SEPTEMBER 2019

By Jonathan Safran Foer

Adapted & Directed

by Josh Aaseng

SEPT.11—OCT.6.2019

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 WORDY BIRDY 2019–2020 THE STORY OF EDGAR SAWTELLE September 2019 | Volume 16, No. 1 FEATURE In This Issue Feature 3 The State of Deaf Theatre in Seattle 9 Why Aren’t Young Characters Always Played by Young Actors? Intermission Brain Transmission 12 Test yourself with our trivia quiz! Dialogue 13 Seattle Rep Teams Up with the Community to Put on a Show Upcoming Events 15 Fall 2019

PAUL HEPPNER President Encore Stages is an Encore arts MIKE HATHAWAY Senior Vice President program that features stories Wholesale and Retail Sales KAJSA PUCKETT Vice President, about our local arts community Sales & Marketing ¿ alongside information about GENAY GENEREUX Accounting & performances. Encore Stages is Roasting fine coffees since 1993 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 Guide and Catalog, Official Seattle Manager ANA ALVIRA, STEVIE VANBRONKHORST Pride Guide, and the Seafair Production Artists and Graphic Designers Commemorative Magazine. Learn more at encorespotlight.com. Sales MARILYN KALLINS, TERRI REED Encore Stages features the San Francisco/Bay Area Account Executives DEVIN BANNON, BRIEANNA HANSEN, following organizations: AMELIA HEPPNER, ANN MANNING Seattle Area Account Executives CAROL YIP Sales Coordinator Marketing SHAUN SWICK Senior Designer & Digital Lead CIARA CAYA Marketing Coordinator

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2 FEATURE

The State of Deaf Theatre in Seattle

by DANIELLE MOHLMAN

According to the 2010 United States Census, an estimated 2.4% of the Washington population identifies as Deaf. And while estimations surrounding E.J. Cardona as the Voice of the size of Seattle’s own population vary Quasimodo and Joshua Castille widely, it’s clear that the Deaf community as Quasimodo in The Hunchback here is vibrant and engaged. So how are of Notre Dame at the region’s theatres providing accessible The 5th Avenue Theatre. performing arts experiences for the community?

According to Deaf Spotlight’s ACT Theatre have embraced the our lens,” Castille explained. He accessibility index, The Paramount talents of actor Joshua M. Castille. clarified, saying that all of the Theatre (as part of Seattle Theatre In 2017, Castille made his Seattle roles he’s performed in Seattle Group and Broadway at The debut playing Billy in ACT’s pro- lean more toward what he calls Paramount), The 5th Avenue duction of Tribes by Nina Raine. He “theatre including the Deaf.” Theatre and ACT Theatre all offer returned in 2018 to play Quasimodo “I wouldn’t consider Romeo long-term commitments to pro- in 5th Avenue’s production of The and Juliet ‘Deaf theatre’ because viding captioning, American Sign Hunchback of Notre Dame, a role its primary audience isn’t Deaf, Language (ASL) interpretation traditionally played by a hear- it’s hearing,” Castille said. “It’s and other accessibility services ing actor. His performance in the all about the intended audience.” to their Deaf and hard of hearing titular role of this new Disney Deaf West Theatre’s produc- audiences. And while these three musical was augmented by actor tion of Spring Awakening, the show theatres seem to be leading the E.J. Cardona, who sang on Castille’s that gave Castille his Broadway way in Deaf accessibility, Seattle behalf. Earlier this year, Castille debut, was a blend of the two. Repertory Theatre and Sound returned to Seattle to portray yet Castille identifies as anartivist, ­ Theatre Company also provide another titular role: Romeo in ACT’s an identifier that he picked up captioning and ASL ­interpretation production of Romeo and Juliet. from Andrea Moore, ­executive during select performances. “Deaf theatre rarely happens, director of The Wayfaring Band. Over the last couple of years, because it’s rare that we get to Castille was struck by the way both The 5th Avenue Theatre and direct or produce a show from Moore uses art to mobilize her TRACY MARTIN TRACY

encorespotlight.com 3 Howie Seago and Joshua Castille in ACT’s Romeo and Juliet.

adapt roles for Deaf talent,” Seago said. “Having a Deaf actor por- traying a role and utilizing some aspects of the Deaf experience might add another layer of depth to the message of the play.” In Romeo and Juliet, a flashing light signaled the end of the school day in Friar Lawrence’s class. Friar John, the often forgotten second friar in William Shakespeare’s Denver community to create­ change back to work. “I love how Deaf classic, was given a much larger in the world. Spotlight fosters Deaf ­artists,” role as Lawrence’s interpreter. “Artists make observations on Castille said. “I’m so blown And, as Castille pointed out, the life,” Castille said. “We explore away by their mindset and shared deafness of Romeo and Friar and encourage ideas. It’s so pow- the events they produce. They Lawrence strengthened the bond erful that it would be silly not are supportive and loving.” between these two characters. to be conscious about the socio- Actor Howie Seago, who played Seago encourages Seattle logical effects of our work.” the aforementioned Friar Lawrence ­theatres to broaden their Deaf Reflecting back onRomeo and role, said that he identifies as ­talent to include those behind the Juliet, which closed in March a Deaf person first and a Deaf scenes as well. “The next step 2019, Castille said that the deci- actor second. “Most any role can after offering more performance sion to cast two Deaf actors in the be adapted to be performed by a opportunities to the Deaf talent ­production—Howie Seago played Deaf actor, but I believe I cannot­ community would be to spon- Friar Lawrence—was intentional. exclude my deafness as part of sor playwriting workshops for the Director John Langs had noticed the makeup of the character,” Deaf and hire Deaf directors—­ that this young tough guy, Romeo, Seago said. “It is always there.” either as the main ­director or an was visiting the priest a lot. “Why?” Seago has worked all over the assistant ­director,” Seago said. Castille asked. “What motivates world—with Oregon Shakespeare “Having a ‘Deaf eye’ will ensure Romeo to go to the priest? Because Festival, Edinburgh Festival, Deaf culture accuracy, proper they are the only two people who Amsterdam Opera, Seattle ASL translations and clear sight- speak that language and share Children’s Theatre, Intiman and lines for Deaf audiences.” that experience. This is ­similar most recently at ACT. Seago grew Patty Liang, the executive director­ to real life. We often find Deaf up in Tacoma and it was important of Deaf Spotlight, is grateful for families to participate in or find to raise his two sons in the Pacific the mentorship she received as a a Deaf role model to latch onto.” Northwest, surrounded by family.­ Ceramics student at the University It’s a casting choice that sent He and his wife decided to call of Washington. It was her ASL ripples through the rest of the Seattle home because it’s a theatre interpreters who suggested she text, including the second half town full of innovative artists. seek out Deaf non-profits in town. of the play when Romeo is left After ACT’s production of Tribes, “There are not many Deaf POC out of a major communica- it was clear to Seago that the arts administrators,” said Liang, tion loop regarding Juliet. theatre was inspired to include who identifies as Chinese American. When asked what keeps him Deaf talent and ASL in future “I hope my efforts encourage coming back to Seattle, Castille productions. It was clear they other Deaf female and POC artists­ was quick to bring up the Deaf were willing to put in the work. and arts administrators in my community and the strength he “Other theatres in town can field. There isn’t enough visibility witnesses every time he comes start to consider how they might and representation right now.” CHRIS BENNION CHRIS

4 My legacy. My partner.

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Untitled-3 1 4/30/19 12:11 PM Joshua Castille and Lindsay W. Evans in ACT’s Tribes.

Liang’s artistic background is in Spotlight, shared that he and his all performances are captioned, visual art, but her advocacy work husband used to be subscribers to like they are at ACT, and when through Deaf Spotlight extends to Seattle Rep. They’re both retired at least two performances—or theatre and other performing arts. now and enjoy traveling, so it’s more!—are ASL-interpreted, so Liang said that she’d love to see a been difficult to fit captioned and that Deaf audiences have more more inclusive effort from Seattle’s ASL-interpreted shows into their choices,” Roth said. “It’s impor- theatres, hiring Deaf talent on all schedules. “Our ability to attend tant to note that ASL-interpreted levels of production. “Right now, captioned and ASL-interpreted performances should not be theatres only offer opportunities for shows is limited, as they are on dropped in favor of captioning. Deaf talent as actors, performance specific nights and cannot easily For many Deaf persons, English interpreters or directors of ASL,” be exchanged for another perfor- may not be their first language.” Liang said. “I especially want to mance unless it is also captioned or Roth enjoys seeing perfor- see more works by Deaf directors. ASL-interpreted,” Roth said. “ACT mances at ACT, Seattle Rep, The They will certainly bring different now has captions available for any Paramount and 5th Avenue. He perspectives and resources, refram- performance, so this has expanded says that Sound Theatre has ing each play in a different light.” our options considerably.” also captured his attention. Part of Deaf Spotlight’s pro- Thinking back on the shows Audience member Ian Aranha gramming is a biannual Short he’s seen recently, Roth cited identified himself as a human Play Festival. Earlier this year, The Hunchback of Notre Dame at being first and foremost. “I Deaf Spotlight partnered with ACT 5th Avenue as his most joyful may be Deaf, but that does not Theatre, producing the festival experience as an audience member. mean I cannot live a full, var- during the 2019 ACTLab season. “The production threaded deafness ied and interesting life,” Aranha Deaf Spotlight hired six play- and ASL into the production won- said, “even though most people wrights, three directors, eleven derfully, and Joshua Castille in the depend so much on audio clues.” actors—all Deaf. “That’s Deaf title role was wonderful to watch,” When we started talking about theatre right there,” Liang said. Roth said. Roth also enjoyed see- the kind of shows he gravitates­ “We don’t often get the opportunity ing The Music Man at the Oregon toward, Aranha said that he to have a Deaf- and ASL-centric Shakespeare Festival in 2009, enjoys musicals much more space, especially a creative space. I starring Howie Seago as Professor than plays. The combination of ­treasured these moments of ­banter Harold Hill’s friend Marcellus. choreography­ and the visually and collaboration. It’s what made When I asked what Seattle ­interesting set pieces that come the festival such a success.” ­theatres can do to be more acces- with ­seeing a Broadway-style Rob Roth, who identifies primar- sible to Deaf audiences, Roth had musical make for an incredibly ily as an audience member despite a list at the ready. “Accessibility joyful ­experience. His favorite being a founding member of Deaf excellence would be obtained when musical is Les Misérables. “I come CHRIS BENNION CHRIS

6 “I especially want to see more works by Deaf directors. They will certainly bring different perspectives and resources, reframing each play in a different light.” —Patty Liang

from a musically inclined family,” Aranha said. “I usually­ know the lyrics and storyline of a musical already. Or I’ll learn it beforehand.” Looking back on this last year, Aranha’s experience of ­seeing rossini Hamilton at The Paramount Theatre is a particular favorite. “I love how Lin-Manuel Miranda combined history, music and ­modern storytelling, all into one,” CINDERELLA Aranha said. “It was all braided together so wonderfully.” Before seeing Hamilton, Aranha read the script and did

OCT. 19–NOV. 1 © Philip Newton some research on YouTube. “But when I went to see it live, with captioning provided, it was even so much better­ than COLORFUL DELIGHTS BY THE DOZEN I expected,” Aranha said. Inspired by Charles Dickens and the New Production In the middle of his story cheeky “panto” shows enjoyed in English In Italian with English subtitles. about seeing this performance, music halls, this new-to-Seattle Evenings 7:30 PM Aranha stopped to acknowl- production takes place in and around a Sundays 2:00 PM edge the ­theatre that made this Victorian emporium. With high-flying Featuring the Seattle Opera Chorus all ­happen. “The Paramount vocals, fabulous costumes, and a dash of and members of Seattle [via ­programming by STG and stage magic, Rossini’s sparkling fairy tale Symphony Orchestra. Broadway at The Paramount] shines a light on the gleaming potential MCCAW HALL has been incredible­ in providing­ for goodness in a dark world. access to shows for Deaf and 206.389.7676 2019/20 SEASON SPONSOR: IN MEMORY OF KARYL WINN SEATTLEOPERA.ORG/CINDERELLA hard of hearing people,” Aranha PRODUCTION SPONSOR: MARKS FAMILY FOUNDATION said. “Shout out to them!” As a hearing audience ­member, FAMILY DAY MATINEE SUNDAY, OCT. 27: STUDENT TICKETS JUST $20! I shared with Aranha that my Visit seattleopera.org/familyday for details. only experience with ­captioning was at the opera, where all CHRIS BENNION CHRIS

encorespotlight.com 7 performances are captioned and Encore Spotlight: interpreted for the entire audience. “That segues into my argu- FEATURE Your backstage pass ment that all shows should have to each performance. ­captions,” Aranha said. “People go to the opera and need captions. encorespotlight.com But the argument theatres make is that hearing people complain about captions, so they’ll never turn them on for all shows.” And it can be frustrating when the dates and times for captioned and ASL-interpreted shows are so few and far between. “Have you noticed that the ASL perfor- mance is always on Saturday at 2 p.m.?” Aranha asked. “It’s like we’re sheep. Go see the after- noon show and then go home. I SINGLE TICKETS want to have dinner and drinks NOW ON SALE! before and then take in a show.” OPENS SEP 12 Aranha echoed what so many of the Deaf actors and ­audience members I spoke with did. There is always room to do more to welcome Deaf audiences in. Provide more captioned perfor- mances, more ASL-interpreted ­performances and more oppor- tunities to grow and learn from 2019-2020 SEASON Seattle’s vibrant Deaf community. THE “I hope your article makes EXPERIENCE waves,” Aranha said. I hope it does too. ■

More information about captioned and ­ ASL-interpreted performances at Seattle Repertory Theatre, Sound Theatre, The Paramount Theatre, ACT Theatre and JOY! The 5th Avenue Theatre, as well as other accessibility services they provide, can be found on each theatre’s website.

Submissions for Deaf Spotlight’s 2020 Seattle Deaf Film Festival are now open. Visit www.deafspotlight.org for more information. SUBSCRIBE

TODAY Danielle Mohlman is a Seattle-based AND GET THE ­playwright and arts journalist. She’s a frequent contributor to Encore, where BEST SEATS she’s written about everything from AT THE the intersection­ of sports and theatre to the landscape of sensory-friendly per- BEST PRICE formances. Danielle’s work can also be found in American Theatre, The Issaquah (425) 392-2202 Dramatist and on the Quirk Books Everett (425) 257-8600 blog. www.daniellemohlman.com VillageTheatre.org JOAN MARCUS JOAN

8 30 Years of Great Literature on Stage

or three decades, Book-It has brought your Howl’s Moving Castle favorite books alive. As we say goodbye to By Diana Wynne Jones Fco-founding artistic directors Jane Jones and Adapted & Directed by Myra Platt Myra Platt, join us for a celebration of community, Music & Lyrics by Justin Huertas artistry, and story! November 29 – December 29

This Book-It favorite is back with some new songs, new scenes, but all the same magic and joy! Sophie finds an unlikely ally in the dread wizard Howl, and with his help she realizes she’s had the power to decide her own fate all along.

The Turn of the Screw By Henry James Adapted by Rachel Atkins Directed by Carol Roscoe

February 12 - March 8

It’s time for a tale of love and ghosts and delicious dreadfulness. When ghastly specters try to possess two young children, only their governess perceives the threat. 2019–2020 Season And only you can decide what is real.

Everything is Illuminated The Story of Edgar Sawtelle By Jonathan Safran Foer By David Wroblewski Adapted & Directed by Josh Aaseng Adapted by Jane Jones & Kevin McKeon Directed by Jane Jones September 11 – October 6 June 3 – 28 Jonathan treks to Ukraine to uncover the truth of a family legend. With the help of Alex and his grandfather, Alex, Something’s rotten in the state of Wisconsin. Edgar and his his quixotic search brings a vision of the past to vibrant, beloved dogs are the only ones who know the horrible truth terrible, charming life before our eyes. 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.

Join the Celebration - Subscribe Today!

book-it.org 206.216.0833 [email protected]

encorespotlight.com A-1 ARTS & EDUCATION PROGRAMS 2019-2020 Touring Season

Bring the joy of literature and the wonder of theatre COST: $675 -$950 (depending on location) to your school, community group, or event Book early for the lowest prices! Scholarships available for Title One Schools. A touring package includes a performance (35 and 45 minutes), a study guide, and a copy of the book. Tours can be performed 206.428.6266 in gyms, classrooms, auditoriums, or meeting rooms for [email protected] audiences ranging in size from 10-500 (maximum). book-it.org

MY NAME IS CELIA ME LLAMO CELIA Oct–Dec, 2019 The Life of Celia Cruz La vida de Celia Cruz

By/por Monica Brown Illustrated by/illustrado por Rafael López

Celebrate the life and music of the Queen of Salsa, Celia Cruz. It’s a story that’ll make you feel like dancing!

Bilingual performance in English and Spanish.

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

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

WORDY BIRDY Mar–Jun, 2020 By Tammi Sauer Illustrated by Dave Mottram

Come listen to one fun and chatty bird as her friends save her from danger and her own bad habits.

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

Shanna Allman Brod/Ensemble Susanna Burney Lista/Ensemble Sean Lally* Jonathan/Ensemble Peter Sakowicz Alex/Ensemble Michael Winters* Grandfather/Ensemble

MUSICIANS

Michael Owcharuk Composer/Music Director/Piano

Brooke Haze Violin/Accordion/Cello/Piano/ Additional Music

STAGE MANAGERS

Nina Trotto* Stage Manager Darian Clogston Assistant Stage Manager Quinn Chase Production Assistant

ARTISTIC TEAM

Catherine Cornell Scenic Designer

Andrew D. Smith Lighting Designer By Jonathan Safran Foer Chelsea Cook Costume Designer Adapted & Directed Dominic CodyKramers Sound Designer by Josh Aaseng Cedric Wright Props Designer Shannon Loys Puppetry & Projections Designer Natalie Shih Assistant Costume Designer Sally Ollove Dramaturg Zane Exactly Puppetry Consultant Marianna De Fazio Dialect Coach Chih-Hung Shao Assistant Lighting Designer

*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 Ukraine: A Borderland through Time Founder & Co-Founding By Sally Ollove Artistic Director

Kayti Barnett-O’Brien Managing Director

Myra Platt Co-Founding Artistic Director, Emeritus

Season Support

A shtetl in the Pale of Settlement.

ne theory claims that the name Ukraine derives from the Slavic word for “borderland” (oкраина). Whether or not Othe etymology is accurate, the term fits. Ukraine’s existence has been defined by its position as a border between East and West. Ukrainians didn’t have to move to change citizenship, countries formed around them again and again. Broken into pieces, shuttling between Poland, Austria, Russia, and Czechoslovakia, Ukrainians rebelled for independence at every chance they got, but did not succeed until 1991. By then, there were other borders in place that could not be crossed. Temporal boundaries determine its direction even today: a time before the Soviet Union and a time after. A time before the Holocaust and a time after. These borders bisect family trees and divide people from their homeland. They can never be crossed, they can never be healed, they can only be observed.

The history of the Jewish people in Europe is also one of boundaries: literal and metaphorical fences that determined where and how they could live. Unwelcome in most European Additional generous support is provided by numerous local businesses, family foundations, and hundreds of nations, Jews searched for places of safety where they could live individuals. Many thanks to all our supporters. their lives with some measure of autonomy, especially would help modernize the economy. With the regarding religious traditions. Even Jewish daily life arrival of the Polish-Lithuanian Commonwealth was constrained as government after government in 1569 came a period known as the Paradisus tried to deal with its “Jewish Problem.” Their Iudaeorum or “Paradise of the Jews.” Though movements restricted and subject to invasive rules officially Catholic, the Commonwealth was that governed where they could settle and what relatively tolerant of other religions, and the Jewish they could do once they did, all Jewish life was population in particular experienced a large degree precarious. At any moment they could be told to of autonomy. From 1569-1648, a Golden Age of pack up and leave. At any moment, they could be Jewish culture flourished; it was a time of great the target of violent campaigns against them. thinkers and artists. According to some estimates, by the 17th century, three-quarters of the world’s Jewish population lived in the Commonwealth, Brod’s Trachimbrod many of them in the southeast, in what would become Ukraine. “Paradise” is perhaps overstating Facing persecution in medieval Western Europe, things: Jewish communities were regularly targeted Jewish families flocked East to the relative freedom for violence, and many Jews were employed as of Poland and what would become Ukraine. While tax collectors for the Polish nobility, which hardly suspicious of their religious practices, Polish nobles endeared them to their neighbors. were eager to welcome Jews, believing that they

A map of Ukraine between the wars.

(continued on next page) ➤

encorespotlight.com A-5 DRAMATURGY (cont.)

As Jewish communities flourished in the leading to thousands killed in a period of increased Commonwealth, in neighboring Russia, there were pogroms. Once the dust settled, the area in which so few Jewish people that the Empire considered Trachimbrod would have been was suddenly Polish, them non-existent. This changed dramatically when though most of what would become Ukraine was in the Commonwealth declined in the 18th century and the Soviet Union. Unlike their Jewish compatriots in the was partitioned between Austria, Prussia, and Russia. Soviet Union, Poland’s Jews had a reasonable amount Catherine the Great saw an opportunity to expand of freedom and autonomy. Though they were regarded her Empire and suddenly Russia was faced with what suspiciously by some Gentiles, others just saw them was called “The Jewish Problem.” Catherine’s solution as neighbors. was the Pale of Settlement: a region which eventually included what is now Ukraine and extended up to the While impossible to determine which nations had it Baltic Sea in which Jews were permitted to live. the worst during WWII, Ukraine is certainly a contender, Jews wishing to live outside of the Pale had to with the Red Army and the German Army passing apply and then register; few did. through twice in advance and retreat. For many Ukrainians, the experience was a nightmare: even Jewish communities organized into shtetls, or small those who collaborated with one army were subject to towns, sometimes attached to larger towns or cities. violence from the other. There were mass deportations Within the shtetls, residents organized around secular to the West of (non-Jewish) Ukrainian civilians to work and religious demands. Jewish daily life in the Pale as slave labor in Germany. Red Army POWs were looked both very similar to that of their Christian rounded up and put into labor camps, where they neighbors—potatoes were planted, cows milked, starved. The country, which had been loosely promised goods sold at market—and markedly different—the independence by Nazi diplomats, saw their chance at Sabbath was observed on Saturday, men wore a independence slip away again. kippahs and tallitot. In 1941, the Nazi regime used mobile killing squads With the ascension of the liberal Alexander II in (Einsatzgruppen) to eliminate Eastern Europe’s Jewish 1855, restrictions on Jewish movement was relaxed, population, notably that of Ukraine, Poland, and the only to be tightened again when Alexander was Baltic states. These units would descend on Jewish assassinated in 1881. Facing unfounded suspicion of towns and neighborhoods and kill everyone they could Jewish involvement in the assassination plot, Jewish find by rounding them up and either shooting them communities were targeted in a wave of pogroms. or locking them into burning buildings, frequently Several periods of violence led to mass immigration synagogues. The Nazi units were aided by auxilary back to Western Europe or to the United States. By the police made up of Ukranians, some who joined by dawn of the twentieth century, many shtetl residents force and some who volunteered. The largest of these had family across the ocean. massacres took place at a ravine, Babi Yar, in which over 30,000 of Kiev’s Jews were killed over two days in September 1941. Noting the psychological toll it was Safran’s Trachimbrod taking on members of the Einsatzgruppen, Heinrich Himmler, the head of the SS and an architect of the The state of Jewish autonomy took a turn again as Holocaust, sought a way to help his men distance the Bolsheviks battled different factions for control of themselves from the killing. His efforts would lead first Eastern Europe in 1917. Over this period, Jews were to vans with gas and then to the death camps which alternately seen as agents of capitalistic excess or would be established shortly after. In mid-1943, the fomenters of communism depending on allegiance, Red Army began to retake Ukraine and the German

A-6 BOOK-IT REPERTORY THEATRE army began a slow retreat. By then over 1.5 million Ukrainian Jews had perished and 2.2 million Ukranian civilians had been taken as slave labor. Entire Jewish towns had vanished: not content with merely killing the residents, Einsatzgruppen would raze the homes of their victims. What they left, the Red Army took when they recaptured the territory. Even stones, bricks, and metal that had made people’s homes was repurposed by the armies. This was the fate of Trochenbrod, the town where Jonathan Safran Foer’s family was from, which Foer drew from when imagining the last moments of the fictional Trachimbrod as described in the play. Though the country had not been free to determine its own course during the war, the betrayal of friends and neighbors turned collaborator continued to reverberate through generations.

From a photo series by Adam Hinton, an American graduate student in 1993. In this photo, a family sits Alex’s Ukraine in their car on New Year’s Day to keep warm. After WWII, all of Ukraine was unified again, this time behind the Iron Curtain. Many Ukrainians preferred to think of the country as a victim of There was a massive wave of immigration out of the many occupations rather than as Nazi collaborators, country for Europe, America, and other Western nations and they had new injustices and hardships to face. that lasted throughout the 1990s, including the highest Independence finally came to Ukraine in 1991, with level of Jewish immigration since before World War II. the collapse of the Soviet Union. Ukraine suddenly All of this would lay the groundwork for the Orange had to decide very quickly what its national identity Revolution, which is still 7 years away. The citizens of was. With the Iron Curtain down, Western products 1997 Ukraine struggled to make new lives in a new flooded into Ukraine. At the same time, Russia country with a new future. campaigned hard to maintain influence in the region which had been “the breadbasket” of the Soviet Union, thanks to the most fertile soil in the region. Our Trachimbrod Cultural identity was diverse, due in part to the many years in which Ukraine was divided between empires. As we stand on this side of history, the side where By 1997, when the events of the play take place, we can only see the shtetl through the horrors of the morale was low. The early promise of independence Holocaust, we are facing a new border in time. A time had given way to the reality of corruption and before and after the last person with a living memory of political infighting. And, as in much of the former the Holocaust. How we choose to remember, and what Soviet Union, the economy was in tatters. People we do with that memory will determine our future. ■ were starving, relying on personal gardens and plots for sustenance as the government sold off the 80% of the country’s agricultural land to political insiders.

encorespotlight.com A-7 BIRTHDAY BASH!!! We’re turning 30!

And we want to celebrate our three decades of theatre, books, and all kinds of fun with you! Have a beer with Jane and Myra, enjoy a bite to eat, and chat with old Book-It friends (or make some new ones).

It’ll be fun, you should be there!

Tuesday, September 17, 2019 Join us at The Rainier Club, 6pm-8pm $10 entry Seattle for an afternoon of inspiration, No host bar / food provided education, and celebration! Book-It’s Lagunitas Brewing Company Arts & Education Program reaches over 1550 NW 49th St, Ballard 55,000 students and teachers annually

[email protected] with innovative, hands-on learning. book-it.org/events You can be a part of bringing the joy of theatre to children across the state!

If you have any questions about the event, or would like to sponsor a table, please contact Director of Development Sally Brunette at [email protected] or 206.428.6258.

A-8 BOOK-IT REPERTORY THEATRE BIOS

Susanna Burney Peter Sakowicz (Lista/Ensemble) (Alex/Ensemble)

Susanna Burney has performed on many local Peter Sakowicz is excited to make his debut with stages including Seattle Shakespeare Company (The Book-It. He is a Seattle native and a graduate of the Government Inspector, Romeo & Juliet, As You Like University of Washington School of Drama. Recent It), Wooden O (Merry Wives of Windsor, As You Like theater credits include Aesop in The Fabulous Fable It, Othello), 18th & Union (Framed), West of Lenin, Factory (Theater Schmeater), Mayloi in Claim of Seattle Children’s Theatre, On the Boards, Printer’s Thrones (Jet City Improv), and Ensemble in Brooklyn Devil, Annex, and Theater Schmeater. Book-It credits Bridge (Seattle Children’s Theatre). Thank you to include A Moveable Feast (Gertrude Stein), She’s Come everyone who made this production happen, thank Undone (Roberta), Howards End (Ruth Wilcox), as well you to the cast and crew for being generous and as several educational tours and residencies. Recent inspiring every day, and thank you Mx audience for THE CAST credits include Everybody at Strawberry Theatre coming to the show! Enjoy! (in alphabetical order) Workshop, and this Christmas, she’ll be appearing, yet again, in a Scot Augustson original holiday extravaganza at Café Nordo. Susanna is also a director, teacher, and audiobook narrator. She received her BFA in Theatre Performance from Boston University.

Michael Winters (Grandfather/ Ensemble) Shanna Allman (Brod/Ensemble)

Sean Lally (Jonathan/ Ensemble)

Michael Winters last appeared at Book-It in Breathing Lessons. Work in other Seattle theatres Shanna Allman was last seen this summer wielding includes Seattle Rep, ACT, Seattle Shakespeare weapons and curses as Tybalt in Romeo and Juliet Company, Intiman, and The 5th Avenue Theatre. with Wooden O. Previous work indoors with Seattle Elsewhere, he has appeared with ACT, San Francisco; Shakespeare Company includes Kate Hardcastle in Sean Lally has been working as an actor and devised- The Denver Center Theatre Company; Oregon She Stoops to Conquer, Marya in The Government theatre artist for the past 11 years. As co-founder and Shakespeare Festival; Colorado Shakespeare Festival; Inspector, Francis Flute in A Midsummer Night’s co-producing artist of Found Theater Company, he Berkeley Rep; The Studio, Washington D.C.; and Dream, Marianne in The Miser, and Helena/Peter directed, co-devised, performed in, and wrote music for Playmakers Rep, in Chapel Hill, NC; among others. Quince in A Midsummer Night’s Dream (tour). Other six performance pieces produced in the Philly Fringe He appeared, briefly, on Broadway in 2000 and Seattle acting credits include Mary Bennet in Miss Festival. As an individual artist in Philadelphia, Sean has worked on television, including 7½ seasons of Bennet: Christmas at Pemberley (Taproot Theatre conducted his own performance research under the Gilmore Girls. He was a Fellow of the Lunt/Fontanne Company); How I Learned to Drive, Rhinoceros, Our moniker, My Dear Anacolutha; collaborated with several Institute in 2016 and the grateful recipient of a Town, and The Laramie Project (Strawberry Theatre experimental companies, including The Bearded Ladies Fox Fellowship. Workshop); and The Violet Hour and The War Party and Subcircle; and worked as an actor at regional (Seattle Public Theater). Shanna is an ensemble theater outfits, like the Arden Theatre Company, EgoPo member with the all improv company, Unexpected Productions, and Lantern Theater Company. After a short Productions, as well as co-creator and performer of stint in London, where he consulted as a puppeteer on the improv groups Prepared with Ted and Alice and a Channel4 pilot yet to be released, he moved to Seattle The Bastards Grimm. This production marks her in December 2018. Upon his arrival, he performed in debut with Book-It. Later this fall, she will play Marie John at ArtsWest and is excited to have the opportunity Antoinette in The Revolutionists with Theatre22. to work with the wonderful people at Book-It.

encorespotlight.com A-9 BIOS

THE MUSICIANS with Lady Rizo, playing piano and doing backup THE ARTISTIC TEAM vocals. Brooke released her first single, “Shadow on the Wall,” on iTunes and Spotify and will continue releasing a single every month until June 2020. Josh Aaseng (Adapter/Director/Associate Artistic Director) is a director and writer based in Seattle who has worked nationally and internationally at such theatres as the Guthrie (Minneapolis), PS 122 Michael THE STAGE MANAGERS COIL Festival (NYC), Noorderzon Performing Arts Owcharuk Festival (Netherlands), and in Seattle at ACT, Book-It (Composer/ Repertory Theatre, and On the Boards, among Music Director/ Nina Trotto (Stage Manager) With Book-It Repertory Pianio) Theatre: The Adventures of Huckleberry Finn and others. Josh’s work has been recognized with two Prairie Nocturne (Assistant Stage Manager). Seattle Seattle Times Footlight Awards, as well as Seattle Shakespeare Company: Shakespeare in Love and Theater Writers Critics’ Circle awards for excellence in Medea (Stage Manager); Timon of Athens, King Lear, playwriting and direction. Josh is the Associate Artistic Much Ado About Nothing, Henry V (Assistant Stage Director for Book-It Repertory Theatre, a member of Manager); and Winter’s Tale (Production Assistant). the Lincoln Center Theater Directors Lab, a graduate Michael Owcharuk is a composer, arranger, pianist, Seattle Children’s Theatre: The Garden of Rikki Tikki of NYU’s Tisch School of the Arts, and a returned music director, sound designer, and educator. His Tavi; Pinocchio; and Danny, King of the Basement Peace Corps volunteer, who served in Ukraine, love of all music compels him to work in a variety of (Production Assistant). In New York: Broadway— 2006-2008. styles: jazz, classical, new music, rock, pop, Slavic M. Butterfly (Production Assistant)); Ars Nova: ANT folk, and music for theatre and dance. He leads Fest (Stage Manager); and Ibex Puppetry—crane on Catherine Cornell (Scenic Designer) A selection of the Michael Owcharuk Quartet and is a member of earth, in sky (Production Stage Manager). Nina spent Catherine’s work includes: ACT (The Year of Magical Crystal Beth and the Boom Boom Band and the Kate two years as the schedule and production manager Thinking); Red Bull Theatre (Mac Beth); Seattle Rep Olson Ensemble. He works musically supporting for the Eugene O’Neill Theater Center in Waterford, CT. (Mac Beth, Buyer and Cellar); Heritage Theatre and collaborating with a diverse range of artists, www.ninatrotto.com maintains a private piano instruction studio, and is an Festival (Harvey); Book-It (American Junkie, The accompanist for the Pacific Northwest Ballet School. Brief Wondrous Life of Oscar Wao, Tale for the Time Michael’s music and work has received awards from Darian Clogston (Assistant Stage Manager) is very Being, Slaughterhouse-Five, Truth Like the Sun, and 4Culture, the Seattle Office of Arts & Culture, Jack excited to take part in, Everything Is Illuminated, as their Arts and Education Tour); Seattle Public Theater Straw Productions, and has been featured on/by: her first production with Book-It. She graduated last (Dry Land, The Liar); ACTLab (Red Light Winter, 25 NPR, KEXP, SIFF, Bumbershoot, Earshot Jazz, the May from Emerson College in Boston, with a BFA in Saints, and Buzzer); Village Theatre KIDSTAGE 14/48 Projects, Café Nordo, Seattle Theatre Group, Stage and Production Management, and is breaking (Les Miserables, Crazy For You); Strawberry Theatre Seattle Rep, ACT, ArtsWest, Live Girls!, Freehold into the Seattle theatre scene. Previous credits Workshop (Frost/Nixon); NCTC (Bright Half Life); Theatre, Theatre22, Theatre Puget Sound, Seattle include Seattle Musical Theatre’s, Mamma Mia (stage STAGEright (Into the Woods); University of Michigan Public Theater, Sound Theatre, Verlaine & McCann manager,) Fantastic.Z Theatre’s, 7th Annual New (Cloud Nine); and many more. www.catcornell.com Present, Karin Stevens Dance, Coriolis Dance, and Works Festival (stage manager,) and Centastage’s, many others. Michael is thrilled to be back working Noir Hamlet (stage manager,) along with assistant Andrew D. Smith (Lighting Designer) is a on his second production with Book-It! stage manager for Boston Ballet’s 2018 summer Seattle-based lighting designer, most recently lighting lineup. Darian thanks her friends and family for their The Picture of Dorian Gray. National work includes support, along with everyone involved in illuminating Arizona Theatre Company (Native Gardens), Indiana everything. Repertory Theatre (The Diary of Anne Frank), Cornerstone Theatre Company, Flint Youth Theatre, Quinn Chase (Production Assistant) is incredibly Horizon Theater Company, Cincinnati Shakespeare Company, Roust Theater, and Cardinal Stage Company. Brooke Haze grateful to be involved with Everything is Illuminated Seattle work has been seen at Seattle Rep, Seattle (Violin/Accordion/ as their first production with Book-It. In the fall, Quinn Children’s Theatre, Seattle Shakespeare Company, Cello, Piano/ will return for their third year at Cornish College of the New Century Theatre Company, Washington Additional Music) Arts as a Performance Production major, with a focus in Stage Management. Their Seattle credits include Ensemble, Azeotrope, Strawberry Theatre Workshop, Il trovatore with Seattle Opera (intern), Love and Seattle Public Theater, Theatre Off Jackson, ArtsWest, Information and Jesus Christ Superstar at Cornish On The Boards, Velocity Dance Center, and (ASM), and They/Them the Festival at Annex Theatre Broadway Performance Hall. Andrew holds a BA (stage manager). Quinn is also the vice chair of from Duke University and an MFA from the University of Washington, where he currently teaches. Brooke Haze is making her theatre debut with this Cornish College of the Arts’ USITT Student Chapter. production. Originally from Spokane, Haze has Quinn would like to thank their mentors and friends for the never-ending support and encouragement studied at Andrews University and the Roosevelt Chelsea Cook (Costume Designer) is a Seattle-based that has gotten them this far. College of Performing Arts. Along with composing freelance costume designer and small business owner. theatrical progressive rock, she is a singer and Her work has been seen at Seattle Shakespeare performer, having taken the stage at Central Saloon, Company, Book-It, Village Theatre, George Street Club Sur, and Louie G’s, among others. She toured Playhouse, ArtsEmerson, Second Stage Theatre,

A-10 BOOK-IT REPERTORY THEATRE SPECIAL THANKS

Café Nordo, ACT, Coeur d’Alene Summer Natalie Shih (Assistant Costume Designer) is a Seattle Center Theatre, and more. Select favorite designs include Seattle-based costume designer. Since graduating Ernest Shackleton Loves Me (Off-Broadway Alliance from Cornish College of the Arts in 2017, she has Theatre Puget Sound Award, Second Stage Theatre); O+E (Seattle designed for a number of companies in the Seattle Illana Cone Kennedy Opera Chamber); She’s Come Undone (Gregory area. Recent credits include Caught (Intiman); Award Nomination, Book-It); What We Talk About The Rules of Charity (Sound Theatre Company); Holocost Center for Humanity When We Talk About Love (Book-It); Medea, She Persimmon Nights and the Kimchi Kittens (Café Stoops to Conquer (Seattle Shakespeare Co.); and Nordo); Ironbound, Dry Land (Seattle Public Richard Arum Hand to God (Seattle Public Theater, Outstanding Theatre); M. Butterfly (ArtsWest); and Straight Lindsay Evans Production Gregory Away Winner). Chelsea has White Men (Washington Ensemble Theatre). been on staff at Seattle Rep, Village Theatre, www.natalieshih.com Zane Exactly and the Intiman Theatre Festival. Upcoming productions include The Revolutionists (ArtsWest) Dan Garlington and The Cost of Living (Seattle Public Theater). Sally Ollove (Dramaturg) is a Philadelphia- and Seattle-based dramaturg and director. She is the Village Theatre associate artistic director and resident dramaturg Dominic CodyKramers (Sound Designer) is of the Bearded Ladies Cabaret in Philadelphia. honored and excited to be designing at Book-It Formerly the literary manager at Arden Theatre for the first time. He is a senior instructor at Company, resident dramaturg of Azuka Theatre, AFFILIATIONS Seattle University and active in promoting and the programming director of The Jewelbox shared governance there. Recent local theatre Theater at the Rendezvous, in Seattle. Other soundscapes include John at ArtsWest, and credits include TheatreExile, Philadelphia Theatre A Christmas Carol (past 5 years), Buzzer (Gregory Company, and The Foundry (Philadelphia); ACT Award nominee), and Mr. Burns at ACT. His (Seattle); One Coast Collaboration, Frank Boyd & work has also been heard at Seattle Children’s Libby King (On the Boards); among others. She Theatre, Seattle Beckett Fest, Seattle Shakespeare has served as adjunct faculty at Rowan University, Company, Seattle Repertory Theatre, West of University of the Arts, and Intiman’s Emerging Lenin, upstart crow, Strawberry Theatre Workshop, Artist program. Sally is a graduate of the ART/MXAT Madcap Melodrama, and the Flying Karamazov Institute for Advanced Theatre Training at Harvard, This theatre operates under an agreement Brothers. Other West Coast design credits include a member of the 2011 Director’s Lab at Lincoln Universal Studios Hollywood Theme Park, PCPA Center, and a 2016 recipient of the LMDA Bly with AEA, the union of professional actors TheatreFest, Pasadena Playhouse, San Luis Obispo Creative Capacity Fellowship. and stage manager in the United States. Little Theatre, Santa Clarita Rep, Hudson Theatre, Actos Equity Association (AEA), founded in and Oregon Cabaret Theatre. Dominic earned an 1913, represents more than 49,000 actors MFA from California Institute of the Arts and a BA Zane Exactly (Puppetry Consultant) is a non-binary and stage managers in the United States. from UNC-Asheville, his hometown. He is a proud puppeteer, theatre maker, and visual artist. They member of United Scenic Artists 829. work primarily in puppetry arts, where they have worked as a puppet builder and puppeteer for nearly a decade. Recent projects have included: Cedric Wright (Props Designer) Illuminated marks shadow puppetry; projection design; puppet design Cedric’s 6th production with Book-It! He has and fabrication; set and prop design; mask design; worked throughout Seattle and Los Angeles building miniature fabrication; and performer. Zane is a props and puppets, and generally making magic. founder of Dust In Your Eyes, a shadow puppetry Recently his work has been seen at Seattle Public and projection company, with their partner, Cassie. Theater, ACT, Village Theatre, Seattle Shakespeare Their work was recently featured at the National Company, Washington Ensemble Theatre, and Puppetry Festival in Minneapolis, MN. more! cedricwright.com www.dustinyoureyes.com

Shannon Loys (Puppetry & Projections Designer) Marianna de Fazio (Dialect Coach) has coached has been designing graphics for Seattle arts several Book-it productions, including The Amazing organizations for over 12 years. You’ve seen Adventures of Kavalier and Clay, The Brothers her posters on coffee shop walls all over the city, K, and, most recently, Jane Eyre. She coaches at advertising shows for Seattle Rep, Book-It, Seattle theaters around town, including Taproot Theater, Children’s Theatre, ArtsWest, Seattle Public Theater, ArtsWest, Theater22, and others. In addition to Teatro ZinZanni, New Century Theatre Company, dialects, Marianna coaches accent modification for Intiman, and many more. Non-theatre clients include ESL speakers, as well as public speaking: Kaiser Permanente, Arcora Foundation, Launch, Full www.mariannadefazio.com/coach Life Care, and Seattle Youth Symphony Orchestra. Shannon is a self-taught graphic designer. United Scenic Artists Local USA 829 of the www.shannonical.com IATSE is the union representing Lighting and Sound Designers in the live performance. BIOS

BOOK-IT REP Kayti Barnnett-O’Brien (Managing Director) Jane Jones Kayti Barnett-O’Brien (Managing Director) has (Founder, Founding Co-Artistic Director) been with Book-It since 2015, first serving as general manager (2015-2017) and managing director Jane Jones is the founder and founding co-artistic (2017-present). She looks forward to ushering director of Book-It Repertory Theatre, with Myra Book-It into its next chapter through new strategic Platt. In her 30 years of staging literature, she has planning and equity initiatives. Kayti was previously performed, adapted, and directed works by such the managing director at New Century Theatre literary giants as Charles Dickens, Eudora Welty, Company, and a former board member for Theatre Edith Wharton, Kurt Vonnegut Jr., Pam Houston, Puget Sound. Kayti is a member of the Leadership Raymond Carver, Frank O’Connor, Jim Lynch, Ernest for Social Change cohort with artEquity and holds Hemingway, Colette, Amy Bloom, John Irving, John an MFA in Arts Leadership from Seattle University. Steinbeck, Daphne du Maurier, and Jane Austen. A veteran actress of 35 years, she has played leading roles in many of America’s most prominent regional theatres. She co-directed, with Tom Hulce, at Seattle Myra Platt Repertory Theatre, Peter Parnell’s adaptation of (Founder, Founding Co-Artistic Director Emeritus) John Irving’s The Cider House Rules, Parts I and II, which enjoyed successful runs in Seattle, at the Myra Platt helped produce over 90 world-premiere Mark Taper Forum in Los Angeles (Ovation mainstage productions and over 30 education touring Award, best director), and in New York (Drama productions. Most recently she adapted and directed Desk Nomination, best director). Jane’s most Behold the Dreamers, Howl’s Moving Castle, and recent directing credits include Native Gardens at The Brothers K: Parts I and II, and she directed The Arizona Theatre Company and American Junkie Amazing Adventures of Kavalier & Clay (2014 Gregory and Retuning the Bones at Book-It. With Portland Award for Outstanding Production and The Seattle Center Stage she directed Cyrano, Twelfth Night Times Footlight Award). Past credits include the (Drammy awards, Best Direction and Production) following: ADAPTING and DIRECTING: The Brothers and Book-It’s adaptations of Great Expectations K: Parts I and II, Little Bee, The Financial Lives of and Pride and Prejudice. For Book-It, her credits the Poets, The River Why, Night Flight (an operetta include The Maltese Falcon, A Moveable Feast, with music by Joshua Kohl), Red Ranger Came What We Talk About When We Talk About Love, The Calling (a musical with Edd Key), The House of the Dog of the South, Adventures of Huckleberry Finn: Spirits, Giant, Plainsong, Cowboys Are My Weakness, Uncensored, Truth Like the Sun, The House of Mirth, I Know Why the Caged Bird Sings (2002 original The Highest Tide, Travels with Charley, Pride and production), Roman Fever, and A Child’s Christmas Prejudice, Howard’s End, In a Shallow Grave, The in Wales. DIRECTING: The Amazing Adventures of Awakening, Owen Meany’s Christmas Pageant, A Tale Kavalier & Clay; Persuasion; Cry, the Beloved Country; of Two Cities, and The Cider House Rules, Parts I and Sweet Thursday. ADAPTING: I Know Why the and II, winner of the 2010 and 2011 Gregory Awards Caged Bird Sings (2017 with Malika Oyetimein), for Outstanding Production. In 2008, she, Myra The Art of Racing in the Rain, and Owen Meany’s Platt, and Book-It were honored to be named by Christmas Pageant (with Jane Jones). PERFORMING: The Seattle Times among seven Unsung Heroes and Prairie Nocturne, The Beautiful Things that Heaven Uncommon Genius for their 20-year contribution to Bears, The Awakening (West Garland Los Angeles life in the Puget Sound region. She is a recipient of Award), and Howards End. Outside of Book-It, Myra the 2009 Women’s University Club of Seattle Brava has performed at Seattle Repertory Theatre, Intiman, Award, a 2010 Women of Influence award from New City Theatre, and Mark Taper Forum, among Puget Sound Business Journal, and the Paul G. Allen others. She originated the role of Candy Kendall in Family Foundation’s 20th Anniversary Founders The Cider House Rules, Parts I and II, directed by Grant, and was a finalist for the American Union for Jane Jones and Tom Hulce. In 2010, Myra, and Jane Stage Directors and Choreographers Foundation’s Jones received a Paul G. Allen Family Foundation 2012 Zelda Fichandler Award. Anniversary grant and the 2010 Women of Influence from Puget Sound Business Journal. In 2008, Myra and Jane (and Book-It) were honored to be named by The Seattle Times as one of seven Unsung Heroes and Uncommon Genius for their 20-year contribution to life in the Puget Sound Region.

A-12 BOOK-IT REPERTORY THEATRE DONOR LIST

Lucky Seven Foundation José Clair & Austin Ward Norcliffe Foundation Donna Cochener Michell & Larry Pihl Deborah Cowley & Mark Dexter PRODUCER Safeco Insurance Fund Nora & Allan Davis Diana Carey Seattle Office of Arts & Culture Judi & Steve Finney Kris & Mike Villiott Elizabeth & Paul Fleming Caroline Fox BECOME A PRODUCER Jayn & Hugh Foy PARTNERS CIRCLE—$5,000+ Suzanne Fry & Richard Moore You can bring a book to our stage! Kai Fujita By becoming a Producer, you earn Anonymous Helen Goh & Jeff Kadet exclusive access and recognition during John Aldaya & Tom DeFelice Jean Gorecki & Dick Dobyns the production process of a mainstage Amy & Matthew Cockburn Jeffrey Gural show. Learn more by contacting us at D.A. Davidson & Co. Michelle & Mark Hamburg [email protected]. Emily Davis Lenore Hanauer Foundation Sara Elward Laura & Erik Hanson Gretl Galgon Mary Frances Hill Hazel Miller Foundation Lisa & William Holderman Dan Kuhn Lynn Hubbard & David Zapolsky (This list reflects gifts received July 1, Ellen Maxson Judith Jesiolowski & David Thompson 2018 – June 30, 2019) Nordstrom Jamie & Jeremy Joseph Kathy & Brad Renner Mr. & Mrs. Gareld John Kneepkens Shirley Roberson Alan Kristal & Jason Lamb ADVOCATES CIRCLE— $100,000+ Polly Schlitz Lagunitas Brewing Company The U.S. Bank Foundation Leslie Fund, Inc. The Sage Foundation Williams Companies Julie Little Anne McDuffie & Tim Wood LITERARY LEGENDS CIRCLE— LEADERSHIP CIRCLE—$2,500+ D.V. & Ida McEachern Charitable Trust Margaret Meyer $50,000+ Adobe Matching Gifts Program Microsoft Matching Gifts Program Shyla Miller & Russ Young Mary Pigott Monica Alquist and Gary Miller Christopher Mumaw The True-Brown Foundation ArtsWA Carolyn & George Cox Rene & Chuck Murry Caroline L. Feiss & Gordon B. Davidson Whitney & Jerry Neufeld-Kaiser LITERARY CHAMPIONS CIRCLE— Tina D. Ganguly & Tim Whitwell Deborah & Jeff Parsons $25,000+ Horizons Foundation Christiane Pein & Steve Bull Jane Jones & Kevin McKeon Sherry Perrault & Michael Harding Myra Platt & Dave Ellis Grousemont Foundation Mary Metastasio Point B Holly & Bill Marklyn Moccasin Lake Foundation Ann Ramsay-Jenkins Lynne & Nick Reynolds Barb & Dan Radin Elizabeth Rutherford Shirley & Dave Urdal Steve Schwartzman & Daniel Karches Charyl Kay & Earl Sedlik SEI Giving Fund Nancy & Warren Smith Martha Sidlo LITERARY HEROES CIRCLE—$10,000+ Drella & Garth Stein Jon Staenberg Lordia & Jeremy Williams Colleen & Brad Stangeland 4Culture Christine & Josh Stepherson ArtsFund David & Elise Stokes Bill & Melinda Gates Foundation NOBEL PRIZE CIRCLE—$1,000+ Gail Tanaka BMGI Team Soapbox The Boeing Company Anonymous (3) C. Rhea & Wendy Thompson Patricia Britton & Stellman Keehnel Emily Anthony & David Maymudes Sara Thompson & Richard Gelinas Sonya & Tom Campion Valarie Baker Katherine & James Tune Laura & Greg Colman Patti Baker Ruth & Jerry Verhoff The Elizabeth George Foundation Emily & Quazie Barahal Elizabeth Warman Anne Fisher Ravens Jim & Marilyn Barnett Judith Whetzel Stuart Frank & Marty Hoiness Salli & Stephen Bauer Paula & Bill Whitham Clay Gustaves The Block Leavitt Foundation Hope & Ken Wiljanen Lucy Helm Judy Brandon & H. Randall Webb Williams Miller Family Foundation Margaret Kineke & Dennis West Sally Snyder Brunette Carol & Bryan Willison Nancy Lomneth & Mark Boyd Karen & Tom Challinor Margaret Winsor & Jay Hereford

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Hilbert GIFTS IN HONOR & Paul Kassen Jen Taylor Kate Hinely MEMORY Pam Kendrick Sally H. & Robert Telzrow Carol & Glen Horton Erin & Steve Kennebeck Anne Terry Ed & Katy Huston In honor of Emily Davis Nancy Kennedy & Scott Newcombe Ginny Trethewey Treg Isaacson Stephanie M. Hilbert Sally Kentch Eugene Usui Eva Jackson In honor of Jane Jones & Myra Platt Eddie Key Marcia Utela Carl Janz Margaret Winsor & Jay Hereford Linda Korbus & Gregory Flood Michelle Valentine Kent Johnson Julia Kuhn Ruth Valine & Ed McNerney Melissa & Bill Joyce In honor of Clare O’Regan Jen Kulik Alyson van der Toorn Julie Ketter Marie, Cynthia, & Bev Laper Akshay Kulkarni John VanGilder Marjorie Kittle & David Williams In honor of Zoe Papadakis Michael Lamb & Adam Grutz Callie Vassall John M. Kloeck Julie Bernstein & Roy Zimmermann Marie, Cynthia, & Bev Laper Jorie Wackerman Nancy Koning Sylvia & Wayne Levy Stephany Watson Luanne Kreutzer In memory of Barbara Snyder Audrey Lew & John Tilden Joella Werlin Elizabeth & Robert Lamson Anonymous Larry Lewin Tim West Jo Anne Laz Bonnie Lewman Jean & David White Realm Lovejoy Brock & Karin Loen Sara White & Robert Jordan Valerie Lynch & Putnam Barber SUSTAINING DONORS— Craig Lorch Mary Williamson Susan Lynette THE EPILOGUE SOCIETY Mary Frances Lyons Bo Willsey Penny & Jackson McNees Members of the Epilogue Society Maureen Malley & Jeffrey Capeloto Michael M. Winters Miriam & Pip Meyerson have included Book-It in their will or Malling Family Jodie Wohl & Richard Hert Judy Moise other estate planned giving vehicles to Serge Martinez Diane Yen-Mei Wong Carrie Mood ensure their support of Book-It will live E.R.M. Maunz & Nelson G. Dong Sean Morishige on and inspire future generations. Ruth McCormick Janet Yale Sue & Hal Mozer Rachel McCracken Vivienne Ngyuen Judy Brandon & Randy Webb Paul & Anna McKee Elaine Nonneman Joann Byrd Ann McKee & Dale Hoff O’HENRY AWARD Pam & Tim O’Sullivan Mary Carson Medtronic Foundation CIRCLE—$50+ Savitha Reddy Pathi Sara Elward Tami & Joe Micheletti Sara Patton Chris Higashi Marion & George Mohler Anonymous (12) Kathryn Pearson Jane Jones & Kevin McKeon Beth Morrison & Geoff Crooks Doug Adams & Scott Fitzgerald Louise Perlman Myra Platt & Dave Ellis Nancy Morse Judith Alexander Roberta & Brian Reed Ann Ramsay-Jenkins Ken & Nan Munsey Dayton Allemann Jeannette Reynolds Lynne Reynolds Susan Nivert & Barbara Glenn Tony Angell Kim Roberts & Joe Ewing Colleen & Brad Stangeland Northwest Literacy Foundation Amy Arvidson Beth Rollinger Melinda & Danny Wheetman Martha Oman Brian Atwater Ellen Roth Marsha Ose & David Shellenbarger Becky Barnett & Roger Tucker Patricia Rytkonen & William Karn To learn more about joining the Carla Patterson Kayti Barnett-O’Brien Martha Shapiro Epilogue Society and planned giving Julie Paul Joan Reddy & Greg Boris Sally Sheck options at Book-It Repertory Theatre, Kerry Quint Cynthia Brookbank Audrey & John Sheffield please contact Sally Brunette, Director Neave Rake Chris Brown Eileen D. Simmons & Roger A. Berger of Development, 206.428.6258 or Mike Ramey Judy Buckham Julie C. Smith & David M. Strauss [email protected]. Esther M. Reese Kathleen Caldwell Elaine Springer Nancy Reichley & Tim Higgins Dee & Rick Childs Christine Stensland Book-It makes every attempt to be Therese Roberson Ann Colowick Ian Stewart & Nathan Wilson accurate with our acknowledgments. Jain Rutherford Margaret Curtin & Jim Wilder Kali Swenson Please contact Development Assistant Debby & Dave Rutherford Juliette Delfs Charlotte Tiencken & Bill West Annika Bennett at annikab@book-it. Jamie Scatena Donna & Rob Dughi Meranda Tuttle org with any changes or corrections. Paul Schiavo Karen Eames Linda L. Wallace Julie & Jeff Schoenfeld Nancy E. Ellingham Kellini Walter Lavonne & Josh Searle Rae Ann Engdahl Laura Weese Gail & John Sehlhorst Michelle Errecart Natalie Weizenbaum & Elizabeth Cady Patti & Mark Seklemian Dot Fuller Betty Wiese Cahilan Shine Neil Gerth Suellen Wigen Stephen F. Silha Rachel Greene Sue & Dave Williams Marcia Sill Marga Rose Hancock Richard Wilson Goldie Silverman Karin & Frederic Harder Dorothy Wysham Jen Skancke Lisa & Scott Harpster Paula Stokes & John Sullivan Shuko Hashimoto Katherine Streeck Paul Heppner encorespotlight.com A-15 Christopher Mumaw Aly Guzman-Dyrseth Box Office Sales Mission Statement: Scenic and Experiential Designer & Data Specialist To transform great literature into Sherry Perrault Jasmine Lomax, Caroline Rensel, Thalia Senior Manager, Bader Martin, P.S Shelver, Catherine Blake Smith, Dylan great theatre, through simple and Zucati Front of House sensitive production, and to inspire Myra Platt Founding Co-Artistic Director, our audiences to read. Administrative Book-It Repertory Theatre, Emerita Dana Jones Bookkeeper Anne Fisher Ravens Tom Wahl IT Support Board of Directors Senior Associate, Point B Shirley Roberson Production Officers Senior Associate, Hughes Dan Schuy Production Manager Stuart Frank, President Media Law Group Shawna Grajek Assistant Production Manager Technical Director Casting Mgr, Entertainment, Holland Steven Schwartzman Benjamin Radin Jocelyne Fowler Costume Shop Manager American Attorney, U.S. Postal Service, Shelby Choo Master Carpenter Western Law Department Scenic Charge Artist / Margaret Kineke, Vice President Jessica Christensen Christine Stepherson Properties Master Sr. VP, Financial Consultant, Founder, Team Soapbox Cynthia Moore Scenic Artist Davidson Co. Scenic Artist Lordia Williams Blaine Taylor Toby Folkert Scenic Carpenter Linda Brown, Secretary Senior Human Resources Manager, Amazon Web Services Adrian Delahunt Scenic Carpenter Community Volunteer Charles Minshall Scenic Carpenter Danny Herter Master Electrician/Board Op , Treasurer Laura Colman Anna Bowen Dresser Healthcare & Human Resources Book-It Staff Executive, Retired Jane Jones Founder/Co-Founding Artistic Director Kayti Barnett-O’Brien Managing Director Board Members Myra Platt Co-Founding Artistic John Aldaya Director Emeritus Chief Financial Officer, Carrix Contact Us Mark Boyd Artistic Box Office: Community Volunteer Josh Aaseng Associate Artistic Director Center Theatre at Seattle Center Armory José Clair Shawna Grajek Casting Associate 305 Harrison St. Supply Chain Analyst, The Boeing Company Education Seattle, WA 98109 Gillian Jorgensen Director of Education Tina Ganguly 206.216.0833 Jordi Montes Tour Manager Community Volunteer [email protected]

Clay Gustaves Marketing & Communications Senior Land Representative, Torrie McDonald Director of Marketing Administrative Office: Williams Companies Jeff James Graphic Design & Illustration, 401 Mercer St. Jane Jones J. James Art & Design Seattle, WA 98109 Founding Co-Artistic Director, 206.216.0877 Book-It Repertory Theatre Development [email protected] Mary Metastasio Sally Brunette Director of Development Senior Portfolio Manager, Matthew Sythandone Development Associate Safeco, Retired Annika Bennett Development Assistant bookitrep Becky Monk bookitrep Editorial Director, Microsoft Patron Services Alumni Network Sasha Bailey Patron Services Manager Book_It

A-16 BOOK-IT REPERTORY THEATRE FEATURE

The touring cast of Broadway’s Charlie and the Chocolate Factory with adults playing all characters except Collin Jefferey (Charlie).

Why Aren’t Young Characters Always Played by Young Actors?

by HANNAH SCHOETTMER

When we go to see a play or musical, we expect to enter in the media, be it on the silver­ a world of suspended reality. For this reason, watching screen or live on stage. And across genres, the casting age gap is adults perform the roles of children may not register as startlingly prevalent. There are strange in the moment. But after the show we may ask some obvious reasons for this—­ teenagers are often gangly and ourselves, for what purpose are adults cast in much awkward, and by casting people younger roles? in their mid- or late twenties, the acne and braces can be edited out The infamous teen flick/cult In the movie, the character is 16— without any post-production or ­classic Mean Girls follows Cady that’s a nine-year age difference. makeup department headaches. Heron, a high school student who In the warp speed of puberty, But there are also some troubling has recently moved from Africa to that’s a “totally bogus” gap. implications—for one, age disso- an American public high school. Huge age gaps between actors nance in casting can set a standard There she meets “the Plastics,” a and the characters they play isn’t of beauty that is nigh impossible group of mean girls who rule the an isolated trend—think of almost for many teens to achieve, which school. Hijinks ensue. The key any smash hit starring teens and can contribute to long-term issues concepts here are not the hijinks, the actors will be in their twenties,­ with body image and/or self esteem but the high school setting. The occasionally even pushing 30. for the kids in the audience. Also, ­ringleader of the malicious Plastics, These casting age gaps are in no there’s the chance that the age gap Regina George, was played by a way exclusive to TV and ­movies. can impact the ability of an actor then 25-year-old Rachel McAdams. Kids and teens are everywhere to capture the youth experience JOAN MARCUS JOAN

encorespotlight.com 9 The cast of the original Broadway production of The 25th Annual Putnam County Spelling Bee, which was also a full cast of adults playing the grade school characters.

accurately—if older bodies are Bee, Marcy is a grade schooler. Ivie also pointed out an unfortu- playing younger people, the “Anyone, at any age, can play nate stigma in theatre, especially chance for an actor to play a role those child-like characteristics,” musical theatre, against produc- in telling­ their own story is lost. Matoba said. “A lot of us feel like tions that feature predominantly A lot of a character’s impact, kids sometimes . . . if you can tap young actors. It’s different than however, depends on the actor. into that, then it doesn’t really in TV or film, where there are Brynn Williams, a Broadway ­matter what age you are.” While a ­variety of critically acclaimed actress who starred as Sandy in she acknowledged that the ­casting shows featuring young actors— Spongebob Squarepants: The Musical, of older people as younger char- think Stranger Things. But on stage, is currently touring the country acters can impact audience per- it’s different. For one thing, “as with Broadway’s Charlie and the ception, she felt that “everyone soon as you see a kid on stage, Chocolate Factory. She plays Violet knows that you’re not a kid, but you think about Annie,” Ivie said. Beauregarde, a bratty twelve-year- they’re there with you for that As well as other associations to old with a penchant for blowing hour and a half of the show.” “cheesy, corny musical theatre.” bubblegum and spitting snark. In theatre, one must check a These stigmas color the casting Williams said that in taking on her ­certain amount of realism and decisions made in shows, as pro- role as Violet, she not only alters ­disbelief at the door to engage ductions that feature kids are cate- her speech patterns and energy, with the medium, so adults gorized as “family shows” or pieces but even the small details—like ­taking on bite-sized roles can of fluff, rather than being treated the way she’s standing—in order be considered along as part of as valid, respectable productions. to accurately capture the essence that. However, it does raise the But every production is different. of a kid. “The Golden Ticket win- ­question—why are adults cast in In Charlie and the Chocolate Factory, ners have qualities that transcend these roles in the first place? for example, the role of Charlie is age . . . who are very prideful or Brandon Ivie, the director of the played by age-appropriate actors— very greedy,” she stated. “What upcoming Spelling Bee, felt that he three of them, in fact, all of whom we [actors] do is we take that needed people who could “play play the role on different nights. energy and put it in a kid form.” child-like characters...but still Williams said the age dissonance In this role, Williams felt that keep it grounded in some kind between the casting of Charlie and having a child played by an adult of reality.” He said that he treats the other kids in the play helps to actor is beneficial. “People are more ­casting the child roles just like any emphasize the good ­qualities pos- forgiving of kids,” she said. “If a other, and that to cast somebody sessed by Charlie, which are often kid is being nasty, there’s a little who couldn’t take the role of a kid associated with kids in general— more tolerance that goes along with ­seriously would damage the pro- innocence, goodness and a sense it. If [the Golden Ticket winners] duction’s credibility as a whole. of wonder. The casting also serves are played by adults, it really zeros When asked what he was looking to contrast those good things with in on how this isn’t okay behavior.” for in casting the show, Ivie said, the negative quirks and traits Arika Matoba, who will play “adults that have a youthful energy of the other kids, who are all, in Marcy Park in Village Theatre’s to them, a joy, an optimism, with- their own unique and terrible way, upcoming production of The 25th out being caricaturish or juvenile­ bratty, spoiled and generally ­rotten. Annual Putnam County Spelling Bee, or . . . treating the material and Also, Williams said the age gap had similar feelings. In Spelling characters as ‘lesser than.’” among the actors helps to amp JOAN MARCUS JOAN

10 THE OBIE AWARD WINNING SMASH up and emphasize Charlie’s cute- HIT PLAY! ness factor. So in this case, there are young actors involved in a LEAH ADCOCK-STARR production largely populated by Directed by young characters, but the kids are By LUCAS HNATH cast deliberately, with awareness of the impact that the age gap in ­casting can have on the audience. Given that theatre is a medium inherently reliant on a suspension of disbelief, the casting of adults in these young roles, when done with thought and care, can actually have a positive impact on the produc- tion. It’s important to acknowledge that there can be harmful impacts to age dissonance in casting—it all depends on the needs of an October 3 - 26 Performed in a church near you! ponyworld.org individual show and role. So next time you see a kiddo or a teen played by somebody clearly push- ing 30, think carefully before you chuckle—is this casting beneficial to the production? Is there a reason a kid isn’t up there? The casting dissonance is probably an inten- tional decision, so ask yourself— does the casting work for the show? If it does, maybe the whole thing isn’t “totally bogus” after all. ■

Hannah Schoettmer is a senior at Interlochen Arts Academy. She is the founder and editor-in-chief of Butcher Papers, a youth-focused literary magazine, which can be found online at ­butcherpapers.org. She is also an active writer and participates in several other arts-centered activities around the city of Seattle.

This article was written on special assignment for Encore Stages through the TeenTix Press Corps, a program that promotes critical thinking, communication and information literacy through criticism and journalism practice for teens. TeenTix is a youth empowerment and arts access non-profit. JOAN MARCUS JOAN

encorespotlight.com 11 12 2 1 Intermission chance to win tickets to an upcoming performance. Better yet, send us your answer to the bonus question for a you could treat your brain to this scintillating trivia quiz. Why stare at your phone for the hundredth time today when D C B A punk” bandisHützthefront man? and Eugene Hütz.Ofwhich“gypsy in 2005andstarred ElijahWood wasmadeintofamily history afilm October 6.Safran Foer’s novel of by Book-ItRepSeptember 11– is Illuminated Safran Foer’s novel A stageadaptationofJonathan D C B A reward him? 2012. For which play didtheATCA Theatre CriticsAssociationin awarded aprize by theAmerican before, andoneofhisplays was El Guindihasworked withACT by Seattle’s ownYussef ElGuindi. Theatre willbe Running September6–29atACT DeVotchKa Kultur Shock Gogol Bordello Firewater in theNewWorld Pilgrims MusaandSheri The TalentedOnes Hotter Than Egypt Threesome will be performed will beperformed People oftheBook Everything

3 Brain Transmission answer to social media and tag @encorespotlight. tag and media toanswer social to [email protected] or post your line the subject in “Trivia Quiz” with answer your Email why? and best liked you that attended you performance arts last the was What BONUS D C B A which statewasDouglassborn? Lincoln wasborninKentucky. In strategies to wintheCivilWar. Lincoln asthey discusspolicyand Douglass andPresident Abraham author andorator Frederick This play depictsabolitionist, September 18through October 26. at TaprootCompany Theatre Sacrifices Necessary Indiana Maryland Massachusetts Virginia will play

This play Pilgrims Musa Musa Pilgrims 1.) d.— and Sheri in the New World. about immigration and assimilation won the Harold and Mimi Steinberg/ATCA New Play Award in 2012. 2.) b.—Gogol Hütz-led The Bordello. band’s contribution theto score, “Start Wearing Purple,” became well-known. c.—Maryland.3.) Born Fredrick Augustus Washington Bailey in Cordova, Maryland Douglassin 1818, changed his name to evade capture after escaping slavery.

LIBRARY OF CONGRESS; COLLECTION OF THE NEW-YORK HISTORICAL SOCIETY

SEATTLE REP’S PUBLIC WORKS DIALOGUE DIALOGUE

Angie Kamel Seattle Rep Teams Up with the Community to Put on a Show

by ROSEMARY JONES

We talk to Public Works Director Angie Kamel about how in general. Our partners vary. We Seattle Rep’s Public Works program centers on the joy of have seven partners at the moment theatre, and how it lives up to their motto: “theatre of, by, and some have been with us since 2016. Some of our participants, like and for the people.” Path with Art, create arts access for folks who are low or no income. Seattle Rep’s Public Works program company to be involved in commu- For the acting classes at Seattle is an ambitious attempt to create nity. Our Artistic Director Braden Central College, we are embedded theatre relevant to communities Abraham was interested in this type in classes. We work with Ballard and those within them. After suc- of work for some time. He was so NW Senior Center, Byrd Barr Place, cessfully launching with a citywide excited about [what New York had Jubilee Women’s Center, the Boys production of The Odyssey in 2017, done] and wanted to make it hap- & Girls Clubs of King County and, the program has provided work- pen. He and Marya Sea Kaminski most recently, Compass Housing shops, classes and conversations kept talking about the future of down in Redmond. At Compass we about theatre. This summer, they’re Seattle Rep here. Marya was inter- have a multigenerational group back to rehearsal as more than 100 ested in a similar type of work and with the youngest participant being community members prepare for [began the program at the Rep]. six and our oldest in her 70s. a musical version of Shakespeare’s In 2016, we held our first classes. As You Like It at the Bagley Wright What are some of the ways that you Theater in early September. How does the program work for spark conversation around theatre Seattle Rep and its partners? and the community? How did the idea for a series of community classes, dialogues and We are looking for deep, long-term We host a meal around every main- grand performance come about? relationships with members of our stage show, two potlucks a year, community and building relation- and find other ways to ­support Public Works began as a program ships with existing organizations. leadership of ­different organiza- at New York’s Public Theater for We host classes and special events tions. [One] of our goals is to build ­community-based theatre. It’s throughout the year to create an enough relationships so that we certainly a lovely way for a regional appreciation of theatre-making can get together in our upcoming LIBRARY OF CONGRESS; COLLECTION OF THE NEW-YORK HISTORICAL SOCIETY HISTORICAL NEW-YORK THE OF COLLECTION CONGRESS; OF LIBRARY WORKS PUBLIC REP’S SEATTLE

encorespotlight.com 13 Rehearsal of Seattle Rep’s Public Works’ The Odyssey. CALENDAR

season to create cross-cultural com- There’s also a bunch of community friendly or welcoming or comfort- munications and intergenerational­ groups who will be on stage. ing. The pros have learned so much ­connection—to have young ­people during the process of The Odyssey. from Boys & Girls Club ­building A big part of what we are doing is A lot of folks did not necessarily relationships with Ballard NW redefining theparticipation ­ of know what it was going to be [until] Senior Center, for example.­ We want professional musicians. Regular once it happened and saw that this to emphasize human commonality musicians who work in musical­ is how we can do things differently and build ties across experiences. theatre as well as a ­number of to support the actors, the director cameo groups or feature artists­ and crew in a really beautiful way. How does the performance [are in the show]. We’re working­ That’s so incredibly good and valu- of As You Like It build those with a number of incredible­ able. Our director for As You Like It, relationships? groups like the Seattle Hand Timothy McCuen Piggee, brings joy. Drummers, Lucha Libre Volcánica His spirit is perfect for this work. It’s deeply rooted in the values and LQ Lion Dance. Local He talks about a big part of what and goals of the program. Musical ­puppeteer Sarah Lovett is loan- makes this show interesting is the theatre is a great opportunity for ing one of her rainbow serpents. bonds between family, chosen and joyful expression. This is theatre otherwise. How it’s about reconcili- for anyone who wants to participate So this is a big show and a lot ation, love and understanding. ■ and creates a big, dynamic, excit- of work. ing opportunity for people on the Seattle Rep’s Public Works’ As You Like It stage and in the audience. They get It’s fully costumed and with 100+ will play at the Bagley Wright Theater to exercise various aspects of their people needing costumes, our September 6–8. creativity. It’s not only members costume shop was moving full from our workshops and partner- speed ahead this summer. We ships. Beyond that we’ve opened want everyone in the show to get auditions to the general public the same level of respect as any Rosemary Jones has written about arts in our region who are interested ­artist who walks through door. and culture in the Pacific Northwest in the values of the work that we for the Cornish Magazine, Capitol are doing. There are five Equity What do the theatre professionals Hill Times, Encore, Examiner.com actors in the show, a number get out of this work? and others. Additional work can be of actors who participate in the seen at rosemaryjones.com. fringe scene and a number who There are ways that we produce feel a real connection with spirit. theatre that aren’t particularly JIM BENNETT/SEATTLE REP’S PUBLIC WORKS PUBLIC REP’S BENNETT/SEATTLE JIM ARENS UWE

14 JIM BENNETT/SEATTLE REP’S PUBLIC WORKS

UWE ARENS CALENDAR Seattle Rep SEPTEMBER 20–OCTOBER 26 Indecent TaprootCompany Theatre SEPTEMBER 18–OCTOBER 26 Sacrifices Necessary Seattle Symphony SEPTEMBER 14 & Gala Opening NightConcert Village Theatre SEPTEMBER 12–NOVEMBER 17 County SpellingBee The 25thAnnual Putnam Theatre Repertory Book-It SEPTEMBER 11–OCTOBER 6 Everything isIlluminated Seattle Rep SEPTEMBER 6–8 As You Like It ACT Theatre SEPTEMBER 6–29 People of theBook Explore a full-season performing arts calendaratencorespotlight.com. arts Explore afull-seasonperforming Upcoming Events Seattle Shakespeare Company OCTOBER 15–NOVEMBER 10 TempestThe GroupSeattle Theatre OCTOBER 9 Dessner’s Bryce Triptych Arts Meany CenterforthePerforming OCTOBER 1 Garrick Ohlsson Ballet Pacific Northwest SEPTEMBER 27–OCTOBER 6 Carmina Burana &Agon Children’sSeattle Theatre SEPTEMBER 26–OCTOBER 27 Black Beauty Seattle Symphony SEPTEMBER 26–29 at an Exhibition Mussorgsky Pictures Tacoma Live Arts SEPTEMBER 24–25 Rent September 26–29. at SeattleSymphony Schott performing Cellist DanielMüller arts &culture tickets. Teens canenjoy tons of affordable events It’s FREEtosignup teentix.org to thearts! Your ticket entitles youto$5 for thepassthat with TeenTix! encorespotlight.com 15 We’ve been expecting you Downton Abbey Opens September 20 SIFF Cinema Uptown

For Tickets and Info visit SIFF.net/DowntonAbbey