ART on Tour presents ART Magazine: Volume 37, Issue 5 by artistsrep

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Volume 37 Issue 5

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THE HEARTBEAT OF THE SHOW

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HALF A CENTURY OF INDECENCY pg. 14

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pg. 17

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ART TEACHES US TO CELEBRATE LIFE, BUT ALSO TO NEVER FORGET HOW CRUEL LIFE CAN BE IN

FRESH EYES: LOST IN TRANSLATION IN

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pg. 32

Paula Vogel Josh Hecht Adin Walker

Directed by

Choreographed by

Original Broadway Production Conceived and Directed by Rebecca Taichman Score and Original Music by Lisa Gutkin and Aaron Halva

IN ASSOCIATION WITH PORTLAND STATE UNIVERSITY

Our Mission is to produce intimate,

provocative

theatre and provide a home for a diverse community of artists and audiences to take

creative risks

Founded in 1982, Artists Repertory Theatre (ART) is the longestrunning professional theatre company in Portland. ART became the 72nd member of the League of Resident Theatres (LORT) in 2016 and is an Associate Member of the National New Play Network (NNPN). Table | Room | Stage (T|R|S) is Artists Rep’s new play program whose mission is to develop and produce new work that vividly expresses ART’s aesthetic values. We focus on work by writers of color, women, LGBTQIA+ and gender nonconforming writers, and offer an environment where these playwrights can create provocative, intimate new theatre pieces that challenge, illuminate, and inspire. ART is also committed to local artists and features a company of Resident Artists and professionals of varied theatre disciplines, who are a driving force behind Artists Rep’s creative output and identity. The Resident Artist title is offered by the Artistic Director in appreciation of each artist’s achievements with ART and in the spirit of continued collaboration. These multidisciplinary theatre makers are deeply committed to ART’s success, share organizational values, and participate in decisionmaking processes that impact the theatre’s mission and its future. Additionally, ART’s education program is dedicated to developing theatre artists, students, business and arts professionals, and life-long learners at every ability, interest, and level of expertise. To continue the growth of theatre throughout Portland, ART has created the ArtsHub (*see page 9).

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To produce a season of first-class productions and community engagement activities centered around a single writer whose vision broadens our perspective on our world and deepens our collective compassion. Founded in 1997 by Jane Unger, Profile Theatre has always centered a season around a single writer, spending much of its first fifteen years exploring the work of some of the 20th Centuries most important masters and bringing many of them to Portland to develop work. Profile’s second Artistic Director, Adriana Baer, led the theater from 2012-2015. Adriana was interested in exploring the writers we would come to think of as our “21st Century Masters,” contemporary writers investigating the most pressing concerns of our time. Josh Hecht became Artistic Director in 2017. His commitment to new work and robust community engagement has led to two new commissions in 20182019 and our Community Profile Program that uses art-making as a means of community-building. Over the past twenty years Profile’s Featured Writers have won 10 Pulitzer Prizes (plus 4 finalists), 20 Tony Awards (plus 7 nominations), 18 Drama Desk Awards, 24 Obie Awards and 3 MacArthur “Genius” Awards. In 2010, Profile Theatre was awarded an inaugural “New National Theatre Company” Award from the American Theatre Wing designed to bring national attention to “the most inspiring and innovative theatre companies on our national landscape.” More recently, Profile has twice been recognized by Age and Gender Equity in the Arts for its leadership in equity, diversity and inclusion.

World-class musical training, innovative theater productions, and immersive community engagement. The School of Music & Theater is committed to sustaining an environment of creative inspiration, interaction, and excellence in the practice, understanding and appreciation of the performing arts, in order to enrich the artistic and cultural life of the city and region.

Within the School of Music & Theater, the Theater Program is committed to providing pre-professional training that balances theory and practice within a liberal-arts education. Through classroom study, studio/ laboratory practice, field studies or mainstage productions, students are encouraged to pursue educational excellence and collaboration. This course of study provides a firm foundation for all aspects of live and mediated performance and production. Students who seek professional careers, who are preparing for advanced degree programs or teacher education, or who are pursuing non-major study of the arts, flourish within a production program that encompasses new, modern, and classic works interpreted that confront and illuminate what it means to be fully human in this place and time. Production is an essential and integral part of the Theater Program’s educational mission. In the selection of dramatic and other works, the school seeks to reflect vital contemporary issues, personal and public, in varied and challenging forms, both new and classic, thereby creating a forum for cultural and social concerns. The program actively pursues the development of new works, collaborations with urban arts and educational institutions, and the expansion of cultural exchange.

INDECENT

by PAULA VOGEL directed by JOSH HECHT~ choreographed by ADIN WALKER~ Original Broadway Production Conceived and Directed by Rebecca Taichman ARTISTS REPERTORY THEATRE Dámaso Rodríguez, Artistic Director & J.S. May, Managing Director PROFILE THEATRE Josh Hecht, Artistic Director & Matthew Jones, Managing Director

CAST Lemml ............................................................................................................................. Michael Mendelson^* Chana .............................................................................................................................. Miriam Schwartz Avram............................................................................................................................... Joshua J. Weinstein^* Halina .............................................................................................................................. Jamie M. Rea*& Mendel .............................................................................................................................Gavin Hoffman*$ Vera ..................................................................................................................................Linda Alper^* Otto .................................................................................................................................. David Meyers* Mayer Balsam (Clarinet) ............................................................................................. Andrew Alikhanov Nelly Friedman (Violin) ................................................................................................Michelle Alany Moriz Godowsky (Accordion) ..................................................................................... Christina Crowder

CREATIVE TEAM AND CREW

Music Director ...................... Christina Crowder Intimacy Choreographer ... Amanda K Cole Assistant Director ............... Jennie Spector Wig Designer ........................ Diane Trapp Scenic/Projections Stage Manager .....................Carol Ann Wohlmut^* Designer ................................ Peter Ksander Asst. Stage Manager .......... Jamie Lynne Simons* Costume Designer ............... Wanda Walden Production Assistant ..........Ariela Subar Lighting Designer ................ Kristeen Willis# Directing/Choreo. Intern/ Sound Designer ................... Matt Wiens 2nd Prod. Asst. .....................Tommy O’Flannigan Properties Master ............... Lauren Chilton *Board Op ............................... PSU Students Dramaturg ............................. Luan Schooler Sound Engineer ................... Rory Breshears> Dramaturg ............................. Pancho Savery Wardrobe ...............................Alana Wight Dramaturg ............................. Karin Magaldi PSU Design/Tech Dialect Coach ....................... Stephanie Gaslin Instructor .............................. James Mapes Fight Choreographer .......... Jonathan Cole^~ Flyman ................................... Brian Jennings> *As part of the Portland State University’s Theatre requirements, students are part of the production crew. Please see page 13 for the list of the PSU students involved with the production of Indecent. “Wiegala” “Oklahoma” Music by Richard Rodgers by Ilse Weber © Copyright 2002 by Boosey & Hawkes Bote & Bock GMBH, Lyrics by Oscar Hammerstein II This selection is used by special arrangeBerlin ment with The Rodgers & Hammerstein Organization, All rights administered by Imagem Music Inc., www.imagem-music.com a Concord Music Company, www.rnh.com. All Rights Reserved. All Rights Reserved. “Bei Mir Bist Du Schon” Words by Sammy Cahn, Saul Chaplin and Jacob Jacobs Music by Sholom Secunda Copyright © 1937 Cahn Music Co. (ASCAP) This selection is used by special arrangement with Concord Music Company on behalf of Cahn Music Company, www.imagem-music.com. All Rights Reserved.

“Ich hab noch einen Koffer in Berlin” (Theme from “I Am a Camera”) German Text by Aldo Von Pinelli, Music by Erich M. Siegel TRO—© Copyright 1955 (renewed) Hampshire House Publishing Corp., New York, NY. All Rights Reserved Including Public Performance For Profit. Used by Permission

Original Broadway Production produced by Daryl Roth, Elizabeth I. McCann, and Cody Lassen Indecent was produced by the Vineyard Theatre (Douglas Aibel and Sarah Stern, Artistic Directors; Jennifer Garvey-Blackwell, Executive Director) New York City, Spring, 2016 Indecent was commissioned by Yale Repertory Theatre, New Haven, Connecticut (James Bundy, Artistic Director; Victoria Nolan, Managing Director), and Oregon Shakespeare Festival, Ashland, Oregon (Bill Rauch, Artistic Director, Paul Nicholson, Executive Director) Originally produced by Yale Repertory Theatre, New Haven, Connecticut (James Bundy, Artistic Director; Victoria Nolan, Managing Director) and La Jolla Playhouse, La Jolla, California (Christopher Ashley, Artistic Director; Michael S. Rosenberg, Managing Director) Indecent under the then title of “The Vengeance Project” was developed, in part, at the 2013 Sundance Institute Theatre Lab at the Sundance Resort Inspired by The People vs. The God of Vengeance, Conceived by Rebecca Rugg and Rebecca Taichman Indecent is presented by special arrangement with Dramatists Play Service, Inc., New York.

TIME: WARSAW, 1906 TO BRIDGEPORT, CONNECTICUT, 1950’S AND EVERYWHERE IN BETWEEN RUN TIME: APPROXIMATELY 120 MINUTES 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 Dance Captain $ Indicates Fight Captain > Indicates a member of IATSE or the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts

ART MAGAZINE

WELCOME

Welcome

to Portland’s premiere of Paula Vogel’s Indecent This original production of Vogel’s acclaimed, moving, and ultimately joyous play is a collaboration between Profile Theatre, Artists Repertory Theatre (ART), and Portland State University (PSU). The ambitiousness and scale of this project, which affords opportunities for PSU students to interact with and learn from some of our city’s most accomplished theatre artists, might have been out of reach for all of our companies had we not combined our resources to make it possible. Profile and ART have been producing side-by-side for years, ever since ART invited Profile to share their space in 2013. Periodically, we’d wondered about co-producing, as we discovered we shared a love of several writers. Sometimes, happenstance gives you a little push. When it became clear that ART and Profile would need to secure performance venues in 2020 during the renovation of ART’s building, the conversation about finding a play that could form a rewarding collaboration began in earnest. Simultaneously, PSU and ART had begun discussing how Lincoln Hall might be both a solution to ART’s need for performance space and provide an opportunity for students to receive professional production experience. ART and PSU have a similar history of mutual support. ART hosted the PSU Theater Program for two seasons of productions while Lincoln Hall was under renovation a decade ago. So, with the tables turned, PSU gladly returned the favor of playing host to ART, and welcomed Profile as co-producer. We soon discovered that Indecent is a play that all three of us were passionate about: Indecent had been on ART’s shortlist of plays for two ARTISTSREP.ORG 4

years; Profile had been considering a multi-year commitment to the investigation of Vogel’s body of work; and the play was already being taught as part of the curriculum in PSU’s theatre program. We had found our project. It’s been a beautiful collaboration. Together, ART and Profile have assembled a team of top-notch artists, whose vision ART’s technical prowess has brought to life. Profile’s in depth relationship with the writer and built-out community engagement programs bring added context to the work. PSU students not only have the opportunity to observe rehearsal, they are serving as running crew, wardrobe, and board operators, and a company of student artists will share their own performance of Indecent on our set for two Monday nights this month. We hope Vogel’s stunning play moves you as much as it has moved us. At its core, Indecent is about just how powerful it is to feel truly seen by a work of art, how meaningful it is to tell our own stories and have those stories seen by others. This is a value all three of us share. Indecent is a story we feel privileged to share with you. Thank you for joining us, and welcome. Dámaso Rodríguez, Artistic Director Artists Rep

Josh Hecht, Artisic Director, Profile Theatre

Karin Magaldi, Professor of Theatre Portland State University

D I R EC TO R ’S N o t e — WHAT IS IT ABOUT YOUR WRITING THAT MAKES ME HOLD MY BREATH? YOU MAKE ME FEEL THE DESIRE BETWEEN THESE TWO WOMEN IS THE PUREST, MOST CHASTE, MOST SPIRITUAL — Madje in Indecent by Paula Vogel

hen we started conceiving this production of Indecent, I was about to go into rehearsals for The Baltimore Waltz, an early work by Paula Vogel written in the months just after her brother Carl died of AIDS and in which she imagines the trip to Europe she never got to take with him. It is a comedic work nonetheless suffused with loss, and the familiar ache that lies beneath our favorite memories of loved ones gone. No one quite marries humor and sadness like Paula Vogel. It is a hallmark of her work. One of the pleasures of being the Artistic Director of Profile Theatre is our unique ability to get to know intimately an artist’s body of work and to start to draw connections between those works. Like putting on the glasses of a dear friend or family member and seeing the world through their eyes. When I had lunch with Paula over the summer, I mentioned the similarities I had noticed between The Baltimore Waltz and Indecent, from its adventurous form to the stunning final moment that dreams into being a healing embrace from the beyond. She smiled at me and said, “They’re book-ends. No one’s noticed that before.” The Baltimore Waltz begins and ends in Carl Vogel’s hospital room, and though in between Vogel’s play takes us on a journey across continents and time, in one sense we never really leave the hospital in which it begins. As we started working, set designer Peter Ksander and I began to wonder what would happen if the dusty attic in which Indecent begins never wholly leaves us either.

Indecent is told through the eyes of a theatre troupe who have performed Scholem Asch’s The God Of Vengeance for years in Jewish communities throughout Europe and in America. So moved are they by Asch’s story of love found in this obscenity of a world, that even during the horrors of the Holocaust, they gather in secret in a cramped attic in the Warsaw ghetto to perform this play every week. Our need to tell our own stories is one of the most ancient needs we have. Recently, a board member of ours went to France, where he visited the caves in which Neanderthals painted images of their lived experience 64,000 years ago. Before humankind had fully emerged as a distinct species, the urge towards creative expression was strong. And though we may not have had stages like Lincoln Hall and large producing organizations like Artists Rep or Profile, there has always been someone who stood up and told a story to someone else who listened. For it’s not just the telling that is important. It’s the witnessing. It’s the confirmation that comes from speaking our truths and having someone else say, “Yes, that’s me, too. Yes, I recognize that. We may be different, but in this way we are the same.” It’s why, in ancient Greece, the entire city-state would gather on the eve of battle to watch plays together, to listen and be seen, and to have their place in the universe, their belonging, confirmed. This is why it’s so important to present a diversity of stories and lives on the stage. Because this need to tell our own stories, to have them witnessed and valued, and to feel our place in this world is an essential need. And ART MAGAZINE

if we believe that the theatre can be, in the words of Anna Deavere Smith, a convening ground, a place where communities come together to practice seeing ourselves in each other’s stories, a place to exchange ideas and expand our souls, then we must make space in our theaters for many to be seen and known. It is one of the ways we fold many threads into the American tapestry we live in. At its heart, Indecent is about the power of telling our own stories and the transformative dignity of having those stories seen and valued — a feeling so strong, this troupe will risk everything for it, even their very lives. The attic in which their fate was sealed is, for me, a reminder of how delicate our lives and culture are. Seventy-five years ago, more than a third of the world’s Jewish population were destroyed. What if we were not here to witness this story, told by ghosts in an attic whose whereabouts have been long-forgotten? Very few write stories in Yiddish anymore, as Paula writes in Indecent. And yet, these stories are an essential desiderata, rising from the ashes to claim their space in the world night after night, asking us to witness, to take them into our hearts, and to be transformed.

Josh Hecht

Please note: Photos are strictly prohibited during the performance, and photos of the stage are not permitted if an actor is present. Video recording is not permitted at any time.

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BIO Three seasons as Artistic Director of Profile Theatre Josh Hecht

Josh is a Drama Desk Award-winning director and the Artistic Director of Profile Theatre. At Profile: Paula Vogel’s The Baltimore Waltz, Lisa Kron’s Well, Anna Deavere Smith’s Let Me Down Easy, Lisa Kron’s In The Wake, Anna Deavere Smith’s Twilight: Los Angeles, 1992, Quiara Alegría Hudes’ Water by the Spoonful and The Happiest Song Plays Last. Other Portland productions include Teenage Dick at Artists Rep. New York productions: MCC Theater, The Cherry Lane, The Duke on 42nd Street, New World Stages, Culture Project; regional: The Guthrie Theater, the Berkshire Theatre Group, the Humana Festival at Actors Theatre of Louisville, Signature Theatre (DC); international at the Dublin Arts Festival and the Edinburgh Festival Fringe (Fringe First Award). His collaboration with Ping Chong + Company was commissioned by and premiered at The Kennedy Center before touring the Northeast. His writing has received the support of the Jerome Foundation. He is formerly the Director of Playwright Development at MCC Theater and the Director of New Play Development at WET. He’s served on the faculty of the New School for Drama MFA Directing program, the Fordham University MFA Playwriting program, Purchase College SUNY’s BFA Dramatic Writing program and as a guest artist at The Juilliard School, NYU, Carnegie Mellon and others.

ARTISTS REP LEADERSHIP

BIO Dámaso Rodríguez in his seventh season as Artistic Director of Artists Repertory Theatre Dámaso (he/his) is Co-Founder of L.A.’s Furious Theatre, where he served as Co-Artistic Director Photo by Kathleen Kelly from 2001-2012. From 20072010 he served as Associate Artistic Director of the Pasadena Playhouse. His directing credits include 20 Artists Rep productions, along with work at Oregon Shakespeare Festival, American Conservatory Theater, Pasadena Playhouse, Intiman Theatre, South Coast Repertory, Actors Theatre of Louisville, Seattle Rep, 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). J.S. (he/his) is a seasoned fundraising and communications professional and has worked with a wide range of local, regional, national, and international nonprofit organizations. He and his teams have raised more than $500 million. For eleven years prior to ART, he was the chief Fundraising, Marketing & Communications Officer, and strategist for the Portland Art Museum — Oregon’s premier visual arts institution. Before the Art Museum, for seven years, 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 prior to MG, he supported 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. J.S. currently serves as President of Cycle Oregon board and is a board member for the Cultural Advocacy Coalition. J.S. is an avid yogi, cyclist, and reader.

J.S. May in his second season as the Managing Director of Artists Repertory Theatre

ARTISTS REP gratefully acknowledges our theatre rests on the traditional lands of the Multnomah, Wasco, Cowlitz, Kathlamet, Clackamas, Bands of Chinook, Tualatin Kalapuya, Molalla and many other tribes who made their homes along the Columbia River. ART MAGAZINE

PLAYWRIGHT PROFILE

“NO ONE QUITE MARRIES HUMOR AND SADNESS LIKE PAULA VOGEL. IT IS A HALLMARK OF HER WORK” - Josh Hecht, Director Pulitzer Prize-winner, Tony nominee, and American Theatre Hall of Fame inductee Paula Vogel is one of the most prolific and honored writers working today. A native of the DC - Baltimore area, Vogel has been writing plays since the late 1970s. Her early work was developed and produced at the legendary Circle Repertory Theatre in New York. The Baltimore Waltz first brought her national prominence when it won the Obie Award for Best New Play in 1991. That production, directed by Anne Bogart, starred a young Joe Mantello and Cherry Jones, who went on to be a long-time collaborator on plays like Desdemona and And Baby Makes Seven. Throughout the 1990s, Vogel made a name for herself with strongly feminist wide-ranging work like Hot ’n Throbbing and The Mineola Twins. Her 1997 play How I Learned to Drive won the Pulitzer Prize for Drama, launched the career of actor Mary Louise Parker, and has received hundreds of productions the world over. Ever an experimenter with form and style, the 2000s saw adventurous works like A Civil War Christmas, The Long Christmas Ride Home and Don Juan Returns from Iraq. But it is her most recent play Indecent that has re-established Vogel as a master artist at the height of her career. Commissioned by the Oregon Shakespeare Festival’s American Revolutions project, the play transferred to Broadway in 2017 where it earned a Tony nomination for Best Play. Over the last two years, it has had productions in every major market in the country. A gifted teacher and mentor, Vogel has trained a generation of prominent playwrights, including Adam Bock, Edwige Danticat, Nilo Cruz, and past Profile featured writers Sarah Ruhl, Quiara Alegria Hudes, and Lynn Nottage.

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BIO Paula Vogel is a Pulitzer Prize-winning playwright whose plays are produced throughout the world. Indecent opened on Broadway in April 2017 and was nominated for a Tony Award for Best Play. How I Learned To Drive received the Pulitzer Prize, Lortel Prize, Drama Desk, Outer Critics Circle, and New York Drama Critics awards for Best Play, and her second OBIE Award. Other plays include The Long Christmas Ride Home, The Mineola Twins, The Baltimore Waltz, Hot ‘N’ Throbbing, Desdemona, And Baby Makes Seven, The Oldest Profession, A Civil War Christmas, and Don Juan Comes Home From Iraq. Most recent awards include the American Theater Hall of Fame Award, the Dramatists Guild Lifetime Achievement Award, the Lillys, the Thornton Wilder Prize, the OBIE Award for Lifetime Achievement, and the NY Drama Critics’ Circle Award. She is honored to have three awards dedicated to emerging playwrights in her name: the American College Theater Festival, the Paula Vogel Award given annually by the Vineyard Theatre, and the recent Paula Vogel mentor’s award by Young Playwrights of Philadelphia. Her plays are published in six volumes by TCG Press and she teaches playwriting workshops throughout the United States and abroad. For more, please visit www.paulavogelplaywright.com 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.

SHOW SPONSORS Tom Gifford & Patti Fisher The ART Guild, in memory of Judi Wandres Profile Theatre Producers Circle for Indecent: Producer David Liss and the LissBrewster Family Philanthropic Fund Associate Producer Lynn Goldstein

OTHER SPONSORS

THE UNSPOK EN VOICES OF THE HEART BY CHRISTINA CROWDER, Moriz Godowsky, Accordion player and Music Director of Indecent

n contrast to the iconic “fiddler” from Fiddler On The Roof—who is almost never heard or seen in the Broadway musical—the musicians in Paula Vogel’s Indecent are three characters named in the script. Together with the seven members of the “troupe,” the musicians complete a minyan of ten people, the minimum number of adult Jews necessary to perform Jewish daily prayers. Though the ritual space of Indecent is an empty attic visited by the ghostly cast of The God of Vengeance, the ten members of the troupe invite the audience in as necessary participants in the telling of what Vogel calls, “the true story of a little Jewish play.” The three musicians do not have any spoken lines but they travel with the troupe as a Greek chorus—both witnesses and participants in the journey. Their music supports the actors as they inhabit the many characters they portray, and helps locate us in space and time as the actors devise “sets” for scenes and as we take in projected text supertitles. Our musicians dance along with the troupe in moments of celebration and accompany The God of Vengeance as it travels from European tour to its Broadway debut. Unlike the usual musical pit orchestra, we underscore scenes from within the attic as it transforms throughout the play. Our direct connection with the troupe helps to meld the underscoring seamlessly into the action unmediated by a conductor or separated physically into an offstage pit. By including music and musicians that appear on stage, Vogel reminds us that music, dance, and song are essential components of the Yiddish culture Sholem Asch uplifted by choosing to write in the Yiddish language. In their score, co-composers Lisa Gutkin and Aaron Halva have created a loving portrait of early twentieth century popular music. We find ourselves in an interwar Berlin cabaret, an Irish

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pub, Yiddish theaters around Europe and New York, and we catch glimpses of tango, a folkloric Ukrainian kolomeyke, early Jazz, and a highstepping Vaudevillian strut. But while much of the music isn’t stereotypically Jewish, the score had a vibrant Yiddish heart. Gutkin and Halva deploy Ashkenazic modalities to underscoring that subtly conveys the emotional valence of scenes in an echo to the ways that Ashkenazic Expressive Culture (klezmer music, Ashkenazic dance, Yiddish song, and Hassidic music) creates a physical expression of Yidishkeyt (Yiddish Culture) that is unique to the Ashkenazic culture Sholem Asch and the historical troupe were steeped in even as they turned away from shtetl culture to embrace art, modernity, and living on the edge of the radical Jewish culture of their time. Gutkin and Halva were both composers and musicians over the long course of the development of Indecent from its initial run at Yale Rep through the Broadway run and beyond. Lisa Gutkin’s compositions, particularly in the solo violin parts, reflect a deep understanding of klezmer violin technique that is subtly different than what we find in either classical or Broadway musical idioms. The violin introduces us to the Ghost Waltz—leitmotif of the ghost troupe—at the top of the show, and sprinkles rain drops throughout as a reminder of the inherent joy and beauty of the rain scene that is the beacon the troupe will sacrifice everything to portray. We also find that each of the three main instrumentalists (violin, clarinet, and accordion) has at least one solo turn in an explicitly klezmer-style doina, and there are several numbers where musicians and troupe revel in joyous Yiddish song.

join the actors on stage to support Paula Vogel’s powerful drama. Lisa Gutkin once told me that she has us klezmorim in mind as she was developing the score, and it has been deeply satisfying to bring a klezmer point of view to the music she and Aaron Halva have composed. Vogel writes: “The music composed and arranged by Lisa Gutkin and Aaron Halva is not just a score. It’s an exquisite heartbeat of the show, so transportive, so much a spirit that it is indeed a member of the cast. I cannot imagine the play without this music that has haunted me from the start in our first New Haven rehearsal at Yale. It grows, it changes, as all great scene partners do, according to the ensemble, the audience, the company… It will continue to transport us throughout the companies and the years, I know, as it did in our first rehearsal hall. The music allows [us] to dance, to celebrate, and to yearn. I am grateful.”

Seasonal Food for all occasions

Gutkin and Halva also turn to the Jewish version of the “heartbeat” rhythm found in many musical cultures for key moments in the play. In klezmer idiom, the dance form is called zhok, or slow hora, and is a moderate tempo, lilting circle dance that is paced so that everyone at the wedding feast can join in. The rhythm is “ovoid” (like an egg rolling over end to end), mimicking the asymmetric beating of the human heart. In these moments the “Heartbreak Hora” holds us in suspended animation while our hearts meld with the beating hearts of the troupe. I’ve been studying and performing Ashkenazic Jewish music since the early 1990s. The opportunity to inhabit the musical world of Indecent is an exciting departure from the more usual klezmer life of playing for simches (Jewish lifecycle events like weddings and B’nei Mitzvot), concertizing, and teaching. It is such a joy to ART MAGAZINE

IN BRIEF: LEARN MORE ABOUT THE PLAY THAT INSPIRED INDECENT

The God of Vengeance by Sholem Asch

Yekel Tchaftchovitch, Jewish owner of a brothel, raises his daughter, Rifkele, to be virtuous and pure. He is obsessed with his daughter’s purity because he wishes for her to lead a respectable life - and be married to a pious young Torah scholar. He fervently believes he and his wife Sarah (a former prostitute in his brothel) are sinners beyond redemption but hopes Rifkele is not. With the help of a local rabbi, Yekel purchases a copy of the Torah, convinced this will protect his home from evil and his daughter from their sin because God is a God of mercy and forgiveness. For Yekel, his downstairs business and upstairs household are separate worlds, neither to mingle with the other. Rifkele, for her part however, is enthralled by Manke, an alluring prostitute who works downstairs. Unbeknownst to Yekel, Rifkele sometimes seeks out Manke’s company and they spend time together, eventually sharing a tender and intimate kiss in the spring rain. They run away together that night. When Yekel discovers Rifkele is gone, he rages not only against his wife, Sarah, but against God for not keeping his daughter from evil. He is inconsolable even as his wife, Sarah, arranges to bring Rifkele back. He further refuses to listen when Rabbi Ali suggests Rifkele is still respectable if no one says anything. “Who will know?” Instead, believing her no longer pure, Yekel banishes his only daughter to his downstairs brothel and angrily rejects the Torah, believing his efforts were in vain because God is a God of retribution and vengeance.

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STAFF and CREW

Students in the Portland State University School of Music and Theatre, both majors and nonmajors, are provided with a variety of opportunities to gain experience and develop creative and collaboration skills both before and behind the scenes. PSU is producing a student company of Indecent. Check the PSU website for details. *Production Crew Y

MPAN UDENT CO

The Stage Manager, LEMML - Tyler Williamson The Ingénue, CHANA - Sidney McNulty The Ingénue, AVRAM - Ethan Cockrill The Middle, HALINA - Emily Hyde The Middle, MENDEL - Braydon Simmons The Elder, VERA - Madeleine Cuneo The Elder, OTTO - Mitch Brown Violin – Mizuki Shiigi Clarinet – Elizabeth Booher Accordion – Gerson Robboy Director: Karin Magaldi Stage Manager: Eve Rose Assistant Stage Managers: Eszter Zador and Hao Nguyen Assistant Director/Choreography: Tommy O’Flannigan Assistant Director: Andrea Acosta Dramaturgs: Elizabeth Sheiman and Naomi Bowers

Board Operators: Alden Girsch, Jonah Kallen, Sam Showalter, and Tiffany Purvis Stagehands: Alma Romero, Judy Turnauer, Kalea Weber, and Virginia Rumbaugh PSU Theater Arts Production Manager/Technical Student Coordinator: James Mapes Install Crew: Merry Bishop, Gabrielle Bosso, Parker Chalabian, Jared Eakman, Taylor Fischer, Mackenzie Flewell, Olivia Henry, Brandie Jurasin-Reeder, Brittainy Mather, Troy Pennington, Carissa Rodriguez, Madaleine Schultz, Thomas Sepulveda, Cory Shackelford, Elizabeth Sheiman, Braydon Simmons, Isaac Sten, Sadie Stevens, Keisha Strohecker, Audrey Taylo, Brandy Thomas, and Tiffany Purvis Stagehands: Alma Romero, Judy Turnauer, Kalea Weber, and Virginia Rumbaugh Rehearsal Musician: Garrett Bond Rehearsal Dancer: Elena Kilbur

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HALF A CENTURY OF INDECENCY

1914

With the outbreak of World War I, Sholem Asch leaves Europe for New York.

1906

In a Warsaw writers’ salon led by the founder of modern Yiddish literature, Yitskhok Leybush Peretz, Sholem Asch presents his new play, Got fun Nekome (The God of Vengeance). Peretz and the other writers are appalled by what they consider the play’s misrepresentation of Jews and Jewish piety, and Peretz advises Asch to “burn it.”

1907

Got fun Nekome opens in Berlin with the famed director Max Reinhardt and actor Rudolf Schildkraut, and runs for six months to great acclaim. It is translated into a dozen languages and performed all over Europe and Russia.

It is produced in New York in Yiddish and stokes controversy among the Yiddish newspapers: the left-leaning papers laud the play for its poetic representation, while the Orthodox papers call it filthy and immoral, and likely to fan anti-Semitic attitudes. The controversy is entirely centered on the character Yekel, who runs a brothel and misuses a Torah; there is no mention of the two women kissing. For several years, the play was very popular among amateur Yiddish theatre companies in the US.

1921

The Emergency Quota Act is enacted primarily in response to the influx of Jews fleeing persecution in Eastern Europe. It severely reduces the number of immigrants permitted into the US from Eastern and Southern Europe, establishing for the first time numerical limits on particular populations.

ARTISTSREP.ORG 14

1922

1918

Got fun Nekome (The God of Vengeance) is translated into English and published by Isaac Goldberg.

1922

Goldberg’s English translation of The God of Vengeance opens at the Provincetown Playhouse in New York City. Although there is controversy now about the love scenes between the two women, the play is popular and soon moves to the larger Greenwich Village Theatre.

As part of the American Jewish Joint Committee delegation, Sholem Asch tours Lithuania and Ukraine to investigate pogroms in Vilna and Kiev.

Rabbi Joseph Silverman is concerned that the play leans into dangerous tropes and will incite greater anti-Semitism at a time when the US Congress was considering further limits to Jewish immigration. He starts a campaign to have the play shut down on the basis of obscenity because of the relationship of the two women.

February 19 The God of Vengeance opens on Broadway at the Apollo Theater. The production no longer includes the passionate scene between the two women; the producer, with Sholem Asch’s tacit approval, cut the scene in an attempt to avoid controversy, but now the play depicts the women’s relationship as manipulative rather than loving.

1923

1942

1923

March 6 Midperformance, a police detective arrests the cast and producer on obscenity charges — in spite of the fact that the play no longer contains the offending scene. The next morning, the company posts bail and returns to the theater in time for the matinee. The play runs another six weeks.

1942 Nazi officials implement the “Final Solution of the Jewish Question,” and the industrial genocide begins. With news of the murderous destruction of European Jewry, Sholem Asch forbids future performances of Got fun Nekome.

1940

Early 1940s Got fun Nekome is performed in the Łódz Ghetto where an estimated 160,000 Jews are sealed off from the world.

1923

1956

1943

May 23 The company of The God of Vengeance goes on trial and is found guilty. The verdict is overturned on appeal. “Obscene, indecent, immoral, and impure material.”

Sholem Asch dies.

Sholem Asch is the first Yiddish writer to be nominated for the Nobel Prize.

— The God of Vengeance’s Official Violation of the Penal Code, The Court of New York

1924

The National Origins Act restricts immigration even further; the Asian Exclusion Act lives up to its name.

1953

Asch and his wife to leave the US. They split their time between London (where their daughter lived), continental Europe, and Israel.

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SPOILER ALERT “How Do We as Artists Question Our Sins in Front of a Greater Audience?” Paula Vogel’s Indecent by Pancho Savery

n the New Testament, Jesus is consistently portrayed as the god of love, mercy, and forgiveness; and for many years, Mary Magdalene had been thought of as an example of a prostitute whom He forgave; although, in fact, there is actually no biblical evidence to support the idea that this is what she did. In the Hebrew Bible, on the other hand, God/Yahweh is often not portrayed very positively. He can, quite frankly, be mean, vindictive, insecure, and jealous. In Genesis, He forbids Adam and Eve from eating the fruit so as to prevent them from becoming “one of us, knowing good and evil… and live forever” (3.22). Later, He scatters people, confuses their language, and forces them to abandon the Tower of Babel in fear that “nothing that they propose to do will now be impossible for them” (11.6). Later still, He tells Abraham to sacrifice Isaac and only relents when He is assured that “now I know that you fear God” (22.12). And as one final example, in Exodus, He deliberately hardens the heart of Pharaoh “in order that I may show these signs of mine among them” (10.1), and “so that I will gain glory for myself” (14.4), “for I the Lord your God am a jealous God, punishing children for the iniquity of parents, to the third and fourth generation of those who reject me” (20.5). It appears that for Yahweh, there is good and evil with no moral ambiguity in between. At the heart of Sholom Asch’s The God of Vengeance, first produced in Berlin in 1910, is the attempt to live a life of moral ambiguity. Yekel and his wife Sarah attempt to live a pure,

God-fearing life in the upstairs of their house with their daughter Rifkele, while simultaneously running a brothel in their basement. Sarah is a former prostitute who has now reformed. Yekel and Sarah see no contradiction in their life, and believe that they can make enough money to provide a dowry for Rifkele to marry a young Hebrew scholar. To that end, Rifkele is forbidden from socializing with the women in the basement. Not surprisingly, when you tell someone they cannot do something, they want to do it all the more. And so on multiple occasions, Rifkele sneaks into the basement late at night to hang out with the prostitutes, especially her favorite, Manke. The main event

“... when you tell someone they cannot do something, they want to do it all the more.” of the play involves Yekel’s purchasing of a Torah scroll (containing the first five books of the Hebrew Bible) to hang in Rifkele’s bedroom. It is Yekel’s belief that hanging the scroll in her bedroom will keep Rifkele pure, and protected from what is in the basement. And in this, the play critiques Yekel’s capitalist exploitation of the women in the basement as well as his belief that he can purchase purity for his daughter as if it were a commodity. One would think that from a religious perspective, this ambiguity, this trying to have it both ways, would not be tolerated. Surprisingly, this is not totally the case. While on the one hand the town’s gentry refuse to come to the scroll celebration, and therefore Yekel has to populate it with the poor, the local rebbi on the other hand apparently knows what is ART MAGAZINE

going on and has no qualms about providing the scroll. Sarah’s remark exemplifies the ambiguity of their position, “Everybody has his own business…You may deal in what you please can’t you, if you yourself do no wrong?” (13). Apparently for her, work is work, and the type of work doesn’t matter. On the other hand, Yekel says, “I don’t want my home to mix with downstairs. (Points to the cellar.) My home must be kept apart from that place!” (16). The rebbi announces that “the Lord befriends the sincere penitent” (29), and that “A Jew even if he sins, still remains a Jew” (30). On the other hand, his companion, the scribe, says, “Who can tell? Our Lord is a God of mercy and forgiveness, but He is also a God of retribution and vengeance” (32). When Yekel discovers his daughter in the basement, where she apparently goes every night, she says, “Mam…Momma told me… to c-call…” (47); to which he responds, “Your mother!...She’ll lead you to ruin yet! Something draws her to it!...She wants her daughter to be what the mother was…” (47). This seems quite curious, as earlier, Sarah had said to Rifkele, “It’s a shame for you to chum with Manke…You are a decent girl; you’ll have clean, respectable girls to go around with” (34). Is Rifkele falsely accusing her mother to get herself out of trouble? Does Sarah really want her daughter to follow in her footsteps? There are clearly two trains of vying against each other in the play. On the one hand, one prostitute says, “Wasn’t our mistress in a house like this for fifteen years? Yet she married. And isn’t she a respectable God-fearing woman?... Doesn’t she observe all the laws that a Jewish daughter must keep?” (54). On the other hand, another prostitute replies, “But they say you musn’t read from such a Holy Scroll, and that the daughter of such mothers become what the mothers themselves were…that something draws them on like a magnet, and that the Evil Spirit drags them down into the mire…”(55). Is redemption possible, or is one damned to repeat the mistakes of the past? Is God a god of mercy or one of vengeance? After Rifkele runs away with Manke and they spend the night together, her mother finds her and brings her back home. For Sarah, “A misfortune has befallen us. Agreed. To whom don’t misfortunes happen?” (72). When the rebbi ARTISTSREP.ORG 18

returns, he echoes Sarah, “Misfortunes happen to plenty of folks. The Lord sends aid and things turn out all right” (77). For these two, God is a god of mercy and forgiveness. This is somewhat reminiscent of the Roman Stoic philosopher Seneca, who in his essay “On Providence” asks why bad things happen to good people. His answer is that the gods only bring misfortune to test those they love in order to make them stronger. One has free will and is not defined by the past. Yekel’s response, however, is much more negative and definitive, “My daughter has gone to a brothel. The Scroll has been desecrated. God has punished me” (79); and, “I myself am a sinner. I leave behind me sinful offspring. And so passes sin from generation to generation… Sin encircles me and mine like a rope around a person’s neck” (81). When Rifkele returns, all Yekel wants to know is if she is “still a virtuous Jewish daughter”; to which she replies, “I don’t know” (94). But everything seems to be resolved when the rebbi returns along with the prospective father-in-law, and Yekel asserts that “Your son will marry a virtuous Jewish daughter…She will bear him pure, Jewish children”; but then adds, “My wife will lead her under the wedding canopy…Down into the brothel! Down below” (98). Yekel has clearly gone mad to some degree. He does not believe in redemption or forgiveness despite the fact that both Sarah and the rebbi do. The play ends with Yekel’s insisting to the rebbi, “Take the Holy Scroll along with you! I don’t need it any more!” (99). Despite evidence to the contrary Yekel has decided that the only form God can take is as a god of vengeance. The play clearly disagrees with him, the play’s title is therefore ironic, one

is not necessarily doomed by the sins of the previous generation, and Rifkele’s fate is tragic.

This is a much more negative ending. Here, both Sarah and Rifkele are condemned by Yekel, and the scroll ends up in the basement rather than being returned to the rebbi. The passage is also a much clearer condemnation of Yekel’s capitalist mentality. Is this a different, later translation? Did Asch add these words? Are they invented by Vogel? I don’t know the answer to these questions, but they are interesting ones. To return to the question of whether the play’s ending is tragic, there is one more aspect of the play to be considered, and that is the topic of sexuality. Throughout the play, Rifkele makes mention of Manke, one of the prostitutes. She wants Manke to comb her hair so she will look good for the party; she wants Manke to come to the party; and when she sneaks into the basement at night, it is always because of Manke. In the one scene when Manke is upstairs, she and Rifkele are in one room, and Rifkele “falls into Manke’s arms” and “Manke kisses her passionately” (35); while simultaneously, Sarah, from another room is telling Rifkele about what kind of bridegroom she will have, and Rifkele responds enthusiastically, suggesting she is comfortable being bi-sexual. The night she and Manke leave together, there is an extraordinarily beautiful description by Manke of all the prostitutes and Rifkele running outside barefoot in the rain together for a rain bath. Manke again embraces Rifkele “passionately”(59) and recalls how “I uncovered your breasts and washed them with the rainwater that trickled down my arms. Your breasts are so white and soft. And the

Is this a play primarily about lesbianism? I don’t think it is, given the way the play is structured. It is a critique of capitalism, it is a celebration of Yiddish language and literature (with both songs and scenes in Yiddish), and it portrays Jews as complex characters while not being anti-Semitic. On the other hand, lesbianism is an important sub-theme. The play cannot, ultimately, be a total tragedy if, despite Yekel’s temper tantrum, Rifkele is going to find a form of true love. And that being the case, we must ultimately conclude, again, that the title of the play is ironic; and that in Rifkele’s finding love, Sholem Asch is asserting that God is, in fact, merciful and forgiving; and as the rebbi says, “Trust in the Lord and rejoice in His comfort” (90).

SPOILER ALERT

This raises a question of translation. I have been quoting throughout from the “Authorized Translation from the Yiddish,” published in Boston in 1918. Paula Vogel’s Indecent appears to be using a different one. Her text contains a speech by Yekel that is totally missing from my text: I’ll tell you what you know. You know what this Torah cost? It cost all of the whores downstairs on their backs and their knees for a year! And for what? Look at me. God wants me to fail as a father? As a husband? Well there’s one thing I know how to do – MAKE MONEY. You are both paying me back! On your backs. On your knees. Down into the whorehouse with you…And take the Holy Scroll with you! I don’t need it anymore. (50)

blood in them cools under the touch, just like snow – like frozen water…and their fragrance is like the grass on the meadows” (61). Manke further asserts that “we are bride and bridegroom, you and I. We embrace” (63). If this is what Rifkele has to look forward to as a prostitute in the basement, perhaps all is not lost; and despite being a prostitute, Rifkele will find true love, and this is much better than whatever relationship she would have had with her young Jewish scholar husband. The play is thus much more about love than it is about pimping and prostitution.

Paula Vogel’s Indecent is equally complex, if not more so. On the one hand, the is a piece of meta-theatre in which a troupe of actors gathers on stage to sing and perform The God of Vengeance. The play also tells the story of Asch and his wife Madje as the young writer struggles to get his play performed in his native Poland (“You are representing our people as prostitutes and pimps!...You are pouring petrol on the flames of anti-Semitism. This is not the time” (19)), then across Europe before finally coming to New York, where it is first performed in Yiddish at the Bowery Theatre before moving uptown where it is performed in English. We see the story of Jewish immigrants coming to America in the 1920s; the struggle, sometimes unsuccessful, to learn to speak a new language; and so some actors lose their jobs and others change their names to sound more American. When this happens, one actress laments, “This will be the only role in my lifetime where I could tell someone I love that I love her on stage” (34). When the play is performed in New York, hate mail begins to come in, “Jews. Polacks! Take your filth back to your own country. Dirty kikes. You pollute our stage” (42). This pressure forces the producer to feel he has to cut the rain scene. ART MAGAZINE

One way Vogel displays this complexity is through Asch himself. He agrees with the New York producer to make certain “minor changes” in the play to make it less prone to hate mail, but then protests when he learns that the rain scene has been cut, and thus the meaning of the play has been completely changed. In 1923, before the English-language opening, Asch returns to Europe on a fact-finding trip as “head of a delegation for the American Jewish Joint Committee…investigating pogroms” (45). When he returns, he is unable to sleep, concentrate, go to rehearsals, or even tell his wife what he has seen. As he says to his wife, “There are massacres right now all over Europe! And I’m

got. To tell our stories. On American stages” (32). This play, too, is about lesbianism, and there are certain aspects of the play that encourage this, such as the photo on the published play’s cover, and the conversation about kissing on stage the two lead actresses have. But as with Asch’s play, this is only one aspect that Paula Vogel explores. The more general topic is articulated early on when Asch says, “I asked myself: How do we as artists question our sins in front of a greater audience? How do we as Jews show ourselves as flawed and complex human beings?” (25).

supposed to care about what I wrote when I was in short pants?” (57). The treatment of European Jews overshadows attempts to create art. By the end of the play in 1952, Asch and his wife decide to flee to London because he has been called to testify before HUAC for having once been “attracted by socialists” (76). This appears to be an act of weakness. Unlike other writers who resisted the evils of McCarthyism, Asch chooses to flee rather than stand up to the evil.

SPOILER ALERT

This, of course, raises questions of censorship and artistic integrity. The cutting of the rain scene removes love from Asch’s play and makes it more about prostitution, and thus makes the play more about indecency, which causes a rabbi to call the vice squad, resulting in the play’s actors (but not its writer) getting arrested. The reaction of the middle class uptown New York audience is in stark contrast to that of Asch’s wife Madje, who says to her husband, “You make me feel the desire between these two women is the purest, most chaste, most spiritual” (12); and, “It’s the twentieth century! We are all attracted to both sexes” (13). The play is also the story of “the first generation that gets the chance our parents never

ARTISTSREP.ORG 20

One of the small heroes of the play is Dorothee, the actor who plays Manke. When the rain

scene gets cut, she declares, “I am not acting in this garbage. They’ve cut the rain scene…My Manke is no longer a woman in love. She is an evil procuress lusting after a little girl to peddle her ass…I’ve been promoted to Head Pimp!” (42-43). She caves, however, when the producer offers to fire anyone who won’t go along with the script change, and she just “stands still” (44). But after spending the night in jail, she changes her position, “I would not be ashamed to be arrested for acting in the play I believed in. I am ashamed I acted in this sham I don’t believe in” (53), finally standing up for artistic integrity.

SPOILER ALERT

The true hero of the play is Lemml. At the

Europe with the original Yiddish manuscript. He notes, “I am done being in a country that laughs at the way I speak. They say America is free? What do you know here is free?...Who doesn’t stand up for the name on his title page?” (61). He spends the rest of his life touring Europe with the play until he dies in Auschwitz, and his heroic relationship to the work is in clear contrast to that of its author. At the end of the play, as Asch is about to leave for London, the ghost of Lemml appears, stands in his way, and it begins to rain. Asch remembers the words of Manke and Rifkele as they dance in the rain, and “Lemml and Asch join them” (77). The play redeems Asch through the power of his memory, but not without also having the troupe sing Ilse Weber’s haunting lullaby Wiegala, which she sang to children on their way to the chambers at Auschwitz. At a time when anti-Jewish attacks are on the rise in this country, art, through its power, teaches us both how to celebrate life, but also to never forget how cruel life can be, and how important it is that we all stand up for truth.

beginning of the play, he is a tailor who has never seen a play before. After attending the first reading, he becomes a champion of the play and of Asch, and then becomes the play’s stage manager. When the cast is arrested, he asks to be arrested also, but is denied. When the actor playing Rifkele is uptight about the on-stage kiss, he tells her, “Maybe how your Rifkele feels for Manke is a sin in your church. In this play, how you feel for her and she for you – to me after the Messiah comes. No hate. No beating. No sin” (39). He also criticizes Asch for allowing the play to be cut, and then decides to return to Rudolph Schildkraut, director and star of The God of Vengeance (1923)

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BOOKS Movies MUSIC

Yentl

Ani DiFranco

Scandal

The Sum of Us

Simon and Garfunkel

Law & Order: SVU

Funny, It Doesn’t Sound Jewish by Jack Gottlieb

American Beauty

Indigo Girls

Peaky Blinders

Philadelphia

Stan Getz

Will & Grace

Stardust Lost by Stefan Kanfer

Sarah’s Key

Louis Armstrong

Queer as Folk

Elisa & Marcela

Richard A. Whiting

The L Word

Shéhérazade

The California Ramblers

The Marvelous Mrs. Maisel

Arcade Fire

The Jeffersons

The God of Vengeance by Donald Margulies and Sholem Asch

Tipping the Velvet by Sarah Waters Beyond the Pale by Elana Dykewomon In the Garden of Beasts by Erik Larson Broadway and the Blacklist by K. Kevyne Baar Red, White, and Royal Blue by Casey McQuiston

The Player A Midsommer Nights’ Dream

Neutral Milk Hotel

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THE TROUPE

I WANT OUR STORIES TO BE ON EVERY STAGE IN EVERY LANGUAGE I WANT OUR STORIES TO BE ON EVERY STAGE IN EVERY LANGUAGE I WANT OUR STORIES TO BE ON EVERY STAGE IN EVERY LANGUAGE I WANT OUR STORIES TO BE ON

MICHAEL MENDELSON Lemml

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 directed. His most recent ART credits are 1984, 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

MIRIAM SCHWARTZ Chana

Following her recent move back to the Pacific Northwest, Miriam Schwartz is making her Artists Repertory Theatre debut with Indecent. She is a graduate of the Guthrie Theatre’s BFA Actor Training Program, and although originally from Seattle, she has spent her career in Minneapolis where past credits include roles at the Guthrie Theater, Mixed Blood Theatre, Minnesota Jewish Theatre Company, Artistry MN, 7th House Theatre Company, Arrow Theatre Company, ARTISTSREP.ORG 24

and The Playwrights’ Center, among others. She is thrilled to be out of the snow and into the rain, and would like to thank Josh, Artists Rep, and Paula Vogel for this beautiful little play that changed her life.

JOSHUA J. WEINSTEIN Avram

Josh is a Resident Artist and downright giddy to return to Artists Rep after being last seen in Magellanica as Dr. William Huffington. Portland credits: Miss Bennet: Christmas at Pemberley and Major Barbara (Portland Center Stage); The Baltimore Waltz (Profile Theatre), Beirut (Shoebox Theatre), Tender Napalm (Shoebox Theatre), A Christmas Carol (Portland Playhouse); We Are Proud to Present..., The Miracle Worker, 4000 Miles, Tribes, Foxfinder, and Red Herring (Artists Repertory Theatre). Deepest gratitude to the creative and production teams for bringing this story to light in Portland. And to Brandy. Always.

JAMIE M. REA Halina A renaissance woman of the theatre and a proud member of Actor’s Equity, Jamie has had the pleasure of exploring this powerful tool for connection and change for over 20 years. She has studied the work of Sanford Meisner & Robert Bray with Barry Hunt & Sowelu Theatre Ensemble; Suzuki Technique & Anne Bogart’s Viewpoints with the SITI Company (NYC); Rhythm Tap with Savion Glover’s teacher Lady Diane Walker & Lane Alexander, founder of the National Tap Dance Festival in Chicago; and Devising Theatre with the late Scott Kelman of Joseph Chaikin’s Open Theatre (NYC). Seen previously as Olympe DeGouges in The Revolutionists and Jack Worthing in The Importance of Being Earnest (Artists

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EVERY STAGE IN EVERY LANGUAGE I WANT OUR STORIES TO BE ON EVERY STAGE IN EVERY LANGUAGE I WANT OUR STORIES TO BE ON EVERY STAGE IN EVERY LANGUAGE I WANT OUR STORIES TO BE ON EVERY STAGE IN EVERY

Repertory Theatre), Jamie is thrilled to join this season for this significant yet overlooked piece of our history. Also seen last season as Amy in In the Wake, and as Dawn in The Secretaries (Profile Theatre).

GAVIN HOFFMAN Mendel Gavin Hoffman is very happy to be back at Artists Rep where he played Ted in American Hero, Harry in The Understudy, and Dieter in The Monster Builder. Other local productions include (Portland Center Stage) Charbonneau in Crossing Mnisose, Peter Shirley in Major Barbara, Duncan McDougall in Astoria: Pts. 1 & 2, Joe in Great Expectations, Iago in Othello, and Karl/Steve in Clybourne Park. Gavin has also worked with Shaking the Tree, Profile, CoHo, Third Rail, and Lakewood. Gavin directed Pontypool and ‘night, Mother at CoHo. He has worked regionally and in New York. Gavin has guest-starred in Portlandia (IFC), The BigEasy (USA) and Leverage (TNT), and co-starred in Grimm (NBC). He is the recipient of four Drammy Awards for acting. Gavin is a graduate of P.C.P.A. and has a BFA in acting from Ithaca College. He is a member of Actors’ Equity and SAG-AFTRA.

LINDA ALPER Vera A Resident Artist, Linda has appeared in A Doll’s House Part 2, The Importance of Being Earnest, Marjorie Prime, The Skin of Our Teeth, The Price, Tribes, The Quality of Life, Ten Chimneys, Superior Donuts and The Cherry Orchard. She has also played leading roles at Portland Center Stage, Off Broadway, Intiman, Seattle Rep and other theatres, including 24 seasons with the Oregon Shakespeare Festival. Linda has cowritten plays produced by OSF, ACT in San Francisco, Denver Theatre Center, Virginia

Rep, many Shakespeare festivals, and The Acting Company. She is currently working on Shanghai for ART’s Table|Room|Stage program. Linda won a Fulbright Specialist Grant to Pakistan, Dramalogue award for Best Actress, Fulbright Travel Grant, Visiting Artist Grant to Taiwan, and an Oregon Arts Commission Fellowship. She was the producer/script deviser for On Common Ground, that brought Pakistani artists to Artists Rep and OSF. A graduate of The Juilliard School, she is a Fulbright Senior Scholar. DAVID MEYERS Otto David is a veteran of many professional repertory theaters. He has been a working member of Actors Equity for 45 years (and counting!). David has performed at Cincinnati Playhouse, La Jolla Playhouse, The Old Globe Theater, San Diego Repertory, North Coast Repertory, Portland Repertory, Portland Center Stage, Portland Playhouse, Artists Repertory Theatre, Southwest Repertory, Perseverance Theater, and more. While at La Jolla Playhouse he worked with James LaPine and William Finn, premiering their new musicalized version of Little Miss Sunshine. Also at La Jolla Playhouse, and then San Diego Repertory, he worked with playwright Matt Spangler to develop and premiere his adaptation of T.C. Boyle’s Tortilla Curtain. He also worked with the creators of Urinetown, to develop and perform the premiere of their musical companion piece, Yeast Nation. David is very pleased to be back onstage at Artists Rep. ANDREW AIKHANOV Mayer Balsam (Clarinet) Andrew was born in Moscow, Russia in a family of classical musicians. He began his music studies at Moscow Conservatory Preparatory ART MAGAZINE

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School. After moving to the US, he attended Esther Boyer College of Music (Temple University) and Peabody Conservatory. He has studied clarinet with Anthony Gigliotti and Ronald Rueben of Philadelphia Orchestra, Loren Kitt (The National Symphony) and Alexander Ivanov (Russian National Symphony). Living in Portland since 2006, Andrew plays in a wide variety of local and national musical groups such as Michelle Alany and The Mystics, Chervona, Portland Klezmer All-Stars, Professor Gall, Hot Club of Hawthorne, Krebsic Orkestar, Three For Silver, and Debauche (New Orleans). He has shared the stage with Gogol Bordello, Manu Chao, and Fanfare Ciocarlia. Some of the notable performances include St Petersburg’s White Nights Music Festival with Moscow Chamber Orchestra, and Lincoln Center Out of Doors Festival. MICHELLE ALANY Nelly Friedman (Violin) Internationally touring violinist & vocalist, Michelle Alany is a dynamic performer & ambassador of world folk traditions. She specializes in soulful Sephardic, Mediterranean & Eastern European-inspired music, as well as original music, drawing on rich folk and classical traditions. After playing her first gigs while at music school at the University of California, Santa Cruz and through the jazz halls at Berklee College of Music, Michelle has delved even more deeply into the folk music and dance traditions of her past. She moved to Austin to “get off the page” and shortly after began performing and touring full-time. Now based in the west coast, Michelle maintains a strong touring schedule, and is often a guest soloist around the country with chamber ensembles and other engaging orchestras. Michelle’s versatility and depth as a performer will stir your soul, delight your senses, commune with your ancestors and ignite your spirit. michellealany.com ARTISTSREP.ORG 26

CHRISTINA CROWDER Moriz Godowsky (Accordion)/Music Director Christina has been performing and researching Jewish music for over twenty years, beginning in Budapest, Hungary and continuing with a Fulbright grant to Romania to document Jewish music. Her current research is examining the connections between Jewish, Bessarabian, and Greek music through a project with Walter Zev Feldman at NYU Abu Dhabi, and she is the Operations Director of the newly-founded Klezmer Institute. She has been a guest instructor in klezmer accordion and ensemble performance in the US, Canada, and Europe, and was both musical director and performer in the 2019 Oregon Shakespeare Festival production of the Broadway play Indecent. ADIN WALKER Choreographer Adin (he/him/his) is the movement director and associate director for the internationally touring dance and puppetry company Phantom Limb. NYC/Regional as director and choreographer: The White Dress (Araca Project/Access Theatre), Allison Gregory’s Not Medea and L M Feldman’s Grace, or the Art of Climbing (Art House), One Arm (Chautauqua Theatre), and Singin’ in the Rain (McCarter Theatre/Princeton). Adin choreographed the World Premieres of Storming Heaven (West Virginia Public Theatre) and Normativity (New York Musical Festival), both directed by his sister Mia Walker, and he has collaborated with directors Alexandru Mihail, Louisa Thompson, Dawn Monique Williams, and Tracy Bersley. He danced principal roles in works by Karole Armitage, Christopher K. Morgan, Maleek Washington, and Alex Neoral. Adin was Yehuda Hyman’s associate choreographer on Indecent (Guthrie Theatre),

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and he has assisted directors May Adrales, Shana Cooper, and Tony award-winner Rebecca Taichman. BA: Princeton. SDC. www.adinwalker.com. JENNIE SPECTOR Assistant Director Jennie (she/hers) is thrilled to be working with both Artists Rep and Profile for the first time. She most recently self-produced and directed a workshop of the newly devised Anatomy of a Rabbit, and directed for Shaking the Tree’s Open Space Residency Program. As a performer, she has worked with Hand2Mouth, Northwest Children’s Theater, triangle productions!, Residual Heat, and others. By day, Jennie works as the Development Associate at Northwest Children’s Theater, and by night, she takes in the incredible Portland theater scene as a member of the Drammy Committee. She was an Oregon Shakespeare Festival Summer Seminar Senior Assistant and holds a BA in International Affairs from Northeastern University. As a Jewish queer artist and the descendent of generations of Yiddish speakers, she is honored to be a part of Indecent. PETER KSANDER Scenic /Projections Designer Peter (he/him/his) is a scenographer and media artist whose stage design work has been presented both nationally and internationally. In 2006 he joined the curatorial board of the Ontological-Hysteric Incubator. In 2008 he won an Obie award for the scenic design of Untitled Mars (this title may change), and in 2014 he won a Bessie award for the visual design of This Was the End. Recent Portland credits include set designs for Beckett Women, Sweat, Arlington a love story, John, Our Ruined House, Teenage Dick, and Uncle Vanya. He holds an MFA from the California Institute of the Arts,

is an Associate Professor at Reed College and is an associate company member with the Portland Experimental Theatre Ensemble. WANDA WALDEN Costume Designer Wanda has been a costumer for over thirty years. Wanda’s first production for Artists Repertory Theatre dates back to 1989. Most recent ART credits include School Girls; Or, The African Mean Girls Play, It’s A Wonderful Life, Skeleton Crew, An Octoroon, and We are Proud to Present. She also created a visual representation of these productions that were displayed in the lobby. Wanda is the recipient of 2018-2019 Drammy Award for Outstanding Season In Costume Design. Other credits include Pipeline, The Wolves, Crowns, How I Learned What I Learned (Portland Playhouse), Brothers Paranormal (Media Rites/Coho), Mother Courage, Ruined, Fires in the Mirror, The Secretaries (Profile Theatre), Soul’d, Left Hook (Vanport Mosaic), and as Resident Costumer for PassinArt Theatre, Black Nativity, The No Play, and Two Trains Running. Wanda has been commissioned twice to do Worship in Pink artwork for Breast Cancer Awareness for the Susan G. Komen Foundation in Oregon and SW Washington. KRISTEEN WILLIS Lighting Designer Kristeen received her BA from 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 1984, Wolf Play, Everybody, I and You, Feathers and Teeth, American Hero, The Skin of Our Teeth, The Miracle Worker, The Understudy, Foxfinder, The Cherry Orchard and Eurydice. She designed the set for Between Riverside and ART MAGAZINE

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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). MATT WIENS Sound Designer Matt is a Portland-based composer and sound designer and is delighted to be collaborating with ART and Profile Theater. Recent work includes The Baltimore Waltz, Well, and Let Me Down Easy with Profile Theater; The Bakkhai and Escaped Alone with Shaking The Tree Theater; MALA with CoHo Productions, and Crowns with Portland Playhouse. Matt holds a BA in Theater from Goshen College and a Masters in Music Technology from NYU. LAUREN E. CHILTON Properties Master Lauren (she/her) is a prop master who has recently relocated to the Pacific Northwest from the East Coast. She originally hails from Virginia where she worked as a prop master in Washington, D.C., on productions for Folger Theatre, Imagination Stage, Synetic Theater, and Forum Theatre, and as a puppetry assistant at Baltimore Center Stage and Adventure Theatre. Most recently she worked as the props/scenic designer on the World Premiere of to tell my story: a hamlet fanfic with The Welders 2.0. Lauren has also worked as an artisan for Colorado Shakespeare Festival, Contemporary American Theatre Festival, and Heritage Theatre Festival. Before moving, Lauren ARTISTSREP.ORG 28

completed her MFA in Props Design/ Management at Virginia Tech in Blacksburg, VA, and worked as a journeyman in the prop shop at the Santa Fe Opera. She is currently the lead props artisan at Portland Center Stage and excited to work in the larger Portland theatre community.

LUAN SCHOOLER Dramaturg Luan (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 moved to Anchorage, Alaska. After being kicked out of high school, she studied theatre at CalArts. She has worked with many theaters 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, A Doll’s House, Part 2 by Lucas Hnath, and The Strange Undoing of Prudencia Hart by David Greig. 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

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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 serves on the Artists Rep Board of Directors. KARIN MAGALDI Dramaturg Karin is a playwright, dramaturg, and director and is also Associate Director of Theater in the School of Music & Theater at Portland State University (PSU). Since joining the PSU faculty, she has directed several departmental productions including Eurydice, The Importance of Being Earnest, The Trestle at Pope Lick Creek, Hamlet, the 1603 Quarto, The Triumph of Love, Haroun and the Sea of Stories, Two Gentlemen of Verona, Much Ado About Nothing, Venus, and Arcadia. Locally, she directed Spinning Into Butter and Boy Gets Girl for Coho Productions as well as staged readings for the Jewish Theatre Collaborative, Portland Center Stage and Profile Theatre. Writing credits include The Spectacles, Wilde Tales, Verge Warnings, Jack and the Bones, Consider the Ant, Air and American English versions of Hedda Gabler and A Doll’s House. She has worked with various local theaters including Artists Repertory Theater, Portland Center Stage, Portland Playhouse, Third Rail Repertory, the Miracle Theatre Group, CoHo Productions, Shaking the Tree, and Profile Theatre as a dramaturg.

STEPHANIE GASLIN Dialect Coach Stephanie (she/her) is a dialect/voice coach and actor, born and raised in NE Portland. She is proud to be once again working with ART and Profile Theatre. Her mission is to help support strengths each individual actor brings to the table while serving the play and the director’s vision. Some previous dialect/voice work regionally include: Profile Theatre, Portland Center Stage, ART, Clackamas Repertory Theatre, Jewish Theatre Collective, CoHo, Sojourn Theatre, Portland Playhouse, and more as well as many individual performing artists in the Portland region for the past 13 years. Most of her work has been in collaboration with Third Rail Repertory Theatre. As a founding company member, she’s been a dialect coach there since 2006. Recently, she coached on the Northwest film set of First Cow. She holds a BA in Theatre from SOU, an MFA in Acting from Ohio U, and an MS in SpeechLanguage Pathology from PSU. JONATHAN COLE Fight Choreographer Jonathan (he/his) is delighted to be 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/ ART MAGAZINE

THE UNDONE Choreographer with the Stage Directors and Choreographers Society. AMANDA K COLE Intimacy Choreographer Amanda (she/they) is delighted to be choreographing intimacy for this show, after consulting on La Ruta and choreographing intimacy for The Strange Undoing of Prudecnia Hart and 1984. Previously at Artists Rep, they were Intimacy Consultant on Everybody, Skeleton Crew, Small Mouth Sounds, Wolf Play and Intimacy Choreographer on Between Riverside and Crazy. Most recently, Amanda did Movement and Intimacy Direction for Macbeth at Portland Center Stage. Amanda is a movement director, intimacy, and violence choreographer whose work has been seen throughout the LA area and the Pacific Northwest. She is a fierce advocate for safe, sustainable, and respectful practice around the staging of intimacy and violence in the industry. Amanda is recommended by the Society of American Fight Directors (SAFD) as an Advanced Actor/Combatant. They are also an intimacy director with local movement consortium, elemental movement, and an apprentice with Intimacy Directors International. Amanda holds an MFA in Acting from California Institute of the Arts. They are a member of SDC. DIANE TRAPP Wig Designer Diane 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 ARTISTSREP.ORG 30

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. 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, Topdog/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 Live Radio Play, A Doll’s House, Part 2, The Revolutionists, 1984 and La Ruta. 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.

JAMIE LYNNE SIMONS Assistant Stage Manager Jamie is delighted to rejoin this troupe of vamps, vices, scarred, and schemers at Artists Rep after previously stage managing White Rabbit, Red Rabbit, Magellanica, A Civil War Christmas, The Miracle Worker, and assisting on Everybody. Most recently, Jamie stage managed Oregon Ballet Theatre’s Nutcracker and Portland Center Stage at the Armory’s Redwood. Tour credit: Production Stage Manager for Hundred Days. Other local credits: Portland Opera, Third Rail Repertory, Portland Playhouse, Profile Theatre, Chamber Music Northwest - and aiding in medical education at Oregon Health & Sciences University as a practice patient. Jamie tramped around for a handful of years on cruise ships with Carnival Cruise Lines. They have a BFA from The University of the Arts, Philadelphia and are the Chair of Portland’s Liaison Committee for Actors Equity Association. ARIELA SUBAR Production Assistant Ariela Subar (she/her/hers) is excited to be back at Artists Rep after working as the Production Assistant on La Ruta, A Doll’s House, Part 2, and Everybody. She has worked professionally throughout the country, most recently returning to the Utah Shakespeare Festival to assistant stage manage Joseph and the Amazing Technicolor Dreamcoat after working as a production assistant for their productions of Othello, The Foreigner, and The Liar in 2018. Other professional credits include Children’s Theater of Madison’s Willy Wonka (stage manager), Emerald City Theatre’s Knuffle Bunny and Magic Tree House (assistant stage manager), Victory Gardens Theater’s Queen (production assistant), Baltimore Center Stage’s Twisted Melodies (production assistant), Lookingglass Theater Company’s Mr. and Mrs. Pennyworth (production assistant), and stage management internships

at the Oregon Shakespeare Festival, American Theater Company, Court Theatre, and Chicago Children’s Theatre. Ariela holds a BA in Theater & Performance Studies from the University of Chicago. ALANA WIGHT-YEDINAK Wardrobe Alana (she/hers), a native Montanan, is in her 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 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 Nothing, Post5 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. Remembering Judi Wandres Artists Rep’s Guild Is Family At various points in Artists Rep’s history the Guild has volunteered for a multitude of jobs: helping turn the Morrison stage into a proscenium “black box” space, refurbishing greenrooms, assembling artifacts for Caught (2017), helping clean office spaces in the old building and new, and the Guild always brings in food for first reads. We also usher, hoping to land Opening Night and after-party invites. In June 2012 Judi and I moved from New Jersey to Oregon to be closer to her son. While in Portland, we planned to volunteer at Artists Repertory Theatre, which had just launched a volunteer Guild to help the company with occassional projects. Guild founder Susan Magazine welcomed Judi and me as members #9 and #10. The Guild is now 35 members strong. When Judi died in July 2019, the Guild wanted to honor her service and spirit. In her name, The Guild is sponsoring the production of Paula Vogel’s play, Indecent, inspired by The God of Vengeance by Sholem Asch. As an enduring presence in the Jewish community, Judi would have been proud to sponsor this show. J. Wandres

ART MAGAZINE

Fresh eyes 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 on the website. 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.

Our Fresh Eyes for Indecent is Matthew Minicucci an accomplished writer and lecturer. Matthew 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 our productions Magellanica and Everybody.

The Things We Bear by Matthew Minicucci

Translation is an interesting word. So interesting, in fact, to this poet and former classicist that I made it the title of my first book. If we parse it, right down the middle, we find roots in two Greek words: trans, meaning “across,” and latus, which is the supine form of ferro, “to carry or bear.” Thus, all translation is just the act of carrying something across from one place to another. It’s is an activity we often consider an intellectual one, and for good reason, but here in its humble roots, we can almost imagine the physicality and struggle that the word emerges from: so many open suitcases, filled with the dust of ages; an immigrant (from the Latin emigrare, “to move away”) carrying something as heavy and as dear as the language one’s parents spoke to them, ARTISTSREP.ORG 32

softly, as they sang them to bed. Paula Vogel’s 2015 play, Indecent, considers translation in a way I’ve never before seen written for the stage. It’s a play within a play while also being about a play. I was drawn to this project because Vogel’s text focuses on the many lives of poet Sholom Asch’s 1906 Yiddish play The God of Vengeance, which has a successful run in both Europe and New York, before a translated version, opening at the Apollo Theatre on West 42nd Street in 1923, was quickly shut down and met with obscenity charges for the entirety of the cast, producers, and the owner of theatre. It’s that act of translation, of carrying the Yiddish to the English, that seems to undo so many good things. Though, perhaps, the answer to why this happens is more complicated than that. How all of this happens is best left to Vogel’s text, Josh Hecht’s direction, and this brilliant group of actors. But just as interesting to me is how translation plays into the entirety of the drama that unfolds. Language is a challenge in this production, both in terms of the actors dealing with a multiplicity of versions and staging locations for the play and dealing with a Jewish immigrant story that parallels the rise of anti-Semitism in both Europe and America leading up and into World War II. Asch’s play, in the original Yiddish, begins life as a controversial one to the people around him, but ends up as a hit. The translated version takes a successful play and turns it into a controversial court case. How and why could something as simple as translation have had such a devastating effect? A question I think worth asking is: what does a translated text bring with it? And further: what does it leave behind? This is a question not unfamiliar to any student of languages, or anyone at all who has heard, read, or conversed in a language not their own. Vogel’s notes on the text make clear that all conversation in a character’s native language (whatever that language might be) should be in perfect English, while any conversation in a second or third language should be

performed with an accent. An accent, of course, is only an accent to someone outside the cultural boundaries of a language, however we might define them. It’s a marker of difference; a stranger in a strange land. Every strange land is filled with its own expectations, its own languages, and its own mythologies and legends; ones that have to be reckoned with by audiences watching the English translation of The God of Vengeance.

a Fresh Eyes article about, I generally come in to the first read-through thinking about one thing: what question is the play asking? Everything that happens (in the rehearsal process, tech week, previews, etc.) is all work towards refining and defining that question. I’d like to revise that just a bit for this play. I’d like to pose a question: what question is the play asking you? Remember: translation is unmoored without both a source material and a language to embrace

In the real world, people fall in love with other people of the same sex. Is that an imperfection? Or is that, in fact, a perfect representation of just how unique and varied we all are?

America is such a vast confluence of different languages and cultures I imagine some contemporary Americans might think of a language like Yiddish as complicated or distant from themselves as Greek or Latin. And just as many would hear it as the language of their family, a love language reminding them of important people, perhaps long gone. Either way, the truth hidden within the language itself is one of a history borne in shared pasts and past participles. Asch, in an open letter defending The God of Vengeance in March 1923 said, “[I] was not concerned whether or not he wrote a moral or immoral play. What I wanted to write was an artistic play, and a true one.” In Vogel’s playtext, Peretz, Asch’s mentor in Warsaw, asks him “who is your audience?” In this case, the answer to that question is you, dear playgoer. It’s you who must juggle the morality of presenting imperfect characters in world that already sees far too many false or imagined imperfections. For Asch, a flawed character made perfect sense, as all people are complicated. In the real world, fathers reject their daughters, reject their choices, reject their religion even. In the real world, people fall in love with other people of the same sex. Is that an imperfection? Or is that, in fact, a perfect representation of just how unique and varied we all are?

it — a play and a new nightly audience to experience it. Just think: a language for only one person. How would we even know of it? Hear of it? There must always be two points, equally important, on the line; two places words are borne to and from, no matter how vast or difficult the distance across might be. To read more of Matthew’s observations visit our show page.

A Language With Chutzpah: Yiddish And American Culture NPR • Jan 22, 2020 The cultural reach of the Yiddish language is vast. Listen to Ilan Stavans and Josh Lambert, co-editors of the book, “How Yiddish Changed America and How America Changed Yiddish,” discuss the comeback of Yiddish in America.

For each play I’ve had the fortune of writing ART MAGAZINE

ABOUT PROFILE THEATRE STAFF Josh Hecht, Artistic Director Matthew Jones, Managing Director Krina Turner, Director of Patron and Donor Relations Jamie Rea, Line Producer Bobby Bermea, Director of Community Engagement Caleb Bourgeois, Company Manager BOARD OF DIRECTORS Mignon Mazique, President Stephen Schuitevoerder, Treasurer Linda Jensen, Secretary Trish Garner Nia Ray Stephen Young, Director Emeritus RESOURCE COUNCIL The Profile Theatre Resource Council is made uo of individuals who generously offer their connections or spcalized skill and experience to Profile Staff, artists and Board. Resource Council members are our ambassadors in the community and our advisors behind the scenes. Adriana Baer, Former Artistic Director Lue Douthit Paul Duden Erika George Leslie Johnson Mike Lindberg Kush Pathak Mary Simeone Patrick Stupek George Thorn Jane Unger, Founding Artistic Director Julie Vigeland Priscilla Bernard Wieden

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COMMMUNITY PROFILE OUR YEARLONG OUTREACH PROGRAM THAT USES WRITING AND THE SHARING OF STORIES TO FORM MUCH-NEEDED COMMUNITY.

Profile Theatre’s Community Profile program identifies a community important to this season’s Featured Writer and spends a full year using the practice of writing to form muchneeded community, ease isolation and promote resilience. This year, alongside our Paula Vogel season, we’re working with the LGBTQIA+ community and people living with HIV. We partner with the Writers Guild Initiative, the service arm of the Writers Guild of America, to bring award-winning writers to Portland to mentor participants in the practice of writing. Recent mentors include GLAAD Award-winner Dan Kitrosser and Lambda Literary Award-winner Kate Carroll de Gutes. Says Kate: “I loved the diversity of the class! Old school butches and gay male writers, young genderqueer and nonbinary writers, trans writers, and writers of color. Because of the range represented, the stories spanned the everchanging history of our queer community.” Says Dan: “I was particularly moved by the multiple decades that were represented in this queer space. So often, as queer people, we have to (and get to) be our own mothers and fathers. And yet being a in this room, hearing queer stories from those in their 70s, 60s, 50s, and down to their 20s, I saw a living ancestry, a vibrant family tree.” In addition to month writing workshops, our cohort engages in community conversations, takes meals together and sees the full season of Profile plays. This program is 100% free to the community. If you or someone you know would benefit from a community built around writing, reflecting and sharing, contact Profile Theatre Director of Community Engagement Bobby Bermea at bobbyb@profiletheatre.org.

WHO WE ARE Profile Theatre is one of only three theaters in the country to devote seasons to an in depth exploration of an artist’s body of work. Encouraging audiences to view the world through a different lens each season. Indecent is part of a two-year exploration of the works of Paula Vogel, her former student Pulitzer Prize-winner Lynn Nottage, and their colleague and protege, MacArthur Genius Branden Jacobs-Jenkins. If you’re thrilled by the playwriting voice you see tonight, join us again next season for more work by this important American artist. This season begins a new chapter for us as we explore producing vital work in venues all across the city. Up next is Lynn Nottage’s By The Way, Meet Vera Stark at Portland Playhouse starting May 28th. Then, look for our news of Branden Jacobs-Jenkins’ playwriting residency & an opportunity to see him perform his own writing at our event at The Armory this June! www.profiletheatre.org

THANK YOU TO OUR GENEROUS DONORS $25,000+ Ronni Lacroute James F. & Marion L. Miller Foundation Elizabeth Anderson and the late Ron Naito, M.D. Regional Arts & Culture Council, including support from the City of Portland, Multnomah County and the Arts in Education Access Fund Dan Wieden and Priscilla Bernard Wieden $10,000-$24,999 Artists Repertory Theatre, In-Kind Dream Envision Foundation The Kinsman Foundation Anonymous The Shubert Foundation Wieden+Kennedy, Inc, In-Kind $5,000-$9,999 Bill Davenport Judy Henderson Inge Hindel, In-Kind Linda Jensen and Robert Nimmo Liss-Brewster Family Philanthropic Fund Oregon Arts Commission Rose E. Tucker Charitable Trust Anonymous Stephen Schuitevoerder and Tami Staudt $2,500-$4,999 BCD Travel Greg Berman, In-Kind Patti Brewer and Nick Francie and Paul Duden Mark and Ann Edlen Esther Freeman, In-Kind Bennett and Trish Garner Anonymous Ralph & Adolph Jacobs Foundation John Jay Leslie Johnson Holland and Knight Julie Mancini

National Endowment for the Arts Corrine Oishi and Lindley Morton Oregon Community Foundation Jesse Smith and Maryann Yelnosky, In-Kind Barre and Robert Stoll $1,000-$2,499 Karl and Linda Boekelheide Sonia Buist M.D. Colleen Cain and Philip Miller Care Oregon Gun Denhart Diana Gerding Elizabeth Johnston Rich and Jean Josephson Elisabeth and Peter Lyon Alan Maly Lynn Marchand Goldstein Robert Marchant Mignon Mazique and Jim Rue Anonymous Real Estats, Inc, Leonard and Susan Magazine Richard & Mary Rosenberg Fund of the Oregon Community Foundation Ann Smith Sehdev Gilbert Shaw and Liana Colombo Larry Smith Albert Solheim Darci and Charlie Swindells Fund of the Oregon Community Foundation Steve Young and Jane Fellows Charlene Zidell $500-$999 Ann Bardacke and David Wolf Spencer and Jane Beebe Christine Bourdette and Richard Lovett Debi Coleman Deborah Correa and

This list acknowledges donors between January 27, 2019 to January 27, 2020.

Mark Wilson Roger Griffith Susan Hammer Fund of the Oregon Community Foundation Dawn Hayami Scott Howard Jessie Jonas Rick and Halle Sadle Melissa Stewart and Don Merkt Tyler TerMeer Bryan Wieden $100-$499 Kay and Roy Abramowitz Amanda Ashley Laura Barton Catherine Bax and Ann Turner Geof Beasley Joe Blount Richard Brown and Susan Strom Nita Brueggeman Jim and Karen Brunke Robin Busch Eric Busch Dina Campeau Rita Charlesworth Valri Chiappetta Marvin and Abby Dawson David Deutsch and Gary Stutler Mary Doyle Carmen Egido and Abel Weinrib Mrs. Leslye Epstein and Dr. Herman Taylor Ellen Fader Esther Freeman Victoria Frey Robert and Melissa Good Randy Gregg Diane Hall Wendy and Tom Hawkins Richard Hay Jay Hecht Alanna Hein and Evan King Sarah Hershey Debby Hertz Norma Jean Standlea and Hank Keeton Jackie Jeppe Alan Jones Marcia Kahn

Helen Kelley Elaine and Edward Kemp Jeff and Carol Kilmer Carol Kimball Hugh and Mair Lewis Richard Lewis Henry Louderbough Michelle Maida and James Hager Caren and Paul Masem Nancy Matthews Christy Marchant Gary McDonald and Barbara Holisky Brent McMullin Julie Meier Sharon Miller Rene Mitchell Carole Morse Helle Nathan Pat Perkins Annie Popkin and David Parker Kathleen Quinn John Ragno Bonnie Reagan Rick Rees Norma Reich Betty and Jacob Reiss Charles and Judith Rooks Marilyn and Steven Schulz Helen Sinoradzki Patrick Stupek Gary Taliaferro Lynn Taylor and Peter Thacker Johanna Thoeresz Shannon Thomas Tom and Linda Unger Kaye Van Valkenburg and David Maier J Wandres Anthony Wilcox Richard Williams Carolyn Wood Maureen Wright Lucia and Vio Zahan $1-$99 Gary Alexander Kris Alman Andrew Apter Mike Barlocker William Beamer Howard Berwind Naomi Bloom Karen Brown Priscilla Carlson Lisa Collins

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PROFILE THEATRE DONORS Continued from previous page Marilyn Couch Laurent Drui Pam Elmore Carol Flanagan Kristy Fleming LM Alaiyo Foster Carolyn Gassaway Harmony George Roxanne Goebel Cynthia Gomez Helen Henry Cathy Holbrook Beth Hutchins Karen Johnson Anonymous Kirsten Lee Judy Lyons Lisa MacLaren Anna Marti Adrian Martin Leticia Maskell Kate Mayo Regina McCarthy Anonymous Julie McGowan Judy McKeever Dennis Meiners Vana O’Brien Carlton Olson Marc Parks Matt Pearson and Daniel Fogg Shari Powell Sharon Ralston Elaine Robin Erica Rubin and Tom Swanson William and Susan Sack Jordana Sardo Aarisa Smith Rebecca Stefoff and Zachary Edmonson John Taylor Judith Thompson Schneider Stephen Urion Melanie von Trapp Colleen Wellman Tom and Jeanette Williams Charles Williams Carol Ann Wohlmut Rebecca Youngstrom and Ron Atwood We do everything we can to list donors correctly. Please contact krina@profiletheatre.org if you see you are listed in error.

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DIVERSITY AND INCLUSION STATEMENT In 2016, Profile Theatre launched its Diversity and Inclusion Initiative, committing to three consecutive seasons producing the work of women and writers of color. The Initiative was born out of a desire to correct a persistent imbalance in the diversity and complexity of lives we see reflected on our stages. It is our belief that by actively working to correct this imbalance in our own programming, we more accurately reflect the world around us, produce work of increasing relevance to our city and community, and help dream into being the dynamic and inclusive world we want. We also believe that by continuing to program the most accomplished mid-career writers of our time, all members of our audience, whatever their background, will recognize themselves in these stories.

HISTORY For more than 20 years Profile Theatre has impacted the community through our mission of setting a playwright at the center of our season. We are proud to be one of the longest-running theater institutions in Oregon! Since 1997, we have supported the bold vision of these playwrights: 2018 Double Season – Lisa Kron / Anna Deavere Smith 2017 – Quiara Alegría Hudes 2016 – Tanya Barfield 2015 – Sarah Ruhl 2014 – Sam Shepard 2012-2013 – Athol Fugard 2011-2012 – 15th Anniversary Season 2010-2011 – Lee Blessing 2009-2010 – Horton Foote 2008-2009 – Neil Simon 2007-2008 – John Guare 2006-2007 – Wendy Wasserstein 2005-2006 – Lanford Wilson 2004-2005 – Terrence McNally 2003-2004 – Romulus Linney 2002-2003 – Edward Albee 2001-2002 – Harold Pinter 2000-2001 – Arthur Miller 1999-2000 – Constance Congdon 1998-1999 – Tennessee Williams 1997-1998 – Arthur Kopit

Lemml gestures to two women of the troupe holding each other. And then the troupe explodes in a joyous klezmer song and dance.

Song:2a “Ale Brider.” ALL. (“Day” is pronounced “die.”) AY DAY DAY DAY DAY DAY... OTTO, MENDEL, and AVRAM. UN MIR ZAYNEN ALE BRIDER, (We are all brothers,) ALL. OY, OY ALE BRIDER OTTO, MENDEL, and AVRAM. UN MIR ZINGEN FREYLEKHE LIDER (And sing happy songs.) ALL. OY OY OY. VERA, HALINA, and CHANA. UN MIR HALTN ZIKH IN EYNEM, OY OY ZIKH IN EYNEM (We stick together,) ALL. OY OY ZIK IN EYNEM VERA, HALINA, and CHANA. AZELKHES IZ NISHTU BAY KEYNEM (Like nobody does!)

IN TRANSLATION THE SONGS OF INDECENT

ay-nem rhymes w/ kay-nem

ALL. OY OY OY! AY DAY DAY DAY DAY DAY... Band solo. AY DAY DAY DAY DAY DAY...

4b Song: “Ich hab noch einen Koffer in Berlin.” TITLE: 1907 / BERLIN / A CABARET HALINA. WUNDERSCHöN IST’S IN PARIS 18 (On (It’s wonderful in Paris) AUF DER RUE MADELEINE. (It’s the Rue Madeleine.) SCHöN IST ES IM MAI IN ROM ZU beautiful during May in Rome) DURCH DIE STADT SOMMERGEHN’N (To stroll through the city.) ODER EINE to quietly) NACHT STILL BEIM (Or during a summer night HäNG, WEIN IN WIEN. (Drink wine in Vienna.) DOCH ICH , (Even (But I’d rather hang out,) WENN IHR AUCH LACHT The troupe has just gotten through the hazing process of Ellis Island. if you laugh,) ALL. HEUT’ NOCH AN BERLIN. Hopeful, scared, they line up as Chassidim and sing. They are dressed in SP O K EN their “Saturday” best from the old country ; As they sing, and celebrate their (Today in Berlin.) OTTO. entry Into America, they slowly do a strip of their shtetl clothes. One by one, still have they shed their peyes. One older Chassid ICH HAB’ NOCH EINEN KOFFER IN BERLIN (I reacts with a growing terror as he TENS NäCHS ICH finds himself MUß GEN in the midst of nattily dressed immigrants. DESWE Berlin.) in e a suitcas By the end of the song, they haveSEremoved his peyes, given him a top hat; soon.) DIE together, the now WIEDER HIN. (That’s why I have to go there America nized chorus do a kick-line, and the former older Chassid can outkick gone days of joys (The ZEITEN NG’NER them all. 7a LIGKEITEN VERGA R ken you KOFFE “Vat makh?” MENDEL. by) SIND ALLE NOCH IN MEINEM KLEINENSong: OTTO. and AVRAM KAYN e.) AMERI suitcas KE TSE KIMEN, HOB IKH KAYN MI DRIN. (Are all still in my little GESHP have still URT. (I . (To come BERLIN IN to America, I took great trouble.) KH’HO ICH HAB’ NOCH EINEN KOFFER B GEDENKTDAS A RUV TSE VEYRN UN FARLOZN a suitcase in Berlin.) DER BLEIBT AUCH DORT UND SIKH A BURD. (I thought I’d become a

rabbi and grow myself a HAT SEINEN beard.) KH’HOB GEHAT TSVEY SHEYNE PEYES, VI YEYDER A. HALIN FRIME SINN. (It stays there, and that makes sense.) R YID. (I had two beautiful peyes, like every religious Jew.) TSIM SOF, ANSHUT A BURD, HOB AUF DIESE WEISE (In this way) IKH DI PEYES OYKHT NIT. (But in the end, I had no beard and my peyes were 19 gone.) AVRAM. sing playfully as the punchline CHANA. VET IR MIR FREYGN, STAYTSH—VI KEN DUS ZAYN? DENN ALL. trip) a worth (It’s REISE (Oh, you LOHNT SICH DIE ask me how can this be?) CHANA. WENN ICH SEHNSUCHT HAB’ DER TERETZ DERFIN IZ, FRAYNT MAYN: (The answer is, my WIEDER ICH dear (So whenever I have a longing) DANN FAHR’ friend:) YAKH! MENDEL. duet. VAT KENAUF YOU MAKH? ES IZ AMERIKE! (What can HIN. (Then I can go back again.) Violin/viola you do? It’s WENN Americ a!) ICH DIESE WEISE LOHNT SICH DIE REISE DENN 25 SEHNSUCHT HAB’ DANN FAHR’ ICH WIEDER HIN.

OTTO. DU IN LAND, DU PITZT MEN ZIKH AZOY! (That’s how people look here!) ALL. VAT KEN YOU MAKH? ES IZ AMERIKE! (What can you do? It’s America!) AVRAM . AFILE DER YID HOT DEM PUNIM FIN A GOY! (Even a Jew looks like a goy!) HALINA. AZ FIN PEYES, DU ZEYT MEN BAY KEYNE M NISHT KAYN SHPUR, (You don’t see any trace of peyes,) DU TRUGN ZIKH DI PEYELEKH ALE MEYDLEKH GUR. (Here, it’s only the girls who wear them!) OTTO, VERA, and LEMML. VAT KEN YOU MAKH? ES IZ AMERIKE! (What can you do? It’s America!) HALINA, AVRAM, MENDEL, and CHANA. S’IZ AMERIKE, UN VAT KEN YOU MAKH ? (It’s America, so what can you do?) OTTO. OY... ALL. VAT KEN YOU MAKH, DIS IZ AMERI KE! IZ AMERIKE UN VAT KEN YOU MAKH? (It’s America, so what can you do?)

ART MAGAZINE

ART 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 to the Annual Fund between November 7, 2018 and January 7, 2020. 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+) Ronni Lacroute James F. & Marion L. Miller Foundation The Regional Arts & Culture Council, including support from the City of Portland, Multnomah County and the Arts Education & Access Fund Wood Partners VISIONARIES ($50,000-$99,999) Oregon Community Foundation Creative Heights Lamar Airport Advertising The Shubert Foundation PRODUCERS ($25,000-$49,999) The Estate of Don & Pat Burnet The Collins Foundation Maybelle Clark Macdonald Fund The Oregonian The Oregon Cultural Trust PATRONS ($10,000$24,999) Anonymous Colliers International Marcia Darm MD & Bruce Berning Michael Davidson Wolfgang Dempke, in memory of Alise Rubin Express Employment Professionals Tom Gifford & Patti Fisher

Grapeseed Media Howard S. WrightBalfour Beatty Arthur & Virginia Kayser The Kinsman Foundation Lamar Billboard Advertising Leonard & Susan Magazine, REAL ESTATS, in memory of Judi Wandres J.S. & Robin May Charlotte Rubin, in memory of Judi Wandres Harold & Arlene Schnitzer CARE Foundation, Arlene Schnitzer & Jordan Schnitzer Marcy & Richard Schwartz John & Jan Swanson Darci & Charlie Swindells The Estate of David E. Wedge STAGEMAKERS ($5,000-$9,999) Anonymous (2) Mike Barr Karl & Linda Boekelheide, in memory of Judi Wandres Jeffrey G. Condit Dark Horse Wine Dramatists Guild Foundation Susan Gendein-Marshall & Lee Marshall Dan Gibbs & Lois Seed Eva Glass Diane Herrmann, in memory of Judi Wandres

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Intel Corporation Matching Gifts The Jackson Foundation Joan Jones The Jupiter Hotel Kristen & Michael Kern Romy Klopper Drs. Dolores & Fernando Leon Mark Spencer Hotel National New Play Network NW Natural Gas Kristine Olson Fund of The Oregon Community Foundation Oregon Arts Commission, a state agency Lorraine Prince Reser Family Foundation Dámaso Rodriguez & Sara Hennessy Rose E. Tucker Charitable Trust James G. & Michele L. Stemler Rosalie & Ed Tank US Bank OCF Joseph E. Weston Public Foundation Maureen Wright & Lane Brown DIRECTOR’S CIRCLE ($2,500-$4,999) Anonymous (2) Ruth & Jim Alexander Molly Butler & Robin Manning Charles Fine Arts Portraits Margaret Dixon Norma Dulin & James Barta Fidelity Charitable Gift Fund

Polly Grose Candace Haines Pam Henderson & Allen Wasserman Carol Kimball, in memory of Judi Wandres Barbara Holisky & Gary McDonald, in memory of Judi Wandres The Juan Young Trust Anneliese Knapp Lagunitas Brewing Company Shawn Lee & Vonessa Martin Jim & Eva MacLowry Deanna & Wilfried Mueller-Crispin Michael & Dr. Whitney Nagy Allen & Frances Nause Nossa Familia Coffee Bob & Linda Palandech Kay Parr Patricia Perkins Olliemay Phillips Phoenix Media Alan Purdy Thomas Robinson & Pamela Kislak Miriam Rosenthal Steve & Trudy Sargent Pancho Savery Dianne Sawyer & Richard Petersen Norm & Barbara Sepenuk John Swinmurn Robert Taylor & Maude May Tonkon Torp LLP BACKSTAGE PASS ($1,000-$2,499) Anonymous (2) F. Gordon Allen & Janice M. Stewart

THANK YOU! Phyllis Arnoff Cheryl Balkenhol Bruce Blank & Janice Casey Nita Brueggeman & Kevin Hoover, in memory of Judi Wandres Denise Carty & Roger Brown Family Fund of The Oregon Community Foundation Richard & Nancy Chapman Cleveland H. Dodge Foundation Philip Collier Smith Anne Conway & Louis Baslaw, in memory of Judi Wandres Barbara & Tom Cooney Allison Couch & Tom Soals Marvin & Abby Dawson Edward & Karen Demko Susan Dietz Norma Dody Leslye Epstein & Herman Taylor Fidelity Larry & Marilyn Flick Marc Franklin & Mary Lou Moriarty Carol Fredlund & John Betonte Kyle & Charles Fuchs Dr. William & Beverly Galen Trish & Bennett Garner Susan & Dean Gisvold Al & Penny Greenwood Curtis Hanson Cody Hoesly & Kirsten Collins Mike & Judy Holman Mark Horn & Mark Wilkinson Hotel deLuxe Judy & John Hubbard Constance Jackson & Xavier Le HĂŠricy Jessie Jonas Judith & Gregory Kafoury Kalberer Company Jody Klevit Mike & Sandra Kremers Kristen & Tim Lachenmeier Kirsten & Christopher Leonard

Carter & Jenny MacNichol Roberta Mann Linda & Ken Mantel Michael & Deborah Marble Laurie & Gilbert Meigs Don & Connie Morgan Nathan Family Charitable Fund of The Oregon Community Foundation OCF Donor Advised Funds David Pollock Wayne Potter & Pam Brown John Ragno Martin Ragno Wendy & Richard Rahm Fund of The Oregon Community Foundation Bonnie & Peter Reagan Robert Reed Richard & Mary Rosenberg Fund of The Oregon Community Foundation Joanne & James Ruyle Dr. & Mrs. William Sack David Saft & Laura Lehrhoff Marian & Elihu Schott Family Fund of The Oregon Community Foundation Roy Schreiber & Carole Heath Schwab Charitable Ursula Scriven Jinny Shipman & Dick Kaiser Elizabeth Siegel Phillip Smith Marilyn & Gene Stubbs Donald & Roslyn Sutherland John & Sandra Swinmurn Marcia Truman Geoff Verderosa Charles Weinstein Charlene Zidell SUPERSTARS ($500$999) Anonymous (2) Kay & Roy Abramowitz

Elizabeth & Stephen Arch Susan Bach & Douglas Egan Susan & Grover Bagby Ann Balzell & Joe Marrone, in memory of Deforest Arn Piper Ms. Judy Bartha Patsy Crayton Berner Richard & Leslie Bertellotti Louise Bloomfield Lesley Bombardier Lauretta Burman Rick Cady Ellen Cantwell Charles & Barbara Carpenter, in memory of Judi Wandres Marie Cattalini The Nathan Cogan Fund of The Oregon Community Foundation Culture Restaurant Jim & Vicki Currie Carol Daniels Stephen Early & Mary Shepard Elizabeth & John Ehrsam Cheri Emahiser Paul Gehlar Don & Marlys Girard Lynn Marchand Goldstein Melissa & Bob Good Roswell & Marilynn Gordon Dick Hamlet & Corinne McWilliams Richard L. Hay Joni & Bill Isaacson Anna Jimenez & Zednek Zumr Ms. Cecily A. Johns Mike & Margo Kalberer Beth & Chris Karlin Elaine & Ed Kemp, in memory of Judi Wandres Carol & Jeff Kilmer PJ Kleffner Bill & Shelley Larkins Tim & Janene Larson Reed Lewis Noah & Dena Lieberman Matthew & Lora Lillard

Robert A. Lowe & Michelle Berlin-Lowe David Lutz Susannah Mars & Gary Johnson Earlean Marsh Dan McKenzie Scott & Jane Miller Dolores & Michael Moore Susan D. Morgan VMD Katherine Moss Neilsen Family Fund of The Oregon Community Foundation David & Anne Noall Northwest Film Center Linda Nelson & Ted Olson Alfred & Eileen Ono OnPoint Community Credit Union The Estate of Joan Peacock Katherine Pease Debra & Paul Pellati Carla Piluso Portland Actors Conservatory Portland Timbers Julie Poust Raft California Karen Rathje Scott & Kay Reichlin Michael Sands & Jane Robinson Jewely Sandoz Kristin & Paul Schultz Corey Schuster Erika Schuster & Clay Biberdorf Wayne D. Schweinfest Ursula Scriven Southwest Airlines Faye & Lucille Stewart Foundation Greg & Martha Struxness Rick Talley & Dr. Mary Ann Barr Talley Paul Thompson & Portia Sipes US Bancorp Matching Gift Program Nate Watson Travels M. Howard Weinstein Robert Weinstein LeAnn Wells Karen Whitaker Carole Whiteside

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ART SUPPORTERS Pam Whyte & Ron Saylor Andrew Wilson & Dr. Ronnie-Gail Emden Carl Wilson & Evan Boone Carol Ann & Patrick Wohlmut Cynthia Yee INSIDERS ($250-$499) Anonymous (2) Chuck & Meg Allen Alliance Franรงaise Bob Amundson & Sully Taylor Kristin Angell ArborBrook Vineyards Artslandia Arlene Ashcraft Shilpi Banjeree BosMen Charitable Fund Ann Brayfield & Joe Emerson Jim Brunke Sonia Buist, M.D., in memory of Judi Wandres Carol Burns Cambia Health Foundation Don Caniparoli & Sarah Rosenberg Cecile Carpenter Jean Carufo & Barbara Engelter Valri & Vince Chiappetta Rick & Jean Collins Debbie Cross & Paul Wrigley Robert Daasch & Linda Schaefer Nancy & Jon Decherd Barbara & George Dechet Troy & Bev Dickson Jim & Joan English Marilyn Kay Epstein Donna Flanders & Carl Collins, in honor of Cody Hoesly Paul & Teresa Graham Paul & Teri Graham Paul Harmon Matt & Tiffany Hague Dawn Hayami Cynthia Herrup & Judith Bennett Stephen & Sharon Hillis Kirk Hirschfeld Steven Hodgson

Lynette & Don Houghton Steve & Kris Hudson Bill Jensen & Linda Ellison Steve & Anita Kaplan Karen Kemper Sally & Lucien Klein Ted Labbe & Kelly Rogers Jill & Tri Lam Elyse & Ron Laster Roger Leo Chuck & Sandy Lissman Steve Lovett & Connie Sullivan Stacey Martinson & Brad Sealy Dr. Robert & Kimberly Matheson Ms. Nancy Matthews, in memory of Judi Wandres Michael Mendelson & Tim Thompson North Country Productions, Alan & Sharon Jones Judy Parker & Albert Passadore Duane & Corinne Paulson Ron Pausig Sue Pickgrobe & Mike Hoffman Portland Pairings Portland Playhouse Dee Poujade Jay & Barbara Ramaker Mr. Andrew Recinos Martha & David Richards Kelly Rodgers Brian Rogers & Cassandra Scholte Charles & Judith Rooks Kathryn Ross Rebecca Ross Rick & Halle Sadle John Saurenman Luan Schooler & Timothy Wilson Mary Ann Seth-Wish & John Wish James & Laura Smith Marc Stein H. Joe Story Pat & Larry Strausbaugh Julia Surtshin & Richard Sessions Sarah & Robert Taylor

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The Tea And Spice Exchange of Portland Jory Thomas Paul Vandeventer Janet F. Warrington Richard Winkel Lora & Andy Woodruff Yoyoyogi Alan & Janet Zell Kurt & Heather Zimmer FRIENDS ($100-$249) Anonymous (6) Kip Acheson Aesop Kris Alman & Mike Siegel Hilary & Michael Alter Sarah & David Altman Anders Printing Company Scott Anderson Thomas Robert Anderson Angelic Healing Hands, Inc. Ruby Apsler Herman Asarnow & Susan Baillet Nancy Ashton Katherine Atkinson Bag & Baggage Matt Baines Steve Baker & Heyke Kirkendall-Baker Jean Carufo Claudia Barnard Linda Barnes & Robert Vanderwerf Lewis Barr Laura Barton George Bateman Joan Baucus Joanne Bauer Alan & Sherry Bennett Pam Berg Catherine Blosser Joe Blount Caleb & Maya Bourgeois Brenda & John Braden Patti Brewer & Nick Giustina Bobby & Gabrielle Brewer-Wallin Margaret & Donn Bromley Brian Brooks Nancy & Gerry Brown Marlene Burns & Jon Dickinson Chuck Carpenter & Carl

Brown, in memory of Judi Wandres Michael Carter & Teresa Ferrer Sue Caulfield Mary & Russ Chapman Rita Charlesworth Clackamas Repertory Theatre Bradley Coffey Elaine & Arnold Cogan Coho Productions Leslie & Alan Comnes Amy Copeland Harriet Cormack Corrib Theatre Joseph Davids Jewel Derin Elaine & Bill Deutschman Luke & Jassimine Dixon Jeanne & Lauren Donaldson Steven Dotterrer Judith E Posey & Edward J Doyle, MD Anne Driscoll Robin Dunitz Ross & Olivia Dwinell Kitt & Butch Dyer Laury Ellis & Kathy Fode Fade To Light: A Multidimensional Fashion Event Michael Feldman & Ruth Tenzer Feldman Dave Felt & Lynda Wendel Julie Fleischer Chris Fletcher & Pamela Abernethy and Elizabeth Abernethy Katie Flynn Lew Frederick Nancy Lee Frederick Jessy Friedt & Benjamin Emerson Patricia Frobes & Richard Smith Fullerton Wines Frank Gibson Andy Ginsburg & Danielle L. Erb Mr. Rob Goldman Glenda Goldwater Gretta Grimala Lauren Gunderson HP Matching Gifts Arlene & Arthur Hagen Andrew Harbison Ulrich Hardt & Karen Johnson Meredith Hartley &

THANK YOU! Jeremiah Pyle Susan Haywood Elena Hein Joan Heinkel & Ben Massell Thomas Hellie & Julie Olds Judith A. Henderson Joe & Diana Hennessy Peter & Mary Hepokoski The Herb Shoppe Sarah Hershey Jon Hirsch Marlene Holder Carol & Tom Hull Deborah Indihar Jeri Janowsky & John Crabbe Betsy Jeronen Colleen & Jeff Johnson Isaac & Jennifer Johnson Karen K. Johnson & Ulrich Hardt Phyllis Johnson Janet Josway Erika Kane Marianne KeddingtonLang & William Lang Keeton Corporation Catherine & Timothy Keith Nancy G. Kennaway Jane Kennedy Ellen Kesend & Bruce Sternberg Heather Kientz Doris & Eric Kimmel Rev. Larry King Steve & Molly Kleinheinz Kim Knox Keith & Merle Koplan Tom & Judy Kovaric Kristi Lamont Jeanette Larson Mary Lou & Ross Laybourn Jeanette Leahy, in memory of Judi Wandres

Mark Lee & Lisa Bork Richard Lewis & Meg Larson Literary Arts Mari & Louis Livingston Leslie Louderback Henry C. Louderbough Jane Luddecke & Robert Anderson Priscilla & Rod MacMillan Sheila Mahan Michelle Maida Jim & Midge Main David Mandelblatt Gus & Liann Martin Larry Marxer & Susan Hathaway-Marxer Anne McLaughlin Kathy McLaughlin Mariellen Meisel & Steve Glass William Meyer Milagro Miller Nash LLP Dwyn Miller Michael & Denise Millhollen, in memory of Bertha Millhollen Susan & Greg Miner Leila Moharram, in honor of Carmen Egido & Abel Weinrib Fern Momyer & Marlene Grate Monique’s Boutique Steve Neighorn Katy Nelson Anna Nicholas Marcy Norman Northwest Children’s Theater And School Greg & Emily Nourse Steve Novick & Rachael Philosky-Novick NW Dance Project Vana O’Brien Oregon Shakespeare Festival Oregon Symphony

Susan Parsons & Duncan Campbell Kate Patricelli Glenda Peters Justin Peters Pierre & Linda Pham Kevin Phaup Donna Philbrick Pink Martini David & Kay Pollack Roger Porter Portland Center Stage Portland Experimental Theatre Ensemble Elizabeth Pratt & Philip Thor Profile Theatre Pumpkin Ridge Golf Club Dick & Linda Reedy Ed Reeves & Bill Fish Betty & Jacob Reiss Josh Richards Robert & Marilyn Ridgley Rich & Joan Rubin Cecily Ryan Jane Sage Cindy Salisbury William & Meredith Savery Mr. Brandon Scarth Robert Schaibly David & Suzanne Schulherr Ann Schwarz Jean Scott & Myrth Ogilvie Gil Sharp & Anne Saxby Ariel Shattan Doug Sheets Kathryn Silva & Fred Stewart Laurel & Dan Simmons Tiffany Smith Neil Soiffer & Carolyn Smith Merri Souther-Wyatt Jenny Stadler & Jordan Hiller David Staehely

Scott Stephens & Leslie Houston Kathleen & Leigh Stephenson-Kuhn Mr. James Swenson Gary Taliaferro Ravi & Reema Tayal Leslie Taylor & Doug Beers Tektronix Matching Gifts Tektronix Tracy Thornton Larry Toda Tony Starlight Andrew & Brittain Tripp Troon Vineyard United Way Cyrus Vafi Kaye Van Valkenburg & David Maier The Vault David & Julie Verburg Janet Vining & Eric Vega Vinn Distillery Pamela Vohnson & David Streight Allison Wales Jennifer Wallenberg Judi & J. Wandres Anne Weaver David Wheeler Lawrence W. Woelfer Susan Woods Kathleen Worley

DONATIONS AND PLEDGES TO ARTISTS REP’S RISE CAPITAL CAMPAIGN Anonymous Julie & Robert S. Ball Bob & Janet Conklin The Robert & Mercedes Eichholz Foundation

Darci & Charlie Swindells David & Christine Vernier The ART Guild

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Hamentaschen by Joshua Weinstein, Avram in Indecent Growing up Jewish (emphasis on the “ish”) in North Florida was like having an obscure elderly family member who lived on the other side of town - one to whom we never seemed to pay enough visits. This great aunt or step-grandfather or eccentric third cousin came from an ancient language and lineage seemingly absent in the rest of the Deep South (because yes, Tallahassee is still the Deep South, y’all). As with all great dwelling-places of the very old, there is a keen sense memory tied to the tastes and smells of the place: the hulking electric coffee carafes in the corner of the gathering hall bubbling endlessly beside a (now-shameful) tower of 8oz. styrofoam cups; the heavy, grease-laden vapors of the kitchen turning every surface to a slipping hazard for our rambunctious feet in our too-tight dress shoes; the lukewarm casseroles and sugar-free dessert cookies of the once-a-month potluck shabbat. One of the more kid-friendly traditions at our synagogue growing up was the latewinter/early-spring Carnival of Purim - yet another Jewish holiday commemorating a time when “They tried to kill us. They didn’t kill us. Let’s eat.” (thank Linda Alper for that little gem, folks). Think Halloween costumes plus carnival games plus a halfhour of sketch comedy retelling the Purim story with modern pop-culture songs and references. What’s not to like? And throughout it all - Hamentaschen. Three-pointed, poppy seed-filled butter cookies that are supposed to represent the bad guy’s... hat, I think? Or his ears? Or his pockets? In any case, THEY’RE DELICIOUS. May I furnish below for your gustatory pleasure, a traditional recipe for Hamentaschen:

Reduce speed to low and gradually add dry ingredients; mix until dough comes together. Divide dough in half and form into two 3/4”-thick disks. Cover and chill at least 2 hours. Place racks in lower and upper thirds of oven; preheat to 350°. Let 1 disk of dough sit at room temperature until softened slightly, about 30 minutes. INGREDIENTS 1 1/2 teaspoons baking powder 3/4 teaspoon kosher salt 4 cups all-purpose flour, plus more for surface 1 cup (2 sticks) unsalted butter, room temperature 1 cup sugar 3 large eggs Date-Orange Filling, Honey-Nut Filling, Poppy Seed Filling, or 1 1/2 cups jam or preserves SPECIAL EQUIPMENT 3 1/2”-diameter cookie cutter DIRECTIONS Whisk baking powder, salt, and 4 cups flour in a medium bowl. Using an electric mixer on mediumhigh speed, beat butter and sugar in a large bowl until pale and fluffy, about 5 minutes. Add 2 eggs one at a time, beating to combine after each addition and scraping down sides of bowl.

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Roll out dough on a very lightly floured surface to about 1/4” thick, dusting with flour as needed (use as little flour as possible). Cut out 3 1/2” rounds with cutter and, using an offset spatula or bench scraper, transfer to 2 parchment-lined baking sheets. Gather up scraps, reroll, and cut out additional rounds. Lightly beat remaining egg in a small bowl to blend. Working a few at a time, brush edge of rounds with egg, then place 1 1/2 tsp. filling in center. Fold sides up to make a triangle, pinching points gently to seal and leaving about 1” surface of filling exposed. Brush sides of folded dough with egg. Bake cookies, rotating baking sheets halfway through, until bottoms are golden brown, 18–22 minutes. Let cool on baking sheets. Do ahead: Dough can be made 2 days ahead; keep chilled. Cookies can be made 2 days ahead; let cool and store airtight at room temperature.

STAFF Artistic Director: Dámaso Rodríguez Managing Director: J.S. May ARTISTIC Producing Director: Shawn Lee Associate Producer: Kristeen Willis Director of New Play Development & Dramaturgy: Luan Schooler Dramaturgy Scholar: Pancho Savery Casting Director: Vonessa Martin Lacroute Playwright-in-Residence: Andrea Stolowitz Resident Fight Choreographer: Jonathan Cole Resident Artists: Lava Alapai, Linda Alper, Adriana Baer, Ayanna Berkshire, Bobby Brewer-Wallin, Jonathan Cole, Sarah Gahagan, Chris Harder, 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 ADMINISTRATIVE General Manager: Vonessa Martin Company Manager/Assistant to the General Manager: Karl Hanover Associate Managing Director: Allison Delaney MARKETING & BOX OFFICE Audience Development & Marketing Director: Kisha Jarrett Audience Development & Marketing Manager: 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 Education Associate: Barbie Wu Music Events Specialist: Susannah Mars House Managers: Deborah Gangwer, Valerie Liptak, Shelley Matthews, Tara McMahon, Andrea Vernae, Kayla Kelly, Nel Taylor, Geraldine Sandberg, Erica Hatfield Concessions: Jennifer Zubernick, Kayla Kelly DEVELOPMENT Grants & Events Manager: Maya Bourgeois Annual Fund Manager: Nel Taylor

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 BOARD OF DIRECTORS Jeffrey Condit, Chair Norma Dulin Pancho Savery, Tom Gifford Vice-Chair Paul Koehler Cyrus Vafi, Treasurer Erik Opsahl Patricia Garner, Justin Peters Secretary Andrea Schmidt Mike Barr, Past Chair Marcia Darm, MD, Julia Ball Trustee Emeritus Michael Davidson FOR THIS PRODUCTION Carpenters: Ben Serreau-Raskin and Esther Mcfaden Scene Shop Intern: Frey Soares Marketing Interns: Gabrielle Bosso, Madeline Peterson, Joey Londura, Braydon Simmons, Georgia Thomas Special Thanks: Marci Darm

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

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MAY 2 - 31 PORTLAND CENTER STAGE

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Ellyn Bye Studio

Carla Rossi – Portland’s premier drag clown – has taken over Anthony’s life and Anthony would like it back now. Anthony’s identity is a confused tangle of Native American/white/queer, and Anthony grew up looking to the Indian princess Tiger Lily from Peter Pan for cultural guidance. Looking for Tiger Lily is a kaleidoscopic, funhouse trip, following Anthony’s quest to find validation as a real Native artist – where the artist and the muse can coexist.

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Nominated for a 2012 Drama Desk Award for Best Play. Two time Pulitzer Prize Winner Lynn Nottage’s sly satire and screwball comedy! It’s the golden age of Hollywood. Aspiring starlet Vera Stark gets cast as a slave in her boss’s antebellum epic. Decades later scholars and film buffs grapple with her trailblazing legacy and wonder whatever happened to Vera Stark?