A DOLL'S HOUSE, PART 2 by Lucas Hnath

A Doll’s House 4TH WALL THEATRE COMPANY PRESENTS

written by

part 2

LUCAS HNATH directed by ALANNA DORSETT

“smart, funny and utterly engrossing”

The New York Times

4th Wall Theatre Company is funded in part by the City of Houston through Houston Arts Alliance and the State of Texas through the Texas Commission on the Arts.

4th Wall’s mission is to produce extraordinary professional theatrical experiences and to set a high standard for excellence in acting, direction, and design. We believe that only by paying artists a fair wage can we grow and sustain the community of professional theatrical artists in Houston.

4TH WALL STAFF

BOARD OF DIRECTORS

ADVISORY BOARD

Philip Lehl Artistic Director

Gary Chiles President Patricia Larson Secretary Harriet Schubb Treasurer Kenneth Bohan Howard M. Bookstaff Sharyn Feller Harris Michelle Mower

Holly Beretto Jennifer Decker Julie Herman Emma Jacobs Ruth McCleskey Michael Mullins Gabriella Nissen John & Kelly Raley Jason Roberts Chip Schneider Dr. Robert Shimko Diane Tobin Nancy Wozny

Tim Richey Managing Director Kim Tobin-Lehl Resident Artist Catherine Dunaway Marketing & Development Manager Kalin Menzel Communications Coordinator

Dan O’Brien Carol Sugimoto

4th Wall Theatre Company is a 501(c)(3) not-for-profit organization founded in 2011 by Kim Tobin-Lehl and Philip Lehl. Donations to 4th Wall are tax deductible to the full extent of the law.

Contact our office at info@4thwalltheatreco.com or by calling (832) 767-4991.

SPECIAL THANKS Special Thanks to the following people and institutions for their involvement with our administration or artistic efforts during this production of A Doll’s House, Part 2: Ted Doolittle and The Urban Foresters, Mark Seavers, Michael Mullins, A.D. Players, Annie Arnoult and the Open Dance Project

4TH WALL THEATRE COMPANY Philip Lehl, Artistic Director • Tim Richey, Managing Director

presents

By LUCAS HNATH

Directed by ALANNA DORSETT

CAST Nora...................................................................................Kim Tobin-Lehl* Torvald.......................................................................................Philip Lehl* Anne Marie.................................................................Sally Edmundson* Emmy.....................................................................................Judith Igwilo

DESIGNERS & PRODUCTION CREW Stage Manager..................................................................Kalin Menzel* Assistant Director........................................................Dominic Kelley Set Design..................................................................Ryan McGettigan Lighting Design.....................................................Christina Giannelli Sound Design........................................................... Yezminne Zepeda Costume Design...................... Kathryn Currin and Cherie Acosta Properties Master............................................................Lauren Davis Carpenter.....................................................................Santiago Sepeda COVID-19 Safety Officers............ Michele Harrell, Debs Ramser, ...................................................................Rebecca Skupin Marcontell *Members of Actors’ Equity Association, the Union of Professional Stage Actors and Stage Managers

Setting: Norway. Inside the Helmer house. 15 years since Nora left Torvald.

Runtime: Approximately 90 minutes with no intermission A DOLL’S HOUSE, PART 2 is presented by special arrangement with Dramatists Play Service, Inc., New York.

Originally produced on Broadway by Scott Rudin, Eli Bush, Joey Parnes, Sue Wagner, and John Johnson. Comissioned and first produced by South Coast Repertory. A DOLL’S HOUSE, PART 2 benefitted from a residency at New Dramatists.

This organization is funded in part by the City of Houston through the Houston Arts Alliance, by the State of Texas through the Texas Commission on the Arts, and by the National Endowment for the Arts.

DIRECTOR’S NOTE

When Henrik Ibsen’s A Doll House premiered in 1879, it became “the door slam heard ‘round the world” and brought theatre into the modern age. Until this point, Western plays had been written to uphold moral authority, not question it. This play was the first of its kind, shocking audiences with the idea that a woman could walk away from her family to find herself and leaving us with the question…

“What happens next?” Lucas Hnath’s A Doll’s House, Part 2 reopens that infamous door when trouble comes knocking fifteen years later and brings Ibsen’s themes into a contemporary light.

Ibsen’s play explored the concepts of humanism — the idea that people have the freedom to choose their own set of ethics regardless of gender, religion, race, or sexual orientation and that self-actualization is a basic human right. His choice of play title hinted that all the characters (men and women alike) were trapped much like children’s role-bound toys, playing out the parts that society expected of them.

Hnath takes Ibsen’s beliefs a step into the future and filters them through the lens of modern feminism to address the struggles women face today in their fight for equality.

Hnath’s “sequel” functions as a stand-alone piece of drama inspired

by Ibsen’s characters, but it also points out how relevant A Doll’s House still is today. Unfortunately, the world hasn’t changed as much for women in the past one hundred fifty years as many had hoped it would. Our culture still punishes or undermines females for being their authentic selves, demonstrating that the fight for equality is far from over. (Staging this play shortly after the Texas congress passed the Heartbeat Act feels particularly timely. Like Nora, women still do not have the right to choose for themselves, regardless of their circumstances.)

By opening a door from the past, Hnath creates a forum for debate and gives each character the opportunity to argue their case and weigh the costs of freedom. This play grapples with the consequences of being true to oneself and questions how we continue to ask women to sacrifice themselves for the betterment of society. To break the cycle, we need to let go of outdated ideals and embrace a future of authentic self-discovery. Although we may look, talk, or behave differently, perhaps we are not all that different from the characters trapped in the doll house of Ibsen’s era. In essence, old social constraints must die in order for a new, self-actualized, free world to be reborn.

Alanna Dorsett Director

REVISITING “PART 1”

A Doll’s House by Henrik Ibsen was first performed at The Royal Theatre in Copenhagen in December 1879. Nora’s exit at the end of the play (excerpted below from Michael Meyer’s translation) is the preceding event to her imagined return in Hnath’s Part 2.

HELMER: This is the end, then! Nora, will you never think of me any more?

NORA: Yes, of course. I shall often think of you and the children and this house.

HELMER: May I write to you, Nora?

NORA: No. Never. You mustn’t do that.

HELMER: But at least you must let me send youNORA: Nothing. Nothing.

HELMER: But if you should need help – ?

NORA: I tell you, no. I don’t accept things from strangers.

HELMER: Nora – can I never be anything but a stranger to you?

NORA: (picks up her bag). Oh, Torvald! Then the miracle of miracles would have to happen.

HELMER: The miracle of miracles!

NORA: You and I would both have to change so much that – oh, Torvald, I don’t believe in miracles any longer.

HELMER: But I want to believe in them. Tell me.

We should have to change so much that – !

NORA: That life together between us two could become a marriage. Goodbye.

[She goes out through the hall.]

HELMER: (sinks down on a chair by the door and buries his face in his hands) Nora! Nora! (looks round and gets up) Empty! She’s gone! (a hope strikes him) The miracle of miracles – ?

[The street door is slammed shut downstairs.]

END OF PLAY

ABOUT THE PLAYWRIGHT

LUCAS HNATH’S plays include The Christians (2014 Humana Festival), Red Speedo (Studio Theatre, DC), A Public Reading of an Unproduced Screenplay about the Death of Walt Disney (Soho Rep), Nightnight (2013 Humana Festival), Isaac’s Eye (Ensemble Studio Theatre), Death Tax (2012 Humana Festival, Royal Court Theatre), and The Courtship of Anna Nicole Smith (Actors Theatre of Louisville). His plays are published by Dramatists Play Service. Lucas has been a resident playwright at New Dramatists since 2011 and is a proud member of the Ensemble Studio Theatre. Lucas is a winner of the 2012 Whitfield Cook Award for Isaac’s Eye and received a 2013 Steinberg/ATCA New Play Award Citation for Death Tax. He has also received commissions from the EST/Sloan Project, Actors Theatre of Louisville, South Coast Repertory, Playwrights Horizons, New York University’s Graduate Acting Program, and the Royal Court Theatre. Lucas holds a BFA and an MFA from New York University’s Department of Dramatic Writing.

WHO’S WHO KIM TOBIN-LEHL (Nora) is a co-founder of 4th Wall Theatre and the company’s first Resident Artist. She has played numerous roles over the years at 4th Wall including recent appearances as Amanda Wingfield in The Glass Menagerie and Jennifer Jones in The Realistic Joneses. She is an award-winning director with recent credits at 4th Wall and in NYC and LA. Her work has been seen in Houston at Stages, AD Players, Mildred’s Umbrella, and Texas Repertory.

Kim has an extensive list of Off Broadway and OffOff Broadway credits and Los Angeles stage/film/TV credits. She also wrote and starred in The Barrow Group’s production of her original One Woman Show, Inside Out. While living in New York, Kim was an officer with the New Mercury Theatre Company, where (among other roles) she produced and starred in the 1995 revival of A Lie of the Mind. Kim later became the Artistic Director of the Blue Sphere Alliance East Theatre Company. Kim graduated Summa Cum Laude from the University of Houston with a BA in Theatre. Her conservatory training includes Stella Adler, Circle In The Square, The Barrow Group, and years of training with Gene Frankel and Sandy Marshall, among others. Kim is also a highly sought-after acting and directing teacher. The Kim Tobin Acting Studio focuses on the Sanford Meisner approach to acting and offers an array of courses (from beginner to advanced levels). Kim is a proud member of Actors’ Equity Association and SAG-AFTRA. PHILIP LEHL (Torvald) is a co-founder of 4th Wall Theatre and the company’s Artistic Director. Recently at 4th Wall, he directed The Glass Menagerie, played Bob Jones in The Realistic Joneses. He acted on Broadway, Off-Broadway, in a National Tour, and in many regional theaters. Since arriving in Texas in 2001, Philip has appeared at every Equity theater in Houston, including 4th Wall, the Alley, Stages, Main Street Theatre, A.D. Players, Houston Shakespeare Festival, and TUTS. He has also appeared as a guest artist at Classical Theatre Company, Generations, Horse Head, and BCCM. Philip holds degrees from The Juilliard School and Drake University and also studied at NTI and Moscow Arts Theatre School. His directing credits include plays at 4th Wall, Classical Theatre Co., A.D. Players, Stages, BCCM, Generations, and Brave Dog Theatre. He is a founder, board member, and executive of the Houston Theatre Alliance and is a proud member of Actors’ Equity Association.

WHO’S WHO SALLY EDMUNDSON (Anne Marie) is making her 4th Wall Theatre debut. HOUSTON credits: Stages Theatre: A Woman of the World (Mabel Loomis Todd--one woman show), ANN (Ann Richards--one woman show), Salt, Root & Roe (Anest), Driving Miss Daisy (Daisy), Auntie Mame (Mame), Full Gallop (Diana Vreeland--one woman show), Steel Magnolias (M’Lynn), Amy’s View (Esme), Elizabeth/ REX (Elizabeth I), Houston Shakespeare Festival: Macbeth (Lady Macbeth). REGIONAL: TheatreSquared, Fayetteville, AR-- ANN (Ann Richards); Upstream Theatre, St. Louis, MO-- Salt, Root & Roe (Anest); Pacific Repertory Theatre, Carmel, CA-- Elizabeth/REX (Elizabeth I); Arkansas Repertory Theatre-- Homefires (June), Lend Me A Tenor (Diana); Virginia Shakespeare Festival: Much Ado About Nothing (Beatrice). EDUCATION: BA French/Italian UT Austin, BFA Theatre University of St. Thomas, BADA/Yale University Summer Classical Training Program (Oxford, England), Kristin Linklater Theatre Speech Workshop (Boston, MA); et ma folie--Institut de Francais (Villefranche-surMer), Sorbonne (Paris) post-graduate work in French.

JUDITH IGWILO (Emmy) is a recent Sam Houston grad and is so excited to be back in the thrilling world of live theatre! Judith would love to thank her family and friends for their continuous support and uplifting attitudes during these trying times. Recent credits include: Stages Repertory Theatre – Panto Hansel and Gretel (Ensemble); The Ensemble Theatre – School Girls/African Mean Girls Play (Ama); SHSU – Curious Incident of the Dog in the Nighttime (Ensemble/ Mrs. Gascoyne), Picnic at Hanging Rock (Arielle), Breath Boom (Cat). You JUDITH IGWILO can find Judith on Instagram @Judith.i_ ALANNA DORSETT (Director) is originally from Texas, but she spent most of her childhood abroad living in Hong Kong and Australia before finishing high school in Houston. She moved to New York City at age nineteen and worked there in TV, film, and theatre for over a decade. Alanna holds an MFA in Directing from the Actors Studio Drama School, a BFA in Theatre Arts from Five Towns College, and an Associate Degree in Acting from the American Academy of Dramatic Arts. She has served as a Teaching Artist at the Young Performers Studio at The Alley Theatre, worked with the Center Stage program for public schools in Queens, New York, and was a member of The Playwright Directors Unit at The Actors Studio focusing on the creation of new works. A few of her favorite New York City directing credits include No Exit, Snow Angel, Savage in Limbo, and Tape. Previously at 4th Wall she was the assistant director for The Realistic Joneses and Between Riverside and Crazy. She is ecstatic to be back this season directing A Doll’s House, Part 2.

WHO’S WHO KALIN MENZEL (Stage Manager) Credits at 4th Wall Theatre Company: Between Riverside and Crazy; The Realistic Joneses; The Glass Menagerie; Collected Stories; The Pussy Grabber Plays; Rapture, Blister, Burn; Pride and Prejudice; Jesus Hopped the ‘A’ Train (Stage Manager); Shakespeare in Vegas; Reckless (Stage Crew); Other credits include: Rogue Productions – I Love You Because (ASM); San Jacinto College South – Hurricane Jacinto; A Confusion of Human Beings (Stage Manager); Such Stuff (ASM). Kalin is a proud member of the Actors’ Equity Association. @kalinmenzel DOMINIC KELLEY (Assistant Director) is a Houston-based actor and voice actor with a B.F.A. in Acting & Directing from Sam Houston State University. He looks forward to telling more relevant stories and helping bring to light those whose voices are not always heard.

RYAN McGETTIGAN (Set Designer) Recent credits include: 4th Wall Theatre Company – The Glass Menagerie, Jesus Hopped the ‘A’ Train, Pride and Prejudice, Lobby Hero, Shakespeare In Vegas, Ho Ho Humbug 2.0; Classical Theatre Company – Barber of Seville, Ghost Sonata, The Birds, The Cherry Orchard, A Christmas Carol, The Importance of Being Earnest, Doctor Faustus, Ubu Roi; Theatre Under the Stars – Rocky Horror Show, Million Dollar Quartet, Smokey Joe’s Café; TUTS Underground – Heathers, Striking 12, Bonnie & Clyde (BWW Houston Award for Best Scenic Design), First Date, LMNOP, Reefer Madness; Stages Repertory Theatre – Marie Antoinette (Houston Press Best Scenic Design Award), Who am I This Time?, Straight White Men, Failure: A Love Story, The Marvelous Wonderettes: Caps and Gowns, Language Archive, Next to Normal; The Catastrophic Theatre – Snow White, Trevor, Buried Child, University of Tamarie, A Very Tamarie Christmas, Middletown, Clean/Through, Old as Hell; Main Street Theater – Copenhagen, Love and Information, Putting it Together, Into the Woods, A Civil War Christmas, Close Up Space, Henry V (Prague Shakespeare Company), Memory House, Richard III (Prague Shakespeare Company); Orlando Shakespeare Theater – Julius Caesar; Cape Rep – Jerusalem, Eurydice, Beauty Queen of Leenane, Avenue Q, Mack & Mabel; Shepherd School of Music – Volpone, Our Town, A Little Night Music; Houston Grand Opera – Bound (World Premiere), From My Mother’s Mother (World Premiere), Your Name Means the Sea (World Premiere). www.RyanMcGettigan.com.

open studios the 2nd saturday each month 2-5PM spring street studios • the silos at sawyer yards • winter street studios summer street studios • silver street studios • sabine street studios

In Rehearsal for A Doll’s House, Part 2 Top: Director Alanna Dorsett Bottom: Actors Philip Lehl and Kim Tobin-Lehl (photos: Jeff McMorrough)

Production Photos for A Doll’s House, Part 2 Top: Judith Igwilo as Emmy Bottom: Sally Edmundson as Anne Marie (photos: Gabriella Nissen)

WHO’S WHO CHRISTINA GIANNELLI (Lighting Designer) is thrilled to be back at 4th Wall where she previously designed lights for The Glass Menagerie, Jesus Hopped the ‘A’ Train, Pride and Prejudice, Lobby Hero, and BEDLAM’s Saint Joan. She has been the Resident Lighting Designer for Houston Grand Opera, Cleveland-San Jose Ballet, Texas Ballet Theater, Houston Ballet, and the Metropolitan Opera. Favorite recent projects in Houston include Guess Who’s Coming to Dinner for A.D. Players; Peer Gynt for Classical Theatre Company; Swimming While Drowning, Replica, Veronica’s Room, and End of the Rainbow at Stages; LMNOP, Bonnie and Clyde, Striking 12, and Sweet Potato Queens for TUTS Underground; and Unlock’d, Elf, For Tonight, and Sideshow for Queensbury. For many years she produced Weekend of Texas Contemporary Dance and other dance events at Miller Outdoor Theatre. Ms. Giannelli has served on the Boards of Zocalo Artists Yard, Infernal Bridegroom Productions, and the DiverseWorks Artists Board.

She is the founder of Dance Source Houston, a service organization that supports and promotes Dance in Houston. She is also proprietor of a guesthouse for visiting artists located in EaDo. YEZMINNE ZEPEDA (Sound Designer) Recent credits include at 4th Wall Theatre Company: Reckless, True West, Ho Ho Humbug, The God Game, A Winter’s Tale, All Girls; Stages: Panto Cinderella, Honky Tonk Angels: Holiday Spectacular, Panto: Unfrozen, Girls Night, The Great American Trailer Park Christmas Musical, The Marvelous Wonderettes, Caps and Gowns: The Winter Wonderettes, Patsy Cline; Main Street Theater: Click, Clack, Moo, Cows that Type, The Last Wife, The Wizard of Oz, Grand Concourse, Mockingbird, Duck for President (2016), The Revolutionists, Bridge to Terabithia; Rogue Productions: Matt and Ben; The Catastrophic Theatre: Fleaven; Horse Head Theatre Company: The Whale, Among the Thugs, Faultlines; Black Lab Theatre: Bad Jews, Tigers Be Still, Really Really, 4000 Miles, Assistance, Chinglish, The Submission, BOOM, Our House; Landing Theatre Company: American Buffalo; Chicago Shakespeare Theatre: King Lear.

KATHRYN CURRIN (Costume Designer) is a costume technician and designer who has worked for theaters all over Houston. Most notably, she was the tailor for the Houston Grand Opera until the spring season of 2020. Since moving to Houston in 2012, she has worked as a cutter/ draper, tailor, first hand, stitcher, crafts supervisor, and costume designer at Houston Grand Opera, The Alley, University of Houston, The Houston Shakespeare Festival, and A.D. Players, among others.

She received her bachelors in Costume Design from St. Edwards University in 2009 and her masters in Costume Technology from The University of Houston in 2013. In her free time, she enjoys chatting and sewing on her Twitch stream, reading sci-fi books, and hiking with her husband and two dogs.

WHO’S WHO CHERIE ACOSTA (Costume Designer) is an Assistant Professor of Costume Design at Lamar University in Beaumont, Texas, and has been working in theatre for the past 20 years. Her current project entitled Beautiful Affliction is a costume and interdisciplinary piece with Johns Hopkin’s University that merges textile design, dance, and medicine. Beautiful Affliction has premiered at The John P. McGovern Museum of Health and Medical Science and the State University of New York (SUNY) Gallery. Cherie has also produced costume designs for the Transitory Sound and Movement Collective, Karen Stokes Dance Company, and 6 Degrees Dance. Her works have premiered at the University of Houston, The Hobby Center for the Performing Arts, The Contemporary Arts Museum, The American University in Paris, The Houston Health Museum, The Rothko Chapel, Houston Big Range Dance Festival, Diverse Works, Lamar University, and The University of Granada, Spain. For details regarding her work please visit cherieacostacostumedesign.com.

LAUREN DAVIS (Properties Master) This is Lauren’s first production with 4th Wall Theatre Company. Other local credits include: The Catastrophic Theatre: Fefu, Speeding Motorcycle, Toast, Bootycandy, Curse of the Starving Class, Snow White, Trevor, Buried Child (props), The Danube (scenic), Tragedy: A Tragedy, Rhinoceros (props and scenic); Main Street Theater: Anne Frank, Charlie Brown, Jackie & Me (props), Frog & Toad, Mr. Popper’s Penguins (scenic); A.D. Players: God’s Favorite (props), Best of Enemies, David the Best...(scene painting); Stages Repertory Theatre: The Fantasticks, Water by the Spoonful, Alma en Venta, Panto Wonderful Wizard, Panto Unfrozen, Mack & Mabel, Xanadu (scenic), and many more. Lauren also works for the University of Houston School of Theater and Dance painting sets, managing props, and teaching future theatre creatives.

Have fun tonight IRL, then share your experience digitally with

#DollsHousePart2

And while you post, consider tagging / following @4thWallHouston

A VICTORIAN PERSPECTIVE

It is easy to dismiss Ibsen’s A Doll’s House as a period piece, as distant from our world as crinolines and women who cannot vote or own property. We tend to think in the U.S. today that we have realized the ideal of the companionate marriage that is held up by Ibsen even as his characters fall painfully short of it. At the time when Ibsen wrote his play, companionate or “affective” marriage, based on love and attraction, was, for the European middle class, rapidly replacing older ideas having to do with a broader idea of community and financial security. Ibsen shows us, however, that money and power still have a lot to do with the ability of love — and of marriage — to flourish.

Even today in the U.S., marriages are often unequal, with women typically earning less than their husbands, and, — whether or not they work outside the home — taking far greater responsibility for child care and housework. The COVID pandemic has thrown some of these problems into relief, with more women losing or feeling compelled to quit their jobs. This return to older gender roles, and even to the home itself, is part of a “female recession.”

The past two years remind us that gender inequality and marriage are closely intertwined. Ibsen’s play established that connection at a crucial moment in the history of marriage. Hnath’s Part 2 moves Ibsen’s play forward in time to the beginning of a what is usually called the first-wave feminist movement, but both plays ask us to consider the relevance of Nora’s plight (and flight) to the present.

Professor Helena Michie Agnes Cullen Arnold Professor in Humanities at Rice University and the Director of the Center for Women, Gender and Sexuality

Professor Michie is the author of five books in Victorian Studies and the study of gender and sexuality. She has published articles on feminist theory and on Victorian literature and has been an NEH and a Guggenheim fellow. Professor Michie teaches courses in feminist theory, literary theory, and Victorian literature and culture. She also teaches classes and workshops on professional writing.

Production Photos for A Doll’s House, Part 2 Top: Kim Tobin-Lehl as Nora and Sally Edmundson as Anne Marie Bottom: Philip Lehl as Torvald and Kim Tobin-Lehl as Nora (photos: Gabriella Nissen)

t s o C The Value of Art At 4th Wall, we are committed to paying Houston’s theatre artists a living wage. While it may be impossible to monetize the value of art in our society, we believe it is imperative that we fairly compensate the artists who enrich our lives. We dream of a day when Houston’s professional theatre artists will be able to ply their trades without needing to work any other job. We aim toward a day when sustained theatrical excellence inspires our audience and community to hold our art and the artists who make it to be an indispensable and valued part of life in Houston.

To this end, we have made it our mission to prioritize increasing artist pay every year, even beyond the minimum wage stipulated by the Actors’ Equity Association. This season, we will be paying Equity actors $320 per week, which is 3.5% more than the mandated minimum wage for theatres of our size.

4th Wall's Hourly Pay for Equity Actors

$13.00

$300/ week

$12.00

$310/ week

$320/ week

$11.00

$250/ week

$10.00

$9.00

$225/ week

$8.00

$7.00 2012 - 2013

2014 - 2015

2016 - 2017

2018 - 2019

2021-2022

INDIVIDUAL ARTIST SPONSORSHIP 4th Wall’s mission has always been to improve the pay standard for Houston artists. A direct way to fund local creatives is to sponsor an individual artist contract. By making a gift at one of the tiers below, you will fund a position for one 4th Wall show and enjoy recognition and a variety of benefits.

Sponsors gain premium access to 4th Wall events and other perks. All sponsors will have their name featured in the show program, venue signage, and 4th Wall website, and are invited to a special VIP Rehearsal and the Opening Night Party. Additional perks at various sponsorship levels include tickets to give to friends, and even dinner with Artistic Directors Philip Lehl and Kim Tobin-Lehl!

SPONSORSHIP LEVELS $5,000 Actor Sponsorship $3,000 Stage Manager Sponsorship $2,500 Director Sponsorship $1,500 Designer Sponsorship $1,000 Backstage Crew Sponsorship $500

House Manager Sponsorship

We also have Corporate Sponsorship Packages that help underwrite our costs and bring your business into the spotlight. Opportunities include prominent logo placement, on-stage thanks, access to opening night parties, complimentary tickets, dinner with our artistic directors, and more. Single show sponsorships start as low as $1,000.

To learn more, contact Tim Richey at timr@4thwalltheatreco.com or 832.668.5903.

Thank you!

4TH WALL THEATRE COMPANY CONTRIBUTORS Thanks to all of you; we truly couldn’t make theater without you.

This list reflects donations given from July 1, 2020 - October 10, 2021.

Please call Tim Richey at 832-668-5903 to report any errors.

$75,000 and above City of Houston through the Houston Arts Alliance $50,000 and above Kenneth Bohan Anonymous $25,000 and above Hamilton James $15,000 and above Gary Chiles & Amy Sutton The Cullen Trust for the Performing Arts $10,000 and above Dr. Robert J. Card & Karol Kreymer

4TH WALL THEATRE COMPANY CONTRIBUTORS

$5,000 and above

$2,500 and above

Howard & Karen Bookstaff

Duke & C.C. Ensell

Tony Canino & Mary Margolis Linda Dodge Sheri Clark Henriksen J & D Entertainment

The Liberty Group

Sharyn Feller & David Harris H-E-B The Edward & Helen Oppenheimer Foundation John & Allie Lea Orton Foundation

Carl Masterson Michelle Mower

$2,000 and above

Texas Commission on the Arts

Emma Jacobs in honor of Kenneth Bohan

Diane & James Tobin

Laura & Dan Pears

$3,000 and above

National Endowment for the Arts

Susan Fargason & Steve Lockless

$1,500 and above

Warren & Marsha Holleman

Gene Graham

Patricia Larson

Brian & Dawn Greenberg

Richard Moiel & Kathy Poeppel

Harriet Schubb & John Harris

Carol Sugimoto James Zimmerman

Betty & Gerry Stacy

Nan Earle

4TH WALL THEATRE COMPANY CONTRIBUTORS

$1,000 and above

$750 and above

Michele Collins & Craig Moffatt

Ty Buthod

Carolyn & Kenneth Davidson Jim & Michelle Connor English-Speaking Union, Houston Branch Tom Kearns Carolyn Keating Mary & Rodney Koenig

Pam & Art Nolting Anonymous $500 and above Joel & Carol Bell Bryan & Deborah Domning in honor of Doug Kilgore

Candace & Weir Kyle

Howard & Sheila Feldman

Joseph Levitan

Lucila & Bill Haase

Madison Charitable Foundation

Mary Jane Keller

Malcolm & Jackie Mazow Michael McGinity Wendell Mendell & Pam Henjum Kay & Andy McStay Robert Zinn The Edith & Robert Zinn Foundation

Lona Leigh McManus Beverly McPhail & Kevin Kulish Tom & Carolyn Paul Elizabeth Phillips Cheri & John Randolph Rebecca Seabrook Mark Seavers David & Kelley Tobin Anonymous (2)

4TH WALL THEATRE COMPANY CONTRIBUTORS

$250 and above Claire & Dick Brooks

Deanna Lehl

Buzz Bellmont & Randy Puddu

Shondra Marie & Todd Boring

Brian Broome

Carolie E. Martin

Roxanne Cargill & Peter Weston

Renato & Linda Mello

DeAnn Christensen Artistic Expressions Richard Dixon & Nancy Grason Sally Edmundson Katy Emde

Don Quaintance Robert C. Richter, Jr. Marti & Billy Rosenberg Jane & Dick Schmitt Jay Solomon Ms. Lois Stark

Denis “Woodja” Flanigan, PhD

Bill Bob Tallent

Vanessa Garza

Hywel Upshall

Christianne Mays Hagemann

Dominique Varner

Raymond Harvey Ann Hasselmo

Shari & Gary Winston Anonymous

4TH WALL THEATRE COMPANY CONTRIBUTORS $100 and above A.D. Players Family in honor of James Tobin Antha Adkins Maida Asofsky Claire Auchter Christopher Bacon Vicki F. Barosh Lynn Birdwell Harry Bowles Lynn Brown Holly Clark Elizabeth & David Connelly Wes Copeland Margaret Culbertson in memory of Sims McCutchan Mary Lou & Harold Dietler Ted & Martha Doolittle Harold Eisenman Ann Faget Cheryl & Peter Fasullo Julie Fontenot Karen Foster Ruth Gorman Cynthia Greenwood GROOVE at Creation Station Studio City Richard J. Heil Sandra Holloway Marilyn Karr in memory of Lial & Dolores Bockman Kate & Scott Lambert Nora Laos

Debra Laporte & Eric Lombardi Sandra Lee Jordan Eve Leonard Patti Lozano Lynn McNamee Belinda Mundey Deborah & Luis Quintero Sandra & Clem Reid Beth Richardson Kent & Terry Richter John Rudder Irene Sasaki Amanda Schlafer Bennie & Elizabeth Slavik Emily & Jake Speck Joyce Steensrud Sandra Stettler Carla & Robert Stevens, Jr. Madeleine & Reece Stevens Carolyn Stewart in memory of John W. Stewart Leslie & Ten Eyck Swackhamer Lily & Mike Sweet Leslie Copeland Taylor Walter Ulrich Eleanor & Richard Viebig Dr. & Mrs. James K. Weatherly Blake Weisser Tom & Mary Ellen Whitworth Bradley & Lynn Winkler Anonymous (4)

This list reflects donations given from July 1, 2020 - October 10, 2021.

Please call Tim Richey at 832-668-5903 to report any errors.

KEEP LIVE THEATER ALIVE Check Out Other Shows Happening Around Town!

Sweat

The Alley Theatre* and The Ensemble Theatre October 1 - October 24

Sister Act

Theatre Under The Stars* November 2 - November 14 www.tuts.com

www.alleytheatre.org

El Huracán

Darwin in Malibu

Mildred’s Umbrella November 11 - November 21

Main Street Theater*

www.mildredsumbrella.com

October 2 - October 24 www.mainstreettheater.com

Motown Christmas

Dear Jack, Dear Louise

November 18 - December 26

Ensemble Theatre

A.D. Players*

www.ensemblehouston.org

October 6 - October 24

R.U.R.

www.adplayers.org

The 25th Annual Putnam County Spelling Bee Stages* October 15 - November 14 www.stageshouston.com

Classical Theatre Company January 12 - January 30 www.classicaltheatre.org

Dance Nation Rec Room Arts January 13 - February 5 www.recroomarts.org

We regret we cannot include everyone in the Houston theater community on this page. Please make sure to check all local listings for additional theater companies in Houston and for what might be going on in your local area. *These theatres have committed to the fair treatment of the actors and stage managers employed in their productions through agreements with the Actors’ Equity Association (AEA). The AEA fosters the art of live theatre as an essential component of society and advances the careers of its members by negotiating wages, improving working conditions, and providing a wide range of benefits, including health and pension plans. Learn more at www.actorsequity.org.

V2_LifespanPoster11x17.pdf

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4TH WALL THEATRE COMPANY PRESENTS

The Lifespan of a Fact

by JEREMY

KAREKEN & DAVID MURRELL AND GORDON FARRELL directed by

KIM TOBIN-LEHL

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“deadly serious but oh-so-funny” Variety

DATES

Jan 13–Feb 5, 2022 Thursdays–Sundays

TICKETS

832.767.4991 or online at 4thwalltheatreco.com

4th Wall Theatre Company is funded in part by the City of Houston through Houston Arts Alliance and the State of Texas through the Texas Commission on the Arts.