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Branden Jacobs-Jenkins
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EVERYBODY BY BRANDEN JACOBS-JENKINS
Dámaso Rodríguez, Artistic Director J.S. May, Managing Director CAST Usher/God/Understanding ................................................... Sarah Lucht^* Death................................................................................... Ted Rooney* Somebody............................................................................ Sara Hennessy* Somebody............................................................................ Michael Mendelson^* Somebody............................................................................ John San Nicolas^* Somebody............................................................................ Andrea Vernae* Somebody............................................................................ Barbie Wu + Love...................................................................................... Falynn Burton Girl/Time.............................................................................. Eva Rodríguez All the Shitty Evil Things........................................................ Alex Blesi CREATIVE TEAM Co-Director.......................................................................... Jessica Wallenfels Co-Director.......................................................................... Dámaso Rodríguez~ Scenic Designer.................................................................... Tim Stapleton Costume Designer................................................................ Bobby Brewer-Wallin^ Lighting Designer.................................................................. Kristeen Willis Crosser# Sound Designer.................................................................... Phil Johnson Props Master, Puppet Design & Fabrication........................... Robert Amico Dramaturg............................................................................ Pancho Savery Intimacy Consultant.............................................................. Amanda K. Cole Stage Manager..................................................................... Michelle Jazuk^* Assistant Director................................................................. Joel Patrick Durham Assistant Scenic Designer...................................................... Samie Pfeifer Assistant Stage Manager...................................................... Jamie Lynne Simons* Production Assistant............................................................. Ariela Subar Youth Coordinator................................................................ Haley Hanson Board Op.............................................................................. Alan Cline Everybody is presented by special arrangement with Dramatists Play Service, Inc., New York. World Premiere produced by Signature Theatre, New York City. (Paige Evans, Artistic Director; Erika Mallin, Executive Director; James Houghton, Founder)
RUN TIME: Approximately 90 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 ^ Artists Repertory Theatre Resident Artist # The scenic, costume, lighting, projection, and sound designers are represented by United Scenic Artists + Equity Membership Candidate ~ Stage Directors & Choreographers Society LORT 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. League of resident theatres
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A MESSAGE FROM ARTISTIC DIRECTOR DÁMASO RODRÍGUEZ
“
There were so many great things about life. For example: other people— or certain other people— meeting them, spending time with them. That was always so good.”
“
–Everybody, in Branden Jacobs-Jenkins’s Everybody
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WELCOME TO THE PORTLAND premiere of Branden JacobsJenkins’s audacious theatre event, Everybody. As he did with last season’s An Octoroon, the MacArthur Genius Grant recipient and Pulitzer Prize finalist radically adapts a nearly-forgotten classic text to timely relevance. In this case, it’s the medieval morality play The Summoning of Everyman, a text with an archetypal premise, elements of which you may find familiar throughout literature and cinema from Dickens’s A Christmas Carol, to Capra’s It’s a Wonderful Life, and Albert Brooks’s Defending Your Life (can you think of others?). In short, Death comes for Everybody, and they’re not ready to go. Unfortunately—or perhaps, fortunately—for us all, the moment we face the end of life is determined by
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chance. And in today’s performance, so will the casting. You are about to see a version of this play in which the exact combination of performers and the roles they are playing has never been performed before (and possibly not even staged) in the exact way the events will unfold during the course of the play. Five of the actors in this cast of ten will be assigned their role on stage today. There are 120 possible combinations, and the resulting role assignments will create specific adjustments to every aspect of the performance, including dialogue, characterization, choreography, technical cues, costumes, and props. Any theatre performance you’ll ever attend is fueled by adrenaline and nervous energy, and is to some degree wholly unique, but you’re unlikely to experience a fully staged piece of theatre with so much left to chance. As a director, I’m more driven to work on plays that break free from formula and, to a certain extent, are a mystery to me as I begin the process of producing and rehearsing them. I’ve never encountered a play where all of my long-held assumptions about the best process for creating the production can’t serve me; there’s no point of reference. Like the character of Everybody, I wanted to bring Somebody with me to face the unknowns of the journey. That somebody is Jessica Wallenfels, a Portland-based director-choreographer of national reputation whose work I’ve admired for many years. As co-directors, we’ve assembled a team on and off stage with a history of collaboration and a shared
appetite for facing the brilliant challenges our playwright offers us. On behalf of all of us at Artists Rep, I wish you and your family a happy holiday season. I hope you are spending this time with people you love, soaking up the good things that life has to offer. I look forward to welcoming you back the theatre in the New Year! Warmly,
Dámaso Rodríguez P.S. I hope you’ll make plans to see our family-friendly holiday event, It’s a Wonderful Life: A Live Radio Play. This production is an extremely popular stage adaptation of Frank Capra’s beloved film masterpiece, which has been re-imagined as a live radio broadcast featuring “Foley” sound effects, 1940s commercial jingles, and pre-show Christmas carols. It’s a must for fans of the film and anyone looking for a new annual tradition to share with loved ones. Our cast of seven local actors (featuring Resident Artists Chris Harder and Susannah Mars as George and Mary Bailey) will play the nearly 30 roles in the iconic screenplay while our creative team has crafted moments of theatrical magic you won’t want to miss.
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MANAGING DIRECTOR’S NOTE
HELLO ALL, I am delighted to have joined Portland’s longest-running professional theatre, Artists Rep! Here, I will lead fundraising, board development, strategic planning, business development, and financial management efforts. I have been working in this arena for more than 30 years for a wide range of local, regional, national, and international nonprofit organizations and have helped raise more than $500 million. My wife Robin and I have lived in Portland since 1980. Both of our adult daughters grew up here. For eleven years prior to Artists Rep, I was the Chief Advancement Officer for the Portland Art Museum, Oregon’s premiere visual arts institution. For seven years prior to the Art Museum, I led the fundraising practice for Metropolitan Group (MG), a Portland social marketing firm that works to create a more just and sustainable world. For the six years prior to MG I led the Doernbecher Children’s Hospital Foundation, the region’s leading pediatric teaching and research hospital (part of OHSU) through a highly successful capital campaign that created a new children’s hospital. Prior to
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Doernbecher, I spent six years as the director of corporate support for Oregon Public Broadcasting, Oregon’s most trusted media source. I am a graduate of the University of Oregon, and have volunteered for numerous nonprofit organizations and served multiple terms as president of the board for both the Portland Schools Foundation and the Portland Chapter of the Association of Fundraising Professionals. Currently I am President of the Cycle Oregon board. I am an avid yogi, cyclist, reader, dog & cat owner, and arts/theatre patron. I hope to personally meet you soon. Please come up and say hello and share your thoughts and feelings about Artists Rep. Best,
J.S. May Managing Director
(BTW—If you are wondering it’s John Stuart. I was raised in the South and my sister started calling me J.S. before I could speak!)
DIRECTOR’S NOTE BY JESSICA WALLENFELS bedbound person in hospital or home, with Facing death can people gathered around. For the person in be a terrifying and crisis, the hazy boundaries between self and humbling moment. It space may start to float away. The dying can be a wondrous person may exist somewhere between a moment—maybe—as dream and an inner monologue as they long as it’s happening to overhear the disembodied voices of others somebody else. Our fear hovering around their consciousness. The of death as a culture is multiplicity of conversational modes in as ancient as the sacred Everybody disrupt conventional playwritdances which honor it. It’s no surprise that ing’s depiction of reality as we, the living, the human representatives in Everybody know it, and bring up diffcult questions inadvertently do everything they can to of race and identity that some critics have postpone death as they search desperately remarked don’t belong in an adaptation for a companion to accompany them to the of Everyman. I disagree. What could be great beyond, foolishly believing a companmore appropriate than to contemplate and ion can protect them from the fear and pain confront the ways in which we’ve misunderwe associate with death. Looking at Everybody, I recognize the What could be more appropriate than to contemplate and desperation, the negoconfront the ways in which we’ve misunderstood each other, tiating, and the avoidthe mistaken assumptions we’ve made about one another, ance patterns that, when facing a limited number of days or hours together? apparently, humans have engaged in since stood each other, the mistaken assumptions at least medieval times. I can laugh about we’ve made about one another, when facing those flaws, especially through Jacobsa limited number of days or hours together? Jenkins’s telling of this funny-sad-seriousConversely, there’s no better incentive than wacky play, and I can see myself within the limited time to inspire the courage needed timeless pattern of humankind’s folly. to cast off people and ideas that are toxic. Everybody has presented unique challenges I hope that in watching this play, you find to our production team. What does Death yourself suspended in a space outside the wear? Where does Friendship hang out? doing we busy ourselves with every day, and Moreover, how do you rehearse a play which are present to the unfolding of a journey is intended to be different every night? You that tells us something about life even as it might as well ask how to prepare for every tells us about death. This reminder of the contingency in life. present moment is what I think theatre does Everybody is a play, but in practice is a best, while providing the insight to change working metaphor demonstrating our the course of the future in the next instant. ability to deal with uncertainty as a key I’d like to extend a huge thank you to means to survival. And as conceptual as Dámaso and all of the designers, producthe allegorical characters sound, one of the tion staff, and actors who have worked on gifts of Jacobs-Jenkins’s adaptation is that this show. The risks we’ve taken together you’ll recognize these people and relationexemplify the kind of theatre-making that ships from your own life. keeps our work vital, and I’m grateful to In my experience, Death is less a figure, have been part of the team. and more of a presence. There may be a ARTSLANDIA.COM
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PLAYWRIGHT’S BIO
BRANDEN JACOBS-JENKINS’S plays include Everybody (Signature Theatre; Pulitzer Prize finalist), War (LCT3/Lincoln Center Theater), Gloria (Vineyard Theatre; Pulitzer Prize finalist), Appropriate (Signature Theatre; Obie Award), An Octoroon (Soho Rep; Obie Award), and Neighbors (The Public Theater). A Residency Five playwright at Signature Theatre, his most recent honors include the Charles Wintour Award for Most Promising Playwright from the London Evening Standard, a London Critics Circle Award for Most Promising Playwriting, a MacArthur fellowship, the Windham-Campbell Prize for Drama, the Benjamin Danks Award from the American Academy of Arts and Letters, the PEN/Laura Pels International Foundation Theatre Award, the Steinberg Playwriting Award, and the inaugural Tennessee Williams Award. He sits on the board of Soho Rep and, with Annie Baker, he is an associate co-director of the Hunter College MFA program in playwriting.
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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!
PUBLISHER + FOUNDER Misty Tompoles ASSOCIATE PUBLISHER + MEMBERSHIP MANAGER Katrina Ketchum MANAGING EDITOR Kristen Seidman MEDIA DIRECTOR Chris Porras SALES DIRECTOR Lindsey Ferguson DESIGNERS Lisa Johnston-Smith, Dan Le, Jackie Tran
TIM STAPLETON
ROBERT BREWER-WALLIN
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PUBLISHING COORDINATOR Sara Chavis NEW BUSINESS ASSOCIATE Ashley Coates
Please note: Photos are strictly prohibited during the performance, and photos of the stage are not permitted if an actor is present. Video recording is not permitted at any time.
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PODCAST HOST Susannah Mars Artslandia at the Performance is published by Rampant Creative, Inc. ©2018 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
GET INTO THE WORLD OF EVERYBODY MOVIES SE7EN (1995) THANK YOU FOR SMOKING (2005) STRANGER THAN FICTION (2006) THE LOBSTER (2015)
TV DEAD LIKE ME (2003) SIX FEET UNDER (2001) THE GOOD PLACE (2016)
MUSIC WE THE PEOPLE… BY A TRIBE CALLED QUEST (2016) LEMON BY N.E.R.D, RHIANNA, AND PHARRELL WILLIAMS (2017) OVER AND OVER BY HOT CHIP (2006) APPLAUSE BY LADY GAGA (2013)
BOOKS LINCOLN IN THE BARDO BY GEORGE SAUNDERS MORT, A NOVEL OF DISCWORLD BY TERRY PRATCHETT A DIRTY JOB BY CHRISTOPHER MOORE
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SPOILER ALERT
How Many Somebodies Does it Take to Make Everybody? or,“What’s Love Got to Do with It?”: Branden Jacobs-Jenkins’s Everybody BY PANCHO SAVERY
L
ast season, Artists Rep produced Branden JacobsJenkins’s An Octoroon, his 2014 modern-day adaptation of Dion Boucicault’s 1859 The Octoroon, a play about antebellum American slavery. This season, we are presenting his Everybody, a 2017 adaptation of the 15th century play Everyman, a finalist for the 2018 Pulitzer Prize for Drama. Although there is some controversy about which came first, Everyman appears to be a translation of the Dutch Elckerlijc, first published in 1495. Everyman is a morality play in which God complains that humans are “blind,” “unkind” to Him, and “drowned in sin.” He therefore decides to call Everyman to a reckoning or kind of test. And in this form, the play has similarities to several texts in the Hebrew Bible: the Lord’s decision to destroy Sodom and Gomorrah
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for their “very grave sin,” and Abraham’s debate with the deity about how many righteous people it would take to save the cities (Genesis 18: 20–33); the story of the Tower of Babel, in which the Lord “scattered them abroad from there over the face of all the earth, and they left off building the city… [and] the Lord confused the language of all the earth” because the people wanted to build “a tower with its top in the heavens” (Genesis 11:1–9); or the story of Job, in which the Lord takes everything away from Job to test Satan’s theory that Job is only “blameless and upright” because he has everything; and that with nothing, “he will curse you [the Lord] to your face” (Job 1: 1–11). This kind of text is often referred to as “wisdom literature,” and can also usefully be compared to ancient Egyptian texts such as The Tale of Sinuhe, The Dialogue of a Man and His Soul, and The Tale of Khety.
The purpose of all these texts is to teach humans how to live the proper kind of life.
complains of a toe cramp; while Kindred offers his maid in his place. Here, Everyman has learned the lesson of the false In Everyman, God sends Death to lead ways language can be used. He next tries Everyman on the journey to the grave, to persuade his Goods and Riches to acwhere he will have to make a reckoning company him because he has always loved of his life and prove to God that he is them. Goods reveals, however, that love worthy of salvation; in other words, that of him is contrary to real life, and that his his virtues are greater than his vices. God purpose is to trick and deceive, and bring believes that He must call this reckoning many to hell, which causes Everyman deep in order to do justice. And in the way he shame. With this realization by Everyman, confronts Everyman, Death acts as God’s Good-Deeds, who has been “cold in the enforcer, promising “In hell for to dwell, ground” because of Everyman’s sins, tries world without end” for anyone who cannot to rise; but failing, sends his sister Knowlpass the test. Like the much later Ebenezer edge to take Everyman to “that holy man, Scrooge, Everyman will have to relive his Confession,” who provides the way to penance, including Everyman’s scourging himself, which empowers Good-Deeds to rise and accompany Everyman on the final stage of his journey. Good-Deeds brings along for the final part of the journey Discretion, Strength, Beauty, and Five-Wits. After receiving Communion and Extreme Unction, Everyman continues to the grave, where he is abandoned by, in order, Beauty, Strength, Discretion, Five-Wits, and finally Knowledge. As Everyman enters the grave, his only companion is Good-Deeds. The Grim Reaper is the personification of Death itself that dates back centuries. To make sure there is no missing of the moral, the play has an epilogue spoken life. Afraid and unprepared to take such a by a Doctor, who reminds the audience that journey alone, Everyman calls on a series all you can take with you to your ultimate of friends to accompany him. While Death reckoning with God is your record of good leaves to get ready, Fellowship, who says he deeds, that all else is ultimately unimportwill die for Everyman, quickly flees when he ant; and that if that record is not good, realizes there is no return from the grave, you will be condemned to eternal fire. If, leading Everyman to the realization that however, your record is clear, you shall be only in adversity do you find out who your crowned “high in heaven.” true friends are. Kindred and Cousin next While Everyman is a morality play about promise to accompany Everyman, but flee the necessity of living a good life by doing after hearing the details. Cousin would good deeds, this message is couched within prefer bread and water for five years and a strongly Judeo-Christian context. It is
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God who sets the process in motion. The rewards are heaven or hell. Everyman must scourge himself and receive the sacraments before he is ready to go to the grave. Near the end of the play, there is a mini-sermon by Five-Wits on the fact that “the least priest in the world” is “more important than any emperor, king, duke, or baron.” This religious message also needs to be seen in the larger religio-political context of the time. Assuming the 1495 Dutch Elckerlijc is the original version of the play, only twenty-two years pass before Luther’s 95 theses, tacked to the door of Wittenberg Cathedral, start the Protestant Reformation. Everyman is presumably published some time in this interval, and is therefore a major document in defense of traditional Catholic doctrine, that said good works and the sacraments were necessary in order to be saved. Luther, who felt that Catholicism was corrupt because of the selling of indulgences, argued that faith alone, “sola fide,” was all that was necessary By rotating the roles, Jacobs-Jenkins’s theatrically emphasizes the collective nature of both the personality and the theatrical enterprise. for salvation, and thus we continue to have two major separate branches of Christianity. Christianity is not, however, the only religious/spiritual tradition referenced. God’s anger and jealousy are mirrors of the god of the Hebrew Bible; the play also references Adonai, a Jewish name for God; and Judas Macabee, Jewish priest and hero of the revolt against the Selucid Empire in the 160s BCE, whose removal of Greek statues from the Temple in Jerusalem and its rededication is commemorated by the
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holiday of Hanukkah. And last, there is a very Buddhist orientation of the message, namely that life is transitory, everything is impermanent, and things and material possessions do not matter. This is the backdrop for Everybody. The first thing to take note of is the title change. In the same way that Jacobs-Jenkins changes Boucicault’s title from THE Octoroon to AN Octoroon, noting that the main character is not unique but one of many, the change from Everyman to Everybody makes a similar, and non-sexist, point. This is not, however, a mere stylistic or linguistic point that Jacobs-Jenkins is making. He makes the point theatrically in two interesting ways. First of all, there is a group of characters called Somebodies, not in the original, and these collectively are all sub-parts of Everybody, which raises the question of how many Somebodies it takes to constitute one Everybody. Secondly, the script makes clear that before each performance, there are lotteries both to determine which Somebody will play Everybody, and which Somebodies play Friendship, Strength, etc., so the actors have to know all the parts. By rotating the roles, Jacobs-Jenkins theatrically emphasizes the collective nature of both the personality and the theatrical enterprise. This, of course, means that there are over 100 possible different acting configurations, and this means you have to see the play more than once to witness this collective statement. Although Everybody, like its predecessor, is labeled a morality play, the religious nature is immediately undercut when we are told it is “Someone or Something-God?” who sends Death to summon every creature. That the word “God” always appears in scare quotes, on the page and verbally on
the stage, posed as a question, makes it clear that this is a different type of morality play. And at various points in the play, someone will ask Death, surprised, “So God is real?” Death always answers ambiguously with something such as, “I’m never really sure how to answer that”; or, “Doesn’t that depend on your definition of ‘real’?” As in An Octoroon, where Jacobs-Jenkins constantly reminded us in a Brechtian way that we are always watching theatre, a devised performance, here we have an overly long speech by an usher that not only tells us to turn off our cell phones, but also soliloquizes on the “Do Not Disturb” function, sore throats, weird-tasting tongues, and the sound of noisy paper or plastic wrappers, and gives us both a brief history of the play and of the Buddhist notion of reincarnation. The character Death emerges from the audience, as do the sleeping Somebodies, somewhat like the Furies at the beginning of Aeschylus’s The Eumenides. As in Everyman, here, Death summons Everybody to a reckoning, and there is immediate resistance. Everybody first tries to bribe Death to delay the day of reckoning; and when that fails, asks if there can be friends to accompany the journey. When Death leaves to get ready, Everybody then says to the Somebodies, “And that’s when I woke up.” Has everything previous merely been a dream of Everybody’s? Has there been no command by “God” for a day of reckoning? Are both “God” and Death merely the result of Everybody’s bad dream and none of this is real? Is theatre also merely an illusion? Are dreams, and theatre, a form of vision? Does life, in fact, have a point, and how can a life be understood and accounted for without succumbing to Narcissistic Personality Disorder? These existential questions are raised, but of course not answered.
Does life, in fact, have a point, and how can a life be understood and accounted for without succumbing to Narcissistic Personality Disorder? While Death is dressing for the journey, Friendship appears and vows to die and to go to hell and back for Everybody, but recants after realizing there is no “and back,” but awards Everybody a trophy for “lifetime achievement” and “dying before me”and then leaves, but implies that he is the author of Everybody, who has made art about his dying friend. We are again reminded that we are witnessing a theatrical performance, a step away from “reality”; and that the performance we are seeing, created by Friendship, a character in the play, and thus another step away from reality, is all part of Everybody’s dream, still a third step away from reality, which then engenders a conversation about the proper use of language in dreams. Specifically, is it okay to use the phrase “whatever you want, homey,” and is to criticize such dream language an example of racializing one’s unconscious? This is, of course, extremely hilarious, and significantly undercuts the solemn tone of a supposed “morality play.” Having been abandoned by Friendship, Everybody hopes family members will come through as journey companions, but both Kinship and Cousin (who has both a cough and a hurt toe and therefore can’t travel) refuse, along with a little girl from the audience. This causes Everybody to lament that “humans are useless nothings,” and complain that artists, writers, religious figures, and politicians try to convince us otherwise. As a last resort, Everybody tries to get Stuff to go on the journey, but
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discovers that Stuff ’s purpose in life is to destroy humans with capitalist cravings. Everybody claims this is the end of the dream, and then notices an audience member, who turns out to be Love, trying to leave. Everybody tries to convince Love not to leave, and instead go on the journey to God. This confuses things even more because now the journey exists both inside and outside Everybody’s dream. What is real, what is dream, and what is theatre? These are questions the play continually asks us.
Everyman is an exposition of Christian values, particularly Catholic ones, that say that only good deeds can accompany you to the grave, and it is on the basis of them that God will judge you. In contrast, Everybody is accompanied to the grave by Love. One can possibly argue that love and good deeds are essentially the same thing, but Everybody lacks the overall religious context of Everyman. One play’s message
In return for Love remaining, Everybody must strip and run around the theatre chanting, “I’VE BEEN VERY DISAPPOINTING BECAUSE MY BODY IS A MYSTERY TO MYSELF,” and, “I HAVE NO CONTROL,” after which Death finally returns (preceded by “La Danse Macabre”) and Love agrees to accompany Everybody on the journey. Of course, Love should In the medieval period, “La Danse Macabre,” or “the dance of death,” was a literary or pictorial have been asked first to accompany representation of a procession or dance of both living Everybody. An usher, now Underand dead figures expressing the medieval allegorical standing, arrives, accompanied by concept of the all-conquering and equalizing power Strength, Beauty, Mind, and Senses, of death. who all agree to go with Everybody; but when they see the actual grave, is to certain somebodies who espouse a Beauty fades, Strength runs out, the Mind particular religious belief system, and is goes, the Senses get lost, and Everybody therefore limited in terms of the potential goes blind. Finally joined by Evil, “all the audience it can reach. The other, more shitty evil things you’ve done to the world universal than Catholic, is a message for all. and other people,” Love and Death enter the grave with Everybody while UnderAnd in a world where women are constanding watches. After Death emerges, tinually disrespected, dismissed, and Time (sister of Space who formerly dated demeaned, journalists are body-slammed Death) appears in the form of the previously and dismembered, and racists are called kidnapped girl from the audience Time “fine people,” love for all remains the most and Death exit together holding hands, powerful message there is. Tina Turner and Understanding/Usher delivers the once asked, “What’s Love Got to Do with “moral,” using some of the same language It?”, and Branden Jacobs-Jenkins’s answer from Everyman. The morals of the two is, “everything for everybody.” plays are, however, profoundly different.
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Artists Rep gratefully acknowledges our theatre rests on the traditional lands of the Multnomah, Wasco, Cowlitz, Kathlamet, Clackamas, Bands of Chinook, Tualatin Kalapuya, Molalla and many other tribes who made their homes along the Columbia River.
CAST BIOS SARAH LUCHT Usher/God/ Understanding A Resident Artist since 2013, Sarah (she/her/hers) first appeared at Artists Rep in The Artificial Jungle some 25 years ago. Since then, she has appeared in numerous productions including most recently The Thanksgiving Play, The Importance of Being Earnest, 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, and 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 The House of Blue Leaves) and Lakewood Theatre (God of Carnage, Noises Off, Inspecting Carol). She currently teaches for the Portland Actors Conservatory and also teaches Shakespeare, playwriting, and scene study in area high schools. She is a founding member of the Portland Shakespeare Project, and is a faculty member at the Haven Institute in British Columbia where she co-leads acting workshops for business professionals with Jane Geesman. Sarah also does private coaching for performing artists and business leaders, with a special emphasis on breath and energy work.
TED ROONEY Death Ted (he/him/his) is thrilled to be able to work at Artists Rep once again after A Civil War Christmas! He was most recently seen in Quietly at Corrib Theatre (Drammy nominated), and was
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previously in Orlando at Profile Theatre. Other theatre experience: Ahmanson Theatre, Williamstown Theatre Festival, McCarter Theatre, The Wilma Theater, Arden Theatre Co., Portland Center Stage, Idaho Shakespeare Festival, 10 off-off Broadway credits, and 10 plays with The Actors Co-op in L.A. (Uncle Vanya, The Foreigner, Man of La Mancha, Terra Nova, Damn Yankees, Twelfth Night). Ted has 35 TV guest-star credits, over 20 principal film roles, and oodles of commercial credits. Ted grew up here in Portland with his eight brothers and sisters and received his BA in Theatre from Lewis & Clark College and his MFA from Temple University. He currently coaches and teaches on-camera acting classes out of Rooney/Totman Studio and at Portland State University, and loves every minute of it.
SARA HENNESSY Somebody Sara (she/her/hers) is a two-time Los Angeles Drama Critics Circle Award winner and an L.A. Weekly Theatre Award nominee. She’s been in several shows at Artists Rep including Magellanica, Caught, Feathers and Teeth, The Skin of Our Teeth, Cuba Libre, Blithe Spirit, Intimate Apparel, and Foxfinder. She has also worked locally with Corrib Theatre, where her credits include Little Gem and How to Keep an Alien, which opens this spring. Before moving to Portland, she lived in Los Angeles, where she was a co-founder and co-artistic director of the acclaimed Furious Theatre Company. Her Furious Theatre credits include Foxfinder, Hunter Gatherers (L.A. Drama Critics Circle Award winner), Grace (L.A. Drama Critics Circle Award winner), The God Botherers, The Shape of Things, Scenes from the Big Picture, Chimps, The Playboy of the Western
CAST BIOS World, and the U.S. Premiere of Noise by Alex Jones, which she directed. With other L.A. theatres: The Government Inspector at the Theatre@Boston Court (L.A. Weekly Theatre Award nominee); The Skin of Our Teeth, A Christmas Carol, Life is a Dream, and Hay Fever at A Noise Within; Festen and Another Part of the Forest at Pasadena Playhouse – Hothouse and Ramblers (Chicago & L.A. Premieres). In Chicago, she performed improv with Freudian Slip and Genealogy at ImprovOlympic. She also made an appearance on NBC’s Grimm. She is a proud member of Actors’ Equity Association and the Screen Actors Guild. sarahennessy.com
MICHAEL MENDELSON Somebody Michael (he/him/his) is a Resident Artist at Artists Rep and this season will mark his 40th production with this outstanding company. His credits include 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, Miracle Theatre, triangle productions!, TygresHeart Shakespeare, Portland Center Stage, A Contemporary Theatre, New Rose, Portland Rep. NYC: Revolving Shakespeare Co., Theatre 1010,
Lincoln Center/Clark StudioTheatre, Genesius Guild, The Barrow Group. Regional: 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.
JOHN SAN NICOLAS Somebody A native of San Diego, CA, John (he/him/his) first worked at Artists Rep on Jack Goes Boating in 2011. He has since appeared in The Motherfucker with the Hat, Exiles, The Invisible Hand, The Liar, Grand Concourse, A Civil War Christmas, Trevor, The Talented Ones, An Octoroon, The Humans, Magellanica, and Small Mouth Sounds and is proud to be a Resident Artist. He has also performed at Portland Center Stage (Twist Your Dickens: The Second City’s Christmas Carol, Shakespeare’s Amazing Cymbeline), Portland Playhouse (Bloody Bloody Andrew Jackson, Bingo with the Indians), Third Rail Repertory Theatre (A Noble Failure, The Pain and the Itch), Oregon Children’s Theatre (The Red Badge of Courage, The Pressure Point!), Portland Experimental Theatre Ensemble (Three Sisters), Badass Theatre Company (Invasion!), Miracle Theatre (Elliot: A Soldier’s Fugue, Sonia Flew), The
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CAST BIOS Anonymous Theatre Company (The Crucible, The Good Doctor, Lend Me a Tenor, Rumors), Clackamas Repertory Theatre (Baskerville), Shaking the Tree Theatre (Far Away), CoHo Productions (Reasons to Be Pretty), Fusion Theatre Co. (Old Times, Disgraced), and several others. He has appeared on the television show Leverage and has made several appearances on IFC’s Portlandia. He has been a member of Actors’ Equity Association since 2002 and is proud to serve on the Portland AEA Liaison Committee. He also teaches acting and directs on occasion, most recently directing the World Premiere production of Play by D.C. Copeland and teaching scene study classes at Jana Lee Hamblin’s Act Now Studio. John is enormously proud to call Artists Rep home. It’s his favorite place.
ANDREA VERNAE Somebody Andrea (she/her/hers) is so excited to be back at her third home, Artists Rep, after performing in An Octoroon last season. She is a native of Miami, Florida and a former Portland Playhouse Apprentice. She was last seen in Revolt. She said. Revolt Again with Third Rail Repertory Theatre. Her Portland credits include Sibling Rivalry with Confrontation Theatre, Building the Wall with triangle productions!, Pen/ Man/Ship with Portland Playhouse, The Every 28 Hours Plays with Confrontation Theatre, Antigone Project with Profile Theatre, and at Portland Playhouse in Peter and the Starcatcher. When not onstage, Andrea is proud to serve as Managing Director of Confrontation Theatre and also creates short films with Sunflower Creations.
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BARBIE WU Somebody Barbie (she/her/hers) was born and raised in Taiwan. Everybody marks her second production for Artists Repertory Theatre. She was last seen as Dr. May Zhou in Magellanica. Barbie received her Master of Fine Arts in Acting from Southern Methodist University in 2014. Her previous credits include Cobweb in A Midsummer Night’s Dream (Anonymous Theatre Company), Mika Endo in The Mermaid Hour (Teatro Milagro), Katherina Serafima Gleb in Slavs! (Southern Methodist University), Kattrin in Mother Courage (Oregon Contemporary Theatre), and Puck in Shakespeare in Hollywood (Very Little Theatre).
FALYNN BURTON Love Falynn Victoria Burton was born in Detroit, MI and grew up in Southfield, MI. She was bit by the acting bug in high school, where she developed a love for portraying interesting and sometimes zany characters. She has a Bachelors from Wayne State University Theatre Program where she was honored to be cast as Sojourner Truth in A Woman Called Truth and Mary in Black Nativity at the Bonstelle Theatre. While in Chicago she was cast as Mrs. Muller in Doubt. She is currently a second year student at Portland Actors Conservatory and this is her first show with Artists Rep.
EVA RODRÍGUEZ Girl/Time Eva (she/her/hers) is thrilled to return to Artists Rep, where she was last seen
CAST & CREATIVE TEAM BIOS as the Woolly Mammoth in The Skin of Our Teeth. She also recently played Alice Fear in a Northwest Children’s Theatre In-School Playlab production of Alice Inside Out in Wonderland. Eva is a fourth grade student at West Tualatin View Elementary. After school, she enjoys taking dance classes (jazz and tap) and playing soccer.
ALEX BLESI All the Shitty Evil Things Alex is a second year student at Portland Actors Conservatory (PAC). She received her BFA in Acting from Minnesota State University, Mankato in 2017. Her previous professional roles include Berthe in Boeing, Boeing and Ruthie in Making God Laugh at Prairie Repertory Theatre. She is incredibly excited to be working with Artists Rep on this production, which is also her debut show in Portland. She would like to give a shout out to her fellow classmates and friends at PAC for helping her grow and get to where she is today. She can’t wait to see what the future holds.
JESSICA WALLENFELS Co-Director Jessica Wallenfels (she/ her/hers) is a director/ choreographer and educator. Wallenfels works as a freelance director and creates new work that is music and movement driven with her company, Many Hats Collaboration. Recent projects include co-directing the new musical Scarlet at Portland Playhouse, and directing Ella Enchanted and Pete the Cat for Oregon Children’s Theatre. Selected choreography credits include the Oregon Shakespeare Festival, Portland Playhouse, Artists
Repertory Theatre, and Seattle Repertory Theatre. Wallenfels directed the original work The Snowstorm, which won the Drammy Award for Best Production in 2015. She has guest directed at Portland State University, Willamette University, Western Oregon University, and others. Wallenfels teaches movement and devising with Staged! and the Portland Playhouse apprentice program. She holds a BFA from California Institute of the Arts and an MFA in directing from the University of Portland. Upcoming projects include The Undertaking through Many Hats, to debut in the Fertile Ground Festival 2019, and Into the Woods at Broadway Rose.
DÁMASO RODRÍGUEZ Co-Director Dámaso Rodríguez (he/him/ his) is in his sixth season as artistic director of Artists Repertory Theatre. He is a co-founder of the Los Angeles-based Furious Theatre Company, where he served as co-artistic director from 2001– 12. From 2007–10 he served as associate artistic director of Pasadena Playhouse. His directing credits include work at Pasadena Playhouse, Intiman Theatre, South Coast Repertory, Actors Theatre of Louisville, Oregon Shakespeare Festival, American Conservatory Theater, A Noise Within, The Playwrights’ Center, The Theatre @Boston Court, and Furious Theatre. Rodríguez is a recipient of an LA Drama Critics Circle Award, Back Stage Garland Award, NAACP Theatre Award, and Pasadena Arts Council’s Gold Crown Award. Directing credits at Artists Rep include the World Premiere musical Cuba Libre by Carlos Lacámara featuring the music of three-time Grammy-nominated band Tiempo Libre; the World Premiere
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CREATIVE TEAM BIOS production of E.M. Lewis’s five-part epic Magellanica; the Portland premieres of Stephen Karam’s The Humans, Branden Jacobs-Jenkins’s An Octoroon (co-director), Nick Jones’s Trevor, David Ives’s adaptation of Pierre Corneille’s The Liar, Nina Raine’s Tribes, and Exiles by Carlos Lacámara; the U.S. premiere of Dawn King’s Foxfinder; the West Coast premieres of Charise Castro Smith’s Feathers and Teeth, Jeffrey Hatcher’s Ten Chimneys,and Dan LeFranc’s The Big Meal; and revivals of The Skin of Our Teeth by Thornton Wilder, The Miracle Worker by William Gibson, and The Playboy of the Western World by J.M. Synge. Credits at other theatres include productions by contemporary and classic playwrights including Craig Wright, Sarah Burgess, Matt Pelfrey, Peter Sinn Nachtrieb, Richard Bean, Owen McCafferty, Alex Jones, William Shakespeare, Eugene O’Neill, Tennessee Williams, Noel Coward, Bernard Shaw, Clifford Odets, and Lillian Hellman. His upcoming projects include Mi Cuba (in development) by Caridad Svich at American Conservatory Theatre, and the World Premiere of Wolf Play by Hansol Jung at Artists Rep. He is a member of the Stage Directors and Choreographers Society (SDC). damasorodriguez.com
TIM STAPLETON Scenic Designer Tim Stapleton (he/ him/his) is a National Endowment for the Arts Fellow. A professional scenic designer for thirty-six years, he has also worked with Oregon’s Regional Arts & Culture Council as a liaison to Social Services, and taught theatre courses for Willamette University, Central Washington University, Lewis & Clark College, and Slippery Rock University. Some of his Portland designs include: This Lime Tree Bower 20
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(Drammy Award) with Our Shoes are Red, as well as Indiscretions (Drammy Award), The Laramie Project, Breaking the Code, Killer Joe (Drammy Award), The Night of the Iguana, The Quality of Life, The Miracle Worker, A Civil War Christmas, and I and You, all at Artists Rep. Recent favorites are Waiting for Godot at Northwest Classical Theatre Collaborative, and The Turn of the Screw with Portland Shakespeare Project. Tim’s paintings have been exhibited in Huntington, West Virginia, with The Kentucky Arts Commission, and at the Cranbrook Academy of Art in Michigan. In San Francisco, his work has been shown at the Mina Dresden Gallery and The California Institute of Integral Studies. His short stories, paintings, and poetry have been published by Inkwater Press, Pine Mountain Sand and Gravel Literary Journal, Mission at Tenth, and online by FOUR and TWENTY short form poetry, The Verse Marauder, and I’m From Driftwood. Tim holds an MFA in Creative Inquiry. tim-stapleton.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 Magellanica, The Importance of Being Earnest, and
CREATIVE TEAM BIOS 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.
KRISTEEN WILLIS CROSSER Lighting Designer Kristeen (she/her/hers) 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 I and You,
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The Thanksgiving Play, The Humans, Feathers and Teeth, American Hero, The Skin of Our Teeth, The Miracle Worker, The Understudy, Tribes, Foxfinder, The Cherry Orchard, and Eurydice. She designed the set for Between Riverside and Crazy, Marjorie Prime, We Are Proud To Present…, Broomstick, 4000 Miles, and Foxfinder. She has designed scenery and/or lighting for several area theatres including Northwest Children Theatre’s Shrek The Musical; Profile Theatre’s True West, Master Harold And The Boys (2013 Drammy), and Thief River; Coho Productions’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).
A N D V E UV E C L I C QU O T P R E S E N T
NEW YEAR’S EVE SUPPER CLUB “Happy Days Are Here Again”
Susannah Mars and Merideth Kaye Clark celebrate the music of Judy Garland and Barbra Streisand with piano accompaniment by David Saffert. An evening of glamour and performance, featuring a five course dinner prepared by Gracie's Executive Chef Juan Zaragoza with pairings poured by Veuve Clicquot. Two seatings offered at 6 p.m. and 9 p.m. Tickets online at: hoteldeluxeportland.com/signature-events/
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CREATIVE TEAM BIOS 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), 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 Theater). Phil has a BFA and MA from Ohio University. If you enjoyed the show please comment @Philjohnsonlive or visit PhilJohnsondesignstheworld.com for more content.
ROBERT AMICO Props Master Robert Amico (he/him/ his) is a props artisan, puppet fabricator, and performer and is excited to be returning to Artists Rep for a second season. He has worked as the props master for Artists Rep’s productions of Small Mouth Sounds, Skeleton Crew, An Octoroon, Caught, and Magellanica. He was recently the puppet and props coordinator for Oregon Children’s Theatre’s production of The Very Hungry Caterpillar Show, where he also performed as a puppeteer and received a Drammy for Outstanding Achievement in Puppetry as part of the cast. He has also worked as a props artisan and
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 benefeits 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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CREATIVE TEAM BIOS puppet fabricator for Michael Curry Design and for several Portland Center Stage productions including The Little Shop of Horrors, Oregon Trail, and Fun Home. He has also performed as a puppet designer and puppeteer for The Tall Tales of Paul Bunyan, a show Robert co-wrote and produced as part of the 2017 Fertile Ground Festival. On weekends, he works at Portland Escape Rooms as a zombie and airship captain, leading guests through interactive escape experiences. Robert graduated magna cum laude from Lewis & Clark College, with a BA in Studio Art and a minor Theatre.
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 CohHo 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.
AMANDA K. COLE Intimacy Consultant Amanda (she/her/hers) is delighted to return to Artists Rep after her intimacy consultation on this season’s Skeleton Crew and Small Mouth Sounds and last season’s intimacy choreography on Between Riverside and Crazy. Amanda is a movement director, intimacy and violence choreographer/ consultant whose work has been seen throughout the L.A. area and the Pacific Northwest at such venues as CalArts, LACMA, Human Resources L.A., Willamette University, Portland Shakespeare Project, and Portland Community College. Amanda is a fierce advocate for safe, sustainable, and respectful practice around the staging of intimacy and violence in the industry. Amanda is recommended by the Society of American Fight Directors (SAFD) as an Advanced Actor/Combatant. She is also an intimacy director with elemental movement, and is an apprentice with Intimacy Directors International. Amanda holds an MFA in Acting from California Institute of the Arts.
MICHELLE JAZUK Stage Manager Chelle (she/her/hers) sprouted roots in the Portland theatre community 15 years ago. In the time since she has had the distinct joy of collaborating with companies including Oregon Ballet Theatre, Portland Center Stage, Broadway Rose Theatre Company, Theatre Vertigo, Staged!, and Third Rail Repertory Theatre. However, her home has always been with Artists Rep where some of her favorite projects include I and You, Magellanica, Caught, Marjorie Prime, Trevor, Cuba Libre, The Skin of Our Teeth, Tribes, The Big Meal, ARTSLANDIA.COM
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CREATIVE TEAM BIOS Ten Chimneys, God of Carnage, The Lieutenant of Inishmore, All My Sons, House, Garden, Orson’s Shadow, and Theatre District. The stages, (though mostly back-stages) of these companies have acquired the actual blood, sweat, and/or tears of this tenaciously passionate techie. She discovered and grew along side the individuals that make this theatre community one worth loving. After the close of this show however, she will embark on a different journey and plans to become a nurse midwife. Which makes this production a bittersweet one, and causes a flood of fear mixed with excitement! Chelle would like to send gratitude, love, and appreciation to her cohorts, colleagues, and friends who have supported, listened, guided, and walked with her over the years. She shall be forever lovingly indebted to her husband, family, and dear friends for all of the love and support provided. A very special thank you to Jen Raynak who welcomed her into Portland theatre, who continues to be a wise and patient teacher and dear friend. (Dear Dámaso, you got this.) Chelle is proud to be a Resident Artist with Artists Rep, and a member of Actors’ Equity Association.
JOEL PATRICK DURHAM Assistant Director Joel (he/him/his) is a life long Portlander, who has been working in the theatre for the last decade as both a director and actor. He is also the creator of Nesting, an episodic horror play that the Willamette Week called “well-deserving of its cult following.” The series celebrated multiple Drammy nominations last year and is gearing up for its third season. Joel was a member of the 2013/2014 Third Rail Repertory Theatre Mentorship Program, and is a current ensemble member of Theatre Vertigo. Joel is grateful to be working with Artists Rep for the first time, and thankful to Dámaso and Jessica for the opportunity to assist and learn from them. More info can be found at joelpatrickdurham.com.
JAMIE LYNNE SIMONS Assistant Stage Manager Jamie Lynne Simons (they/ them/their) is delighted to return to Artists Rep after stage managing White Rabbit, Red Rabbit, Magellanica, A Civil War Christmas, and The Miracle
Give an experience this holiday season, purchase a Holiday Half Subscription for a friend or for yourself. Contact the box office to give or get the second half of our 2018/19 season for just $35 per show! 24
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CREATIVE TEAM BIOS Worker. They are the production stage manager for the tour of Hundred Days, which recently was at La Jolla Playhouse and will next go up in Tampa in January 2019. Other local credits: Portland Opera, Portland Center Stage, Third Rail Repertory Theatre, Portland Playhouse, Profile Theatre, Chamber Music Northwest, and Oregon Health & Sciences University – aiding in the education of medical students. Jamie worked for over four years on cruise ships with Carnival Cruise Lines. They have a BFA in Applied Theater Arts from The University of the Arts, Philadelphia and serves in the governance of the local Liaison Committee for Actors’ Equity Association.
SAMIE PFEIFER Assistant Scenic Designer Samie works as an actress, painter, musician, designer, and assistant in the Portland theatre community. She moved to Portland from Kansas to attend Portland Actors Conservatory where she met Scenic Designer Tim Stapleton and began working for him. She joined Tim Stapleton as an assistant designer for I and You with Artists Rep. Her solo design credits include Pippin at Lakewood Center for the Arts, The Pride at defunkt theatre, and The Testament of Mary at Corrib Theatre. Her most recent acting and musician credits are with The Caucasian Chalk Circle at Shaking the Tree Theatre.
ARIELA SUBAR Production Assistant Ariela Subar (she/her/ hers) is thrilled to work with Artists Rep for the first time. She has worked professionally throughout the country, most recently as a production assistant
for the Utah Shakespeare Festival’s productions of Othello, The Foreigner, and The Liar. Other professional credits include Emerald City Theatre’s Knuffle Bunny: A Cautionary Musical (assistant stage manager) and Magic Tree House: Showtime with Shakespeare (assistant stage manager), Lucky Plush Productions’s Rooming House (stage manager), Victory Gardens Theater’s Queen (production assistant), Baltimore Center Stage’s Twisted Melodies (production assistant), Lookingglass Theater Company’s Mr. and Mrs. Pennyworth (production assistant), First Floor Theater’s Fitzfest (stage manager), The Awake (assistant stage manager), Animals Commit Suicide (assistant stage manager), Kafkapalooza (stage management intern), and stage management internships at the Oregon Shakespeare Festival, American Theater Company, Court Theatre, and Chicago Children’s Theatre. Ariela holds a BA in Theater & Performance Studies from the University of Chicago.
HALEY HANSON Youth Coordinator Haley is extremely happy to be returning to Artists Rep as youth coordinator for Everybody! She worked here as production assistant for I And You last season. In addition, she has worked as a dresser for Broadway Rose Theatre Company many times over the past two years, and as assistant stage manager for Luna Gale at CoHo Productions.
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.
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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 Company Manager & Casting Director: Vonessa Martin Lacroute Playwright-in-Residence: Andrea Stolowitz Resident Fight Choreographer: Jonathan Cole Resident Voice & Language Consultant: Mary McDonald-Lewis
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, Valerie Liptak, Shelley Matthews, Tara McMahon, Miranda Russ, Andrea Vernae, Kayla Kelly Concessions: Paul Jacobs, Geraldine Sandberg, Jennifer Zubernick, Kayla Kelly
DEVELOPMENT
Literary Intern: Logan Starnes
Development Director: Sarah Taylor
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
Individual Giving & Corporate Sponsorship Manager: Molly Moshofsky
ADMINISTRATIVE Director of Finance & Administration: Jim Neuner Finance Associate: Vonessa Martin Management Associate: Allison Delaney
MARKETING + BOX OFFICE Director of Marketing & Audience Development: Kisha Jarrett Graphic Designer & Marketing Associate: Jeff Hayes Audience Development & Marketing Associate: Mary Beth Leavens Patron Services Manager: Christina DeYoung Data Analyst & Ticketing Manager: Jon Younkin Box Office Systems Associate: Jack Ridenour Box Office Associates: Stephanie Magee, Miranda Russ, Zak Westfall Publicist: Nicole Lane
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EDUCATION + ARTSHUB/ AUDIENCE SERVICES
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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: Ronan Kilkelly Sound Technician: David Petersen Costume Shop Manager: Clare Hungate-Hawk Facility & Operations Associate: Sean Roberts
BOARD OF DIRECTORS Mike Barr, Chair Jeffrey Condit, Vice-Chair Cyrus Vafi, Treasurer Patricia Garner, Secretary Marcia Darm, MD, Past Chair
Julia Ball Tom Gifford Erik Opsahl Michael Parsons Pancho Savery Andrea Schmidt
FOR THIS PRODUCTION Carpenters: Brendan Ramsden,
Ben Sereau-Raskin Scenic artists: Erica Hartmann, Sarah Jean Ludlow, Heidi Ambrose Scenic art intern: Gordon Victoroff Scene shop intern: Garrett Brown Stitcher: Allison Johnson Electricians: Alan Cline, Christopher Stull, Cameron McFee, Myke Rodriguez
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 November 1, 2017 and November 1, 2018. 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)
The Collins Foundation 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)
Oregon Cultural Trust
PATRONS ($10,000–$24,999)
Anonymous (2) Ausplund Tooze Foundation The Boeing Company Ginger Carroll, in memory of J. Michael Carroll Bob & Janet Conklin Margaret Dixon The Kinsman Foundation Romy Klopper The National Endowment for the Arts – Art Works The Oregonian Rafati’s Catering Charlotte Rubin Arlene Schnitzer Marcy & Richard Schwartz John & Jan Swanson Darci & Charlie Swindells William Swindells, Jr.
Work for Art, including contributions from more than 75 companies & 2,000 employees
STAGEMAKERS ($5,000–$9,999)
Anonymous (1) Advance Gender Equity in the Arts (AGE) Julia & Robert S. Ball Karl & Linda Boekelheide Marcia Darm MD & Bruce Berning Bloomfield Family Fund Jeffrey G. Condit Dark Horse Wine Steve Fenwick & Martha Wilson Denise & Robert Frisbee Dan Gibbs & Lois Seed Tom Gifford & Patti Fisher Polly Grose Hotel deluxe Illy Coffee The Jackson Foundation Arthur & Virginia Kayser Drs. Dolores & Fernando Leon Hugh & Mair Lewis Lynn & Jack Loacker 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) Mike Barr
Patti Brewer & Nick Giustina Molly Butler & Robin Manning Classic Pianos Philip Collier Smith Kitt & Butch Dyer Patricia & Bennett Garner Diane Herrmann Intel Corporation Matching Gifts Leslie R. Labbe 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 Rodríquez & Sara Hennessy Miriam & Charlie Rosenthal Steve & Trudy Sargent Pancho Savery Drea Schmidt & Emilee Preble Norm & Barb Sepenuk Shiels Obletz Johnson James G. & Michele L. Stemler
BACKSTAGE PASS ($1,000–$2,499)
Anonymous (3) Ruth 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 Michael & Lynne Chartier 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 Free Geek 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 Kristen & Michael Kern Jody Klevit Bruce & Cathy Kuehnl Lagunitas Brewing Company Ann Laskey Kirsten & Christopher Leonard Jim & Eva MacLowry Carter & Jenny MacNichol Laurie & Gilbert Meigs Katherine Moss
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OUR SUPPORTERS CONTINUED Deanne & Wilfried Mueller-Crispin Erik & Raina Opsahl Pacific Power Foundation Kay Parr Joan Peacock, in loving memory of Ben Buckley Olliemay Phillips David Pollock 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 Elizabeth Siegel The Harold & Mimi Steinberg Charitable Trust, in honor of Marcia Darm Marilyn & Gene Stubbs Tonkon Torp LLP Marcia Truman Cyrus Vafi Elaine & Ben Whiteley
SUPERSTARS ($500–$999)
Anonymous (1) Kay & Roy Abramowitz Adventure Connection Amelia Albright & Aaron Woldrich Susan Bach & Douglas Egan Patsy Crayton Berner Richard & Leslie Bertellotti Lesley Bombardier
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Fred & Betty Brace Dan Brook & Teresa St. Martin Nita Brueggeman & Kevin Hoover Ellen Cantwell Charles & Barbara Carpenter Cleveland H. Dodge Foundation 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 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 Dawn Hayami Mike & Judy Holman Judy & John Hubbard Judith & Gregory Kafoury Beth & Chris Karlin Keeton Corporation Carol Kimball PJ Kleffner Elisa & Steven Klein Leslie Kolisch & Roland Haertl Deborah Kullby Susanne Dziepak Kuhn Jill & Tri Lam Linda & Ken Mantel Michael & Deborah Marble Dr. Robert & Kimberly Matheson Laurie & Jay Maxwell Dan McKenzie Robert & Jessica McVay Dolores & Michael Moore Don & Connie 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 Alfred & Eileen Ono Ron Pausig Julie Poust John Ragno Scott & Kay Reichlin Vernon Rifer & Linda Czopak Carol Schnitzer Lewis Fund of The Oregon Community Foundation Jinny Shipman & Dick Kaiser 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 Julie Tank & Jim Prihoda Sarah & Robert Taylor Paul Thompson & Portia Sipes Trew Gear Paul Vandeventer Estate of Margaret Weil Karen Whitaker Carole Whiteside Pam Whyte & Ron Saylor Andrew Wilson & Dr. Ronnie-Gail Emden
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Anonymous (2) Chuck & Meg Allen Linda Alper Bob Amundson & Sully Taylor Linda Barnes & Robert Vanderwerf F. Blair Batson Eric Beach Bob & Kathleen Bevins
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THANK YOU! Elaine & Ed Kemp Karen Kemper Carol & Jeff Kilmer Sally & Lucien Klein Ted Labbe & Kelly Rogers Barbara LaMack & Jim Kalvelage Bill & Shelley Larkins Roger Leo Literary Arts Steve Lovett & Connie Sullivan John Lynch Mary Lyons Earlean Marsh Ruth Medak Scott & Jane Miller Molly Moshofsky & Will Matheson Phoenix Media Helen Richardson & Don Hayner
Michael Sands & Jane Robinson Charles & Judith Rooks Rebecca Ross Rick & Halle Sadle William & Meredith Savery Natalie Sue Schmitt Erika Schuster & Clay Biberdorf Mary Ann Seth-Wish & John Wish John Shipley H. Joe Story David & Rosemarie Sweet Teutonic Wine Company Mary Troxel Janet F. Warrington Carl Wilson & Evan Boone Maureen Wright & Lane Brown
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Anonymous (6) Christine Abernathy Aesop Kris Alman & Mike Siegel Anders Printing Company Thomas Robert Anderson Kristin Angell Ruby Apsler ArborBrook Vineyards Elizabeth & Stephen Arch 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 Teresa & James Bradshaw James Breedlove Margaret & Donn Bromley Nancy & Gerry Brown Marlene Burns & Jon Dickinson
Your generosity helps Artists Rep #KeepArtInPortland
When you make a gift to our theatre, you support so much more than Artists Rep. Gifts allow us to open our doors for: • New work from fresh voices via Table|Room|Stage • 200+ local artists employed yearly by Artists Rep & ArtsHub organizations • 1,200+ high school students attending Free Student Matinees & workshops Questions? Contact our Individual Giving & Corporate Sponsorship Manager Molly Moshofsky at mmoshofsky@artistsrep.org or 503.241.9807 ext. 129.
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CONTINUED Thomas A. Burns Ida Rae Cahana Douglas Campbell Michael Carter & Teresa Ferrer Jean Carufo & Barbara Engelter Tom & Anne Caruso Chamber Music Northwest Lou & John Chapman Valri & Vince Chiappetta Molly Cochran & Sam Ellingson John & Kathryn Cochran Bradley Coffey Ilaine Cohen Anne Conway & Louis Baslaw Linda Crane 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 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 Kay Gage & Ketan Sampat Vanessa & John Gebbie Susan GendeinMarshall & Lee Marshall Linda Gipe George Goodstein Gretta Grimala
Seasonal Food for all occasions
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HP Matching Gifts Kathleen Haley & Steven Wax Gail & Irvin Handelman Ulrich Hardt Meredith Hartley & Jeremiah Pyle Joan Heinkel & Ben Massell Thomas Hellie & Julie Olds Joe & Diana Hennessy Jon Henrichson Sarah Hershey Ava & Charlie Hoover Ron & Barbara Higbee Jon Hirsch Eric & Keena Hormel Hot Diggity Pet Sitting 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 Nancy G. Kennaway Heather Kientz Doris & Eric Kimmel Rev. Larry King Frederick Kirchhoff Anneliese Knapp David & Susan Kobos Tom & Judy Kovaric Robert & Helen Ladarre Elyse & Ron Laster Jeanette Leahy Reed Lewis Wallace & Janet Lien Richard Lewis & Meg Larson Mari & Louis Livingston Ralph London Henry C. Louderbough Dr. Christine Mackert Sheila Mahan Michelle Maida & James Hager Jim & Midge Main Sara Marchus Ellen Margolis 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 Monique’s Boutique 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 Katherine Patricelli & Dennis Reichelt Gordon & Sondra Pearlman Carla Pentecost Robert Pescovitz Pierre & Linda Pham Kevin Phaup Donna Philbrick Sue Pickgrobe & Mike Hoffman Janet Plummer & Donald Rushmer Roger Porter Portland Opera 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 Ellen Rubinstein Ms. Cara Rozell Jane Sage Jean Scott & Myrth Ogilvie Gil Sharp & Anne Saxby Laurel & Dan Simmons
Neil Soiffer & Carolyn Smith Olivia Solomon Charles & Karen Springer 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 & Mary Ann Barr Talley Julie A. Tanner Leslie Taylor & Doug Beers Tektronix Matching Gifts Robert Thinnes Tracy Thornton David Tillett Robert Todd 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 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 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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STARTS JAN 6 High school is hard enough, but when you have a power hungry 17-year old threatening to overthrow anyone in his way to becoming junior class President, it can be downright murderous. Richard is the king of insults and after alienating the only friend he has, he relies on himself to snatch the crown while securing the heart of the ex-girlfriend of the popular high school quarterback. As Richard struggles to keep all of his plots from going awry, he gains an ally in the most unlikeliest of suspects. Touchingly hilarious, Teenage Dick is the modern comedic re-telling of Shakespeare’s Richard III, and ponders if it is better to be loved or feared.