WINTER 2020

MAINSTAGE SEASON: TOURING SEASON:

EVERYTHING IS ILLUMINATED MY NAME IS CELIA/ME LLAMO CELIA HOWL’S MOVING CASTLE CROWN: AN ODE TO THE FRESH CUT THE TURN OF THE SCREW POSSUM MAGIC 2019–2020 THE STORY OF EDGAR SAWTELLE 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

PAUL HEPPNER President Encore Stages is an Encore arts MIKE HATHAWAY Senior Vice President program that features stories KAJSA PUCKETT Vice President, about our local arts community Sales & Marketing alongside information about GENAY GENEREUX Accounting & performances. Encore Stages is Office Manager a publication of Encore Media Production Group. We also publish specialty SUSAN PETERSON Vice President, Production publications, including the SIFF JENNIFER SUGDEN Assistant Production Manager Guide and Catalog, Official Seattle ANA ALVIRA, STEVIE VAN BRONKHORST Pride Guide, and the Seafair Production Artists and Graphic Designers Commemorative Magazine. Learn more at encorespotlight.com. Sales MARILYN KALLINS, TERRI REED San Francisco/Bay Area Account Executives Encore Stages features the BRIEANNA HANSEN, SHERRI JARVEY, following organizations: ANN MANNING Seattle Area Account Executives CAROL YIP Sales Coordinator Marketing SHAUN SWICK Brand & Creative Manager CIARA CAYA Marketing Coordinator

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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 It’s a momentous year for Book-It Repertory Theatre. After 30 years at the helm, founding co-artistic directors Jane Jones and Myra Platt are stepping down at the end of this 2019-20 season. Jane and Myra have worked tirelessly to build Book-It into the company it is today.

In January, incoming Artistic Director Gus Menary joined our team, and Book-It began a new chapter in our story. As Book-It steps into the future, we will continue to transform great literature into great theatre and honor the legacy of Jane and Myra’s work.

But we can’t do it alone. We need your help to fund this next chapter in Book-It’s story. To strengthen Book-It and provide a foundation for the bright future that is ahead of us, Book-It has launched a $1,000,000 campaign called Founders to Future.

Thanks to generous contributions of an amazing group of donors, we have only $236,000 of our $1,000,000 goal left to raise.

We hope that you will use the giving envelope enclosed in this program to make a gift to this campaign, to ensure Book-It has a bright future.

We’d like to thank our donors to the Founders to Future Campaign:

Monica Alquist and Gary Miller Larry and Michell Pihl Jim and Marilyn Barnett Ann Ramsay-Jenkins Patricia Britton Anne Fisher Ravens and Jaxon Ravens Linda Brown and Larry True Lynne and Nick Reynolds Laura and Greg Colman Polly Schlitz Emily Davis Steve Schwartzman and Daniel Karches Sara Elward Deborah Swets Margaret Kineke and Dennis West Shirley and Dave Urdal Bill and Holly Marklyn Kris and Mike Villiott Anne McDuffie and Tim Wood Lordia and Jeremy Williams Mary Metastasio The Gates Foundation Tom and Cheryl Oliver The Sage Foundation Mary Pigott A Note from Director Carol Roscoe

ne cold January evening in 1895, the Archbishop of Canterbury told Henry James a story. A ghost story about Otwo children, corrupted and haunted by their dead caregivers. James wrote in his journal, “It is all obscure and imperfect, the picture, the story, but there is a suggestion of a strangely gruesome effect in it.”

After publication, the reviewers agreed, “one of the most thrilling stories,” “distinctly repulsive,” “cruel and untrue,” “the most hopeless evil story that Rachel Atkins Carol Roscoe we could have read in any literature.”

This could not have surprised James. He himself, while correcting the galley proofs of the novella, told a friend, “When I had finished them I was so frightened that I was afraid to go upstairs to bed.” The Turn of the Screw What are we so afraid of? What compels us to reexamine this story over and over again? Since it appeared in print, it has inspired other novels, prequels, A Note from Adapter Rachel Atkins plays, movies, television, and opera. What makes it so horrible and so continually attractive? have a history with troublesome women at Book-It: Jane Austen’s Emma, Ellen Gilchrist’s Rhoda, Daphne du Maurier’s Rebecca and To paraphrase the horror writer Shirley Jackson, “we delight in what we IMrs. de Winter. While The Turn of the Screw doesn’t feature her name fear.” And in The Turn of the Screw, James has deliberately constructed in the title, it does center a similarly complex main character—another a claustrophobic intimacy and ambiguous circumstance that requires the woman who can be difficult, opinionated, single-minded, even hard audience provide the source of the fear, and that keeps us, I think, eternally to like. How might complicated characters like these be perceived if delighted by the story. they weren’t female? Would they still be considered problematic, or As Miss herself states, “…there are depths, depths! The more I go might opinionated and single-minded be identified as other qualities over it, the more I see in it, and the more I see in it, the more I fear. instead—strong, dedicated, tenacious, uncompromising? And what’s I don’t know what I don’t see—what I don’t fear!” the difference when such a woman is written by a man? As challenges to how we think about gender are more and more on the forefront of our In working on the show, Rachel, Jane, and I had a retreat early in the lives, I’m particularly excited by our production’s choices to consider adaptation process. During the retreat, we spoke about the scenes these questions, and to take back the narrative, in a way, by we found the most creepy and compelling. One scene, in which telling it exclusively with female bodies. Mrs. Grose tells Miss about the corruption that the children were exposed to and forced to watch, was vivid in all of our minds; though, we each I’ve long thought James’s novella would be excellent Book-It material (and I recalled it slightly differently. Later, when Jane’s husband Kevin joined us, know I’m not the only one): a tight storyline in a close, insular world, which we asked him about that scene and he recalled it instantly; only, again, leaves so much to the imagination and interpretation of the reader—or with slightly different details. I scoured the book for the scene to get the viewer. In the original novella, it’s notable how often James uses pronouns particulars right, only to discover the scene didn’t exist in the novella, at all. instead of specific nouns, so you can never be exactly sure who or what There was a paragraph or two of broken, unfinished sentences exchanged he’s talking about. Almost every chapter ends with some lingering question, by Mrs. Grose and Miss, absolutely devoid of detail, that evoked, no, I will some thought left unspoken. The intriguing work of developing this say that demanded each of us fill in the unspoken with the worst horror we adaptation was to flesh out this world more fully (can you spot the liberties could imagine. And we did. We each wrote that scene in our head, just as I’ve taken?), while maintaining that sense of mystery and uncertainty for James wanted us to, convinced he was writing it. the audience—to give you a chance to fill in some of those gaps yourself. The play you see might be very different from the one the person sitting This, for me, is the genius of this novella and what makes it truly horror. It beside or behind you sees, simply because of who you are and what you relies on the reader, on the audience, to provide the most terrible reasons bring to the story—what you, yourself, fear. Are the ghosts real? Are the for the characters actions and behavior to the story. We bring what we fear. children possessed? Is our main character reliable, relatable, insane or just And we delight in it. exhausted? What is the truth? I hope we do justice by the Archbishop who first told this story to James. In a dramatic form that relies so strongly on point of view, I find And James, who scared himself in the retelling. And that we find, as did myself drawn in by these ambiguities of perspective, identity and the first readers, this story thrilling, repulsive, hopelessly evil, and yet, as reality. I hope you do too, and that you enjoy the pursuit of the another reviewer said at its publication, “a beautiful pearl, something answers, whatever you decide they may be. perfect, rounded, calm, unforgettable.”

I’m honored to be part of this Book-It season—with many thanks and much love to the illustrious Jane and Myra, two of Book-It’s strongest and most dedicated women.

A-2 BOOK-IT REPERTORY THEATRE CAST (in alphabetical order)

Nabilah S. Ahmed Miles/Ensemble Rheanna Atendido Flora/Ensemble Shannon Lee Clair* Miss Bridget Connors* Mrs. Grose/Ensemble Amy Driesler* Douglas/Quint/Ensemble

STAGE MANAGERS

Jeremiah Givers* Stage Manager Caitlin Denney-Turner Assistant Stage Manager Ellie Hughes Production Assistant

ARTISTIC TEAM

Pete Rush Scenic Designer Peter Maradudin Lighting Design Melanie Burgess Costume Designer Robertson Witmer Sound Designer Robin Macartney Properties Designer Annika Bennett Dramaturg Alyssa Kay Intimacy and Fight Choreographer Marianna de Fazio Dialect Coach Taya Pyne Costume Design Assistant

*Member of Actor’s Equity Association, the Union of Professional Actors and Stage Managers in the United States

encorespotlight.com A-3 DRAMATURGY

Jane Jones Founder & Founding Co-Artistic Director

Gus Menary Incoming Artistic Director

Kayti Barnett-O’Brien Managing Director

Myra Platt Founding Co-Artistic Director, Emerita

Henry James Season Support

FILLING IN THE BLANKS

Ambiguity in The Turn of the Screw By Annika Bennett

hen The Turn of the Screw was first serialized in 1898, responses were strong, but mixed: The American MonthlyW Review of Reviews called the story “the finest work [Henry James] has ever done.” The New York Tribune declared it “one of the most thrilling stories we have ever read;” The Outlook deemed it “distinctly repulsive;” The Bookman denounced it as “cruel and untrue.” The Independent went still further:

The Turn of the Screw is the most hopelessly evil story that we have ever read in any literature, ancient or modern. How Mr. James could, or how any man or woman could, choose to make such a study of infernal debauchery, for it is nothing else, is unaccountable… The study, while it exhibits Mr. James’s genius in a powerful light, affects the reader with a disgust that is not to be expressed. The feeling after perusal of the horrible story is that one has been assisting in an outrage upon the holiest and sweetest fountain of human innocence, and helping to debauch—at least by helplessly standing by—the pure and trusting nature of children. Human imagination can go no Additional generous support is provided by further into infamy, literary art could not be used with more refined subtlety numerous local businesses, family foundations, of spiritual defilement. and hundreds of individuals. Many thanks to all our supporters.

A-4 BOOK-IT REPERTORY THEATRE If the merit of literature was measured by the even today, in a horror renaissance characterized intensity of its impact, The Turn of the Screw would by increasingly nasty and inventive CGI blood, likely be known today as one of the best and gore, and anguish. As the horrified critic at most effective stories ever written—not bad for The Independent so vehemently identified in a novella its author cheerfully labeled a “wanton 1899, The Turn of the Screw is a scandalous little tale.” The story originally emerged from a story because we are forced to participate in its challenge James had set himself to resurrect the scandal, frightening because it leaves blanks and “lost form” of the ghost story in an era when many insists we fill them in with the very worst things such stories had purely rational explanations, our imaginations can produce. In other words, it’s “washed clean of all queerness as by exposure to a story that requires an audience. (It would seem, a flowing laboratory tap.” What’s really interesting then, at its core, it has always been a piece of is why this story has endured and how it continues theatre.) to shock, scandalize, and—yes—haunt its readers Take the prologue to this story, an often- forgotten piece of framing highly abbreviated in our telling today, mostly because it’s so full of Jamesian obliquities it’d be nearly impossible to replicate. In it, we find ourselves in an old house in the country, where a group of friends has been telling ghost stories by the fireside. Someone has been describing an apparition that once appeared to a child. The host, whose name is Douglas, suddenly announces that he knows a ghost story involving not one but two children. The story, he declares, is written out in a manuscript locked away in a drawer at his London apartments. He could, he suggests, send for the manuscript.

encorespotlight.com A-5 DRAMATURGY (cont.)

The unnamed narrator of the prologue, one of the The manuscript arrives from London, and it seems guests at this gathering, notes that Douglas takes we are about to dig in—when we are suddenly the telling of this story very seriously, observing, informed, almost in passing, that Douglas too he “appeared almost to appeal for aid not to is long-dead. He gifted the manuscript to the hesitate. He had broken a thickness of ice, the narrator shortly before his demise, and everything formation of many a winter; he had his reasons for we have so far taken to be in present-tense a long silence.” Douglas explains that he received has instead been a memory. The night in the the manuscript from a woman, “dead these twenty old house—in which the story was told to a full years,” who sent him the pages shortly before her audience but gifted in its entirety only to its most expiration. They had known each other when he acute listener—recedes into the background, and was a boy and she was employed as his sister’s soon vanishes completely, never to return. Another layer of ice has melted, and the ritual of telling this story has, deviously, begun anew.

And so, the story we finally encounter has come to us through a chain of narrators. The first two passed the story along with great reluctance after sitting with it alone for many lonely years, in which its truths and the truths surrounding its telling doubtless blurred and shifted and remade themselves, in the way that stories always do to survive. The third narrator—unnamed and unknown, referred to only as “I”—seems likely to be Henry James himself, inviting us to sit at a fire with him on a cold winter’s night. He is receiving the story as newly as we are, he seems to say, how could there be anything up his sleeves? But a careful reader will catch that Douglas is dead, and that James has laid a trap, the first of many Henry James awaiting a reader too eager to put their trust in an unreliable storyteller. By teaching us not to trust governess, many years ago. He feels certain that him, James teaches us to read critically, to read she had never told her story to anyone else. The warily—and to fill in his blanks. narrator muses that she must have been in love, for which Douglas commends him—“you are What does all this mean for you, here to listen to acute”—before affirming: “Yes, she was in love. an old ghost story in the depths of Seattle winter? She had been. That came out—she couldn’t tell Simply that this story will ask you to listen carefully, her story without its coming out. I saw it, and to watch carefully, and to question both what you she saw it; but neither of us spoke of it.” When hear and what you see. How much trust will you another listener hopes that the story will tell whom put in this young narrator, newly released from the governess loved, Douglas swiftly rebukes her: her “small and smothered” former life, who has so “The story won’t tell. Not in any literal, vulgar way.” suddenly found herself in supreme authority over When asked if he will tell what his story doesn’t, Bly Manor and its innocent young inhabitants? Douglas sends his guests off to bed.

A-6 BOOK-IT REPERTORY THEATRE Who is Douglas in our telling, and what does he want? Is this indeed a love story, and if so, who is in love, and why did it take so many years for the story of that love to be told? What, or who, does the governess come to see wandering the grounds at all hours of the night? Is she the hero of James’s wanton little tale, and if not, what is she?

May such questions follow you home. ■

encorespotlight.com A-7 BIOS

THE CAST (in alphabetical order)

Nabilah S. Ahmed Shannon Lee Bridget Connors Clair (Miles/Ensemble) (Mrs. Grose/ (Miss) Ensemble)

After some time away from the stage, Nabilah is Shannon Lee Clair is happy to be working with Bridget Connors is thrilled to be making her Book-It thrilled to be back. In the past, she performed Book-It for the first time. She recently closed debut in Turn of the Screw. She recently relocated with Forward Flux Productions, Seattle The Women with Harlequin Productions, in to Seattle from Pittsburgh, where she acted with Shakespeare Company, and most recently, Olympia. Selected credits from her hometown the Pittsburgh Public Theatre, Pittsburgh Irish and with Book-It in My Antonia (Antonia). Nabilah of Los Angeles include Eva in Kindertransport Classical Theatre, Quantum Theatre, City Theatre, is a proud Bangladeshi-Muslim American with (LA Theatre Works), Mary Lennox in The Secret and The Rep (Pittsburgh Playhouse). Other regional east-coast roots. Garden (Lewis Family Playhouse), Juliet in Romeo theatre credits include New Theatre; Gable Stage; and Juliet (Looseleaf Theatre Co.), Babette in Florida Stage; Mosaic Theatre; A Noise Within; South Watch on the Rhine (Will Geer Theatricum), Coast Repertory; Arizona Theatre Company; Indiana Sonya in Uncle Vanya, and Mary Warren in The Repertory Theatre; PCPA Theatrefest; New Mexico Crucible (The Antaeus Company). Shannon’s Repertory; and the Oregon, Santa Cruz, Colorado, film credits include a leading role in The and Idaho Shakespeare Festivals. In Seattle, Bridget Dangle, which won Best Short at the California performed with Thalia’s Umbrella in Small Mouth Rheanna Atendido International Film Festival. Also a writer, Shannon Sounds, and she is a senior lecturer in the School of (Flora/Ensemble) made this year’s Top 50 list for the Nicholl Drama at UW. Fellowship in Screenwriting at The Academy of Motion Picture Arts and Sciences. She trained at Princeton University and the London Academy of Music and Dramatic Art and is a proud member of Actors Equity and SAG-AFTRA.

Amy Driesler Rheanna Atendido is a proud Filipina-American (Douglas/Quint/ actor, composer, and playwright. Credits include Ensemble) WET (Dance Nation), ArtsWest (Head Over Heels), 5th Ave (Mamma Mia!, AMT), Seattle Rep (The Odyssey), and Taproot (Bright Star). Her musical Breakup Bench makes its debut August of 2020 at Annex Theatre. rheannaatendido.com

Amy Driesler is excited to be making her Book-It debut (and Seattle debut!) in The Turn of the Screw. A newish PNW resident, her recent credits include Cassio in Othello (Harlem Shakespeare Festival), Dunn in Men on Boats (Third Rail Repertory), and Quince in A Midsummer Night’s Dream (Anonymous Theatre Company). She is a regular member of the critically acclaimed The Queen’s Company. Thanks to my friends and family; extra special thanks to Sarah. For Juliana. www.amydriesler.com

A-8 BOOK-IT REPERTORY THEATRE THE STAGE MANAGERS Times Footlight Awards, including Top World Premiere; Peter Maradudin (Lighting Design) is delighted to ATCA Steinberg New Play Award nominee); Baalzebub make his Book-It debut. Although a recent transplant (published by Theatrefolk); Treadwell Gold; Voyage for to Seattle, Peter has a long history of designing for Jeremiah Givers (Stage Manager) is pleased to be Madmen; and a new adaptation of William Wycherley’s local theatres, including Salome for Seattle Opera; returning to Book-It. Previous shows with Book-It The Country Wife. Her work has been developed Romeo and Juliet, Restoration Comedy, and Anna include American Junkie, Welcome to Braggsville, and produced at Perseverance Theatre, Temple in the Tropics, among many others for Seattle Rep; A Tale for the Time Being, and The Brothers K. He has University, Harvard Radcliffe Summer Theatre, Seattle The Kentucky Cycle and Angels in America for the also worked with Seattle Shakespeare Company (Arms Public Theater, Museum of Tolerance, Universal Intiman, and Threesome for ACT. On Broadway, he and the Man, Julius Caesar), Freehold’s Engaged Studios, Cleveland PlayhouseSquare, Vintage designed the lighting for Ma Rainey’s Black Bottom Theatre Project (Henry IV, King Lear), and with Thalia’s Theatre, Blackfriars Theatre, Core Artist Ensemble, and the Pulitzer Prize-winning The Kentucky Cycle; Umbrella (The Impossibility of Now, When Love Independent Actors Theatre, and Annex Theatre. Her off-Broadway, he designed Threesome, Hurrah at Last, Speaks). A proud graduate of Cornish College of the short plays and plays for young actors have received Ballad of Yachiyo and Bouncers. Peter has designed Arts in Performance Production, he also was a stage multiple productions throughout the US, Canada, and more than 300 regional theatre productions for such management intern at both the Shakespeare Theatre Brazil. She is a member of Dramatists Guild. companies as the Kennedy Center for the Performing of New Jersey and Seattle Repertory Theatre. Arts, Guthrie Theater, American Conservatory Theater, Carol Roscoe (Director) Previously at Book-It, Carol Berkeley Repertory Theatre, Mark Taper Forum, La Caitlin Denney-Turner (Assistant Stage Manager) directed Emma and The Art of Racing in the Rain for Jolla Playhouse, The Old Globe, Steppenwolf and is excited to be backstage at Book-It, again. She the Mainstage; Chicken Sunday for the arts & education Portland Center Stage. He is also the author of two most recently worked with them on (and could be program; and contributed a Guilty Pleasure or two. A novels, The Masked Avenger and The Queen of seen in) American Junkie. Caitlin has worked all over professional actor, director, and writer, Carol’s work has Spades, under his nom de plume, Peter Alexei. www. Seattle; favorite credits include All The Way, The Great been seen in over 100 stage productions locally and maradudin.com Society, and Lizard Boy (Seattle Repertory Theater); nationally, including The Globe Theater (London), The Titus Andronicus (Seattle Shakespeare Company); Kennedy Center, LA Fringe Festival, Brooklyn Lyceum, Melanie Burgess (Costume Designer) is a Urinetown (ACT/5th Avenue); A Christmas Carol (ACT); ACT, Intiman, Seattle Shakespeare, Book-It, Seattle Seattle-based costume designer having designed and Newsies (Village Theatre). She also was previously Children’s Theatre, Theater Schmeater, ArtsWest, costumes for over 170 productions. Locally: Seattle production stage manager and company manager for Seattle Public Theater, Arizona Theatre Company, Opera, Seattle Rep, 5th Avenue Theatre, ACT, Wagon Wheel Center for the Arts in Warsaw, Indiana. and others. Seattle productions include The Most Northwest Ballet, Intiman, Village Theatre, Seattle Dangerous Woman In America, Dead Man’s Cell Phone, Children’s Theatre, Seattle Shakespeare Company, Ellie Hughes (Production Assistant) is a current The Vertical Hour, Retreat from Moscow (ArtsWest); New Century Theatre Company, Seattle Theatre junior at Kalamazoo College in Kalamazoo, Michigan, Reckless, Bug (Theater Schmeater); End Days, Stop Company, Strawberry Theatre Workshop, and Taproot studying Theatre Arts and Spanish. Ellie has Kiss, Halcyon Days, Betrayal, Wit, Proof, Intelligent Theatre. Regionally: The Guthrie, Cincinnati Playhouse, many interests in the realm of theatre, primarily in Design of Jenny Chow, Winter’s Tale, Complete Wks of Denver Center of the Performing Arts, Arizona Theatre performance, directing, and playwriting. Recently, Willm Shakespeare (Seattle Public Theater); Don’t You Company, Minneapolis Children’s Theatre, Tantrum she was honored with an award for excellence in Dare Love Me (Macha Monkey); among others. Honors theatre-Ohio, Idaho Theatre for Youth, Honolulu performance at the Kennedy Center American College include 2013 Globe International Acting Fellow, 2011 Theatre for Youth, and Hawaii Opera. She is the Theatre Festival (Region III) for her portrayal of Small TPS Gregory Award for Outstanding Actress (2012/2018 recipient of the 1st Gregory Award for Outstanding Alison in the Festival Playhouse production of Fun Nominee), and two Seattle Times Footlight Awards. She Costume Design 2010 and again in 2019. She is a Home, and her ten-minute play Quest For Virgo was holds an MFA from the Academy for Classical Acting professor of Costume Design at Cornish College of the featured in the Theatre Kalamazoo New Playfest. After at The Shakespeare Theater/GWU. Carol teaches at Arts. Melanietaylorburgess.com spending her past semester abroad in Valparaíso, Cornish College of the Arts, University of Washington, Chile, she is thrilled to be back in her hometown and Seattle Children’s Theatre. She holds an MFA Robertson Witmer (Sound Designer) Rob’s previous to work on this production before returning to the from The Shakespeare Theatre at George Washington shows for Book-It include Emma, The Art of Racing Midwest to continue her studies. University, and a BA from the University of Chicago. in the Rain, and House of Mirth. Other recent credits www.carolroscoe.com include Dracula, Romeo and Juliet, (ACT Theatre); The Falling and the Rising (Seattle Opera); Richard THE ARTISTIC TEAM Pete Rush (Scenic Designer) designs scenery and III, Timon of Athens, Bring Down the House (Seattle costumes for the theatre. Previous designs for Book-It: Shakespeare Company); Greenwood (Alvin Ailey The Picture of Dorian Gray, Welcome to Braggsville, American Dance Theater); Black Beauty, The Rachel Atkins (Adapter) is the scriptwriter for Living Slaughterhouse Five, The Cider House Rules, Sense Miraculous Journey of Edward Tulane (Seattle Voices, creating 12 award-winning multi-media and Sensibility, Night Flight, Truth Like the Sun, and The Children’s Theatre); Ironbound, Hand to God (Seattle shows in ongoing touring repertory, seen by over 3 Art of Racing in the Rain. His work has also been seen Public Theater); The Ghost of Splinter Cove (Children’s million audience members throughout North America. at ACT, 5th Avenue Theatre, Taproot Theatre, Seattle Theatre of Charlotte); and Strange Fruit (Spectrum Selected previous adaptations for Book-It include Shakespeare Company, Washington Ensemble Theatre, Dance Theater). His sound designs have also been Jane Austen’s Emma (nominee for TPS Gregory New Century Theatre Company, ArtsWest, and Seattle heard at Seattle Rep, Intiman, Village Theatre, and Award, Outstanding Playwright); Daphne du Maurier’s Public Theater. Regional: Hangar Theatre, George Street Teatro ZinZanni. Rob plays with several bands, Rebecca; Ellen Gilchrist’s Rhoda: A Life in Stories; In Playhouse, Berkshire Theatre Festival, Bloomsburg including The Love Markets, “Awesome,” and the the Land of Rain & Salmon (Association of King County Theatre Ensemble, and Northeast Theater Company. Toucans steel drum band. Rob is a part-time lecturer Historical Organizations Board Award); and numerous Pete is an adjunct faculty member at Seattle University at UW School of Drama, and a member of United other Special Editions & touring shows. Other plays Dept. of Theater. He holds a degree from Boston Scenic Artists, Local USA-829. include Black Like Us (Original Works Publishing; TPS University and was twice an artist-in-residence at Gregory Award Outstanding New Play; two Seattle Cornell University.

encorespotlight.com A-9 BIOS

Robin Macartney (Properties Designer) is a freelance actress of 35 years, she has played leading roles Josh Aaseng (Associate Artistic Director) joined set and props designer who has been fortunate to in many of America’s most prominent regional Book-It in 2010 as the education associate, then work with a large number of the theatre companies in theatres. She co-directed, with Tom Hulce, at Seattle served as literary manager for five years. Book-It Seattle. She is the resident set designer at Theatre Off Repertory Theatre, Peter Parnell’s adaptation of John credits include directing and adapting Everything is Jackson, as well as the scene shop supervisor for the Irving’s The Cider House Rules, Parts I and II, which Illuminated and Slaughterhouse-Five; directing and University of Puget Sound’s Theatre Department. enjoyed successful runs in Seattle, at the Mark Taper co-adapting (with Daemond Arrindell) Welcome to Forum in Los Angeles (Ovation Award, best director), Braggsville; and directing Jesus’ Son and Where the Annika Bennett (Dramaturg) has so enjoyed the and in New York (Drama Desk Nomination, best Mountain Meets the Moon. As a consulting director opportunity to play in this dollhouse. As a dramaturg, director). Jane’s most recent directing credits include on Frank Boyd’s The Holler Sessions, he has worked Annika has worked with companies including Seattle Native Gardens at Arizona Theatre Company and at On the Boards and ACT in Seattle, the Noorderzon Rep and the Goodman Theatre, and has been American Junkie and Retuning the Bones at Book-It. Performing Arts Festival in the Netherlands, PS involved with new work development programs With Portland Center Stage she directed Cyrano, 122 COIL Festival in New York, and the Guthrie including New Stages Festival, New Strands Twelfth Night (Drammy awards, Best Direction and Theater. Josh’s work has been recognized with two Festival, National Playwrights Conference, and The Production) and Book-It’s adaptations of Great Seattle Times Footlight Awards, as well as Seattle Other Season at Seattle Rep. She is a member Expectations and Pride and Prejudice. For Book-It, Theater Writers Critics’ Circle awards for excellence of the Dramatists Guild, playwright-in-residence her credits include The Maltese Falcon, A Moveable in playwriting and direction. Josh is a member of the at Princeton Summer Theater, and a frequent Feast, What We Talk About When We Talk About Love, Lincoln Center Theater Directors Lab and a graduate collaborator at Albatross Theatre Lab. Thanks to Carol, The Dog of the South, Adventures of Huckleberry of New York University’s Tisch School of the Arts. Rachel, and Torrie. Finn: Uncensored, Truth Like the Sun, The House of Mirth, The Highest Tide, Travels with Charley, Pride Myra Platt (Founding Co-Artistic Director, Emerita) Alyssa Kay (Intimacy and Fight Choreographer) is an and Prejudice, Howard’s End, In a Shallow Grave, has helped produce over 90 world-premiere actor, fight choreographer, and intimacy director born The Awakening, Owen Meany’s Christmas Pageant, mainstage productions and over 30 education touring and raised in Seattle. She has crafted combat and A Tale of Two Cities, and The Cider House Rules, productions. Most recently she adapted and directed intimacy choreography for numerous local theaters Parts I and II, winner of the 2010 and 2011 Gregory Behold the Dreamers, Howl’s Moving Castle (2017), including Seattle Shakespeare Company, ACTLab, Awards for Outstanding Production. In 2008, she, and The Brothers K: Parts I and II, and she directed Harlequin Productions, Off Road Shakespeare, Myra Platt, and Book-It were honored to be named The Amazing Adventures of Kavalier & Clay (2014 ReAct Theatre, and Pratidhwani. Alyssa also serves by The Seattle Times among seven Unsung Heroes Gregory Award for Outstanding Production and The as the NW Regional Representative for the Society of and Uncommon Genius for their 20-year contribution Seattle Times Footlight Award). Past credits include American Fight Directors and is proud to support the to life in the Puget Sound region. She is a recipient of the following: ADAPTING and DIRECTING: The safe and effective portrayal of violence and intimacy the 2009 Women’s University Club of Seattle Brava Brothers K: Parts I and II, Little Bee, The Financial onstage. www.alyssakay.net Award, a 2010 Women of Influence award from Lives of the Poets, The River Why, Night Flight (an Puget Sound Business Journal, and the Paul G. Allen operetta with music by Joshua Kohl), Red Ranger Marianna de Fazio (Dialect Coach) last coached Family Foundation’s 20th Anniversary Founders Came Calling (a musical with Edd Key), The House Everything is Illumintated at Book-It. Other past Grant, and was a finalist for the American Union for of the Spirits, Giant, Plainsong, Cowboys Are My productions include Jane Eyre, The Brothers K, Stage Directors and Choreographers Foundation’s Weakness, I Know Why the Caged Bird Sings (2002 and The Amazing Adventures of Kavalier and Clay. 2012 Zelda Fichandler Award. original production), Roman Fever, and A Child’s Marianna is the resident dialect coach for Theatre22 Christmas in Wales. DIRECTING: The Amazing and has coached over 12 productions at Taproot Gus Menary (Incoming Artistic Director) was Adventures of Kavalier & Clay; Persuasion; Cry, the Theatre, including Steel Magnolias, onstage now. most recently the artistic director of Jackalope Beloved Country; and Sweet Thursday. ADAPTING: In addition to dialect coaching, Marianna coaches Theatre Company in Chicago. Under his leadership, I Know Why the Caged Bird Sings (2017 with Malika Accent Modification and Public Speaking. Jackalope produced multiple world, national, and Oyetimein), The Art of Racing in the Rain, and www.mariannadefazio.com regional premieres and hosted more than 200 guest Owen Meany’s Christmas Pageant (with Jane Jones). companies over the course of five seasons. He Taya Pyne (Costume Design Assistant) is excited to PERFORMING: Prairie Nocturne, The Beautiful expanded artistic programming by initiating programs be working for Book-It on such a thrilling ghost story. Things that Heaven Bears, The Awakening (West to expand new play development in the Midwest and Thank you to Dan Schuy. Garland Los Angeles Award), and Howards End. has been named one of the Fifty People Who Really Outside of Book-It, Myra has performed at Seattle Perform for Chicago by Newcity Magazine every year Repertory Theatre, Intiman, New City Theatre, and BOOK-IT REP since 2016. Mark Taper Forum, among others. She originated the role of Candy Kendall in The Cider House Rules, Kayti Barnett-O’Brien (Managing Director) has Jane Jones (Founder, Founding Co-Artistic Director) Parts I and II, directed by Jane Jones and Tom been with Book-It since 2015, first serving as general is the founder and founding co-artistic director of Hulce. In 2010, Myra, and Jane Jones received a manager (2015-2017) and managing director Book-It Repertory Theatre, with Myra Platt. In her Paul G. Allen Family Foundation Anniversary grant (2017-present). She looks forward to ushering 30 years of staging literature, she has performed, and the 2010 Women of Influence from Puget Book-It into its next chapter through new strategic adapted, and directed works by such literary giants Sound Business Journal. In 2008, Myra and Jane planning and equity initiatives. Kayti was previously as Charles Dickens, Eudora Welty, Edith Wharton, (and Book-It) were honored to be named by The the managing director at New Century Theatre Kurt Vonnegut Jr., Pam Houston, Raymond Carver, Seattle Times as one of seven Unsung Heroes and Company, and a former board member for Theatre Frank O’Connor, Jim Lynch, Ernest Hemingway, Uncommon Genius for their 20-year contribution to Puget Sound. Kayti is a member of the Leadership Colette, Amy Bloom, John Irving, John Steinbeck, life in the Puget Sound Region. for Social Change cohort with artEquity and holds an Daphne du Maurier, and Jane Austen. A veteran MFA in Arts Leadership from Seattle University.

A-10 BOOK-IT REPERTORY THEATRE 30 Years of Great Literature on Stage

Arts & Education Programs 19-20 Touring Season

Bring the joy of literature and the wonder of theatre to your school, community group, or event

CROWN: An Ode to the Fresh Cut Jan–Mar, 2020 By Derrick Barnes Illustrated by Gordon C. James Adapted & Directed by Shermona Mitchell

Join us at the barbershop, where young black boys learn the endless possibilities of a fresh cut and a dope imagination.

POSSUM MAGIC Mar–Jun, 2020 By Mem Fox Illustrated by Julie Vivas Adapted by Gillian Jorgensen Directed by Harry Todd Jamieson

Adventure along with Grandma Poss and Hush, a pair of magical possums on a culinary quest across Australia to make Hush visible again.

A touring package includes a performance (30–45 minutes), a study guide, and a copy of the book. Size: 10-500 (maximum).

Cost: $750-$950, depending on location Scholarships available for Title 1 Schools

book-it.org | 206.428.6266 | [email protected]

encorespotlight.com A-11 SPECIAL THANKS

Seattle Center Don’t miss the last show Theatre Puget Sound of our 30th Anniversary Season! UW Drama Cornish College of the Arts Lakeside School The Story of Edgar Sawtelle Pat Reed

By David Wroblewski Adapted by Jane Jones & Kevin McKeon Directed by Jane Jones AFFILIATIONS

June 3 – 28

Something’s rotten in the state of Wisconsin. Edgar and his beloved dogs are the only ones who know the horrible truth about his father’s death, but he can’t find a way to tell his story. This achingly beautiful retelling of a Shakespearean tragedy is sure to move and haunt you. This theatre operates under an agreement with AEA, the union of professional actors book-it.org 206.216.0833 [email protected] | | and stage managers in the United States. Actos Equity Association (AEA), founded in 1913, represents more than 49,000 actors and stage managers in the United States.

United Scenic Artists Local USA 829 of the IATSE is the union representing Lighting and Sound Designers in the live performance.

A-12 BOOK-IT REPERTORY THEATRE DONOR LIST

PARTNERS CIRCLE—$5,000+ Helen Goh & Jeff Kadet Jean Gorecki & Dick Dobyns Book-It Repertory Theatre would like Anonymous Michelle & Mark Hamburg to thank all our donors for their generosity John Aldaya & Tom DeFelice Lenore Hanauer Foundation in supporting our work on the mainstage Diana Carey Laura & Erik Hanson as well as our Arts & Education programs Laura & Greg Colman Lisa & William Holderman around the Puget Sound. Emily Davis Lynn Hubbard & David Zapolsky Hazel Miller Foundation Judith Jesiolowski & David Thompson Dan Kuhn Jane Jones & Kevin McKeon Ellen Maxson Jamie & Jeremy Joseph Mary Metastasio Mr. & Mrs. Gareld John Kneepkens (This list reflects gifts received October 1, Nordstrom Emily Krebill 2018 – September 30, 2019. Gifts received Kathy & Brad Renner Alan Kristal & Jason Lamb during the holiday season will be reflected in Shirley Roberson Leslie Fund, Inc. the next program.) Polly Schlitz Julie Little Williams Companies Melissa & Don Manning Molly & Mike Martinez ADVOCATES CIRCLE— $100,000+ Anne McDuffie & Tim Wood LEADERSHIP CIRCLE—$2,500+ D.V. & Ida McEachern Charitable Trust The Sage Foundation Margaret Meyer Anonymous Microsoft Matching Gifts Program Monica Alquist and Gary Miller Rene & Chuck Murry LITERARY LEGENDS CIRCLE— ArtsWA + Whitney & Jerry Neufeld-Kaiser $50,000 Amy & Matthew Cockburn Cheryl & Tom Oliver Carolyn & George Cox The True-Brown Foundation Deborah & Jeff Parsons Caroline L. Feiss & Gordon B. Davidson Christiane Pein & Steve Bull Mary Pigott Tina D. Ganguly & Tim Whitwell Shirley & Dave Urdal Sherry Perrault & Michael Harding Peter & Kelly Maunsell Myra Platt & Dave Ellis Moccasin Lake Foundation Point B LITERARY CHAMPIONS CIRCLE— Becky Monk Barb & Dan Radin Steve Schwartzman & Daniel Karches $25,000+ Lynne & Nick Reynolds Charyl Kay & Earl Sedlik Evelyne Rozner & Matt Griffin Nancy & Warren Smith Grousemont Foundation Elizabeth Rutherford HerRay! Foundation Drella & Garth Stein SEI Giving Fund Margaret Kineke & Dennis West Team Soapbox Martha Sidlo Holly & Bill Marklyn Lordia & Jeremy Williams Nancy Lee Smith Ann Ramsay-Jenkins Horizons Foundation Colleen & Brad Stangeland Kris & Mike Villiott Christine & Josh Stepherson David & Elise Stokes NOBEL PRIZE CIRCLE—$1,000+ Sara Thompson & Richard Gelinas LITERARY HEROES CIRCLE—$10,000+ C. Rhea & Wendy Thompson Anonymous (3) Katherine & James Tune 4Culture Emily Anthony & David Maymudes Ruth & Jerry Verhoff ArtsFund Patti Baker Elizabeth Warman Bill & Melinda Gates Foundation Valarie Baker Hope & Ken Wiljanen BMGI Jim & Marilyn Barnett Williams Miller Family Foundation Patricia Britton & Stellman Keehnel Salli & Stephen Bauer Carol & Bryan Willison Sonya & Tom Campion Block Leavitt Foundation The Elizabeth George Foundation Margaret Winsor & Jay Hereford The Boeing Company Anne Fisher Ravens Judy Brandon & H. Randall Webb Stuart Frank & Marty Hoiness Clay Gustaves Karen & Tom Challinor PULITZER PRIZE CIRCLE—$500+ Lucy Helm Sylvia & Craig Chambers Nancy Lomneth & Mark Boyd Donna Cochener Anonymous (4) Lucky Seven Foundation Deborah Cowley & Mark Dexter Virginia L. Anderson The Norcliffe Foundation D.A. Davidson & Co. Cinnimin Avena Michell & Larry Pihl Nora & Allan Davis Emily & Quazie Barahal Safeco Insurance Fund Judi & Steve Finney Tanya Bednarski & Greg Johnson Seattle Office of Arts & Culture Elizabeth & Paul Fleming Bill & Melinda Gates Foundation Caroline Fox Matching Gifts Program Jayn & Hugh Foy Lindsay & Tony Blackner Suzanne Fry & Richard Moore Alice Braverman & Patrick Kafer Kai Fujita Sally Snyder Brunette

encorespotlight.com A-13 DONORS

Linda & Peter Capell NATIONAL BOOK AWARD Candace Smith & Steven Bolliger Children Count Foundation CIRCLE—$250+ Jenness & John Starks José Clair & Austin Ward Julie Stohlman Sally & Curt Clausen Anonymous (2) Ericka Stork Carol & Bill Collins Louis Allard Mary Anne Stusser Martin Loveday Conquest Heather & Mark Barbieri & Charles Martin Lynn Dissinger Diane Barbour & Jim Rulfs Liann & Stephen Sundquist Carol & Kelly Dole Donna & Anthony Barnett Robin Thomas Anna & David Dong Leslie & Peter Bateman Karen & Ron Van Genderen Dropbox, Inc. Shari Bitcon Michael Wade Gaylee & Jim Duncan Nancy L. Bittner Nancy Ward Julie Edsforth & Jabe Blumenthal Karen Brandvick-Baker & Ross Baker Audrey Watson Susan Lynn Ehlers Bryan Burch Kayla Weiner Sara Elward Alice & Stan Burgess Eddie Westerman & Adam Westerman Pat Fallon Kristina Huus Campbell Melinda Williams Laura Finn Pamela Cowan & Steve Miller Diane Wong & Nelson Dong Liz Fitzhugh & Jim Feldman Dottie Delaney Ann Young Spencer Freeman Jennifer Diggdon Marlene Friend Beth L. Dubey R. Brooks Gekler PEN/FAULKNER AWARD Lynne & Hollie Ellis + Faith Hanna Marilyn Endriss CIRCLE—$100 Kathryn Hazzard Corinne Fligner & Mark Wener Anonymous (15) Cynthia Hennessy Faye & Dick Gillett Judith Alexander Trish & Doug Honig Siobhan Ginnane & Dan Whalen Carol J. Allen Christy & TJ Houk Carla Granat & Stephen Smith Robert Atkinson Russell Janney Pat Graves & David Nash Shawn Auld Dave Johnson Gail Gray Anne & Roger Baker Portia D. Jones & Jonathan Hibbs Margaret Griffiths Jo Ann & Tom Bardeen Tom Keener Diane Grover Chris Barnett-O’Brien Rosemary Kelly & Douglas Zatzick Katharine Harmon & John Fulford Susan Bean & Ray Walton Allison Kramer Amani Harris Kay Beisse & Susan Lerner Marsha Kremen & Jilly Eddy Barbara Hieronymus Tessa & Chris Bennion Jonathan Kuhn Ellie Hochman & Sandy Voit Julia Bent Teresa McCann Crissy House Julie Bernstein & Roy Zimmermann Shyla Miller & Russ Young Winifred Hussey Diane Bisset Richard Monroe Catherine Johnson Bonnie & Webb Bowie Christopher Mumaw Angie & Tom Johnson John Bradshaw Christy & George Papadakis Hillary & Martin Kelly Philip Brazil Cecilia Paul & Harry Reinert Debbie Killinger Katrina Brede Karen Perry Mary Klubben & Brian Hahn Becky Brooks & Jeff Youngstrom Shannon Phillips &Tarik Burney Meredith Lehr & William Severson Kim Brotherton Olivia Pi-Sunyer & Andrew DeVore Mary Jean & Mel McDonald Don & Karen Brown Eleanor & Charles Pollnow Gaye McNutt Carrie Bryant Rayna Quinn Sarah Meardon Zimmie Caner & Tom Edwards Monica Ramsey Sharon Siehl & Jason Mendoza P. Caswell Shawn & Mike Rediger Jacque Mesplay Joe Chantry Kate & Stephen Robinson Michelle Muri Catherine Clemens Joana & Michael Shapiro Jaime Neal Richard O. Coar Knud Stubkjaer Grace Nordhoff & Jonathan Beard The Coca-Cola Company Cassandra Tate & Glenn Drosendahl Karen O’Connor Beth Cooper & Dan Schuy Amanda Twiss Mona & Kurt Owen Elizabeth Coppinger Michelle Valentine Cheryl Papadakis Kate & Elliot Curtis Susan Ward Lara Papadakis & Tobin Weldele Roy & Raye Davis Suzanne & Brent Weaver Corliss Perdaems & Carl Kassebaum Anna Dawson Gregory Wetzel Wilson Platt Robin Dearling & Gary Ackerman Paula & Bill Whitham Linda Quirk Sandy & Paul Dehmer Christina Wright & Luther Black Paula Riggert Wendy del Valle Ann Wyman Karen Robins Diane Dewitt Merrily Wyman Dana Rudy Kathy Dickeman Poly Zel Ellen & Joe Rutledge Marcia Donovan Puget Sound Energy Foundation Julie Sarkissian Anne & Don Downing Laura Skelton & Thomas Buford Susan M. Dyer A-14 BOOK-IT REPERTORY THEATRE Jonathan Eisler Beth Morrison & Geoff Crooks GIFTS IN HONOR Linda & Terry Finn Nancy Morse & MEMORY K. Denice Fischer-Fortier Lisbet Nilson & Mark Ashida & James M. Fortier Susan Nivert & Barbara Glenn In honor of Emily Davis David Fisher Northwest Literacy Foundation Stephanie M. Hilbert Ben Fitch Martha Oman In honor of Jane Jones & Myra Platt Gyda & Randi Fossland Carla Patterson Margaret Winsor & Jay Hereford Marsha & Pat Freeny Julie Paul Jean & Mike Gannon Leona Pazina In honor of Clare O’Regan Clarence R. Gillett Susan Pazina Marie, Cynthia, & Bev Laper Tim Gouran Pamela Perrott In honor of Zoe Papadakis Craig & Darcy Greene Kerry Quint Julie Bernstein & Roy Zimmermann Kim & Rodney Gregory Neave Rake In memory of Barbara Snyder Birgit Grimlund & Robin Reiels Mike Ramey Anonymous Linda Haas Esther M. Reese Steve Hamilton & Paul Neal Nancy Reichley & Tim Higgins In memory of Joyce Kineke Lisa Hanna Karen & Eric Richter Molly and Mike Martinez John Hardtla & Evin Cramer Therese Roberson Lloyd Herman & Richard Wilson Jain Rutherford Pat Highet Debby & Dave Rutherford SUSTAINING DONORS— Lauren Hill Jamie Scatena THE EPILOGUE SOCIETY Wendy Hilliker & Eric Tishkoff Paul Schiavo Colleen Hinton Julie & Jeff Schoenfeld Members of the Epilogue Society have included Ann Hollar & Steve Orser Lavonne & Josh Searle Book-It in their will or other estate planned Anonymous Gail & John Sehlhorst giving vehicles to ensure their support of Book- It will live on and inspire future generations. Margaret Hooks Patti & Mark Seklemian Dorothy Hopper Cahilan Shine Judy Brandon & Randy Webb Ingrid Ingerson Stephen F. Silha Joann Byrd Wendy Jackson Marcia Sill Mary Carson Marta Johnson & Johann Rocholl Goldie Silverman Sara Elward Susan Jones Jen Skancke Chris Higashi Annette & Robert Jones Paula Stokes & John Sullivan Jane Jones & Kevin McKeon Kris Jorgensen & Margey Rubado Katherine Streeck Myra Platt & Dave Ellis Joan Kalhorn Margaret Swain & Larry Stark Ann Ramsay-Jenkins Angie Kamel Deborah Swets Lynne Reynolds Paul Kassen Jen Taylor Colleen & Brad Stangeland Pam Kendrick Sally H. & Robert Telzrow Melinda & Danny Wheetman Nancy Kennedy & Scott Newcombe Anne Terry Sally Kentch Ginny Trethewey Eddie Key Eugene Usui To learn more about joining the Epilogue Society Eileen Kirkpatrick & Noel Howes Marcia Utela and planned giving options at Book-It Repertory Linda Korbus & Gregory Flood Ruth Valine & Ed McNerney Theatre, please contact Sally Brunette, Director Tami & Rob Kowal Alyson van der Toorn of Development, 206.428.6258 or sallyb@ Jen Kulik John VanGilder book-it.org. Akshay Kulkarni Callie Vassall Michael Lamb & Adam Grutz Anonymous Book-It makes every attempt to be Marie, Cynthia, & Bev Laper Jorie Wackerman accurate with our acknowledgments. Please Sylvia & Wayne Levy Anonymous contact Development Assistant Annika Bennett Larry Lewin Stephany Watson at [email protected] with any changes or corrections. Bonnie Lewman Laura Weese Brock & Karin Loen Julie Weisbach Craig Lorch Joella Werlin Mary Frances Lyons Tim West Maureen Malley & Jeffrey Capeloto Jean & David White Malling Family Sara White & Robert Jordan Elaine Mathies Mary Williamson E.R.M. Maunz Bo Willsey Ruth McCormick Michael M. Winters Rachel McCracken Jodie Wohl & Richard Hert Ann McKee & Dale Hoff Diane Yen-Mei Wong Tami & Joe Micheletti & Nelson G. Dong Marion & George Mohler Janet Yale

encorespotlight.com A-15 A nonprofit organization dedicated to transforming great literature into great theatre through simple and sensitive production and to inspiring its audiences to read.

Jasmine Lomax Natalie Shi Clay Gustaves Book-It Staff Caroline Rensel Costume Design Senior Portfolio Manager, Thalia Shelver Safeco, Retired Dayana Capulong Front of House Staff Jane Jones Sound Design Jane Jones Founding Co-Artistic Director, Founder & Founding R. Elisabeth Burton Development Book-It Repertory Theatre Co-Artistic Director Marquicia Dominguez Jeannine Clarke Madelaine Figueroa Mary Metastasio Gus Menary Director of Development Tony Magaña, Jr. Senior Portfolio Manager, Incoming Artistic Director Sara McMahon Arlene Martínez-Vázquez Safeco, Retired Development and Gala Assistant Pilar O’Connell Becky Monk Kayti Barnett-O’Brien Me Llamo Celia Annika Bennett Editorial Director, Microsoft Managing Director Grant Coordinator Anthea Carns Alumni Network Shermona Mitchell Myra Platt Christopher Mumaw Administrative Vincent Orduna Scenic and Experiential Designer Founding Co-Artistic Wilysha Walton Director, Emerita Christine Riippi Jordan-Michael Whidbey Sherry Perrault Bookkeeper Senior Manager, Bader Martin, P.S. Crown: An Ode to the Fresh Cut Tom Wahl Sophia Franzella Myra Platt Artistic IT Support Founding Co-Artistic Director, Harry Todd Jamieson Josh Aaseng Emerita, Book-It Repertory Theatre Associate Artistic Director Sienna Mendez Production Amanda Sheller Anne Fisher Ravens Zenaida Smith Dan Schuy Jessie Selleck Senior Associate, Point B Casting Associate Production Manager Possum Magic Shirley Roberson Zenaida Smith Senior Associate, Hughes Media Education Law Group Assistant Production Manager Board of Directors Gillian Jorgensen Benjamin Radin Steven Schwartzman Director of Education Attorney, U.S. Postal Service, Technical Director Officers Jordi Montes Western Law Department Jocelyne Fowler Stuart Frank, President Tour Manager Costume Shop Manager Casting Mgr, Entertainment, Christine Stepherson Founder, Team Soapbox Rachel Atkins Charlie Minshall Holland American Ana Maria Campoy Lordia Williams Master Carpenter Margaret Kineke, Vice President Kelly Kitchens Senior Human Resources Jessica Christensen Sr. VP, Financial Consultant, Beth Pollack Manager, Amazon Web Services Scenic Charge Artist / Davidson Co. Naho Shioya Properties Master Wilysha Walton Linda Brown, Secretary Teaching Artists Cynthia Moore Community Volunteer Scenic Artist Contact Us Laura Colman, Treasurer Marketing & Blaine Taylor Healthcare & Human Resources Box Office: Communications Scenic Artist Executive, Retired Center Theatre at Seattle Center Armory Torrie McDonald Toby Folkert 305 Harrison St. Director of Marketing Scenic Carpenter Board Members Seattle, WA 98109 Aly Guzman-Dyrseth Adrian Delahunt John Aldaya Scenic Carpenter 206.216.0833 Box Office Manager Chief Financial Officer, Carrix [email protected] Danny Herter Dylan Zucati Mark Boyd Master Electrician/Board Op Front of House Manager Community Volunteer Administrative Office: Xris Nils 401 Mercer St. Annika Bennett José Clair Sound Engineer/Board Op Public Relations Coordinator Supply Chain Analyst, Seattle, WA 98109 Anna Bowen The Boeing Company 206.216.0877 Jeff James Dresser Graphic Design & Illustration, Laura Colman [email protected] J. James Art & Design Healthcare & Human Resources Education Program Executive, Retired bookitrep Devon Alicia Tour Artists Tina Ganguly Emily Huntingford Catherine Cornell Community Volunteer bookitrep Ji Iiadevaia Set and Prop Design

Book_It A-16 BOOK-IT REPERTORY THEATRE ALAN ALABASTRO

TAPROOT THEATRE COMPANY DIALOGUE ‘The Shop Around the beyond. And after directing three three directing after And beyond. Corner the of viewing first for 20 over years—from her of life her one that’s part been for Lund, story personal deeply It’s that clear Stephen with Show “Have on her [ you seen 2016for album. the cast Broadway my energy matching said, Lund Broadway. “I love much,” herso on last was musical the when Amalia played who Benanti, Laura love of material—to shared our musical’s the as source serves Corner the Around Shop The 1940 the from movie everything we’d minutes, about Within talked bringing to thepre-production process iscontagious. debut thismonthwith since 1993,ismakingherVillage Theatre directorial director of associate artistic Taproot Theatre Company a gross understatement.Lund, as whohasserved To say thatKaren Lund iseasy to talkto wouldbe by Corner’ Me’ Karen Lund Returns to DANIELLE MOHLMAN to to

You’ve Mail Got at Village Theatre Village at She Loves Me Me Loves She The Shop Around Around Shop The ] Colbert

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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