AT THE PERFORMANCE

BY LISA KRON PLAYWRIGHT PROFILE LISA KRON 2018-2019 LISA KRON/ Welcome to the first production of our 2018–2019 season! ANNA DEAVERE SMITH For our twenty-first season, we’re doing DOUBLE SEASON something special: an 18-month “double- season” featuring the works of Anna Deavere Smith and Lisa Kron in dialogue. As a Profile Theatre family member, you get to take a year-long journey seeing the world through the eyes of our Featured Writer. By the end of the season, you’ll feel like old friends. So who is Lisa Kron? Welcome to her “Playwright Profile.” Lisa grew up in Lansing, Michigan, and like many artists, moved to New York after college. As a teenager and young woman in Michigan and in New York, she pursued acting in straight plays, increasingly dis- satisfied with the roles for women, and especially LGBTQ women. Seeing the work of the pioneering group Split Britches had a profound impact. Lisa writes, “it was so beautiful and complete and so utterly unlike anything I had ever seen before. It was strange yet totally familiar. Funny and heartbreaking and so sexy. It was non linear — that blew my Midwestern MIND. And — they made it themselves. To me this was a revelation.” Through Split Britches, Lisa found her way to the WOW Cafe, a hot-bed for experimental lesbian-centered work in the New York’s East Village, the city’s bohemian heart. At WOW’s tiny storefront theatre she found a like-minded tribe of theatre-makers devising their own work, writing their own plays, sometimes in a few months, sometimes in a few days,

! with sets and costumes made from found materials. It was here that she started doing her own solo work. And it was here that she, her girlfriend Peg Healy, and friends Maureen Angelos, Babs Davy, and

E Dominique Dibbell formed the Five Lesbian Brothers. Throughout the ‘90s, both Lisa’s solo work and the plays created with the Brothers gained increasing prominence and were produced throughout New York at PS 122, The Kitchen, Dixon Place, HERE Arts Center and eventually

B at large off-Broadway venues like New York Theatre Workshop and in 1997 The Public Theater, where 2.5 Minute Ride opened to rave reviews, I winning OBIE, Drama-logue and GLAAD Awards. The Public Theater became an artistic home for Lisa, developing and producing her plays Well, which transferred to Broadway, earning Tony R nominations for Lisa and co-star Jayne Houdyshell; In The Wake, Lisa’s most traditionally well-made play; and Fun Home, her musical written with Tony-winning composer Jeanine Tessori, which also transferred C to Broadway, winning 5 of its 12 Tony nominations, including Best Musical of 2015.

S IN REPERTORY - SPRING 2019 Throughout it all, what makes Lisa’s writing indelibly Lisa’s is her interest in the mix of theatrical forms — from the straight play to solo story-telling to ensemble-generated work, some-

B times co-existing in the same piece — her commitment to politically-engaged work, and her conviction that laughter and tears, joy and sorrow, can inhabit the same moment. You’re U in for a wildly funny and deeply moving ride.

1 PROFILE THEATRE • 2.5 MINUTE RIDE

S Online: profiletheatre.org Call: 503.242.0080 Tu­F noon­4pm FROM THE ARTISTIC FROM THE DIRECTOR JANE UNGER DIRECTOR JOSH HECHT The great writer Philip Roth wrote “American reality has a way of outrunning art.” With her PARENTS ARE COMPLICATED, play 2.5 Minute Ride Lisa Kron has kept apace AREN’T THEY? with the mercurial nature of American reality and sometimes outruns it, making for a dizzy- Even the closest parent-child ing ride. I didn’t know very much about 2.5 Minute relationships can take expert Ride so when I sat down to read it, I brought no navigating. They embarrass us. expectations with me. I was actually sitting on a plane at the They nag us. They worry when time and beginning a 4.5 hour ride. It hardly took me four and they shouldn’t. a half hours to read but once I finished it, I needed the remain- Like many of us, I spent some years as a teenager der of the plane ride to recover from the experience. It knocked and young adult angry at my father. It is the job me out in a great way and some of the punch of that knock-out of young people to push boundaries, to separate came from the surprise of it. So, in the spirit of discovery, I themselves, to forge their own identities. Often, don’t want to say very much about the play. for a time, the familial relationships are the collateral damage of that forging’s heat. My life I will say that my favorite plays are the ones that ask important looked so different from my father’s. Like Lisa, questions and don’t offer any simple answers. We are living in I was a gay artist eeking out a life in New York a time that is lacking in nuance, bordering on tribalism. It is so that had earned me the respect of colleagues important to resist the ‘black and white’ of positions and to pay and peers, but not much of a savings. By contrast, attention to the gray areas. One of the many things I love about my father had been a civil servant since he was 2.5 Minute Ride is that Lisa Kron focuses on those gray areas, 22. By the time he was my age, he had married, leading us to ask some blistering and soul-searching questions divorced, had a son, a home, a mortgage. What about the moral compass each one of us chooses to follow. could he understand of my life? What could I Whenever we venture onto a ride at an amusement park, we understand of his? give ourselves over to a force bigger than we are and while we may hold on for dear life, ultimately we surrender. For the LIKE MANY OF US, I SPENT SOME YEARS AS next ninety minutes, I invite you all to buckle up, surrender A TEENAGER AND YOUNG ADULT ANGRY AT and take the ride. MY FATHER.

Nabokov wrote that “any soul can be yours, if you find and follow its undulations.” Like Nabokov, Lisa’s play seems to ask, How might I know better ABOUT PROFILE THEATRE my father’s heart, before its too late? How might I know my own heart better because of this? Founded in 1997 by Jane Unger, Profile Theatre centers an entire season around a single writer. Jane’s fifteen-year tenure established When I was younger, I was often mortified by my the theatre as a leading voice in the Portland cultural scene, explor- father, who seemed to me excessively Jewish, ing the work of some of the 20th Century’s most important masters provincial in his Brooklyn-ness. But as I grow and bringing many of them to Portland to develop work. older, increasingly I see his face when I look in the mirror and note the sounds of Brooklyn Profile’s second Artistic Director, Adriana Baer, led the theater from around the edges of my own voice. In so many 2012–2015, focusing the theatre’s mission on the writers we would st ways, I am my father, and though I may roll my come to think of as our “21 Century Masters,” contemporary writers eyes, I also know some of the things I love best investigating the most pressing concerns of our time. Josh Hecht about me are the things he put in there as he became Artistic Director in 2017. His commitment to new work and raised me. robust community engagement has led to two new commissions in 2018–2019 and our Community Profile Program that uses art- The father we come to know in Lisa’s play is making as a means of community-building. warm, playful and capable of a level of radical empathy that is stunning, that enlarges his heart, Over the past twenty years Profile’s Featured Writers have won 10 enlarges Lisa’s too, and ultimately our own. Pulitzer Prizes (plus 4 finalists), 20 Tony Awards (plus 7 nomina- tions), 18 Drama Desk Awards, 24 Obie Awards and 3 MacArthur As I read Lisa’s play again, I’m struck by the “Genius” Awards. In 2010, Profile Theatre was awarded an inaugural sense of loss that permeates it. We are sur- New National Theatre Company Award from the American Theatre rounded by loss, and to be alive is to be in a Wing designed to bring national attention to “the most inspiring and constant state of letting go. But what I learn innovative theatre companies on our national landscape.” More from this play is that the tonic to this loss is the recently, Profile has twice been recognized by Age and Gender expansion we feel when we take the time to Equity in the Arts for its leadership in equity, diversity and inclusion. know each other.

2 Presents 2.5 MINUTE RIDE BY LISA KRON DIRECTED BY JANE UNGER^

CAST ALLISON MICKELSON* AS LISA

DESIGNERS & Peter Ksander...... Scenic Design PRODUCTION Sarah Gahagan...... Costume Designer Miranda k Hardy...... Lighting Designer Casi Pacilio...... Sound Design Jana Crenshaw...... Composer Kyra Bishop...... Props Master Carol Ann Wohlmut*...... Stage Manager Rory Breshears...... Production Manager Charlie Capps...... Production Assistant

PRODUCERS CIRCLE FOR THESE PRODUCTIONS Leonard and Susan Magazine, Associate Producers Stephen Schuitevoerder and Tami Staudt, Associate Producers

RUN TIME IS APPROXIMATELY 75 MINUTES WITH NO INTERMISSION. Produced by special arrangement with DRAMATIC PUBLISHING, Woodstock, Illinois

SEASON SPONSOR: WINE SPONSOR:

THIS SEASON IS FUNDED IN PART BY:

PHOTOS, VIDEO OR AUDIO RECORDING OF THIS PERFORMANCE IS STRICTLY PROHIBITED.

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

3 PROFILE THEATRE • 2.5 MINUTE RIDE CAST & CREATIVE TEAM

ALLISON MICKELSON consultant with Book-It Repertory SARAH GAHAGAN Lisa Theatre in Seattle on The Financial Costume Designer Allison is honored to Lives of the Poets and The Amazing Sarah Gahagan is a designer for theatre, ^ debut at Profile Theatre Adventures of Kavalier & Clay. As an dance, festivals and stop-motion anima- BY LISA KRON DIRECTED BY JANE UNGER with the brilliant writing actress, Jane worked in the New York tion film as well as being theatre design of Lisa Kron. Favorite area at theatres including Manhattan instructor and resident costume designer roles include Alison in Theatre Club, Manhattan Punch Line at Portland Community College. She has Fun Home (Portland Center Stage, OR), and Hartford Stage. Among the awards done theatre design and collaboration Mother in Ragtime (Surflight Theater, Jane has received, she is especially proud work with many of Oregon’s beloved arts NJ), Lola in Damn Yankees (Allenberry of her Drammy Award for Best Director organizations including: Artist Reper- Playhouse, PA), Emily in Elf The Musical for Wings and the Drammy Lifetime tory Theatre, Oregon Children’s Theatre, (National Tour), and Mame in Mame (Al- Achievement Award. Profile Theatre, Miracle Theatre Group, lenberry Playhouse and Riverside Center Oregon Contemporary Theatre, Oregon for the Performing Arts, VA). Allison has LISA KRON Ballet Theatre, and Michal Curry Design. Writer written and performed numerous solo Sarah has received Drammy Awards for Lisa wrote the book and lyrics for Fun cabarets in NYC, MA, PA, SD and OR. her costume design work on Eurydice, Home which won five 2015 Tony awards She teaches music and yoga, conducts James and The Giant Peach, Trojan including Best Book, Score and Musical, choirs, and works with art and worship Women, El Quijote, and A Year With Frog and was finalist for the Pulitzer Prize. at Middle Collegiate Church, a progres- and Toad. Sarah attended University Her other plays include In The Wake, sive worshiping community in the East of Oregon, where she received a BS in Well, 2.5 Minute Ride (Obie). As an Village. Special thanks to Jane Unger, Theatrical Production Design and a BFA actor she received a Tony nomination Josh Hecht, the creative team and the in Textile and Fiber Arts. for her performance in Well and a Lortel crew. Profile Theatre’s Diversity and In- Award for her turn as Mrs. Mi-Tzu and MIRANDA k HARDY clusion Initiative warrants high praise Mrs. Yang in the Foundry’s acclaimed Lighting Designer and Mickelson thanks patrons for sup- production of Good Person of Szechuan. Miranda is thrilled to return to Profile porting live theater and the highlighting She is the recipient of Guggenheim, Sun- Theater having lit Master Harold and of these voices. dance and MacDowell fellowships, a the Boys, Bright Half Life and Elliot, A JANE UNGER Doris Duke Performing Artists Award, Soldier’s Fugue. Miranda is an associ- Director Cal Arts/Alpert and Helen Merrill ate company member with the Portland As the founding Artistic Director of Awards, the Kleban Prize, and grants Experimental Theater Ensemble. Her Profile Theatre Project, Jane is delight- from Creative Capital and NYFA. She work locally has been with PETE, Port- ed to return to Profile and usher in this is a founding member of the OBIE- land Playhouse, Laura Heit, Boom Arts, extraordinary season featuring Anna and Bessie-Award-winning collabora- Lewis and Clark, Reed College and she Deveare Smith and Lisa Kron with Kron’s tive theater company The Five Lesbian will be designing this spring for Oregon 2.5 Minute Ride. During her fifteen years Brothers and serves on the boards of the Children’s Theater. Prior to moving at the Profile helm she had the pleasure MacDowell Colony and the Sundance west she made work in NYC and inter- of producing and directing seasons by Institute, and on the Council of the nationally. Other company affiliations playwrights Arthur Kopit, Arthur Miller, Dramatists Guild of America. include Banana Bag & Bodice, Latitude Tennessee Williams, Constance Congdon, 14, Object Collection and Tiny Elephant. Romulus Linney, Harold Pinter, Edward PETER KSANDER Miranda holds an MFA from the CalArts. Scenic Design Albee, Terrence McNally, Lanford Peter is a scenographer and media artist CASI PACILIO Wilson, Wendy Wasserstein, John Guare, who’s stage design work has been pre- Sound Design Neil Simon, Horton Foote, Lee Bless- sented both nationally and internation- Casi’s home base is Portland and she ing and Athol Fugard, working directly ally. In 2006 he joined the curatorial is excited to work with Profile Theatre with many of these writers on new play board of the Ontological-Hysteric In- on 2.5 Minute Ride. She also works development. Recently in Portland at cubator. In 2008 he won an Obie award at The Armory, where recent credits Artists Repertory Theatre, Mothers and for the scenic design of Untitled Mars include Every Brilliant Thing, Twist Sons by Terrence McNally and the world (this title may change), and In 2014 he Your Dickens, Wild and Reckless, and premiere of The Talented Ones by Yussef won a Bessie award for the visual design His Eye is on the Sparrow. Shows with El Guindi. Other directorial work: Triad of This Was the End. He holds a MFA Jana Crenshaw, composer The Oregon Stage, The Inge Festival, Creede Reper- from the California Institute of the Arts, Trail, Constellations, A Small Fire and tory Theatre, Idaho Theatre for Youth, is an Associate Professor at Reed College Chinglish National shows: Holcombe Great Plains Theatre Conference and and is an associate company member Waller’s Surfacing and Wayfinders; in Portland Storefront Theatre, Miracle with the Portland Experimental Theatre For Hand2Mouth Theatre Left Hand Theatre, CoHo Productions, JAW at Port- Ensemble. Previously with Profile he has of Darkness, My Mind is Like an Open land Center Stage and New Rose Theatre. created designs for: Bright Half Life, Meadow (Drammy Award, 2011). Other She adapted and directed Carver Country Water by the Spoonful, The Happiest credits include Squonk Opera’s Bigsmor- for Literary Arts, based on Raymond Song Plays Last. gasbord-WunderWerk (Broadway, PS122, Carver short stories and worked as a

2.5 MINUTE RIDE • PROFILE THEATRE 4 CAST & CREATIVE TEAM

national and international tours); La performing in a devised piece called ing production management, sound Jolla Playhouse; Imagineer/maker of Please Validate Your Identity as part design, projection engineering, and more. the Eat Me Machine, a dessert vending of Portland’s Fertile Ground Festival. He has worked as CoHo Productions’ machine. Jana is currently writing a third-grade production manager for several years, musical, working on a new solo album, and is excited to be working with Profile JANA CRENSHAW writing a solo theater piece, and hopes to for the first time. Composer be composing and performing more and Jana (aka Jana Losey) is a singer-song- more! Forever thank yous to Casi Pacilio CHARLIE CAPPS writer and composer originally from and Mic Crenshaw. janacrenshaw.com Production Assistant Lawrenceville, PA. After touring ex- Charlie is a Production Assistant and tensively as a performer, Jana moved to KYRA BISHOP Scenic Carpenter and has been working in Portland in 2008, reinventing herself as Props Master Portland for three years with companies a composer and teacher. Credits include: Kyra returns to Profile after recently such as Artists Repertory Theatre, Profile The Armory (Futura, A Small Fire, designing for Water by the Spoonful and Theatre, Third Rail Repertory, and CoHo. Chinglish, Other Desert Cities, Vanya The Happiest Song Plays Last. Other Most recently he was the PA for Caught at and Sonia and Masha and Spike, Con- local credits include scenic and props Artists Rep, led the changeovers between stellations), Portland Playhouse (Left designer and TD for You’re a Good Man Water By The Spoonful and The Happiest Hand of Darkness by Ursula K LeGuin/ Charlie Brown (Enlightened Theatrics) Song Plays Last with Profile, and spent Hand2Mouth), Liminal (Our Town), and Troilus and Cressida (Portland his summer as a Stage Crew Apprentice CoHo Productions (Note to Self), and Actors Ensemble), scenic and props de- with the Santa Fe Opera in New Mexico. signer for The Pillowman (Life in Arts), He hopes you enjoy the show! production designer and TD for Men SUSTAIN Run Amok (part of Fertile Ground 2017), JOSH HECHT props master for The Events (Third Rail Artistic Director PROFILE THEATRE Rep), Plaid Tidings (Enlightened Theat- Josh is a Drama Desk Award-winning rics) and Reborning (Beirut Wedding), director whose productions have been SUPPORT With an annual gift of as well as carpentry and paint work at seen in New York at MCC Theater, The $100+ you are welcomed into our various theatres in the area. She received Cherry Lane, The Duke on 42nd Street, Family Circles and gain access to her BFA in Scenic Design from the Con- New World Stages, Culture Project, re- the intimacy of the playmaking servatory of Theatre Arts at Webster gionally at The Guthrie Theater, the Berk- process. University. sanfordscenic.com shire Theatre Group, the Humana Festival at Actors Theatre of Louisville, Signature PRODUCE Turn your passion for CAROL ANN WOHLMUT Theatre (DC) and internationally at the an exciting season or production Stage Manager into a gift of significant impact by Dublin Arts Festival and the Edinburgh Carol Ann studied theatre arts at the joining our Producers Circle. Festival Fringe and elsewhere. His col- University of Northern Iowa. She is a laboration with Ping Chong and Company LEAVE A LEGACY Ensure that your Resident Artists at Artists Rep, where was commissioned by and premiered at sustaining contributions continue she has stage managed over 30 produc- The Kennedy Center before touring the for years to come by honoring tions. In the 2017–18 season she worked northeast. His writing has received the Profile with a legacy gift. on An Octoroon, The Humans and will support of the Jerome Foundation. He also work on The Thanksgiving Play. In is formerly the Director of Playwright JOIN OUR BOARD OF DIRECTORS addition, Carol Ann has stage managed Development at MCC Theater and the Lead the way forward to ensure for many theaters in the Portland area, Director of New Play Development at we have adequate resources to including Portland Center Stage, Port- advance our unique mission. WET. He’s served on the faculty of the land Rep, Stark Raving Theater, New New School for Drama MFA Directing JOIN THE PROFILE THEATRE Rose Theatre, triangle productions!, program, the Fordham University MFA GUILD Serve as a Profile Theatre Musical Theater Co, Metro Performing Playwriting program, Purchase College ambassador and gain insight Arts, Northwest Children’s Theatre and SUNY’s BFA Dramatic Writing program into our creative work with our Carousel Co. Carol Ann also guest lec- and has been a guest artist at The Juil- committed core of sustaining tures on Stage Management and making liard School, NYU’s Dramatic Writing volunteers. a living in theatre arts. MFA, Carnegie Mellon’s MFA Playwrit- ing, University of Minnesota’s BFA Acting WE'RE READY FOR YOU! RORY BRESHEARS program and others. He directed Profile Contact Aiyana Cunningham, Production Manager Theatre’s ambitious repertory produc- Director of Patron and Donor Rory Breshears is a Portland based tions of Water by the Spoonful and The Relations, to connect with us Theatre artist and graduate of Wil- Happiest Song Plays Last at the conclu- today. [email protected] lamette University. His theater work sion of the 2017 Quiara Alegría Hudes 503.242.0080 encompasses a variety of fields, includ- season.

5 PROFILE THEATRE • 2.5 MINUTE RIDE MISSION: To produce JOIN OUR FAMILY CIRCLES PROGRAM! a season of first- class productions and community engagement BECOME A MEMBER OF OUR INNER CIRCLE OF SUPPORT! activities centered By making a contribution you directly support our unique mission around a single writer and get the chance to experience equally unique events. Family whose vision broadens Circle members enjoy benefits that build fellowship with other pas- our perspective on our sionate theatre patrons and Profile Theatre artists. Gain access to the intimacy of the world and deepens our playmaking process as we talk about the plays, observe the work of artists, discuss collective compassion. theater’s impact on our community and immerse ourselves in Profile’s distinctive season of work. Let’s discover together the integral role you play in making all of it happen! One Playwright, One Vision, One World FAMILY CIRCLE LEVELS EVENTS Extended Family $100–249 Playwright Profile Salon DIVERSITY AND INCLUSION INITIATIVE Siblings $250–499 First Reads (and above) 2018 will be the third year of our commitment to producing solely the work Grandparents $500–999 Behind The Scenes (and above) of women and people of color. The theater (and above) has a unique ability to help us see our Parents $1000–1499 Artists Dinner world in new ways and to help us envision Godparents $1500+ All above PLUS the world that we want. The Diversity and Inclusion Initiative is intended to help - 2 Tickets to Annual Benefit address the over-representation of one - Playwright Luncheon group of people in what has traditionally (*dependent on availability of playwright) been understood as the theater canon. Throughout the initiative, we are putting Full details and event descriptions online at our DONATE PAGE questions of Diversity and Inclusion front and center through our In Dialogue Programming, using the theater as a space to have critical conversations. We are FOR THIS PRODUCTION committed to continually asking “How do we define community?” and “How can the theater be an active part of community- ASL INTERPRETERS Dot Hearn, Kassie Hughes formation?” STAFF COMMUNITY ENGAGEMENT COORDINATOR Josh Hecht, Artistic Director Mariel Sierra Matthew Jones, Managing Director 2018–2019 Lisa Kron / Anna Deavere Smith DIALECT COACH Karl Hanover Aiyana Cunningham, 2017 Quiara AlegrÍa Hudes Director of Patron and Donor Relations PUBLIC RELATIONS CONSULTANT 2016 Tanya Barfield Jessica Drake Karl Hanover, 2015 Sarah Ruhl SPECIAL THANKS Box Office and Administrative Coordinator 2014 Sam Shepard Beverly Unger, Housing Sponsor 2012–2013 Athol Fugard BOARD OF DIRECTORS COMMUNITY COUNCIL: th Pancho Savery, Arlena Barnes 2011–2012 15 Anniversary Season Dana Walls Tony Funchess President Linda Jensen 2010–2011 Lee Blessing Margaret McKay Santos Herrera Melissa Bockwinkel, Kush Pathak 2009–2010 Horton Foote Mariel Sierra Mandy Anderson Treasurer Melissa Stewart Michelle Kashinsky Yasmin Ruvalcaba Margaret McKay, Stephen Schuitevoerder 2008–2009 Neil Simon Secretary Carmen Suarez Saludado Stephen Young, 2007–2008 John Guare Director Emeritus 2006–2007 Wendy Wasserstein Production Services by Artists Repertory Theatre RESOURCE COUNCIL 2005–2006 Lanford Wilson Adriana Baer Mary Simione 2004–2005 Terrence McNally Lue Douthit Patrick Stupek 2003–2004 Romulus Linney Erika George George Thorn 2002–2003 Edward Albee Leslie Johnson Jane Unger Actors’ Equity Association (AEA), founded Len Magazine Julie Vigeland 2001–2002 Harold Pinter in 1913, represents more than 50,000 Susan Magazine Priscila Bernard Weiden actors and stage managers in the United 2000–2001 Arthur Miller States. Equity seeks to advance, promote Mike Lindberg 1999–2000 Constance Congdon and foster the art of live theatre as an essential component of our society. Equity negotiates wages 1998–1999 Tennessee Williams and working conditions, providing a wide range of WEB PROFILETHEATRE.ORG 1997–1998 Arthur Kopit benefits, including health and pension plans. AEA is a member of the AFL-CIO, and is affiliated with PHONE 503.242.0080 FIA, an international organization of performing arts unions. The Equity emblem is our mark of EMAIL [email protected] excellence. www.actorsequity.org

2.5 MINUTE RIDE • PROFILE THEATRE 6 This list acknowledges gifts given between THANK YOU TO OUR GENEROUS DONORS January 1, 2017 and December 31, 2017

$25,000 & ABOVE Susan & Leonard Magazine Robert & Amy Hayes Margaret Collins Ronni Lacroute Kushagra Pathak+ Dot Hearn Jerry Colson & Veloris Montonye Meyer Memorial Trust Phillips & Company Jay Hecht Cynthia Crumlish James F. & Marion L. Miller Pride Financial Partners, Inc. Richard Hollway & Nancy Kurkinen David E. Deutsch Foundation Richard & Mary Rosenberg Ann J Howard Nancy Drake Fred W. Fields Fund of the Charitable Foundation Paul Jacobs+ Carol Flanagan Oregon Community Foundation Stephen Schuitevoerder Alan Jones Carolyn Gassaway Dan Wieden & Bert Shaw Rich & Jean Josephson Tim & Jan Gillespie Priscilla Bernard Wieden Mary Simeone Marcia Kahn & Howard Rosenbaum Elinor Gollay Kathleen Stephenson-Kuhn* $10,000–$24,999 Hank Keeton & Norma Jean Anonymous Melissa Stewart & Don Merkt Standlea Rosa Loprinzi Hardin Age and Gender Equity in the Arts Patrick Stupek+ Helen Kelley* Lynnette & Don Houghton The Collins Foundation Darci & Charlie Swindells Kathryn Kelly Ellen Jean The Kinsman Foundation Wieden+Kennedy Ed & Elaine Kemp Susan Johnson Regional Arts and Culture Council, Jeff & Carol Kilmer including support from the City of Colin Jones Portland, Multnomah County & the $500–$999 Carol Kimball Matthew Jones & Theresa Humes Arts in Education Access Fund Kay & Roy Abramowitz David Kinder Spencer Keller The Shubert Foundation Ann Bardacke & David Wolf Diane Kondrat Mary & Gordy King Steve Young & Jane Fellows Betty & Fred Brace Anonymous (in honor of Sergio Ortiz) Sonia Buist M.D. Margaret Larson & Richard Lewis Roger III $5,000–$9,999 Debi A. Coleman Amy Lawrence Anonymous Autzen Foundation Deborah Correa & Mark Wilson Jacklyn Maddux & Arthur Pierson Phoebe Krueger Francie & Paul Duden Carmen Egido & Abel Weinrib Christy Marchant Jennifer Lakey Leslie Johnson Steve Fenwick Gary McDonald & Barbara Holisky Kirsten Lee Anonymous Rich & Erika George+ Charles Meshul & Maureen Ober Cheryl Leonard The Jackson Foundation Jason Glick Bill & Nancy Meyer Dorothy Lyman Oregon Arts Commission Lynn Goldstein Corrine Oishi & Lindley Morton Jack MacNichol Oregon Cultural Trust Judy Henderson* Kristin Olson Erin Mallon Rose E. Tucker Charitable Trust Cecily Johns Veronica Paracchini Karla Mason Janet Schwartz Dolores & Michael Moore Laura Potter Nancy Matthews Work for Art, including North Star Foundation Wendy Rahm Kathryn Mclaughlin contributions from more than 75 Portland General Electric+ Rick Rees Michael Olich companies & 2,000 employees Rick & Halle Sadle Norma Reich Carlton Olson The Wyss Foundation Rosalie & Ed Tank Charles & Judith Rooks Mary Overman Darrell Salk & Tricia Knoll Shari Powell $2,500–$4,999 $100–$499 Devani Scheidler & James Kearney Carol Sherman Rogers Richard Bradspies & Dore Everett Elizabeth Anderson Scott Lewis & Sarah Slipper Charles & Barbara Ryberg Diane Herrmann Scott & Rachael Anderson Olivia A. Solomon Diane Sawyer The Ralph and Adolph Jacobs Linda Apperson Foundation Ruth Sorensen Vincenza Scarpaci Adriana Baer & Ryan Durham Linda Jensen & Robert Nimmo Pam Sterling Curtis Schade & Jacquie Siewert- Laura Barton Schade Elisabeth & Peter Lyon Gary Taliaferro Anonymous (in honor of Peter Thacker & Lynn Taylor Karen Schneider The National Endowment Melissa Bockwinkel) for the Arts Margaret Thompson John Shethar Jerry Bockwinkel Anonymous Marcia Truman Dre Slaman Karl And Linda Boekelheide Pancho Savery Tom & Linda Unger (in honor of Aarisa Smith Christine Bourdette & Jane Unger) James Smith The Standard Richard Lovett Carolyn Wood Larry Smith Anonymous $1,000–$2,499 Janet Zell (in honor of Sophia Ninos) Anonymous Anonymous Martha Spence Rita S. Charlesworth Arlena Barnes & William Kinsey UP TO $99 Anonymous Vince & Valri Chiappetta Don & Mary Blair Kris Alman Kate Stover Nathan Cogan Melissa Bockwinkel Amanda Andersen Roz Tucker Chris Coughlin Nita Brueggeman & Kevin Hoover Darlene Bedel Lauren Turner John & Maryellen Coutu Robert & Janet Conklin Howard & Suzanne Berwind David & Julie Verburg CSz Portland Wendy & Tom Hawkins Joe Blount Judi & J Wandres Marvin & Abby Dawson+ Robert Holub Mary Franes Bowers Bob & Dawn Wilson+ Christian Dreyer Elizabeth Johnston Kate Bredeson Carol Ann & Patrick Wohlmut Patricia Garner Jessie Jonas Steve Brennock Kathleen Worley Robert & Melissa Good Dan Klores Priscilla Carlson Minnie Young Barbara & Marvin Gordon-Lickey Leslie Labbe Monica Cereseto Dawn Hayami (in honor of Maggie McKay)

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