ART on Tour presents ART MAGAZINE: LA RUTA volume 37 issue 2 by artistsrep

There are monters out there

here are monters out there

ART

There are monters out there There are monters out there e are monters out there There are monters out there Hay monstruos por ahi Hay monstruos por ahi There are monters out ther Volume 37 Issue 2

There are monters out there

here are monters out there

How NAFTA theout there T There are monters out there There arechanged monters There are monters out there There landscape of Northern Mexico

FEMICIDE:

Hay monstruos por ahi are monters out t pg.There 14 are monters There are monters out there There out there There are monters out there There are monters out thereH There are monters out there There Hay monstruos por ahi There are monters out There are monters out there There are monters out

There are monters out there There are monters ou There are monters out there There are monters out there

ART OF HEALING G E T by tiffany Anamonters Lรณpez out there There are monters out there There are there Ther pg. 12 Hay monstruos por ahi There are monters out I N T O There are monters out there There are monters out are monters out There are monters outFRESH there There EYES: T H E thereThrough There are monters out t the lens Hay monstru There are monters out there Hay There are m WORLD of there a physicist Hay monstruos p

Hay monstruos por There are monters There are monters out ther

There are monters out there

There are monters out

pg. 18There are monters pg. 28 out there There are mon

There are monters out there There are monters Hay monstruos por ahi There are m There areCmonters Hay monstr O M F Omonters Rout T there F O O Dout ThereC Oare there There M I D A D E R E C O N F O R T A N T E ar There are monters out thereP GThere . 27 Hay monstruos por ahi Ther There are monters out there There are mont

There are monters out there There are mo

There are monters out there There are monter Hay monstruos por ahi There are There are monters out there There a

There are monters out there There a There are monters out there There are m

There are monters out there

There are monters out There are monters out there

Hay monstruos por ahi There are monter There are monters out there There are monter

There are monters out there There are monter There are monters out there There are monters o

There are monters out there Hay mon

Enhance your ART on Tour experience with a passport for

$30

Our Mission is to produce intimate, provocative theatre and provide a home for a diverse community of artists and audiences to take creative risks ARTISTSREP.ORG 2

LA RUTA

by Isaac Gomez Dámaso Rodríguez, Artistic Director J.S. May, Managing Director

CAST Yolanda ......................................................................................................... Marisela ........................................................................................................ Ivonne ........................................................................................................... Brenda .......................................................................................................... Zaide ............................................................................................................. Desamaya .....................................................................................................

Cristi Miles* Diana Burbano* Naiya Amilcar+ Marissa Sanchez Patricia Alvitez Fabi Reyna

CREATIVE TEAM AND CREW Director ......................................................................................................... Dámaso Rodríguez~ Assistant Director/Cultural Consultant ................................................. Yasmin Ruvalcaba Scenic & Costume Designer ..................................................................... Christopher Acebo# Lighting Desginer......................................................................................... Blanca Forzán Music Director, Sound Designer, & Composer ...................................... Rodolfo Ortega^# Projection Designer..................................................................................... Alan Cline Properties Master ...................................................................................... Laura Savage Fight Choreographer ................................................................................. Jonathan Cole^~ Dramaturg .................................................................................................... Tiffany Ana López Dramaturg .................................................................................................... Luan Schooler Dialect Coach/Voice Coach ..................................................................... Stephanie Gaslin Intimacy Consultant .................................................................................. Amanda K Cole Assistant Scenic Designer ........................................................................ Rick Anderson Assistant Costume Designer/Shopper .................................................. Alex Pletcher Stage Manager ............................................................................................ Carol Ann Wohlmut^* Production Assistant ................................................................................. Ariela Subar Production Assistant ................................................................................. Megan Thorpe Production Assistant ................................................................................. Shira Goldeen Board Op ....................................................................................................... Alan Cline Live Sound Op ............................................................................................. Dave Petersen Wardrobe ...................................................................................................... Alana Wight-Yedinak At the Apex are World Premieres and vital second productions by some of the nation’s most exciting emerging playwrights. We build our main stage season around 1-2 of these vibrant new works every year, engaging and supporting the playwrights as they hone their work. El son del Obrero is written by Gabino Palomares and Siete Soles is written by Rafael Mendoza. Both have given permission for these songs to be included with the script. The World Premiere of La Ruta was produced and presented at Steppenwolf Theatre Company, Chicago, IL; Anna D. Shapiro, Artistic Director and David Schmitz, Executive Director. This project was developed with support from the Pivot Arts Incubator Program at Loyola University Chicago.

TIME: LATE 1990s RUN TIME: APPROXIMATELY 100 MINUTES WITH NO INTERMISSION The video and/or audio recording of this performance by any means is strictly prohibited. * Member of Actors’ Equity Association, the union of Professional Actors and Stage Managers in the United States. Actors’ Equity Association, founded in 1913, represents mre than 49,000 actors and stage managers in the U.S. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. Equity seeks to foster the art of live theatre as an essential component of our society. www.actorsequity.org + Actors’ Equity Association Candidate ~ Stage Directors & Choreographers Society ^ Artists Repertory Theatre Resident Artist # The scenic, costume, lighting, projections, and sound designers are represented by United Scenic Artists. This theatre operates under an agreement between the League of Resident Theatre and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. > Indicates Portland Actors Conservatory (PAC) actors

ARTISTSREP.ORG 3

“

D I R EC TO R ’S N o t e

Join us. March with us. From Juárez to Chihuahua. We are going to set up a permanent protest right in front of the Chihuahua State Capital until they fix this mess. This is your chance to do something. So do it.” -- Marisela in La Ruta by Isaac Gomez

elcome to Artists Repertory Theatre (ART) and Isaac Gomez’s staggeringly powerful play, La Ruta. It has been an enormous privilege to direct this deeply personal investigation into the ongoing tragedy in Ciudad Juárez, the Mexican city which shares the border with El Paso, Texas. For two decades, young women have been disappearing on the roads to and from the factories where they work. The U.S. companies that own these factories and employ these workers and the local authorities responsible for their safety, have failed to end this senseless violence, nor have they handed justice to the perpetrators. The play honors these women by putting an all-Latina cast of complex, funny, loving, and resilient characters at the center of the narrative, and uses traditional Mexican folk songs to poetic, beautifully moving effect. La Ruta is the second production of our two-year journey as ART on Tour while we raise funds to transform our longtime home at 15th and Morrison into a space intentionally designed to serve our mission to produce intimate, provocative theatre and provide a home for a diverse community of artists and audiences to take creative risks. I think of this transition as designing more than a building; we’re designing and securing a future for ART and the ArtsHub* to thrive. I want to thank our long-time audience members for following us across the river to the Hampton Opera Center. If this is your first time seeing an ART production, thanks for taking a chance on us. I hope you have

ARTISTSREP.ORG 4

a meaningful experience and will join us again this season. While the challenges of producing “on tour” are myriad, we’re focused on making

this experience as rewarding as possible. We shied away from safe choices, instead choosing plays that are especially complex and ambitious; and playwrights whose themes and subjects warrant the collective energy (and expense) it takes to produce them. In many cases, the plays and the venues are meant to indicate our aspirations for the kind of work we’ll be able to make more easily in our new home and the kinds of partnerships we hope to continue. The season features several coproductions and first-time collaborations, with plays staged in different seating configurations including productions in three-quarter thrust (the audience on three sides), proscenium (the audience on one side), traverse staging (the audience on two sides), and a cabaret staging with the performance within and surrounding the audience. It’s a mix of diverse and timely stories, with many of the plays featuring large casts, live music, and expanded creative teams to design video and projection, puppetry, masks, choreography,

and stylized movement. Despite the staging complexity and heightened theatricality, our goal—as it has been for nearly 40 years—is to produce provocative work that stirs audiences to feel something

and then have a conversation. I hope this production will build awareness, foster empathy, and inspire audiences unfamiliar with the situation in Ciudad Juárez to learn more, tell others, and take action. The dehumanization of Mexican asylum seekers and immigrants has been central to the political discourse around immigration. In the words of the renowned documentary filmmaker, Lourdes Portillo, who Isaac Gomez quotes in his playwright’s notes on La Ruta, “Reality is so bereft of humanity, so barbaric, that we cannot grasp it without the delicacy of art. Through art, we can feel the loss and we can understand it without falling prey to sensationalism.” Ni Una Más. Ni Una Más. Ni Una Más.

Dámaso Rodríguez

ARTISTSREP.ORG 5

PLAYWRIGHT & DIRECTOR BIOS Isaac Gomez

Isaac is an award-winning Chicago-based playwright originally from El Paso, Texas/ Ciudad Juárez, Mexico. His play La Ruta received its World Premiere at Steppenwolf Theater Company last winter. His onewoman show the way she spoke received its Off-Broadway premiere at the Minetta Lane Theatre (produced by Audible, directed by Jo Bonney, starring Kate del Castillo) this past summer. He is currently under commission from South Coast Repertory, Denver Center for the Performing Arts, Steppenwolf Theatre Company, Alley Theater, and StepUp Chicago Playwrights. His plays have been supported by Steppenwolf Theater Company, Primary Stages, Oregon Shakespeare Festival, Goodman Theatre, Victory Gardens Theater, City Theatre, Artists Rep, Northlight Theatre, Albany Park Theater Project, WaterTower Theater, Haven Theater, Teatro Vista, Greenhouse Theater Center, Jackalope Theater Company, Pivot Arts, Definition Theater Company, Broken Nose Theater, Stage Left, The VORTEX, and Something Marvelous. He is the recipient of the 2018 Dramatists Guild Lanford Wilson Award, the 2017 Jeffry Melnick New Playwright Award at Primary Stages, an inaugural 3Arts “Make A Wave” grantee, advisory member with the Alliance of Latinx Theatre, a Resident Playwright at Chicago Dramatists, an Artistic Associate with Victory Gardens Theater, Ensemble Member with Teatro Vista, Artistic Associate with Pivot Arts, an advisory committee member of the Latinx Theatre Commons (LTC), and a core producer with the Jubilee. He is a Professional Lecturer at The Theatre School at DePaul University and is represented by The Gersh Agency and Circle of Confusion.

Dámaso Rodríguez

ARTISTSREP.ORG 6

SEASON SPONSORS

SHOW SPONSORS

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

MANAGING DIRECTOR’S NOTE

ELCOME TO THE PORTLAND OPERA THE SEASON ONE, SECOND STOP OF ART ON TOUR

working on the reinvention of our building. Originally an Elks Lodge health club, the building has reached the end of its useful life. A major gift in 2018 paid off our mortgage, catalyzing the sale of the north half of the downtown block in July of 2019. The $9 million received in the sale became the lead investment for the reimagining of the remaining building, in which the roof and two massive wood beams will rise to create a modern multiuse performing arts center with two theatres, four rehearsal halls, and collaborative working spaces. We are working with an extraordinary design team: Lever Architecture, Fisher Dachs Theatre Design Consultants, contractor Howard S. Wright, and Shiels Obletz Johnsen as our owner’s representative. It is our intention to only be “on tour” for two seasons – moving back in August 2021 for the 21/22 season.

Simultaneous to our time “on tour,” we are

J.S. May

SEASON SPONSORS

hen we learned that ART must move out of our building for safety reasons during the redevelopment of our building and the construction of the 22-story Alta Art Tower, we hoped for a single location to produce the 19/20 season. However, this idyllic theatre paradise did not exist and ART on Tour was born. This time displaced from our building creates the opportunity to build new partnerships, innovate, reach new audiences, and affirm our mission. The temporary home for ART and the ArtsHub is Zidell Yards, where the building is filled with activity: from classes and rehearsals, costume fittings, meetings, to the day-to-day activities that facilitate the creation of great theatre. Partnership and innovation have gone hand-in-hand, including collaborating with Portland Center Stage (a co-production on the U.S. Bank Main Stage, sharing the scene shop, the ART ticket booth in the Armory lobby, and the final play of the season in the Ellyn Bye Studio); a co-production with Profile Theatre, in association with the PSU Drama and Music Departments and performed at Lincoln Hall; and producing our winter show at the Tiffany Center.

If you drive by our downtown location, you will see the Alder Street wing is gone and the infill of the voids completed, vivid proof that this adventure is really happening! As this season unfolds, we will keep you informed on our progress. Please reach out to me if you would like to learn more. Thank you for traveling with us.

OTHER MAJOR CORPORATE AND FOUNDATION SPOMSORS

THE MUSIC OF LA RUTA TRANSLATED La Bruja (The Witch) One of the oldest traditional Mexican folk songs with many conflicting origin stories, La Bruja originates in the state of Veracruz though has been popularized and re-contextualized in various musical genre styles throughout the rest of Mexico. There are a number of stories and legends of ghosts, demons, and witches in some rural areas of Mexico, and La Bruja is sung to warn and scare young children to behave or the witch will take you and suck out your soul. In the context of LA RUTA, La Bruja challenges the notion that women in Juárez are magically disappearing when in actuality, these women are being kidnapped, and the perpetuators of this violence are very real, they aren’t magical creatures but are treated by government officials and authorities as if they were unable to be caught and held accountable for their crimes. Ay que bonito es volar A las dos de la manana Ay que bonito es volar En los brazos de tu hermana, Ay mama Me agarra la bruja Me lleva a su casa Me vuelve maceta Y una calabaza Me agarra la bruja Me lleva el cerrito Me vuelve maceta Y un calabacito Ay digame, y digame, y digame usted? Cuantas creaturitas se ha chupado usted? Ninguna, ninguna, ninguna no ve Que ando en pretensions de chuparme a usted ¡ay! me espanto una mujer en medio del mar salado en medio del mar salado ¡ay me espantó una mujer, ay mamá! porque no quería creer lo que me habían contado lo de arriba era mujer y lo de abajo pescado ¡ay mamá! Levántate hermana Levántate mija hay viene la bruja detras de tu tia Levántate Obrera Levántate mama que ahi anda la bruja nos deja sin nada Ay digame, y digame, y digame usted? Cuantas creaturitas se ha chupado usted? Ninguna, ninguna, ninguna no ve Que ando en pretensions de chuparme a usted

ARTISTSREP.ORG 8

Oh, how lovely it is to fly At two in the morning Oh, how lovely it is to fly In the arms of your sister Oh, mother The witch takes ahold of me She takes me to her home She turns me into a pot And into a pumpkin too She takes me into the hills She turns me into a pot And a little pumpkin too Oh tell me? Tell me? Oh why don’t you tell me? How many little ones have you sucked dry? Not one, not one, not a single one, don’t you see That I’m actually planning on sucking you dry Oh, I was scared by a woman In the middle of the salty sea In the middle of the salty sea Oh, I was scared by a woman, oh mother Because I didn’t want to believe What they had told me The top was part woman And the bottom half fish, oh mother Get up sister Get up daughter Here comes the witch Behind your aunt Get up worker Get up mother That here comes the witch And she’ll leave us with nothing Oh tell me? Tell me? Oh why don’t you tell me? How many little ones have you sucked dry? Not one, not one, not a single one, don’t you see That I’m actually planning on sucking you dry

Son de Obrero (Worker’s Song) Written by Gabino Palomares (one of the main exponents of the Nueva Cancíon movement in Latin America — a social movement and musical genre characterized by folk-inspired styles and socially committed lyrics), this migrant workers’ song played a profound role in the social upheavals in Latin America during the 1970s and 1980s (Son Del Obrero was released in 1975). In the context of maquila (factory) workers in Ciudad Juárez, the song is re-contextualized to encompass the 255,000 people (mostly women) who work directly in Juárez’s 330 maquiladoras approximately twelve hours per day, making an average of 55 cents per day, and under some of the most challenging work conditions globally – all for U.S. export. Many of the women who are kidnapped live in poverty; many of them work at the maquilas. Trabajadora Eres Tu trabajador también yo, Trabajadora Eres Tu trabajador también yo; Si seguimos separadas nunca habrá revolución, Si seguimos separadas nunca habrá revolución

You are a worker and a worker I am too You are a worker and a worker I am too If we remain separated there will never be a revolution If we remain separated there will never be a revolution

Con la herramienta en mis manos con un libro en mi overol Voy en pos de un mundo nuevo sin fronteras ni patrón

With my tools in my hands and a book in my overall I’m in search of a new world without borders and no boss

I’ll care for the tools and with them I’ll take a stand Cuidare las herramientas y con Ellas te he de dar I’ll care for the tools and with them I’ll take a stand Cuidare las herramientas y con Ellas te he de dar No more earnings for the boss all for the community No mas ganancias al amo todo a la comunidad No more earnings for the boss all for the community No mas ganancias al amo todo a la comunidad They turned my body into an exploited meat Mi cuerpo lo convirtieron en carne de explotación In order to dignify our story we’ll take the helm Por dignificar la historia tomaremos el timón Little by little as we wake, tomorrow we’ll be even Poco a poco despertando mañana seremos mas more La revolución exige ser levadura del pan The revolution demands that we be the yeast the rises Trabajadora Eres Tu trabajador también yo, Trabajadora Eres Tu trabajador también yo; You are a worker and a worker I am too Si seguimos separadas nunca habrá revolución, You are a worker and a worker I am too Si seguimos separadas nunca habrá revolución If we remain separated there will never be a revolution If we remain separated there will never be a revolution Muy Pronto El Proletariado con la razón vencerá Muy Pronto El Proletariado con la razón vencerá Soon, with reason we will vanquish the proletariat Los productos del trabajo del trabajador serán Soon, with reason we will vanquish the proletariat Los productos del trabajo del trabajador serán The products of the worker’s work will be theirs The products of the worker’s work will be theirs Trabajadora Eres Tu trabajador también yo, Trabajadora Eres Tu trabajador también yo; You are a worker and a worker I am too Si seguimos separadas nunca habrá revolución, You are a worker and a worker I am too Si seguimos separadas nunca habrá revolución If we remain separated there will never be a revolution If we remain separated there will never be a revolution Sembraremos en la lucha semillas de libertad Sembraremos en la lucha semillas de libertad We will sow seeds of freedom in the fight Las regaremos de ideas y pronto germinaran We will sow seeds of freedom in the fight Las regaremos de ideas y pronto germinaran We will water them ideas and they will soon germinate We will water them ideas and they will soon germinate Trabajadora Eres Tu trabajador también yo, Trabajadora Eres Tu trabajador también yo; You are a worker and a worker I am too Si seguimos separadas nunca habrá revolución, You are a worker and a worker I am too Si seguimos separadas nunca habrá revolución If we remain separated there will never be a revolution If we remain separated there will never be a revolution

ARTISTSREP.ORG 9

THE MUSIC OF LA R Cielito Lindo (Lovely Sweet One) Cielito Lindo is a popular Mexican song popularized in 1882 by Mexican author Quirino Mendoza y Cortés and is commonly played by Mariachi bands — often sung by men. In the context of LA RUTA and sung by women in Juárez, the “sweet one” refers to missing daughters, the yearning for them by their mothers, and pushing through the most unspeakable losses. This song is a Mexican staple.

Ay, ay, ay, ay Canta y no llores Porque cantando se alegran Cielito lindo, los corazones

Ay, ay, ay, ay Sing and don’t cry Because singing brightens Lovely sky, the hearts.

De la sierra, morena Cielito lindo, vienen bajando Un par de ojitos negros, cielito lindo De contrabando

From the mountain range, my dear Lovely sky, down comes A pair of dark eyes, lovely sky They are contraband

Cielito lindo, vienen bajando Un par de ojitos negros, cielito lindo De contraband

Lovely sky, down comes A pair of dark eyes, lovely sky They are contraband

De la sierra, morena Cielito lindo, vienen bajando Un par de ojitos negros, cielito lindo De contrabando

From the mountain range, my dear Lovely sky, down comes A pair of dark eyes, lovely sky They are contraband

Ay, ay, ay, ay Canta y no llores Porque cantando se alegran Cielito lindo, los corazones

Ay, ay, ay, ay Sing and don’t cry Because singing brightens Lovely sky, the hearts.

Ay, ay, ay, ay Canta y no llores Porque cantando se alegran Cielito lindo, los corazones

Ay, ay, ay, ay Sing and don’t cry Because singing brightens Lovely sky, the hearts.

Pink crosses mark streets and desert hillsides surrounding Ciudad Juarez, Mexico - a grim reminder of the hundreds of Mexican women who have disappeared or been killed in the border town since the early 1990s. An app was designed to help women in danger. The program, called "No Estoy Sola" ("I am not alone") essentially gives the women of Juarez a quick-trigger distress call in the event of an attack or attempted kidnapping. www.wapo.st/2uHtyXN `

ARTISTSREP.ORG 10

RUTA TRANSLATED Siete Soles Vengo del pozo profundo del fin del mundo Traigo conmigo el polvo de los caminos Ya no me queda nada todos los he perdido dicen que allá en el norte esta mi destino Me encandilan los rayos de siete soles Me enceguese la sal del llanto perdido ya nada me detiene ya me vestí de olvido supe que allá en el monte esta mi destino Solo seco mis lagrimas el desierto solo mato mis sueños la oscuridad solo seguí el destello de un espejismo bajo los siete soles caí al abismo. Solo seco mis lagrimas el desierto solo mato mis sueños la oscuridad solo seguí el destello de un espejismo bajo los siete soles caí al abismo.

Originally written and performed by Rafael Mendoza for the original film “7 Soles,” this song characterizes a migration to the United States from Mexico and Latin America and is traditionally performed in the style of canto cardenche — Mexico’s most haunting musical style — which is traditionally sung by men. The word “cardenche” refers to a desert cactus plant with painful, prickly thorns paralleling how canto cardenche focuses on pain, both emotional and physical. The lyrics also describe the hardships of desert life and lost loves.

DIANA, HUNTER OF BUS DRIVERS By Yuri Herrera

LISTEN TO THE STORY:

www.thisamericanlife.org/ diana-hunter-of-bus-drivers/

Seven Suns I come from the deep well From the end of the earth I bring with me the dust from the roads I have nothing left I have lost them all They say that in the north lies my destiny I am dazed by the rays Of seven suns I am blinded by the salt Of the lost cry Now nothing stops me I dressed myself in oblivion I know that my destiny is past the mountains The desert only dried my tears The darkness only killed my dreams I was only following the lure of the mirage Beneath the seven suns I feel into the abyss The desert only dried my tears The darkness only killed my dreams I was only following the lure of the mirage Beneath the seven suns I feel into the abyss

The Huntress Diana Fountain (Fuente de la Diana Cazadora) is a monumental fountain of Diana located in the roundabout at Paseo de la Reforma in Mexico City.

ARTISTSREP.ORG 11

“Some random guy will just... walk right up to me... in the middle of the day... as I’m steps away from pulling the door open... and shoot me dead. Right there. On the steps of the court. And get away with it.” Marisela in Isaac Gomez’s La Ruta

Theatre of Witness; Art and Trauma by Tiffany Ana López, Ph.D. La Ruta began with Isaac Gomez hearing about ongoing acts of mass violence against young women in the border region where he grew up and then asking his mother what she knew. He learned that among the women living and working in El Paso, Texas / Ciudad Juárez, Mexico, these stories were well known and widely circulated by the community of mothers whose daughters had disappeared. They formed networks variously built from their concern, bewilderment, grief, mourning, and outrage and effectively functioned as conduits for circulating stories and sounding alarm in spaces where women gathered daily, from homes to factories. Notably, their voices rang in very different registers and volumes because of how clearly the violence against women bore a stamp of involvement from cartels, law enforcement, politicians, business, and news outlets, all led and controlled by men and interconnected in a complex web of social anxiety around upended gender roles, socio-economic disruption, and multinational capitalism in a culture fueled by deep histories of conquest and colonization. The need for ARTISTSREP.ORG 12

support and solidarity was undeniable among the women of Juárez and took many forms that ranged from informal acts of the heart to organized acts of art, most powerfully represented by the magnificent pink crosses as public displays of memorial and resistance. The number of assaulted, disappeared, and murdered women in Juárez has increased from a handful in the late 1990s to a number that currently approaches in the thousands. While women are encouraged to hold leading roles in the home, their move to pursue expanded roles in the factories (maquiladoras) in search of a path for economic empowerment and thus greater social equity has been met with a massive cultural push back enacted in the languages of violence that have historically been practiced as the extreme prerogative of patriarchy. Significantly, the bodies of the murdered women of this border region have been abandoned in desert areas, garbage dumps, and sewage ditches. They are staged far away from the spaces of home and factory where the presence of women is greatest. The

theatrical messaging conveyed in these repeated and deliberately curated sites is that women are marginal, disposable, and toxic. Stories of collective trauma need collective witnessing in order to move from the realm of the private and unspeakable into a public arena where together we look at scenarios, identify motivations and actions, give name to events, arrive at context, and emerge to chart possibilities to address. In the theater, witnesses actively embrace storytellers; in their commitment to actively listen, the audience affirms the sense of voice, embodiment, and agency that violence seeks to eradicate. Everyone processes violence differently. What defines trauma is when things feel unspeakable and resist comprehension, and therefore resist understanding. Because they cannot be integrated into our life story, traumatic events cleave our lives into two chapters: a before and an aftermath. In

popular media, when we hear about traumatic events, we typically hear a story of devastation; seldom do we hear a story of survival in all its complexities and contradictions. That is the wonderful work of live theater as an extraordinary space of shared experiential witnessing of the spectrum of ugly to lovely, of the journey from tragedy to triumph. People arrive at committing acts of violence in complicated ways and people survive violence and trauma in complicated ways. Theater shows us this in its powerful and beautiful coupling of art and community. With La Ruta, Isaac Gomez shares a story of his community in the spirit of the Greeks and Shakespeare by presenting theater that strives to open our minds and hearts. Every dark night sky has its moon and stars. In each daily act, there is a story we may share as we listen to music, eat tamales, and fold clothes. La Ruta â&#x20AC;&#x201C; the route â&#x20AC;&#x201C; invites us to think about how we are fellow travelers and where we might go together to transform the world we share.

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. ARTISTSREP.ORG 13

Femicides of Juárez: Violence Against Women in Mexico

By Nidya Sarria August 3, 2009

uárez is nicknamed “the capital of murdered women.” The border city of 1.5 million inhabitants draws tens of thousands of young women from small, poor towns with $55-a-week jobs in maquiladoras operated by such wealthy major corporations as General Electric, Alcoa, and DuPont. According to Amnesty International, more than 370 bodies had been found as of February 2005, and over 400 women are still missing. These mass murders of women have been dubbed a “femicide” by the popular media, which is defined as the systematic killing of women due to their gender. Though the disappearance, kidnapping, and murder of women in Juárez has been chronicled by the media and grudgingly acknowledged by the Mexican government authorities have pretty much dropped its investigation of the femicides as of August 2006, remaining all but indifferent to calls for action. Setting the Stage Juárez has become a prosperous, industrial city as a result of new economic policies that have encouraged the maquiladoras, factories that import materials for assembly and then re-export the assembled product, to become a fixed aspect of the local and national economy. Lured by the booming economy and job availability, many women and their families have left their homes to live in Ciudad Juárez. In order to make sense of the

ARTISTSREP.ORG 14

femicides occurring in Juárez, it is important to understand the underlying economic policies that have encouraged women to migrate to Juárez, despite the danger of the high female murder rate. NAFTA grew out of governmental initiatives seeking to encourage industries by providing them with international markets. Prior to the 1980s, the Mexican government utilized the Import Substitution Industrialization (ISI) economic model, which was characterized by the protection of domestic industries and a captive national market. NAFTA, signed by the Mexican government in 1994, prompted the government to open the country’s market to commercial exchange and foreign investment. It encouraged local industries to integrate themselves into the international market, emphasizing the efficiency of their labor force and the quality of their products. This was a difficult task; most Mexican factories were small or medium-sized, and did not feature cutting edge technologies. While some employers closed their plants, the majority attempted to adopt the new technology. Mexican-owned as well as joint venture industries have not prospered postNAFTA, except for maquiladoras, a unique from of production that grew out of these new economic policies. Maquiladoras flourished as a result

Within the maquiladoras, globalization has caused the deregulation of different workplace dynamics; women are usually preferred as workers because it

Juárez who had migrated from other areas of Mexico. The victims were generally reported missing by their families, with their bodies found days or months later abandoned in vacant lots, outlying areas or in the desert. In most of these cases there were signs of sexual violence, abuse, torture or in some cases mutilation.” At least 18 girls have been identified missing in the past 14 months. These women share some similar characteristics: pretty and slender, with dark, shoulder-length hair, at least nine of them vanished while shopping downtown or looking for work. Most of these women also

“A number were relative newcomers to Ciudad Juárez who had migrated from other areas of Mexico. The victims were generally reported missing by their families, with their bodies found days or months later abandoned in vacant lots, outlying areas or in the desert.” is assumed that they will more flexible accept new shifts in production, such as job changes and changeable hours. The young women of Juárez are also favored by the maquila bosses for their nimble fingers and obedience. Many of the femicide victims were women employed by maquiladoras. Thus, as a result of the decade-long history of femicides in Juárez, large maquilas began to provide bus service to and from the maquila, but this has not been an effective preventive security measure. Female Workers of Maquiladoras According to the Organization of American States’s Inter-American Commission on Human Rights: “The victims of these crimes have preponderantly been the state of young women, between 12 and 22 years of age. Many were students, and most were maquiladora workers. A number were relative newcomers to Ciudad

THERE ARE MONSTERS OUT THERE

of the Mexican government being largely responsible for their growth. They used presidential decrees to enact programs to attract foreign investment, such as the Border Industrialization Programme (BIP) in 1965. The peso was devalued at the end of 1980s and 1990s, and programs were created to encourage export industries, as well as trade agreements, such as NAFTA. As a whole, these policies, at least for a time, have made maquiladoras the most dynamic industrial sector in Mexico.

come from impoverished families residing in the outskirts of the city. This is not a new phenomenon; in 2003, Amnesty International issued a report, Intolerable Killings: 10 years of abductions and murders of women in Ciudad Juárez and Chihuahua, which discussed the pattern of killings and abductions of women in Ciudad Juárez and the City of Chihuahua. This report concluded that 370 women had been murdered in Juárez, with about a third having suffering sexual violence before being murder. Approximately half of the cases have remained unresolved; the perpetrators have yet to be brought to justice, with most remaining at large, and with the local authorities seemingly remaining indifferent. Why Have Women Been Targeted as Murder Victims? Some people see the femicides as a product of a cultural image of women in Latin America. A female worker

ARTISTSREP.ORG 15

The intrinsic value of a victim of femicide is usually questioned following her death. Members of the media and the community alike try to categorize these women as either “good girls,” fitting the archetype of a good daughter or worker, or as fallen women, usually described as prostitutes, sluts, or barmaids. By putting emphasis on the identity of the women, onlookers seem to be placing a higher value on the lives of “well-behaved women” as well as providing a twisted justification for overlooking or minimize the crimes at hand. For instance, in 1995, the then-governor of Chihuahua, Francisco Barrio, advised parents to keep an eye on their daughters and not allow them to go out at night. The implication was that good girls did not “go out” at night and since the unfortunate victims typically disappeared during the night, it followed that by objective standards they were found to not be very good girls. Likewise, when speaking to the family members of the murdered

ARTISTSREP.ORG 16

THERE ARE MONSTERS OUT THERE

in a maquiladora is can be looked upon as a form of variable capital; the labor value of a Mexican maquiladora worker declines over time because, according to her managers, her value as a worker is used up after years of endless, exhausting hours of factory work. Men, on the other hand, are seen as trainable and intelligent. They are valued higher than female workers due to their alleged ability to constantly learn and produce value over a protracted period of time. In essence, women are filtered into the lesser skilled jobs at these factories and simultaneously are left vulnerable to sexual harassment and assault.

women, the police often explained the disappearance of the victims by pointing out “how common it [was] for women to lead double lives.”

Lack of Action Overall, there seems to have been a connection between the murder of these women and Mexican society’s typical perception of women. Generally disrespected and seen as less valuable because of their gender, women are often the subjects of violence in Mexican society. By terminating investigations of the murders, despite numerous calls by international human rights organizations and local groups to continue the probes, the Mexican government reveals the low esteem it attributes to women. So long as the maquiladoras of Juárez continue to hire young women, more and more of them will move into the city. The maquiladoras have a moral responsibility toward their workers to provide them with as much safety as possible, but the implementation of a bus system is not enough. The government must find and prosecute their murderers, as well as change the inevitable cultural image of women in Mexican society beginning with initiatives for female empowerment. This article was originally published on Monday, August 3, 2009 by Council on Hemispheric Affairs www.coha.org

COHA licenses our original articles under a Creative Commons Attribution-NoDerivatives 4.0 International License (CC BY-ND 4.0).

SE PORTLAND’S MOST UNIQUE DINING EXPERIENCE Mediterranean Restaurant | Bar | Social Club Mention ART or present this playbill next time you dine at Culture and a portion of the proceeds from your meal will be donated back to Artists Repertory Theatre. (This offer is valid until Decomber 31, 2019.)

HAND-CRAFTED COCKTAILS

TABLE-SIDE SHAWARMA

TRADITIONAL DESSERTS

We support our community by providing space for local musicians and artists to showcase their work. Please visit us on Facebook for a listing of all our upcoming events. 2242 SE Hawthorne Blvd

•

culturepdx.com

• 503.477.8365

•

@Culture503

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

Get into the world of La Ruta

BOOKS The Transmigration of Bodies

by Yuri Herrera

M O V I E S

Among Strange Victims

by Daniel SaldaĂąa ParIs

Jacob the Mutant

by Mario Bellatin

MUSIC Linda Ronstadt Mas Canciones

& T V

Selena Natalia Lafourcade

Bordertown (2006)

Breaking the Waves (1996)

Donde Estan? (2017)

NO ME OLVIDES/DON’T FORGET ME by Blanca Forzán Lighting Designer, La Ruta

Ciudad Juárez tiene un desierto, un desierto color carmín.

Ciudad Juárez, it’s a desert, a blood red desert.

La sangre de las mujeres jóvenes nutren la tierra deshidratada. En aquellas tierras las mujeres trabajan, se desplazan en camiones rurales a prender las maquilas, buscan rutas para llegar. Buscan La Ruta. Esa que las proteja.

The blood of young women nurtures the desiccated land. The girls rode in buses from the rural towns to make the factories work. They search for La Ruta. The one that protects them.

La ciudad es oscura, llena de rincones inciertos y pisos desgastados, poca luz las alumbra, la noche se las come, ellas desaparecen , ellas ya nunca vuelven. Pero por si volvieran sus madres las esperan, las esperaran por siempre, por siempre... Por las noches en medio de la oscuridad al volver del trabajo realizan carreras que nadie mira, quiere llegar a casa, quieren llegar a salvo, quieren llegar con vida, llegar, eso quieren, llegar. Si lo logran, su medalla es la vida, es mirar un día mas , un día nuevo para seguir corriendo, seguir huyendo por las noches, para seguir viviendo. Si no logran llegar se convierten en las damas nocturnas del desierto, en las animas que cuidan sus cuerpos abandonados y mutilados hasta que alguien las encuentra. Dicen que los cuerpos sin vida encontrados están muy tensos muy contenidos, hasta que quien los ayuda a partir. les avisan en voz muy baja que fueron encontrados: Yano estas desaparecida ya estas con nosotros, tu madre ya sabe que te encontramos. Entonces los cuerpos se relajan y las almas los abandonan para poder partir, para olvidarlo todo, para dejar descansar un cuerpo maltratado de bajo de una cruz color de rosa con sus nombres pintados. Las madres Mientras buscan cantan, cantan para no llorar, ellas cantan y bailan, ellas bailan solas buscando, imaginando que al voltear la mirada los rostros de sus niñas están ahí sonriendo como en sus recuerdos. Así es como funciona la música en nuestro mundo, dejalas volar para no llorar, para todas, para siempre... Ni una mas Ni una menos.

The city is full of dark, uncertain corners and worn floors, dim light touches them, the night eats them, they disappear, and never return. But their mothers wait for them in case they arrive. They wait forever, forever… They return home in the dark middle of the night. They race unseen, they want to arrive home, they want to arrive safe, they want to arrive alive. Arrive. That’s what they want, just arrive. If they win their race, their trophy is life, is to see another day, a new day to keep running, to keep fleeing through the dark nights, to stay alive. If they don’t, they become nocturnal desert spirits, watching over their abandoned, mutilated bodies until someone finds them. People say that bodies without life are very tense, tight, until someone finds them and helps them pass over. In whispers, they are comforted that they have been found: “You are not lost anymore, you are with us, your mother knows that we found you.” Then the bodies relax and their souls are able to leave, to forget everything, to let their abused bodies rest under a pink cross painted with their names. When the mothers are searching, they sing. They sing not to cry, they sing and dance, they dance alone, searching, they imagine that all around them they see the faces of their little girls, smiling the way they remember. That is how the music works in our world, allowing them to fly in order that they don’t cry, for ever… Not one more, not one less.

ARTISTSREP.ORG 19

TORCH CARRIERS

PARA TODAS. PARA SIEMPRE. FOR ALL. FOREVER. PARA TODAS. PARA SIEMPRE. FOR ALL. FOREVER. PARA TODAS. PARA SIEMPRE. FOR ALL. FOREVER. PARA TODAS. PARA SIEMPRE. FOR ALL. FOREVER. PARA TODAS. PARA SIEMPRE. FOR A

CRISTI MILES Yolanda

Cristi (she/her) is a native of El Paso, Texas and is a theatre artist rooted in Portland, OR. She enjoys making life awesome with her husband and daughter, teaching, and making radical art with PETE (petensemble. org). This is her first show at Artists Rep, and has been previously seen at Third Rail, Portland Playhouse, Profile Theatre, Portland Shakespeare Project, and Milagro. Cristi is an Assistant Professor of Theatre at George Fox University, a founding faculty member at the Institute for Contemporary Performance, and a graduate of The Oregon Center for Alexander Technique (AmSAT certified teacher). Brandeis University, MFA, member AEA.

DIANA BURBANO Marisela

Diana Burbano, a Colombian immigrant, is a playwright, an Equity actor, and a teaching artist at South Coast Repertory and Breath of Fire Latina Theatre Ensemble. Diana’s plays focus on female protagonists. Plays include Policarpa, Fabulous Monsters, and Caliban’s Island. Linda, (in English and in Spanish), has been seen all over the world. Her play Ghosts of Bogota recently won the NuVoices festival at Actors Theatre of Charlotte. Ghosts was commissioned and will get a production from Alter Theater in the Bay Area. She was in Center Theatre Group’s 2018-19 Writers Workshop cohort. As an actor Diana has recently played Amalia in Jose Cruz Gonzales’ American Mariachi at South Coast Repertory. You can also see her as Viv the Punk in the cult musical Isle of Lesbos.

ARTISTSREP.ORG 20

NAIYA AMILCAR Ivonne

Naiya Amilcar (she/her/ hers) is very excited to be on the Artists Rep stage for the first time in La Ruta. Some of her most recent work has been with Oregon Children’s Theatre and Milagro. She can also be seen in the short film 63 Miles Away, which was screened in October at the Gateway Film Festival. She also appears as Jen Wiggins in the second season of American Vandal. In her free time, she enjoys studying human behavior and spending time with her family and friends.

MARISSA SANCHEZ Brenda Marissa (she/her) is from the small agricultural town of Watsonville, California. She graduated from Humboldt State University. During her time at HSU, she played Ana in the production of Real Women Have Curves, and was in Hermanas Unidas production of Latinologues. She was also Scenic Designer for Lime Production’s Doubt and Gruesome Playground Injuries. She interned for the Arcata Playhouse’s Round Story Project bringing multi-generational members of Humboldt’s community and the student body together to address racial equity and justice through theatre. She is an active member of the Advanced Gender Equity theatre collective. She made her writing debut during AGE’s Hear Our Voice event. Over the summer she was a teaching artist for Oregon Children’s Theatre providing theatre-based workshops to underrepresented youth in the local area. She’s a strong believer that theatre can be used as a catalyst for social change.

SOPORTES DE ANTORCHA

ALL. FOREVER. PARA TODAS. PARA SIEMPRE. FOR ALL. FOREVER. PARA TODAS. PARA SIEMPRE. FOR ALL. FOREVER. PARA TODAS. PARA SIEMPRE. FOR ALL. FOREVER. PARA TODAS. PARA SIEMPRE. FOR ALL. FOREVER. PARA TODAS. PA

PATRICIA ALVITEZ Zaide Patricia Alvitez is originally from Peru where she studied ballet at the Escuela Nacional de Ballet en Lima and theatre at La Asociación de Artistas Aficionados and El Club de Teatro de Lima. She is a former company member of The Peninsula Ballet Theatre in San Francisco. Patricia started dancing ballroom in 2008 and has competed in Portland, Seattle, and Los Angeles. Currently she is studying flamenco dance at Espacio Flamenco. Credits include Grand Hotel and Young Frankenstein at Lakewood Theatre, five Day of the Dead productions in Watsonville, and La Segua and Wolf at the Door at Milagro. Patricia is thrilled to join Artists Rep and honored to be part of this heartfelt story. She thanks Dámaso Rodríguez for this opportunity and she dedicates her work to her beloved husband, David, whose love and support inspire her creative journey.

FABI REYNA Desamaya Fabi Reyna is a Mexican born, Texas-raised activist, entrepreneur, and guitarist best recognized as the founder and editor-in-chief of She Shreds Magazine—the world’s first and only print publication dedicated to women guitarists and bassists. At 28 years old, Reyna has built what was once a Portland-based “zine” into an international media entity with a print circulation of over 40k distributed in 28+ countries and a dedicated digital community of over 120k members. As a musician, Reyna is the guitarist of Portland based CumbiaR&B trio, Sávila, and the front woman for Electro-Tropical duo, Reyna Tropical. Outlets such as NPR, Mic.com, Bitch media, Fender, New York Magazine, Stereogum, and many more have praised the multifaceted entrepreneur for her leadership in changing a multi-billion dollar industry as

well as her passion to push culture forward by transcending the boundaries of gender and genre—supporting radicalism, respect and revolution in music. YASMIN RUVALCABA Assistant Director Yasmin (she/her/hers), is excited to be working on her first project at Artists Rep. Yasmin graduated from Williams College in 2017, where she directed plays such as El Nogalar, Los Vendidos, and Ma Rainey’s Black Bottom for the student-run Cap & Bells. Now in Portland she has had the opportunity to direct several readings for Milagro’s Ingenio Series. She is also preparing to direct her first main stage production at Milagro, directing En El Tiempo de las Mariposas by Caridad Svich. Yasmin has taken on a couple of assistant directing roles in Portland. Her credits include, Hurl (Corrib), Island in Winter (Bag & Baggage), and Wolf at the Door (Milagro). She is currently splitting her time between Advance Gender Equity in the Arts (AGE) as the Community Engagement Coordinator, and Bag & Baggage as the Problem Play Project Manager. CHRISTOPHER ACEBO Scenic & Costume Designer Christopher (he/ his) is thrilled to return to Artists Rep where he designed the World Premiere of Cuba Libre. Upcoming productions include directing Lynn Nottage’s Sweat at Profile Theater. Christopher served as the Associate Artistic Director of the Oregon Shakespeare Festival for 12 seasons and designed over 30 productions. Recent productions of note include directing American Mariachi at Arizona Theater Company and South Coast Rep. His work has been seen on Broadway in the Tony Award-winning play All the Way and all over the country including productions ARTISTSREP.ORG 21

TORCH CARRIERS

at Center Theatre Group in Los Angeles, Lincoln Center Theatre, Yale Rep, Brooklyn Academy of Music, American Repertory Theater, Berkeley Rep, La Jolla Playhouse, Goodman Theater, Guthrie, Denver Center, Kennedy Center, South Coast Rep, and Portland Center Stage. Christopher was an ensemble member of the nationallyacclaimed Cornerstone Theater Company in Los Angeles from 2000-2006. Currently, he serves on the Oregon Arts Commission. He received his MFA from the University of California, San Diego. BLANCA FORZÁN Lighting Designer Blanca has a degree in Architecture from Del Valle de Mexico University, was a Banff Center intern (Canada), and worked with the National Institute of Fine Arts for over two decades (Mexico City). She is also a set designer, producer, manager, playwright, tour manager, and international technical director. Notable shows include: Faust (Brooklyn Academy of Music, NY) and Hamlet (Cadiz, Spain). Other credits include: Broken Promises, Contigo pan y cebolla, El Muerto Vagabundo and Astucias (Milagro), Bicycle Country (Aurora Theatre, Lawrenceville, GA), An Octoroon and A Doll’s House, Part 2 (Artists Repertory Theatre), THE TAMING (Coho Theatre Portland, OR), In The Next Room (Portland State University), Men on Boats (Willamette University, Salem), and Jump (Confrontation Theatre). Blanca is happy to work again with ART on this production. RODOLFO ORTEGA Music Director, Composer & Sound Designer Rodolfo Ortega is an award-winning composer for film, television, and theatre. Rodolfo received his Bachelor’s Degree in Music from the University of Arizona and his Master’s ARTISTSREP.ORG 22

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

SOPORTES DE ANTORCHA

Third Rail Rep, Profile Theatre, Theatre Vertigo, and others. LAURA SAVAGE Prop Master Laura Savage (she/hers) has always been happy working with her hands to create environments and props that help bring stories to life, be it designing for theatre, dressing sets for film, or crawling into tight spaces around fragile miniatures on animation sets. Originally from the UK, Laura started out as Production Designer on The Secret Garden for The Tobacco Factory Theatre, before becoming a Set Dresser for Aardman Animations working on shows such as Shaun the Sheep, Creature Comforts, and Pirates!, and her film credits include Ex-Machina and The Imitation Game. She moved to Portland three years ago to work for Laika on their most recent film Missing Link and since then Laura made a return to theatre as Prop Master on A Doll’s House, Part 2 with Artists Rep and Footloose with Broadway Rose Theatre, as well as Associate Designer for Mala with CoHo Theatre. She was most recently Properties Master/ Associate Scenic Designer for 1984 with Artists Rep. 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/ Choreographer with the Stage Directors and Choreographers Society. TIFFANY ANA LÓPEZ Dramaturg Tiffany Ana Lopez, director of the School of Film, Dance and Theatre at Arizona State University, has more than 20 years of experience as a scholar focused on community engagement and the arts. She has worked with a range of theaters, including Cornerstone Theater Company, Oregon Shakespeare Festival, The Mark Taper Forum, The Los Angeles Theatre Center, and Breath of Fire Latina Theater Ensemble, and is founding Artistic Director of the Latina/o Play Project at the Culver Center of the Arts in Riverside, CA. Her research looks at the role of the arts in creating conversations about violence and trauma. She has extensive experience working in Chicana/o and Latina/o cultural communities exploring personal and social change through the arts. Her honors include a University of California Chancellors Award for Excellence in Mentoring Undergraduate Research and grants from the National Endowment for the Humanities, Ford Foundation, and Rockefeller Foundation. She is also a Fulbright Scholar, a CORO Leadership Fellow, and adjunct faculty, and an alumna of the American Association of Hispanics in Higher Education Executive Leadership Academy. LUAN SCHOOLER Dramaturg Luan Schooler (she/hers) was born in West Texas, where she trailed her big sister into dance classes and community theatre. When she was twelve, the family packed up and moved to Anchorage, ARTISTSREP.ORG 23

TORCH CARRIERS

Alaska, where play practice and recitals continued to consume her. After being kicked out of high school, she studied theatre at CalArts. Since then, she has worked with many theaters around the country, including Perseverance Theatre in Juneau, Alaska (where she met and married the marvelous Tim), Denver Center Theatre Company, Oregon Shakespeare Festival, and Berkeley Rep. She once detoured from theatre to open a cheese shop, but then did a U-turn, and joined Artists Rep as the Director of New Play Development & Dramaturgy in 2015. In addition to overseeing the commissioning and development work, she also directed Artists Rep’s World Premiere of The Thanksgiving Play by Larissa FastHorse and A Doll’s House, Part 2 by Lucas Hnath. STEPHANIE GASLIN Dialect Coach/Voice Coach Stephanie (she/her) is a dialect/voice coach and actor, born and raised in NE Portland. She is proud to be part of La Ruta at ART. Her mission is to help support the strengths each individual actor brings to the table while serving the play and the director’s vision. Previous regional dialect/voice work 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. Most 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.

ARTISTSREP.ORG 24

AMANDA K COLE Intimacy Consultant Amanda (she/they) is delighted to join the team for La Ruta after choreographing intimacy for 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 L.A. 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 proud member of SDC. ALEX PLETCHER Assistant Costume Designer/Shopper Alex (she/her/hers) is an S.F. Bay Area native but has since lived/worked in Los Angeles, Seattle, the Netherlands, Brazil, and most recently Portland, OR. This is her fourth season working with Artists Rep. Alex holds a BA in Theatre Design and Production from the UCLA School of Theatre, Film, and Television. As a scenic and costume designer, she has collaborated with critically-acclaimed producers such as the L.A. Phil, Opera Omaha, Pacific Musicworks, The Geffen Playhouse, Brimmer Street Theatre Co., Artists Rep, Profile Theatre, Edinburgh Fringe Festival, Los Angeles Theatre Ensemble, Gray Oak

SOPORTES DE ANTORCHA

Productions, NBC, ABC, 20th Century Fox, HBO, and others. The common thread in all of her designs is a sense of expansion: Are we being generous with our work? Have we given our audience an opportunity for growth from this experience? www.pletchdesigns.com 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, and 1984. 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.

ARIELA SUBAR Production Assistant Ariela (she/her/hers) is excited to be back at Artists Rep after working as the Production Assistant on Everybody and A Doll’s House, Part 2 last season. 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. DAVE PETERSEN Sound Op This is Dave’s 14th season with Artists Rep. He moved to Portland mid-summer of 2005 after receiving an Associates of Applied Science Degree in Audio and Recording Technologies. Dave’s first job for the theatre was installing the sound system for the then newly-acquired Morrison Stage. Since then Dave has been a Board Op for over 30 productions beginning with BUG. A few of his favorite (and most challenging) shows would have to be Cuba Libre and Tribes.

ARTISTSREP.ORG 25

TORCH CARRIERS

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.

J.S. MAY Managing Director

J.S. May (he/his) is a seasoned fundraising and communications professional who has worked with a wide range of local, regional, national, and international nonprofit organizations. He has helped raise more than $500 million over the course of his career. For eleven years ending in 2018, he was the chief fundraising, marketing and communications officer, and strategist for the Portland Art Museum—Oregon’s premier visual arts institution with annual attendance of more than 325,000. For the seven years prior to his tenure at the Portland Art Museum, J.S. led the fundraising practice for Metropolitan Group, a Portland-based social marketing firm that works to create a more just and sustainable world. For the six years preceding ARTISTSREP.ORG 26

Metropolitan Group, he led the growth of the region’s leading pediatric teaching and research hospital as executive director for the Doernbecher Children’s Hospital Foundation at OHSU. Before Doernbecher, J.S. spent six years supporting the expansion and growth of the region’s most trusted media source as the director of corporate support for Oregon Public Broadcasting. A graduate of the University of Oregon, J.S. has volunteered for numerous nonprofit organizations, serving multiple terms as president of the board for both the Portland Schools Foundation and the Portland Chapter of the Association of Fundraising Professionals. He currently serves as president of the Cycle Oregon board, and is a board member for the Creative Advocacy Coalition. J.S. is an avid yogi, cyclist, and reader.

One of Mexico's oldest remaining colonial buildings is the Casa de Cortes in Veracruz. Allegedly constructed between 1520 and 1523, the house was built with coral and stone. It is now completely covered with roots and vines stretching high into the sky.

Cenote Xkeken in Yucatan, Mexico is a limestone cave with formations arching over the underground paradise. It makes for a fun, refreshing place to visit to see a very pretty natural oasis that fueled many large Mayan cities with freshwater.

Comfort food Comida de Reconfortante

Food to accompany tamales/ Comida para acompañar tamales “Oye Yolanda, don’t forget the salsa verde! You know how Yesenia gets if we fuck up her order, and we’ve got a lot of tamales in here.” - Marisela, La Ruta

Refried Beans

Sort and then soak pinto beans in water (enough to cover by a couple of inches) overnight. Rinse and then add fresh water (cover by an inch). Salt until water tastes salty. Boil for two hours or until beans are soft. Heat 2 Tbls of bacon fat or lard in a large skillet. When it’s hot, add the boiled beans (with some liquid) to the hot skillet. Smash the beans while stirring. If the beans are too thick add liquid from the boiled beans to thin.

Tortillas 4 C Flour 1 1/2 tsp salt (to taste) pinch Baking Powder 6 Tbls Lard 1 C warm water Mix dry ingredients together. Cut in the lard. Add the warm water a little at a time and mix until the dough comes together; place on a lightly floured surface and knead a few minutes until smooth and elastic. Divide the dough into equal pieces. Place balls in a bowl and keep covered with a moist towel. Preheat a flat cast iron skillet (comal) over medium-high heat. Use a wellfloured rolling pin to roll a dough ball into a thin, round tortilla. Place onto the hot skillet, and cook until bubbly and golden; flip and continue cooking until golden on the other side. Place the cooked tortilla in a tortilla warmer or between two towels; continue rolling and cooking the remaining dough. ARTISTSREP.ORG 27

Fresh eyes / Ojos frescos Artists Rep’s Fresh Eyes program brings ‘civilians’ into the rehearsal process. On selected productions each season, we invite writers from diverse backgrounds to join us for a few rehearsals, and then share their observations of the process and the play in the Fresh Eyes blog. We hope the distinctive perspectives of our guests will illuminate the inner workings of a production, and enrich the experience for our audiences and community at large. To start the 2019/20 season, our first Fresh Eyes for La Ruta is Andrew Dawes, Ph.D. Associate Professor of Physics at Pacific University. Andrew teaches in both the physics and optometry programs. Although his research focus is photonics and quantum optics, he is much happier to talk about his wide-ranging hobbies which include robotics, electronics, music, and theatre.

Driven by the wind by A.M.C. Dawes

Attending the table reading of La Ruta was a powerful experience, and there are many vivid scenes that linger in my mind. One scene in particular resonates with me for a variety of reasons. Though the stage direction was just read aloud, I could clearly picture the onstage implementation of the scene. We hear the howling sound of wind blowing in the desert, and gradually a rhythm emerges that ultimately evolves into a song. When I signed-on for Fresh Eyes, I assured ART that I would leave physics out of it. I lied. The sound of howling wind is one we all know, and we are familiar with the noises it elicits when whipping around buildings, through narrow cracks in old walls, or past bending trees in the forest. We also know the sounds that come from blowing across the ARTISTSREP.ORG 28

mouth of a bottle or jug. What determines the sound that is excited by the blowing wind? Does the wind itself decide if the sound will be pleasant? Musical? Annoying? Painful? All sounds—the wind, a strum of a guitar, a woman’s scream—consist of vibrations, or oscillations of a specific frequency, that begin in a material and are carried through the air to our ears. The wind includes an enormous range of these oscillations which are each individually small but spread over a full spectrum of frequencies, from the highest squeal of a mosquito to the lowest rumble of thunder. Carrying all of these frequencies within it, the wind will inevitably match the natural oscillation of whatever object it blows past. If that object is an open jug, we hear the frequency of the jug; just as if we had blown on it ourselves. Every object, based on its size, shape, and material, has specific frequencies that will resonate. You can find these frequencies for instruments by plucking a string, tapping a drum, blowing between two reeds or over the mouthpiece of a flute. The same is true for many objects: a wine glass will ring out when gently tapped. A guitar is meticulously designed to resonate at the frequencies (i.e., notes) that have been deemed musical by Western civilization. In the hands of a skilled musician, the instrument generates beautiful phrases or melodic ideas with vibration. While a guitar will still resonate when left out in the wind, it is now at the mercy of the wind. The open strings, not tuned to a particular chord, will all vibrate when driven by the wind and so the sound will fall somewhere between melodic and dissonant. This is true for anything. The structures we leave out in the wind, intentionally designed or not, will be driven by the wind. They may resonate musically, or they may resonate with painful discord, sounding more evil than melodic. In La Ruta, we hear the wind of capitalism as it blows across the border, a force applied indiscriminately around the world. Whether it excites harmony or discord as it passes is

determined by the structures—size, shape, material—that it blows past. The structure of human nature, when blown by strong winds, can resonate with either good or evil and the stronger the wind, the louder the sound. Striking broken systems, unpaved streets,

“The structure of human nature, when blown by strong winds, can resonate with either good or evil and the stronger the wind, the louder the sound.” dark corners, and corrupt officials, the wind stirs up the worst aspects of human nature. This is how we find the characters of La Ruta, struggling against the wind and buffeted by the constant fear it stirs. Not all wind excites the sounds of evil, however. When blowing past the right combinations of strings, pipes, and tubes,

beautiful music fills the air. It is therefore our responsibility to construct the musical structures of society, systems that are ready to be driven by the force of the wind, and excited toward good instead of evil. These empowered instruments are built through strong infrastructure: just courts, lawful police, well-lit streets, and clean water. They are also built with the right combination of social and political strength, and supported by the collective voices ready to speak out for one another. La Ruta presents the story of many strong women, facing the powerful winds with little in the way of protective structure. Instead, they create their own, and use it to rise above the fear and grief that define their lives. To read more of Andrew’s observations visit our Table Room Stage Fresh Eyes on the La Ruta show page.

Cueva de Los Cristales in the Naica mine of Mexico has crystals over 36 feet with a single crystal weighing approximately 55 tons.

*Continued from page 4

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.

ARTISTSREP.ORG 29

OUR SUPPORTERS It goes without saying, but we’ll say it: we can’t make theatre without the support of our incredible donors. THE APPLAUSE FOR THE SHOW IS NOT ONLY FOR THE ACTORS, DESIGNERS, AND TECHNICIANS, BUT FOR YOU, OUR COLLABORATORS. THANK YOU!

This list celebrates Artists Rep donors who gave $100 or more between August 1, 2018 and October 2, 2019. Join us in supporting the creation of outstanding theatre by calling Nel Taylor at 503.241.9807 x168 or making a gift online at www.artistsrep.org. GAME CHANGERS ($100,000+) 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) Lamar Airport Advertising Oregon Community Foundation Creative Heights The Shubert Foundation PRODUCERS ($25,000-$49,999) The Estate of Don & Pat Burnet The Collins Foundation The Oregonian The Oregon Cultural Trust PATRONS ($10,000-$24,999) Anonymous (2) Colliers International Bob & Janet Conklin Michael Davidson Wolfgang Dempke in memory of Alise Rubin Express Employment Professionals Tom Gifford & Patti Fisher Grapeseed Media Diane Herrmann Howard S. Wright Constructors

The Jackson Foundation Joan Jones The Kinsman Foundation Lamar Billboard Advertising Carter & Jenny MacNichol J.S. & Robin May Rafati’s Catering Charlotte Rubin Joanne & James Ruyle The Harold & Arlene Schnitzer CARE Foundation, Arlene Schnitzer & Jordan Schnitzer Marcy & Richard Schwartz John & Jan Swanson Darci & Charlie Swindells David & Christine Vernier The Estate of David E. Wedge Charles Weinstein STAGEMAKERS ($5,000-$9,999) Anonymous (2) Julia & Robert S. Ball Mike Barr Bloomfield Family Fund Karl & Linda Boekelheide Ellen Cantwell Jeffrey G. Condit Carol Daniels Dark Horse Wine Marcia Darm MD & Bruce Berning Norma Dody Dramatists Guild Foundation Larry & Marilyn Flick Dan Gibbs & Lois Seed Eva Glass Hotel deLuxe The Jupiter Hotel

ARTISTSREP.ORG 30

Arthur & Virginia Kayser Kristen & Michael Kern Carol Kimball Romy Klopper Deborah Kullby Hugh & Mair Lewis Charitable Fund of the Southwest Washington Community Foundation Leonard & Susan Magazine, REAL ESTATS Mark Spencer Hotel Don & Connie Morgan National New Play Network Kristine Olson Fund of the Oregon Community Foundation Oregon Arts Commission, a state agency Olliemay Phillips Lorraine Prince Reser Family Foundation Dámaso Rodriguez & Sara Hennessy Rose E. Tucker Charitable Trust Jewely Sandoz Sapori Fine Flavors Rosalie & Ed Tank US Bank M. Howard Weinstein Robert Weinstein OCF Joseph E. Weston Public Foundation Karen Whitaker Maureen Wright & Lane Brown DIRECTOR’S CIRCLE ($2,500-$4,999) Anonymous Molly Butler & Robin

Manning Charles Fine Arts Portraits Classic Pianos Philip Collier Smith Margaret Dixon Norma Dulin & James Barta Polly Grose Candace Haines Pam Henderson & Allen Wasserman Intel Corporation Matching Gifts The Juan Young Trust Anneliese Knapp Shawn Lee & Vonessa Martin Drs. Dolores & Fernando Leon Jim & Eva MacLowry Michael & Dr. Whitney Nagy Allen & Frances Nause Nossa Familia Coffee Bob & Linda Palandech Kay Parr Phoenix Media Alan Purdy Thomas Robinson & Pamela Kislak Steve & Trudy Sargent Pancho Savery Marian & Elihu Schott Family Fund of the Oregon Community Foundation Norm & Barbara Sepenuk James G. & Michele L. Stemler Robert Taylor & Maude May BACKSTAGE PASS ($1,000-$2,499) Anonymous (3) Ruth & Jim Alexander F. Gordon Allen & Janice M. Stewart

THANK YOU! Phyllis Arnoff Cheryl Balkenhol Nita Brueggeman & Kevin Hoover Denise Carty & Roger Brown Family Fund of The Oregon Community Foundation Richard & Nancy Chapman Cleveland H. Dodge Foundation Anne Conway & Louis Baslaw Barbara & Tom Cooney Allison Couch & Tom Soals Marvin & Abby Dawson Edward & Karen Demko Susan Dietz Leslye Epstein & Herman Taylor Marc Franklin & Mary Lou Moriarty Carol Fredlund & John Betonte Deborah & Jim Gangwer Curtis Hanson Higgins Restaurant & Bar Cody Hoesly & Kirsten Collins Barbara Holisky & Gary McDonald Mark Horn & Mark Wilkinson Judy & John Hubbard Constance Jackson & Xavier Le Héricy Jessie Jonas Jody Klevit Mike & Sandra Kremers Kristen & Tim Lachenmeier Lagunitas Brewing Company Kirsten & Christopher Leonard Roberta Mann Laurie & Gilbert Meigs Deanna & Wilfried Mueller-Crispin Joan Peacock, in loving memory of Ben Buckley Patricia Perkins David Pollock Wayne Potter & Pam Brown

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

Fidelity Charitable Gift Fund Donna Flanders & Carl Collins, in honor of Cody Hoesly Kyle & Charles Fuchs Dr. William & Beverly Galen Paul Gehlar Don & Marlys Girard Susan & Dean Gisvold Lynn Marchand Goldstein Al & Penny Greenwood Dick Hamlet & Corinne McWilliams Mike & Judy Holman Anna Jimenez & Zednek Zumr Jin-Jin’s Aloha Outreach Fund at Schwab Charitable Ms. Cecily A. Johns Judith & Gregory Kafoury Beth & Chris Karlin Carol & Jeff Kilmer PJ Kleffner Bill & Shelley Larkins Tim & Janene Larson Noah & Dena Lieberman Matthew & Lora Lillard Robert A. Lowe & Michelle Berlin-Lowe David Lutz Linda & Ken Mantel Susannah Mars & Gary Johnson Dan McKenzie Dolores & Michael Moore Susan D. Morgan VMD Neilsen Family Fund of The Oregon Community Foundation David & Anne Noall Northwest Film Center Linda Nelson & Ted Olson Alfred & Eileen Ono OnPoint Community Credit Union Debra & Paul Pellati Carla Piluso Portland Actors Conservatory Portland Timbers Dee Poujade Julie Poust

Raft California Karen Rathje Scott & Kay Reichlin Michael Sands & Jane Robinson Carol Schnitzer Lewis Fund of The Oregon Community Foundation Kristin & Paul Schultz Nick & Sandra Snell Fund of The Oregon Community Foundation Southwest Airlines Faye & Lucille Stewart Foundation Greg & Martha Struxness Donald & Roslyn Sutherland Rick Talley & Dr. Mary Ann Barr Talley Sarah & Robert Taylor Paul Thompson & Portia Sipes US Bancorp Matching Gift Program Nate Watson Travels LeAnn Wells Carole Whiteside Pam Whyte & Ron Saylor Andrew Wilson & Dr. Ronnie-Gail Emden Carl Wilson & Evan Boone Cynthia Yee INSIDERS ($250-$499) Anonymous Kay & Roy Abramowitz Chuck & Meg Allen Alliance Française Kris Alman & Mike Siegel Linda Alper ArborBrook Vineyards Elizabeth & Stephen Arch Artslandia Susan & Grover Bagby Shilpi Banjeree BosMen Charitable Fund Ann Brayfield & Joe Emerson Jim Brunke Sonia Buist, M.D. Lauretta Burman

ARTISTSREP.ORG 31

OUR SUPPORTERS Cambia Health Foundation Don Caniparoli & Sarah Rosenberg Jean Carufo & Barbara Engelter Rick & Jean Collins Debbie Cross & Paul Wrigley Robert Daasch & Linda Schaefer Nancy & Jon Decherd Barbara & George Dechet Troy & Bev Dickson Stephen Early & Mary Shepard Carmen Egido & Abel Weinrib Elizabeth & John Ehrsam Jim & Joan English Marilyn Kay Epstein Melissa & Bob Good Roswell & Marilynn Gordon Marvin & Barbara Gordon-Lickey 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 Joni & Bill Isaacson Janice and Benjamin Isenberg Philanthropic Fund of the Oregon Jewish Community Foundation Bill Jensen & Linda Ellison Elaine & Ed Kemp Karen Kemper Sally & Lucien Klein Elyse & Ron Laster Roger Leo Chuck & Sandy Lissman Steve Lovett & Connie Sullivan Earlean Marsh Stacey Martinson & Brad Sealy Dr. Robert & Kimberly Matheson Michael Mendelson &

Tim Thompson Scott & Jane Miller Molly Moshofsky & Will Matheson North Country Productions, Alan & Sharon Jones Judy Parker & Albert Passadore Kate Patricelli Duane & Corinne Paulson Ron Pausig Sue Pickgrobe & Mike Hoffman Portland Pairings Portland Playhouse Jay & Barbara Ramaker Mr. Andrew Recinos Helen Richardson & Don Hayner Kelly Rodgers Brian Rogers & Cassandra Scholte Charles & Judith Rooks Rebecca Ross Rick & Halle Sadle John Saurenman Luan Schooler & Timothy Wilson Erika Schuster & Clay Biberdorf Mary Ann Seth-Wish & John Wish James & Laura Smith Marc Stein H. Joe Story Pat & Larry Strausbaugh The Tea And Spice Exchange of Portland Jory Thomas Paul Vandeventer Janet F. Warrington Carol Ann & Patrick Wohlmut Lora & Andy Woodruff Yoyoyogi Alan & Janet Zell Kurt & Heather Zimmer FRIENDS ($100-$249) Anonymous (6) Kip Acheson Aesop Hilary & Michael Alter Sarah & David Altman Anders Printing Company Scott Anderson Thomas Robert Anderson

ARTISTSREP.ORG 32

Angelic Healing Hands, Inc. Kristin Angell Ruby Apsler Herman Asarnow & Susan Baillet Arlene Ashcraft 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 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 Marlene Burns & Jon Dickinson 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 Cheri Emahiser Fade To Light: A Multidimensional Fashion Event Michael Feldman & Ruth Tenzer Feldman Dave Felt & Lynda Wendel Julie Fleischer Chris Fletcher & Pamela Abernethy & Elizabeth Abernethy Katie Flynn Lew Frederick Nancy Lee Frederick Jessy Friedt & Benjamin Emerson Patricia Frobes & Richard Smith Fullerton Wines Trish & Bennett Garner 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 & Jeremiah Pyle Susan Haywood Elena Hein Joan Heinkel & Ben Massell Thomas Hellie & Julie Olds Judith A. Henderson Joe & Diana Hennessy The Herb Shoppe Sarah Hershey Jon Hirsch Carol & Tom Hull Deborah Indihar Jeri Janowsky & John Crabbe Betsy Jeronen Colleen & Jeff Johnson Isaac & Jennifer Johnson Phyllis Johnson Janet Josway Erika Kane Steve & Anita Kaplan Marianne KeddingtonLang & William Lang Keeton Corporation

THANK YOU! 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 Jeanette Larson Mary Lou Laybourn Jeanette Leahy

Jim & Midge Main Gus & Liann Martin Larry Marxer & Susan Hathaway-Marxer Ms. Nancy Matthews Anne McLaughlin Kathryn McLaughlin Mariellen Meisel & Steve Glass William Meyer Milagro Miller Nash LLP Dwyn Miller Susan & Greg Miner Fern Momyer & Marlene Grate Monique’s Boutique

Oregon Symphony Susan Parsons & Duncan Campbell Pierre & Linda Pham Kevin Phaup Donna Philbrick Pink Martini Roger Porter Portland Center Stage Portland Experimental Theatre Ensemble Elizabeth Pratt & Philip Thor Profile Theatre Pumpkin Ridge Golf Club Ana Quinn

Mr. Brandon Scarth Robert Schaibly David & Suzanne Schulherr Schwab Charitable Ann Schwarz Jean Scott & Myrth Ogilvie Gil Sharp & Anne Saxby Ariel Shattan Doug Sheets Kathryn Silva & Fred Stewart Laurel & Dan Simmons Neil Soiffer & Carolyn Smith Charles & Karen

IMAGOTHEATRE.COM

DEC 13 to JAN 5 “ Sure

fire, very funny!”

The New York Times

10% OFF BEFORE THANKSGIVING

"Go again ... it's that unique ... a blast!" A Child Grows in Brooklyn TICKETSWEST AT 503.224.8499 OR TICKETSWEST.COM OR IMAGO 503.231.9581 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

Steve Neighorn Katy Nelson 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

Dick & Linda Reedy Ed Reeves & Bill Fish Josh Richards Robert & Marilyn Ridgley Kathryn Ross Rich & Joan Rubin Cecily Ryan Jane Sage Cindy Salisbury William & Meredith Savery

Springer Jenny Stadler & Jordan Hiller David Staehely DeeAnne Starks Kathleen & Leigh Stephenson-Kuhn Julia Surtshin & Richard Sessions Mr. James Swenson Gary Taliaferro Ravi & Reema Tayal

ARTISTSREP.ORG 33

OUR SUPPORTERS Leslie Taylor & Doug Beers Tracy Thornton Larry Toda Tony Starlight Andrew & Brittain Tripp Troon Vineyard 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 Richard Winkel Lawrence W. Woelfer Susan Woods

Seasonal Food for all occasions

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

www.nossacoffee.com/locations

ARTISTSREP.ORG 34

STAFF Artistic Director: Dámaso Rodríguez Managing Director: J.S. May ARTISTIC Producing Director: Shawn Lee Associate Producer: Kristeen Willis Director of New Play Devleopment & Dramaturgy: Luan Schooler Dramaturgy Scholar: Pancho Savery Casting Director: Vonessa Martin Lacroute Playwright-in-Residence: Andrea Stolowitz Resident Fight Choreographer: Jonathan Cole Resident Artists: Linda Alper, Adriana Baer, Ayanna Berkshire, Bobby Brewer-Wallin, Jonathan Cole, Chris Harder, Sarah Gahagan, Sara Hennessy, Michelle Jazuk, JoAnn Johnson, Kevin Jones, Val Landrum, E.M. Lewis, Sarah Lucht, Susannah Mars, Michael Mendelson, Allen Nause, Amy Newman, Vana O’Brien, Rodolfo Ortega, Sharath Patel, Gregory Pulver, John San Nicolas, Josie Seid, Vin Shambry, Andrea Stolowitz, Andrea Vernae, Joshua J. Weinstein, Megan Wilkerson, Carol Ann Wohlmut, Barbie Wu ADMINISTRATIVE General Manager: Vonessa Martin 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

Concessions: Paul Jacobs, Geraldine Sandberg, Jennifer Zubernick, Kayla Kelly DEVELOPMENT Grants & Events Manager: Maya Bourgeois Annual Fund Manager: Nel Taylor

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

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

FOR THIS PRODUCTION Special Thank Yous: Avery Lemons and Laura Hassell Carpenters: Esther McFaden and Lauren Williams Scenic artist: Erica Hartmann and Gordon Victoroff Scene Shop Intern: Frey Soares

If you want to donate to support work to end the femicides in Juarez please visit: `

EDUCATION & ARTSHUB/ AUDIENCE SERVICES Education & Audience Services Director: Karen Rathje Education Associate: Sarah Lucht Education Associate: John San Nicolas Music Events Specialist: Susannah Mars House Managers: Deborah Gangwer, Valerie Liptak, Shelley Matthews, Tara McMahon, Andrea Vernae, Kayla Kelly

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

Casa Amiga

https://hiponline.org/how-casaamiga-helps-free-the-women-ofjuarez/

PRODUCTION Production Manager: Kristeen Willis

ARTISTSREP.ORG 35

UP NEXT @ ARTISTS REP

NOV. 30 - JAN. 5 TIFFANY CENTER Prudencia Hart is an academic scholar of traditional Scottish folklore and immensely dislikes all things pop culture, including her work adversary, Colin Syme. After a particularly long night full of draughts and drams at a pub, Prudencia gets lost in the snow-covered forest and winds up getting saved by a man who may have nefarious intentions. Bewitchingly exuberant, The Strange Undoing of Prudencia Hart is a wild romp through Scottish ballads, karaoke mainstays, and devilish encounters. The Strange Undoing of Prudencia Hart will be performed among the audience in a pub-style setting. Enjoy traditional Scottish pub fare, beverages, and (of course) whisk[e]y for a nominal additional fee.

Find us on Social Media