ART on Tour presents ART Magazine Volume 37 Issue 1

ART

MAGAZINE Volume 37 Issue 1

What’s Up with

ArtsHub pg.3 BIG BROTHER IS WATCHING YOU:

The Art of Surveillance

pg.19

FRESH EYES Refreshed

pg.29

Add More DYSTOPIA to your

LIFE

pg.18

BONUS!

Surveillance in

POP CULTURE SEPT. 7OCT. 6

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1984

by George Orwell a new play by Robert Icke and Duncan Macmillan Dámaso Rodríguez, Artistic Director J.S. May, Managing Director

CAST

Chris Harder*^ Winston ..........................................................................................................

Claire Rigsby+ Julia ................................................................................................................

Allen Nause^ O’Brien ...........................................................................................................

Michael Mendelson*^ Charrington ..................................................................................................

Ken Yoshikawa+ Martin .............................................................................................................

John San Nicolas*^ Syme ...............................................................................................................

Jeb Berrier* Parsons ..........................................................................................................

Sara Hennessy*^ Mrs. Parsons .................................................................................................

Layla Foster Child ................................................................................................................

Prudence Dawes Child ................................................................................................................

Rachel Bentzen>, Kerie Darner>, Ensemble .......................................................................................................

Corey Silver>, Haley Novasio>

CREATIVE TEAM AND CREW Director ......................................................................................................... Dámaso Rodríguez~ Assistant Director ....................................................................................... Logan Starnes Fight Choreographer ................................................................................. Jonathan Cole~^ Intimacy Choreographer ........................................................................... Amanda Cole Scenic Designer ........................................................................................... Megan Wilkerson#^ Lighting Desginer......................................................................................... Kristeen Willis# Costume Designer........................................................................................ Sarah Gahagan^ Sound Designer............................................................................................. Rodolfo Ortega^# Projection Designer..................................................................................... Alan Cline Wig Designer ................................................................................................ Diane Trapp Video Director ............................................................................................. Shawn Lee Associate Sound Designer......................................................................... Jake Newcomb Assistant Costume Designer .................................................................... Alex Pletcher Properties Master/Associate Scenic Designer ..................................... Laura Savage Dramaturg .................................................................................................... Luan Schooler Dramaturg .................................................................................................... Pancho Savery Stage Manager ............................................................................................ Carol Ann Wohlmut*^ Production Assistant ................................................................................. Megan Thorpe Second Production Assistant .................................................................. Erin MacGillivray Youth Coordinator ...................................................................................... Haley Hanson PAC LORT Lab Student ............................................................................. Alicia Hueni Board Op ....................................................................................................... Dave Petersen Live Sound Op .............................................................................................. Bryan Ringsted Wardrobe ...................................................................................................... Alana Wight-Yedinak 1984 was first produced as a co-production between Headlong and Nottingham Playhouse on Friday 13 September 2013.

Following a national tour, the play opened at the Almeida Theatre before transferring to the Playhouse Theatre on 28 April 2014, presented by Sonia Friedman Productions, Eleanor Lloyd Productions, and Tulchin Bartner Productions. 1984 has toured internationally and opened on Broadway at the Hudson Theatre on 22 June 2017, presented by Sonia Friedman Productions and Scott Rudin in association with Joey Parnes Productions.

1984 is presented by special arrangement with Dramatists Play Service, Inc., New York.

TIME: THAT’S UP TO YOU TO DECIDE RUN TIME: APPROXIMATELY 110 MINUTES WITH NO INTERMISSION The video and/or audio recording of this performance by any means is strictly prohibited. * Member of Actors’ Equity Association, the union of Professional Actors and Stage Managers in the United States. Actors’ Equity Association, founded in 1913, represents mre than 49,000 actors and stage managers in the U.S. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. Equity seeks to foster the art of live theatre as an essential component of our society. www.actorsequity.org + Actors’ Equity Association Candidate ~ Stage Directors & Choreographers Society ^ Artists Repertory Theatre Resident Artist # The scenic, costume, lighting, projections, and sound designers are represented by United Scenic Artists.

This theatre operates under an agreement between the League of Resident Theatre and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. > Indicates Portland Actors Conservatory (PAC) actors

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“

D I R EC TO R ’S N o t e

”

For whom, it suddenly occurred to him to wonder, was he writing this diary? For the future. For the unborn.

W

Re: Comrade 6079, Winston Smith, 1984

by Artistic Director Dámaso Rodríguez

elcome to Artists Rep and our production of 1984, which kicks off the 19/20 season of plays at venues all over Portland. This is the first stop on our two-year journey as ART on Tour while we raise funds to transform our long-time home at 15th and Morrison into a space intentionally designed to serve our mission to produce intimate, provocative theatre and provide a home for a diverse community of artists and audiences to take creative risks.

I think of this transition as designing more than a building; we’re designing and securing a future for ART and the ArtsHub* to thrive.

I want to thank our long-time audience members for following us along Burnside and across the river to Imago Theatre— we’re also grateful to Imago’s Artistic Co-Directors Carol Triffle and Jerry Mouawad for the generous way they arranged their producing calendar so that we could launch our season on schedule.

As we set out to plan this first season away from home, we were not just trying to book stage time, but seeking out ways to

collaborate and build partnerships with our host organizations. Additionally, we gave ourselves the goal of intentionally moving around town with the hope that we might introduce new audiences to ART. While the challenges of producing ART on Tour are myriad, we’re focused on making this experience as rewarding as possible. We shied away from safe choices, instead choosing plays that are especially bold and ambitious; and playwrights whose themes and subjects warrant the collective energy (and expense) it takes to produce them. In many cases, the plays and the venues are meant to indicate our aspirations for the kind of work we’ll be able to make masterfully in our new home and the kinds of partnerships we hope to continue. The season features multiple coproductions and first-time collaborations, with the plays staged in different seating configurations, including productions in three-quarter thrust (the audience on three sides), proscenium (the audience on one side), traverse staging (the audience on two sides), and a cabaret staging with the performance among and surrounding the audience. It’s a mix of diverse and timely stories, with many of the plays featuring large casts, live music, and requiring expanded creative teams to design video and projection, puppetry, masks, choreography, and stylized movement. Despite the staging complexity and heightened theatricality, our goal is always to produce provocative work that stirs audiences to feel something and then have a conversation.

1984 was the final piece of our season planning puzzle. When the

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rights became available to this visceral, audacious adaptation by Robert Icke and Duncan MacMillan that had played Broadway in 2017, our team knew we’d found the season opener. We wanted to begin our time “On Tour” with a play that was somehow as current as a Twitter feed; and that might draw audience members who don’t necessarily think of themselves as regular theatregoers. Orwell—who is once again atop bestseller lists after 70 years, and quoted by right and left— predicted a future that is our reality: a world filled with screens that have the power to observe us, in a time when truth has become shamelessly subjective.

As a piece of pure theatre, what I especially love about this version of 1984 is its inspired dramatization of the oftoverlooked “Appendix” that concludes Orwell’s novel. The appendix (which is footnoted in the early pages of the novel) is written as a historical document, looking back on the year 1984 from at least the year 2050. It indicates that Big Brother’s totalitarian society of Oceania, 1984—as it exists in the text of 1984—is a piece of historical record, a thing of the past. This notion is brought to life on stage in the dramatic form of a mysterious company that seems to be gathered to study the text of the book from some point in the future, in the same way that the Bible or Shakespeare is studied. Meanwhile, we— an audience—are ever-present, observing the action from the seemingly safe vantage point of 2019 in Portland, OR. The play then unfolds like a live puzzle always occurring simultaneously in multiple layers of time, with the central character of Winston Smith struggling to find his place in the unfolding series of events.

To quote our adaptors from the notes on their play, “theatre is itself a form of doublethink (holding two contradictory beliefs in the mind simultaneously, believing both of them): the audience

knows that the actor is an actor, but simultaneously believes them a character—they know that Winston’s blood is pretend blood, yet at the same time they gasp as if it were real.

Theatre is always, whether we like it or not, two contradictory things at once.”

It’s been a thrilling challenge to stage the play and study the novel in its glorious complexity and ambiguity. During the process, which required extra days of textual analysis with the cast and design team, we found ourselves wrapped up in exhilarating conversations, simultaneously talking about the book, the script, current events, forms of government, revolutions, regimes, how history itself is written and learned, our fears for the worst, and our hopes for the best. While the story of 1984 can justifiably be called bleak, disturbing, or dystopian, the act of collectively telling and, more important, discussing the story is itself a hopeful, positive, and necessary act. Stories have always been a tool for making sense of the world. Where we are now at this moment in history is, as always, puzzling and uncertain. Today, as the lights rise after the show, I hope you’ll continue the conversation started

by Orwell in response to his moment in history, then carried on by our playwrights to our company of ART, and finally by us to you.

Here’s to the future!

Dámaso Rodríguez *Please see page 29 for more details about the ArtsHub.

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PLAYWRIGHT’S & DIRECTOR’S BIO

Robert Icke

is a writer and theatre director.

He is currently Associate Director at the Almeida Theatre where his work includes adapting and directing Mary Stuart, Uncle Vanya, Oresteia (also West End) and 1984 (co-created with Duncan Macmillan, also Broadway, West End, National and International tours). As a director, his productions include Hamlet (starring Andrew Scott, also West End); The Fever; Mr Burns (Almeida); The Red Barn (National Theatre); Boys; Romeo and Juliet; Decade (Headlong, where he was Associate Director until 2013). For Oresteia, Robert won the ‘Best Director’ Critics Circle and Evening Standard Theatre Awards in 2015, and the Olivier Award for ‘Best Director’ in 2016. www.roberticke.com

Duncan Macmillan

Plays include: People, Places And Things (20152017, National Theatre/Wyndham’s Theatre, West End); 1984, adapted from George Orwell (2013-2017, Headlong/Nottingham Playhouse Theatre Company, West End, Broadway, international tours, co-adapted/ co-directed with Robert Icke); Every Brilliant Thing (2013-2017, Paines Plough/ Pentabus Theatre, Edinburgh Festival, UK and international tours, HBO); City Of Glass, adapted from Paul Auster (2017, 59 Productions, Home, and Lyric Hammersmith); 2071, co-written with Chris Rapley (2014-2015, The Royal Court/ Hamburg Schauspielhaus); The Forbidden Zone (2014-2016, Salzburg Festival and Schaubühne Berlin); Wunschloses Unglück, adapted from Peter Handke ARTISTSREP.ORG 6

(2014, Burgtheater Vienna); Reise Durch Die Nacht, adapted from Friederike Mayröcker (2012-2014, Schauspiel Köln, Festival d’Avignon, Theatertreffen); Lungs (2011-2016, Paines Plough and Sheffield Theatres/Studio Theatre, Washington, DC); and Monster (2006, Royal Exchange Theatre).

Dámaso Rodríguez

(he/his) is in his seventh season as Artistic Director of Artists Repertory Theatre (ART).

He is Co-Founder of L.A.’s Furious Theatre, where he served as Co-Artistic Director from 2001-2012. From 2007-2010 he served as Associate Artistic Director of the Pasadena Playhouse. His directing credits include work at the Oregon Shakespeare Festival, American Conservatory Theater, Pasadena Playhouse, Intiman Theatre, South Coast Repertory, Actors Theatre of Louisville, A Noise Within, The Playwrights’ Center, The Theatre@Boston Court, Odyssey Theatre, The New Harmony Project, New Dramatists, and Furious Theatre. Dámaso is a recipient of the Los Angeles Drama Critics Circle Award, the Back Stage Garland Award, the NAACP Theatre Award, and the Pasadena Arts Council’s Gold Crown Award. His productions have been recognized by the Portland Area Musical Theatre Awards, LA Weekly, Stage Scene LA, and the Los Angeles Stage Alliance. In 2010, Furious Theatre Company was named to LA Weekly’s list of “Best Theatres of the Decade.” In 2012, he was honored as a Finalist for the Zelda Fichandler Award by the Stage Directors & Choreographers Foundation. In 2014 he was named a Knowledge Universe Rising Star by Portland Monthly. Dámaso is a proud member of the Stage Directors and Choreographers Society (SDC).

MANAGING DIRECTOR’S NOTE

WELCOME TO SEASON ONE OF ART ON TOUR When we learned that ART must move out of our building for safety reasons during the deconstruction of the Alder Street theatre and the construction of the 22-story Art Tower, we hoped for a single location to produce our 19/20 season. However, this theatre Shangri-La did not exist and “ART on Tour” was born. In the time we are displaced from our building the opportunity to build new partnerships, innovate, reach new audiences and affirm our mission. Admin offices for Artists Rep and several companies of the ARTSHUB, now at Zidell Yards, are filled with activity - classes and rehearsals, the costume shop, meetings and the daily activities that facilitate the creation of great theatre. Innovative partnerships include working with Portland Center Stage on a co-production on the U.S. Bank Main Stage, as well as sharing their scene shop space, installing an ART ticket booth in The Armory lobby, and producing the final play of our season in the Ellyn Bye Studio; a co-production at PSU with Profile Theatre, in association with the PSU Drama and Music Departments; and productions at Imago, Portland Opera/Hampton Center, and Tiffany Center.

Simultaneous to our time “On Tour,” we are working on the reinvention of our building.

Originally an Elks Lodge health club, the building has reached the end of its useful life.

A major gift in 2018 paid off our mortgage, catalyzing the sale of the north half of the downtown block in July of 2019. The $9 million received in the sale becomes the lead investment for the reimagining of the remaining building, in which the roof and two massive wood beams will rise to create a modern multi-use performing arts center with two theatres, four rehearsal halls, and collaborative working spaces. We are working with an extraordinary design team: Lever Architecture, Fisher Dachs Theatre Design Consultants, contractor Howard S. Wright, and Shiels Obletz Johnsen as our owner’s representative. It is our intention to be “On Tour” for two seasons – moving back in August 2021 for the 2021/22 season.

As this season unfolds, we will keep you informed on our progress. I invite you to reach out to me if you have questions or concerns.

See you at the theatre.

JS May

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“IF YOU WANT A PICTURE OF THE FUTURE, WINSTON, IMAGINE A BOOT STOMPING ON A HUMAN FACE — FOREVER” GEORGE ORWELL’S 1984

BY PANCHO SAVERY

SPOILER ALERT

In the same way that Samuel Langhorne Clemens used a pen name – Mark Twain – that became more famous than his ‘real’ name, Eric Blair used a pen name that became more famous than his ‘real’ name, and we know him today as George Orwell.

Orwell is best known for two novels, Animal Farm and 1984.

Animal Farm was published on 17 August 1945, eleven and eight days respectively after the US bombings of Hiroshima and Nagasaki, the first use of nuclear weapons in a war; and for understandable reasons, politics was at the center of all Orwell’s major works. As he said in his 1946 essay Why I Write, “The Spanish War and other events in 1936-37 turned the scale and therefore I knew where I stood. Every line of serious work that I have written since 1936 has been written, directly or indirectly, against totalitarianism and for democratic socialism, as I understand it” (314).

The Spanish Civil War (1936-39), sometimes called the “dress rehearsal” for WWII, in which approximately ARTISTSREP.ORG 8

200,000 were killed, pitted the Nationalist forces led by Generalissimo Francisco Franco, and supported by both Hitler and Mussolini, against the Republican government was supported by anarchists, communists, socialists, the Soviet Union, and Mexico. (Picasso’s famous Guernica, completed in June 1937, depicts the April 1937 bombing of the Basque town by German Luftwaffe at the behest of Franco.) Orwell was seriously wounded, shot in the throat, during the conflict, and his experience in Spain colored his politics for the rest of his life.

Despite the Soviet Union’s heroic struggle against the Nazis, Orwell started to become concerned with Stalin’s attempt to crush any left-wing parties that were not communist, and this most famously made itself clear in the earlier dispute between Stalin and Trotsky, which resulted in Trotsky’s assassination in Mexico in 1940 on Stalin’s orders. Stalin’s atrocities did not make Orwell renounce his left-wing views. On the contrary, he maintained his socialist views, but just opposed Soviet-style communism.

This is the background to Animal Farm, which like some of the work of Jonathan Swift (1667-1745) is both allegory and satire. It is important to remember that Animal Farm begins with a successful socialist revolution, in which the workers (the animals) overtake and expel the capitalist exploiters (humans) and set up an ideal government that functions, for a while, perfectly. The use of allegory is important because it denotes both a specific and a general critique. If Orwell had named the pig leaders of the revolution “Stalin” and “Trotsky,” instead of “Napoleon” and “Snowball,” his critique would just have been of a specific historic moment and would have soon lost its relevance. By using allegory, Orwell is able to make a more general point about the betrayal of socialist ideas by power-hungry tyrants that transcends any specific examples.

By starting the novel with a totally successful socialist revolution, Orwell is stating his belief that democratic socialism can actually work. The conditions of workers greatly improve, goods are distributed equally, and there is general happiness. It is not inevitable; but when power corrupts and negative individual advancement becomes more important than collective success, the revolution fails, and the differences between capitalists and socialists disappears. Again, it is important to emphasize that Orwell is not here saying the revolution must fail. Instead, he is warning us of danger signs such that we be vigilant and make sure the revolution doesn’t fail because of an alien form of socialism. In doing this, Orwell implicitly argues for the power of the written word to combat state terrorism, which of course is why authoritarian regimes usually start by suppressing the press.

In Animal Farm, inspired by the “prize Middle White boar” Willingdon Beauty, known universally as Old Major (Karl Marx), the animals revolt “because nearly the whole of the produce of our labour is stolen from us by human beings… Man is the only real enemy we have” (28-29). As a result, “whatever goes upon two legs is an enemy. Whatever goes upon four legs, or has wings, is a friend.” What is most important for the animals is that “we must not come to resemble him…no animal must ever live in a house, or sleep in a bed, or wear clothes, or drink alcohol, or smoke tobacco, or touch money, or engage in trade… and, above all, no animal must ever tyrannise over his own kind… all animals are equal” (31-32).

These are, of course, noble principles to live by according to a democratic socialist agenda, and they become the animals’ “Seven Commandments.” Once the revolution is complete, the humans driven out, and Manor Farm’s name is changed to Animal Farm, things slowly begin to change. As the “smartest” animals, the pigs begin doing no work and merely “directed and supervised the others” (45).

Then they demand extra milk and apples because they are “brainworkers” (52).

Napoleon and Snowball soon disagree on tactics, Snowball is denounced and driven into exile, and “history” is changed to no longer make him a hero of the revolution, but its chief traitor, and loyalty and obedience to Napoleon ARTISTSREP.ORG 9

SPOILER ALERT

become the only true revolutionary that socialism is good and can work, but traits, “If Comrade Napoleon says it, that we must safeguard it and not let it it must be right” (70). Facts from the deteriorate into fascism. past soon become “pure imagination,” Orwell’s outlook in 1984, published the Seven Commandments begin to be four years later in 1949, is much more violated, and “whenever anything went bleak. Here, all hope has been lost. If wrong it became usual to attribute it socialism ever existed, it has been wiped to Snowball” (88). Napoleon becomes out by the counter-revolution. In the “our heroic leader, Comrade Napoleon” new world order, the world is divided (90), never appearing in public without into three spheres of influence that his retinue of nine growling dogs; and are constantly at war with each other, animals are forced to confess to crimes alliances constantly shift (yesterday’s they haven’t committed and are then enemy is today’s partner, and then again executed. By the end of the novel, only tomorrow’s enemy), and all aspects one commandment is left, “All Animals of life are controlled by The Party in are Equal,” but to it has been added, the name of Big Brother, and enforced “But Some Animals are More Equal than Others” (133). The novel ends with by the Thought Police. Big Brother is depicted as “the face of a man of about the humans returning, the name of forty-five, with a heavy black mustache the farm “restored” and raggedly handsome features” (5), a to its original, description that also, to some, describes and the pigs Stalin. Posters and humans of Big Brother drinking Artist JAKUB are everywhere, together; “but GELTNER created a featuring the caption already it was BIG BROTHER impossible to say photo series IS WATCHING which was which” called NEST that placed YOU. Ironically, (139). or perhaps not, no surveillance cameras in While the one has actually nature settings. ending of the ever seen him. novel is totally The novel’s “hero” negative, the humans/capitalists have is Winston Smith, who works in the returned to power and the animals Records Department of the Ministry will continue to be exploited for their of Truth, where his job is to constantly labor, it is important to remember that rewrite history. Disgraced or executed Orwell here remains optimistic. The Party members are written out of history revolution happens and is successful. as if they never existed, “vaporized” He clearly demonstrates that democratic being the preferred term, as part of socialism can thrive and be successful. the philosophy of ING SOC (English The problem is not the revolution.

Socialism).

The problem is the betrayal of the As with Animal Farm, this is socialism revolution. Orwell is not arguing that distorted to such a degree that it has this betrayal is inevitable. He is arguing been perverted into totalitarian rule.

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WAR IS PEACE FREEDOM IS SLAVERY IGNORANCE IS STRENGTH In addition to the Ministry of Truth’s concerning itself with lies, the Ministry of Peace concerns itself with war, the Ministry of Love with torture, and the Ministry of Plenty with starvation. At regular intervals, workers gather for the Two Minutes Hate, in which the image of Immanuel Goldstein (labeled “the Enemy of the People”) is projected on the screens, accompanied by a “noise that sets one’s teeth on edge and bristled the hair at the back of one’s neck” (13).

Goldstein is meant to resemble Trotsky, who has veered from the strict Stalinist line and who has escaped, disappeared, and is leading the opposition to Big Brother, or so we are told.

Interestingly, Goldstein’s opposition

organization is called the Brotherhood.

Ralph Ellison, in 1952’s Invisible Man, will take this same idea and turn it around. There, the Brotherhood is the name of the bad guys, the orthodox traditional Communist Party-like organization that had significant influence in the Black community from the 1930s through the 1950s. Here, “all subsequent crimes against the Party… spring directly out of his [Goldstein’s] teachings” (14), which include

SPOILER ALERT

In this universe, children spy on their parents and are disappointed when they don’t get to attend hangings of traitors. Television screens, which both send and receive are everywhere, and everyone is constantly watched. There are weekly mandatory “spontaneous” demonstrations thanking Big Brother.

Language, too, has been perverted and transformed into Newspeak, fulfilling the observation by Greek historian Thucydides in his History of the Peloponnesian War that the first sign of a society’s decay is the deterioration of language. In Newspeak, words don’t mean what we are used to their meaning, and thus the three slogans of the Party are:

advocating freedom of speech, assembly, thought, and the press, which engenders rage among the Party faithful, and thus, “the Rage.”

Despite his job at the Ministry of Truth, Smith is totally opposed to all Big Brother stands for. He secretly starts a diary (in which he writes “Down with Big Brother” multiple times), which is forbidden because a taste for solitude constitutes the crime of ownlife; falls in love with a woman, which is also forbidden, as love is thought to be an anti-Party emotion; and identifies someone named O’Brien, whom he thinks is a fellow conspirator, and to whom he tries to reach out. Smith is clearly guilty of thoughtcrime, and thoughtcrime is a death sentence in a society where there is no longer tragedy,

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the tragic being a time “when there were still privacy, love, and friendship, and when the members of a family stood by one another without needing to know the reason” (28). In this world, “If the Party could thrust its hand into the past and say of this or that event it never happened - that, surely, was more terrifying than mere torture and death” (32). Today, we would call that the ability to declare something “fake news,” and to be believed despite all clear evidence to the contrary.

SPOILER ALERT

Despite his rebellious feelings, Smith continues working, for example, on rewriting a speech for Big Brother to make him seem to have predicted events before they happened (which in biblical scholarship is called prophecy after the fact), and thus the Party is always right. In this world, one must always be careful and never reveal your true feelings. Although Smith attempts to be careful, he makes two fatal mistakes. He falls in love with Julia, secures a secret room where they can be together and enjoy what the Party forbids, pleasure and eroticism, and thus the “sexual act, successfully performed was rebellion.

Desire was thoughtcrime” (59). Smith’s second mistake is trusting O’Brien and revealing all to him only to later find out that O’Brien is, in fact, a member of the Thought Police who arrests them both, tortures them, and forces them to betray each other. When Smith wonders if there is any morality left in the world, O’Brien corrects him with, “the Party seeks power entirely for its own sake. We are not interested in the good of others; we are interested solely in power…Power is not a means; it is an end…the object of power is power” (217). And O’Brien asserts his power over Smith by making him suffer, which results in his betraying

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Julia, as she has also betrayed him.

The novel concludes with Winston’s being “rehabilitated” and then assassinated. The last sentence of the novel proper is “he loved Big Brother” (245). This appears to be a much bleaker ending than Animal Farm, with the hero brainwashed and dead. That is not, however, all Orwell leaves us with.

The novel actually concludes with an appendix entitled “The Principles of Newspeak.” The appendix is written some time after the 1984 of the novel proper, as it speaks of the year 1984 in the past tense, “In the year 1984 there was not as yet anyone…” (246). We are also informed that the appendix is concerned with the eleventh edition of the Newspeak Dictionary, and that both the ninth and tenth editions were in use in 1984; so again, we are at some point past that. The other two dates we are given are that the eleventh edition should be fully functional by 2050, so we are prior to that, and that “translations” of Shakespeare, Milton, Dickens, Swift, and Byron won’t be ready “before the first or second decade of the twenty-first century” (256); so again, the appendix is prior to that and not that long after 1984.

The appendix thus functions to let us

know that despite the fact that Smith has been defeated, there is still some time left before all of the Thought Police’s plans are fully functioning. The other reason for hope is the presence of the people, the “proles.”

Robert Icke and Duncan MacMillan, in their play 1984 by George Orwell, assert that the “power of the novel is its ambiguity – and its moral and political complexity.” They further assert that “To stage the text as a simple condemnation of totalitarianism or torture, for example, is to simplify it to the point of misrepresentation” (9). The play for them is “the Appendix dramatized,” and it takes place “from a date around 2050” (10) when the Party has fallen.

For them, everything in the novel is ambiguous, including whether Julia truly loves Winston or is “a Thought Police operative sent in to entrap him” (13). They also assert the ambiguity of O’Brien. Is he “ultimately a Party man who believes he is curing Winston, or someone involved almost-invisibly in the Brotherhood and its resistance movement?” (13). Interestingly, they also say that any production that attempts to definitively answer any of these questions reduces Orwell’s novel, and that we are “Always in at least two places at once” (13).

SPOILER ALERT

On multiple occasions throughout the novel, we are reminded that they constitute 85% of the population and could easily overthrow Big Brother if only they would come together. Orwell tells us that Smith writes in his diary, “If there is hope …it lies in the proles.”

This is immediately followed by: “If there was hope, it must lie in the proles, because only there, in those swarming disregarded masses, eighty-five per cent of the population of Oceania, could the force to destroy the Party ever be generated” (60). To the Party, the proles are “natural inferiors who must be kept in subjection like animals…”

(61); but for Smith, “The proles had stayed human. They had not become hardened inside. They had held onto the primitive emotions which he himself had to relearn by conscious effort” (136). Here, Orwell asserts, the hope for the future lies, but that hope must be seized. 1984, like Animal Farm, is still a cautionary tale, although a more dire

one, but Orwell still believes that a true socialist revolution is possible, whether Big Brother’s hair is black or orange, “If you can feel that staying human is worth while, even when it can’t have any result whatever, you’ve beaten them” (138).

Another version of this is, “There was truth and there was untruth, and if you clung to the truth even against the whole world, you’re not mad” (179). This is why Orwell continues to matter.

One of the difficult things about translating the novel to the stage is that so much of it is a third-person narration of Winston’s thoughts. Take, for example, the following passage, “He was a lonely ghost uttering a truth ARTISTSREP.ORG 13

SPOILER ALERT

that nobody would ever hear. But so long as he uttered it, in some obscure way the continuity was not broken. It was not by making yourself heard but by staying sane that you carried on the human heritage” (26). How does a passage like this, or the ideas it contains, get translated onto a stage that is about action and dialogue? Two techniques the playwrights use are a voice-over that tells us what is happening, and a screen projection that shows us what is happening. As an example, the voiceover says, “The thing he was about to do was begin a diary.”

On the other hand, the screen projection shows us that “A pen in Winston’s hand hovers over the paper. In small, clumsy letters, Winston writes today’s date” (15). The voice-over also provides the third-person narration from the novel, “Winston faltered for a second. He did not know with any certainty that this was 1984…”(15). There is a constant on-going dialogue between the voiceover, what is portrayed on the screen, and what

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happens on stage. We even get a reflection on the novel, “ I mean – how do you begin to talk about one of the most significant things that has ever been put on paper?” And that “what it so beautifully demolishes is the whole notion of objective truth…”(17). Are the other characters “real” or are they figments of Winston’s imagination?

The play constantly goes back and forth between different levels of reality: Winston in the present, presumably 2050; the presence of other characters, real or imagined; and scenes from the novel that depict both Winston’s memories of his childhood and his interactions with the Party. In a very clever way, the play not only talks about but also simultaneously exemplifies, the way in which the novel defines doublespeak, having “to believe two contradictory things simultaneously – and accept both of them” (17). The play asks us to question whether Winston is mad, or sane, or both simultaneously.

Winston asserts,” I’m not mad. There is truth and there are facts. Freedom is the freedom to know that and say that” (30). But in Winston’s world, as in ours, we constantly have to defend this position. While many of the events from the novel are carried over to the play, one thing that isn’t is the multiple references in the novel to the fact that the proles, representing 85% of the population, are the future and have, at least theoretically, the power to overthrow Big Brother and the Party. In the play, Winston once refers to “Those at the very bottom of the pile. If there’s hope – real hope – it lies with them” (48). This vision is expressed

multiple times in the novel, but it is underplayed in the play.

At the end of the play, we are told that 1984 “was over a hundred years ago,” and that “prior to 2050, the Party fell” and that “Chaucer, Shakespeare, Hemingway, Swift” are “freely available” (75). But then the Mother asks, “How do we know the Party fell?

Wouldn’t it be in their interest to just structure the world in such a way that we believed that they were no longer…

(76). The play thus ends in ambiguity.

Has the Party been defeated, or is that a ploy by the Party? Either way, both the play and the novel make the same point.

Freedom is always on the line. You cannot take it for granted, and you have to be willing to fight to preserve it.

And if you don’t…

---------------------------------------------Bibliography Orwell, George. Animal Farm. 1945. New York: Signet, 1996.

1984 1949. New York: Signet, 1983.

A Collection of Essays. 1953. New York: Signet, 1981.

1984 by George Orwell and The war of the worlds

by H.G. Wells set the tone for the next 70 plus years of dystopian fiction and film.

Listen here ...

Hear the Very First Adaptation of George Orwell’s 1984 in a Radio Play Starring David Niven (1949) (https://bit.ly/1P1v5ej)

Orson Welles - War Of The Worlds - Radio Broadcast 1938 (https://youtu.be/Xs0K4ApWl4g)

ARTISTSREP.ORG 15

A STAGED READING

The Investigation: A Search for Truth Robert in Ten Acts by Schenkkan

FREE AND OPEN TO THE PUBLIC

A play based on The Investigation into Russian Interference in the 2016 Election

by Robert Mueller

When: Monday, September 30 at 7:30pm

Where: on the set of 1984

@ IMAGO THEATRE • 17 SE 8th Ave. Directed by Resident Artist JoAnn Johnson UNEDITED VIEWS OF PORTL

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ARTISTSREP.ORG 16

Featuring Don Alder as Donald Trump, plus a cadre of faces you know and love including Artistic Director, Dámaso Rodríguez

The HYPERFACE project involves printing patterns on to clothing or textiles, which then appear to have eyes, mouths and other features that a computer can interpret as a face.

WINSTON

CANNOT FIGHT

BIG BROTHER ALONE.

Ticket sales cover only 50% of the cost of our 2019/20 season. 1984 would not be possible without Foundation and Corporate partners and theatre lovers like you.

Make a gift today!

A R T I S T S R E P. O R G/S U P P O R T

$20

allows one high school student to attend a free matinee of 1984

$55

provides one $5 Arts for All ticket to 1984 for an Oregon Trail Card holder

$100

$250

$13,330

covers the transporation of the 1984 set from the shop to Imago Theatre pays for one actor’s entire costume wardrobe in 1984 subsidizes a full house for the $10 Tuesday Preview of 1984

4122 NE SANDY BLVD • (503) 493-1128 • HOLLYWOODTHEATRE.ORG ARTISTSREP.ORG 17

BOOKS

The Handmaid’s Ta le by Margaret Atw ood Brave New World

by Aldous Huxley Ella Minnow Pea

by Mark Dunn

Get into the world of 1984

Brazil The Great Hack V for Vendetta Blade Runner

MUSIC

MOVIES & TV

David Bowie Pink Floyd INXS SIA

The Art of Surveillance

by Kisha Jarrett Audience Development & Marketing Director at Artists Rep

Does art imitate life or the other way around?

In George Orwell’s 1984 (published in 1949) on which Robert Icke and Duncan Macmillan’s play is based, Big Brother is “infallible and all powerful” with a reach that far extends what is humanly possible by one man. Big Brother is there to be the constant and ever vigilant watch for the citizens of Oceania. The characters’ world is permeated and inundated by mass surveillance that is all for the ‘greater good’: In the 2016 Season Three premiere of the sci-fi television series Black Mirror, the characters lived in a society that took status updates and ratings to the extreme in the episode titled Nosedive. In the episode, every social interaction can be rated: from the conversation with your neighborhood barista, to the guy you accidently cut off on the highway, to the woman that wanted the last chocolate chip cookie you picked up in the lunch line. These ‘ratings’ influence the characters, who learn that every contact is immediate and each interaction takes on an exaggerated level of importance. Every person has a number from 1 to 5 that is based on the rank you get from people who view your profile and rank not just your posts but YOU yourself. Essentially, your rating is now your currency. Not only that, but everyone wears contacts that allow the individual to access others’ profiles and personal information in order to rank them. So that person that you don’t know but who doesn’t like the belt you have on or your resting bitch face, could ultimately bring you down a tenth of a rating point, so hold your temper and be perfect to everyone and do all things perfectly because those with the highest rating can do and get almost anything.

Earlier this year it was reported that since 2014, the Chinese government has been

implementing a social credit score system. The scores and ratings for its 1.4 billion citizens are being made public by the year 2020. With the aid of private companies, government agencies are collecting data about the Chinese people by their finances, social media activities, credit history, health records, online purchases, tax payments, legal matters, and people they associate with combined with over 200 million surveillance cameras and facial recognition software to give up to the minute ratings and scores.

Ultimately, the strategy is to promote good behavior and stellar citizenship and protect the public from fraud. However, social credit score ratings can affect one’s ability to sign up for a dating site, school enrollment for their children, airline or train travel, utilities discounts, or even what doctor you get to see with the worst being blacklisted.

China is the first to implement a social credit system, but how many others are behind it? Surveillance is a reality that most in the world encounter whether you’re a threat to national security or not. And if we’re one step removed from episodes like Nosedive, how close are we to making 1984 the reality of our time? And if the art becomes the reality, does real life turn into art?

PROJECT KOVR makes the AntiSurveillance Coat, a silvery trench cut from metallic fabric that acts like a sartorial Faraday cage, rendering computer chips in bank and ID cards unreadable and mobile phones untraceable.

ARTISTSREP.ORG 19

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CHRIS HARDER Winston

Chris is honored to participate in this dynamic and timely production of 1984. Theatre credits with Artists Rep include: Wolf Play, It’s a Wonderful Life: A Live Radio Play, The Thanksgiving Play, Caught, Marjorie Prime, The Skin of Our Teeth, We Are Proud to Present..., Intimate Apparel, Ten Chimneys, The History Boys, and Chasing Empires Soul, a devised touring production exploring the legacy of Lewis and Clark.

Chris’ local credits include original work and productions with: CoHo, Portland Center Stage, Portland Shakespeare Project, Portland Playhouse, Profile Theatre, Shaking The Tree, Sojourn Theatre, The Red Door Project, and Third Rail. Film/TV: Restless, Extraordinary Measures, Everyman’s War, Rid of Me, Recovery, Music Within, The Librarians, Leverage and Grimm. Chris was a member of the Sowelu Theatre Ensemble for seven seasons. He is a faculty member with Portland Actors Conservatory and, as a Resident Artist with Artists Rep, offers coaching and classes for all levels. www.chrisharderacting.com

CLAIRE RIGSBY Julia

Claire Rigsby is glad to be back at Artists Rep tackling time, truth, and reality in 1984. Originally from Atlanta, and a graduate of Emory University, Claire has called Portland her home for the past six years. Previous Artists Rep credits include The Thanksgiving Play by Larissa FastHorse, and a workshop of Stephen Rathje’s Signs. Other Portland credits include shows with Profile Theatre, Portland Playhouse, Oregon Children’s Theatre, Broadway Rose, Enlightened Theatrics, and Live Onstage. Outside of Portland, Claire has performed with The Alliance Theatre, Georgia Shakespeare ARTISTSREP.ORG 20

Company, Synchronicity Theatre, Georgia Ensemble Theatre, B Street Theatre, and Barnyard Theatre. Thanks to Dámaso, Carol Ann, Luan, and the rest of the cast and crew.

ALLEN NAUSE O’Brien

Allen is currently a Resident Artist at Artists Rep where he previously served as Artistic Director for 25 years.

Besides directing many productions at Artists Rep, Allen directed at many professional theaters throughout the Northwest. As an actor Allen appeared at Portland Opera, Corrib Theatre, the Oregon Shakespeare Festival, Portland Center Stage, Artists Repertory Theatre, Imago Theater, Seattle Repertory Theatre, A Contemporary Theatre, Intiman Theatre and many others. Allen has toured Artists Rep productions throughout the U.S. as well as Africa, the Middle East and Asia.

In 2000, Allen traveled to Vietnam and codirected a bilingual, bicultural production of A Midsummer Night’s Dream as well as a production of The Glass Menagerie as part of the Vietnam/America Theater Exchange.

In May 2007 Allen directed All My Sons with the Palestinian National Theater in Jerusalem as a Cultural Envoy with the U.S. Department of State. In 2010 Allen directed The Odd Couple in Islamabad, Pakistan also as a Cultural Envoy. In 2015 Allen directed for the Dramatic Theatre of Tobolsk in Siberia, Russia. Allen has also appeared in feature films and on national television. In 2003 Allen was the recipient of the Oregon Governor’s Arts Award.

MICHAEL MENDELSON Charrington Michael has been a Resident Artist with Artists Rep since 2008. His body of work at ART includes over 40 productions in which he appeared or has

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directed. His most recent ART credits are A Doll’s House, Part 2, Everybody, and Small Mouth Sounds. Other credits include Well, Let Me Down Easy, (Profile Theatre) Twelfth Night (Portland Shakes.), King Lear, Betrayal (OSF/Portland), Shylock in The Merchant of Venice, Iago in Othello (Northwest Classical Theatre Company), and work with Play On! Shakespeare, Miracle Theatre, triangle productions!, Tygres Heart Shakespeare Co., Portland Center Stage, A Contemporary Theatre, New Rose Theatre, Revolving Shakespeare Co., Theatre 1010, Lincoln Center/Clark Studio Theatre, Genesius Guild, The Barrow Group. PCPA Theatrefest, Paper Mill Playhouse, Saint Michael’s Playhouse, Penobscot Theatre Company, Arkansas Repertory Theatre, First Stage Milwaukee, Idaho Rep, Attic Theater and Wisconsin, Utah, and Berkeley Shakespeare Festivals.

Michael is Artistic Director of Portland Shakespeare Project and on staff with Portland Actors Conservatory. www.mvmendelson.com KEN YOSHIKAWA Martin Ken (he/his) is thrilled to be making his Artists Rep debut in 1984. Notable credits include Arjun in Chitra, the Girl Prince (NW Children’s Theatre); Soldier in Mojada, A Medea in Los Angeles (Portland Center Stage/Oregon Shakespeare Festival); Minister of Coin in Tenali the Royal Trickster (NW Children’s Theatre); Malvolio/Antonio in Twelfth Night (Oregon Adventure Theatre); Doctor/Clerk in You For Me For You (Portland Center Stage); The Artist in The Courtesan (MediaRites); Edgar in King Lear (Oregon Adventure Theatre); Mr. Oji in After the War Blues (Theatre Diaspora). Ken is a spoken word poet with a B.A in Theatre Arts from Reed College. He released his first album, Quiver, this last March. He would like to express gratitude for his family, his friends, and his teachers for their kindness and wisdom.

JOHN SAN NICOLAS Syme John San Nicolas (he/his).

John first worked at Artists Rep on Jack Goes Boating in 2011. He has since appeared in The Motherfucker with the Hat, Exiles, The Invisible Hand, The Liar, Grand Concourse, A Civil War Christmas, Trevor, The Talented Ones, An Octoroon, The Humans, Magellanica, Small Mouth Sounds and Everybody and is proud to be a Resident Artist. He has also performed at Portland Center Stage, Portland Playhouse, Third Rail Repertory Theatre, Oregon Children’s Theatre, Portland Experimental Theatre Ensemble, Badass Theatre Company, Miracle Theatre, The Anonymous Theatre Company, Clackamas Repertory Theatre, Shaking the Tree Theatre, CoHo Productions, Fusion Theatre Co., and several others. He has appeared on the television show Leverage and has made several appearances on IFC’s Portlandia. He has been a member of Actors’ Equity Association since 2002 and is proud to serve on the Portland AEA Liaison Committee. He also teaches acting and directs on occasion, most recently directing the World Premiere production of Play by D.C. Copeland and teaching scene study classes here at Artists Rep and at Jana Lee Hamblin’s Act Now Studio. John is enormously proud to call Artists Rep home.

JEB BERRIER Parsons Jeb is thrilled to be working once again with Dámaso Rodríguez and the amazing crew at Artists Rep, having previously appeared as the JEB BERRIER oft-inebriated Jimmy Farrell in 2014’s Playboy of the Western World. Jeb moved to Portland from beautiful Telluride, CO where he spent many years as a member of the Telluride Repertory Theatre, performing in over 25 productions. In Portland he has ARTISTSREP.ORG 21

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worked with Coho, Action Adventure, the Interstate Firehouse, Funhouse Lounge, and the Portland Revels. Other credits: New Rep Theater, Open Stage, Prithvi International Theater Festival, HERE Theatre, and National Shakespeare Company. TV: Grimm, Librarians, Portlandia, Everything Sucks, Documentary Now. Film: I Don’t Feel at Home in This World Anymore, the documentary on plastic, Bag It, and the soon to be released, Lorelei, Timmy Failure, and First Cow. Jeb would like to thank you for coming out to see live theater.

of Oregon Ballet Theatre and shined on stage as an angel in George Balanchine’s The Nutcracker in 2017 and 2018 and as a Baby Flamingo in Septime Webre’s Alice in Wonderland. In early 2019 Layla crossed over into acting, playing the role of plaintiff attorney in her school’s adaptation of The Trial of Goldilocks performed in both English and French. She is bilingual, having been in full French immersion since six months of age and is currently a 5th grader at LeMonde French Immersion Charter School. Profite du spectacle!

SARA HENNESSY Mrs. Parsons Sara (she/hers) is a two-time Los Angeles Drama Critics Circle Award winner and an L.A. Weekly Theatre Award nominee. She’s been in several shows at Artists Rep including Everybody, Magellanica, Caught, Feathers and Teeth, The Skin of Our Teeth, Cuba Libre, Blithe Spirit, Intimate Apparel and Foxfinder. She was most recently in How to Keep an Alien at Corrib Theatre, where she also did Little Gem. Before moving to Portland, she lived in Los Angeles, where she was a co-founder and Co-Artistic Director of the acclaimed Furious Theatre Company.

In addition to doing many shows at Furious Theatre, Sara worked at the Pasadena Playhouse, A Noise Within and Theatre@ Boston Court. In Chicago, she performed improv at the iO Theatre. She also made an appearance on Grimm. She is a proud member of Actors’ Equity Association and the Screen Actors Guild. www.sarahennessy.com

PRUDENCE DAWES Child Prudence Blythe Dawes is excited to appear in her first role at Artists Rep. Prudence, a kindergartener at Forest Grove Montessori, has appeared on stage (and backstage) at Theatre in the Grove, first as a baby angel in The Best Christmas Pageant Ever, and then as the yellow bird (Tinker Bell) in Peter and the Starcatcher. In addition to theatre, Prudence has been active in ballet and tap dance classes at Forest Grove Dance Arts.

Other credits include chasing her parents around the theatre and trying her best to keep up with three older brothers. When she isn’t performing, she can likely be found riding her bike or scooter as fast as possible.

LAYLA FOSTER Child Even though at age 10 this is her first appearance on the big stage, Layla was born to perform. She started dancing at age three with the School ARTISTSREP.ORG 22

LOGAN STARNES Assistant Director Logan Starnes (they/theirs) is incredibly excited to be working on 1984 as Assistant Director. As a second year graduate student at the University of Portland this is the first show they’ve worked on in this capacity. They see theater as a learning space—providing an avenue to challenge ideas, privileges, and prejudices within ourselves and others.

They are earning an MFA in pursuit of their lifelong undertaking of enacting social

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change through art. They’ve worked on many of the shows in previous seasons at Artists Rep as a Dramaturgical and Literary Management intern including: Caught, The Humans, Magellanica, Between Riverside and Crazy, I and You, Skeleton Crew, and The Revolutionists. Additionally, they’ve worked on And So We Walked at Portland Center Stage as a Production Assistant, had roles in Twelfth Night and Maid’s Tragedy, and is a founding member of the Windmill Theater Company at New College of Florida.

JONATHAN COLE Fight Choreographer Jonathan (he/his) is delighted to start the 2019/20 season as a newly-minted member of the Resident Artist Company at Artists Rep! He is a Society of American Fight Directors Certified Teacher of stage combat and co-owns Elemental Movement - a movement, stage combat, and intimacy choreography consortium. His choreography is most often seen on Artists Rep’s stage, where he is the Resident Fight Choreographer. His choreography has also been seen at Third Rail Repertory Theatre, Portland Shakespeare Project, Portland Center Stage and Profile Theatre. Jonathan has worked throughout the Northwest as a director, actor, and fight director and is Chair of the Theatre Department at Willamette University. He is proud to be a Full Director/ Choreographer with the Stage Directors and Choreographers Society.

AMANDA COLE Intimacy Choreographer Amanda is delighted to return to Artists Rep for a third season after being the intimacy consultant on last season’s Wolf Play, Teenage Dick, Everybody, Skeleton Crew, and Small Mouth Sounds and intimacy choreographer on Between Riverside and Crazy. Amanda is a movement director, intimacy director,

and fight choreographer whose work has been seen throughout the LA area and the Pacific Northwest. Currently, Amanda is doing movement direction, intimacy, and violence choreography at Portland Center Stage for Macbeth directed by Adriana Baer. Amanda is a fierce advocate for safe, sustainable, and respectful practice around the staging of intimacy and violence. Amanda is recommended by the Society of American Fight Directors (SAFD) as an Advanced Actor/Combatant. Amanda is also an intimacy director with Elemental Movement and is an apprentice with Intimacy Directors International. Amanda holds an MFA in Acting from California Institute of the Arts.

MEGAN WILKERSON Scenic Designer In her seven seasons at Artists Rep, Megan (she/hers) has designed scenery for The Revolutionists, A Doll’s House Part 2, Small Mouth Sounds, Skeleton Crew, The Humans, Caught, The Importance of Being Earnest, American Hero, Feathers and Teeth, The Understudy, and Xmas Unplugged; scenery and projections for Exiles, The Skin of Our Teeth, and Magellanica. An Artists Rep Resident Artist, Megan is also a member of the women’s theatre company The Rivendell Theatre Ensemble in Chicago and a founding member of the artistic collective Bad Soviet Habits.

Since arriving in Portland, Megan has had the pleasure of working with Teatro Milagro (Óye Oyá, American Night), Third Rail Repertory Theatre (The Realistic Joneses, Lungs, The Events), Profile Theatre (The Secretaries, Blue Door), defunkt theatre (The Children’s Hour), Theatre Vertigo (Jekyll & Hyde, The Sexual Neuroses of Our Parents), and Northwest Classical Theatre (Wait Until Dark, Mary Stuart). Prior to Portland, Megan spent 10 years in the Midwest where she worked with Milwaukee Repertory Theatre, Renaissance Theaterworks, Milwaukee Chamber Theatre, Next Act Theatre, The ARTISTSREP.ORG 23

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Skylight Opera, First Stage Children’s Theatre, Michigan Opera Theatre, Pittsburgh Public Theatre and the Rivendell Theatre Ensemble. As a Design Assistant, Megan spent two seasons at Oregon Shakespeare Festival (American Night, The Music Man, Ruined) and has long-running relationships with designers Marjorie Bradley Kellogg and Michael Ganio that have led to work on diverse national projects from Kenny Leon’s production of the modern opera Margaret Garner to Bill Rauch’s Pirates of Penzance here in Portland. Megan is a proud member of United Scenic Artist Local 829. www.meganwilkerson.com KRISTEEN WILLIS Lighting Designer Kristeen received her BA f rom Centre College in Danville, KY and received her MFA in Lighting Design from Wayne State University, Hilberry Company in Detroit, MI. Previously, she designed lights for several Artists Rep productions, including It’s a Wonderful Life: A Live Radio Play, Everybody, I and You, The Thanksgiving Play, The Humans, Feathers and Teeth, American Hero, The Skin of Our Teeth, The Miracle Worker, The Understudy, Tribes, Foxfinder, The Cherry Orchard and Eurydice. She designed the set for Between Riverside and Crazy, Marjorie Prime, We Are Proud To Present…, Broomstick, 4000 Miles and Foxfinder. She has designed scenery and/or lighting for several area theatres including Northwest Children Theatre’s Shrek The Musical; Profile Theatre’s True West and Master Harold And The Boys (2013 Drammy) and Thief River; Coho Productions’ Frankie and Johnny in the Clair De Lune and The Outgoing Tide; Miracle Theatre’s Oedipus El Rey (2012 Drammy), and Third Rail Repertory Theatre’s The Aliens, A Bright New Boise (2014 Drammy), and Gideon’s Knot (2014 Drammy).

ARTISTSREP.ORG 24

SARAH GAHAGAN Costume Designer Sarah Gahagan is a multimedia artist and costume designer for theatre and dance, as well as being a design instructor and resident costume designer at Portland Community College. Sarah has collaborated with many of Oregon’s beloved arts organizations including: Artist Repertory Theatre, Oregon Children’s Theatre, Profile Theatre, Miracle Theatre Group, Oregon Contemporary Theatre, Oregon Ballet Theatre, and Michael Curry Design. Sarah has received five Drammy Awards, Portland’s annual recognition of excellence by a consortium of theatre critics, for her costume design work on Eurydice, James and the Giant Peach, Trojan Women, El Quijote, and A Year With Frog and Toad. She has also received national grants and awards such as the Tobin Theatre Arts Travel Award. Her design work was featured internationally at the 2007 Prague Quadrennial’s Scenofest Exhibit. Her costume design work has been seen in issues of both American Theatre and Theatre for Young Audiences Today. Sarah attended The University of Oregon, where she received a BS in Theatrical Production Design and a BFA in Textiles.

RODOLFO ORTEGA Composer & Sound Designer Rodolfo Ortega is an award winning composer for film, television and theatre. Rodolfo received his Bachelor’s Degree in Music from the University of Arizona and his Master’s of Music degree from Manhattan School of Music where he studied piano and composition. He has sound designed and composed for some of the most prestigious theatre companies in the United States including The Oregon Shakespeare Festival (Romeo & Juliet, The

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Tenth Muse) and Denver Center Theatre Company (The Three Musketeers, Romeo & Juliet). Rodolfo is also an Associate Artist with Santa Cruz Shakespeare (Hamlet, A Midsummer Night’s Dream, Much Ado About Nothing, Macbeth, Julius Caesar, Man in the Iron Mask, Winter’s Tale). Since 2008, he has composed an original musical every year for Northwest Children’s Theatre including Hansel and Gretel, Snow White, Pinocchio, Peter Pan, The Little Mermaid, and El Zorrito (which was published by Dramatic Publishing in 2014). For Artists Rep, he has designed and composed music for Caught, The Liar, Feathers and Teeth, The Talented Ones, Trevor, and Small Mouth Sounds. He has recently composed the music for Aurora Theatre Company’s production of The Monster Builder (San Francisco Drama Critics Award). He has also worked with Cleveland Playhouse’s Native Gardens and South Coast Repertory Theater. He recently was commissioned to compose the music for Oye’ Oya’ a bilingual musical adaptation of The Tempest for Teatro Milagro. Rodolfo recently was won the Prague Quadrennial Competition in Music for his composition for Artist Repertory Theater’s Magellanica where he was a featured Artist in Prague in June 2019. www.rodyortega.com ALAN CLINE Projection Designer Alan (he/his) is a video designer and technician living and working in Portland.

After many productions with Artists Rep as an operator and programmer, he is pleased to have the opportunity to design a full production with the company. More of his work can be seen this month with Third Rail Rep, Theatre Vertigo, and Profile Theatre.

DIANE TRAPP Wig Designer Diane Trapp has been doing hair and makeup for theatre since 1972, learning her craft from work with Theater 21, Civic Theatre, and Theatre Workshop. She was the makeup

and hair designer for Musical Theater Co. for 18 years, Eugene Opera for 16 years, and Tygres Heart Shakespeare Co. for 6 years.

She has worked for many other companies, including Tacoma Opera, Little Rock Opera, New Rose Theatre, Oregon Ballet Theatre, Columbia Dance, Oregon Children’s Theatre, and triangle productions!. Diane has been the stage makeup instructor for Portland Community College for 30 years and has designed many shows for them, including Amadeus, Little Shop of Horrors, Hairspray, and Usagi Yojimbo. In 1984, Diane established Illusionary Designs, a business dedicated to creating makeup and mask designs for the stage. It now creates masks for many occasions including the New Orleans Mask Market during Mardi Gras, and “Maskarade,” a New Orleans mask gallery. Diane is a proud member if IATSE local 28 and has been for 19 years. She has worked for over 40 years in this industry and loves the challenge, the people, and the shows. What a great way to make a living.

JAKE NEWCOMB Assistant Sound Designer Jake is thrilled to be working on Artist Rep’s production of 1984. There are few things he enjoys more than making a room sound great and sharing his work with an audience. Jake’s previous involvement in ART’s productions include assistant sound designer for Magellanica and It’s A Wonderful Life: A Live Radio Play.

Jake has had the privilege of mixing shows in many theaters, including but not limited to, Portland Center Stage, Northwest Children’s Theater, and The Waterside Theatre.

Newcomb has worked as a freelance sound engineer for companies such as Nike, Arrow Pictures, Pickathon Music Festival, Human Rights Campaign, Sho Hawk Media, Music Together and more. He holds a Bachelors degree in Audio Engineering from Husson University. He is a recipient of a Drammy Spotlight Award and a two-time PAMTA ARTISTSREP.ORG 25

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nominee. He has recently been working on post-production audio work for film, podcasts, and animation.

ALEX PLETCHER Assistant Costume Designer Alex Pletcher was raised in the Bay Area, but since has lived/worked in the Netherlands, Brazil, Los Angeles, and most recently Portland. As a set and costume designer, she is fortunate enough to have collaborated with critically-acclaimed producers such as the LA Philharmonic, Opera Omaha, Pacific Musicworks, The Geffen Playhouse, Brimmer Street Theatre Co., Edinburgh Fringe Festival, LA Theatre Ensemble, Gray Oak Productions, NBC, ABC, 20th Century Fox, and HBO. She is a Co-Founder and Creative Director of Portland Razor Co., a brand that celebrates both ritual and style.

Alex holds a BA in Theatre for Design and Production from the UCLA School of Theatre, Film, and Television.

LAURA SAVAGE Prop Master/Assistant Scenic Designer Laura Savage (she/hers) has always been happy working with her hands to create environments and props that help bring stories to life, be it designing for theatre, dressing sets, for film or crawling into tight spaces around fragile miniatures on animation sets. Originally from the UK, Laura started out as Production Designer on The Secret Garden for The Tobacco Factory Theatre, before becoming a Set Dresser for Aardman Animations working on shows such as Shaun the Sheep, Creature Comforts, and Pirates!, and her film credits include Ex-Machina and The Imitation Game. She moved to Portland three years ago to work for Laika on their most recent film Missing Link and since then Laura made a return to theatre as Prop Master on A Doll’s House, Part 2 with Artists Rep, and Footloose with Broadway Rose Theatre, as well as Associate Designer for Mala with CoHo Theatre.

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LUAN SCHOOLER Dramaturg Luan Schooler (she/hers) was born in West Texas, where she trailed her big sister into dance classes and community theatre. When she was twelve, the family packed up and moved to Anchorage, Alaska, where play practice and recitals continued to consume her.

After being kicked out of high school, she studied theatre at CalArts. Since then, she has worked with many theaters around the country, including Perseverance Theatre in Juneau, Alaska (where she met and married the marvelous Tim), Denver Center Theatre Company, Oregon Shakespeare Festival, and Berkeley Rep. She once detoured from theatre to open a cheese shop, but then did a U-turn, and joined Artists Rep as the Director of New Play Development & Dramaturgy in 2015. In addition to overseeing the commissioning and development work, she also directed Artists Rep’s World Premiere of The Thanksgiving Play by Larissa FastHorse and A Doll’s House, Part 2 by Lucas Hnath.

PANCHO SAVERY Dramaturg Pancho is a professor of English, Humanities, and American Studies at Reed College, where he teaches courses in American literature post-1850, African American literature, and modern and contemporary American and European drama. He also teaches in Reed’s freshman humanities program that covers the ancient Mediterranean world (Mesopotamia, Greece, Egypt, Persia, and Palestine) as well as Mexico City and Harlem. He has given theatre talks at Coho Theatre, Profile Theatre, Portland Center Stage, Artists Rep, and Portland Playhouse; directed Delve Reading Seminars through Literary Arts in Portland; and has published essays on Robert Creeley, Ezra Pound, Saunders Redding, Ralph Ellison, Cecil Brown, Tennessee Williams, James Baldwin, Robert Farris Thompson, Albert Murray, and others. He currently also

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NITY IS NOT STATISTICAL SANITY IS NOT STATISTICAL SANITY IS NOT STATISTICAL SANITY IS NOT STATISTICAL SANITY IS NOT STATISTICAL SANITY IS NOT STATISTICAL SANITY

serves on the Artists Rep Board of Directors.

CAROL ANN WOHLMUT Stage Manager Carol Ann has been a Stage Manager for over 20 years at Artists Rep, where she is a Resident Artist: The Weir, Art, The Shape of Things, Copenhagen, Top Dog/Underdog, The Lobby Hero, Mercy Seat, Enchanted April, The Seagull, Assassins, Mr. Marmalade, Mars on Life – The Holiday Edition, Rabbit Hole, Blackbird, Three Sisters, Design for Living, Othello, Ah, Wilderness!, Mars on Life-Live!, The Cherry Orchard, God of Carnage, Red Herring, Ithaka, Mistakes Were Made, The Playboy of the Western World, Blithe Spirit, The Invisible Hand, The Liar, Broomstick, Mothers and Sons, Grand Concourse, Feathers and Teeth, The Importance of Being Earnest, An Octoroon, The Humans, The Thanksgiving Play, Skeleton Crew, It’s a Wonderful Life: A Radio Play, A Doll’s House Part 2, and The Revolutionists. In addition, Carol Ann has been a properties artisan, production manager, board operator, and even an accountant for a variety of theatres in the Portland area for the past 30+ years. These theatres include Portland Center Stage, Portland Rep, Stark Raving Theater, New Rose Theatre, triangle productions!, Musical Theater Co, Metro Performing Arts, Northwest Children’s Theatre, Anonymous Theatre and Carousel Co. Carol Ann also guest lectures on the topics of Stage Management and making a living in theatre arts at various educational facilities.

MEGAN THORPE Production Assistant Megan Thorpe (she/hers), formerly Megan Moll, is returning to Artists Rep for her fourth season, after working on Teenage Dick, Small Mouth Sounds, Between Riverside and Crazy, and others. Megan recently stage managed for Chamber Music Northwest’s summer festival, where she can enjoy her love of

music as well as theatre. She also works for various other companies in town, such as Portland Center Stage, CoHo, and Third Rail.

Megan is thrilled to be back at Artists Rep this fall, and is looking forward to working “on tour” with the other amazing artists this season.

ERIN MACGILLIVRAY 2nd Production Assistant Erin MacGillivray (she/her) is a graduate from Whitman College with a B.A. in Theatre and Classical Studies. Erin is a recent Third Rail Repertory mentorship program alum, and stage manages at Milagro (Judge Torres, La Segua, Jump) and Original Practice Shakespeare Festival. She is also a co-founder and stage manager at Red Balloon Theatre Collective.

Her credits outside of stage management include assistant director on Revolt. She Said. Revolt Again (Third Rail Repertory) and costume designer on Care of Trees (Enso Theatre Ensemble). This is her second production with Artists Rep. DAVE PETERSEN Sound Op This is Dave’s 12th season with Artists Rep. He moved to Portland mid-summer of 2005 after receiving an Associates of Applied Science Degree in Audio and Recording Technologies. Dave’s first job for the theatre was installing the sound system for the then newly acquired Morrison Stage. Since then Dave has been a Board Op for over 30 productions beginning with BUG. A few of his favorite (and most challenging) shows would have to be Cuba Libre and Tribes.

ALANA WIGHT-YEDINAK Wardrobe A native Montanan, this is Alana’s (she/hers) first season with Artists Rep. Since arriving in Portland in 2012, she has worked across many visual mediums and has been fortunate to be a part of a number of exciting theatrical ARTISTSREP.ORG 27

projects- from devised pieces to musicals.

She teaches Introduction to Costuming at Wilson High School and is gratified to be able to share the love of theatre with the next generation of artists. She has been nominated twice for Best Costume Design by Broadway World Portland (Much Ado About NothingPost5 Theatre; Troilus and Cressida- Portland Actors Ensemble). Her recent design credits include An Iliad (Northwest Classical Theatre Collaborative), King Lear (Portland Actors Ensemble), Adroit Maneuvers (Lighthouse Arts) and She is Fierce (Enso Theatre). She is grateful for her husband and daughter, without whom it would be slightly more odd to be playing in the mud

J.S. MAY Managing Director

J.S. May (he/his) is a seasoned fundraising and communications professional who has worked with a wide range of local, regional, national, and international nonprofit organizations. He has helped raise more than $500 million over the course of his career. For eleven years ending in 2018, he was the chief fundraising, marketing and communications officer, and strategist for the Portland Art Museum—Oregon’s premier visual arts institution with annual attendance of more than 325,000. For the seven years prior to his tenure at the Portland Art Museum, J.S. led the fundraising practice for Metropolitan Group, a Portland-based social marketing firm that works to create a more just and sustainable world. For the six years preceding Metropolitan Group, he led the growth of the region’s leading pediatric teaching and research hospital as executive director for the Doernbecher Children’s Hospital Foundation at OHSU. Before Doernbecher, J.S. spent six years supporting the expansion and growth of the region’s most trusted media source as the director of corporate support for Oregon Public Broadcasting. A graduate of the University of Oregon, J.S. has volunteered for numerous nonprofit organizations, serving multiple terms as president of the board for ARTISTSREP.ORG 28

both the Portland Schools Foundation and the Portland Chapter of the Association of Fundraising Professionals. He currently serves as president of the Cycle Oregon board, and is a board member for the Creative Advocacy Coalition. J.S. is an avid yogi, cyclist, and reader.

What is LORT Lab?

Artists Repertory Theatre and Portland Actors Conservatory continue their professional collaboration with participating students playing ensemble roles while working alongside Resident Artists and seasoned professionals.

This opportunity will fulfill Advanced Acting Rehearsal and Performance Requirements for the second-year program. Putting theory into practice is at the heart of PAC’s mission. From auditioning, casting, rehearsals, and performance these students have a full immersion into the professional theatre experience.

NOSSA FAMILIA COFFEE IS PROUD TO BE A SEASON SUPPORTER FOR ARTISTS REP & ARTSHUB Visit our cafés in the Pearl District & SE Portland

www.nossacoffee.com/locations

Fresh eyes gets a facelift Artists Rep’s Fresh Eyes program brings ‘civilians’ into the rehearsal process. On selected productions each season, we invite writers from diverse backgrounds to join us for a few rehearsals, and then share their observations of the process and the play in the Fresh Eyes blog.

We hope the distinctive perspectives of our guests will illuminate the inner workings of a production, and enrich the experience for our audiences and community at large.

For the 2019/20 season, our cadre of Fresh Eyes includes:

La Ruta: Andrew Dawes, Ph.D. is an

Associate Professor of Physics at Pacific University where he teaches in both the physics and optometry programs. Although his research focus is photonics and quantum optics, he is much happier to talk about his wide-ranging hobbies which include robotics, electronics, music, and theatre.

The Strange Undoing of Prudencia Hart: Elizabeth E. Tavares, PhD (@ElizETavares) is assistant professor of English at Pacific University, specializing in playing companies, theatre history, and Shakespeare in performance. As a scholarpractitioner having worked with a variety

of companies in Chicago and the Pacific Northwest, she is currently completing a book, Playing the Stock Market: The Elizabethan Repertory System before Shakespeare. Elizabeth has previously been an observer on Feathers & Teeth, Magellanica, and Teenage Dick.

School Girls; Or, The African Mean Girls Play: Anthony Hudson (Confederated

Tribes Grand Ronde) is an artist, writer, performer, filmmaker, and programmer best known as Portland, Oregon’s premier drag clown Carla Rossi, an immortal trickster whose attempts at realness almost always result in fantastic failure. Together, they host Queer Horror, the only LGBTQ+ horror screening series in the country at the historic Hollywood Theatre. Anthony’s new play Looking for Tiger Lily will make its World Premiere at Artists Repertory Theatre in May 2020. Anthony has also been Fresh Eyes on Feathers & Teeth and The Importance of Being Earnest.

Indecent: Matthew Minicucci is a poet

and teacher. His most recent collection, Small Gods (New Issues), won the 2019 Stafford/ Hall Oregon Book Award in Poetry. He’s currently the Emerging Writer/Teacher Fellow in the English Department at Linfield College.

Matt has previously observed productions of Magellanica and Everybody.

*Continued from page 5

ART’s Resource Sharing and Community-Building Initiative supporting Portland theatre makers, arts and education nonprofits, and community groups.

The mission of the ArtsHub is to create a cultural center by supporting Portland’s rich artistic ecosystem. Programs and services include: below market rates for rehearsal, performance, and meeting space; shared administrative work space for individuals and organizations; and production services such as set construction, scenic painting, and professional technical support from design through performance. Our goal is to help a diverse range of arts and community organizations thrive. We prioritize artists and organizations that support ART’s values of equity, diversity and inclusion, and seek to provide a home for artists and audiences to take creative risks. While the program’s origin six years ago was in response to an opportunity to share underutilized performance space, we have found that the most vital and lasting impact of the ArtsHub is the bustling community that has been formed, and the myriad ways it has led to the empowerment of local artists and the accelerated growth of participating organizations. On any given day, staff members and dozens of artists from multiple arts and community organizations are rehearsing, utilizing administrative support and meeting spaces, with chance encounters in shared spaces leading to increased communication and unanticipated future collaborations between organizations. In the 2018/19 Season alone, over 1,500 events were held in our building by 42 local nonprofits, including 11 resident companies — 380 ArtsHub public events, 462 rehearsals, 422 classes, and 306 ART events. Our new facility is being designed so that the ArtsHub can include even more organizations than it currently serves.

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OUR SUPPORTERS It goes without saying, but we’ll say it: we can’t make theatre without the support of our incredible donors.

THE APPLAUSE FOR THE SHOW IS NOT ONLY FOR THE ACTORS, DESIGNERS, AND TECHNICIANS, BUT FOR YOU, OUR COLLABORATORS. THANK YOU! This list celebrates Artists Rep donors who gave $100 or more between June 1, 2018 and August 7, 2019.

Join us in supporting the creation of outstanding theatre by calling Nel Taylor at 503.241.9807 x168 or making a gift online at www.artistsrep.org.

GAME CHANGERS ($100,000+) Anonymous (2) Robert & Mercedes Eichholz Foundation The Regional Arts & Culture Council, including support from the City of Portland, Multnomah County and the Arts Education & Access Fund James F. & Marion L. Miller Foundation Wood Partners VISIONARIES ($50,000-$99,999) Ronni Lacroute The Oregon Community Foundation The Shubert Foundation PRODUCERS ($25,000-$49,999) The Collins Foundation The Kinsman Foundation The Oregon Cultural Trust The Oregonian Rafati’s Catering PATRONS ($10,000$24,999) Anonymous (2) Colliers International Jeffrey G. Condit Bob & Janet Conklin Marcia Darm MD & Bruce Berning Wolfgang Dempke in memory of Alise Rubin Margaret Dixon Express Employment Professionals Dan Gibbs & Lois Seed Tom Gifford & Patti

Fisher Diane Herrmann Hotel deLuxe Mark Spencer Hotel J.S. & Robin May National Endowment for the Arts Charlotte Rubin The Harold & Arlene Schnitzer CARE Foundation, Arlene Schnitzer & Jordan Schnitzer Marcy & Richard Schwartz John & Jan Swanson Darci & Charlie Swindells US Bank David & Christine Vernier The Estate of David E. Wedge STAGEMAKERS ($5,000-$9,999) Anonymous (2) Advance Gender Equity in the Arts (AGE) Julia & Robert S. Ball Mike Barr Bloomfield Family Fund Karl & Linda Boekelheide The Estate of Don & Pat Burnet Dark Horse Wine Michael Davidson Dramatists Guild Foundation Eva Glass The Jackson Foundation Joan Jones Arthur & Virginia Kayser Kristen & Michael Kern Romy Klopper Drs. Dolores &

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Fernando Leon Hugh & Mair Lewis Charitable Fund of the Southwest Washington Community Foundation Leonard & Susan Magazine, REAL ESTATS National New Play Network Kristine Olson Fund of The Oregon Community Foundation Oregon Arts Commission, a state agency Bob & Linda Palandech Lorraine Prince Alan Purdy Reser Family Foundation Dámaso Rodríguez & Sara Hennessy Rose E. Tucker Charitable Trust Sapori Fine Flavors Steve & Trudy Sargent Pancho Savery Rosalie & Ed Tank OCF Joseph E. Weston Public Foundation Maureen Wright & Lane Brown DIRECTOR’S CIRCLE ($2,500-$4,999) Phyllis Arnoff Patti Brewer & Nick Giustina Molly Butler & Robin Manning Charles Fine Arts Portraits Classic Pianos Philip Collier Smith Norma Dulin & James Barta Trish & Bennett Garner Polly Grose

Candace Haines Pam Henderson & Allen Wasserman Mark Horn & Mark Wilkinson Intel Corporation Matching Gifts The Juan Young Trust Shawn Lee & Vonessa Martin Kirsten & Christopher Leonard Jim & Eva MacLowry Michael & Dr. Whitney Nagy Allen & Frances Nause Kay Parr Marian & Elihu Schott Family Fund of The Oregon Community Foundation Norm & Barbara Sepenuk Shiels Obletz Johnsen James G. & Michele L. Stemler Thomas Robinson Robert Taylor BACKSTAGE PASS ($1,000-$2,499) Anonymous (3) Ruth & Jim Alexander F. Gordon Allen & Janice M. Stewart Susan Bach & Douglas Egan Cheryl Balkenhol Bruce Blank & Janice Casey Nita Brueggeman & Kevin Hoover Denise Carty & Roger Brown Family Fund of The Oregon Community Foundation Richard & Nancy Chapman Cleveland H. Dodge

THANK YOU! Foundation Nathan Cogan Family Fund of the Oregon Jewish Community Foundation Anne Conway & Louis Baslaw Barbara & Tom Cooney Allison Couch & Tom Soals Marvin & Abby Dawson Edward & Karen Demko Susan Dietz Leslye Epstein & Herman Taylor Marc Franklin & Mary Lou Moriarty Carol Fredlund & John Betonte Deborah & Jim Gangwer Lynn Marchand Goldstein Dick Hamlet & Corinne McWilliams Curtis Hanson Higgins Restaurant & Bar Cody Hoesly & Kirsten Collins Barbara Holisky & Gary McDonald Judy & John Hubbard Constance Jackson & Xavier Le Héricy Jessie Jonas Beth & Chris Karlin Carol Kimball Jody Klevit Anneliese Knapp Mike & Sandra Kremers Bruce & Cathy Kuehnl Leslie R. Labbe Kristen & Tim Lachenmeier Roberta Mann Victoria McOmie Laurie & Gilbert Meigs Katherine Moss Deanna & Wilfried Mueller-Crispin Linda Nelson & Ted Olson Joan Peacock, in loving memory of Ben Buckley Patricia Perkins David Pollock Wayne Potter & Pam Brown

Julie Poust John Ragno Martin Ragno Wendy & Richard Rahm Fund of The Oregon Community Foundation Julia Rea & Jim Diamond Bonnie & Peter Reagan Robert Reed Richard & Mary Rosenberg Fund of The Oregon Community Foundation Miriam Rosenthal Marilynn & Richard Rytting Dr. & Mrs. William Sack David Saft & Laura Lehrhoff Dianne Sawyer & Richard Petersen Roy Schreiber & Carole Heath Ursula Scriven Jinny Shipman & Dick Kaiser Elizabeth Siegel Marilyn & Gene Stubbs John & Sandra Swinmurn Tonkon Torp LLP Marcia Truman Geoff Verderosa Charlene Zidell SUPERSTARS ($500$999) Anonymous (2) Bob Amundson & Sully Taylor Ann Balzell & Joe Marrone in memory of Deforest Arn Piper Patsy Crayton Berner Richard & Leslie Bertellotti Lesley Bombardier Fred & Betty Brace Ann Brayfield & Joe Emerson Lauretta Burman Charles & Barbara Carpenter The Nathan Cogan Fund of The Oregon Community Foundation Jim & Vicki Currie Larry & Marilyn Flick Kyle & Charles Fuchs

Dr. William & Beverly Galen Paul Gehlar Don & Marlys Girard Susan & Dean Gisvold Al & Penny Greenwood Richard L. Hay Dawn Hayami Mike & Judy Holman Anna Jimenez & Zednek Zumr Jin-Jin’s Aloha Outreach Fund at Schwab Charitable Ms. Cecily A. Johns Judith & Gregory Kafoury Elaine & Ed Kemp Karen Kemper Carol & Jeff Kilmer PJ Kleffner Lagunitas Brewing Company Bill & Shelley Larkins Tim Larson Noah & Dena Lieberman Matthew Lillard Robert A. Lowe & Michelle Berlin-Lowe David Lutz Linda & Ken Mantel Susannah Mars & Gary Johnson Dan McKenzie Dolores & Michael Moore Susan D. Morgan VMD Neilsen Family Fund of The Oregon Community Foundation Network for Good David & Anne Noall Northwest Film Center Nossa Familia Coffee Alfred & Eileen Ono OnPoint Community Credit Union Debra & Paul Pellati Representative Carla C. Piluso Portland Actors Conservatory Portland Timbers Raft California Karen & John Rathje Scott & Kay Reichlin Michael Sands & Jane Robinson Joanne & James Ruyle

Carol Schnitzer Lewis Fund of The Oregon Community Foundation Kristin Schultz Wayne D. Schweinfest Nick & Sandra Snell Fund of The Oregon Community Foundation Southwest Airlines Scott Stephens & Leslie Houston Faye & Lucille Stewart Foundation Greg & Martha Struxness Donald & Roslyn Sutherland Rick Talley & Dr. Mary Ann Barr Talley Sarah & Robert Taylor Paul Thompson & Portia Sipes US Bancorp Matching Gift Program Paul Vandeventer LeAnn Wells Carole Whiteside Pam Whyte & Ron Saylor Andrew Wilson & Dr. Ronnie-Gail Emden Carl Wilson & Evan Boone Cynthia Yee INSIDERS ($250$499) Anonymous Kay & Roy Abramowitz Chuck & Meg Allen Alliance Française Kris Alman & Mike Siegel Linda Alper Anders Printing Company ArborBrook Vineyards Elizabeth & Stephen Arch Artslandia Susan & Grover Bagby Shilpi Banjeree Linda Barnes & Robert Vanderwerf Jim Brunke Sonia Buist, M.D. Cambia Health Foundation Don Caniparoli & Sarah Rosenberg

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OUR SUPPORTERS Cecile Carpenter Jean Carufo & Barbara Engelter Rick & Jean Collins Dr. Maura ConlonMcIvor Harriet Cormack Debbie Cross & Paul Wrigley Robert Daasch & Linda Schaefer Nancy & Jon Decherd Barbara & George Dechet Troy & Bev Dickson Linda Dinan Stephen Early & Mary Shepard Carmen Egido & Abel Weinrib Elizabeth & John Ehrsam Marilyn Kay Epstein Dave Felt & Lynda Wendel Donna Flanders & Carl Collins in honor of Cody Hoesly Melissa & Bob Good Marvin & Barbara Gordon-Lickey Roswell & Marilynn Gordon Paul & Teri Graham Paul Harmon Matt Hauge Judith A. Henderson Cynthia Herrup & Judith Bennett Stephen & Sharon Hillis Kirk Hirschfeld Steven Hodgson Lynette & Don Houghton Steve & Kris Hudson Deborah Indihar Joni & Bill Isaacson Janice & Benjamin Isenberg Philanthropic Fund of the Oregon Jewish Community Foundation Bill Jensen Betsy Jeronen Marianne KeddingtonLang & William Lang Nancy G. Kennaway Sally & Lucien Klein Elyse & Ron Laster Roger Leo Chuck & Sandy Lissman Steve Lovett & Connie

Sullivan Jim & Midge Main Earlean Marsh Stacey Martinson & Brad Sealy Dr. Robert & Kimberly Matheson Michael Mendelson & Tim Thompson Bob Mensel Scott & Jane Miller Molly Moshofsky & Will Matheson North Country Productions, Alan & Sharon Jones Judy Parker & Albert Passadore Kate Patricelli Duane & Corinne Paulson Ron Pausig Phoenix Media Sue Pickgrobe & Mike Hoffman Portland Pairings Portland Playhouse Dee Poujade Jay & Barbara Ramaker Andrew & Peggy Recinos Helen Richardson & Don Hayner Kelly Rodgers Brian Rogers Charles & Judith Rooks Rebecca Ross Rick & Halle Sadle John Saurenman William & Meredith Savery Luan Schooler & Timothy Wilson Erika Schuster & Clay Biberdorf Mary Ann Seth-Wish & John Wish James & Laura Smith Neil Soiffer & Carolyn Smith Marc Stein H. Joe Story David & Rosemarie Sweet The Tea And Spice Exchange of Portland Jory Thomas Janet F. Warrington Carol Ann & Patrick Wohlmut Lora & Andy Woodruff Yoyoyogi

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Alan & Janet Zell Kurt & Heather Zimmer FRIENDS ($100-$249) Anonymous (8) Kip Acheson Aesop Hilary & Michael Alter Sarah & David Altman Rachael & Scott Anderson Thomas Robert Anderson Angelic Healing Hands, Inc. Kristin Angell Ruby Apsler Arlene Ashcraft Nancy Ashton Katherine Atkinson Bag & Baggage Matt Baines Steve Baker & Heyke Kirkendall-Baker Claudia Barnard Lewis Barr Laura Barton George Bateman Joan Baucus Alan & Sherry Bennett Pam Berg Dr. Dana Bjarnason Catherine Blosser Joe Blount Caleb & Maya Bourgeois Brenda & John Braden James Breedlove Bobby & Gabrielle Brewer-Wallin Margaret & Donn Bromley Brian Brooks Nancy & Gerry Brown Marlene Burns & Jon Dickinson Michael Carter & Teresa Ferrer Jean Carufo Sue Caulfield Mary & Russ Chapman Rita Charlesworth Valri & Vince Chiappetta Patrick & Barbara Christian in memory of Charlie Rosenthal Clackamas Repertory Theatre Bradley Coffey Ilaine Cohen Coho Productions Leslie & Alan Comnes

Amy Copeland Corrib Theatre Carol Daniels Joseph Davids Jewel Derin Elaine & Bill Deutschman Luke Dixon Jeanne & Lauren Donaldson Anne Driscoll Robin Dunitz Ross & Olivia Dwinell Kitt & Butch Dyer Laury Ellis & Kathy Fode Cheri Emahiser Jim & Joan English Fade To Light: A Multidimensional Fashion Event Susan & Gabriel Farkas Michael Feldman & Ruth Tenzer Feldman Julie Fleischer Chris Fletcher & Pamela Abernethy & Elizabeth Abernethy Katie Flynn Lew Frederick Nancy Lee Frederick Jessy Friedt Patricia Frobes & Richard Smith Amy Fuller & Frank Wilson Fullerton Wines Susan GendeinMarshall & Lee Marshall Frank Gibson Andy Ginsburg & Danielle L. Erb Rob Goldman Glenda Goldwater Gretta Grimala Lauren Gunderson HP Matching Gifts Arlene & Arthur Hagen Andrew Harbison Ulrich Hardt & Karen Johnson Meredith Hartley & Jeremiah Pyle Susan Haywood Elena Hein Joan Heinkel & Ben Massell Thomas Hellie & Julie Olds Joe & Diana Hennessy The Herb Shoppe Sarah Hershey

THANK YOU! Jon Hirsch Ava & Charlie Hoover Carol & Tom Hull Beth Hutchins & Pete Skeggs Jeri Janowsky & John Crabbe Katharine Jansen Isaac & Jennifer Johnson Colleen & Jeff Johnson Phyllis Johnson Janet Josway Erika Kane Steve & Anita Kaplan Keeton Corporation Catherine & Timothy Keith Jane Kennedy Ellen Kesend & Bruce Sternberg Heather Kientz Doris & Eric Kimmel Rev. Larry King Steve & Molly Kleinheinz Kim Knox David & Susan Kobos Keith & Merle Koplan Tom & Judy Kovaric Robert & Helen Ladarre Connie & John Larkin in memory of Charlie Rosenthal Jeanette Larson Mary Lou Laybourn Jeanette Leahy Mark Lee & Lisa Bork Richard Lewis & Meg Larson Literary Arts Mari & Louis Livingston Reva Ricketts & Marc Loriaux in memory of Charlie Rosenthal Leslie Louderback Henry C. Louderbough Jane Luddecke & Robert Anderson Dr. Christine Mackert Priscilla & Rod MacMillan Sheila Mahan Gus & Liann Martin Larry Marxer & Susan Hathaway-Marxer Ms. Nancy Matthews Anne McLaughlin Kathryn McLaughlin Katie McRae Mariellen Meisel & Steve Glass

Miles & Elizabeth Merwin Sam Metz & Margaret A. Jennings in memory of Charlie Rosenthal William Meyer Milagro Miller Nash LLP Dwyn Miller Susan & Greg Miner Fern Momyer & Marlene Grate Monique’s Boutique Don & Connie Morgan Judy Munter Steve Neighorn

Pierre & Linda Pham Kevin Phaup Donna Philbrick Olliemay Phillips Pink Martini Roger Porter Portland Center Stage Portland Experimental Theatre Ensemble Judith E Posey & Edward J Doyle, MD Elizabeth Pratt & Philip Thor Profile Theatre Pumpkin Ridge Golf Club

The art instillation titled FORGOT YOUR PASSWORD is the entirety of the LinkedIn password dump printed into several thick tomes. It’s a post-Snowden critique of the privacy and security concerns faced by ordinary people who have little power against the corporations and governments who employ surveillance against them.

Katy Nelson Anna Nicholas Marcy Norman Northwest Children’s Theater And School NW Dance Project Greg & Emily Nourse Steve Novick Vana O’Brien Erik Opsahl Oregon Shakespeare Festival Oregon Symphony Susan Parsons Gordon & Sondra Pearlman Carla Pentecost

Ana Quinn Dick & Linda Reedy Ed Reeves & Bill Fish Josh Richards Robert & Marilyn Ridgley Kathryn Ross Ms. Cara Rozell Rich & Joan Rubin Ellen Rubinstein Cecily Ryan Jane Sage Cindy Salisbury Brandon Scarth Robert Schaibly David & Suzanne Schulherr

Schwab Charitable Ann Schwarz Jean Scott & Myrth Ogilvie Dorothy & John Shaner in memory of Charlie Rosenthal Gil Sharp & Anne Saxby Ariel Shattan Doug Sheets Kathryn Silva Laurel & Dan Simmons Charles & Karen Springer Jenny Stadler & Jordan Hiller David Staehely DeeAnne Starks Tony Starlight Kathleen & Leigh Stephenson-Kuhn Julia Surtshin & Richard Sessions James Swenson Gary Taliaferro Ravi & Reema Tayal Leslie Taylor & Doug Beers Tektronix Matching Gifts Tracy Thornton David Tillett Larry Toda Robert Todd Andrew & Brittain Tripp Troon Vineyard George & Dawn Tsongas in memory of Charlie Rosenthal Cyrus Vafi Kaye Van Valkenburg & David Maier The Vault David & Julie Verburg Janet Vining & Eric Vega Vinn Distillery Pamela Vohnson & David Streight Allison Wales Judi & J. Wandres Anne Weaver Joan & David Weil in memory of Charlie Rosenthal David Wheeler Karen Whitaker Richard Winkel Lawrence W. Woelfer Susan Woods

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URME makes a personal surveillance identity prosthetic that is the face of artist Leo Selvaggio.

People can wear the mask when out in the world therefore making facial recognition software invalid.

SHOW SPONSORS

Bob & Janet Conklin Tom Gifford & Patti Fisher Leonard & Susan Magazine SEASON SPONSORS

Seasonal Food for all occasions

OTHER MAJOR CORPORATE AND FOUNDATION SPOMSORS

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STAFF Artistic Director: Dámaso Rodríguez Managing Director: J.S. May ARTISTIC Producing Director: Shawn Lee Associate Producer: Kristeen Willis Director of New Play Devleopment & Dramaturgy: Luan Schooler Dramaturgy Scholar: Pancho Savery Casting Director: Vonessa Martin Lacroute Playwright-in-Residence : Andrea Stolowitz Resident Fight Choreographer: Jonathan Cole

PRODUCTION Production Manager: Kristeen Willis Technical Director: Nathan Crone Scene Shop Foreman: Eddie Rivera Master Carpenter: Charlie Capps Scenic Charge: Sarah Kindler Master Electrician: Gavin Burgess Resident Stage Manager: Carol Ann Wohlmut Properties Manager: Karen Hill Costume Shop Manager/Wardrobe Head: Alana Wight-Yedinak Sound Technician: David Petersen Facility & Operations Specialist: Sean Roberts

Resident Artists: Linda Alper, Adriana Baer, Ayanna Berkshire, Bobby Brewer-Wallin, Jonathan Cole, Chris Harder, Sarah Gahagan, Sara Hennessy, Michelle Jazuk, JoAnn Johnson, Kevin Jones, Val Landrum, E.M. Lewis, Sarah Lucht, Susannah Mars, Michael Mendelson, Allen Nause, Amy Newman, Vana O’Brien, Rodolfo Ortega, Sharath Patel, Gregory Pulver, John San Nicolas, Josie Seid, Vin Shambry, Andrea Stolowitz, Andrea Vernae, Joshua J. Weinstein, Megan Wilkerson, Carol Ann Wohlmut, Barbie Wu

BOARD OF DIRECTORS Jeffrey Condit, Chair Pancho Savery, Vice-Chair Cyrus Vafi, Treasurer Patricia Garner, Secretary Mike Barr, Past Chair Julia Ball

ADMINISTRATIVE General Manager: Vonessa Martin Company Manager and Assistant to the General Manager: Caleb Bourgeois Associate Managing Director: Allison Delaney

FOR THIS PRODUCTION Special Thanks: Barbie Wu and Eric Pargnac Scenic artist: Gordon Victoroff Scene Shop Intern: Frey Soares

MARKETING & BOX OFFICE Audience Development & Marketing Director: Kisha Jarrett Audience Development & Marketing Associate: Leslie Crandell Dawes Media Specialist: Kathleen Kelly Patron Services Manager: Christina DeYoung Data Analyst & Ticketing Sales Manager: Jon Younkin Box Office Associate: Zak Westfall EDUCATION & ARTSHUB/ AUDIENCE SERVICES Education & Audience Services Director: Karen Rathje Education Associate: Sarah Lucht Education Associate: John San Nicolas Music Events Specialist: Susannah Mars House Managers: Deborah Gangwer, Valerie Liptak, Shelley Matthews, Tara McMahon, Andrea Vernae, Kayla Kelly Concessions: Paul Jacobs, Geraldine Sandberg, Jennifer Zubernick, Kayla Kelly DEVELOPMENT Grants & Events Manager: Maya Bourgeois Annual Fund Manager: Nel Taylor

Michael Davidson Norma Dulin Tom Gifford Erik Opsahl Justin Peters Andrea Schmidt Marcia Darm, MD, Trustee Emeritus

BIG DATA PAWN SHOP was an online store that sold knick-knacks like t-shirts, trucker hats, iPad cases, and even doggie vests decorated with leaked official documents and codenames leaked by Edward Snowden.

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UP NEXT @ ARTISTS REP

NOV. 2 - DEC. 1 PORTLAND OPERA

Since 1993, the women of Juรกrez, Mexico have been disappearing and no one has solved the mystery. The bus route that takes these women to and from their U.S.-owned factory jobs is often the last place they are seen.

Based on real life testimonies, each woman represented in La Ruta bears witness to the secrets buried under the hot desert sun. Bouncing back and forth in time and featuring live music, the intensely harrowing La Ruta gives a passionate voice to the women who have disappeared.