A Doll's House, Part 2 - Artists Rep by Artslandia

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A DOLL’S HOUSE, PART 2 BY LUCAS HNATH

Dámaso Rodríguez, Artistic Director J.S. May, Managing Director

CAST Nora..................................................................................... Linda Alper*^ Torvald................................................................................. Michael Mendelson*^ Anne Marie.......................................................................... Vana O’Brien*^ Emmy................................................................................... Barbie Wu +

CREATIVE TEAM AND CREW Director................................................................................ Luan Schooler Scenic Designer.................................................................... Megan Wilkerson~^ Costume Designer................................................................ Robert Brewer-Wallin^ Lighting Designer.................................................................. Blanca Forzan Sound Designer.................................................................... Phil Johnson Wig Designer........................................................................ Diane Trapp Props Master........................................................................ Laura Savage Dramaturg............................................................................ Pancho Savery Stage Manager..................................................................... Carol Ann Wohlmut*^ Production Assistant............................................................. Ariela Subar Wig Maintenance................................................................. Jael Shepherd Board Op.............................................................................. Alan Cline Originally produced on Broadway by Scott Rudin, Eli Bush, Joey Parnes, Sue Wagner, & John Johnson Commissioned and first produced by South Coast Repertory. A Doll’s House, Part 2 benefited from a residencey at New Dramatists.

TIME: 15 YEARS SINCE NORA LEFT TORVALD SETTING: NORWAY. INSIDE THE HELMER HOUSE RUN TIME: APPROXIMATELY 95 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 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 ~ Stage Directors & Choreographers Society ^ Artists Repertory Theatre Resident Artist # The scenic, costume, lighting, projection, and sound designers are represented by United Scenic Artists + Equity Membership Candidate 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.

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A MESSAGE FROM DÁMASO RODRÍGUEZ

“

You think I’ve never given you anything but you don’t know what I’ve given you — because what I’m trying to do for you — the kind of world I’m trying to make for you — it hasn’t happened yet. –Nora to her daughter

“

Emmy in Lucas Hnath’s A Doll’s House, Part 2

SHOW SPONSORS

WELCOME TO THE PORTLAND PREMIERE of A Doll’s House, Part 2, Lucas Hnath’s hit 2017 “sequel” to Henrik Ibsen’s towering 1879 classic. Perhaps you’ve seen “part 1” or studied it in college, or maybe you only know the title? Knowing the original certainly can’t hurt your experience, but one of the things I love about Hnath’s Part 2 is that in order to be ready to enjoy it, you need only know that Nora walked out the door at the end of the first play, leaving her husband and young children behind. George Bernard Shaw called her still-polarizing decision to save herself from a future without agency, filled with expectations she couldn’t tolerate the “door slam heard round the world.” If you didn’t know or remember the above, my apologies for the spoiler, but now you’re ready for Part 2—and the less you know about Hnath’s play, the better.

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I had the distinct thrill of seeing A Doll’s House, Part 2 during an early preview performance on Broadway. My wife and I were leading a New York theatre tour for Artists Rep patrons and we chose to see A Doll’s House, Part 2 in large part because Laurie Metcalf was playing the role of Nora, and because of the fact that a brand-new play premiering on Broadway without an Off-Broadway or regional premiere as a tryout is almost unheard of these days. What had prompted the play’s producer Scott Rudin to take such a risk? As a theatre producer myself, it’s extremely rare to encounter a major new play without having read it before seeing it, or at least hearing word-of-mouth from colleagues. Here was a chance for our theatre-going group to discover something wonderful before the rest of the world, or at least have a story to tell if it bombed. We knew almost nothing about what to expect. At the time we attended the show, little had been written about the play in the press and the capsule description of the plot simply stated that Nora would be walking back through the door she had walked out of 15 years before. That’s it. Ibsen’s play (like all of his work) is a naturalistic, serious drama. Would the sequel follow the form and tone of the original? I assumed so. SPOILER ALERT: If you want to preserve your own experience of not knowing what to expect, set this playbill aside. Within seconds of the lights coming up on the first scene, I was thrilled by what we were experiencing. A Doll’s House, Part 2 is irreverent, timely, and funny. The clothes were vaguely of the period, but the set made no effort to represent a realistic, period Norwegian drawing room, and the dialogue was straight out of the present day. Part 2 was a 21s century response and evaluation of how much and how little has changed

for women in the century that has passed since Nora’s meaningful exit from the stage. It was exhilarating to discover that the play was taking on the form of a public debate, with the actors not quite breaking the invisible fourth wall between the stage and the audience, but somehow it felt as if we as an audience were being included in the dialogue, serving the characters as a sounding board for their points of view. Sometimes we laughed at their turn-of-the-20th century naiveté or gasped embarrassingly at their foresight. It was an unforgettable and important theatre experience for me. A few weeks later the play opened to rave reviews and went on to become the year’s most-produced play. We eagerly pursued and secured the rights to the Portland premiere. I’m thrilled to have Artists Rep Resident Artists Linda Alper, Vana O’Brien, and Michael Mendelson—along with Barbie Wu, who you may recognize from recent productions of Magellanica and Everybody—making our own version of the play under the direction of Luan Schooler. It’s my hope that the intimate, thrust stage of the Alder theatre, with the audience wrapped snuggly around the actors, may even enhance the exhilarating interaction between actors and audience that I experienced so strongly in the original production. It’s this kind of participatory theatre event that we strive to create with all of our productions at Artists Rep and a reminder for us that the audience is a vital player in any theatre experience. Warmly, Warmly,

Dámaso Rodríguez

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PLAYWRIGHT’S BIO

LUCAS HNATH Lucas’s plays include A Doll’s House, Part 2 (8 Tony nominations, including Best Play); Hillary and Clinton; Red Speedo; The Christians; A Public Reading of an Unproduced Screenplay About the Death of Walt Disney; Isaac’s Eye; and Death Tax. He has been produced on Broadway at the John Golden Theatre, Off-Broadway at New York Theatre Workshop, Playwrights Horizons, Soho Rep, and Ensemble Studio Theatre. His plays have been produced nationally and internationally with premieres at the Humana Festival of New Plays, Victory Gardens, and South Coast Rep. He has been a resident playwright at New Dramatists since 2011. Awards: Kesselring Prize, Guggenheim Fellowship, Whiting Award, two Steinberg/ATCA New Play Award Citations, Outer Critics Circle Award for Best New Play, an Obie, and the Windham-Campbell Literary Prize.

TAKING PHOTOS IN THE THEATRE Audience members may take photos in the theatre before and after the performance. If you post photos on social media or elsewhere, please credit the amazing designers who made this show possible!

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

PODCAST HOST Susannah Mars Published by Rampant Creative, Inc. ©2019 Rampant Creative, Inc. All rights reserved. This magazine or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher. Rampant Creative, Inc./Artslandia Magazine 6637 SE Milwaukie Ave. #207 | Portland, OR 97202

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DIRECTOR’S NOTE WHEN I WAS FIFTEEN, I played Nora in the East Anchorage High School winter production of Henrik Ibsen’s A Doll’s House. No doubt I brought the same understanding and nuance to this role as I had to my performance as the Mayor of Whoville in Horton Hears a Who a few months earlier. The boy who played Nora’s husband Torvald was sixteen — with a shadow on his upper lip that, when emphasized with mascara, made him look very distinguished — and together we plumbed the depths of one of the most renowned and complex relationships in theatrical history. In Ibsen’s drama, the young wife Nora forges her father’s signature and takes out a secret loan to pay for the treatment her deathly ill husband requires. After covertly saving Torvald’s life, she spends several years quietly repaying the loan by scrimping on household expenses. When he finds out what she has done, Torvald is outraged, and — ignoring that she saved his life — he declares that she has disgraced him and is morally unfit to raise their children. Realizing that he never has — and never will — regard her as more than a doll/child, Nora hands back her wedding ring and walks out, slamming the door behind her and leaving her comfortable, bourgeois life for an uncertain, probably grim future. (You can see why it was a thrilling piece to perform at fifteen — forgery, false accusations, noble self-sacrifice, and door slamming!) When it premiered in 1879, that slam was heard round the world. Audiences were shocked. Shocked! How dare Ibsen question the appropriateness of men lording it over the little ladies? How could Nora possibly be a decent, moral person if she

wants recognition as a thinking human being, and not just as the little wife and mother? What would keep the chaos at bay if men weren’t The Deciders? Well. Lo, all these years later, we still haven’t satisfactorily answered these questions. A Doll’s House, Part 2 is Lucas Hnath’s puckish riposte to Ibsen. Part 2 starts fifteen years after the Grand Slam with a knock at the very same door. It’s a playful, feisty philosophic sparring match, testing propositions about marriage, power, gender roles, and fairness. The delight of this play is that all four characters are bracingly honest, nimble thinkers, equally capable of lobbing trenchant bombs of wit. Into this fizzy brew of Ibsen’s provocative notions, Lucas Hnath adds a new, highly combustible ingredient: self-actualization. Nora left her family so that she might become her best self, leading her best life — a distinctly 21st century notion. All fine and dandy, but at what cost and to whom? She returns to discover that her lofty goals are not universally shared, and when the chickens come home to roost there’s a lot more poop to contend with. I’m delighted to be spending time again with Nora and Torvald (and now Anne Marie and Emmy, too). At fifteen, I may have missed some of Ibsen’s finer philosophical points, so it is delicious to wrestle now with Lucas Hnath’s marvelous follow up. Like Ibsen, Hnath asks big questions about what we owe to each other and to ourselves — questions that apply equally in our private and social lives. If you are as weary as I am of the infantile blurting that passes for public discourse lately, I hope you’ll find it refreshing to hear adults engaged in passionate, articulate, persuasive debate. –Luan Schooler

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SPOILER ALERT

“ WE HAVE TO STICK OUR NOSES IN SOME SHIT” LUCAS HNATH’S A DOLL’S HOUSE, PART 2 BY PANCHO SAVERY LUCAS HNATH’S A Doll’s House, Part 2 is the third play Artists Rep has done this season that in some way engages with an earlier text. Branden Jacobs-Jenkins’s Everybody updated the medieval morality play Everyman, while Mike Lew’s Teenage Dick moved Shakespeare’s King Richard III into a high school. These plays were re-workings of the earlier material, while A Doll’s House, Part 2 is a sequel placed fifteen years after Ibsen’s original, with the same two main characters. On 21 December 1879, not quite 140 years ago, Henrik Ibsen’s play, most often referred to as A Doll’s House, premiered at the Royal Theater in Copenhagen and ushered in modern theatre. Since that time, most of the focus has been on Nora and her struggle to achieve both her voice and a truer understanding of how the world actually works. From this perspective, some have thought of the play as expressing a form of feminism, even though Ibsen, having been given a testimonial banquet by the Norwegian Society for Women’s Rights in 1898, said, “I must decline the honor of consciously having worked for women’s rights. I am not even quite sure what women’s rights really are. To me it has been a question of human rights.” With the title A Doll’s House, Nora is obviously the doll who is the plaything of her husband, Torvald, until she awakens. She refers to her children as “lovely doll babies” (61), notes that her father “used to call me his doll-child, and he played with me the way I played with my dolls (109), calls herself Torvald’s “doll-wife” (110), and asks Torvald what he will do “if your doll gets taken away” (113). Ibsen’s view, however, is even wider, which is why the play should be more correctly referred to as A Doll House. Ibsen is making a social-political critique of middle-class bourgeois values and expectations; how they trap men and women, and thus both are victims of the system, both live beneath the roof of a doll house, and both need to be liberated. The other side of the coin the play explores is what desperate measures one must sometimes resort to in order to survive or resist these values and expectations. The play ends with Nora’s leaving her husband and “the sound of a door slamming shut” (114). In A Doll’s House, Part 2, Lucas Hnath attempts to answer several questions that have gripped audiences since that most famous of door slams: Where did Nora go? What did

SPOILER ALERT

she do? Would she ever come back? Would Torvald want her back? And what did he do while she was gone? Before attempting to answer these questions, a bit of a review of the original is perhaps in order. Nora and Torvald Helmer are both trapped in a world of bourgeois illusions that has its strict rules. Torvald, a lawyer and newly appointed bank manager, is supposed to be in charge of his household: his wife, his children, and his servants. The latter two are supposed to be seen and heard from as little as possible, and that is part of the wife’s job. In this world, women cannot sign contracts without a husband’s or father’s permission and approval, women must show cause to be granted a divorce while men can divorce at will, and a woman’s ideal is to be married and taken care of. A woman who has to work to support herself is definitely considered to be of a lower order.

south, where a better climate will restore him to health. For reasons we aren’t given, the doctors confide this knowledge only to Nora; and she must not only arrange the year-long trip to Italy, come up with the funds to pay for it, but also convince Torvald that she, not he, is the one who needs the trip. Nora decides that she will get her father, without Torvald’s knowledge, to sign for the loan; but when he turns out to be too sick, Nora forges his signature and mistakenly dates the signed document three days after her father has died. She secures the loan, takes Torvald to Italy, saves his life, and has been repaying the loan by secretly taking copying jobs and asking Torvald for extra money for household expenses. She has, in fact, been playing a role very different from that expected by society. She has taken on “the man’s role” by being Torvalds’ savior, at the same time playing the “feminine role” by begging him for more money.

In this bourgeois, sexist world, Torvald has been raised to believe that women are not particularly smart, spend too much money, need to consistently be told what to do, and are therefore not that much higher up on the evolutionary scale than small animals; and thus he refers to Nora as “lark,” “squirrel,” “songbird,” “goose,” “hunted dove,” “featherhead,” “spendthrift,” “scatterbrains,” “you little helpless thing,” and controls the macaroon eating of his “little sweet tooth.” For most of their marriage, both Nora and Torvald have accepted without question the role bourgeois society has dictated that they play, and they have each played their roles well, both trapped in the doll house of their own, and society’s, making. This makes the play an example of meta-theatre, theatre about theatre, about how roles are acted. Things change when Torvald becomes ill, and the doctors tell Nora he has to go

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When the play opens, Torvald is in good health, has just gotten a new higher-paying job, the final loan payment is about to be made, and Nora is extremely proud of herself for taking on this unfeminine role and saving her husband’s life. We thus learn early on that Nora has taken on an additional acting role of pretending to be going along with societal norms while simultaneously seeming to undermine them. Nora’s revolutionary spirit is undercut, however, when Torvald agrees to hire Nora’s old friend Mrs. Linde for a job at the bank, and thereby dismissing his old acquaintance Krogstad, who has undercut Torvald’s authority at the bank by referring to him in public by his first name. Krogstad, who like Nora has committed forgery, is trying to rehabilitate himself. Krogstad is also the person who has secured Nora’s loan and to whom she has secretly been making payments, and he threatens her with exposure unless she gets him his job back.

When Nora’s efforts are unsuccessful, because Torvald finds Krogstad’s firstname calling worse than the forgery and therefore won’t rehire him, Krogstad writes a letter to Torvald threatening to expose Nora, and thus ruin him. Nora believes that a miracle will happen, that Torvald will stand up and defend her despite what society says. She believes that Torvald will be able to free himself from the bonds of 10

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the doll life that they have both suffered under. Nora, however, is delusional. When Torvald reads Krogstad’s letter, all he thinks about is himself and his public standing. Torvald has previously said to Nora, “time and again I’ve wished you were in some terrible danger, just so I could stake my life and soul and everything for your sake” (104). On reading the letter, however, his first response is, “Now you’ve wrecked all my happiness — ruined my whole future… Can you see now what you’ve done to me?” (106). He takes Nora’s action as some sort of personal insult resulting from Nora’s hereditary connection to her father, who, according to Torvald, had “no religion, no morals, no sense of duty” (105). Having been taught that “something of freedom’s lost — and something of beauty, too — from a home that’s founded on borrowing and debt” (44), he takes Nora’s deed as evil and refuses to recognize how what she did saved his life. And as Nora points out, their relationship would have been ruined if Torvald were not only in debt, but in debt both to Krogstad, whom he hates; but also to his wife, who tried to borrow it from her degenerate father. Torvald’s backward views also include the notion that someone who has committed an outward crime, Krogstad’s forgery as well as Nora’s, also as a result pollutes those around; and therefore a mother, as the prime influence on the child, would pollute her children if she were to have committed such a crime. Torvald has been taught by society to think only, or at least first, of himself; and when Krogstad agrees to withdraw his threat, Torvald responds with, “I’m saved. Nora, I’m saved!” (107). As society has taught him to, Torvald thinks only of himself, his appearance, and his reputation. Nora, likewise, has bought into the false romantic bourgeois notion that because she saved Torvald, he will be her knight, the miracle will happen, and he will

save her. Again, Ibsen makes clear that both of their positions are problematic. And so when Nora leaves and slams the door at the end of the play, her leaving is at least as negative as it is positive. Even though she leaves, both she and Torvald remain in the dollhouse, and Nora knows she “must educate [her] self ” (110). It has been easier to see that Torvald is in a problematic place at the end of the play when he woodenly tells Nora, “Before all else, you’re a wife and a mother” (111). Nora at least knows that there should be more, but she also makes clear that she is leaving because “the miraculous thing didn’t come” (112), and that the only possibility for a future would be if they could have a “true marriage” (114). Ibsen wants us to seriously consider whether Nora’s leaving is more an act of despair than one of defiance. The play has not only demonstrated how the pressure of bourgeois expectations harms both men and women, but also what steps they feel they are forced to take because of the limitations society imposes on them, whether it’s Nora’s forgery, Torvald’s selfinvolvement, or even Mrs. Linde’s desire to marry Krogstad because alone, she has “nothing to live for now” (51), “no one to care about, and no one to care for” (96). A Doll’s House, Part 2, among other things, attempts to answer some of the questions Ibsen leaves hanging. When the play begins, Nora, after a fifteen-year absence, returns to her former home. It turns out that she assumed Torvald had filed for divorce (they returned each other’s rings at the conclusion of the original), and has gone about her life, including having numerous lovers and signing contracts under her new name. Most importantly, she has become a famous author, having published under a pseudonym a thinly-veiled story of her marriage, in which her heroine rails against the institution, and tells women to never get married or else leave unhappy

marriages. The book has made her financially secure, but a conservative judge who hates the book has discovered her true identity, uncovers that Torvald has never filed for divorce, and threatens to out her unless she publicly recants. Because she has signed contracts under a “false” name and without her husband’s permission, Nora, like her earlier self, is guilty of forgery and fraud. Nora’s goal is to get Torvald to finally file for divorce. Assuming he won’t be inclined to do her a favor, given that she abandoned him, their home, their children, and hasn’t communicated in fifteen years, Nora hopes to convince Anne Marie, the family housekeeper and a mother — figure to Nora, to help her convince Torvald. Before the play opens, Nora has written to Anne Marie to set up a meeting between them when Torvald won’t be around. Although Anne Marie refuses to directly admit that Torvald is “broken” (13), she does note that Torvald has never remarried, still works at the same job, that she thinks he should get a dog, and she even suggests that Nora meet with him because “it could repair something” (13). Unlike Nora, Anne Marie has no trouble with the institution of marriage, and believes it “makes a lot of

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Ibsen is making a socialpolitical critique of middle-class bourgeois values and expectations; how they trap men and women, and thus both are victims of the system...

people very happy — very”(23); while Nora predicts that “in the future, 20, 30 years from now, marriage will be a thing of the past” (26). When Nora suggests that she is going to need Anne Marie’s help, Anne Marie surprisingly responds, “oh well shit. Shit Nora shit” (31). This colloquial and totally unexpected language from Anne Marie will most likely cause an outburst from the audience. With this, Hnath adds an unexpected level of humor missing in Ibsen’s original, and is blending present-day colloquial language into a much older text. Remember that in the original, when Nora wants to say something “shocking” to Torvald, she comes up with “to hell and be damned!”; which elicits “are you crazy?” and “my goodness, Nora!” (59) as responses. Anne Marie will later also say, “oh fuck it all” (31) and “I’m pissed off at you” (35). This is an intentional technique designed to jolt the audience and to get them to pause and to remember that we are watching a play, and not get lulled into a sense of we think we know what’s happening. In the midst of this conversation, Torvald unexpectedly returns home, having forgotten some papers; and, most surprisingly, he does not recognize Nora. When they finally talk, he makes it clear he didn’t want the marriage to end, that Nora has killed the desire in him to remarry (although he has had at least one relationship), and that he wished he had left Nora first. He complains about having had to do favors for Nora’s friends (Mrs. Linde), her not taking

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seriously things he cared about, making fun of him in front of other men, and making him feel as though he were a “wimp” (43). Nora counters with his guilt for “this thing that men do of standing in front of women and looking down at them” (44). This is where the conversation between them gets interesting, when he wonders “if women don’t ask that men behave the way we behave…and if we didn’t project some kind of confidence… would women even be attracted to men?” (44). Here, Torvald begins to come to a recognition of the role society has played in enforcing roles on both men and women; and that to get to the underlying truth, “we have to stick our noses in some shit” (47). He accuses Nora of coming to a recognition of the problems in their marriage, but then leaving before they could attempt to work on them. He then announces that he is not giving Nora a divorce, “because you don’t deserve for this to be easy” (50), and returns to work. Anne Marie sides with Torvald and tells Nora, “fuck you. You have no gratitude” (56–57), and that she would never have left her own child except out of economic necessity. She then suggests that the only solution left is that Nora must talk to her daughter and see if she can convince Torvald to sign the divorce papers. In Ibsen’s original, Nora and Torvald’s children appear, but they have no speaking roles. And Hnath’s most interesting innovation is in his creation of Emmy, Nora’s youngest child and only daughter. Emmy tells Nora she is happy, that Nora’s leaving made her grow up and take responsibility sooner, and that she feels better for it. She also tells Nora that people in the town eventually thought she had died, and that Torvald had said nothing in order to preserve his bank job and his position in the community, which could have been threatened if people knew he had been abandoned by his wife. Emmy

then offers to commit forgery by arranging for a death certificate for Nora. This will not only preserve Torvald’s reputation, but her own, given that she is engaged to someone who works at the bank with Torvald, and she seems to share her father’s views on society’s rules and the importance of marriage, and declares, “I want to be possessed. I want to be somebody’s something” (83), which of course makes Nora respond that “it means that everything I’ve done since walking out that door, means nothing” (85). Interestingly, Emmy’s language echoes that of Mrs. Linde in the original; she praises marriage and laments the possibility of “never finding a home, never finding a place to rest, a person to rest with” (86). Nora decides she must take control of her life, not allow the forged death certificate, and that she will face the consequences of the judge’s vendetta. Torvald then returns, revealing he decided to file for the divorce, got into an argument with the clerk who thought Torvald was crazy given that Nora was dead, but that he got it anyway. To his complete surprise, Nora rejects it, saying he only did it to look good. She has to explain to him how for two years she lived in silence until “I no longer heard a voice in my head other than my voice” (105); and that with Torvald’s still looking for the “true marriage” (104), she concludes “that I’m my best self if I’m by myself ” (106), and she again walks out the door; although this play does end with “(Nora walks out the door.) (Torvald watches.) (Door shuts…)” (107). While the door slams at the end of Ibsen’s original, here it merely “shuts.” Nora is gone, presumably never to return, and Nora, Torvald, and Emmy will presumably have to face the consequences of this series of actions.

pretending she was dead and letting people feel sorry for him, and he may well lose his job and possibly be implicated in Nora’s forgery. Emmy’s fiancé, Jorgen, will break off the relationship, and he may also lose his job from guilt-by-association; Emmy and Torvald may well end up alone, and may not be able to continue to employ Anne Marie. That leaves us with Nora. Does the divorce actually happen? Is the paper Torvald holds a finalized divorce decree and so they are divorced even if Nora doesn’t want it? Is it a form Nora needs to sign in order to make it final? That isn’t likely given that men could divorce women at will. But if it is in any way not a finalized document, it makes a difference. Torvald is ruined either way, because the clerk who filled out the divorce form is going to spread the word. If the divorce is finalized, Nora is saved from the judge’s wrath, possible jail time, and can go on with her life. If the document Torvald has is in any way provisional, he can let it go through, or he can honor Nora’s wishes. Since she says she doesn’t want to be saved by him, and that she’s prepared to face the judge’s revelations, we must believe Torvald still has the power to prevent the divorce from being

A Doll’s House, Part 2 thus ends somewhat ambiguously. Through the divorce filing, Nora’s not having died will be revealed. Torvald’s reputation will be ruined for

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The play ends not with the loud sound of a slam, but with the softer sound of a shut.

finalized, and that he will do the right thing because he has come to some understanding through his conversation with Nora. He has read her book, understands how and why she has portrayed him as she has, and insists, “I’m not like that – not now” (93), and that he thinks about dying and doesn’t want her portrayal of him to be the final one. The play thus concludes with Torvald’s having done the right thing by Nora, although he ends up ruined. Nora gets her wish to do things as she wants and not be saved by Torvald. This is a positive ending for Nora psychologically. On the other hand, the judge will most likely make his revelation, and Nora could well be jailed. But it is also true that the jail experience will in all likelihood be the subject of her next book, and it will be an even bigger best seller than her last one.

That being said, we must also remember that Nora has said “In the future, 20, 30 years from now, marriage will be a thing of the past” (26). In 1909, thirty years after Ibsen’s play premiers, the status of both women and marriage has not substantially changed. At the conclusion of Ibsen’s text, Nora slams the door as she leaves in utter despair; if Hnath’s text were meant to leave us with the opposite, Nora’s triumph, she would have walked out and left the door open as we watched her stride triumphantly into the future. Once again, however, Nora leaves a closed door behind her. She has gotten her ultimate freedom; both she and Torvald have in their own ways escaped the doll’s house, but at some cost, “sticking our noses in some shit.” The play ends not with the loud sound of a slam, but with the softer sound of a shut, a modest step in the right direction. Ibsen, Four Major Plays, Volume 1 New York: Signet Classics, 2006. Hnath, A Doll’s House, Part 2 New York: Dramatists Play Service, 2017

Artists Rep’s 2019 Gala s Liberté, Egalité, Sororité... Soirée! Sunday, April 7th, 2019 s 5 pm, Loft @ 8th Avenue

This year, we party like it’s... 1793! Join us for an evening paying tribute to Lauren Gunderson’s magnificently witty The Revolutionists. There will be libations, auctions, a delicious dinner... and Lauren Gunderson as our guest of honor! Tickets $200* per person, Tables of 10 $2,000* *A portion of your ticket is tax-deductible.

Contact Individual Giving & Corporate Sponsorship Manager Molly Moshofsky at mmoshofsky@artistsrep.org or 503-241-9807 x 129 for details

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GET INTO THE WORLD OF A DOLL’S HOUSE, PART 2 BOOKS A DOLL’S HOUSE BY HENRIK IBSEN MRS. OSMOND BY JOHN BANVILLE FEAR OF FLYING BY ERICA JONG ORANGES ARE NOT THE ONLY FRUIT BY JENETTE WINTERSON

MOVIES MY BRILLIANT CAREER (1979) THE SISTERS (2005) BREAKFAST AT TIFFANY’S (1961) THE DAUGHTER (2015)

MUSIC GRIZZLY BEAR ARCADE FIRE BAND OF HORSES AMANDA PALMER BROKEN BELLS OKKERVIL RIVER

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A R R I A G E

BY LOGAN STARNES

HE ORIGINS OF MARRIAGE vary between cultures around the world. The institution itself depends on culture, demographics, time period, and location. The way marriage is defined, specifically with its rules and ramifications, has evolved over time. Marriage is a socially or ritually recognised union between spouses that establishes obligations and rights between those individuals. This broad but encompassing definition is the basis for the idea of marriage globally. Individuals may marry for a multitude of reasons; including legal, social, financial, physical, emotional, and spiritual/religious purposes. Marriage is often viewed as a contract between individuals and can be recognized by a religious authority, a state, a community, peers, or an organization. There are two major types of marriage—civil marriage and religious marriage. Marriage that is carried out by a government is based on the marriage laws of the area and is considered a civil marriage. Marriage performed under the auspices of a religious institution and with religious content is considered a religious marriage. Each type have their own constraints as to what constitutes and who can enter into a valid marriage. Religious marriages can vary depending on the faith of the individuals agreeing to the terms. Some countries will not recognize religious marriage on its own, and thus require an additional civil marriage—and this is true in reverse for nations governed by a religious legal system if the marriage does not follow their religious guidelines and interpretation. In most cultures, married women had very few rights of their own as they were considered (along with the family’s children) the property

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of the husband. This meant they could not own and inherit property or represent themselves legally. This is known as coverture, a legal doctrine where, upon marriage, a woman’s legal rights and obligations were absorbed by her husband. Coverture arises from the idea that a husband and wife are considered one person and not two individuals. Due to this history there are proposed arguments against the institution of marriage for political, philosophical, and religious reasons. Some philosophical theories approach opposite-sex marriage as an institution traditionally rooted in patriarchy that promotes male superiority and power over women. This power dynamic conceptualizes men as “the provider” and women as “the caregiver” and as such they operate in the social and private spheres respectively. The patriarchal performance of dominant gender roles by men and submissive gender roles by women influence the power dynamic of a marriage. This dynamic is contrasted with a conception of an egalitarian marriage where power and labour are divided equally between partners regardless of gender. Coinciding with the broader human rights movement, internationally there has been a general trend towards ensuring equal rights within the institution of marriage for women. Some of these changes include giving wives their own legal identities, property rights, reproductive rights, requiring consent during sexual relations, and abolishing the rights of husbands to physically abuse their wives. The need for consent for entering a marriage is recognized by international law but the right to get a divorce is not recognized. In many countries, which use a fault-based divorce system, obtaining a divorce is very difficult. Though many institutions and individuals are against divorce the only two countries where divorce is illegal are the Philippines and Vatican City.

HOW PATRIARCHAL

HURT EVERYONE

SYSTEMS

WHAT IS A PATRIARCHAL SYSTEM? It’s a social system in which males hold the primary power and dominate roles of political and moral authority, social privilege and leadership, and control of property. Patriarchy is associated with a set of ideas that act to explain and justify the dominance of one gender to another. This patriarchal ideology attributes a “superiority” of inherent natural differences between men and women. However, most sociologists see patriarchy as a manufactured social product—not as an outcome of innate differences between the sexes. Instead, sociologists focus on the way that gender roles in a society affect power differences between men and women. Patriarchies manifest in social, economic, political, legal, and religious organization of the way a society is set up. Even if there is not an explicit definition by their own constitution and laws most current societies are patriarchal. How does this hurt us? It can reinforce rigid gender norms which can contribute to “toxic masculinity,” is the way that boys and men are socialized to perform masculinity—through suppressed emotions, dominance, and aggression. According to Amanda Marcotte, a political writer for Salon, “toxic masculinity is a specific model of manhood, geared towards dominance and control. It’s a manhood that views women and LGBT people as inferior, sees sex as an act not of affection but domination, and which valorizes violence as the way to prove one’s self to the world. Toxic masculinity aspires to toughness but is, in fact, an ideology of living in fear: The fear of ever seeming soft, tender, weak, or somehow less than manly. This insecurity is perhaps the most stalwart defining feature of toxic masculinity.” According to a study done by the University of Washington, we see toxic masculinity throughout our society. Men who don’t

see themselves as masculine “enough” are more likely to harass and act aggressively toward women, LGBT+ individuals, and even those of other races and social classes. Men are pressured to be hyper-sexual which can lead to feelings of inadequacey and even an entitlement to sex regardless of consent. Because women are seen as caretakers in a household, men are discouraged from spending too much time with their children. Some research has argued that the high rate of suicide for men could be traced to masculinity, which causes men to be less likely to seek help for emotional problems least they seem “weak” for having emotions. In A Doll’s House, Part 2, many of the characters show how a patriarchal system can be detrimental. Due to a patriarchal society we see how Nora is expected to adhere to strict gender roles and Torvald is subjected to the expectation of masculinity and strength.

“Marriage” Sources/References: Haviland, William A.; Prins, Harald E.L.; McBride, Bunny; Walrath, Dana (2011). Cultural Anthropology: The Human Challenge (13th ed.). Cengage Learning. Country Reports on Human Rights Practices for 2008, Vol. 1, p. 1353, US Department of State. McIntosh, Marjorie K. (2005). “The Benefits and Drawbacks of Femme Sole Status in England, 1300–1630”. Journal of British Studies. 44 (3): 413. “How marriage has changed over centuries.” The Week. Michael Wolfe, 1 Jun. 2013. Wilcox, W. Bradford. “The Evolution of Divorce.” National Affairs. National Affairs Inc., Fall 2009. Stevenson, Betsey and Wolfers, Justin. “Bargaining in the Shadow of the Law: Divorce Laws and Family Distress.” The National Bureau of Economic Research. Dec. 2003. “How Patriarchal Systems Hurt Everyone” Sources/References: Macionis, John J. (2012). Sociology (13th ed.). Prentice Hall. Henslin, James M. (2001). Essentials of Sociology. Taylor & Francis. pp. 65–67, 240. Marcotte, Amanda. “Overcompensation Nation: It’s Time to Admit That Toxic Masculinity Drives Gun Violence.” Salon. Cheryan, Sapna, et al. “Manning Up.” Hogrefe EContent, Hogrefe Coles, Terri. “How The Patriarchy Harms Men And Boys, Too.” HuffPost Canada.

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CAST BIOS LINDA ALPER Nora At Artists Rep, Linda (she/ her/hers) has appeared in The Importance of Being Earnest, Marjorie Prime, The Skin of Our Teeth, The Price, Tribes, The Quality of Life, Ten Chimneys, Superior Donuts, and The Cherry Orchard. She has also played leading roles at Portland Center Stage, Portland Shakespeare Project, Off Broadway, Mark Taper Forum, The Intiman, Seattle Rep, Baltimore Center Stage, Cincinnati Playhouse, and other theatres, including 23 seasons with the Oregon Shakespeare Festival where she appeared in over 50 productions, and will return to perform again this coming summer. Linda has co-written adaptations and translations produced in all three venues of the Oregon Shakespeare Festival, as well as at A Conservatory Theatre (San Francisco), Denver Theatre Center, Virginia Rep, The Acting Company (Santa Cruz), Colorado and other Shakespeare festivals in the U.S. and U.K. She was the script deviser and producer for On Common Ground, a Pakistani/American collaboration supported by a U.S. Embassy Cultural Affairs Grant that brought Pakistani artists to Artists Rep and OSF. Recently, she completed The Best/Worst Place, a new play about Jewish refugees in Shanghai, commissioned by Artists Rep’s Table|Room|Stage. Linda won a Dramalogue Award for Best Actress, Fulbright Specialist Grant to Pakistan, Fulbright Travel Grant to Beijing, Grant for Visiting Artist to Taiwan and an Oregon Arts Commission Individual Artist Fellowship. A graduate of The Juilliard School, she is also a Fulbright Senior Scholar. Linda is proud to be a Resident Artist at Artists Rep.

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MICHAEL MENDELSON Torvald Michael (he/him/his) is a Resident Artist at Artists Rep and A Doll’s House, Part 2 will mark his 40th production with this outstanding company. His credits include Everybody, Small Mouth Sounds, Magellanica, An Octoroon, Marjorie Prime, Trevor, Mothers and Sons, The Skin of Our Teeth, The Price, The Playboy of the Western World, Tribes, Blithe Spirit, The Quality of Life, Mistakes Were Made, Ten Chimneys, Red Herring, Sherlock Holmes and The Case of The Christmas Carol, God Of Carnage, Superior Donuts, Design For Living, Holidazed, Becky’s New Car, Three Sisters, Eurydice, Orson’s Shadow, Mr. Marmalade, Theater District, Present Laughter, and Love! Valour! Compassion!. Local credits include Portland Shakespeare Project, Oregon Shakespeare Festival/Portland, Profile Theatre, Northwest Classical, Milagro, triangle productions!, Tygres Heart Shakespeare, Portland Center Stage, New Rose, Portland Rep. NYC: Revolving Shakespeare Co., Theatre 1010, Lincoln Center/Clark StudioTheatre, Genesius Guild, The Barrow Group. Regional: A Contemporary Theatre, PCPA Theatrefest, Paper Mill Playhouse, Saint Michael’s Playhouse, Penobscot Theatre, Arkansas Rep, First Stage Milwaukee, Idaho Rep, Attic Theater, and Wisconsin, Utah and Berkeley Shakespeare Festivals. Michael received a BFA from Wayne State University and an MFA from the University of Washington’s PATP. He is the Artistic Director of Portland Shakespeare Project, and a member of Actors’ Equity Association and Stage Directors and Choreographers Society. Michael teaches acting privately and is an instructor on staff with Portland Actors Conservatory.

CAST & CREATIVE TEAM BIOS VANA O’BRIEN Anne Marie Vana has been involved with Artists Rep since 1981 when she and a small group of fellow theatre artists started the new company in the Portland World Young Women’s Christian Association. 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, Mound Builders, Country Girl, Park Your Car in Harvard Yard, Artificial Jungle, The Laramie Project, A Perfect Ganesh and Superior Donuts. In other Portland theatres, some memorable roles for Vana are in Greek, Faith Healer, The Lion the Witch and the Wardrobe, The Seagull, Noises Off and particularly the play she and her daughter Eleanor performed together at CoHo Productions, Collected Stories. Vana joined Artists Rep’s Southeast Asia Arts America tours in 1991 and 1994 performing in Driving Miss Daisy, The World of Carl Sandburg, Three Tall Women and scenes from American comedies.

BARBIE WU Emmy Born and raised in Taiwan, Barbie (she/her/hers) discovered her passion for acting in 2003 as an exchange student in Eugene. After earning her Bachelor’s degree from the University of Oregon, she received her Master of Fine Arts degree in Acting from Southern Methodist University in 2014. She happily returns to Artists Repertory Theatre after appearing in Everybody and Magellanica this past year. Her previous credits include Cobweb in A Midsummer Night’s Dream (Anonymous Theatre Company), Mika Endo in The Mermaid Hour (Milagro), Katherina

Serafima Gleb in Slavs! (Southern Methodist University), Kattrin in Mother Courage (Oregon Contemporary Theatre), Puck in Shakespeare in Hollywood (Very Little Theatre), Cordelia in King Lear (Lane Community College) and was a founding ensemble member of Bootstrap Theater Company in Truckee, California. Barbie is a teaching artist with Hand2Mouth, Portland’s longest running theatre ensemble, and a barista at Tōv, Portland’s only doubledecker coffee bus. She thanks Artists Repertory Theatre for being a welcoming home for theatre artists.

LUAN SCHOOLER Director Luan Schooler (she/her/hers) was born in West Texas, where she trailed her big sister into dance classes and community theatre. When she was 12, the family packed up and moved to Anchorage, Alaska, where play practice and recitals continued to consume her. After being kicked out of high school, she was eventually accepted into the theatre program at CalArts. One thing led to another and a life in theatre was launched. Over the years, she morphed from acting, directing and writing, into dramaturgy and literary management. She has worked with many theatres around the country, most notably with Perseverance Theatre in Juneau, Alaska (where she met and married the marvelous Tim), Denver Center Theatre Company, Oregon Shakespeare Festival, and Berkeley Rep, and developed new plays with exceptional artists including David Edgar, Naomi Iizuka, Salman Rushdie, Dominique Serrand, Leon Ingulsrud, Lisa Peterson, Paula Vogel, and Molly Smith. In the Mid-Aughts, she took a sabbatical from theatre to open a cheese shop, but happily left it behind to return to theatre. In 2015, she joined Artists Rep to launch Table | Room | Stage, the theatre’s new play development program. Here, she

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CREATIVE TEAM BIOS is developing work with Yussef El Guindi, Larissa FastHorse, Andrea Stolowitz, Linda Alper, Dael Orlandersmith, Hansol Jung, Steve Rathje, Anthony Hudson, and Susannah Mars. She also does production dramaturgy on most of Artists Rep’s shows, directed The Thanksgiving Play here, and keeps her thumb in a variety of other pies (including working with Lisa Peterson on her translation of Hamlet for Oregon Shakespeare Festival’s Play On! Project).

MEGAN WILKERSON Scenic Designer In her six seasons at Artists Rep, Megan (he/him/his) has designed scenery for Small Mouth Sounds, Skeleton Crew, The Humans, Caught, The Importance of Being Earnest, American Hero, Feathers and Teeth, The Understudy, and Xmas Unplugged, scenery and projections for Exiles, The Skin of Our Teeth, and Magellanica. This season she’ll be designing scenery for The Revolutionists here at Artists Rep, and Tiny Beautiful Things at Portland Center Stage. An Artists Rep Resident Artist, Megan is also a member of the women’s theatre company The Rivendell Theatre Ensemble in Chicago and a founding member of the artistic collective Bad Soviet Habits. Since arriving in Portland, Megan has had the pleasure of working with Milagro (Óye Oyá, American Night), Third Rail Repertory Theatre (The Realistic Joneses, Lungs, The Events), Profile Theatre (The Secretaries, Blue Door), defunkt theatre (The Children’s Hour), Theatre Vertigo (Jekyll & Hyde, The Sexual Neuroses of Our Parents), and Northwest Classical Theatre (Wait Until Dark, Mary Stuart). Prior to Portland, Megan spent 10 years in the Midwest where she worked with Milwaukee Repertory Theatre, Renaissance Theaterworks, Milwaukee Chamber Theatre, Next Act Theatre, The

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Skylight Opera, First Stage Children’s Theatre, Michigan Opera Theatre, Pittsburgh Public Theatre, and the Rivendell Theatre Ensemble. As Design Assistant, Megan spent two seasons at Oregon Shakespeare Festival (American Night, The Music Man, Ruined) and has longrunning relationships with designers Marjorie Bradley Kellogg and Michael Ganio that have led to work on diverse national projects such as Kenny Leon’s production of the modern opera Margaret Garner to Bill Rauch’s Pirates of Penzance here in Portland. Megan is a proud member of United Scenic Artist Local 829. meganwilkerson.com

BOBBY BREWER-WALLIN Costume Designer Bobby Brewer-Wallin, (he/him/his) Professor of Theatre and Department Chair at Willamette University, designs costumes for theatre, dance, television, and film. With an MFA in costume design from CalArts, he joined the 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 called Ball Caps to Ball Gowns: Clothing & Memory as Embodied Thought. Recent productions include Everybody, Magellanica, The Importance of Being Earnest, and A Civil War Christmas at Artists Rep, Dead City, Wings of Fire, and Macbeth at Willamette University Theatre, My Case Is Altered: Tales of a Roaring Girl with Twenty-First Century Chorus, The Snowstorm at CoHo Productions, The Events at Third Rail Repertory Theatre, and Richard III and King Lear at Arkansas Shakespeare Theatre.

CREATIVE TEAM BIOS BLANCA FORZAN Lighting Designer Blanca holds a degree in Architecture from. Del Valle de Mexico University, and worked with National Institute of fine Arts for over two decades. She is also a Set designer, producer manager, play writer, tour manger, and international technical director. Notable shows include Faust (Brooklyn Academy of Music) Hamlet (Cadiz Spain) Other Credits include: Broken Promises, Contigo pan y cebolla, El Muerto vagabundo and Astucias (Milagro group theatre) Bicycle Country (Aurora Theatre, Lawrenceville GA) An Octoroon (Artists Repertory Theatre) and The Taming (Coho Theatre.

PHIL JOHNSON Sound Designer Phil Johnson is a visual and theatrical artist based in Portland. His recent productions include Cop Out and Hands Up (August Wilson Red Door Project), Everybody, The Humans and An Octoroon (Artists Repertory Theatre), Elliot, a Soldiers’ Fugue, The Antigone Project, A Lady Onstage (Profile Theatre), Worse Than Tigers (ACT Theater/Red Stage), Watsonville, Lydia, Contigo Pan y Cebolla (Milagro). Phil has a BFA and MA from Ohio University. If you enjoyed the show please comment @Philjohnsonlive or visit PhilJohnsondesignstheworld.com for more content.

DIANE TRAPP Wig Designer Diane Trapp has been doing hair and makeup for theatre since 1972, learning her craft from work with Theater 21, Civic Theatre, and Theatre Workshop. She was the makeup and hair designer for Musical Theater Co. for 18

years, Eugene Opera for 16 years, and Tygres Heart Shakespeare Co. for six years. She has worked for many other companies, including Tacoma Opera, Little Rock Opera, New Rose Theatre, Oregon Ballet Theatre, Columbia Dance, Oregon Children’s Theatre, and triangle productions!. Diane has been the stage makeup instructor for Portland Community College for 30 years and has designed many shows for them, including Amadeus, Little Shop of Horrors, Hairspray, and Usagi Yojimbo. In 1984, Diane established Illusionary Designs, a business dedicated to creating makeup and mask designs for the stage. It now creates masks for many occasions including the New Orleans Mask Market during Mardi Gras, and “Maskarade,” a New Orleans mask gallery. Diane is a proud member if IATSE local 28 and has been for 19 years. She has worked for over 40 years in this industry and loves the challenge, the people, and the shows. What a great way to make a living.

LAURA SAVAGE Props Master Laura is a set dresser and prop maker with over 15 years experience. She has always been happy working with her hands to create environments and props that bring life to stories. Whether it’s designing for theatre, dressing sets for film, or crawling into tight spaces around fragile miniatures on animation sets; she still finds joy in the stories details can tell. Originally from the UK, Laura started out as production designer on The Secret Garden for The Tobacco Factory Theatre. She went on to work as a props dresser on films such as The Imitation Game and Ex Machina and also spent a summer under a giant fire breathing spider as stage crew for the amazing Arcadia show Metamorphosis. But it was her work with Aardman Animations on

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CREATIVE TEAM BIOS productions such as Shaun the Sheep and The Pitates! A Band of Misfits’, that got her noticed by the animation studio Laika, here in Portland, OR. Since relocating here two years ago to work on their up coming film Missing Link; Laura has also worked for Shadow Machine on their animated series The Shivering Truth, and is now delighted to be returning to live theatre with her first production with Artists Rep.

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

CAROL ANN WOHLMUT Stage Manager Carol Ann (she/her/hers) has been the stage manager for over 30 plays 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,

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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, and It’s a Wonderful Life: A Live Radio Play. 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 over 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 Theater, 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 Subar (she/her/hers) is thrilled to be back at Artists Rep after working as the Production Assistant on Everybody earlier this season. She has worked professionally throughout the country, coming most recently from the Utah Shakespeare Festival, where she was a PA on their productions of Othello, The Foreigner, and The Liar. Other professional credits include Emerald City Theatre’s Knuffle Bunny: A Cautionary Musical (ASM) and Magic Tree House: Showtime with Shakespeare (ASM), Lucky Plush Production’s Rooming House (SM), Victory Gardens Theater’s Queen (PA), Baltimore Center Stage’s Twisted Melodies (PA), Lookingglass Theater Company’s Mr. and Mrs. Pennyworth (PA), First Floor Theater’s Fitzfest (SM), The Awake (ASM), Animals Commit Suicide (ASM), Kafkapalooza (SM Intern), and stage management internships at the Oregon Shakespeare

CREATIVE TEAM BIOS Festival, American Theater Company, Court Theatre, and Chicago Children’s Theatre. Ariela holds a BA in Theater & Performance Studies from the University of Chicago.

ALAN CLINE Board Op Alan is an artist and technician working in Portland since 2010. He is thrilled to be part of Artists Rep’s season.

DÁMASO RODRÍGUEZ Artistic Director Dámaso Rodríguez (he/him/ his) is in his sixth season as Artistic Director of Artists Rep, Portland’s longest-running professional theatre company. He is a cofounder of L.A.’s Furious Theatre Company, 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 Pasadena Playhouse, Intiman Theatre, South Coast Rep, Actors Theatre of Louisville, Oregon Shakespeare Festival, American Conservatory Theater, A Noise Within, The Playwrights’ Center, The Theatre @ Boston Court, and Furious Theatre Company. Dámaso is a recipient of the L.A. Drama Critics Circle Award, the Back Stage Garland Award, the NAACP Theatre Award, and the Pasadena Arts Council’s Gold Crown Award. Upcoming projects include Mi Cuba (in development) by Caridad Svich at American Conservatory Theatre in San Francisco, and the World Premiere of Wolf Play by Hansol Jung at Artists Rep. He is a member of the Stage Directors and Choreographers Society. damasorodriguez.com

J.S. MAY Managing Director J.S. May (he/him/his) is a seasoned fundraising and communications professional who has worked with a wide range of local, regional, national, and international nonprofit organizations. He has helped raise

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

ARTISTS REP is implementing the practice of including gender pronouns in playbills and other general communications for those who feel comfortable gender identifying. Using someone’s pronouns correctly is an important part of showing respect, just like using someone’s correct name. It’s normal to feel challenged by adjusting when someone changes pronouns, learning pronouns that are new to you, or using pronouns that are different than the way you perceive someone. While it may require you to stretch outside of your comfort zone, using respectful gendered pronouns is a critical way that you can begin to re-examine assumptions about gender that particularly harm LGBTQ communities. ARTSLANDIA.COM

THE HISTORY OF MARRIAGE IN LAYMAN’S TERMS By Vonessa Martin

I’M NO HISTORIAN BUT I READ A LOT and a decade ago my awesome aunt, a writer and professor, gave me a book titled MARRIAGE, A HISTORY by Stephanie Coontz. When I read it, I had this LIES MY TEACHER TOLD ME moment, where I was appalled and thought “everything I think I know is wrong!” and “holy hardship, Batman, marriage was rough for women!” It is not my purpose here to give you a summary of the history of marriage or to give a summary of this salacious, to me, book. I just want to commiserate with you. I mean, aren’t we are all victims of marriage in same shape or form? Just kidding husband, you’re the best! Let me share with you what I mean. My mother took the word “obey” out of her wedding vows. I used to do a solid “yes” with 80s style aerobic-fist-pump at that fact. And to be clear, my mom was no hippy. She met my dad in church at the age of 12 and why yes, that would be the same church she married my dad in 12 years later. They got married in 1967 but I used to joke that my parents had two decades of the 50s and missed the 60s all together. Nevertheless, she refused to promise to obey my dad. Although probably more self-appraising honesty than religious defiance. But you know the drill, right? In the New Testament, Paul wrote while in prison, fun fact!, Ephesians 5:22–23 “Wives, submit yourselves to your husbands as you do to the Lord. For the husband is the head of the wife as Christ is the head of the church, his body, of which he is the Savior.” If you are not treating your husband like he is the 24

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boss, you are sinning against God! You’re supposed to be a tiny example of the Holy Trinity, folks. FYI, no one kows if Paul was ever married. Care to guess? But Biblical interpretations of marriage were not the only thing my mother was resisting. It turns out there was a heap of female mistreatment-in-marriage baggage…because women were treated like baggage (see what I did there?) and for a super long time. Yeah, that’s right, over FOUR THOUSAND YEARS. And that’s just in relation to the institution of marriage. In 1967, a womanw couldn’t apply for credit, couldn’t report sexual harassment in the work place, couldn’t keep her job if she was pregnant, couldn’t buy a house, and if her husband raped her it wasn’t a crime, in England it still wasn’t a crime until 1991. And women couldn’t get paid equally as men for doing the same job. Incidentally, I just read that the World Economic Forum puts it at 200 more years before wage equality is achieved. But the women from thousands of years ago would tell the women of today, “Oh, boo-hoo, you can’t get a credit card. I had to marry a dead guy so my family could be joined with the neighbor family who has more sheep.” By the way, that’s a true story about marrying the dead guy thing not that the women said “boo-hoo”. Of course, I’m sure they didn’t only because they were really busy doing hard manual labor. The way I understand it is that the institution of marriage existed before recorded history but anthropologists determined that marriage was arranged to improve circumstances for the family/tribe/group in the beginning. So-and-so will marry our daughter so when we pass through their land to get better food, or whatever, every season we will have a place to stay and, BONUS, they won’t kill us. Marriage was about contributing to the needs of the many. Then societies became more homebodies or, showing off my intellect, “sedentary.” When some of these groups acquired more assets

than others, they wanted to join with other asse-rich families. These families with more resources could demand a higher price for letting their daughter marry someone else’s son, as women were investments! As my son says when we play Monopoly, “The rich get richer!” And the working class, well, they wanted a good worker wife who can birth good worker kids. DID YOU KNOW? When Greeks eulogized their dead wives the most common words of praise were she showed “self-control.” And in Rome, a politician was quoted as saying a man should pick a wife that is neither ugly nor beautiful for “ugliness will disgust her partner, while excessive beauty will make him lazy.” Also, in Rome, although there were male homosexual relationships socially accepted, gay men couldn’t marry because no one could believe a man would take up the mantle of the woman’s role in the household. And then sometimes, in order to get richer or have more workers a man took/bought/ was given more wives. Polygamy was more popular than 401ks today. You know, we sort of glossed over those Old Testament polygamists in Bible Study i.e. Solomon, David, Jacob. Then in the 9th century the Church was all like, nope, we all need to be about the monogamy now (wink, wink). Men can only MARRY one wife but they can have sexual relations with all the women they want. Have fun, guys! In the 11th century a Benedictine monk wrote the rule book on marriage, a canon, and he influenced people to actually require verbal consent by both the man and the woman who were getting married. Women = property that speaks! Solid progress! Skip to the 19th century and finally Victorian England acknowledged the novel idea of marrying for love. Women didn’t have the right to vote (like the fictional Nora in Ibsen or Hnath) but they were open to marrying for love/not being traded as property. I guess I could see the appeal but wasn’t it great to be so useful?. Still not until the 20th century was marrying for love a thing, a norm, a

I-will-mock-you-for-marrying-for-money sort of situation (I loved Crazy Rich Asians). I’m super happy to not have been married back in any of those previous millennia…or centuries…or decades really. And I imagine decades from now future women may think the same about my decade. Marriage was not the soul-matey/romantic/life-affirming goal of an institution that had been fed to me. No, that is just what I made of it. So please don’t lament the state of marriage. It’s getting better all the time.* *I should mention my parents have been married for over 50 years even though she never did obey him.

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STAFF Artistic Director: Dámaso Rodríguez Managing Director: J.S. May

ARTISTIC Producing Director: Shawn Lee Associate Producer: Kristeen Willis Crosser Director of New Play Development & Dramaturgy: Luan Schooler Casting Director: Vonessa Martin Lacroute Playwright-in-Residence: Andrea Stolowitz Resident Fight Choreographer: Jonathan Cole Resident Voice & Language Consultant: Mary McDonald-Lewis Literary Intern: Logan Starnes Resident Artists: Linda Alper, Ayanna Berkshire, Bobby Brewer-Wallin, Chris Harder, Michelle Jazuk, JoAnn Johnson, Kevin Jones, Val Landrum, Sarah Lucht, Susannah Mars, 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 J. Weinstein, Megan Wilkerson, Carol Ann Wohlmut

ADMINISTRATIVE General Manager: Vonessa Martin Management Associate: Allison Delaney

MARKETING + BOX OFFICE

EDUCATION + ARTSHUB/ AUDIENCE SERVICES Director of Education & Audience Services: Karen Rathje Education & Audience Services Associate: Miranda Russ Education Associate: Sarah Lucht Music Events Specialist: Susannah Mars House Managers: Deborah Gangwer, Kayla Kelly, Valerie Liptak, Shelley Matthews, Tara McMahon, Andrea Vernae, Concessions: Paul Jacobs, Kayla Kelly, Geraldine Sandberg, Jennifer Zubernick

DEVELOPMENT Development Director: Sarah Taylor Individual Giving & Corporate Sponsorship Manager: Molly Moshofsky Development Intern: Clare Kessi

PRODUCTION Technical Director: Nathan Crone Production Manager: Kristeen Willis Crosser Scene Shop Foreman: Eddie Rivera Master Carpenter: Charlie Capps Scenic Charge Artist: Sarah Kindler Master Electrician: Chris Stull Sound Technician: David Petersen Costume Shop Manager: Clare Hungate-Hawk Facility & Operations Associate: Sean Roberts

Audience Development & Marketing Director: Kisha Jarrett

BOARD OF DIRECTORS

Graphic Designer & Marketing Associate: Jeff Hayes

Mike Barr, Chair Jeffrey Condit, Vice-Chair Cyrus Vafi, Treasurer Patricia Garner, Secretary Marcia Darm, MD, Past Chair

Patron Services Manager & Marketing Associate: Christina DeYoung Data Analyst & Ticketing Manager: Jon Younkin Box Office Associates: Stephanie Magee, Zak Westfall

FOR THIS PRODUCTION Carpenters: Ben Serreau-Raskin, Brendan Ramsden, Ben Mills Scenic artists: Erica Hartmann, Gordon Victoroff Scene Shop Intern: Louis Celt Stitcher: Allison Johnson Electricians: Alan Cline, Lauren Williams, Duncan Lynch, Elizabeth Carlson,

Ian Hale, Josh Myers, Elliot Tinsley

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Julia Ball Michael Davidson Tom Gifford Erik Opsahl Michael Parsons Debra Pellati Pancho Savery Andrea Schmidt

OUR SUPPORTERS We built the set, sewed the costumes, adjusted the lights, called the cues, and rehearsed, and rehearsed, and rehearsed. YOU GENEROUSLY DONATED TO MAKE IT HAPPEN. TAKE A BOW. This list celebrates Artists Rep donors of $100 or more who gave between January 1, 2018 and January 15, 2019. 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 (1) Robert & Mercedes Eichholz Foundation James F. & Marion L. Miller Foundation

VISIONARIES ($50,000–$99,999)

Ronni Lacroute The Regional Arts & Culture Council, including support from the City of Portland, Multnomah County and the Arts Education & Access Fund The Shubert Foundation David & Christine Vernier

PRODUCERS ($25,000–$49,999)

The Collins Foundation Oregon Cultural Trust Shiels Obletz Johnson

PATRONS ($10,000–$24,999)

Anonymous (3) Bob & Janet Conklin Margaret Dixon Express Employment Professionals The Kinsman Foundation Romy Klopper The National Endowment for the Arts – Art Works The Oregon Community Foundation, Community Grants The Oregonian Rafati’s Catering Charlotte Rubin Harold & Arlene Schnitzer CARE Foundation, Arlene Schnitzer & Jordan Schnitzer Marcy & Richard Schwartz John & Jan Swanson

Darci & Charlie Swindells William Swindells, Jr.

STAGEMAKERS ($5,000–$9,999)

Anonymous (1) Advance Gender Equity in the Arts (AGE) Julia & Robert S. Ball Mike Barr Karl & Linda Boekelheide Marcia Darm MD & Bruce Berning Bloomfield Family Fund The Estate of Don & Pat Burnet Jeffrey G. Condit Dark Horse Wine Michael Davidson Dramatists Guild Foundation Dan Gibbs & Lois Seed Tom Gifford & Patti Fisher Polly Grose Hotel deLuxe Illy Coffee The Jackson Foundation Arthur & Virginia Kayser Kristen & Michael Kern Drs. Dolores & Fernando Leon Hugh & Mair Lewis Kristine Olson Fund of the Oregon Community Foundation Oregon Arts Commission, a state agency Lorraine Prince Sapori Fine Flavors Ed & Rosalie Tank US Bank OCF Joseph E. Weston Public Foundation

DIRECTOR’S CIRCLE ($2,500–$4,999)

Anonymous (1) Patti Brewer & Nick Giustina Molly Butler & Robin Manning

Classic Pianos The Collier Smith Charitable Fund Kitt & Butch Dyer Patricia & Bennett Garner Diane Herrmann Intel Corporation Matching Gifts Leslie R. Labbe Jim & Eva MacLowry Leonard & Susan Magazine, REAL ESTATS The Mark Spencer Hotel J.S. & Robin May Allen & Frances Nause Bob & Linda Palandech Patricia Perkins Alan Purdy Julia Rea & Jim Diamond Dámaso Rodríguez & Sara Hennessy Miriam & Charlie Rosenthal Steve & Trudy Sargent Pancho Savery Drea Schmidt & Emilee Preble Norm & Barb Sepenuk James G. & Michele L. Stemler

BACKSTAGE PASS ($1,000–$2,499)

Anonymous (2) Ruth & Jim Alexander F. Gordon Allen & Janice M. Stewart Phyllis Arnoff The Autzen Foundation Cheryl Balkenhol Banner Bank Bruce Blank & Janice Casey Denise Carty & Roger Brown Family Fund of The Oregon Community Foundation Richard & Nancy Chapman Cleveland H. Dodge Foundation

Nathan Cogan Family Fund of the Oregon Jewish Community Foundation Barbara & Tom Cooney Allison Couch & Tom Soals Susan Dietz Richard & Betty Duvall Marc Franklin & Mary Lou Moriarty Carol Fredlund & John Betonte Jim Gangwer Jane & Howard Glazer Fund of the Oregon Community Foundation Curtis Hanson Marlene & Clark Hanson Richard Hay Pam Henderson & Allen Wasserman Higgins Restaurant Cody Hoesly & Kirsten Collins Barbara Holisky & Gary McDonald Mark Horn & Mark Wilkinson Sarah & Alan Horton Jessie Jonas Jin-Jin’s Aloha Outreach Fund, Schwab Charitable Joan Jones Jody Klevit Anneliese Knapp Bruce & Cathy Kuehnl Lagunitas Brewing Company Ann Laskey Kirsten & Christopher Leonard Carter & Jenny MacNichol Roberta Mann Laurie & Gilbert Meigs Katherine Moss Deanne & Wilfried Mueller-Crispin Erik & Raina Opsahl Pacific Power Foundation Kay Parr

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OUR SUPPORTERS CONTINUED Joan Peacock, in loving memory of Ben Buckley Olliemay Phillips David Pollock Wayne Potter & Pam Brown Dee Poujade Gregory Pulver & Rick Woodford Wendy & Richard Rahm Bonnie & Peter Reagan Fund of the Oregon Community Foundation Robert Reed Richard & Mary Rosenberg Fund of the Oregon Community Foundation Joanne & James Ruyle Marilynn & Richard Rytting Dr. & Mrs. William Sack David Saft & Laura Lehrhoff Dianne Sawyer & Pete Petersen Marian & Elihu Schott Family Fund of the Oregon Community Foundation Roy Schreiber & Carole Heath Wayne D. Schweinfest Ursula Scriven Jinny Shipman & Dick Kaiser Elizabeth Siegel The Harold & Mimi Steinberg Charitable Trust, in honor of Marcia Darm Marilyn & Gene Stubbs Tonkon Torp LLP Marcia Truman Cyrus Vafi Geoff Verderosa Elaine & Ben Whiteley Andrew Wilson & Dr. Ronnie-Gail Emden

SUPERSTARS ($500â&#x20AC;&#x201C;$999)

Anonymous (2) Amelia Albright & Aaron Woldrich Susan Bach & Douglas Egan Patsy Crayton Berner Richard & Leslie Bertellotti Lesley Bombardier Fred & Betty Brace Dan Brook & Teresa St. Martin Maureen & Lane Brown

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Nita Brueggeman & Kevin Hoover Ellen Cantwell Charles & Barbara Carpenter Sherrill Corbett & Scott Pillsbury Jim & Vicki Currie Carol Daniels Marvin & Abby Dawson Edward & Karen Demko Norma Dulin & James Barta Cheri Emahiser Leslye Epstein & Herman Taylor Peg & John Espie Kyle & Charles Fuchs Dr. William & Beverly Galen Susan & Dean Gisvold Jason Glick & Kristen Kyllingstad Lynn Marchand Goldstein Melissa & Bob Good Confederated Tribes of Grand Ronde Al & Penny Greenwood Paul Harmon Dick Hamlet & Corinne McWilliams Mike & Judy Holman Ms. Cecily A. Johns Judith & Gregory Kafoury Beth & Chris Karlin Keeton Corporation Carol & Jeff Kilmer Carol Kimball PJ Kleffner Elisa & Steven Klein Leslie Kolisch & Roland Haertl Deborah Kullby Susanne Dziepak Kuhn Jill & Tri Lam Bill & Shelley Larkins Linda & Ken Mantel Michael & Deborah Marble Dr. Robert & Kimberly Matheson Laurie & Jay Maxwell Dan McKenzie Robert & Jessica McVay Dolores & Michael Moore Don & Connie Morgan Susan Morgan Verne & Aki Naito Native Arts & Cultures Foundation Neilsen Family Fund of The Oregon Community Foundation

David & Anne Noall Northwest Film Center Linda Nelson & Ted Olson OnPoint Community Credit Union Alfred & Eileen Ono Ron Pausig Julie Poust John Ragno Karen & John Rathje Scott & Kay Reichlin Vernon Rifer & Linda Czopak Carol Schnitzer Lewis Fund of The Oregon Community Foundation Confederated Tribes of Siletz Indians Nick & Sandra Snell Fund of the Oregon Community Foundation Scott Stephens & Leslie Houston Wendy Sternberg & Winhard Bohme Greg & Martha Struxness Donald & Roslyn Sutherland John & Sandra Swinmurn Julie Tank & Jim Prihoda Sarah & Robert Taylor Paul Thompson & Portia Sipes Paul Vandeventer Estate of Margaret Weil Karen Whitaker Carole Whiteside Pam Whyte & Ron Saylor

INSIDERS ($250â&#x20AC;&#x201C;$499)

Anonymous (2) Kay & Roy Abramowitz Chuck & Meg Allen Linda Alper Bob Amundson & Sully Taylor Elizabeth & Stephen Arch Linda Barnes & Robert Vanderwerf F. Blair Batson Eric Beach Bob & Kathleen Bevins Ann Brayfield & Joe Emerson Jim Brunke Sonia Buist, M.D. Lauretta Burman Cambia Health Foundation

Don Caniparoli & Sarah Rosenberg Cecile Carpenter Chuck Carpenter & Carl Brown Dr. Maura Conlon-McIvor Harriet Cormack Debbie Cross & Paul Wrigley Graham & Peggy Crow Robert Daasch & Linda Schaefer Nancy & Jon Decherd Barbara & George Dechet Linda Dinan Ross Dwinell Stephen Early & Mary Shepard Kari Easton Carmen Egido & Abel Weinrib Elizabeth & John Ehrsam Marilyn Kay Epstein George & Donna Evans Linda Farris Donna Flanders & Carl Collins, in honor of Cody Hoesly Larry & Marilyn Flick Nancy Lee Frederick Paul Gehlar Don & Marlys Girard Barbara & Marvin Gordon-Lickey Roswell & Marilynn Gordon Paul & Teri Graham Allan Griffin Candace Haines Dawn Hayami Judith A. Henderson Cynthia Herrup & Judith Bennett Edward & Leah Hershey Stephen & Sharon Hillis Kirk Hirschfeld Steven Hodgson Lynette & Don Houghton Icenogle Family Fund, a Donor Advised Fund of the Renaissance Charitable Foundation Joni & Bill Isaacson Janice & Benjamin Isenberg Philanthropic Fund of the Oregon Jewish Community Foundation Marianne KeddingtonLang & William Lang Elaine & Ed Kemp Karen Kemper Sally & Lucien Klein

THANK YOU! Ted Labbe & Kelly Rogers Barbara LaMack & Jim Kalvelage Roger Leo Literary Arts Steve Lovett & Connie Sullivan Robert A. Lowe & Michelle Berlin-Lowe John Lynch Mary Lyons Earlean Marsh Ruth Medak Scott & Jane Miller Molly Moshofsky & Will Matheson Mr. Michael & Dr. Whitney Nagy Phoenix Media Sue Pickgrobe & Mike Hoffman Andrew & Peggy Recinos

Helen Richardson & Don Hayner Kelly Rodgers Alise Rubin & Wolfgang Dempke Michael Sands & Jane Robinson Charles & Judith Rooks Rebecca Ross Rick & Halle Sadle John Saurenman William & Meredith Savery Natalie Sue Schmitt Luan Schooler & Timothy Wilson Erika Schuster & Clay Biberdorf Mary Ann Seth-Wish & John Wish John Shipley H. Joe Story David & Rosemarie Sweet

Teutonic Wine Company Jory Thomas Carl Wilson & Evan Boone Cynthia Yee Janet Young & Robert Hinger Alan & Janet Zell Kurt & Heather Zimmer

FRIENDS ($100–$249)

Anonymous (7) Christine Abernathy Christopher Acheson & Dr. Elizabeth Carr Aesop Kris Alman & Mike Siegel Anders Printing Company Rachael & Scott Anderson

Thomas Robert Anderson Kristin Angell Ruby Apsler ArborBrook Vineyards Ernest & Tina Argetsinger Herman Asarnow & Susan Baillet Arlene Ashcraft Nancy Ashton Ruth Beiser Bach Matt Baines Debbie & John Bakum Ann Balzell & Joe Marrone, in memory of Deforest Arn Piper George Bateman Mary Beach Alan & Sherry Bennett Dr. Dana Bjarnason Joe Blount Dawn Bonder

The Role of a Lifetime Make a lasting impact with your legacy gift to Artists Rep There are almost as many approaches to making a planned gift as there are plays in the canon, but it doesn’t have to be overwhelming. There are simple ways to match your generosity with your goals for the future, while ensuring that great theatre gets made today, tomorrow, and beyond. Artists Rep benefits from knowing about your plans to give, no matter where you are in your process. Contact us to: • Ensure your priorities and wishes are planned for. • Allow us to show our appreciation and help inspire others. • Ensure the arts thrive as a part of our vibrant community for years to come. For more information or to let us know that Artists Rep is already included in your will or as a named beneficiary of your retirement or life insurance, please contact Sarah Taylor, Development Director, 503-241-9807 ext. 117 or staylor@artistsrep.org

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CONTINUED Teresa & James Bradshaw James Breedlove Margaret & Donn Bromley Brian Brooks Nancy & Gerry Brown Marlene Burns & Jon Dickinson Thomas A. Burns Ida Rae Cahana Douglas Campbell Michael Carter & Teresa Ferrer Jean Carufo & Barbara Engelter Tom & Anne Caruso Sue Caulfield Chamber Music Northwest Lou & John Chapman Mary & Russ Chapman Valri & Vince Chiappetta Molly Cochran & Sam Ellingson John & Kathryn Cochran Bradley Coffey Ilaine Cohen

Anne Conway & Louis Baslaw Linda Crane Joseph Davids Elaine & Earl Davis Carolyn DeLany-Reif Jewel Derin Deschutes Brewery Elaine & Bill Deutschman Lisa Dodson Jeanne & Lauren Donaldson Judith E Posey & Edward J Doyle, MD Anne Driscoll Ross & Olivia Dwinell The Ellermeiers Laury Ellis & Kathy Fode Jim & Joan English Susan & Gabriel Farkas Dave Felt & Lynda Wendel Chris Fletcher & Pamela Abernethy & Elizabeth Abernethy Katie Flynn Heidi Franklin Amy Fuller & Frank Wilson George Fussell

Seasonal Food for all occasions

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Kay Gage & Ketan Sampat Vanessa & John Gebbie Susan GendeinMarshall & Lee Marshall Linda Gipe George Goodstein Gretta Grimala HP Matching Gifts Kathleen Haley & Steven Wax Gail & Irvin Handelman Ulrich Hardt & Karen Johnson Meredith Hartley & Jeremiah Pyle Joan Heinkel & Ben Massell Thomas Hellie & Julie Olds Joe & Diana Hennessy Jon Henrichson Sarah Hershey Ron & Barbara Higbee Jon Hirsch Ava & Charlie Hoover Eric & Keena Hormel Hot Diggity Pet Sitting Judy & John Hubbard Steve & Kris Hudson Beth Hutchins & Pete Skeggs Carol & Tom Hull Deborah Indihar Constance Jackson & Xavier Le Héricy Jeri Janowsky & John Crabbe Katharine Jansen Kay & Steve Jennings Betsy Jeronen Colleen & Jeff Johnson Phyllis Johnson Steve & Anita Kaplan Nancy G. Kennaway Ellen Kesend & Bruce Sternberg Heather Kientz Doris & Eric Kimmel Rev. Larry King Frederick Kirchhoff David & Susan Kobos Tom & Judy Kovaric Robert & Helen Ladarre Elyse & Ron Laster Jeanette Leahy Reed Lewis Wallace & Janet Lien Mary Lou & Ross Laybourn Richard Lewis & Meg Larson Mari & Louis Livingston Ralph London Henry C. Louderbough

Jane Luddecke & Robert Anderson Dr. Christine Mackert Sheila Mahan Michelle Maida & James Hager Jim & Midge Main Sara Marchus Ellen Margolis Ms. Nancy Mathews Debra Mazer Meg McGill & Mark Ramsby Carla McKelvey Anne McLaughlin Kathy McLaughlin Andy C. McNiece & Nancy L. Haigwood Katie McRae Mariellen Meisel Michael Mendelson & Tim Thompson William Meyer JJ Miner Fern Momyer & Marlene Grate Monique’s Boutique Michael Morgan & Nancy Babka Diane Morris Nancy & Art Moss Judy Munter Anna Nicholas NIKE Matching Gift Program Marcy Norman North Country Productions, Alan & Sharon Jones Terry O’Brien Kevin O’Donnell Oregon Symphony Nancy Park Kathy Parker Beth Parmenter & Alan Miller Michael Parsons & Katelyn Randall Dr. Kathyayini Patel, Sharath Patel, and Corinne Lowenthal, in memory of Dr. Halesh M. Patel Katherine Patricelli & Dennis Reichelt Gordon & Sondra Pearlman Carla Pentecost Robert Pescovitz Pierre & Linda Pham Kevin Phaup Donna Philbrick Janet Plummer & Donald Rushmer Roger Porter Portland Opera

Elizabeth Pratt & Philip Thor Pumpkin Ridge Golf Club Ana Quinn Jay & Barbara Ramaker Harry & Susan Rectenwald Dick & Linda Reedy Ed Reeves & Bill Fish Betty & Jacob Reiss, in memory of Andy Glass Bob & Marilyn Ridgley Kathryn Ross Rich & Joan Rubin Ellen Rubinstein Ms. Cara Rozell Jane Sage Ann Schwarz Jean Scott & Myrth Ogilvie Gil Sharp & Anne Saxby Laurel & Dan Simmons Neil Soiffer & Carolyn Smith Olivia Solomon Charles & Karen Springer David Stachely Barbara & Bill Stalions DeeAnne Starks Stash Tea Company Kathleen & Leigh Stephenson-Kuhn Milan & Jean Stoyanov Pat & Larry Strausbaugh Julia Surtshin & Richard Sessions Gary Taliaferro Rick Talley & Dr. Mary Ann Barr Talley Julie A. Tanner

Leslie Taylor & Doug Beers Tektronix Matching Gifts Robert Thinnes Tracy Thornton David Tillett Larry Toda Robert Todd Mary Troxel Roberta & Ward Upson Kaye Van Valkenburg & David Maier Phil VanderWeele & Joan Snyder David & Julie Verburg Alec Vesely Janet Vining & Eric Vega Pamela Vohnson & David Streight Sue & Jim Walcutt Marilyn Walkey & Mike McClain Judi & J. Wandres Janet F. Warrington Maureen K. Wearn & Frederick Wearn, MD M. Howard Weinstein Gary Weiss & Family Ann Werner, in honor of Rosalie Tank Larry & Erleen Whitney Anthony Wilcox Richard Winkel Lawrence W. Woelfer Ed Woodruff Susan Woods Kathleen Worley Yoyoyogi Deb Zita & Maryka Biaggio

Artists Rep is saddened to have lost Charlie Rosenthal, a true theatre lover. A number of his dearest friends and neighbors made gifts in his memory and we are honored to recognize them here: Patrick & Barbara Christian Connie & John Larkin Reva Ricketts & Marc Loriaux Sam Metz & Margaret A. Jennings Mani & Nazanin Rahnama Dorothy & John Shaner Rosalie & Ed Tank George & Dawn Tsongas Joan & David Weil

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MAR 10 - APR 7

WORLD PREMIERE

In a world where people struggle to have children, one American couple decides to ‘un-adopt’ their young Korean son because they have a newborn at home. After an internet chat room search for the right family, the father ‘re-homes’ the boy with a lesbian couple, where one half is desperate for a child and the other half is fighting for her career. As the boy — who thinks he’s a wolf, but is really a puppet – adjusts to his new life, he forms bonds with the unlikeliest of culprits while the rest of the adults squabble about what is ‘best for the child.’ Wolf Play is a messy, funny, and moving theatrical experience that grapples with where family allegiance lies.