filling the nearly 3,000 seats in McCaw Hall with students is a logistical feat in itself. In addition to an annual student matinee of George Balanchine’s The Nutcracker ® and a field trip-friendly excerpt of one of PNB’s story ballets each February, Shannon Barnes, director of community education, partners with eleven schools to provide Discover Dance, their in-school residency. It’s a residency that goes beyond what’s happening on stage, giving students a full view of what it takes to produce a ballet at PNB. “Part of our philosophy with all of our programming is looking at all the ways people make ballet and dance happen,” Barnes said. “We’re talking about stage crew; we’re talking about the people whose job it is to answer the phones here— and create posters and do the mar- keting. The arts can be the person on stage, but do you like to draw? You can be a costume designer. We’re really peeling back the layers and being transparent about what it takes to put on a performance.” It’s also about demystifying the experience of attending a ballet.­ Barnes knows that the work she does extends far beyond the classroom or even that field trip to McCaw Hall. She’s interested in meeting students and their families where they are. And one way she’s done that is by translating The Nutcracker study guide that students receive into five languages—thinking ahead to what the primary language of the child’s household might be. “That family engagement, even if it’s as simple as, ‘We see you, we want you to share in this with your student,’ is important,” Barnes said. “The ideal would be for every student coming to the matinee to have a pre-performance workshop

6 “School groups and young people are interested in POC stories. They’re interested in plays with music. They’re ­interested in things that are ­challenging in new and exciting ways.” — Alex Lee Reed

and a study guide in their home language. And that’s the goal.” And PNB is working towards that goal in whatever way they can. This year’s student matinee of Cinderella will include live captioning for the show’s host. “And that just feels really good to be able to have that available,” Barnes said. “Just like, no question. We don’t need someone to ask for that accommodation. Here it is. And it’s available because we recog- nize that in a theatre of that size, someone’s going to benefit from it.” Barnes added that this live- captioning technology will bleed into the repertory season, with some pre- and post-show conversations captioned. THE MAN BEHIND A LEGEND WEST COAST PREMIERE! When I asked if Barnes had a What if you could realize one last dream before favorite memory from the student you die? While the body of tormented bebop In English with English subtitles. matinees she’s facilitated, her innovator Charlie “Yardbird” Parker lies Evenings 7:30 PM answer was strikingly similar to unidentified in a New York City morgue, his ghost Sundays 2:00 PM travels back to the heyday of Birdland, the jazz Mansourzadeh’s. “That line of club named after him. As he struggles to Featuring members of Seattle buses is pretty impressive,” Barnes complete his final masterpiece, the legendary Symphony Orchestra. said. “I have 100 percent respect saxophonist revisits the demons, inspirations, for bus drivers that navigate and women who have fueled and hindered his MCCAW HALL this area. It is not an easy area creative genius. 206.389.7676 to access and we’re just grateful 2019/20 SEASON SPONSOR: that people value us enough.” SEATTLEOPERA.ORG/YARDBIRD IN MEMORY OF KARYL WINN PRODUCTION SPONSORS: We tend to forget that all great TAGNEY JONES FAMILY FUND AT education programs have to start SEATTLE FOUNDATION, OFFICE OF TICKETS START AT JUST $35 ARTS & CULTURE | SEATTLE somewhere. So, imagine my excitement when I learned that the

encorespotlight.com 7 Audience members at a Pacific Northwest Ballet Upcoming student matinee. DIALOGUE Student Matinees Scheduling information can be found on each organization’s website.

Cinderella February 6 Pacific Northwest Ballet

Snow White February 11–March 6 Seattle Children’s Theatre

August Wilson’s Jitney February 28–March 29 Seattle Rep

The Best Summer Ever! March 24–April 17 Seattle Opera would be hosting its reflected in the role of Mimì, the Seattle Children’s Theatre first ever student matinee later this lead soprano. “It’s the most diverse season. When I spoke with Courtney cast I’ve ever seen,” Clark said. Don’t Let the Pigeon Clark, Seattle Opera’s school “And all I can think about is that Drive the Bus programs manager, she was hard every student out there will be able April 9–May 20 at work preparing for the May 19 to see themselves in some way. Seattle Children’s Theatre student matinee of La Bohème. How powerful is that? When you “We want to make sure that the can see yourself and say, ‘Oh, well I The Importance students have an opportunity to can do that.’ This can’t be an elitist of Being Earnest come in and make McCaw Hall art form when I see everybody a place of comfort,” Clark said, represented on that stage. And April 17–May 17 adding that her plan includes a that is why I do the work I do.” Seattle Rep ­pre-performance lecture, room And that’s the power of arts La Bohème to move around, and concessions education: to be able to see yourself ­during intermission. “We want reflected back in the performance May 19 them to have a full experience. and know that you belong. Seattle Opera And everyone in this building has a hand in that. It’s a wonder- More information regarding student matinees ful field trip. It’s something and programming can be found in the panel on that every school should have this page. ¿ Wholesale and Retail Sales ¿ the opportunity to do.” Roasting fine coffees since 1993 Clark is both a K–12 certified educator and a classically trained opera singer, a combination that Danielle Mohlman is a Seattle-based ­playwright and arts journalist. She’s a couldn’t be better suited to this frequent contributor to Encore, where role. She credits her own student she’s written about everything from matinee experience for putting her the ­intersection of sports and theatre on this path. “It changed my life,” to the landscape of sensory-friendly Clark said. “And I’m pretty sure it ­performances. Danielle’s work can also has changed others’ lives too.” be found in American Theatre, The Clark shared that La Bohème is Dramatist and on the Quirk Books blog. her favorite opera—and that, as a daniellemohlman.com 400 N 43rd St. Seattle ¿ 206-633-4775 Black woman, this will be the first LIGHTHOUSEROASTERS.COM time she’s been able to see herself ALAN ALABASTROALAN COMPANY THEATRE TAPROOT

8 FEBRUARY 2020 Board of Trustees

CHAIR VICE PRESIDENT SECRETARY Amy Bautista Karen Fletcher Juli Farris Kosmos Management Civic Leader Keller Rohrback LLP

PRESIDENT VICE PRESIDENT PAST CHAIR Stellman Keehnel Becky Lenaburg John Keegan DLA Piper LLP (US) Microsoft Corporation Civic Leader

VICE PRESIDENT/ TREASURER PRESIDENT-ELECT Kevin Millison Sandy McDade Boeing Commercial Airplanes Civic Leader

ARTISTIC DIRECTOR Scottland Glenn Terri Olson Miller Braden Abraham† Kantor Taylor PC Civic Leader Seattle Rep TABLE OF CONTENTS Earle J. Hereford Carla Millage Clodagh Ash‡ Kutcher Hereford Bertram Civic Leader About the Show ...... A-3 Civic Leader Burkart Brown & Cashman PLLC Lisa Oratz Meet the Cast ...... A-4 Susan Ashmun MANAGING DIRECTOR Perkins Coie Civic Leader Jeffrey Herrmann† From the Artistic Director ..A-8 Seattle Rep Rebecca Pomering Matthew Bergman Moss Adams Wealth Advisors LLC Beyond the Stage ...... A-10 Bergman Draper Oslund Alyssa Hochman Point B Anita Ramasastry Donor Recognition ...... A-16 Jarvis Bowers University of Washington Holland America Winky Hussey Tim Rattigan GRAPHIC DESIGNER Civic Leader EDITOR-IN-CHIEF Lynne Bush Citigroup Global Markets Inc. Noelle McCabe Sayed Alamy Civic Leader Bruce E.H. Johnson Davis Wright Tremaine, LLP Anne Simpson COMMUNICATIONS CREATIVE DIRECTOR Debra A. Canales Civic Leader DIRECTOR Angela Nickerson Providence Health & Services Deborah T. Killinger Christian Barclay Civic Leader Richard B. Stead, M.D. Oneika Cassanova Bio-Pharma Consulting Services LLC U.S. Bank Gwenann Kroon Civic Leader SRT FOUNDATION Elizabeth Choy, M.D. REPRESENTATIVE Civic Leader Mandy Leifheit Carlyn Steiner† Microsoft Corporation Civic Leader Donna M. Cochener HomeStreet Bank Marko Liias John Stilin Washington State Senator – Civic Leader SRO REPRESENTATIVE 21st District Diane Cody† Janice Tsai Civic Leader Charlotte Lin Mozilla Civic Leader Jim Copacino Marisa Walker Copacino+Fujikado, LLC SRO PRESIDENT Baird Private Wealth Management Sandra Lucas† Tracy Daw Civic Leader Nancy Ward Funko, LLC The World Justice Project Marcella McCaffray † Dottie Delaney Civic Leader Tom Wright Civic Leader Filmmaker Rick McMichael Donte Felder Civic Leader Seattle Public Schools

Trustees Jill Watkins Tricia Pearson SRT Emeriti Shauna Woods Andy Peet Foundation David Schneiderman Pam Anderson Paul Stamnes Board Robert S. Cline Advisory Council Marty Taucher Bruce E.H. Johnson Bill Gates, Sr. Savanna Thompson Chair John Hempelmann Dr. Laila Abdalla Moya Vazquez Carlyn Steiner Toni Hoffman Kenny Alhadeff Jane Zalutsky Brent Johnson Marleen Alhadeff Vice-Chair Robert L. King, Jr. Virginia Anderson Amy Bautista† H.L. (Skip) Kotkins, Jr. Cindy Domingo Honorary Margaret Clapp Lynn Manley Joanne Euster Trustees Allan Davis Ilse Oles Carver Gayton Chap Alvord Stellman Keehnel† Ann Ramsay-Jenkins Tiffany Gorton Joan Cremin Terri Olson Miller Deborah Rosen Jerry Gronfein Bill Franklin Kevin Millison† Stanley Savage Mary Kay Haggard Phil McCune Elizabeth D. Rudolf Carlyn Steiner Nancy Iannucci Nancy Mertel Janet True Janet True Nathan Ill Robin Nelson Shauna Woods Gretchen Krich, Nick Garrison, and James F. Tune Chris Kevorkian Tammy Talman Jean Viereck Jeff Payne Chelsey Rives in Boom (2008) Hal Strong † ex-officio ‡ deceased encorespotlight.com A-1 For Our Patrons

Mission location to the house manager if you expect to Seattle Rep collaborates be contacted. with extraordinary artists to create productions Accessibility and programs that reflect and elevate the diverse Wheelchair-accessible cultures, perspectives, ticketing available. Inquire and life experiences with the Patron Services of our region. Office when you purchase your ticket. Vision Seattle Rep is equipped Theater at the heart with a hearing loop which of public life. uses a wireless signal to transmit the sound from Values the theater’s PA system to Artistic Vitality the T-coils in your cochlear Sustainability implant or hearing aid, Generous and Inclusive and to receivers that Practices are available on loan at Coat Check. Coverage is provided wherever you see the T-coil symbol. Welcome! We offer select Seattle Rep is committed captioned, audio- to being a racially, described, and ASL- culturally, and socially interpreted performances. just organization. We Large-print programs promote equity, diversity, available at Coat Check. and inclusion in all aspects of the work we do, and uphold a safe environment Firearms & Smoking wherein all people are Firearms are not allowed welcome to our space and in any part of the building. are treated with respect Smoking is not allowed in and dignity. our building or within 25 feet of any entrance. It is our expectation that all patrons and those affiliated Contact Us with Seattle Rep will align PATRON SERVICES OFFICE with this code of conduct 206.443.2222 and we reserve the right Hours: Noon to curtain to relocate or remove any person from our theater ADMINISTRATIVE who disregards our 206.443.2210 commitment. ADDRESS 155 Mercer St. Coat Check Seattle, WA 98109 Check items for $1 each.

Food & Beverage Patrons are welcome to bring drinks in plasticware We welcome you to into the theater. Food and take pictures of the glassware are not allowed set before and after in the theater. the show.

Emergencies Share Your Photos

In an evacuation, wait for an announcement #TheChildrenSeaRep for further instructions. @seattlerep Ushers will be available for assistance. Familiarize yourself with the exit route nearest your seat. Photography, recording, Doctors and other and use of cell phones emergency contacts may are strictly prohibited reach you at 206.443.2222. during the performance. Give your name and seat William Hall, Jr., Michelove René Bain, and Hubert Point-Du Jour in The Breach (2008)

A-2 ARTISTIC DIRECTOR Braden Abraham MANAGING DIRECTOR Jeffrey Herrmann

The Children

BY PRODUCING PARTNERS Lucy Kirkwood Leslie Lackey DIRECTED BY Maria C. Mackey Tim Bond PRODUCTION SPONSOR

ASSOCIATE SPONSOR THE CAST Clark Nuber (IN ORDER OF APPEARANCE)

SEASON Rose ...... Carmen Roman SPONSOR Hazel ...... Jeanne Paulsen Robin ...... R. Hamilton Wright

RUN TIME Approximately 1 hour 40 minutes with no intermission. SCENIC DESIGNER COSTUME DESIGNER William Bloodgood Melanie Burgess PLEASE NOTE This show contains LIGHTING DESIGNER SOUND DESIGNER & COMPOSER profanity. Geoff Korf Michael Keck

The Children is presented by special arrangement with Dramatists Play DIALECT COACH CHOREOGRAPHER FIGHT CHOREOGRAPHER Service, Inc., New York. Judith Shahn Kathryn Van Meter Cathan Bordyn The Children was first performed at the Royal Court Jerwood Theatre STAGE MANAGER Downstairs, Sloane Square, London, on November 17, 2016, and was Michael B. Paul produced on Broadway by the Manhattan Theatre Club (Lynne Meadow, Artistic Director; Barry Grove, Executive Producer) and the Royal Court Theatre on November February 7 – March 15, 2020 28, 2017. The Royal Court commissioned The Children with a generous grant from the Berwin Lee New Play The actors and stage managers in this production are members of Actors’ Equity Association, Commission. the Union of Professional Actors and Stage Managers in the United States

encorespotlight.com A-3 Tim Bond Cast Director Tim Bond is thrilled to return to Seattle Rep for this production of The Children. Tim previously directed August Wilson’s The Piano Lesson and Fences for Seattle Rep. Bond was recently named the Incoming Artistic Director of TheatreWorks R. Hamilton Wright Silicon Valley. He will begin his new post in Robin the Bay Area this summer after directing Lynn Nottage’s Pulitzer Prize-winning play Sweat R. Hamilton Wright has appeared in over fifty for Guthrie Theater in Minneapolis. Tim is a Jeanne Paulsen productions at Seattle Rep, the first being nationally-known director and educator with past Hazel 1979’s The Taming of the Shrew, directed by leadership roles as Producing Artistic Director at Dan Sullivan, and the latest being 2018’s Ibsen On Broadway: The Kentucky Cycle (Tony Syracuse Stage, Associate Artistic Director at the in Chicago, directed by Braden Abraham. His nomination and Clarence Derwent Award Oregon Shakespeare Festival, Artistic Director at original play Sherlock Holmes and The Raven’s recipient) directed by Warner Shook, starring Seattle Group Theatre, and tenured full Professor Curse just premiered at Vertigo Theatre in Stacy Keach; Ann Putnam in The Crucible, and Head of the Professional Actor Training Calgary and will receive its second production directed by Richard Eyre, starring Liam Neeson Program at the University of Washington School next summer at The Shaw Festival in Ontario. and Laura Linney. Jeanne has performed in of Drama. Over the last 35 years, Tim has directed The long-running production of Bob and theaters nationwide, including Studio Theatre in at many theaters including The Market Theatre Katie’s Marriage recently celebrated its 23rd Washington, D.C. (Hazel in The Children), Arizona (Johannesburg), Baxter Theatre Centre (Cape anniversary. It has been extended indefinitely. Theatre Company (Erma Bombeck in Erma Town), Guthrie Theater (Minneapolis), Milwaukee Bombeck: At Wit’s End), Repertory Theatre of St. Rep, The Wilma Theater (Philadelphia), Arena Louis (Emily Reed in Alabama Story), Milwaukee Stage (D.C.), GEVA Theatre Center (Rochester), Rep (Patty in One House Over), McCarter Theatre Artistic/ Cleveland Play House, Indiana Rep, Actors (Marceline in The Figaro Plays), Denver Center Theatre of Louisville, PCPA (Santa Maria), Arizona for the Performing Arts (Sister Aloysius in Doubt, Production Theatre Company, Portland Center Stage, Dallas Kate Keller in All My Sons, Mrs. Warren in Mrs. Theater Center, Seattle Rep, A Contemporary Warren’s Profession, Penny in You Can’t Take Lucy Kirkwood Theatre (Seattle), Empty Space Theatre (Seattle), It with You, Terry in Sideman, Molly in Molly Playwright Paul Robeson Theatre, and Seattle Children’s Sweeney, and the Nurse in Romeo and Juliet), A Theatre. He is the recipient of two Backstage Lucy Kirkwood is an acclaimed playwright and Contemporary Theatre (Josie in A Moon for the West Garland Awards, two Syracuse Area Live screenwriter. In 2009, Lucy’s play It Felt Empty Misbegotten), Intiman Theatre (Hanna Pitt, et al. Theatre (SALT) Awards, and a Dallas-Fort Worth When the Heart Went at First But It Is Alright in Angels in America, Birdie in The Little Foxes, Critics Forum Award. Tim received his B.F.A. Now was produced by Clean Break Theatre Grace in Faith Healer, Mrs. Webb in Our Town), in Dramatic Arts from Howard University and Company at the Arcola Theatre. The play was South Coast Repertory (Rosie in Holy Days, LA his M.F.A. in Directing from the University of nominated for an Evening Standard Award for Drama Critics Award for Lead Performance), and Washington. many, many more. Best Newcomer and made Lucy joint winner of the 2010 John Whiting Award. NSFW premiered at the Royal Court Theatre in 2012, starring Janie William Bloodgood Dee and Julian Barratt. Chimerica premiered at Scenic Designer the Almeida Theatre in 2013 and subsequently This is William Bloodgood’s third production transferred to the West End, earning Best New for Seattle Rep after Fences in 2010 and The Play at the 2014 Olivier and Evening Standard Piano Lesson in 2015. Well known in American Awards, as well as the Critics Circle Award and regional theaters and abroad, his work has been the Susan Smith Blackburn Prize. Recent work seen at ACT Theatre, American Conservatory includes Mosquitoes (presented by special Theatre, Arena Stage, Arizona Theatre Company, Carmen Roman arrangement with Manhattan Theatre Club), Birmingham Rep (UK), Berkeley Repertory which opened at the National Theatre, London, Rose Theatre, Chicago Shakespeare Theater, the in summer 2017; and The Children, which Children’s Theatre Company in Minneapolis, Recent credits include Angels in America at premiered at the Royal Court Theatre, London, Denver Center Theatre Company, Guthrie Berkeley Rep and You Can’t Take It with You at in 2016. The Children opened on Broadway in Theater, Hong Kong Repertory Theatre, Indiana Indiana Rep. She toured nationally in Angels December 2017. Lucy also writes for screen: Repertory Theatre, Intiman Theatre, La Jolla in America and has worked extensively with she has written for “Skins” (Company Pictures); Playhouse, Old Globe Theatre, Portland Center the Peninsula Players Theatre, Chicago’s Court created and wrote “The Smoke” (Kudos/Sky 1); Stage, Repertory Theatre of St. Louis, San Jose Theatre, Classic Stage Company, Steppenwolf wrote and directed the short film The Briny; and Repertory Theatre, and Syracuse Stage, as well Theatre Company, and Walnut Street Theater. is developing projects with Raw TV, Cowboy as the Oregon Shakespeare Festival, where he Film and television credits include appearances Films, Clio Barnard, and Lenny Abrahamson. designed the scenery for 150 productions. He in “Chicago PD,” “Proven Innocent,” “Boss,” Her new six-part season “Adult Material” (Tiger is the recipient of many awards for his designs, “Betrayal,” “All My Children,” “Law and Order,” Aspect Productions) and the mini-series of her including the Oregon Governor’s Award for the and The Savages. She is an ensemble member play Chimerica (Playground Productions) have Arts in 2002. at American Blues Theater in Chicago. She both recently been greenlit. received the Sarah Siddons Award, Jeff Awards for Master Class and Wit, and is a Fox Fellow.

A-4 Melanie Burgess Cincinnati Playhouse, Portland Center Stage, Dramatists Guild. Locally, he stage manages Costume Designer Syracuse Stage, and internationally at The for Seattle Rep, Seattle Children’s Theatre, The National Theater of Croatia, The Barbican 5th Avenue Theatre, ACT Theatre, and Intiman Melanie returns to Seattle Rep after having Theatre Center, and Bristol Old Vic. As an Theatre. designed Nina Simone: Four Women, A actor, he has performed at the McCarter, Raisin in the Sun, Sylvia, Three Tall Women, Alliance, and Berkeley Rep theaters; La MaMa and Bad Dates. Also in Seattle: Seattle and Primary Stages in NYC; and many others. For Seattle Rep Opera, The 5th Avenue Theatre, ACT, Intiman He has received three Barrymore Award Braden Abraham Theatre, Village Theatre, Seattle Children’s nominations, the AATE Distinguished Play Theatre, Seattle Shakespeare Company, New Award, and has served as panelist for the Artistic Director Century Theatre Company, Seattle Theatre NEA, The NY State Arts Council, and Meet The Braden Abraham joined Seattle Rep in 2002, Company, Strawberry Theatre Workshop, Composer. He is a member of AEA, AFTRA, starting as an artistic intern, then holding several Taproot Theatre, Tacoma Actors Guild, and ASCAP, PEN, and The Dramatists Guild. positions on the artistic staff. He served as The Empty Space Theatre. Regionally for: Associate Artistic Director for seven years before Guthrie Theater, Cincinnati Playhouse, Denver Judith Shahn assuming artistic leadership of the theater Center for the Performing Arts, Arizona Theatre in 2014. During his tenure, Braden has re- Company, Children’s Theatre Company, Dialect Coach envisioned the New Play Program and initiated Tantrum Theater – Ohio, Idaho Theater Judith Shahn has been coaching dialects and Seattle Rep’s Public Works. An accomplished for Youth, Honolulu Theatre for Youth, and voice for the last 35 years, mostly in the Seattle director, he has directed many productions Hawaii Opera. Melanie received her M.F.A. area, as well as at Shakespeare festivals for Seattle Rep, including most recently: True from the University of Washington. She is around the country. Most recently: Dracula, West; The Great Moment (premiere); A Doll’s the recipient of the first Gregory Award for Oslo, Tribes at ACT Theatre; My Ántonia at House, Part 2; Last of the Boys; Ibsen in Chicago Outstanding Costume Design in 2010 and Book-It Repertory Theatre (which she also (premiere); Well; Luna Gale; A View from the again in 2019, and has received seven Seattle performed in). At Seattle Rep, Judith has Bridge; Who’s Afraid of Virginia Woolf?; A Great Times Footlight Awards. She is a professor of coached dozens of productions, among them: Wilderness (premiere); and Photograph 51. Costume Design at Cornish College of the Arts. A View from the Bridge, The Brothers Size, The He has developed plays with The O’Neill, Ojai melanietaylorburgess.com Road to Mecca, The Cook, Private Lives, The Playwrights Conference, The Denver Center, Three Musketeers. At Seattle Opera: Porgy and Inge Festival, Portland Center Stage, The Geoff Korf Bess, The End of the Affair. She has also been Playwrights’ Center, and Perseverance Theatre. Lighting Designer a member of creative teams for Intiman, The 5th Avenue Theatre, and Seattle Children’s Geoff Korf has lived in Seattle since 2002. At Theatre. Judith is a designated Linklater Jeffrey Herrmann Seattle Rep, Geoff designed the lights for Public voice teacher and works with people in all Managing Director Works’ As You Like It, A View from the Bridge, professions as well as teaching workshops In May 2014, Jeffrey Herrmann was appointed brownsville song (b-side for tray), The Piano abroad. Lesson, The Brothers Size, The Seafarer, The as the third Managing Director in Seattle Rep’s Cook, and many more. Notable world premieres 56-year history. In this role, Jeff oversees all include Sarah Ruhl’s The Clean House at Kathryn Van Meter the administrative functions of this $15 million, Yale Repertory Theatre, Disney’s High School Choreographer nationally-recognized, not-for-profit performing arts organization, including development, finance, Musical at the Children’s Theatre Company of Kathryn Van Meter is an award-winning multi- Minneapolis, and August Wilson’s Two Trains marketing, operations, and Board relations. disciplinary theater artist based in Seattle Since his arrival—which coincided, to the day, Running. Geoff’s work has been seen on whose 20-year career encompasses work as Broadway, at the Oregon Shakespeare Festival, with Braden Abraham’s appointment as Artistic an actor, choreographer, director, and educator. Director—activity, attendance, fundraising, and Intiman, ACT, New Century Theatre Company, She is thrilled to return to Seattle Rep after the Mark Taper Forum, Cornerstone Theater, the budget have all shown marked increases. choreographing Seattle Rep’s Public Works’ Under their management, the theater also recently La Jolla Playhouse, The Old Globe, South Coast As You Like It earlier this season. Other recent Repertory, Guthrie Theater, Goodman Theatre, completed a significant renovation of the PONCHO collaborations include directing Corduroy for Forum, the first major capital project undertaken Actors Theatre of Louisville, Trinity Repertory, Seattle Children’s Theatre and choreographing Long Beach Opera, San Francisco Opera, and by Seattle Rep since the construction of the Leo K. A Christmas Carol for ACT. Kathryn’s next Theater in 1995; saw its world premiere of Come Seattle Children’s Theatre. Geoff has been collaboration will also be with Tim Bond on a member of the ensemble of Cornerstone From Away open on Broadway and launch North a production of Cabaret for the University of American and international tours; reconfigured Theater in Los Angeles since 1996 and also Washington. She is a proud member of SDC. serves as the Interim Associate Chair at the the Bagley Wright Theater in order to produce David Byrne’s groundbreaking, immersive University of Washington School of Drama. Geoff Michael B. Paul is a graduate of California State University, Chico musical Here Lies Love, which now stands as the and the Yale School of Drama. Stage Manager highest-grossing show in Seattle Rep’s history; Regional theater credits include Shakespeare has committed to an initiative to increase equity, Michael Keck Theatre in Washington D.C., Oregon diversity, and inclusion at every level of the theater; and completed its first strategic plan in more Sound Designer & Composer Shakespeare Festival, Guthrie Theater, Alaska Repertory Theatre, The Alliance, Actors than a decade. Prior to his arrival in Seattle, Jeff Michael’s music has been featured at The Theatre of Louisville, Humana Festival, La served as Managing Director of Washington D.C.’s Kennedy Center, Mark Taper Forum, Arena Jolla Playhouse, Center Stage in Baltimore, Woolly Mammoth Theatre Company for seven Stage, Guthrie Theater, Oregon Shakespeare Cleveland Playhouse, and Arkansas Repertory seasons. Before that, Jeff served as Producing Festival, Alliance Theatre, Milwaukee Theatre. New York credits include Manhattan Director at Perseverance Theatre in Juneau, AK Repertory Theater, Indiana Repertory Theatre, Theatre Club, James Binder Casting, and The for eight seasons. Jeff started his career in arts

encorespotlight.com A-5 administration with the Albany Berkshire Ballet in Pittsfield, MA, where he served as Managing Engage with Director for three years. Born in upstate NY and raised in West Hartford, CT, Jeff received his B.A. in English at Vassar College and his M.F.A. in Theatre Management at the Yale School of Drama.

Seattle Rep Seattle Rep puts theater at the heart of public life. Founded in 1963 and winner of the 1990 Tony Award for Outstanding Regional Theatre, Seattle Rep is currently led by Artistic Director Braden Abraham and Managing Director Jeffrey Herrmann. Over a season and throughout the year, Seattle Rep collaborates with extraordinary artists to create productions and programs that reflect and elevate the diverse cultures, perspectives, and life experiences of the Pacific Northwest. Seattle Rep’s nationally recognized programs include the New Works Program, Seattle Rep’s Public Works, the August Wilson Monologue Competition, Pay What You Choose ticketing options, and numerous audience enrichment and engagement opportunities including post-play panels, discussions, and community events.

Seattle Rep is a member of the League of Resident Theatres, a nationwide Join us for a number of events around our association of not-for-profit theaters. production of The Children, including Actor and The Director and Choreographer are members of the STAGE DIRECTORS AND CHOREOGRAPHERS SOCIETY, Design Talks, community panels, and more. a national theatrical labor union.

This theater operates under an agreement between the League of Resident Theatres seattlerep.org/events and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

The scenic, costume, lighting and sound designers in LORT Theatres are represented by United Scenic Artists, Local USA-829 of the I.A.T.S.E. Scenery Construction and Operations performed by employees represented by I.A.T.S.E. SPECIAL EVENT locals 15 and 488. Wardrobe services are performed by employees represented by Climate Change Arts Festival T.W.U Local 887. Seattle Rep operates under an agreement with AFM, the American Federation of SATURDAY, MARCH 7, 11 A.M. - 2 P.M. Musicians.

SEATTLE JAPANESE GARDEN IN THE UW ARBORETUM Seattle Rep is a constituent of Theatre Communications Group (TCG), the national service organization for the nonprofit Join Seattle Rep and other local arts organizations for an afternoon professional theater.

of performance, discussion, and interactive activities. Multi- Seattle Rep is a member of disciplinary performances will offer a different perspective on the Theatre Puget Sound. climate crisis, while interactive activities for adults and children Seattle Rep is a member of NAMT, a not- will stimulate in-depth conversation on this crucial topic. Leave for-profit organization serving the musical theater community. with the inspiration and tools to take action. All ages welcome!

Event is included in garden admission; Family Saturday – free for children 12 and under seattlerep.org/climatefest

A-6 Stay in Touch with Seattle Rep ALAN ALABASTRO ALAN JIM BENNETT

Justin Huertas, Sarah Russell, and Julie Briskman in Rheanna Atendido in The Odyssey (2017) Tiny Beautiful Things (2019)

Get the Seattle Rep info you want sent straight to your inbox. seattlerep.org/ enews

Upcoming SRO Spotlight: February 20, 2020

Meet the artists of The Children! SRO Spotlight luncheons and interviews are an opportunity to informally visit with cast members, theater artists, and staff who make each show possible.

Learn more: seattlerep.org/SRO

encorespotlight.com A-7 From the Artistic Director

A year after my daughter was born, there was a major Set a few months after a fictional but very similar disaster, natural disaster which, because it damaged a piece of Lucy Kirkwood’s The Children is, to me, a subtle and perilous infrastructure that had not been designed to sympathetic but clear-eyed study of how we respond and, withstand such an event, produced in turn a terrible more importantly, are failing to respond to the escalating environmental disaster. This occurred far from Seattle but perils and catastrophes humanity is creating; responses was of such a scale that it was reasonable to worry whether and failures which seem to always come down to an toxic residue might reach the Pacific Northwest. Had the unwillingness to confront a fundamental moral question: disaster occurred a few years earlier, I doubt if I or my “What will you give up so that others can have a future?” wife would have given much thought, even in passing, to leaving our home or radically changing our lives. But we Indeed, on its surface, The Children is a realistic domestic had become parents. My comfort in and attachment to my drama focused almost exclusively on the lives and routines and community, my investment in my career, my mysterious tangled relationships of three scientists in their ambition, and sense of my future—the hold these things 60s: a long married couple and a former colleague who they usually had on me was weakened by my concern for my worked with 40 years ago. It seems—but The Children is a child and her future. These anxious thoughts didn’t lead play that’s never quite what it seems—a play about accrued to serious plans, much less action, and the potential crisis habits, disappointments, obligations, expectations, and receded—at least from the news and my thoughts, although betrayals; growing old both in marriage and alone, with in neither case completely. It might be more correct to children and without; how individual personality shapes a say the anxiety was absorbed, as have been so many life; how over time we lose potency and potential even as unprecedented dire developments of recent years, into a our desire for such things endures. constantly renewing “normal.” People hold on to a familiar What the play doesn’t address are the specific politics, idea of normalcy even when norms are collapsing all around, policies, and decisions that caused the fictional disaster, and this is admirable, to a point. SAYED ALAMY SAYED

R. Hamilton Wright, Jeanne Paulsen, and Carmen Roman in rehearsal for The Children

A-8 nor does it underscore the similarity of that disaster to the many other political, social, and environmental threats we currently face. There is no talk of global crisis or collapse or, indeed, of culpability. This is, I think, Lucy Kirkwood’s boldest artistic choice. All these issues are imbedded in the situation; they don’t have to be raised because we—readers and audiences—raise them ourselves. But ultimately there is that fundamental moral question to be answered by the play’s three characters: complicated, flawed, limited people with distinct personalities, histories, and circumstances struggling with often contradictory impulses, aspirations, and obligations. People like us.

I deliberately scheduled The Children to be one of the first plays of the 2020s because of how relevant it is to our time. But I didn’t anticipate all the ways it would resonate. Over the last year we’ve

[There is] an unwillingness to confront a fundamental moral question: ‘What will you give up so that others can have a future?’ seen an increasing generational divide on many issues, most obviously the climate crisis, including a divide that’s less between the young and old as between the very young and the so-called “adults.” I didn’t anticipate that young people would rise to their own defense. In September, 16-year-old Greta Thunberg was not only invited to address the United Nations’ Climate Action Summit, but used the occasion to excoriate, with Biblical eloquence and fury, the adult population of the planet for its delusion and inaction, informing them—us— “... you are still not mature enough to tell it like it is. You are failing us. But the young people are starting to understand your betrayal. The eyes of all future generations are upon you. And if you choose to fail us, I say: We will never forgive you.”

Perhaps the title of Lucy Kirkwood’s play is also not quite what it seems. We don’t actually see any children in the play—or do we? It may be that Kirkwood is trying to show that adults—us—have for too long been seeing, thinking, and acting as children, but that it is not too late for us to put away childish things.

Braden Abraham Artistic Director SAYED ALAMY SAYED

R. Hamilton Wright and Jeanne Paulsen in rehearsal for The Children encorespotlight.com A-9 Beyond the Stage SAYED ALAMY SAYED

Director Tim Bond, Costume Designer Melanie Burgess, and Scenic Designer William Bloodgood at the Meet and Greet for The Children

piece and to have deep discussions Confronting Our about the ecological challenges we all care so much about.

Eco-Legacy SR: Without giving too much away, The Children’s plot is a bit of a slow A CONVERSATION WITH burn. How have you approached DIRECTOR TIM BOND directing this story? ALAN ALABASTRO TB: It’s been a bit like working on a mystery or a thriller where certain bits of information or Seattle Rep: What drew you to directing The Children? backstory of the characters are dropped like breadcrumbs for the audience to follow. The fantastic thing about this play is Tim Bond: Lucy Kirkwood’s astonishing play poses that the characters are so delightful and the dialogue is so profound questions about our individual and collective funny. The play actually moves at lightning speed much of agency in responding to the human-made environmental the time due to the underlying circumstances the characters crisis we face on our planet. She has done so through a very find themselves in. So I have been alternately letting the tight-knit play that is often humorous, full of mystery, and scenes hurdle along at breakneck speed so we get a sense asks profound questions about the eco-legacy our older of the tempo and timing of the dialogue, and then go back generation will leave to our children. When Braden reached and try to slow it way down so we can detail inside of the out to me about directing The Children I jumped at the emotional arcs and clarify the arguments the characters opportunity. make with each other. We have a loose rehearsal schedule SR: What excites you most about working with this cast? that we try to keep to and keep finding ourselves exceeding the amount of work we planned to do. It’s a very compelling TB: What a joy to work with three actors whose body of work piece of writing; we all seem to have a hard time stopping to I have admired for many years and who bring such mastery get to the next clue. of their craft to this project. I feel like one of the luckiest directors in the world every day I step into the rehearsal hall SR: What do you see as the most relevant elements of to be working with this threesome—it’s been a love fest! As The Children to today’s world? artists who all share a similar number of decades on this TB: I think Kirkwood has given us several elements to planet, we have had many meaningful conversations about wrestle with as we experience this play. I am very moved these characters who are all over the age of 60. It’s been a by the question of what would a group of scientists do thrill to watch them crack the mysteries imbedded in this

A-10 when faced with an environmental disaster like the us to action. I believe it is essential that our modern theater earthquake and tsunami that caused the nuclear disaster embrace the diversity of our nation and the world, and is at Fukushima Daiichi in Japan. What is our responsibility inclusive of people from all of the various cultures, gender as the older generation who invented many of the systems identities, abilities, and sexual orientations that make up and contraptions that are causing global warming? There is our beautifully complex world. Hearing stories from diverse a very potent image of the perspectives brings us all closer together in town of Dunwich, England This sense of collective the human experience. The social issues we (the area near where the face across the globe can be brought home play takes place) eroding responsibility feels and we can motivate individuals to take and falling into the ocean. action through theater that has opened our It is mentioned that there very relevant to me as hearts. is a legend that you can SR: hear the bells from one of we face our looming Who or what are your artistic the churches that fell into climate crisis. inspirations? the sea back in medieval TB: Lorraine Hansberry, August Wilson, times ringing under the water in the evening. In the poem Teatro Campesino, the anti-Apartheid theater movement, “For Whom the Bell Tolls” by John Donne, he speaks of how the Black Arts Movement, Jazz, The Expressionists, and all humans have a connection to one another. This sense of Surrealists, just to name a few. collective responsibility feels very relevant to me as we face our looming climate crisis. There is also the exploration of SR: You yourself have a history of professionally nurturing aging and how one continues to grow through the end of and supporting the next generation in your work with the one’s life that all of us will face some day. University of Washington and elsewhere. What is one piece of advice you would like to leave with young people in the SR: Could you speak to your thoughts on theater as a audience today? platform for social activism? TB: Bring your entire self, cultural legacy, beliefs, identity, TB: Live theater can have a very immediate impact on how to whatever it is you are collaborating on with the open we see our self and others in the world. The empathetic heartedness of a lover, the fierceness of a warrior, and with the response it evokes opens the human heart and our minds whimsy of the absurd. Embrace generosity and remain curious. to feelings and thoughts that can be transformative and call

Carmen Roman, R. Hamilton Wright, and Jeanne Paulsen in rehearsal for The Children ALAMY SAYED encorespotlight.com A-11 Leaving a Legacy: Seattle Rep Engages Current Funders List as of December 2019 Theatre Forward advances American theater and its communities by providing funding and other resources Inspire Youth By the Next Generation of Theatergoers to Seattle Rep and other leading nonprofit theaters. Theatre Forward and its member theaters are most grateful to the following funders: Making a Gift Today $50,000 and Above Alan & Jennifer Freedman* ♦ John Gore Organization AT&T ♦ Floyd Green Experiencing the wonder of professional performances. Bank of America• Roe Green* Richard K. Greene Pamela Farr & Buford Inhabiting iconic characters. Alexander Nancy Hancock Griffith* ♦ Joyce & Gregory Hurst Citi Mary Kitchen & Jon Orszag* Creatively connecting the stories on stage Robin and Bob Paulson The Schloss Family Charitable Fund with everyday life. Foundation ♦• Rando Santa Fe Foundation Sanderson Donor Advised WATTERS NATE Wells Fargo ♦ Fund Donna & Jack Sennott* From Student Matinees and Teen Nights $25,000-$49,999 John Thomopoulos to free acting workshops through the The Augustine Foundation ♦ Terrence P. Yanni August Wilson Monologue Competition, BNY Mellon our programming inspires the next Cognizant $2,500-$4,999 Dorsey & Whitney LLP Joe Baio & Anne Griffin* generation of theatergoers and theater Sheri and Les Biller Goldman, Sachs & Co. Foundation makers—and donors like you make MetLife Christopher Campbell it possible. Please help Seattle Rep Morgan Stanley Nicole Clay Mary Beth Winslow & advance arts engagement and Bill Darby* access for our region’s youth by $15,000-$24,999 Dewitt Stern American Express Christ Economos* making a gift today. Mitchell J. Auslander / Lucy Fato & Matt Detmer* Willkie Farr & Gallagher ♦ Steven & Donna Gartner* ♦ Bloomberg Philanthropies Jessica Farr ♦ Steven & Joy Bunson ♦ Libshap Realty Corporation → seattlerep.org/donate Paula A. Dominick Louise Moriarty & The Estée Lauder Companies Patrick Stack * Inc. Frank & Bonnie Orlowski Rinabeth Apostol and John Farrage in A Thousand Splendid Suns (2018) Bruce R. & Tracey Ewing Robert A. Rosenbaum EY Daryl & Steven Roth Mr. Anthony C. Lembke & Foundation ♦ Ms. Diane S. Lembke* ♦ David Schwartz & Marsh & McLennan Amy Langer* Companies, Inc. Stephanie Scott ♦ Pfizer, Inc. Elliott Sernel & Larry Jonathan Maurer & Falconio* Gretchen Shugart ♦ George & Pamela Smith* Daniel A. Simkowitz & Mari Alison Tam* Nakachi Ten Chimneys Foundation Southwest Airlines ♦† Michael A. Wall* TD Charitable Foundation ♦ UBS Vicki & Carl Zeiger*

$10,000-$14,999 $1,500-$2,499 Aetna Ryan Cross* Cathy Dantchik DELL John R. Dutt* Fischer Jordan LLC Robert Dwyer & KLDiscovery Diana Kanca* Evelyn Mack Truitt* Wendy Federman Maurer Family Foundation ♦ Peggy & Shawn Feeney* Lisa Orberg ♦ Debi Feinman Presidio Catherine Gropper Patti & Rusty Rueff Patti & John Heller* Foundation David Katz* RBC Wealth Management Rob Kauffman* Raja Sengupta Evan Ladouceur & Meg Langan* S&P Global ♦ A New Membership Program Marla Moskowitz-Hesse* ♦ James S. & Lynne P. Turley* The Old Globe for Younger Patrons Isabelle Winkles O’Reilly Family* Leonard J. Oremland in InterAct is a membership program that offers you opportunities to connect $5,000-$9,999 honor of Rachel Oremland Deborah Van Eck* ♦ AudienceView † with other young patrons at behind the scenes events, with access to Francine Walker ♦ DLR ♦ Joseph Yurcik* exclusive benefits, and the chance to be part of something bigger—a Dramatists Play Service, Inc. Irwin & Rosalyn Engleman theater making a difference in our community.

If you note an inadvertent error in our donor listing, please contact Carl Sylvestre at [email protected] or 212.750.6895 Become a member! * National Society Membership † Includes In-kind support ♦ Educating through Theatre Support seattlerep.org/interact • Bank of America ACTivate Awards Support For a complete list of funders, visit theatreforward.org Leaving a Legacy: Seattle Rep Engages the Next Generation of Theatergoers

At Seattle Rep, we are committed to increasing low- and no-cost arts access and engagement opportunities for the next generation of theatergoers, with a special focus on prioritizing communities facing inequities. Our Youth Engagement programs offer professional theater experiences, in- and out-of-school arts learning, and performance opportunities through Student Matinees and Youth Engagement Residencies, the August Wilson Monologue Competition, Teen Nights, and special student and teen access discounts. In Seattle Rep’s 2018/19 season, our engagement and access programming served more than 17,000 youths, ensuring that theater played an active role in their education and fostered their creative development.

discounted student Student Matinees 10,639 tickets sold & Workshops

11 WITH 5,293 August Wilson Student students Monologue Competition Matinees 1,105 students participated 15 of which are IN Title I and/or over AWMC introduces students to the life and 50% people of color work of playwright August Wilson and helps students develop skills in public speaking, self-confidence, and artistic performance.

In-school workshops and Play Guides give context for the shows, and explore 125 contact 70 students in the plot and themes to foster deeper hours preliminaries conversations and engage students in 50% people of color theater-based learning activities.

40 classrooms 16 WITH 759 in 20 schools 12 students in-school students 11 schools are Title I and/ in semi-finals workshops served or 50% people of color 75% people of color

Thank You to Seattle Rep’s Youth Engagement Supporters! We are grateful for the support and dedication of these generous donors and funders, who make it possible for Seattle Rep to inspire the next generation of artists, leaders, thinkers, and theatergoers. The Chisholm Foundation Winky & Peter Hussey U.S. Bank Foundation

Forest Foundation • John & Nancy Jo Keegan • Loeb Family Charitable Foundations Hazel Miller Foundation • Muckleshoot Charitable Fund • Moccasin Lake Foundation Seattle Office of Arts & Culture • Theatre Forward

encorespotlight.com A-13 Thank You to Our Volunteers and In-Kind Donors Time and energy. Goods and services. Seattle Rep is grateful for all sorts of gifts, and we deeply appreciate the many volunteers and in-kind partners whose generous contributions make our work possible. Thank you for being a part of the Seattle Rep family! VOLUNTEERS: Dianne Gaughan • Christy George • Paula Gibbson • Krikorian • Pamella Perrot • Cindy Pfeifer • Margaret Ronnie Gillman • Lynn Gottlieb • Mary Kay Haggard Phillips • Susie Pitlick • Jennyfer Purswell • Carl Diana Aakervik • Laila Abdalla • Sally Abella • Ted • Elaine Fick Hardin • Maureen Harley • Marcia Rabeler • Mary Ragen • Ponni Rajagopal • Katherine Abella • Zahra Ahmed Al Zuwayed • Molly Alderson • Harper • Marguerite Hartmann • Holly Havnaer Ransel • Suzan Reiley • Pedro Rivera-Muniz • Judy Virginia Allison • Andrea Allsop • M. Annette Althoff • • Susan Heideke • Debra Heilman • Julie Heise • Robertson • Debbie Robinson • Barbara Roper • Hawraa Alzowaid • Mary Ancich • Bethany Arneson • Larry Hettick • Suzi Hettick • Pat Highet • Stephanie Malaika Rosenfeld • Evelyn Rucker • Carole Rush • Marcia Arthur • Cynthia Baber • Lisa Bade • Michael Hilbert • Cari Hill • Sarah Horrigan • Sheila Hosner • Hollis Guill Ryan • Sophia Sansone • Marianne Sato Bade • Jean Baker • Rebecca Tuttle Baldwin • Robin Donna Howard • Judy Hucka • Shaun Hughbanks • • Gary Schoenbaum • Kathy Schoenbaum • Theresa Ballard • Mary Ann Bartell • Larry Baum • Carol Elisabeth Hurley • Winky Hussey • Susanne Hussong M. Schoenfeld • Ann Schroeder • Bonnie Sharpe Beers • Halimah Bellows • Malik Braden Berry • • Ed Hutsell • Victoria Isham • Wendy Jackson • • Karen Sheide • Eva Sheikis • Barry Shepherd • Charlotte Bertsch • Michael Betts • Paula Birchman Fredda Jaffe • Johnny Jeans • Anne Marie Jehle • Michael Sierota • Laurette Poulos Simmons • Janet • Justin Bise • Colleen Bjurstrom • Greg Blindu • Robert Jenkins • Carter Johnson • Miyalani Johnson Sisson • Steve Sisson • Marilyn Sizer • Myron Sizer Grace J. Block • Amy Bogaard • Kenton Bolte • Judy • Sarah Johnston • Dorothy Jones • Bernice Kegel • • Marilyn Sloan • Fiona Smith • Hal Smith • Mary Bonicelli • Mozelle Bowers • Margaret Boyce • Mary Wally Kegel • Dottie Kelly • Kelly Kemmerling • Glyde Sobczyk • Barbara Sommer • Sally Sondheim • Sue Brancato • Bonnie & Mary Briant • Bonnie Briant Hart King • Karen Kirchoff • Cathy Kitto • Kathryn Sonia Spear • Maribeth Spencer • Carmen Spofford • Mary Briant • Katie Briggs • Erik Brooks • Bette Klosky • Bill Koenig • Carole Koenig • Berit Koltveit • Helen Stusser • Suzanne Suneson • Erin Sutter • Brost • Judy Buckham • Paul Burstein • Lynne Bush • Tracy Koncilja • Cari Kreitzberg • Fred Kreitzberg Chris Syrjala • Bill Taylor • Awnie Thompson • Bonnie • Rebecca Caldwell • Jeanne Cantalini • Antonieta • Derek Kunimoto • Sharon Lamm • Diana Lanspa • Thompson • Joseph Thompson • Breanne Tuttle • Carpio • Marianne Cartwright • Terry Lee Catlett Arlene Larson • Michael Leake • Mary Leatherman Jean Viereck • Kathryn (Kas) Vitelli • Michael Wade • Charles Clapp • James Coblentz • Diane Cody • • Amy Lee • Nancy Lee • Carol Levin • Anita C. Lillig • Jennifer Wah • Nancy Ward • Anne Ward-Ryan • Alexis Cogan • Kay Louise Cook • Margaret A. Cook • Maureen Linehan • Leslie Lowe • Sandra Lucas Charlotte Weddle • Jenny Whitmer • Kathy Whitten • Pat Cooke • Janice Cornforth • Pamela J. Cox • • Cheryl Lundgren • Sandra MacLean • Margo • Tom Wielgus • Carol Wiens • Linda Willenberg • Laurie Dahms • Patrick Daugherty • Julie Debons • MacVicar-Whelan • Tara Marino • Emanuel Matos • Ellie Winninghoff • Alyssa Woodbury • Diane Wright • Pascal Debons • Susan Dehmlow • Dottie Delaney Paula Matthews • Jane Muxen McCullough • Sharon Kiyomi Yoshida • Thei Zervaki • Judy Zisholtz • Steve Deutsch • Carol Dinning • Judy Dittmer • McNamara • Lillian Meisels • Criss Meligro • Marcia Brianna Divine • Sharon Duce • Julie Duckworth Mellinger • Nancy Mertel • Tina Michalski • Ginnie • Mary Dunphy • Gabrielle Duong • Athena Duran Miller • Julie Miller • Virginia Miller • Susan Mokler • Jeanne Eagleson • Tony Eans • Nancy A. Engel • Ben Moore • Gay & Milton Moorhead • Hazel • Becky Errera • Claude Errera • Joanne Euster • Moraleja • Karen Morris • Shirley Mulvihill • Jennifer Lyn Fenton • Charles Fick • Cecilia Finnigan • Ellen Nagel • Gabriella Nagy • Robin Nelson • Denise FitzGerald • Shauna Fitzgerald • Reed Flores • G. Ness • Margaret Nichols • Iris Okimoto Nielsen Carolyn Frankhouser • Barbara Freeman • Corinne • Molly Nollette • Nancy & Tony Nugent • Neale Gajdusek • Monica Gardenier • Steven Garmanian • Obedin • Ilse Oles • Nora O’Neill • Annika Perez-

IN-KIND PARTNERS: Avennia Winery • City Catering • Clark Nuber Homewood Suites • Nextlevel • Oakwood Pecado Bueno & It’s All Good Catering Tom Douglas Catering and Events Alaska Airlines • Canlis Restaurant • Chateau Ste. Michelle • Cinq Cellars

DeLille Cellars • Ethan Stowell Restaurants • Four Park Avenue LLC ALABASTRO ALAN Toni & Rod Hoffman • Hotel Beacon • Cathy MacNeil Hollinger Robin & Dave Nelson • Pagliacci Pizza • Perkins Coie LLP • The Ruins Agave Cocina • Bis On Main • Chihuly Garden • Collections Café • Fire & Vine Hospitality Four Park Avenue LLC • Hotel Monaco • Local • Loews Hotel 1000 • Masonry • Mbar Pineapple Bistro & Bar • Queen City Grill • Schwartz Brothers Restaurants The Sitting Room • Solo Bar • T.S. McHugh’s Restaurant • Taylor Shellfish Oyster Bar Dicle Tezelli • Theatre Forward • Triumph Bar Learn how to volunteer with us at seattlerep.org/volunteer Alexandra Tavares and Max Gordon Moore in Constellations (2016) A-14 DIRECTED BY BY Oscar Wilde CASEY STANGL

Classic Comedy with a Twist, Coming Soon to the Bagley Wright Theater

PREVIEWS BEGIN APRIL 17

Jack Worthing is in a bit of a pickle. As a baby, he was abandoned in a train station, and now, in order to marry his beloved Gwendolen, he must prove his lineage to her eagle-eyed mother, Lady Bracknell. To make matters worse, Jack has been known to the entire town—and Gwendolen—as “Ernest” in his desire to lead an exciting double- life, and Gwendolen’s about to get the shock of her life. Set in the 1920s, this iconic comedy gets a new spin brought to life by director Casey Stangl.

“One of the funniest and most beautifully crafted comedies.”

—THE TIMES UK

WRITING GONE WILDE Did you know...

• Originally performed in 1895 and published in 1899, the play is thought of by many as Wilde’s greatest theatrical achievement. • Though known for his writing, Wilde only wrote one novel: The Picture TICKETS ON SALE of Dorian Gray (1890). FEBRUARY 24 • Throughout his life, Wilde interacted with many famous writers of his time, including Henry Longfellow, Oliver Wendell Holmes, and seattlerep.org Walt Whitman. • Wilde’s other well-known works include Lady Windermere’s Fan (1892), A Woman of No Importance (1893), and An Ideal Husband (1895).

encorespotlight.com A-15 Diamond Artistic Director's Circle ($100,000+) Individual Donors Chap & Eve Alvord

Each year, support from our generous donor Stellman Keehnel & Patricia Britton family ensures Seattle Rep’s artistic vitality and Marcella McCaffray financial stability. We gratefully acknowledge the following individuals whose philanthropic Gold Artistic Director's Circle ($75,000 – $99,999) investment is pivotal to supporting the theater’s Rod & Nancy Hochman mission-driven work. The Knossos Foundation Join Seattle Rep’s donor family. No gift is too small. Silver Artistic Director's Circle ($50,000 – $74,999)

Give Online David & Joanna Beitel seattlerep.org/support Donna Cochener Allan & Nora Davis Questions? Winky & Peter Hussey Jamie Herlich McIalwain Linda & Ted Johnson 206.443.2532 John & Nancy Jo Keegan [email protected] Ann P. Wyckoff Anonymous

Artistic Director's Circle ($25,000 – $49,999) Mary Tedd Allen & Deborah T. Killinger George E. Scott Leslie Lackey Elias & Karyl Alvord Christopher & Alida Latham Rich & Nancy Alvord Becky Lenaburg & Paul Urla Bob & Clodagh† Ash Charlotte Lin & Robert Porter Stuart & Sue Ashmun Tom Miller & Terri Olson Miller Matthew & Kim Bergman Karen Rose Mitchell Bobbe & Jon Bridge Elizabeth Rudolf & Debra Canales Fernando Sancho Leslie & Dale Chihuly Maryanne Tagney & Margaret Clapp David Jones Joan Cremin Nancy Lee Ward & Toby Bright Jay Hereford & Margaret Winsor Kenneth & Rosemary Willman Suzanne Hittman Bagley & Virginia Wright Fund Anonymous Actor's Circle ($15,000 – $24,999) Mary Blodgett & Carlton Calvin Paula & Steve Reynolds Michael & Lynne Bush Lee & Stuart Rolfe Joanne R. Euster Jeanne Sheldon & Marvin Parsons Ellen Ferguson Anne Simpson & Charlie Conner William E. Franklin Estate of Marion G. Stamper Anne E. Gittinger Sherry & John Stilin Bruce E. H. Johnson & Cynthia Stroum Sandra E. Davis Inda Taylor & Raymond Spindle Sandy & Chris† McDade Janet & Doug True Kevin Millison & Jeanne Ballot James & Katherine Tune

ALAN ALABASTRO ALAN Vic & Mary Kay Moses Marcia & Klaus Zech Tim & Paula Rattigan Anonymous

This list acknowledges individuals whose cumulative support of productions, programming, and projects occurring over the last year totaled $600 or more, and is inclusive of gifts made towards general operations (including matching gifts), capital needs, special projects, the endowment, and Kirsten Potter in Photograph 51 (2013) during the Gala. List as of December 2019.

A-16 Executive Producer’s Circle Mr. & Mrs. Richard C. Hedreen Stephen Behnen & Mary Hornsby Claire & Doug Beighle ($10,000 – $14,999) Ken Hitz Toni & Rod Hoffman Eileen Birge† Diana & Warren Aakervik, Jr. Elise Holschuh & Brian McAndrews Patricia Anne Bonnell Thomas & Claudia Campanile AHS Foundation Parul & Gary Houlahan Gretchen C. & Don E. Campbell Marleen & Kenny Alhadeff Grady & Heather Hughes Roland Carette-Meyers & Kiki Penoyer Fund for Theatre Practitioners Judith Jesiolowski & David Thompson Theodore J. & Patricia S. Collins Paige & Doug Armentrout Joan E. Mathews Julnes Susan Corwin Todd & Sylvie Currie Elizabeth Choy & James E. Lobsenz Tim & Megan Kirley Cathy Kitto Brent Deim & Michael Rivera-Dirks Jacki & Jim Copacino Chris & Kathleen Kosmos Holly & Eric Dillon Jim & Gaylee Duncan Larry & Amy Corey Mike & Debbie Koss Dick & Mary Beth Gemperle Jim Egbert Captain M. Thomas & Gwenann Kroon Emily Evans & Kevin Wilson Maureen & John Harley Michael Leake Sarah Patton & Peter Feichtmeir John & Ellen Hill Amy Theobald & Cara B. Lee Lyn & Paul Fenton Brent Johnson Mandy Leifheit Gil & Karen Flanagan Andrew Brink & Edward Gali Norman & Lisa Judah Dena & Ron Levine Greg & Diane Lind Susan Moskwa & Nick Gerner Kawasaki Foundation Lori & Daniel Gicklhorn Laura & Roy Lundgren Lynn Manley & Lex Lindsey Dan & Molly Goldman Nicholas & Dana Masington Rebecca & Grant Pomering Lynn & Brian Grant Family Blanche & Stephen Maxwell Katharine Graubard Ann Ramsay-Jenkins & The William M. Kevin McCarthy & Annalisa Gironi Lyn & Jerry Grinstein Jenkins Advised Trust Philip & Jill McCune Eric Gustafson & Martin Sanchez Rachel M. & David P. Robert Karen & Rick McMichael Mary Kay Haggard Herman & Faye Sarkowsky Charitable Charlotte Merritt Laura & David Heard Foundation Wayne & Carla Millage Kristin Ovregaard Heeter David & Catherine Skinner Jan Hendrickson & Chuck Leighton Robin & Dave Nelson Jeffrey Herrmann & Sara Waisanen Richard B. Stead & Elizabeth A. Ryll Grace Nordhoff & Jonathan Beard Peter Hiatt & Ron Huden Hal & Ann Strong Glenna Olson & Conrad Wouters Andrew & Delney Hilen & the Hilen Foundation Helen R. Stusser Declan O’Neill & Patricia Pearson O’Neill Alyssa Hochman Connie & Dan Hungate Taucher Family Foundation Jennifer & Jeff Payne Mary Pigott Nancy Iannucci & Harvey Jones Mary Ann & John Underwood Mary Pugh & Michael Scoggins Karen Koon & Brad Edwards Morris & Carolyn Kremen Shirley & David Urdal Kate Riordan Maggie Walker Jim & Jean Kunz Nicholas Roberts & Yvonne Chang Roberts Ross & Tracy Lincoff Thomas Wright & Alexandra Brouwer-Wright David Robinson J. Pierre & Felice Loebel Anonymous (2) Valerie Robinson Mike & Lisa Losh Judy & Kermit Rosen Lora & Parker Mason Producer’s Circle Deborah & Doug Rosen Debbie Ann McCallister Darlene Sahadi Sandy & Jack McCullough ($5,000 – $9,999) Joy McNichols Eliza Shelden Marleen & Kenny Alhadeff Brian Meenaghan Mr. Robert Sondheim John, Gail, Daniel & Ian Mensher Amy & Bob Bautista Carlyn J. Steiner Natanya Bednarski & Gregory K. Johnson Mark & Susan Minerich Thomas Tilford Jenny & Matt Muilenburg Glenn Bonci & Joan Ronnenkamp Janice Tsai Jerry Nagae Betty Bottler Vijay & Sita Vashee Samantha Temple Neukom Jeanne & Jon Cantalini Jean Baur Viereck Ilse H. Oles Tom & Cynthia Captain Carol & Doug Powell Howard & Joan Voorheis Deanna Cochener K R Prabha & Unmesh W Marisa & Brad Walker Amy Compton-Phillips & Lou Phillips Paul Purcell & Barbara Guzzo Bruce & Peggy Wanta Adam & Whitney Cornell Dr. & Mrs. Patrick A. Ragen Michael & Marsha Warden Anita Ramasastry & Walter Walsh Darrel S. Cowan John Wicher & Travis Penn Carrie Rhodes Mary Cranstoun Kinnon W. Williams Victoria Ries & Samuel Saracino Dick & Jill Davis Shannon Williams Aaron & Erika Rubenson Tracy & Suzanne Daw Steve & Liz Rummage Shauna Woods & Benjamin Arenas Dennis & Deborah DeYoung Ingrid & Stanley Savage & the Hilen Foundation Wyman Youth Trust Jeanne Eagleson & John V. Gray Dr. & Mrs. Bill Schnall Steven & Tina Yentzer Lonnie & Susan Edelheit Greg Smith & Betty Mattson-Smith John Zagula Paul & Michelle Stamnes Bob Evans & Steve Davis Anonymous (2) Delphine & Charles Stevens Sandy & Katie Farewell Leonard & Marsha Stevens Juli Farris Playwright’s Circle Todd & Jane Summerfelt Kent Fisher & Barbra Richardson Tammy A. Talman Karen & Doug Fletcher ($3,000 – $4,999) Amy, JR, & Frankie Tipton Anne Middleton Foster Nikhil & Sheetal Agarwal Richard & Catherine Wakefield Billy & Cheryl Geffon Adrienne & Blaise Peter Williams & Su Chang Melinda & Sterling Wilson Katharyn Gerlich Robert & Ali Alexander Brien Wygle Ginny Gilder & Lynn Slaughter Rene Alkoff Rhoda Altom & Cory Carlson Jane Zalutsky & Mark Kantor Scottland Glenn Phoebe H. Andrew Anonymous (6) Tiffany R. Gorton William† & Nancy Bain

Tribute Gifts IN MEMORY Clodagh Ash by Roxanne Shepherd & Jerry Kroon, by Mary Kay Haggard, by Kermit Anderson, by James & Katherine Tune, by Tam & Christine O’Connor, by Brent Johnson • Vernon Carlton Bryant, Jr. by Sarah Brixey, by Commercial Office Interiors, by Nanci Tribute gifts are a wonderful Price Scoular & Andrew Scoular, by Nanci, Jillian, & Dru at Allsteel, by Helenjean Bryant • Phyllis Chain by Carol Finn • Patricia Costello way to remember a loved by Carl F. Bunje • Lisa Dudley by Cindy Klettke • George Gelernter by Virginia Wyman • Rick Gustafson by Nicki Brown, by Tom and one, honor a friend, or Sandy Schuder, by Alice Mailloux, by Betty H. Winfield, by John & Carole Holland, by Susan Henderson, by Andrea Schneider & Kristin celebrate a special occasion. Petchnick, by Roger & Stacy Rounds, by Jennifer & David Gaulding, by Dawn & Mike Taylor, by Susan McConville, by Lisa McConville, by Michael McConville, by Vonda & Rod Chamberlin, by Jeanne Jones, by Doug Coats, by Karen Fensel, by Kathy McConville, by Lynn Beck, by Anonymous (2) • Ginger Luce by Nancy Apple • Jerry Manning by Lory Manning • Cindy Marriott by Anonymous • Nancy Mertel by Diana & Warren Aakervik, Jr., by Carrie Campbell • Ed & Emily Nelson by Anonymous • Rich Olson by Wendy McClure • Robert Romeo by Anonymous • Ruth Vogel by Anonymous • Sandy Walker by Michelle Walker • Constance Wentzel by Marty Wentzel

encorespotlight.com A-17 A-18 James Ryen inVietgone (2016)

NAVID BARATY • Andrew Wilhelm by Andrea H.Reay commitmentto byarts the Mary Hamilton & Jack White• • • Saunders Gregoryby• HunnicutMartin • Lundquist • Alvordby Marsha& • JayGlazer • Hanset Vivian and Swarthout, Sandi Coppin, Blane Hansen, Michael Westerfield, • Shively Ben by Pomering Grant & Rebecca & LeRoy • Seda Bob • Sando Will & & J K • Clark-R • Mit J Ter L & Norman, Nordhoff Ne R F Chuck & Nancy† Yoc K • Levi & & Eric • Horne W M Kar & Hanow Chuck • Hale Rebec Pierr • Gallup Nancy Barbar Shar & & Richar Janet Cadera • Patrick & Mary Callan • Sonya Campion & Werner• Burnham R. Kent • Block William & Susan Christina Blake• & Larry WrightBlack • Luther • Berry Joan & George • Bench Jo Mary & Rod • Bayer Maria & Douglas • Bartholomew S. Craig • Barrier Jimmy & Alhadeff • David & Gay Allais • Virginia Anderson • Patti Braden Abraham & Cheyenne Casebier • Mary & David ($1,200 –$2,999) Director’s Circle by Martin Johansson & Betsy Groat • Groat DaltonBetsy & Johansson Martin by Cartwright Evan HONOR IN Linda S • Zimmerman Parsons Fr • J M & Lillar • M S • S • Br Sarah & • Neumeister Bill Ellis Bill • & Clark Helen & • • • • . oan ackie ynne n & Bainbridge & und tickler • Lane tuart tan Warren br & Claudia & obert aplan ney • ennedy Patrick& Marcella McCaffray by Deborah T. Killinger • Mark Andr The Playwright & Cast of Cast & Playwright The Ale cGill acKlunders Eileen • ehdi Mark St R l in • Finn Carol Jill anny Miles Elisabeth T euner M Dr M Keith M anda M C i Chambers Craig cal ota • Soltman Michael mn Dnl & Donald • wman chell br & ua Sit • Spieth Susan & obert esa a ony pe & ephen om ichele armen rs. rh & urphy ary on . e d x Hefley e Ek o • Dean M. Dean • Hutto & T Patricia & d ea ca & a C Gr Sutton & ansfield • Mansfield Green Le Simmons Ahr er Bow • ama & Hirayama dod • edmond J H ollefson • Bill • ollefson • y • Donald • Bailey ar L • H. • Drak Herndon by Frida Weisman • WeismanFrida by alieri • Cavalieri ames l • Ben • ole • Dick • • J • & Or • eslie Julia art M •

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CHRIS BENNION * Includescapitalsupport Italics representin-kindgifts. LIST AS OFDECEMBER2019 Flatstick Pub Davis Wright Tremaine Compton Lumber BNSF Railway Foundation BECU Clark Nuber P.S. City Catering Company The BoeingCompany Bank of America CharitableFoundation Baird Private Wealth Management Avennia Winery ATLAS Workbase Macy's The Loeb Family CharitableFoundations Cashman, PLLC Kutscher Hereford Bertram Burkart Brown & Hazel Miller Foundation Forest Foundation Ballinger Family Foundation John Graham Foundation The Norcliffe Foundation Grousemont Foundation Ballmer Group Seattle Repertory Theatre Foundation * Organization Repertory Seattle $100,000 -$399,999 $50,000 -$99,999 $25,000 -$49,999 $10,000 -$24,999 $2,500 -$4,999 $5,000 -$9,999 $400,000+ The Chisholm Foundation Washington State Arts Commission Tulalip Tribes CharitableContributions Morgan Stanley Private Wealth Management Lester andPhyllisEpstein Foundation Four Park Avenue LLC U.S. BankPrivate Wealth Management Summit Law Group Perkins Coie Pecado Bueno Muckleshoot CharitableFund Moccasin Lake Foundation U.S. BankFoundation Treeline Foundation Robert ChinnFoundation Peach Foundation Nordstrom, Inc. NextLevel The Morgan Fund atSeattle Foundation MEDIA SPONSORS encorespotlight.com Virginia B. Toulmin Foundation Garneau-Nicon Foundation Family A- 19

STAGE CREW: BAGLEY Heather Seethoff Noelle McCabe SPECIAL EVENTS DIRECTOR PUBLICATIONS & DIGITAL PROFESSIONAL STAFF WRIGHT THEATER CONTENT MANAGER ARTS TRAINING Noel Clayton Anna Strickland PROGRAM (PATP) DONOR STEWARDSHIP MANAGER Michelle S. Leyva Braden Abraham, Artistic Director* MASTER STAGE CARPENTER PUBLICIST Antonieta Castillo Carpio Jeffrey Herrmann, Managing Director PRODUCTION MANAGEMENT Dave Scamporlina Chris Quilici DONOR RELATIONS OFFICER Richie Carpenter MASTER ELECTRICIAN WEB PRODUCTION SPECIALIST Jamie “James” Coblentz SCENIC ARTS (PROPS) Jeremiah Foglesong* Janet Shaughnessy DONOR RELATIONS OFFICER Sayed Alamy MASTER PROPERTIES Artistic CARPENTERS GRAPHIC DESIGNER Madisen Crowley STAGE MANAGEMENT Jon Zucker** Nathan Kahler* Ben Swenson-Klatt DEVELOPMENT Catherine Huber Elisabeth Farwell- SCENE SHOP FOREMAN HEAD AUDIO ENGINEER Moreland* COMMUNICATIONS SPECIALIST MARKETING & COMMUNICATIONS Gabrielle Duong COORDINATOR PRODUCING DIRECTOR SCENIC ARTS (PAINT) Denny Hartung** Tony Smith Linnea Ingalls MASTER SHOP CARPENTER HEAD FLYPERSON Hattie Claire Andres GIFT PROCESSING SPECIALIST Olivia Mangione Reed Flores GRAPHIC DESIGN ASSISTANT DIRECTING/LITERARY ASSISTANT TO THE ARTISTIC SCENIC CARPENTERS STAGE CREW: DIRECTOR & ARTISTIC ASSOCIATE Sarah Wright Patrick Robinson* LEO K. THEATER SENIOR DEVELOPMENT BUSINESS Yanci Huezo Kaytlin McIntyre Randall Reece ASSISTANT YOUTH ENGAGEMENT Joel Wilmot OPERATIONS DIRECTOR OF CASTING Michael McKenna MASTER STAGE CARPENTER & NEW PLAY DEVELOPMENT Joel Herrera Evan Cartwright Annika Perez-Krikorian ENGAGEMENT BUSINESS OPERATIONS DIRECTING/CASTING Desirae Brownlee DIRECTOR Julia Thornton COSTUME SHOP RESIDENT MUSIC CONSULTANT MASTER ELECTRICIAN Nabra Nelson Anna Vraney Denise Damico* DIRECTOR OF ARTS Joanna Barnebey STAGE MANAGEMENT ASSOCIATE ARTISTS COSTUME DEPARTMENT Mark Krida ENGAGEMENT DATA OPERATIONS MANAGER HEAD AUDIO ENGINEER Hal Brooks DIRECTOR Abigail Wang Alex Lee Reed Timothy V. Norris Jr. Constanza Romero LIGHTING DESIGN Emily Blanche STAGE MANAGEMENT YOUTH ENGAGEMENT MANAGER DATA RESOURCES MANAGER Christopher Breyer ASSISTANT COSTUME Alyssa Woodbury DEPARTMENT MANAGER Jessica C. Bomball Maddie Napel PATRON EXPERIENCE CONSULTING DRAMATURG DEVELOPMENT Caitlin Denney-Turner PATP COORDINATOR Danielle Nieves Rachael Dorman Claire Koleske ARTISTS UNDER COSTUME DESIGN ASSOCIATE Jeremiah Givers PATRON EXPERIENCE DIRECTOR COMMISSION Maria Gray FINANCE Marco Collins Naomi Weber Zachary Jenkins Veliere Crump Wendy Goldberg TAILOR/DRAPER Stina Lotti Vinita Gupta GROUP SALES MANAGER Lily Houghton Adrienne Mendoza DIRECTOR OF FINANCE Lisa Lockard** Marcus Williams Justin Huertas Michael B. Paul Laura Mé Smith** Wollansa Chekol PATRON SERVICES MANAGER C.A. Johnson Cristine Ann Reynolds FIRST HANDS AP COORDINATOR Hansol Jung Shellie Stone Sutton Vie Brian Quijada Sarah Gladden** Brenda K. Walker Supriya Hariharan PATRON SERVICES ASSISTANT Matt Schatz MANAGER COSTUME STOCK MANAGER Erin B. Zatloka ACCOUNTANT Samantha Silva Ruby Rae Spiegel Joyce Degenfelder** Devonnie A. Black PATRON SERVICES LEAD Cheryl L. West WIG MASTER PUBLIC WORKS INFORMATION Anna Ziegler Brent Roberts Angie Kamel TECHNOLOGIES PATRON SERVICES SPECIALISTS COSTUME PROPS ARTISAN/DYER PUBLIC WORKS DIRECTOR Chip Phillips PRODUCTION DIRECTOR OF I.T. Alyssa Hall Imelda Daranciang* Lia Fakhouri Emily Hall Sann Hall BAGLEY WRIGHT WARDROBE PUBLIC WORKS ASSOCIATE Guy Simpson, III SUPERVISOR PRODUCTION MANAGER H U M A N R E S O U R C E S Nathan Smith Cindy Sabye* Brian Fauska* DonYeta Villavaso-Madden FRONT OF HOUSE TECHNICAL DIRECTOR LEO K. WARDROBE SUPERVISOR Administration DIRECTOR OF HUMAN & Operations RESOURCES Lance Park Robert J. Aguilar* PROPERTIES AUDIENCE SERVICES DIRECTOR LIGHTING DIRECTOR Alyssa Bostwick Jolene Obertin** Sean Little EXECUTIVE ASSISTANT FACILITIES SUPERVISOR Taylor Kesterson PROPERTIES DIRECTOR Tyler Krieg & BOARD LIAISON LEAD LOBBY MANAGER ASST. PRODUCTION MANAGER Karla Davenport Debra Forman* RECEPTIONIST HOUSE MANAGERS PROPERTIES ASSISTANT Wiley DEVELOPMENT Tony Morse ASSOCIATE TECHNICAL Zacharee Simms DIRECTOR James Severson* Jamie Herlich McIalwain Nicolette Vannais** DIRECTOR OF DEVELOPMENT MARKETING & Haley Thomas Stina Lotti Angela Zylla COMMUNICATIONS PRODUCTION STAGE MANAGER PROPERTIES ARTISANS Melissa Husby Ellie Savidge ASSOC. DIRECTOR OF Christian Barclay ASL INTERPRETING Lily McLeod SCENIC ARTS DEVELOPMENT COMMUNICATIONS DIRECTOR COORDINATOR LIGHTING ASSOCIATE Ruth Gilmore Sarah Bednar Steve Brown CHARGE SCENIC ARTIST CORPORATE PARTNERSHIPS MARKETING & ADVERTISING Yuko Ariga DIRECTOR PRODUCTION COORDINATOR DIRECTOR Maureen Wilhelm* Angela Nickerson ARTIST RELATIONS LEAD SCENIC ARTIST Kate Neville INSTITUTIONAL PARTNERSHIPS CREATIVE DIRECTOR Ariel Bui Beth Peterson DIRECTOR INTERIM COMPANY MANAGER SCENIC ARTIST Allison Dunmore Amy Bokanev SOCIAL MEDIA An employee of 10 or more years. & PRESS MANAGER * Christy Bain INDIVIDUAL GIVING DIRECTOR ** An employee of 20 or more years. CONTRACT CONSULTANT Bold Member of Senior Leadership Team

Seattle Rep Organization (SRO) SRO Executive Board SRO is a 70+ member volunteer group established in 1963. Through The Shop at the Rep, Sandra Lucas Judy Hucka Cathy Kitto themed fundraisers, and four service projects, SRO donates more than $30,000 and over PRESIDENT TREASURER CORRESPONDING 3,800 volunteer hours each season. They also support Interns and Apprentices, assemble SECRETARY Carmen Spofford Dottie Delaney subscriber materials for mailings, and volunteer at the Seattle Rep admin front desk. FIRST VICE PRESIDENT RECORDING SECRETARY Diane Cody Monthly Spotlight Meetings feature “Interviews with the Artists.” SRO REPRESENTATIVE Michael Leake Learn more at seattlerep.org/volunteer SECOND VICE PRESIDENT

A-20 ALAN ALABASTRO

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The Late The Late with ‘She Loves ?” —which —which is a is and and She Loves Me, across from Jerry Dixon [Village [Village Dixon Jerry from across sitting Lund: Ifound myself Karen audiences? 2020 for right it makes What now? musical this Why Mohlman: Danielle But now’s time.”searching. the gone Ihaven’tso necessarily Taproot, at fulfillment of artistic were younger. I’ve alot had really they when much—especially that home from away tobe wanted kids,” “And said. Lund Ijust haven’t is, I’ve raising “The been thing home base. artistic her from away towork ready is Lund seasons, several last forTheatre the at Taproot ayear to four shows and thejoy she’s your family and your connections connections your and family your with connections your like things, simple the tovalue us play asks the alot of ways in more.much Ithink difficult—sovalued so it was you income asteady and ajob to have here. it And was as there rough as Depression was the where Europe It’s time. turbulent a really 1930s in place takes of course, this And, family. It’s simple for them. really a and income love. asteady And agreat is idea of happiness Their or that. this great best next the be to simple. No trying very one is and earnest very are characters These news. the we’re in hearing that stuff toxic to some of the antidote an need we all I think now, to Right applaudI have him. Me Loves were—and they on how joyful based them he would rate and plays of audience. He alist to his had joy would bring that aseason was for looking really he was what And season. this chose how they about director], talking artistic Theatre kept rising to the top. to the And rising kept encorespotlight.com She Loves Me. Karen Lund, director of 9 She She Eric Ankrim and Allison Standley. She Love Me pre-production photo.

with your friends, and know that I’m really interested in the relation- the opportunity to direct She Loves those have worth. And it’s so sweet ship between Georg and Amalia. Me, one of the first things I said and so simple. And yet it’s so They are really intellectual equals, was, “Tell me about your audience. difficult for us to do that right now. which doesn’t typically happen in Tell me what they’re looking for.” stories from that era. They read the And we see these characters in this same books, they have the same And I want to be clear: I’m not sweet pocket, even though it might philosophy of life. They have razor- talking about pandering to an audi- not feel like that on the inside, sharp wit. There’s a lot of sparring ence. I’m talking about knowing because World War II is going to that happens between them and I’m them and meeting them where be worse. And they just don’t know really excited about creating those they are, so I know how best to what will happen. moments. I think their battles are challenge them. I have this theory going to be outstanding; they’re that if you can make somebody Right. But what we do know going to be super fun to watch. laugh, you can actually tell them is they’re going to have each some pretty hard truths. So, I need other. And it’s not just about the Oh, that’s so exciting! I do want to get you comfortable. You feel romantic relationships. It’s about to pivot a bit and talk about arts like you’re in your home, you’re this family of perfumery workers administration—and your role laughing, your heart is open. And who go through a difficult time as associate artistic director of then I can tell you a hard truth and actually become closer. The Taproot Theatre. How does arts that might change the way you support they give each other to be administration inform the way think or the way you behave. better people is just wonderful. you direct? One thing that I love about Taproot It’s way closer than coworkers. There Oh wow. You know what it is? I’m is that there’s consciously a are real, deep friendships there. always very mindful of the audi- dramaturg attached to each play, ence. I have to be, because of my which feels like a rarity, especially Yeah. You know they’re going to work as an arts administrator. But in Seattle. Can you talk a little last. You know they’re going to I also feel like it’s my pleasure to about the value of dramaturgy in support each other during the be. At Taproot, we’re in an ongoing Taproot’s artistry? war. That’s how I see it, at least. conversation with our audience— about the world around us, about I just find dramaturgy to be so Is there a particular moment or truth, about beauty, and about how important to the work that we’re song you’re excited to explore in one person can make an impact doing. I don’t care what the play rehearsals? on the world. When I was offered is: dramaturgy can add so much DANIELLE BARNUM DANIELLE

10 DANIELLE BARNUM daniellemohlman.com Dramatist in found be also Danielle’s can work ­performances. sensory-friendly of landscape the to ­ the from everything about she’s written frequent contributor to Encore, where She’s a journalist. arts and ­playwright Danielle villagetheatre.org orby calling425.257.8600. in Everett. Tickets are available onlineat February 28 to March 22atVillage Theatre at Village Theatre inIssaquahandfrom She Loves Me Ilove it much. so Because adramaturg. be director, Imight Iwasn’t if a think, I always It a­ design. me as helps props, set, costume the inform can actors. Dramaturgy just for the it’s And couldn’t imagine. not ever you that ways in creativity your spark can you learn that thing actors’ little work on stage. Any of the breadth and depth to the intersection of sports and theatre theatre and sports of intersection Mohlman blog. blog. Books Quirk the on and American Theatre American runs January 16to February 23 runs January  is ais Seattle-based director. director. , The The to Seattle’s arts. performing Encore isyour companion the go At the show or on encorespotlight.com encorespotlight.com 11 Intermission Brain Transmission

Why stare at your phone for the hundredth time today when DIALOGUE you could treat your brain to this scintillating trivia quiz. Better yet, send us your answer to the bonus question for a chance to win tickets to an upcoming performance.

The Rivals, a comedy of manners that first 4 The Children, playing February 7 through 1 debuted more than 240 years ago, will play March 15 at Seattle Rep, concerns retired at Seattle Shakespeare Company January 7 nuclear physicists trying to live quietly after a through February 2. A now common term was nuclear power plant-related disaster. Roughly coined in reference to a character in this play. how much of the U.S. national electricity It means to use a word that sounds similar to, generation is provided by nuclear power? but has a different meaning than the one you intended. Which word is it? A 6% B 14% A Spoonerism C 19% B Folderol D 63% C Malapropism D Mondegreen French pianist Hélène Grimaud will perform at 5 Meany Center on March 4. In addition to her At Taproot Theatre Company, Steel Magnolias musical accomplishments, the animal-loving 2 will play from January 22 to February 29. A artist founded a conservation center in New star-studded movie version, made soon after York state for which species? this play debuted, featured a young Julia Roberts. Which actor played her character’s A Mink husband, Jackson Latcherie? B Wolves C Bobcats A David Duchovny D Black Bears B James Spader C Kyle MacLachlan D Dylan McDermott

Book-It Repertory Theatre presents The Turn 3 of the Screw February 12 through March 8. The classic horror novella on which this play is based was originally published in 1898 as part of The Two Magics. This book’s publisher recently caused widespread outcry for barring

public libraries from purchasing more than one

copy of new e-books. Which publisher was it? programs. release and

public education and recovery recovery and education public

works to protect wolves through through wolves protect to works

A Simon and Schuster non-profit The Wolves. 5–B

B Macmillan 19 4–C

publication. publication.

C Random House following immediately sales

D Hachette increase to attempt an in

e-books a library can purchase purchase can library a e-books

limits the number of new new of number the limits

3–B Macmillan. The embargo embargo The Macmillan. 3–B

2–D Dylan McDermot Dylan 2–D

BONUS or “inappropriate.”

propos,” à “mal term French

What was the last arts performance you attended that you liked best and why? the appropriated Sheridan

name playwright Richard Richard playwright name

Mrs. Malaprop, for whose whose for Mrs. Malaprop,

Email your answer with “Trivia Quiz” in the subject line to: [email protected] character comedic for or post your answer to social media and tag @encorespotlight. called So Malapropism. 1–C ADAM SMITH ADAM

12 ADAM SMITH DIALOGUE for several years, Atkins has has Atkins years, for several idea on the simmering After place.” into just fell things Book-It And production. style of theScrew that adaptor tosuggest too. I’m I’m only not the certain for along time list on their been it’s “And said. Ithink Atkins for alongon time,” my list “ Book-Itpitching for years. she’stion periodically been of Screw the Turn open will day,the Atkins later, to years almost Fifteen Maurier, in 2005. an adaptation of writing her first play for the company, artist in the education department before She spent several years as a teaching history with Book-It Repertory Theatre. Rachel Atkins has along and wonderful BY DANIELLE MOHLMAN Own at Book-It at Own of the Screw’ Her Makes ‘The Turn Atkins Rachel The Turn of the Screw of theScrew The Turn would be a good agood would be , an adapta , an has been been has Rebecca The Turn The Turn The The - by Daphne du to to you drew What Mohlman: Danielle own. her James wholly novel Henry this tomake found away in high school. And then reading reading then And school. high in read it first she when story of the truth the was thought she what She remembered changed. has book this with experience her how much it,Roscoe, about who’s directing toCarol I’vehappening. is talked different something thinks body what’sknow every on. going And really you never and whole thing you where the read story this about something There is Atkins: Rachel The TurnThe Screw the of initially? initially? - leave some essence of that mystery? mystery? of that leave some essence follow, and understand but still able to be to going still are people it aplay that into turn and that is: how you do take challenge the sentence? It anybody. And be could “he” this What in he mean does about. he’s who talking identify pronouns but he uses doesn’twhich with frequency narrative—the of his structure Even the in audiences. for and open readers much so leaves that astory about interesting really just something there’s think And I different. completely something thinks adult, now she an as later it years encorespotlight.com Roscoe atBook-It. in Atkins andCarol between Rachel Sylvie Davidson Emma collaboration , thelast 13 14 children. these with happening be might what and story of the creepiness weird mysterious, the out moredraw of to stuff that use I’ve to or studying. tried reciting or reading would be children the that things and poems and songs of materials other in pull was did I up. thing One tightened really ever, it’sproduction just because Book-It mainstage shortest the It’snovella. be may This short. story. the Imean,into it’s a ­ some other in bringing was with alot of fun Ihad that things one of the that say I will You don’t me. have tell to story. of the mystery the it’s youof because to tell part ofThere don’t is, but Isort want rehearsals? looking forward to exploring in character relationship that you’re or amoment there Is rehearsals. of start the We’re before speaking Yeah, absolutely. those belong pronouns to. who I’m about sure, decisions, some make to having And materials materials both male and female roles. roles. female and male both playing cast non-binary and female all- an you had Theater, where History (Y)Our Not of reading the in echoed that Iloved seeing And I love that. right. really feels bodies female through only story that of telling idea the And depth. her beyond situation, way isolated out tothis way sent is and agoverness as job first her takes who woman young story—about a particular of this idea the of actors. And group strong We’ve really cast. got this this about mean, we’re excited really about. I excited really both are [and Carol That’s that I] something all-female an cast. with story this we’re that I’m telling excited really actors? Northwest this working with cast of Pacific you about excites What we’llso see. there, in stuff I got somecreepy day… the in back from rhymes nursery those of some Because so.I hope That’s I’m what for. going creepy. and incredible so sounds That at Seattle Public Public Seattle at This is is This daniellemohlman.com Dramatist be found in performances. Danielle’s workcanalso to thelandscape ofsensory-friendly the intersection ofsportsandtheatre she’s written abouteverythingfrom frequent contributortoEncore,where playwright andartsjournalist.She’s a Danielle Mohlman  calling 206.216.0833. can bepurchased online (book-it.org) orby MarchTheatre. 8atBook-ItRepertory Tickets The Turn oftheScrew story!” their tell them Let I’mand “Come on, like people. positions major artistic in are men it or writing are men that either it’s time, every country. And the on across working are people that projects other about hearing I keep And centennial. the we approach as now abig topicmovement is right women’s course, the Of suffrage production. the in involved no men would be on stage, there no men be would there not only that strongly Ifelt really And awomen’s like just feels story. movement, it suffrage the about is piece, that which reason. With Yeah, different for and atotally andontheQuirk Booksblog. American Theatre is aSeattle-based Book-It. Cast of runs February 12toruns February Rebecca , The at

CHRIS BENNION

ANGELA STERLING CALENDAR Seth Orza and Maria Chapman with company dancers in Pacific Northwest Ballet’s Cinderella. CALENDAR

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Steel Magnolias The Turn of the Screw to the arts! January 22–February 29 February 12–March 8 Taproot Theatre Company Book-It Repertory Theatre Teens can enjoy tons Italian Baroque Grupo Corpo of affordable events January 24–25 February 20–22 Seattle Symphony Meany Center for the Performing Arts with TeenTix! It’s FREE to sign up Brian Brooks Moving Charlie Parker’s Yardbird Company February 20–March 7 for the pass that January 30–February 1 Seattle Opera entitles you to $5 Meany Center for the Performing Arts Scott Silven: At the arts & culture tickets. Cinderella Illusionist’s Table January 31–February 9 March 3–15 Pacific Northwest Ballet Seattle Theatre Group teentix.org ANGELA STERLING ANGELA CHRIS BENNION CHRIS

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