The Importance of Being Earnest - Artists Repertory Theatre

A R T I S T S R E P E R T O R Y T H E AT R E

by

Oscar Wilde Michael Mendelson

directed by

MAY 16 - JUN 11

2017/18 THE UPCOMING SEASON @ ARTISTS REP

AN OCTOROON

CAUGHT THE HUMANS MAGELLANICA BETWEEN RIVERSIDE AND CRAZY

THE THANKSGIVING PLAY

I AND YOU

THE IMPORTANCE OF BEING EARNEST

BY OSCAR WILDE DIRECTED BY MICHAEL MENDELSON

Dámaso Rodríguez, Artistic Director | Sarah Horton, Managing Director

CAST (IN ORDER OF APPEARANCE)

Oscar ^* Merriman/Lane..................................................................................... Sarah LuchtWilde Oscar Wilde ^* Michael Mendelson Algernon Moncrieff............................................................................ Ayanna Berkshire Michael Mendelson * Jack Worthing....................................................................................... Jamie M. Rea MAY 16 - JUN 11 MAY 16 -^*JUN 11 Lady Bracknell....................................................................................... Linda Alper Gwendolyn Fairfax.............................................................................. Kailey Rhodes + Miss Prism............................................................................................... Vana O’Brien^* Cecily Cardew....................................................................................... Crystal Ann Muñoz* Rev. Chasuble........................................................................................ JoAnn Johnson^* by

by directed by directed by

CREATIVE TEAM

Director.................................................................................................... Michael Mendelson^*** Scenic Designer.................................................................................... Megan Wilkerson^# Costume Designer............................................................................... Bobby Brewer Wallin^ Lighting Designer................................................................................. Kristeen Willis Crosser# Sound Designer.................................................................................... Jen Raynak Dramaturg.............................................................................................. Luan Schooler Props Master.......................................................................................... Arianne Melton Voice & Text Director ........................................................................ Mary McDonald-Lewis^ Stage Manager..................................................................................... Carol Ann Wohlmut*^ Production Assistants......................................................................... Karen Hill + & Megan Moll Assistant Scenic Designer................................................................. Trevor Sargent Board Op................................................................................................. Alan Cline SETTING: PART 1. ALGERNON MONCRIEFF’S FLAT IN LONDON, 1895 PART 2. THE GARDEN & MORNING ROOM AT THE MANOR HOUSE, WOOLTON THERE WILL BE ONE 15-MINUTE INTERMISSION. SHOW SPONSORS: ANONYMOUS | KARL & LINDA BOEKELHEIDE | BOB & JANET CONKLIN ROMY KLOPPER | THE STANDARD | MENTOR, A SIEMENS’ BUSINESS 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 more 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 ^ Artists Repertory Theatre Resident Artist # The scenic, costume, lighting, projection and sound designers are represented by United Scenic Artists + Equity membership candidate *** The Director and/or Choreographer is a member of the Society of Stage Directors and Choreographers, Inc., an independent national labor union.

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.

LORT League of resident theatres

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A MESSAGE FROM ARTISTIC DIRECTOR DÁMASO RODRÍGUEZ “What extraordinary ideas you have about the way to behave to a woman!”

– Jack Worthing, in Oscar Wilde’s The Importance of Being Earnest Welcome to Artists Rep and to Oscar Wilde’s The Importance of Being Earnest. Wilde’s 122-yearold comic masterpiece remains one of the most popular plays ever written and we hope it provides you with a fun and funny finish to our 2016/17 season. Our cast features an ensemble of eight of Portland’s finest female actors, which means some of Wilde’s famous male characters will be portrayed by these extraordinary women.

Let me answer the question that might be on your mind: Why an all-female cast?

Last year, as the artistic team was finalizing selections for the upcoming season, The Importance of Being Earnest made its way onto the shortlist of titles under consideration. We were looking for a classic comedy with a light touch to balance out our slate of contemporary plays with a darker edge. We were also hoping to find a play with great roles that could feature some of the incredible women in our Resident Artist Company like Vana O’Brien, Linda Alper, Ayanna Berkshire, Sarah Lucht and JoAnn Johnson.

I began to review the play’s production history and noticed that it’s become a trend for the famed role of Lady Bracknell to be played by a great male actor in drag.

Recent “Lady Bracknells” have included Geoffrey Rush, David Suchet, Brian Bedford and Stephen Fry, among others. I then came upon a review of a production with a woman in the brilliant role, which prompted the critic to comment on

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how refreshing it was to see a woman in the role after years of “Bracknells” in drag. Further research revealed many all-male versions and a few cross-gender productions. Well, that decided it. We’d simply fill all the roles in our Earnest from Portland’s deep bench of female talent, and play it straight. If Shakespeare’s plays could hold up to the convention of all-male casts, so could Wilde’s to an all-female cast. So that’s it. There’s nothing more to it than that. Will we find some deeper meaning with this take? Perhaps. Classic plays often gain new timeliness when approached with a modern sensibility, but that’s of little importance … enjoy!

One more question: have you checked out our upcoming 35th Anniversary Season? (See page 2) It’s a bold lineup of some of the most talked about and acclaimed new plays in recent memory. I hope you’ll make plans to catch all seven as a season ticket holder.

Thank you for being a part of our audience today!

The 2016/17 Artists Repertory Theatre season PRESENTED BY

David & Christine Vernier

DIRECTOR’S NOTES

By Michael Mendelson

I am grateful to be directing The Importance of Being Earnest for Artists Rep. I’m tickled Dámaso chose this classic, humbled I was asked to direct, frightened I said yes, and thrilled with the amazing team of artists, on, off and behind the stage that will bring this show to life. I almost feel as if my work is done ... but not really.

It’s a unique experience to direct this play with a cast of all women. It’s become common practice to cast Lady Bracknell as a man and there have been quite a few productions with all-male casts, most notably the Abby Theatre’s 2005 production. Though I have searched, I was hard pressed to find another professional production with an all-female cast. I believe our conventional sense of comedy is that it’s funny to see men dressed as women but not women dressed as men.

But, times have changed, and continue to change rapidly, and I would like to believe that we’re changing with them.

As a director, I’m always looking for the why. Why are we doing this? What are we gaining and/or what do we lose? When I was invited to direct this play, we lived in a tangibly different world. For me, the election happened … and then life felt different. The atmosphere became heavy, I became weary, and it felt trivial to produce The Importance of Being Earnest. How can we do a play that’s fluff, satire and that

SHOW SPONSORS Anonymous Karl & Linda Boekelheide Bob & Janet Conklin Romy Klopper

doesn’t tackle serious social and political issues when I know we, artists, and the art we do are such powerful instruments for change?

Deciding on a design took some time.

We took a circuitous route. I dragged our design team from its original period in 1895 to the 1920s to the mid-30s and we even looked at exploring a presentday setting. This route produced very robust design conversations again ... and again. Our designers returned to their research again ... and again, feeling a bit whiplashed, only to find ourselves back where we started … but with fresh eyes and a way into the show that excited us all.

In the 1920s, the case for 1890s costumes was established by one critic who said, “Thirty years on, one begins to feel that Wilde should be done in the costume of his period—that his wit today needs the backing of the atmosphere that gave it life and truth.” I also believe too much concept and the story can get lost, an all-women cast is concept enough.

The Importance of Being Earnest is fluff, it is satire. And that’s ok, that’s great!

Not everything needs to be political and it may be just what we need right now. It’s about societal “norms” and poking fun at them. The lies we live and the masks we wear.

Enjoy the show!

MAJOR CORPORATE & FOUNDATION SUPPORT

Partial support for open captioning performances provided by Theatre Development Fund.

Artists Repertory Theatre is a participant in the Audience (R)Evolution Cohort Grants program, funded by the Doris Duke Charitable Foundation and administered by Theatre Communications Group, the national organization for the professional not-for-profit American Theatre.

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WILDE & EARNEST

By Luan Schooler, Director of New Play Development & Dramaturgy

Oscar Wilde

Born in Dublin, Ireland in 1854, Oscar Wilde was the son of a well-to-do physician father and accomplished poet mother. He attended Trinity College in Dublin, and Magdalen College in Oxford, studying the classics and writing poetry.

While at Oxford, he became immersed in the philosophy of Aestheticism, which promoted the idea of ‘art for art’s sake’ in contrast to the contemporary view that art and literature existed to teach selfimprovement and encourage good works.

After leaving university in 1878, Wilde moved easily in fashionable social and cultural circles, where he was well known for his sparkling wit, flamboyant dress, and bright, amusing conversation. He moved to London to establish his literary career, publishing his poetry and working variously as a journalist, art critic, essayist

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and lecturer. In 1884, Wilde married Constance Lloyd, daughter of wealthy Queen’s Counsel Horace Lloyd, and was soon the father of two boys. He published The Happy Prince and Other Tales, written for his young sons, in 1888.

He followed these fairy tales with his only novel, The Picture of Dorian Grey. His Faustian novel was swiftly rejected by Victorian society, largely due to its homoerotic overtones and lack of condemnation for the immoral attitudes of the primary character. During this same period, Wilde fell in love with a much younger man, Lord Alfred Douglas (“Bosie”), and began leading a double life.

In his writing, he turned to the theatre and swiftly had a string of extraordinary hits: Lady Windermere’s Fan (1892), A Woman of No Importance (1893),

The Ideal Husband (1895) and The Importance of Being Earnest (1895).

After being roundly castigated for disregarding social norms in Dorian Grey, he was now celebrated for his witty social comedies that challenged the assumptions of Victorian Society. Whereas one of the foundational beliefs of the Victorian Era was that ‘sincerity is its own reward,’ Wilde’s characters (particularly in Earnest) pursue their own self interests with scrupulous disregard for sincerity or morality. Even the title, The Importance of Being Earnest, is a punning retort to the era’s moralistic regard for sincerity. Wilde responded to the very serious dominant aesthetic with playfulness and irreverence, highlighting the emptiness of the era’s platitudes and celebrating pleasure, sensuality and witty repartee.

A concurrent social trend was the emergence of the New Woman: while the Victorian era emphasized rigid roles for men and women, the fin de siècle 19th Century gave birth to a newfound independence for women. Educated, free spirited, interested in sex and sensuality, and uninterested in marriage or children, the New Woman challenged the status quo and threatened to upend the social contract. Women were behaving in unfeminine ways—riding bicycles, smoking cigarettes, having careers that relied on their intelligence rather than their wombs. For men, there was a parallel trend: Dandies, men who rejected the seriousness of masculinity, and instead relished fashion, society and frivolousness.

Wilde wholeheartedly embraced the New Woman and Dandyism in both his plays and lifestyle.

During this period of tremendous success, Wilde’s double life as a married man and a homosexual began to cause

Bicycles gave the “New Woman” a sense of freedom in the late 19 th Century.

problems. His beloved Bosie, a spoilt upper-class dandy with a reckless streak and a penchant for provoking his father, introduced Wilde to a world of gay prostitutes and flagrant risk taking. At the time, homosexuality was a punishable offense, potentially eliciting sentences up to life in prison for ‘gross indecency.’ Bosie’s father, the Marquess of Queensberry, frequently argued with his son over his presumed homosexuality, and confronted Wilde and his son several times about the nature of their relationship. Each time, Wilde was able to deflect or mollify the Marquess, and avoid public exposure.

The Importance of Being Earnest opened on February 14, 1895 at the Saint James Theatre—an overwhelming success that solidified Wilde’s reputation as a brilliant playwright. Ticket sales were brisk and the production promised to make a fortune for both Wilde and the Saint James. Reviews were almost grudgingly ecstatic, reflecting the divide between the presumptive necessity of morality and the buoyant charms of its absence: (Continued on page 10)

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FROM INSIDE THE ROOM Artists Rep staff, supporters and Guild members gather for the first rehearsal of The Importance of Being Earnest when the cast, design team and stage crew read the script together for the first time.

JoAnn Johnson & Vana O’Brien

Ayanna Berkshire

Sarah Lucht Set design by Megan Wilkerson. Set model by Trevor Sargent.

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The Cast

Director Jane Unger

Jamie M. Rea & Kailey Rhodes

Crystal Ann MuĂąoz

Costume design by Bobby Brewer Wallin Linda Alper

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WILDE & EARNEST Continued from page 7 It is delightful to see it, it sends wave after wave of laughter curling and foaming round the theatre; but as a text for criticism it is barren and delusive. It is like a mirageoasis in the desert, grateful and comforting to the weary eye—but when you come close up to it, behold! it is intangible, it eludes your grasp. What can a poor critic do with a play which raises no principle, whether of art or morals, creates its own canons and conventions, and is nothing but an absolutely willful expression of an irrepressibly witty personality?

–William Archer, The World, February 20, 1895 A few days later, the Marquess showed up at Wilde’s club and left his calling card inscribed, “For Oscar Wilde, posing somdomite” [sic]. Egged on by Bosie—and against the advice of his colleagues—Wilde sued the Marquess for libel. The case went to court in April 1895, captivating all of London society with its promise of salacious details about Wilde’s life. The charge of libel could be disproved if the underlying accusation of homosexuality were proven true, and the Marquess’ lawyers threatened to bring forth male prostitutes as witnesses.

Wilde’s lawyers advised him to drop the suit, which he did. Unfortunately, public and legal sentiment had turned against him, and he was soon arrested and tried for ‘gross indecency’ and sentenced to two years of hard labor.

Ticket sales for Earnest dried up, and although the Saint James Theater attempted to distance themselves and removed Wilde’s name from all publicity, the play closed on May 8, 1895 after only 83 performances. The social embrace of the New Woman and dandies was also withdrawn, collateral damage of Wilde’s fall from fashion.

Oscar Wilde spent two years in prison, most of it in Reading Gaol, where he

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Oscar Wilde’s original notebook of Lady Lancing, the play that would become The Importance of Being Earnest.

was addressed exclusively as ‘C33,’ his cell number. After his release, he went to France to live out his days in poverty and ill health. His poem “The Ballad of Reading Gaol”—which was originally published citing “C33” as author—exposed the brutality and inhumanity of the prison.

It was an instant commercial success and reprinted multiple times in two years, but it was not until after the seventh printing that Wilde’s name was finally attached.

He died in exile on November 30, 1900, and is buried today in Père Lachaise Cemetery in Paris. On January 31, 2017, Oscar Wilde was posthumously pardoned (along with 50,000 others who had been swept up in Britain’s anti-homosexual laws) with the adoption of the new Turing Law that revokes all statutes criminalizing consensual homosexuality.

Today, Oscar Wilde is acknowledged as one of the greatest writers of the Victorian era, and The Importance of Being Earnest is one of the most produced plays of all time.

DIRECTOR BIO

Director Michael Mendelson at first rehearsal.

MICHAEL MENDELSON Director Michael is a Resident Artist here at Artists Rep and the Artistic Director of Portland Shakespeare Project. Well known in Portland as an actor, director and teacher, he received a Bachelor of Fine Arts from Wayne State University and a Master of Fine Arts from University of Washington’s Professional Actors Training Program.

While in New York City, he studied with Tanya Berezin. Recently, Michael directed The Understudy, Intimate Apparel and both directed and starred in Mistakes Were Made for Artists Rep. Other directing credits include The Tempest, The Taming of the Shrew, As You Like It and Lear’s Follies for Portland Shakespeare Project, Love’s Labour’s Lost (Northwest Classical Theatre Company), Stones In His Pockets (Public House Theatre), As Is (Key Productions), The Meaning of Prayer (Verbatim Productions) and staged readings of Botticelli (Profile Theatre) and Dinner With Friends (Mt. Hood Repertory Theatre). His acting credits at Artists Rep include Jon in Marjorie Prime, Oliver in Trevor, Walter in

The Price, also roles in Tribes, Blithe Spirit, The Quality of Life, Ten Chimneys, Andrei Borchevsky in Red Herring and Sherlock in Sherlock Holmes and the Case of the Christmas Carol, also God of Carnage, The Cherry Orchard, Superior Donuts, Othello, Design for Living, Holidazed, Becky’s New Car, Three Sisters, Eurydice, House, Garden, Orson’s Shadow, Mr. Marmalade and Theater District. Other local credits include work with Oregon Shakespeare Festival/Portland, Profile Theatre, Miracle Theatre, Northwest Classical Theatre Company, triangle productions!, Tygres Heart Shakespeare, Portland Center Stage, A Contemporary Theatre, Reader’s Theatre Repertory and New Rose Theatre.

New York credits include Revolving Shakespeare Company, Theatre 1010, The Normal Heart (Lincoln Center/Clark Studio Theatre), Genesius Guild and The Barrow Group. Regional credits include work at PCPA Theatrefest, Paper Mill Playhouse, A Contemporary Theatre, Saint Michael’s Playhouse, Penobscot Theatre Company, Arkansas Repertory Theatre, First Stage Milwaukee, Idaho Rep, Attic Theater and Wisconsin, Utah and Berkeley Shakespeare Festivals. Michael is a proud member of SDC.

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ACTOR BIOS

(IN ORDER OF APPEARANCE)

SARAH LUCHT Merriman/Lane Sarah is a Resident Artist at Artists Rep and first appeared here in The Artificial Jungle over 20 years ago. She has since appeared in numerous productions, including most recently, Trevor, The Skin of Our Teeth and Ten Chimneys. Other Artists Rep credits include Liz in Present Laughter, Mrs. Bob Cratchit in Mrs. Bob Cratchit’s Wild Christmas Binge, Beth in Dinner with Friends, Rose in Enchanted April, Gilda in Design for Living, Emilia in Othello, Dolores/Gloria in And So It Goes …. Sarah has also performed at Portland Center Stage (Bus Stop, A Midsummer Night’s Dream, Gypsy) as well as Profile Theatre (Bananas In House Of Blue Leaves); Lakewood Theatre Company (Noises Off, Inspecting Carol). She has taught for Portland Actors Conservatory, Portland Center Stage and currently teaches Shakespeare, playwriting and scene study in area high schools. She is also a founding member of the Portland Shakespeare Project, and is a faculty member at the Haven Institute in British Columbia.

AYANNA BERKSHIRE Algernon Moncrieff Ayanna feels so fortunate to bring Algernon to life in this Wilde classic, alongside such an illustrious group of talented women. Earnest also marks her third show with director Michael Mendelson (Intimate Apparel, The Understudy) and her second show of Artist Rep’s 2016/17 season (last seen playing Elizabeth Keckley in A Civil War Christmas). Other great roles include, Shelley in Grand Concourse (directed

by Earnest’s own JoAnn Johnson), The Lady (u/s) in The Scottsboro Boys (dir.

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Susan Stroman), Race (Artists Rep), Back Bog Beast Bait, Bang, Curtain. End Of Show, The Investigation of the Murder In El Salvador (defunkt theatre) and more. Credits also include films: Twilight, Extraordinary Measures, Wendy And Lucy, plus the upcoming films: Boundary Springs, The Sound, Lean On Pete and My Abandonment. Television credits include: Portlandia, Grimm, Parenthood, Castle, Grey’s Anatomy, Curb Your Enthusiasm, and more.

JAMIE M. REA Jack Worthing A renaissance woman of the theatre, Jamie has had the pleasure of exploring this powerful tool for connection and change for over 20 years. She has studied the work of Sanford Meisner and Robert Bray with Barry Hunt and Sowelu Theatre Ensemble; Suzuki Technique and Anne Bogart’s Viewpoints with the SITI Company (NYC); Rhythm Tap with Savion Glover’s teacher Lady Diane Walker and Lane Alexander, founder of the National Tap Dance Festival in Chicago. She has danced at The Body, a festival of dance and physical theatre in Christchurch, New Zealand where she trained with the all-female Dance Company JAVA and CircoArts. Local favorites include Kristine in A Doll’s House (Drammy Award, Best Supporting Actress, defunkt theatre), Anna in The Snowstorm (Drammy Finalist, Best Actress, CoHo & Many Hats Productions), Mary Shelley in Bloody Poetry (Northwest Classical Theatre Company), Claire Zachanassian in The Visit (Broken Toy Piano), Andromache in Trojan Women (Classic Greek Theatre of Oregon), Lucienne in A Flea In Her Ear (OTAS Award-Best Supporting Actress) and Hannah in Arcadia (OTAS finalist-Best Actress, Lakewood Theatre

Company), Gabriella in References to Salvador Dali make me hot and Guard in Lorca in a Green Dress (Miracle Theatre), and Elvira in Blithe Spirit (Wilcox Stage Co).

LINDA ALPER Lady Bracknell A Resident Artist at Artists Rep, Linda has appeared in Marjorie Prime, The Skin of Our Teeth, The Price, Tribes, The Quality Of Life, Ten Chimneys, Superior Donuts and The Cherry Orchard. She has also played leading roles at Portland Center Stage, Portland Shakespeare Project, Off Broadway, The Mark Taper Forum, The Intiman, Seattle Repertory Theatre, Baltimore Center Stage, Cincinnati Playhouse and other theatres, including 23 seasons with the Oregon Shakespeare Festival. Linda has co-written adaptations and translations produced by OSF, ACT in San Francisco, Denver Theatre Center, Santa Cruz, Colorado and other Shakespeare festivals, as well as The Acting Company. She is currently under commission for a new play for Artists Rep’s Table|Room|Stage series, and is working on an international collaboration with Pakistani writers and actors, sponsored by the U.S. Embassy in Islamabad, entitled On Common Ground. Linda has received critics’ awards for her performances, a Fulbright Specialist Grant, a Fulbright Travel Grant, a National Science Grant for visiting artist to Taiwan and an Oregon Arts Commission Individual Artist Fellowship.

A graduate of The Juilliard School, she is a Fulbright Senior Scholar.

KAILEY RHODES Gwendolyn Fairfax Kailey moved to Portland from the good ol’ state of Georgia and would appreciate some direction toward a glass of properly sweetened iced tea. Speaking of tea, she is honored to be performing in this, her first show at Artists Rep, sharing the stage with such an incredible, allfemale cast. She was recently onstage as Roxie Hart in Metropolitan Community Theatre Project’s Chicago, for which she received a 2016 Drammy nomination, and in Lakewood Theatre Company’s One Man, Two Guvnors. This summer, she’ll be dancing with a cow as Dainty June in Broadway Rose Theatre’s production of Gypsy. When not onstage, she is an education content writer at Clarity Innovations, and is so grateful for their support of her involvement in the arts.

It’s wonderful to be in a show with such powerhouse women. Thank you to Michael for your direction, and love to Matt!

VANA O’BRIEN Miss Prism Vana co-founded Artists Rep in 1981 with a small group of fellow theatre artists in the Portland YWCA. Since that time, she has worked on several different Portland stages and seen Artists Rep grow to its current size and well-respected status. Favorite Artists Rep roles include Sister Mary Ignatius Explains It All For You, Long Day’s Journey Into Night, Top Girls, Artificial Jungle, The Laramie Project, A Perfect Ganesh, Superior Donuts. The Big Meal, The Gin Game, 4000 Miles and Broomstick. Vana joined Artists Rep’s Southeast Asia Arts America tours in 1991 and 1994. She is a Resident Artist at Artists Rep and a member of Actors’ Equity Association.

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ACTOR & CREATIVE TEAM BIOS CRYSTAL ANN MUÑOZ Cecily Cardew Crystal is delighted to be working with Artists Rep again after appearing in A Civil War Christmas earlier this season. This year she was seen as Olivia in Twelfth Night with Portland Shakespeare Project, and participated in their 2016 Proscenium Live series, reading Ellen Margolis’ Pericles Wet. Other Portland credits include: Orlando, Eyes For Consuela (Profile Theatre), The Huntsmen (Portland Playhouse), In The Heights (Stumptown Stages), A Pigeon And A Boy, The Ministry Of Special Cases (Jewish Theatre Collaborative), Kiss Of The Spider Woman (triangle productions!), Guapa (Milagro Theatre), Hamlet (Anon It Moves), and in 2013, Crystal won a Drammy for her work as Matilde in The Clean House, with Lunacy Stageworks.

Regionally, she has worked with Idaho Rep, Marin Shakespeare Theatre and Moscow Art Theatre (Too). Crystal holds a BFA in Theatre Performance from the University of Idaho.

JOANN JOHNSON Rev. Chasuble An Artists Rep Resident Artist, JoAnn has appeared onstage as Vivian Bearing in Wit, Flora in Humble Boy, Leo in Indiscretions, Mrs. Rafi in The Sea, Margaret Civil in A Perfect Ganesh, Alice in Retreat From Moscow, Hattie in Ten Chimneys and Katherine in Mothers and Sons. Other roles include Sister Aloysius in Doubt and Kate Keller in All My Sons (Arkansas Repertory Theatre); Big Mama in Cat on a Hot Tin Roof (Portland Center Stage); Leni Riefenstahl in Leni (Insight Out Theatre Collective); Sarah Bernhardt in Memoir (Coho Productions); Madame Arcati in Blithe Spirit, Lady Bracknell

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in The Importance of Being Earnest and Judith Bliss in Hay Fever (Tacoma Actors Guild); and Meg in The Birthday Party, Nancy in Seascape and Aunt Sally in Fifth of July (Profile Theatre). Other theatres include The Old Globe, The Empty Space, Pioneer Theatre, Utah Shakespearean Festival, Sacramento Theatre Company, San Jose Repertory Theatre, Liminal, Imago Theatre and many seasons with the Oregon Shakespeare Festival. JoAnn’s directing credits for Artists Rep include Ballerina, Birdsend, Crumbs from the Table of Joy, Vanya, Blackbird, The Gin Game and Grand Concourse. With Artists Rep, JoAnn has twice toured internationally to Asia, Africa and the Middle East.

CREATIVE MEGAN WILKERSON Scenic Designer An Artists Rep Resident Artist, Megan has designed for Feathers and Teeth, American Hero, The Skin of Our Teeth, Exiles and Xmas Unplugged. Megan is a member of the women’s theatre company The Rivendell Theatre Ensemble in Chicago, a founding member of the artistic collective Bad Soviet Habits and the Resident Scenic Designer for Bag&Baggage Productions.

Megan has worked with a bevy of local companies including Teatro Milagro (Opción Múltiple, American Night), Portland Center Stage (Assistant Designer - Clybourne Park), defunkt theatre (The Children’s Hour, Betty’s Summer Vacation), Theatre Vertigo (Jekyll & Hyde, The Sexual Neuroses Of Our Parents), Northwest Classical Theatre Company (Wait Until Dark, Mary Stuart) and Bag&Baggage Productions (The Crucible,

The Merry Wives Of Windsor). Work with other companies includes Milwaukee Repertory Theatre, Renaissance Theaterworks, Milwaukee Chamber Theatre, Next Act Theatre, The Skylight Opera, First Stage Children’s Theatre, Michigan Opera Theatre, Pittsburgh Public Theatre and the Rivendell Theatre Ensemble. Megan also spent two seasons at Oregon Shakespeare Festival as a Design Assistant (American Night, The Music Man, Ruined).

BOBBY BREWER-WALLIN Costume Designer Bobby Brewer-Wallin, Associate Professor of Theatre and department chair, designs costumes for theatre, dance, television and film.

With an MFA in costume design from CalArts he joined the Theatre Department faculty at Willamette University in 2000.

In addition to designing costumes for all main stage productions, he teaches courses in costume design, costume history, the thesis course for theatre majors with an emphasis in solo performance, and a first year seminar titled “Clothing + Memory as Embodied Thought.” Recent productions include Macbeth and Lear’s Daughter at Willamette University, The Snowstorm at CoHo Theatre, The Beauty Queen Of Leenane at Third Rail Repertory Theatre and Richard III and King Lear at Arkansas Shakespeare Theatre. At Artists Rep, where he is a Resident Artist, he has designed costumes for A Civil War Christmas, The Miracle Worker, The Liar, The Motherfucker With the Hat, Ithaka and (I Am Still) The Duchess Of Malfi.

KRISTEEN WILLIS CROSSER Lighting Designer Kristeen received her BA from Centre College in Danville, KY and received her MFA in lighting design from Wayne State University, Hilberry Company in Detroit, MI. Previously, she designed lights for several Artists Rep productions, including The Talented Ones, Feathers and Teeth, Marjorie Prime, American Hero, The Skin of Our Teeth, The Miracle Worker, The Understudy, Tribes, Foxfinder, The Cherry Orchard and Eurydice. She designed the set for We Are Proud To Present…, Broomstick, 4000 Miles and Foxfinder. She has designed scenery and/or lighting for several area theatres including Northwest Children Theatre’s Shrek The Musical; Profile Theatre’s True West and Master Harold And The Boys (2013 Drammy) and Thief River; Coho Production’s Frankie And Johnny In The Clair De Lune and The Outgoing Tide; Miracle Theatre’s Oedipus El Rey (2012 Drammy); and Third Rail Repertory Theatre’s The Aliens, A Bright New Boise (2014 Drammy) and Gideon’s Knot (2014 Drammy). As always, she is grateful to her husband, Mike, for all of his love and support.

JEN RAYNAK Sound Designer Jen has been designing sound for theatre and film in Portland since the mid-90s, including six years as a company member of Third Rail Repertory Theatre and a 10year stint at Portland Center Stage. By day, Jen is the Carproelsofly Department Head for the Winningstad Theatre at Portland’5 Center for the Arts.

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CREATIVE TEAM BIOS CONTINUED LUAN SCHOOLER Dramaturg Luan honed her dramaturgy chops at Perseverance Theatre in Alaska, working with then-artistic director Molly Smith on new plays and devised works with wide ranging artists including Paula Vogel, John Murrell, John Luther Adams and Darrah Cloud. As Literary Manager/Dramaturg for Berkeley Rep, she worked with many luminary writers, including David Edgar, Naomi Iizuka, Salman Rushdie, Dominique Serrand, Rinde Eckert and Robert Fagles, and astute directors Tony Taccone, Mark Wing-Davey, Stephen Wadsworth and Lisa Peterson, among others. She has also worked at Denver Center Theatre Company, Oregon Shakespeare Festival (where she is turging Lisa Peterson’s translation of Hamlet for OSF’s Play On! project), California Shakespeare Festival, A Traveling Jewish Theatre and Shaking the Tree Theatre.

Luan joined Artists Rep in April 2015 to lead the new play development program, Table|Room|Stage, and has served as dramaturg on The Talented Ones, Feathers and Teeth, Marjorie Prime, A Civil War Christmas, American Hero, Trevor, The Miracle Worker, We Are Proud To Present… and The Skin of Our Teeth.

ARIANNE MELTON Props Master Arianne is thrilled to work on her first show here at Artists Rep. She is a junior at Lewis and Clark College, pursuing a BA in Theatre Design and Tech. Most recent credits include costume designer and scenic design consultant for Lewis and Clark College’s Senior Thesis Festival.

Other recent Lewis and Clark credits include props work on Antigonick, Much Ado About Nothing and Love and Information. In the Fall, she will be

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working as assistant costume designer for The Arsonists, also at Lewis and Clark. Arianne also recently finished teaching theatre at a nonprofit afterschool enrichment program at Hayhurst Elementary School, where she designed and directed The Lion King with 3rd to 5th grade students. Upon completing her BA, Arianne plans to attend Lewis and Clark’s Graduate School of Education and Counseling for degrees in elementary and special education, with the goal of eventually creating a nonprofit, allinclusive theatre program and curriculum designed to work with Portland youth facing adversities.

MARY MCDONALD-LEWIS Voice & Text Director Mary McDonald-Lewis has been a professional artist since 1979. She resides in Portland, Oregon, and is an international dialect coach for film, television and stage. She also works as a voice actor, on-camera actor, stage actor and director. The Importance of Being Earnest is MaryMac’s 29th show with the company, and you can also hear her work at Portland Center Stage, where she is also resident dialect coach, and on other stages around town. She is deeply grateful to the patrons and audience members of Artists Rep, whose support allows the theatre to provide her services to the actors. Mary holds her MFA in Directing from the University of Portland. MaryMac loves what she does, and she thanks Finnegan, Sullivan and Flynn for always wagging their tails when she comes home. www.marymac.com

CAROL ANN WOHLMUT Stage Manager Carol Ann studied theatre arts at the University of Northern Iowa. However, most of her education comes from working for past 30 years in every aspect of theatre arts. She has been the Stage Manager for 31 plays at Artists Rep: The Weir, Art, The Shape Of Things, Copenhagen, Top Dog/Underdog, The Lobby Hero, Mercy Seat, Enchanted April, The Seagull, Assassins, Mr. Marmalade, Mars On Life – The Holiday Edition, Rabbit Hole, Blackbird, Three Sisters, Design For Living, Othello, Ah, Wilderness!, Mars On Life-Live!, The Cherry Orchard, God Of Carnage, Red Herring, Ithaka, Mistakes Were Made, The Playboy Of The Western World, Blithe Spirit, The Invisible Hand, The Liar, Broomstick, Mothers And Sons, Grand Concourse, American Hero and Feathers and Teeth. Carol Ann has performed as a stage manager for many theaters in the Portland area, including Portland Center Stage, Portland Rep, Stark Raving Theater, New Rose Theatre, triangle productions!, Musical Theater Co, Metro Performing Arts, Northwest Children’s Theatre and Carousel Co. In addition, Carol Ann guest lectures on Stage Management and making a living in theatre arts at various educational facilities.

KAREN HILL Production Assistant Karen is happy to be back for another show with Artists Rep. She loves the opportunity to create thoughtful art with people who care about what they do. Karen has also worked with the Oregon Children’s Theatre, Portland

Shakespeare Project and the Oregon Shakespeare Festival. She has a BFA in Stage Management from Southern Oregon University. Karen would like to thank her husband Mike for his continued support of this crazy lifestyle.

MEGAN MOLL Production Assistant Megan Moll, a newcomer to the Portland theatre scene, is excited to be back at Artists Rep after working on Feathers and Teeth earlier this season. Megan recently graduated from Pacific University, where she studied Vocal Music and Stage Management. Recently, she has assistant stage managed for Hillsboro Artists Regional Theatre (HART), and she is also currently in the mentorship program at Third Rail Repertory Theatre. She hopes to continue working in Portland, with the hopes of becoming a resident stage manager in the future.

TREVOR SARGENT Assistant Scenic Designer Trevor is a Portland-based scenic, lighting and projection designer. He received his BA in Theatre Design from Lewis & Clark College in 2016. His recent credits include Lighting Designer at triangle productions! (Forever Dusty) and Shaking The Tree Theatre (Head, Hands, Feet: Tales of Dismemberment) as well as Assistant Scenic and Projections Designer at Artists Rep (American Hero, The Skin of Our Teeth). He has also enjoyed serving as Master Electrician for Third Rail Repertory Theatre (The Nether, The Flick), Imago Theatre (La Belle) and Portland Experimental Theatre Ensemble (Procedures For Saying No).

Artists Repertory Theatre | 17

A R T I S T S

R E P E R T O R Y

T H E A T R E

Artists Repertory Theatre’s mission is to produce intimate, provocative theatre and provide a home for artists of varied backgrounds to take creative risks. Founded in 1982, Artists Repertory Theatre is Portland’s premiere mid-size regional theatre company. Artists Rep became the 72nd member of the League of Resident Theatres (LORT) in May 2016 and is an Associate Member of the National New Play Network (NNPN).

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Resi C O Mdent A C A L L P A RTS SHAR OUR BUI N I E S LD I

hosting a stunning

N A N D G RESOU ING HOM C R E RCES, E, A T I V SPAC E EN E ERG Y.

551 events

PER year & counting An artistic home FOR Resident Artists

26

local actors, designers, directors and writers

TABLE | ROOM | STAGE A home for playwrights

8

NEW SCRIPTS developing diverse VOICES FOR THE STAGE INCLUDING THE OREGON PLAY PRIZE.

access for all

5 arts for all tickets

$

for Oregon Trail Card holders

STUDENT MATINEE PROGRAM ASL INTERPRETED & OPEN CAPTIONED PERFORMANCES

STAFF Artistic Director: Dámaso Rodríguez

DEVELOPMENT

Managing Director: Sarah Horton

Development Director: Sarah Taylor

ARTISTIC

Annual Fund & Events Manager: Kisha Jarrett

Artistic Producer: Shawn Lee

PRODUCTION

Associate Producer: Kristeen Willis Crosser

Production Manager: Kristeen Willis Crosser

Director of New Play Development & Dramaturgy: Luan Schooler

Company Manager & Casting Associate: Vonessa Martin

ArtsHub Director: Jerry Tischleder

Operations & Sound Technician: David Peterson

Artistic Directing Fellow: Josh Rippy

Resident Stage Managers: Michelle Jazuk, Carol Ann Wohlmut

Resident Artists: Linda Alper, Ayanna Berkshire, Bobby Brewer-Wallin, Chris Harder, Michelle Jazuk, JoAnn Johnson, Kevin Jones, Val Landrum, Sarah Lucht, Susannah Mars, Gilberto Martin Del Campo, Mary McDonald-Lewis, Michael Mendelson, Allen Nause, Amy Newman, Vana O’Brien, Rodolfo Ortega, Sharath Patel, Gregory Pulver, John San Nicolas, Vin Shambry, Andrea Stolowitz, Joshua Weinstein, Megan Wilkerson, Carol Ann Wohlmut

ADMINISTRATIVE Director of Finance & Administration: Jim Neuner Finance & Administrative Assistant: Vonessa Martin Executive Assistant: Allie Rangel

MARKETING & AUDIENCE SERVICES Director of Communication & Engagement: Nicole Lane Marketing Director: Sarah Bills Marketing & Publications Manager: Jessica Gleason Digital & Graphic Design Specialist: Jeff Hayes

Interim Technical Director/ Scene Shop Foreman: Nathan Crone Master Carpenter: Eddie Rivera Master Electrician: Ronan Kilkelly Scenic Charge: Sarah Kindler Voice & Text Director: Mary McDonald-Lewis Resident Fight Choreographer: Jonathan Cole

BOARD OF DIRECTORS Marcia Darm, MD, Chair Mike Barr, Vice-Chair Jeffrey Condit, Treasurer Patricia Garner, Secretary Cody Hoesly, Past Chair Julie Ball Michele Bowler-Failing Denise Frisbee Andrew Glass Blake Johnson Susanne Kuhn Michael Parsons Pancho Savery Andrea Schmidt Elisa Wickstrom

Music Events Specialist: Susannah Mars Audience Services Director: Karen Rathje Assistant Audience Services Manager: Christina DeYoung Box Office Manager: Jon Younkin Box Office Associates: Jessica Hillenbrand, Jack Ridenour House Managers: Deborah Gangwer, Karl Hanover, Valerie Liptak, Tara McMahon, Miranda Russ

FOR THIS PRODUCTION Scenic Artists: Kelly Tobuko, Emily Wilken Carpenters: Ben Serreau-Raskin, Charlie Capps Electricians: Hannah Fattor, Molly Gardner, Zahra Garrett, Ben Serreau-Raskin, Kelly Terry Milliner: Elizabeth Rohloff

Concessions: Geraldine Gladden, Paul Jacobs, Jennifer Zubernick

Wardrobe: Will Bailey

Video Designer: ShutterSky Pictures

Dresser: Karen Hill

Costumer: Clare Hungate-Hawk

Artists Repertory Theatre | 19

OUR SUPPORTERS We built the set, sewed the costumes, adjusted the lights, called the cues, and rehearsed, and rehearsed, and rehearsed.

YOU GAVE TO MAKE IT HAPPEN. TAKE A BOW. This list celebrates Artists Rep donors of $100 or more who gave between April 1, 2016 and April 18, 2017.

Join this cast of characters with a gift today. Call Sarah Taylor at 503.972.3017 or visit www.artistsrep.org.

GAME CHANGERS ($100,000+) Anonymous Robert & Mercedes Eichholz Foundation James F. & Marion L. Miller Foundation Renaissance Foundation The Estate of David E. Wedge

PRODUCERS ($25,000–$49,999) The Collins Foundation Roy & Diane Marvin Fund of the Oregon Community Foundation The Oregon Community Foundation The Shubert Foundation William Swindells

STAGEMAKERS ($5,000–$9,999) Anonymous (2) Mike Barr Karl & Linda Boekelheide Jeffrey G. Condit Robert & Janet Conklin Dark Horse Wine Denise & Robert Frisbee Patricia & Bennett Garner Tom Gifford & Patti Fisher Mark Horn & Mark Wilkinson Hotel deLuxe Intel Matching Gift Program Arthur & Virginia Kayser Romy Klopper Hugh & Mair Lewis Charitable Fund of the Southwest Washington Community Foundation Maletis Beverage Mentor, a Siemens Business Opsis Architecture Oregon Arts Commission, a state agency David Pollock Rose E. Tucker Charitable Trust Standard Insurance Company Bill & Cornie Stevens Straub Collaborative Ed & Rosalie Tank US Bank Foundation OCF Joseph E. Weston Public Foundation

PATRONS ($10,000–$24,999) Anonymous (2) Julia & Robert S. Ball The Boeing Company Ginger Carroll in memory of J. Michael Carroll Marcia Darm MD & Bruce Berning Margaret Dixon Andrew & Eva Glass The Kinsman Foundation Rafati’s Catering Marcy & Richard Schwartz Charlotte Rubin John & Jan Swanson Work for Art, including contributions from more than 75 companies and 2,000 employees

DIRECTOR’S CIRCLE ($2,500–$4,999) Anonymous (2) Molly Butler & Robin Manning The Commerce Bank of Oregon Stephen Fuller Diane Herrmann Cody Hoesly & Kirsten Collins The Jackson Foundation Drs. Dolores & Fernando Leon Mark Spencer Hotel Bob & Linda Palandech Kay Parr Michael Parsons & Katelyn Randall Lorraine Prince Alan Purdy

VISIONARIES ($50,000–$99,999) Doris Duke Charitable Foundation Ronni Lacroute/ WillaKenzie Estate Meyer Memorial Trust The Regional Arts & Culture Council, including support from the City of Portland, Multnomah County and the Arts Education & Access Fund Theatre Communications Group David & Christine Vernier

20 | Artists Repertory Theatre

Charlie & Miriam Rosenthal Steve & Trudy Sargent Drea Schmidt & Emilee Preble James G. & Michele L. Stemler Lora & Andy Woodruff

BACKSTAGE PASS ($1,000–$2,499) Anonymous (2) Kip Acheson & Elizabeth Carr Carole Alexander Ruth Alexander Rachael & Scott Anderson Phyllis Arnoff Asplund Tooze Foundation Bruce Blank & Janice Casey Nita Brueggeman Denise Carty & Roger Brown Family Fund of the Oregon Community Foundation Cathedral Park Place Richard & Nancy Chapman Michael & Lynne Chartier Nathan Cogan Family Fund of the Oregon Jewish Community Foundation Allison Couch & Tom Soals Susan Dietz Norma Dulin Betty & Richard Duvall Marc Franklin & Mary Lou Moriarty Carol Fredlund & John Betonte Free Geek Dan Gibbs & Lois Seed Bob Hanson & Paula Brown Curtis Hanson Pam Henderson & Allen Wasserman Higgins Restaurant Dr. Kathleen P. Holahan Robert Holub Jessie Jonas Bruce & Cathy Kuehnl Susanne Dziepak Kuhn Leslie R. Labbe Kirsten & Christopher Leonard Jim & Eva MacLowry

Dr. Robert & Kimberly Matheson Laurie & Gilbert Meigs Deanne & Wilfried Mueller-Crispin Nathan Family Charitable Fund of the Oregon Community Foundation Allen & Frances Nause Duane & Corrine Paulson Joan Peacock, in loving memory of Ben Buckley Patricia Perkins Richard & Wendy Rahm Julia Rea & Jim Diamond Bonnie & Peter Reagan Robert Reed John Ridenhour Richard & Mary Rosenberg Joanne & James Ruyle Dr. & Mrs. William Sack Marian & Elihu Schott Family Fund of the Oregon Community Foundation Roy Schreiber & Carole Heath Norm & Barb Sepenuk The Collier Smith Charitable Fund Faye & Lucille Stewart Foundation Marilyn & Gene Stubbs Tonkin Torp LLP US Bancorp Matching Gifts Elaine & Ben Whiteley Carole Whiteside Andrew Wilson & Dr. Ronnie-Gail Emden

SUPERSTARS ($500–$999) Anonymous (2) Kirby & Amelia Allen Dennis Bash Patsy Crayton Berner Leslie & Richard Bertellotti Earle & Kathleen Bevins Lesley Bombardier Douglas Campbell Cecile Carpenter Charles & Barbara Carpenter Cleveland H. Dodge Foundation Marie-Jose & Martyn Corden Matthew Corwin & Brennan Randel

Jim & Vicki Currie Edward & Karen Demko Cheri Emahiser Leslye Epstein & Herman Taylor Peg & John Espie Vladimir Fiks Kyle & Charles Fuchs Don & Judy Fuller David Giramma & Carrie Hooten Susan & Dean Gisvold Penny & Alan Greenwood Richard L. Hay Kirk Hirschfeld Mike & Judy Holman Sarah & Alan Horton Lois Hrella Judith & Gregory Kafoury Beth & Chris Karlin Keeton Corporation Carol Kimball PJ Kleffner Jody Klevit Leonard & Susan Magazine Kathleen McCarthy & Steve Scherr, in honor of Sarah Lucht & Don Alder Dan McKenzie Andy C. McNiece & Nancy L. Haigwood

Robert & Jessica McVay Dolores & Michael Moore Don & Connie Morgan Katherine Moss Neilsen Family Fund of the Oregon Community Foundation Robert & Melinda Newell Barry & Jane Newman David & Anne Noall Marcy Norman Kristine Olson Fund of the Oregon Community Foundation Ted Olson & Linda Nelson, in loving memory of Madeline Nelson Alfred & Eileen Ono Olliemay Phillips John Ragno Brennan P. Randel Scott & Kay Reichlin Mary & Mark Roberts Dámaso Rodríguez & Sara Hennessy Marilynn & Richard Rytting Meredith Savery Dianne Sawyer & Pete Petersen The Carol Schnitzer Lewis Fund of the Oregon Community Foundation

Wayne D. Schweinfest Peter & Jeanette Scott Ursula Scriven Jinny Shipman & Dick Kaiser Nick & Sandra Snell Fund of the Oregon Community Foundation Darsee Staley & Dave Linder Scott Stephens & Leslie Houston Wendy Sternberg & Winhard Bohme Greg & Martha Struxness Donald & Roslyn Sutherland Paul Thompson & Portia Sipes Karen Whitaker Pam Whyte & Ron Saylor Cynthia Yee

INSIDERS ($250–$499) Anonymous (2) Meg & Chuck Allen Ted & Fran Ames Bob Amundson & Sully Taylor Linda Apperson Jane Bergin

Ann Brayfield & Joe Emerson A. Sonia Buist, M.D. Carol Burns Cambia Health Foundation Valri & Vince Chiappetta Molly Cochran & Sam Ellingson Joe Connors & Linda Schmidt Priscilla & Nick Cowell Debbie Cross & Paul Wrigley Nancy & John Decherd Tonya DeCroce & Gary Weiss Wolfgang Dempke & Alise Rubin Linda Dinan Steven Dotterrer Elizabeth & John Ehrsam George & Donna Evans Jim & Betty Ferner Donna Flanders & Carl Collins, in honor of Cody Hoesly Larry & Marilyn Flick Roswell & Marilynn Gordon Barbara & Marvin Gordon-Lickey Paul & Theresa Graham

PLAY YOUR PART - DONATE For over 30 years, audiences have come to rely on Artists Rep for provocative, contemporary and intimate theatre experiences that challenge and inspire. Our dedicated community partners have made the past three decades possible and have helped Artists Rep grow into the exciting community arts center we are today.

Did you know that ticket sales only cover 40% of the actual cost of our season? The rest comes from generous Foundations, Corporate Partners and theatre lovers just like YOU. As a special incentive, all NEW and INCREASED donations will be matched dollar-for-dollar by an incredible challenge grant from the James F. and Marion L. Miller Foundation, up to $280,000. Consider making a donation when you renew your subscription to Artists Rep next season.

You can make your gift online, by check or sign up for monthly payments. Contact Development Director Sarah Taylor at staylor@artistsrep.org or 503.241.9807 or visit us online at artistsrep.org for more information and to learn about donor benefits.

Artists Repertory Theatre | 21

OUR SUPPORTERS CONTINUED Paul Harmon Edward Hershey Stephen Hillis Barbara Holisky & Gary McDonald Leslie Homer Lynnette & Don Houghton Gary & Joy Hunt Joni & Bill Isaacson Janice Isenberg Marianne KeddingtonLang & William Lang Edward & Elaine Kemp Karen Kemper Carol & Jeff Kilmer Leslie Kolisch & Roland Haertl Kelly & Brenda Lawrence Joy & Roger Leo Peter & Janice Linsky Dorothy Lyman John Lynch Sheila Mahan Linda & Ken Mantel Earlean Marsh Meg McGill & Mark Ramsby Ruth Medak Bob Mensel Judy & Steven Miller David & Anne Munro Evelyn & Tom Murphy

Pacific Power Matching Gift Program Senator Bob Packwood Ron & Shirley Pavsig Karen & John Rathje Helen Richardson & Don Hayner Vern Rifer Rebecca Ross Darrell Salk & Tricia Knoll Erika Schuster & Clay Biberdorf Mary Ann Seth-Wish & John Wish Jon & Ann Sinclair H. Joe Story David & Rosemarie Sweet John & Sandra Swinmurn Diane Taylor Sarah & Robert Taylor Chris Ullom Barbara Van Fleet Tony & Gail Vander Heide Anthony Wilcox Carl Wilson & Evan Boone Carol Ann & Patrick Wohlmut Helen Youngelson-Neal Alan & Janet Zell

FRIENDS ($100–$249) Anonymous (4)

Christine Abernathy John Ahlen & Don Main Amelia Albright Michael Allen & Anne Schagen Thomas Robert Anderson Andina Restaurant Ruby Apsler Herman Asarnow & Susan Baillet Arlene Aschraft Nancy Ashton Ruth Beiser Bach Susan Bach & Douglas Egan Dale Bajema & Diana Coleman Ann Balzell & Joe Marrone, in memory of Deforest Arn Piper Linda Barnes & Robert Vanderwerf Laura Barton George Bateman Joan Baucus Mary Beach Alan & Sherry Bennett William Bennington Pamela Berg Catherine Blosser Betty & Fred Brace James Breedlove Peggy Bromley

Gerry & Nancy Brown Jim Brunke Lauretta Burman Marlene Burns & Jon Dickinson Thomas A. Burns Alana & Grant Byington Don Caniparoli Janis & Dunbar Carpenter Michael Carter & Teresa Ferrer Jean Carufo & Barbara Engelter Tom & Anne Caruso Chamber Music Northwest Lou & John Chapman Russ & Mary Chapman Julie Child Bradley Coffey Ilaine Cohen CoHo Productions Rick & Jean Collins Leslie & Alan Comnes Anne Conway & Louis Baslaw Harriet Cormack Marilyn Couch Fran & Roddy Daggett Ann Dart & Ralph Beaumont Elaine & Earl Davis Marvin & Abby Dawson

Moving the arts forward together.

The Standard — an insurance and financial services company — was founded in Portland, Oregon, in 1906. For 111 years, we’ve been focused on providing the products and services more than six million people rely on to achieve financial well-being and peace of mind. We help people move forward, every day. Our company and our employees also find ways to give back to our communities by volunteering, donating, serving on boards and grant-making. We’re especially proud to support Artists Repertory Theatre.

Insurance, Retirement, Investments and Advice. standard.com

22 | Artists Repertory Theatre

Carolyn DeLany-Reif Jewel Derin Elaine & Bill Deutschman Lisa Dodson Diana Dorney Ed Doyle & Judy Posey Anne Driscoll The Ellermeiers Laury Ellis & Kathy Fode Kathleen Flynn Heidi Franklin Patricia Frobes & Richard Smith Kay Gage & Ketan Sampat John & Chris Gardner Susan Gendein-Marshall & Lee Marshall Andy Ginsburg & Danielle L. Erb Linda Gipe Melissa & Bob Good Gretta Grimala Candace Haines John Hall & Jean Jensen Hall Dick Hamlet & Corinne McWilliams John & Judie Hammerstad Gail & Irvin Handelman Ulrich Hardt Kimberly Harrison Meredith Hartley & Jeremiah Pyle Thomas Hellie & Julie Olds Mary Higgins Laurie Holland John & Judy Hubbard Carol & T.A. Hull Deborah Indihar Irving Street Kitchen Constance Jackson & Xavier Le Héricy Chris Jacomino Betsy & Jerold Jeronen Colleen & Jeff Johnson Phyllis Johnson Erika & Tom Kane Ron & Ruth Katon Nancy G. Kennaway Karen Kervin Heather Kientz Shawn Kilburn Doris & Eric Kimmel Larry King & Daniel Hutchison Frederick Kirchhoff Anneliese Knapp Tom & Judy Kovaric Norman Krasne Gary & Martha Kruger Louise Kurzet Ted Labbe & Kelly Rogers Robert & Helen Ladarre Barbara LaMack Elyse & Ron Laster Kelly & Brenda Lawrence Mary Lawrence Mark J. Lee Richard Lewis & Meg Larson Nathan B. Leverenz

Scott Lewis Literary Arts Little Red’s Bakeshop Live Wire Radio Ralph London Leslie Louderback Henry C. Louderbough Una Loughran Steve Lovett Jane Luddecke & Robert Anderson Dr. Christine Mackert John & Renee Manson Joann Marks Ms. Nancy Matthews Robert McAdams Anne & Kathy McLaughlin Kathy McLaughlin Katie McRae Cynthia Meduri Mariellen Meisel Linda Meng Libby & Miles Merwin Monique’s Boutique Nancy & Art Moss Multnomah Whiskey Library Patricia Oldham Erik Opsahl Joan Oramas Oregon Ballet Theatre Nancy Park Katherine Patricelli & Dennis Reichelt Pierre & Linda Pham Kevin Phaup Donna Philbrick Scott Phinney & Mona Clair Sue Pickgrobe & Mike Hoffman Roger Porter Portland Baroque Orchestra Dee Poujade The Qualls Family Charitable Fund Carole Quick Ana Quinn Sharon Ralston Jay & Barbara Ramaker Edward & Kara Lynn Rankin Dick & Linda Reedy Betty & Jacob Reiss Bob & Marilyn Ridgley Mark Rittenbaum Rebecca Robinson, in memory of Gary D. Robinson Charles & Judith Rooks Ms. Cara Rozell Jane Sage John T. Sarr Pancho Savery Curtis Schade Sheldon & Jean Schiager Jean Scott & Myrth Ogilvie Mary & KC Shaw Laurel & Dan Simmons Constance Smith

Judy Snider Karen & E. Smith Neil Soiffer & Carolyn Smith Marc Stein Robert & Veronika Stein Milan & Jean Stoyanov Pat & Larry Strausbaugh Scott Stuart & Brenda Meltebeke Gary Taliaferro Roberta Taussig Bahram & Susan Tavakolian Leslie Taylor & Doug Beers Tektronix Matching Gift Program Robert Thinnes Margaret Thompson Marilee Thompson Tracy Thornton Steve & Linda Tubbs

Cyrus Vafi Kaye Van Valkenburg David & Julie Verburg Pamela Vohnson & David Streight Sue & Jim Walcutt George Waldmann Marilyn Walkey & Mike McClain Judi & J. Wandres Janet F. Warrington Laura Watson Robert & Ann Watt Mike & Linda Wells Ann Werner Victoria Wetle Walt & Kim Weyler Karen Whitman & Brad Shiley Pat & Frank Wilson John & Pat Zagelow Kurt & Heather Zimmer

Seasonal Food for all occasions

Artists Repertory Theatre | 23

UP NEXT @ ARTISTS REP SEPTEMBER 2017

by

Branden Jacobs-Jenkins

directed by

Lava Alapai and Dámaso Rodríguez

Brace yourself for this raucously irreverent Gone with the Wind meets Looney Tunes mash-up that The New York Times calls “…this decade’s most eloquent theatrical statement on race in America today.”

It’s gasp-inducing satire from one of America’s most thrilling writers.

Season ticket packages are available now. Call our box office @ 503.241.1278 to book your seats. Single tickets go on sale August 1.