Apr 8–May 8, 2016 stupid fucking bird By Aaron Posner Directed by Jessica Kubzansky Photo Hayley by Photography Young John Langs Carlo Scandiuzzi Becky Witmer Artistic Director Executive Director Managing Director ACT – A Contemporary Th eatre presents
By Aaron Posner Directed by Jessica Kubzansky
Beginning April 8, 2016 • Opening Night April 14, 2016
CAST Suzanne Bouchard* Emma Keiko Green* Mash MJ Sieber* Dev Jasmine Jean Sim Nina Adam Standley* Con G. Valmont Th omas* Sorn Connor Toms* Trig
CREATIVE TEAM Jessica Kubzansky Director Martin Christoff el Scenic Designer Heidi Zamora Costume Designer Rick Paulsen Lighting Designer Robertson Witmer Sound Designer Rachael Lincoln Choreographer Geoff rey Alm Fight Choreographer JR Welden* Stage Manager Stephanie Haire Assistant Director Marcella Barbeau Assistant Lighting Designer Verhanika Willhelm Production Assistant
Running Time: Th is performance runs approximately two hours. Th ere will be one intermission. *Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Th e video and/or audio recording of this performance by any means whatsoever are strictly prohibited. Original Music: James Sugg Stupid Fucking Bird was developed and world premiered in June 2013 at Wooly Mammoth Th eatre Company, Washington, D.C.; Howard Shalwitz, Artistic Director and Jeff rey Hermann, Managing Director.
SHOW SPONSOR:
THEATRE AND SEASON SPONSORS: A Contemporary eatre Foundation
e Norcliff e Foundation
Katharyn Alvord Gerlich, Eulalie M. & Gian-Carlo Scandiuzzi, Nancy Alvord, Linda Brown & Larry True
Audience members are cordially reminded to silence all electronic devices. All forms of photography and the use of recording devices are strictly prohibited. Please do not walk on the stage before, during, or after the show. Patrons wearing Google Glass must power down the device if wearing them in the theatre.
encoreartsprograms.com A–1
ACT016b bird.indd 1 4/1/16 9:26 AM WELCOME to ACT John Langs PHOTO BY ALABASTRO PHOTOGRAPHY
It was four years ago that I first experienced the power no mercy when it comes to laying bare their existential, housed inside the writing of Anton Chekhov. Like many neurotic psychological quirks. And he draws all of this out who grew up in the theatre or around it, I had been of the seemingly simplest situations. exposed to Chekhov on a number of occasions. First in It is no wonder that his work continues to be a acting class, where the work was oh-so-precious that I held touchstone and a platform for so many great writers, it at arm’s length. Then as an audience member, where I sat including the one whose work you are going to see endlessly waiting for something to happen. I came to regard tonight. I had barely finished the script of Stupid Fucking Chekhov as “theatrical spinach.” I knew it was good for you, Bird when I knew we had to program it. ACT is joyfully but “Ack!” to the taste. Perhaps a more accurate metaphor participating in the remarkable resurgence of Chekhov would be a child who steals a sip of wine from their parent’s around the country and the world. With different glass—overwhelmed by all the flavors and shocked that commercial productions based on his work being launched anyone could drink it willingly, much less enjoy it. this theatrical season and the proliferation of shows like I agreed to direct my first Chekhov play because the Vanya and Sonia and Masha and Spike, it’s worth asking thought of it terrified me, and usually when there is that why Chekhov endures 100 years later. I think the answer much fear around an opportunity there’s a great deal of is a simple one: he sees us for who we truly are, even as we learning to be had as well. blindly struggle to see ourselves. He records us with all our Fast forward, and I’m sitting in the rehearsal room incredible flaws, and he loves us anyway. watching a scene between Trigorin and Nina go terribly It is a great goal of this theatre to help our community off the rails. We have hacked at it from every angle. It’s just better see itself, and we try to work toward that end in a not working. We are frustrated and feeling defeated. Finally similar loving spirit. Thank you for sharing the journey. one of the actors says, “Can we just start over? Can we just sit down and talk to each other?” It’s hard to describe the moment in a rehearsal room when two actors truly connect. Tennessee Williams may have come close when he said, “Sometimes there is God so quickly.” In this moment of grace, I was introduced to the true power of Chekhov’s John Langs writing. He taps into a vein of humanity that’s deep and Artistic Director true. He has ultimate compassion for his characters, but
A–2 ACT – A Contemporary Theatre
ACT016b bird.indd 2 4/1/16 9:26 AM A Note from Director JESSICA KUBZANSKY
“Love, which seems the realest thing, is really nothing at all; a simple grey rock is a thousand times more tangible than love is; and the earth is such a rock, and love only a breeze that dreams over its surface, weightless and traceless, yet love’s more mineral, more dense, more veined with gold and corrupted with lead, more bitter and more weighty than the earth’s profoundest matter. Love is a sea of desire stretched between shores–only the shores are real, but how much more compelling is the sea. Love is the world’s infi nite mutability; lies, hatred, murder even are all knit up in it; it is the inevitable blossoming of its opposites, a magnifi cent rose smelling faintly of blood. A dream which makes the world seem ... an illusion. Th e art of illusion is the art of love, and the art of love is the blood-red heart of the world.” —from Tony Kushner’s adaptation of Corneille’s Th e Illusion
I am writing this at the end of one of the most intense, joyous love story. Somehow, Aaron Posner, standing on passionate, painful, beautiful weeks of rehearsal I have Chekhov’s profound text, has succeeded in making more ever had. And all because some guy named Aaron Posner, three-dimensional than ever the human beings who breathe contemplating his complex relationship with Chekhov, and sweat and labor upon the stage. I love these characters. decided to write a variation on Chekhov’s Th e Seagull called Th ese fl awed, angst-ridden, neglected, seeking, needy, self- Stupid Fucking Bird, and blew the doors open on a master absorbed, passionate, yearning people. Th ey are me. Th ey are that was for many people like theatre medicine. every love I’ve ever longed for and haven’t gotten. Th ey are In the original Seagull, Constantine desperately every crushed dream I’ve ever experienced as I’ve watched pursues a new form of theatre, as does his counterpart art fail. Th ey are every time I’ve ever wondered, “Why go Conrad in Aaron Posner’s variation. And in fact, since time on?” Th ey are in as much pain as I have been, their stakes immemorial, passionate theatre artists have been interested are so high, their passions are so huge, they have to settle or in reinventing the art form, both to be new, to “shake up” suff er or conquer in ways that are both terrible and true. what is established, but also to be better, to be revitalized But that experience only happens when you have the and truly alive. And if it succeeds, the new form shocks the privilege of working with a glorious design team, a dedicated possible, it jolts the audience out of the rut of expectations and invested theatre staff , and great actors of towering talent to make something so raw and unexpected that it holds and huge generosity of spirit, smart, passionate, and giving, the mirror up to nature with a much more telling light. endlessly inventive and unafraid of going to the darkest Th ere is something about Stupid Fucking Bird that feels places and owning the ugliest parts of themselves in the like Aaron Posner has reinvented the form, given us richer, service of the story they’re telling. better access to Chekhov, and even more importantly, to the So making this play has taken me, and perhaps all characters who inhabit his world and ours. Aaron has, to of us privileged enough to rehearse it, to the existential quote the play, made a world “so diff erent in feel, it might be mountaintop. It’s a place that I don’t think any human being realer than real.” can stand to be for very long, because you see too much, I’ve come to think of this play as a meta-theatrical love you know too much to be able to tolerate that much reality. story, with all that that implies—both about what is “meta- But while you’re there the experience is realer than real, and theatrical” (you’ll see) and what is “love” (see Kushner’s the vividness of the agony we’re in is both unbearable and quote above for the ways in which I mean love). But love revitalizing because it makes us know we’re fully awake and stories, when they’re real, are the most compelling stories alive. we tell, and we seem to need to keep telling them. For all of that, and for the privilege of sharing this So I can’t begin to tell you how grateful I am that the experience with you, I am awed and grateful. making of this play has been such an extraordinary and Th ank you.
encoreartsprograms.com A–3
ACT016b bird.indd 3 4/1/16 9:26 AM COMING SOON TO ACT
“Packed with humanity…like a chart depicting the sexual and emotional anatomy of us all.” —The New York Times
By Bathsheba Doran Directed by Allison Narver Show Sponsor
May 27–Jun 26 Photo Hayley by Photography Young
Worse Than Tigers Bernie's Apt. Mar 23–Apr 17 May 5–28 Olivia and Humphry’s quietly failing marriage is At once tragic and darkly comedic, Rose ready to eat them alive. Unless the escaped tiger Cano offers a modern-day Latin-American outside their door does first. A world premiere by exploration of Lorca’s classic tale The RED STAGE, Seattle’s newest theatre company. House of Bernarda Alba. Photo by Maryssa Lagervall
The Great Soul of Russia Icicle Creek New Play Festival Apr 20 May 17–18 Join The Seagull Project and members of Now in its tenth season, the nationally- Seattle’s vibrant artistic community as they renowned festival brings two brand new plays to explore how various Russian artistic roads, ACT, including scenes from the World Premiere, past and present, begin and end with Chekhov. Daisy and Wendy MacLeod’s Mary’s Girl. Photo by Karen Skrinde
Endangered Species Project Things You Can Do Apr 24, May 16 Jul 8–31 Explore the great plays you seldom see. A drunken kiss, an icy plunge, and a reckless act of Join ESP for its sixth year of 12 book-in-hand revenge. Live Girls! Theatre presents a fresh take on the presentations, chosen and performed by issues of global climate change through the personal lens dozens of Seattle’s best and bravest actors! of a family on the verge of a critical meltdown.
acttheatre.org | 206.292.7676 | 700 Union Street, Seattle
A–4 ACT – A Contemporary Theatre
ACT016b bird.indd 4 4/1/16 9:26 AM COMING SOON TO ACT Meet ACT’s Core Company CT and Artistic Director John Langs Langs says. “It is the charge of great theatre actually get to get down and dirty and give Aare thrilled to announce ACT’s fi rst to push the art form forward.” that excitement to the audience,” Core Core Company. Each year, a group of Each member is looking forward to Company Member Keiko Green says. “Packed with humanity…like a chart depicting actors will join ACT in a yearlong creative embarking on this artistic journey, where Core Company Members are eager for endeavor, performing and contributing they will push each other deeper into the mentorship and partnership opportunities the sexual and emotional anatomy of us all.” as artistic ambassadors for ACT’s 2016 craft of acting. “We have a safe space. We during the year. “To be around someone —The New York Times season. Th e Core like G. Val or Bob Company encourages Wright who have done an environment of this for decades is artistic excellence, really important,” Core while creating a Company Member home for local actors Lorenzo Roberts to experiment and says. “And that’s grow. the aspect I’m most “I’m excited to excited about—the have such a talented apprenticeship.” group of artists representing ACT,” By Bathsheba Doran Directed by Allison Narver Keiko Green Hitter (Intiman) and Show Sponsor received her B.F.A. Dirty (Washington in Th eatre from Ensemble Th eatre
May 27–Jun 26 Photo Hayley by Photography Young New York University and ACTLab). and was seen in Th e Sim will appear in Stupid Fucking Bird, Worse Than Tigers Bernie's Apt. Comparables (Seattle Repertory Th eatre), Dangerous Liaisons, Mar 23–Apr 17 May 5–28 Othello (Seattle From left: Kirsten Potter, G. Valmont Th omas, R. Hamilton Wright, Connor Toms, Jasmine Jean and A Christmas Olivia and Humphry’s quietly failing marriage is At once tragic and darkly comedic, Rose Shakespeare Sim, Keiko Green, Lorenzo Roberts. | PHOTO BY ALABASTRO PHOTOGRAPHY Carol. ready to eat them alive. Unless the escaped tiger Cano offers a modern-day Latin-American Company), outside their door does first. A world premiere by exploration of Lorca’s classic tale The G. Valmont RED STAGE, Seattle’s newest theatre company. House of Bernarda Alba. and Amadeus (Seattle Public Th eater). Green will appear in Thomas was in the acting company of Oregon Shakespeare Photo by Maryssa Lagervall Stupid Fucking Bird, Dangerous Liaisons, and A Christmas Carol. Festival for 13 seasons and has appeared in A Christmas The Great Soul of Russia Icicle Creek New Play Festival Kirsten Potter appeared in Rapture, Blister, Burn; One Slight Carol (ACT), Water by the Spoonful (West of Lenin), and Th e Apr 20 May 17–18 Hitch; and Big Love (ACT); as well as Photograph 51; A View Piano Lesson (Syracuse Stage and Seattle Repertory Th eatre). From the Bridge; and Or, (Seattle Repertory Th eatre). She has Th omas will appear in Stupid Fucking Bird, Th e Royale, and A Join The Seagull Project and members of Now in its tenth season, the nationally- Christmas Carol. Seattle’s vibrant artistic community as they renowned festival brings two brand new plays to voiced dozens of vixens and evildoers in video games and has explore how various Russian artistic roads, ACT, including scenes from the World Premiere, received numerous awards for her audiobooks. Potter will appear Connor Toms appeared in Th e Invisible Hand; In the Next past and present, begin and end with Chekhov. Daisy and Wendy MacLeod’s Mary’s Girl. in Worse Th an Tigers (RED STAGE and ACTLab), Daisy, and Room, or the vibrator play (ACT); and Festen (New Century Photo by Karen Skrinde Dangerous Liaisons. Th eatre Company). He has also worked at Seattle Repertory Endangered Species Project Things You Can Do Lorenzo Roberts received his B.F.A. in Acting from the Th eatre, Intiman, Seattle Shakespeare Company, Book-It Apr 24, May 16 Jul 8–31 University of North Carolina School of the Arts and appeared Repertory Th eatre, and many more. Toms will appear in Stupid Explore the great plays you seldom see. A drunken kiss, an icy plunge, and a reckless act of in Othello (Seattle Shakespeare Company), as well as As You Fucking Bird, Daisy, and A Christmas Carol. Join ESP for its sixth year of 12 book-in-hand revenge. Live Girls! Theatre presents a fresh take on the Like It (ACTLab) with ACT’s 2015 Kenan Directing Fellow. R. Hamilton Wright has appeared in numerous ACT presentations, chosen and performed by issues of global climate change through the personal lens dozens of Seattle’s best and bravest actors! of a family on the verge of a critical meltdown. Roberts will appear Th e Mystery of Love & Sex, Th e Royale, and A productions, including Th e Revengers’ Comedies, Th e Pillowman, Christmas Carol. Vanya and Sonia and Masha and Spike, and A Christmas Carol. Jasmine Jean Sim graduated from Cornish College of the He is a regular actor and director with many of Seattle’s theatres, acttheatre.org | 206.292.7676 | 700 Union Street, Seattle Arts as well as the Pacifi c Conservatory for the Performing Arts. and in recent years, also a playwright. Wright will appear in She appeared in Th e Children’s Hour, John Baxter is a Switch Daisy, Th e Royale, and A Christmas Carol.
encoreartsprograms.com A–5
ACT016b bird.indd 5 4/1/16 9:26 AM Anton Chekhov’s The Seagull
Chekhov’s 19th century masterpiece reveals the passion and pathos of everyday life through an TIME MAY unforgettable cast of characters. On the shore of a magic lake, a famil y assembles to watch a play. Romantic and artistic confl icts collide, CHANGE ME setting the stage for an unlikely comedy, at once tragic and absurd. BY GAVIN REUB, ARTISTIC DIRECTOR OF THE SEAGULL PROJECT
“I watch the ripples change their size But never leave the stream Of warm impermanence and So the days fl oat through my eyes But still the days seem the same” —David Bowie
Chekhov’s Th e Seagull premiered 120 years ago. down on their heads, pinning them deeper and deeper Same year the fi rst Ford vehicle was built. Washington into the earth. Until they just disappear. State was ten. Chekhov’s fi nal play, Th e Cherry Orchard, premiered Now we have driver-less cars, and a state so green you in 1904. Th e play was a sign of the year to come. By 1905, can smell the progress. Russia was in its fi rst major revolution. Workers, the Chekhov’s impact on drama and literature over military, and students were all on strike. Th e Russian that span is inarguable, but it’s rare for any modern peasantry took up the torch, burning down 3,000 manors, author—especially a non-American—to fi nd his way into amounting to 15% of Russia’s estates. the American canon. Not to mention for them to bore Where are the peasants now? so deeply into our psyche, that we seek further depth At the polls, in the streets, on the stage. in our adaptations, extensive translations, and open Torches in hand, lighting the path toward dynamic “inspirations.” change. What is it about Chekhov? Why are the most popular theatre artists in the world—Annie Baker, Cate “Where’s your shame “Dreams of realities peace Blanchett—breathing new life into his work? You’ve left us up to our blow steam in the face of We are on the edge of political upheaval. Our modes necks in it the beast of interaction have changed—Snapchats, digital lives, and Time may change me Sky could fall down, wind virtual reality—growing into a frustrated millennial silent But you can’t trace time” could cry now, look at me scream. People are murdered on sidewalks as systems of —David Bowie mother***ker I smile” power crumble. Th e very fabric of our structures and form —Kendrick Lamar are shifting around us. It’s easy to be a passive observer. To sit behind a screen, Th e Seagull Project was formed out of a passion for and like Irina in Th e Th ree Sisters, plead into the void for a the great works of Anton Chekhov. An ACTLab partner better life, from the comfort of our keyboards. since 2012, Th e Seagull Project has brought ACT patrons Chekhov built a live chamber where our own thoughts exceptional performances of Th e S e a gl u (2013) and Th e of inadequacy, turmoil, and fear echo with such force off Th r e e S i s t rs e (2015), as well as quarterly readings under the beautiful characters that we can do nothing but feel the helm “Th e Great Soul of Russia.” Visit acttheatre.org for their passions and eternal suff ering. Th e clock strikes for details on their latest programming.
A–6 ACT – A Contemporary Theatre
ACT016b bird.indd 6 4/1/16 9:26 AM Anton Chekhov’s The Seagull
Chekhov’s 19th century masterpiece reveals the passion and pathos of everyday life through an unforgettable cast of characters. An interview with On the shore of a magic lake, a famil y assembles to watch a play. Romantic and artistic confl icts collide, setting the stage for an unlikely playwright Aaron Posner comedy, at once tragic and absurd. BY JOHN LANGS, ACT ARTISTIC DIRECTOR
JL: Well hello Aaron Posner, how are you? big questions about love, life, and the What’s going on in your life? quotidian struggles of life, seemed like a really good vessel. On the other hand, I AP: Well, I’m in Las Vegas. didn’t know any of that theoretical shit JL: Wow, what’s going on in Vegas? when I started writing the thing. It really AP: I’m actually working for Cirque du just started as a joke where people were Soleil this week. Consulting on three talking about Chekhov and I talked about of their shows, basically doing acting how much I loved and hated Th e Seagull, coaching and a little dramaturgy, that and literally as I was walking out of kinda thing. How are things there? Woolly Mammoth, I said, “I should write my own adaptation of Th e Seagull; I should JL: Th ey’re good, man. We are right about call it Stupid Fucking Bird” and everybody to open Assassins, so I drop into tech laughed, and that’s how the play was born. right after this phone call. Aaron Posner JL: I think that’s fantastic. AP: Wow. AP: And then a couple of weeks later, I couldn’t sleep one JL: I am looking at the wonderful scenic design for your night, and I thought, “I should just do this”. I started play. I’m such a fan of the tone of your play and how writing the fi rst scene. I just thought, “How would irreverent and sassy it is, that I thought we’d do a sort I write Chekhov’s fi rst I’m in mourning for my life of irreverent and sassy John-and-Aaron back-and-forth Masha/Medvedenko scene for me, thinking about about the nature of your work. what I think about in terms of relationships and AP: You go. people?” And then as I continued working on the play JL: So my fi rst question is “What the hell makes you think I needed to go back and read it, but the last thing I that you can rewrite a Chekhov play and unleash it on wanted to read was a good version, so I found the most the world the way you have?” Where do you get the unspeakably horrible translation on the internet that chutzpah? I could possibly fi nd, which was like an old British literal translation that had lines like ... rather than AP: [Laughing] Yeah, good question. Well, 30 years of “why do you always wear black?/I’m in mourning for frustration with the state of theatre, I suppose. Too my life, I’m unhappy” it would be like “why is the hue many nights in theatres feeling like I’ll never get those of your clothing so dark? Because of my deep sadness. I couple of hours of my life back. A passionate desire am sad about my life.” to make theatre that has something more to do with authenticity than … fakieositude. You know, theatre JL: Ah, the Brits... is all lying, right, it’s all pretend, but there’s a certain AP: Like it was so bad that I knew it wouldn’t infl uence me kind of integrity to the lying that I’m interested in; and I wouldn’t actually use any of it, but it reminded some degree of reality and transparency. And of me of the scenes. course, you know, not being a genius like Chekhov, or JL: Bone-dry British dramaturgy. Shakespeare, or Shaw, or any of those guys, I needed to steal something with which to hold my ideas … AP: [Laughs] Exactly. so the Chekhovian playground, as it were, of the JL: I’m nostalgic for it. You and I had a wonderful time
encoreartsprograms.com A–7
ACT016b bird.indd 7 4/1/16 9:26 AM one summer in Wisconsin. I have a great picture younger self was defi nitely Con. Now I am more of our kids, Maisie and Captain, sitting out on the Trigorin … there is a lot of me in that role, too. porch. How has life, age, and fatherhood changed And a bunch of me in Sorn, too. your perspective on some of these characters, or JL: Sort of like Trigorin with a Sorn rising. on your writing in general? AP: [Laughing] Exactly! But then I feel really AP: You can feel it most particularly in the stuff about connected to Dev, too. And Mash! Dev having children at the end of the play. Dev and Mash gain perspective from parenthood. JL: She’s got the Posner Sass. So, I wanna ask you Th ey gain humanity, and acceptance, and a wider about your fi rst preview of Stupid Fucking Bird. view of the world through the addition of children I’m always interested in the inner workings of a into their lives. Con is horrifi ed at the state of the writer on their opening night when they’re just world and how people continue to behave in such about to face the public with a play for the fi rst shortsighted, idiotic, insane ways. Stupid Fucking time. I’m interested in what it felt like to let this Bird was born almost at the same time as Maisie one out into the world. was. So I think it shows up in the play that way. It AP: Well, this one felt pretty great from the start, I shows up on some level in the fact that I wrote the have to say. Th ere’s a certain quality of laughter play. You know, it seems counterintuitive but of that tells you that people are not just laughing course, get a kid and then you get more productive because it’s “haha funny”, but because it’s going because you have to. I needed to provide, and deeper for them. It’s something they think is true. writing this play was a part of that. Th ere was a quality of laughter in response to a lot JL: Ah, that’s great. of this show that was very gratifying from the very start, and has been a continual delight AP: And of course there’s just simply that fact that, and surprise. it makes you think about your life on a larger canvas. So I feel like that perspective is in the play JL: Well, I cannot wait. You and your play are as well and is very much with me, certainly more remarkable, my friend. so since Maisie’s been born. Read more on ACT’s blog at acttheatre.wordpress.com. JL: Well it certainly sings in those scenes between Con and Mash. I wanna ask you the Brain Teaser Question: Which Chekhovian character did you most feel like when you were in your 20s and which one are you now? AP: Obviously I was Con. How could I not be? You know, my middle name is Conrad ... JL: [Laughing] Your secret is out! AP: So there just might be a little identifi cation with that young man, and his desire of making a real diff erence in the world. But the truth is I feel deeply connected to every character in Stupid Fucking Bird … particularly, if truth be told, the men. Th e women are harder for me and take more research and conversation and … excavation, or something. But one part of my
A–8 ACT – A Contemporary Theatre
ACT016b bird.indd 8 4/1/16 9:26 AM Who's Who in Stupid Bird Suzanne Bouchard His short fi lm The Good Days won several G. Valmont Thomas (Emma) was last seen in awards at the 48 Hour Film Project and his (Sorn) returns to ACT Bethany (ACT). Her feature fi lm Taste (co-directed with Hans after performing in A favorite regional credits Altwies) concludes later this year. He is a Christmas Carol (2013, include Queen Elizabeth graduate from Cornish College of the Arts 2015). Previous work at I in Mary Stuart, B in with a degree in Original Work. He is currently ACT includes another Three Tall Women, working on a three-year project with Jaime doctor, Sam in Blues for Amanda in The Glass Roberts tentatively titled Furnace heats an Alabama Sky (‘97). Menagerie, Elizabeth Bishop in Dear Elizabeth, Penguin. Other recent Seattle appearances include Charlotte in A Little Night Music, Catherine in Water by the Spoonful (Theatre22), Master By the Waters of Babylon, Amanda in Private Jasmine Jean Sim Harold and the Boys (West of Lenin), and The Lives, and Brutus in Julius Caesar. Suzanne was (Nina) graduated from Piano Lesson (Syracuse Stage and Seattle an inaugural Lunt-Fontanne Fellow at Ten the Pacifi c Conservatory Repertory Theatre). A member of the acting Chimneys in Wisconsin. for the Performing Arts company at The Oregon Shakespeare Festival (PCPA ’13) in California, for 13 seasons, he played the title character in Keiko Green (Mash) her home state, and Macbeth, Falstaff in The Merry Wives of is a playwright and most recently from Windsor, Feste in Twelfth Night, and Lincoln in performer, originally Cornish College of the Topdog/Underdog. Mr. Thomas has enjoyed from Georgia. This is Arts (’15). Recent credits: Dirty (ACTLab), creating theatre at ACT, as well as teaching her fi rst production John Baxter is a Switch Hitter and The theatre, whether it be at University of with ACT, where she is Children’s Hour (Intiman), A Christmas Carol Nebraska at Lincoln, or at Freehold Studio. a Core Company (ACT), and most recently 9 To 5 (Seattle member this year. She Musical Theatre). She can be seen in Connor Toms (Trig) is will also be appearing in Dangerous Liaisons Dangerous Liaisons and A Christmas Carol thrilled to be joining and A Christmas Carol. Recent work in Seattle (again) later this year at ACT. Jasmine has a ACT’s Core Company includes The Comparables (Seattle Repertory great passion for Shakespeare, dance, and for the 2016 season. Theatre), Othello (Seattle Shakespeare stage combat, and hopes to always continue Connor was previously Company), Water by the Spoonful learning! Jasmine is unendingly grateful to seen in Ayad Akhtar’s (Theatre22), The Memorandum (Strawberry have been given the opportunity to become The Invisible Hand and Theatre Workshop), and Amadeus (Seattle part of ACT’s Core Company and to be Sarah Ruhl’s In the Next Public Theatre). Keiko is a proud member of challenged in the coming year with her fellow Room, or the vibrator play (ACT). He has also the Seattle Repertory Theatre Writers’ Group. company members! All the love in the world worked at Seattle Repertory Theatre, Intiman, She and Bret Fetzer co-wrote Puny Humans, to Mom, Dad, Andie, and Rory. Arizona Theatre Company, Seattle premiering at Annex Theatre on April 22. She Shakespeare Company, Artists Repertory is a performer for Living Voices, bringing the Adam Standley (Con) Theatre, Book-It Repertory Theatre, Seattle story of Japanese Internment camps to made his ACT debut in Children’s Theatre, New Century Theatre classrooms and theatres nationwide. Keiko Mr. Burns, a post- Company, New Victory Theater, Shakespeare serves as Community and Artist Liaison for electric play. In Seattle, Santa Cruz, and more. Overwhelming love RED STAGE, producing Worse Than Tigers, Adam has worked at and immense respect to his Dahlia, about to which runs in ACTLab until April 17. She The 5th Avenue Bloom ... received her B.F.A. in Theatre from New York Theatre, Intiman, University. Seattle Children’s Aaron Posner (Playwright) is a freelance Theatre, Seattle Shakespeare Company, and director, playwright, and teacher. He was the MJ Sieber (Dev) is a Seattle Opera. As a founding member of the founding Artistic Director of Philadelphia’s founding member of new works ensemble, The Satori Group, his Arden Theatre Company, and is an Associate New Century Theatre work there comprises the majority of the Artist at the Folger Theatre and the Company where last pride in his life. His wife and puppy take up Milwaukee Repertory Theatre. He has won year he appeared as the rest. Satori Group credits include numerous awards as both a director and Michael in Festen and reWilding, Making of a Monster, Tragedy: a playwright including an Outer Circle Critics directed the Pulitzer tragedy, and Winky. Regional credits include Award, The John Gassner Award, a Theatre Prize-winning west Bud Frump in How To Succeed In Business..., Bay Area Award, a Los Angeles Drama coast premiere of Annie Baker’s The Flick. Prior in Angels in America: Part 1 and 2, Lyle Circle Award, an Elliot Norton Award, three Previously at ACT he appeared in A Christmas Webb in John Baxter is a Switch Hitter, Leo in Barrymore Awards, and fi ve Helen Hayes Carol, The Lieutenant of Inishmore, and four 4,000 Miles, State Trooper/et al in Jane Awards as both director and playwright. His seasons with Icicle Creek New Play Festival. Nichols’ idiotic We Won’t Pay, We Won’t Pay, published and produced plays include Stupid He’s also been seen in Native Son (Intiman); and Eddie in the beautiful Trouble In Mind. Fucking Bird (one of the ten most produced Elephant Man, Gutenberg! The Musical! plays in America for the 2015/16 season); (Strawberry Theatre Workshop); Glengarry Life Sucks (Or The Present Ridiculous); My Glen Ross, Outside Mullingar, Photograph 51 Name Is Asher Lev; The Chosen; Who Am (Seattle Repertory Theatre); and has appeared I This Time? (And Other Conundrums of at Seattle Shakespeare Company and Cafe Love); Sometimes A Great Notion; A Murder, Nordo. As a fi lmmaker MJ made the A Mystery & A Marriage; and many others. documentaries Not Working, about the Great Aaron has directed nearly 200 productions Recession, and Detroiters, chronicling the lives at major regional theatres across the country of several men recently released from prison. including Actor’s Theatre of Louisville, The
encoreartsprograms.com A–9
ACT016b bird.indd 9 4/1/16 9:26 AM Who's Who in Stupid Bird
Alliance, American Players Theatre, The with All the Answers, Assisted Living, The Design. He is a member of United Scenic American Repertory Theatre, The Arden Woman in Black, and contributed projections Artists, IATSE Local USA-829. Theatre Company, Arena Stage, California to Alki. Other recent shows include Passing Shakespeare Theatre, Folger Theatre, Ford’s Strange (Sidecountry Theatre and ACTLab); Rachael Lincoln (Choreographer) is a Theatre, Milwaukee Repertory Theater, Carousel, The Music Man and Rent (The choreographer, dancer, and dance fi lmmaker Portland Center Stage, Roundhouse Theatre, 5th Avenue Theatre), Sleuth and The Odd who, until recently, was based in San Seattle Repertory Theatre, Shakespeare Couple (Village Theatre). His work can also be Francisco and Berlin. She has performed her Santa Cruz, Signature Theatre, South seen at EMP in the Can’t Look Away horror work in Germany, Poland, Portugal, Cyprus, Coast Repertory, Studio Theatre, Theatre fi lm exhibit and Indie Game Revolution. In Indonesia, Ireland, and throughout the U.S. J, Woolly Mammoth Theatre, and more. addition, Martin designs corporate events She has been nominated for two Isadora Aaron is an Eisenhower Fellow, a graduate internationally. Duncan Dance Awards and was selected of Northwestern University, is from Eugene, for the Bessie Schonberg choreographic Oregon, and lives outside Washington, DC Heidi Zamora (Costume Designer) has residency at The Yard. In addition to her own with his wife, actress Erin Weaver, and his previously designed costumes for Orphee work, Rachael has been a member of The Joe amazing daughter, Maisie. et Eurydice (Seattle Opera); Who’s Afraid of Goode Performance Group and the assistant Virginia Woolf? (Seattle Repertory Theatre); director of Bandaloop. With Leslie Seiters, Jessica Kubzansky (Director) is the Co- If You Give A Mouse a Cookie, Hamlet she is co-founder and director of the duet Artistic Director of The Theatre @ Boston (Seattle Children’s Theatre); and at Seattle company Lean-to-Productions. Rachael is now Court (T@BC) in Pasadena, and an award- Shakespeare Company, The Empty Space, on faculty at the University of Washington. winning director working nationally at The Book-It Repertory Theatre, and Strawberry Cherry Lane, Rattlestick, ACT, Portland Theatre Workshop. Heidi is a co-founder, JR Welden (Stage Manager) has stage Center Stage, Illinois Shakespeare Festival, former co-Artistic Director, and former managed Cat On a Hot Tin Roof, The Invisible Silk Road, The Aurora, South Coast Rep, The board president of Washington Ensemble Hand, Uncle Ho to Uncle Sam, Mary Stuart, Geffen Playhouse, Pasadena Playhouse, and Theatre and has designed costumes for 17 One Slight Hitch, Eurydice, The Underpants, others. Previously at ACT: Jeanne Sakata’s of the Ensemble’s productions, including and A Christmas Carol at ACT. He stage Hold These Truths with Ryun Yu. Recently: Bengal Tiger at the Baghdad Zoo, Crave, managed 10 seasons at Intiman, working on the world premiere of Stefanie Zadravec’s blahblahblahBANG, and RoboPop!, which productions including The Grapes of Wrath; Colony Collapse (T@BC); Luis Alfaro’s Mojada, she also co-directed. Heidi is the Costume Nickel and Dimed; and The Mandrake Root, A Medea in Los Angeles (Boston Court at The Show Manager and Resident Costume Design with Lynn Redgrave. At Seattle Repertory Getty Villa); Pygmalion (Pasadena Playhouse); Coordinator at Seattle Opera. Heidi received Theatre, his credits include Blue Door, The the New York premiere of Sheila Callaghan’s her M.F.A. in costume design from the Chosen, and Pygmalion. Everything You Touch (Rattlestick/True Love at University of Washington in 2002. The Cherry Lane); RII, her own three-person John Langs (Artistic Richard II (T@BC); plus world premieres Rick Paulsen (Lighting Designer) is delighted Director) John has been of EYT, Michael Elyanow’s The Children, to be returning to ACT, where his lighting delighted to serve as Jordan Harrison’s Futura, Laura Schellhardt’s was fi rst seen in 1984. Since then, Paulsen Associate Artistic Courting Vampires, Mickey Birnbaum’s Bleed has lit more than 60 shows at ACT including Director of ACT for Rail, Carlos Murillo’s Unfi nished American First Class, Vincent in Brixton, Fiction, The Trip three years, and is Highwayscape #9 & 32, Jean Claude Van to Bountiful, Lonely Planet, Becky’s New Car, ACT’s Artistic Director Itallie’s Light, Cody Henderson’s Cold/Tender, Yankee Tavern, Double Indemnity, One Slight in 2016. John’s 16-year as well as Camino Real and Mother Courage Hitch, The Pinter Festival, Uncle Ho to Uncle freelance career has afforded him the (T@BC). Elsewhere: James Still’s I Love to Eat Sam, Assisted Living, and Sugar Daddies. opportunity to work with many prestigious (Portland Center Stage); Macbeth (Antaeus), Paulsen’s work has appeared all around theatre companies across the country. He has The 39 Steps (La Mirada); Hamlet with Leo Seattle and across the nation. Some recent directed productions at Playwrights Horizons Marks, Jen Haley’s Breadcrumbs (Theater work of interest includes Double Indemnity NY, Ensemble Studio Theater NY, Milwaukee 150); Glass Menagerie, Toys in the Attic, (San Jose Repertory Theatre), Goodnight Repertory Theatre, Lookingglass Theater Heartbreak House (The Colony Theatre). Moon (Young Peoples Theatre in Toronto), Company in Chicago, Circle X in Los Angeles, World premieres of Julie Hébert’s Tree (EST/ and A Year with Frog and Toad (Childsplay). A The Resident Ensemble, New Century Theatre LA), Bryan Davidson’s War Music (Geffen proud member of United Scenic Artists, IATSE Company, Washington Ensemble Theatre, and Playhouse), Bob Clyman’s Tranced (Laguna Local USA-829, he serves on the Western Seattle Shakespeare Company. John received Playhouse), plus Sheila Callaghan’s Kate Region Board and the National Board of this his directing degree from UNCSA. Some of his Crackernuts (24th Street Theatre), and others. union. He is, most importantly, devoted to his favorite directing credits include The Shaggs Other Chekhov riffs she has been privileged to wife Roberta and daughter Paige. Philosophy of the World (LA Drama Critics direct: world premieres of Salamone/McIntyre’s Circle Award for Best Original Musical), and musicals Gulls (a riff on The Seagull at Boston Robertson Witmer (Sound Designer) was Brothers Karamazov (seven LADCC Awards Court) and Moscow (a riff on Three Sisters at seen recently onstage at ACT as the musician including Best Production of the year and Best Playwrights Arena), as well as Tom Jacobson’s in Mr. Burns, a post-electric play. His recent Direction) and directing Kurt Beattie in King The Orange Grove (a riff on The Cherry sound design credits include Seven Ways to Lear. John received the fi rst annual Seattle Orchard, Playwrights’ Arena). Kubzansky Get There, The Three Sisters (ACTLab); Mrs. Gregory Award honoring excellence in teaches at UCLA and has received numerous Warren’s Profession, Mother Courage (Seattle direction for The Adding Machine. Recent awards, including LA Drama Critics Circle Shakespeare Company); and The Flick (New Seattle credits include Mary’s Wedding Award for Sustained Excellence in Theatre. Century Theatre Company). His onstage (NCTC), The Seagull Project’s The Three appearances include A Doctor in Spite of Sisters, and Othello (Seattle Shakespeare Martin Christoffel (Scenic Designer) is a Himself (Intiman, Berkeley Repertory Theatre); Company). As a dedicated fan of original local designer, happy to be returning to ACT Fiddler on the Roof (Village Theatre), and work, John has shepherded over a dozen where previously he designed An Evening of West (On the Boards). In 2013, Rob received projects to their premieres. One Acts, Little Shop of Horrors, The Lady the Gregory Award for Outstanding Sound
A–10 ACT – A Contemporary Theatre
ACT016b bird.indd 10 4/1/16 9:26 AM Special Fund Donors
Carlo Scandiuzzi ACT Endowment Donors (Executive Director) is a ACT’s endowment is administered by the A Contemporary Th eatre Foundation. founder of Agate Films Buster & Nancy Alvord • Joan & Larry Barokas • Michael Corliss-Investco • Katharyn Alvord Gerlich • and Clear Pictures, producing such fi lms as Becky & Jack Benaroya • Charles Blumenfeld & Karla Axell • Ron & Jan Delismon • The Ewert Family • Prototype, Dark Drive, Bruce & Dawn Goto • William Randolph Hearst Endowed Fund for Education & Outreach Programs • Outpatient, and The Kreielsheimer Remainder Fund • Doug & Nancy Norberg • Sally Pence • Katherine & Douglass Raff • Flats, and Indiefl ix, a Brooks & Suzanne Ragen • Herman & Faye Sarkowsky • David E. & Catherine E. Skinner • distribution company. In 1979, Scandiuzzi Kayla Skinner • Estate of Stuart Smailes • Rose & the late John Southall • David & Joyce Veterane • started Modern Productions, bringing to The Peg & Rick Young Foundation • Anonymous Seattle such legendary bands as The Police, Devo, Nina Hagen, Iggy Pop, The Ramones, John Cale, Robert Fripp, James Brown, Muddy The ACT Legacy Society Waters, and many more. He performed in The ACT Legacy Society honors ACT patrons who continue to support and several plays at Empty Space Theatre ensure the ongoing tradition of presenting the best contemporary theatre for including Aunt Dan and Lemon, The Return of future generations through estate planning, wills, and living trusts. Investments Pinocchio, and Dracula. In the early ‘80s, he of all sizes can make signifi cant future gifts by using tax-advantaged estate and collaborated with many Seattle performance artists such as Norman Durkee, Alan Lande, fi nancial planning options. Specifi c areas where ACT can benefi t from your legacy and Jesse Bernstein. He also acted in various are scholarships, endowments, capital projects, or operating costs. Questions or fi lms including Bugsy, The Public Eye, Another arrangements can be discussed with our Development Department at 206.292.7660 x1330. You, Casanova’s Kiss, and Killing Zoe. He ACT Legacy Society Members graduated from the Ecole Superieure D’Art Dramatique of Geneva. Carlo currently serves Nancy Alvord • Laurie Besteman • Jean Burch Falls • Linda & Brad Fowler • Tal & Carol Godding • as a member of the Seattle Arts Commission. Suzanne Howard • H. David Kaplan • Carolyn Keim & Connie Rinchiuso • David Mattson • Mike McCaw & Janet Westin • Catherine & Barry McConnell • Steven McCoy & Larry Henderson • Dr. Becky Witmer Arnie & Judy Ness • Lisbeth Pisk • Brooks & Suzanne Ragen • Teresa Revelle • Chuck Sitkin • GregRobin (Managing Director) Smith • Rose & the late John Southall • Judith Warshal & Wade Sowers • Dorothy E. Wendler has been with ACT since 2011, serving as the General Manager Special Thanks (2014-2015) and also ACT gratefully acknowledges the following professionals and organizations who have helped the Director of make this season a success: Marketing and Keith Johnson, Daqopa Brands LLC • AJ Epstein • Seattle Eye Care & Optical, Grady Hughes, MD • Communications (2011-2014). Becky began her career in arts management through Bradley Sweek, Amiga Light • Wiley Basho Gorn marketing and communications. She was the Director of Marketing and Public Relations at Intiman Theatre (2008-2011) and Opera Colorado (2006-2008). She was the Associate Director of Marketing with Central PATRON INFORMATION City Opera (2002-2005). Becky is an advisory board member for TeenTix, a founding co- Emergency Evacuation Procedures Sign Language interpreted and audio-described chair of the Cultural Resource Collective, an In the event of an emergency, please wait for an performances. For more information, email Arts Business Consultant with Shunpike, and announcement for further instructions. Ushers will be [email protected]. she frequently appears as a guest lecturer for available for assistance. Lost & Found Seattle University’s Arts Leadership M.F.A. Emergency Number Call 206.292.7676 between 12:00pm and 6:00pm, program. She is a current participant in the The theatre’s emergency number in the Union lobby is Tues–Sun. Leadership Tomorrow program. 206.292.7667. Leave your exact seat location with your emergency contact in case they need to reach you. Address & Website ACT operates under agreements with the ACT is located at following: Smoking Policy 700 Union Street, Seattle, WA 98101. Smoking is NOT allowed in any part of the theatre or Ticket Offi ce Phone: 206.292.7676. within 25 feet of the entrance. Administrative Offi ce Phone: 206.292.7660. Fax: 206.292.7670. Firearms Policy Website: www.acttheatre.org. No fi rearms of any kind are allowed in any part of the theatre. Theatre Rental For information regarding booking, This theatre operates under an Food contact [email protected]. agreement between the League of Food is not allowed in the theatre. Tuxedos & Tennis Shoes is the exclusive caterer of ACT. Group Sales Resident Theatres and Actors’ Equity Groups of 10 or more can save. Association, the Union of Professional Accessibility Call 206.292.7676 or Actors and Stage Managers in the United Wheelchair seating is available. The theatre is email [email protected]. States. equipped with the Williams Sound® Listening System for the hard of hearing; headsets are available from Fragrance the house manager for use, free of charge, with a Please be considerate and keep personal fragrance to valid ID and subject to availability. ACT offers American a minimum.
encoreartsprograms.com A–11
ACT016b bird.indd 11 4/1/16 9:26 AM Making Her Way Donor Rose Southall on why ACT is her theatre
St. James Cathedral, Northwest Harvest, and Seattle University are just a few of the organizations championed by ACT donor Rose Southall and her late husband John Southall. Rose believes passionately in giving back to the community through education, health and human services, and of course, the arts. As a subscriber, ACTPass and Legacy Society member, her ACT story started in 1968, when she saw Waiting for Godot at ACT’s original home on Queen Anne.
Rose and her late husband, both longtime Boeing employees, were reintroduced to the theatre during its mid- 90s move to a new home at Kreielsheimer Place. “There was a promotion for Boeing employees—it was a new opportunity to see theatre and we went,” Rose remembers. The Southalls became subscribers and donors the next year.
“It’s about giving back to something that’s given me something,” Rose says on why she’s continued to be an Annual Fund donor. Her love of ACT stems from its diversity in programming and the unique Executive Director Carlo Scandiuzzi with Rose at the 2015 Golden Celebration Gala. PHOTO BY JOHN ULMAN. format of presentations: “There’s a special intimacy to these spaces,” she says of The donors of $250 and above where patrons the movie adaptation of a Mainstage show. Falls and The Allen Theatres. get a sneak peek into technical rehearsal and some behind-the-scenes stories from While benefits such as invitations to ACT’s production staff. Tech Talk, Opening Night Dinners, and the “What we have spent Gala are enjoyable perks of giving, Rose’s “You get an initial insight into the show, decision to support ACT is about investing is gone, what we and [Technical Director] Steve Coulter does in its future. For her, stewardship isn’t just a great job of that.” There’s also a strong about maintaining the status quo—it’s have kept is lost, sense of community among Tech Talk about taking theatre to a new level. and what we invest attendees. She looks forward to seeing and speaking with regulars—the donors and Since her husband’s passing in 2014, trustees she’s come to know over the years. Rose continues to honor his legacy and in others is ours strikes out on her own, making her way forever.” A Skyline resident, Rose is passionate and impacting the world with kindness and about opportunities for her own grace. There’s a quote Rose gives, adapted community to further connect with the from AARP founder Ethel Percy Andrus, Rose is a consistent attendee at events art on stage. Some of her favorite past to sum up her philanthropic philosophy such as Behind the Scenes and Tech Talk, events have been movie nights with Artistic beautifully: “What we have spent is gone, but she’s not just there for the wine! She Director Emeritus Kurt Beattie, who would what we have kept is lost, and what we loves Tech Talks, our exclusive receptions for have dinner with residents before watching invest in others is ours forever.”
A–12 ACT – A Contemporary Theatre
ACT016b bird.indd 12 4/1/16 9:26 AM ACT Corporate, Foundation & Government Sponsors ACT gratefully recognizes the following corporations, foundations, and government agencies for their generous support of our 2015 programs. Without such tremendous community support, ACT would not be able to offer outstanding contemporary theatre, in-school educational programming, or community-based outreach.
THEATRE SPONSORS EVENING SPONSORS SUSTAINING PARTNERS $100,000+ $10,000–$24,999 $1,000–$4,999 ArtsFund Daqopa Brands Fales Foundation Trust Elizabeth George Foundation McEachern Charitable Trust SEASON SPONSORS Harvest Foundation Morrison Hershfi eld Corporation $50,000–$99,999 Microsoft Corporation Seattle P-I The Boeing Company Peg & Rick Young Foundation Wyman Youth Trust Offi ce of Arts & Culture TEW Foundation The Shubert Foundation Inc. MEDIA PARTNERS STAGE SPONSORS City Arts Magazine† SHOW SPONSORS $5,000–$9,999 Classical KING FM† $25,000–$49,999 Bob & Eileen Gilman Family Foundation KCTS9† 4Culture Break-Away Tours KEXP† John Graham Foundation Gordon Biersch Brewing Co† KUOW† National Endowment for the Arts Horizons Foundation Seattle P-I The Nesholm Family Foundation Humanities Washington The Seattle Times† North Carolina School of the Arts Foundation RealNetworks Foundation The Stranger† Tuxedos and Tennis Shoes† The Seattle Foundation † Support provided through in-kind contributions. Treeline Foundation U.S. Bancorp Foundation Washington State Arts Commission
ACT gratefully acknowledges the following for their contributions to this production and season:
THE JOHN GRAHAM FOUNDATION
encoreartsprograms.com A–13
ACT016b bird.indd 13 4/1/16 9:26 AM ACT Partners ACT is dedicated to producing relevant works on contemporary themes. This is made possible by generous contributions from people in our community. We would like to recognize and thank the many kind individuals who have partnered with ACT this year. You inspire us all. Thank you.
THEATRE SPONSOR EVENING SPONSOR $100,000+ $10,000–$24,999 Katharyn Alvord Gerlich Benjamin & Marianne Bourland Eulalie M. & Gian-Carlo Scandiuzzi Trevor Cobb & Cecilia Cayetano James Degel & Jeanne Berwick, Berwick Degel Family Foundation SEASON SPONSOR Jean Burch Falls $50,000–$99,999 Linda & Brad Fowler Chap & Eve Alvord Gary & Paul Houlahan Nancy Alvord Gregory & Diane Lind Anonymous Nadine & John Murray Susan & John Pohl SHOW SPONSOR Teresa & Geoff Revelle $25,000–$49,999 Anonymous
ASSOCIATE $5,000-$9,999 Allan & Anne Affleck Dennis & Deborah DeYoung Eugene & Donna Mikov Donald & Jo Anne Rosen Melinda & Walter Andrews Charles Fitzgerald Yoshi & Naomi Minegishi David & Shirley Urdal Joan & Larry Barokas James & Barbara Heavey Gloria & David Moses Jean Viereck Laurie Besteman & Jack Lauderbaugh John & Ellen Hill Dr. Arnie & Judy Ness Marcia & Klaus Zech Sonya & Tom Campion Bill Kuhn & Patricia Daniels Linda 7 George Ojemann Anonymous (2) Allan & Nora Davis May McCarthy & Don Smith Katherine & Douglass Raff
FRIEND $2,500-$4,999 Richard & Constance Albrecht Linda & Ted Johnson Nancy Parker Chuck Sitkin Peter & Fran Bigelow Karen Koon & Brad Edwards Brooks & Suzanne Ragen Warren & Nancy Smith Thomas P. & Christine M. Griesa Kyoko Matsumoto Wright Evelyne Rozner & Matt Griffin Ron & Carol Sperling Richard Hesik & Barbara Johns Joy McNichols Ingrid Sarapuu & Michael Anderson Tamzen Talman Stephanie M. Hilbert Douglas & Nancy Norberg Barry & Colleen Scovel Judith Warshal & Wade Sowers Dale & Donna Holpainen The Nordhoff Family Dr. Larry Hohm & Karen Shaw Anonymous Heather & Grady Hughes Lee Ann & Randy Ottinger Don & Goldie Silverman
SUSTAINING PARTNER $1,000-$2,499 A Michael & Pamela Adams Anne Foster Tony Martello John Shaw Sheena Aebig & Eric Taylor Mrigankka Fotedar Eric Mattson & Carla Fowler Lisa Simonson John Akin & Mary Stevens Eleanor & Jeff Freeman Peter & Kelly Maunsell Sheila Smith & Don Ferguson Rhett Alden & Marcia Engel Natalie Gendler Frances & Casey Mead Rose & the late John Southall Kermit & Danna Anderson Lawrence & Hylton Hard Gail & John Mensher Robert & Shirley Stewart Jane & Brian Andrew Peter Hartley & Sheila Noonan Lauren Mikov & John Muhic Jeffrey A. Sutherland Kendall & Sonia Baker Ross & Kelsey Henry Dayle Moss & David Brown Mark & Arlene Tibergien Marge & Dave Baylor Margot & Paul Hightower Bill & Mary Ann Mundy Jim & Kathy Tune Margaret Bullitt Vaughn Himes & Martie Ann Bohn James Nichols & Beth Amsbary Dirk & Mary Lou Van Woerden Bruce Burger Nancy & Martha Hines Chris & BJ Ohlweiler Vijay & Sita Vashee Dr. William Calvin & Dr. Katherine Graubard Joseph & Linda Iacolucci Hal Opperman & JoLynn Edwards Paul G. & Mary Lou Dice Vibrans Corinne A. Campbell Katherine Ann Janeway & H.S. Wright III Pamela & Gilbert Powers Ellen Wallach & Tom Darden Jeffrey & Alicia Carnevali Clare Kapitan & Keith Schreiber Alan & Andrea Rabinowitz Tom & Connie Walsh Frank & Denise Catalano Abha Khanna & Adam Porsch Matthew & Linda Radecki Nancy Weintraub Jim Lobsenz & Elizabeth Choy Craig Davis & Ellen Le Vita Ken Ragsdale Mary & Donald Wieckowicz Patricia & Theodore Collins Eileen Lennon & Barrie Carter Cindy & Lance Richmond George & Colleen Willoughby Steve Coulter Charlotte Lin David & Valerie Robinson Fund Kathy & Chic Wilson Todd & Sylvie Currie Loeb Family Foundation Richard Andler & Carole Rush Ann P. Wyckoff Bob & Kristi Diercks Stephen & Ellen Lutz Tove Ryman Anonymous (7) Lonnie Edelheit Jane W. & James A. Lyons William & Rae Saltzstein Lori Eickelberg Alice Mailloux Barbara Sando
SUPPORTING PARTNER $500–$999 Monica Alcabin Diane & Jean-Loup Baer Luann & Irv Bertram Colin & Jennifer Chapman Jerry Anches Dr. & Brs. Bensinger Susan Campbell Martin Christoffel & Shirley Schultz Chase Anderson Neil & Bekki Bergeson Dennis & Aline Caulley Clark Family Charitable Fund
A–14 ACT – A Contemporary Theatre
ACT016b bird.indd 14 4/1/16 9:26 AM Nancy Cleminshaw Rodney & Jill Hearne Kathy McGoldrick Darshana Shanbhag Judy & Bob Cline Marjorie Kennedy Hemphill Tami & Joe Micheletti Michael C. Shannon Tom & Susan Colligan F. Randall & Barbara Hieronymus Mark & Susan Minerich Barbara & Richard Shikiar Ellen & Phil Collins Jim & Linda Hoff Frank Mitchell Jeff Slesinger & Cynthia Wold Kevin & Lisa Conner Sara Comings Hoppin Michael Moody & Martha Clatterbaugh Helen F. Speegle Kathleen Sneden-Cook & Jack Cook Eric & Mary Horvitz Wesley Moore & Sandra Walker Jen Steele & Jon Hoekstra Jan & Bill Corriston Susan & Phillip Hubbard Sallie & Lee Morris Kim Stindt & Mark Heilala Joan Cremin Earl & Mary Lou Hunt Zack Mosner & Patty Friedman Isabel & Herb Stusser Chris Curry Dean M. Ishiki Jim Mullin Norm & Lynn Swick Kathy & Don DeCaprio Wendy Jackson James Nichols Margaret Taylor Darrel & Nancy Dochow David B. Johnson Linda Niebanck Christopher & Mary Troth Rayner D’Souza Ms. Joan E. Mathews Julnes Craig & Deanna Norsen Dr. & Mrs. Kevin J. Ward Shmuel El-Ab & Patricia Emmons Lura & David Kerschner Kristin Olson Vreni Von Arx Watt Joanne R. Euster Steven & Patricia Kessler Cynthia & Bruce Parks Jeff & Carol Waymack Teresa Irene Ferguson Patricia Killam Debbie Paul Eric Weber Rick Freedman David & Karen King Dr. Greg Perkins Janet Westin & Mike McCaw Dot Fuller Alexander Grigorovitch & Vera Kirichuk Donald Pogoloff Greg Wetzel Gary J. Fuller & Randy L. Everett Dr. Edward & Mimi Kirsch Judy G. Poll Ken & Carol Whitaker Lucy Gaskill-Gaddis & Terry Gaddis George & Linda Lamb Megan & Greg Pursell Philip & Susan White Jean Garber & Clyde Moore Max Langley Matthew & Linda Radecki Dianne & Douglas Wills Sergey Genkin Paul & Linda Larson David Ragozin & Marilyn Charlat Dix Scott & Shirley Wilson Genevra Gerhart Rhoda & Thomas Lawrence Craig & Melissa Reese Susan Wolcott & George Taniwaki Boyd & Ann Givan Ed & Barbara Lee Cecilia Paul & Harry Reinert Nancy Worsham Hellmut & Marcy Golde Mark P. Lutz Catherine & Thurston Roach Josette Yolo Claire Grace C. Gilbert Lynn Jean & Kirk Robinson Joyce & Christian Zobel Kelly & Jeffrey Greene Bill & Holly Marklyn Randy & Willa Rohwer Igor Zverev & Yana Solovyeva Rhonda & Jim Greer Barbara Martyn Marc Rosenshein & Judy Soferman Anonymous (4) Diana & Peter Hartwell Janet McAlpin Harold Sanford Phyllis Hatfi eld Frank Lawler & Ann McCurdy Marybeth & Jerry Satterlee
This list refl ects donations made to the annual fund between January 1, 2015 and January 1, 2016. ACT works to maintain our list of donors as accurately as possible. We apologize for any misspellings or omissions. Should you fi nd any, please contact our offi ce so that we may correct any mistakes in future publications. Email [email protected] or call 206.292.7660 x1330.
ManyACT thanks to thefor individuals the and organizations Future helping ACT toCampaign invest in artistic vision, maximize our facility’s potential, deepen and broaden community connection, and assure sustainability.
VISIONARIES $100,000+
Nancy Alvord The Norcliffe Foundation State of Washington Linda & Brad Fowler Eric and Margaret Rothchild Department of Commerce Katharyn Alvord Gerlich Charitable Fund True-Brown Foundation
$50,000-$99,999 $10,000-$24,999 Lisa Simonson 4Culture Kermit & Danna Anderson Margaret Stanley Allen & Anne Affl eck Joan & Larry Barokas Kären White Gladys Rubenstein Dr. Eric Bennett Chuck Sitkin Richard Hesik & Barbara Johns $1,000-$4,999 Bob & Kristi Diercks Brian Turner & Susan Hoffman Bill Kuhn & Patricia Daniels Hashisaki /Tubridy Family David & Joyce Veterane Gregory & Diane Lind Ross & Kelsey Henry Wyman Youth Trust Jane W. & James A. Lyons Stephanie M. Hilbert May McCarthy & Don Smith Abha Khanna & Adam Porsch $25,000-$49,999 Dr. Arnie & Judy Ness Peter & Fran Bigelow Dr. Greg Perkins Ingrid Sarapuu & Michael Anderson Betty Bottler Teresa& Geoff Revelle Franklin & Karen Thoen Allan & Nora Davis Dr. Larry Hohm & Karen Shaw David & Shirley Urdal Charles Fitzgerald Robert & Shirley Stewart Gary & Parul Houlahan $5,000-$9,999 Susan Yates Joshua Green Foundation Laurie Besteman & Jack Lauderbaugh The Peg & Rick Young Foundation Naomi & Yoshi Minegishi Colin & Jennifer Chapman Anonymous Katherine & Douglas Raff Trevor Cobb & Cecilia Cayetano Don & Goldie Silverman Natalie Gendler Steve & Diana White Heather & Grady Hughes Mr. & Mrs. Clyde Wilson Barry & Colleen Scovel
encoreartsprograms.com A–15
ACT016b bird.indd 15 4/1/16 9:26 AM ACT A Theatre of New Ideas ACT Board EMERITUS COUNCIL ADMINISTRATION SALES AND AUDIENCE COSTUME DEPARTMENTS Richard C. Clotfelter Chris DeGracia SERVICES Lisa A. Knoop Of Trustees Esther Schoenfeld Capital Projects and Operations Costume Director Jessica Howard Manager Charles Sitkin Director of Sales and Audience Renita Davenport Chairman Hannah Schirman Services Costume Shop Foreman A Contemporary Events and Venue Manager Ross Henry Scott Herman Susanne R. Ferguson Vice President Theatre James Stone Customer Service Manager First Hand Facilities Maintenance Gary Houlahan Foundation Ada Karamanyan Sally Mellis† Treasurer Board AC/R Services Front Office Representative Wardrobe Master Engineer Bill Kuhn Laura Owens Joyce Degenfelder† Kermit Anderson Secretary Rica Wolken Amelia Wade Wig Master President Matt Aalfs IT Director Kathryn Wahlberg Lucinda Richmond Joan Barokas Ashley Schalow Nina Yarbrough SCENIC DEPARTMENTS Vice President Ticket Office Representatives Eric Bennett Database Manager Steve Coulter† Leslie Ray Bernstein Katherine Raff Tuxedos and Tennis Shoes Jeremy Rupprecht Technical Director Laurie Besteman Secretary Audience Services Manager Catering Derek Baylor† Trevor Cobb Brian Turner Bar and Concessions Amanda Rae Assistant Technical Director Rayner D’Souza Treasurer House Manager Bob Diercks Austin Smart† Charles Fitzgerald Brad Fowler FINANCE Ty Bonneville Scene Shop Foreman Gary Houlahan Assistant House Manager Richard Hesik Sheila Smith Sean Wilkins† Catherine Roach Stephanie Hilbert Director of Finance Katie Bicknell Master Scenic Carpenter Charles Sitkin Grady Hughes Hana Christenson Sandi Hogben Nick Murel Abha Khanna Ryan Higgins Payroll and Accounts Payable Scenic Carpenter Diane Lind ACT Staff Specialist Monika Holm Kyoko Matsumoto Wright Linnea Ingalls Jeff Scott Dave Clelland May McCarthy Michael McClain Scenic Charge Artist EXECUTIVE Senior Accountant Lauren Mikov Robin Obourn † John Langs Lisa Bellero Naomi Minegishi Becky Plant Artistic Director Assistant Charge Artist James Minorchio DEVELOPMENT Kyle Traver † John Muhic Carlo Scandiuzzi Clare Hausmann Weiand Shane Unger Marne Cohen-Vance Judy Ness Executive Director Director of Development Adam Vanhee Properties Master George Ojemann † Becky Witmer Robert Hankins Audience Services Ken Ewert Teresa Revelle Managing Director Associate Director of Development Christine Jew Master Properties Artisan Ingrid Sarapuu Audience Services Affiliate Thomas Verdos† Barry Scovel Samie Detzer Sarah Guthu Lead Properties Artisan Karen Shaw Literary and Executive Manager Grants Manager John Siegler Jill Robinson PRODUCTION Goldie Gendler Silverman ARTISTIC Development Officer Alyssa Byer STAGE OPERATIONS † Rob Stewart Kurt Beattie Production Manager Nick Farwell Larry True Andrew P. Storms Stage Operations Supervisor Artistic Director Emeritus Development Associate Ruth Eitemiller Ryan Waite † † Assistant Production Manager James Nichols Shanna Waite Margaret Layne Master Stage Carpenter Director of Casting MARKETING, SALES, Skylar Hansen † ACT Advisory Angie Kamel AND COMMUNICATIONS Production Office Manager Pam Mulkern Master Electrician Council Artistic Engagement Manager Amy Gentry Emily Penick Director of Marketing and STAGE MANAGEMENT Max Langley Sheena Aebig Literary and Artistic Manager Communications Jeffrey K. Hanson† Master Sound Engineer Daniel D. Ederer Production Stage Manager Kenna Kettrick Aubrey Scheffel Jean Burch Falls Young Playwrights Program Interim Marketing Manager JR Welden, Erin B. Zatloka FOR THIS PRODUCTION Jeannie M. Falls Administrator Jillian Vasquez Stage Managers Jennifer Bacon John H. Faris Sound Engineer Brad Fowler Emma Bjornson, Spencer Hamp, Marketing Associate David Hartig Carolyn H. Grinstein Arica Jeffery Valerie Brunetto Tori Thompson Leicester Landon Sara Comings Hoppin Literary Interns Public Relations and Emma Pihl Production Runner Verhanika Willhelm C. David Hughbanks Communications Manager Jeff Manzolli Jonathan D. Klein Production Assistants Rosie Daniels Stage Carpenter Jane W. Lyons Graphics Associate Gloria A. Moses Nadine H. Murray Pressing Pictures Douglas E. Norberg Video Services Kristin G. Olson Apex Media Donald B. Paterson Advertising Eric Pettigrew Chris Bennion Pamela Powers Production Photographic Services Katherine L. Raff Brooks G. Ragen Christa Fleming Catherine Roach Graphic Design Services Jo Anne Rosen Faye Sarkowsky David E. Skinner Brian Turner George V. Willoughby David E. Wyman Jr.Jane H. Yerkes † Denotes staff member has worked at ACT for 10 years or more
A–16 ACT – A Contemporary Theatre
ACT016b bird.indd 16 4/1/16 9:26 AM