The Revolutionists - Artists Rep by Artslandia

THE REVOLUTIONISTS BY LAUREN GUNDERSON

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

CAST in order of appearance Olympe de Gouge................................................................ Jamie M. Rea* Charlotte Corday.................................................................. Joellen Sweeney+ Marie Antoinette.................................................................. Amy Newman*^ Marianne Angelle................................................................. Ayanna Berkshire*^

CREATIVE TEAM AND CREW Director ............................................................................... Lava Alapai~ Scenic Designer.................................................................... Megan Wilkerson #^ Costume Designer................................................................ Bobby Brewer-Wallin^ Lighting Designer.................................................................. Jeff Woods Sound Designer.................................................................... Annalise Albright Woods Wig Designer........................................................................ Diane Trapp Puppet Designer................................................................... Lance Woolen Properties Master................................................................. Robert Amico Fight Choreographer............................................................. Jonathan Cole~ Assistant Director................................................................. Audrey O’Farrell Dramaturg............................................................................ Luan Schooler Stage Manager..................................................................... Carol Ann Wohlmut*^ Production Assistant............................................................. Megan Thorpe Production Assistant............................................................. Erin MacGillivray Scenic Design Intern............................................................. Brianna Fisher Wig Maintenance................................................................. Jael Green Board Op.............................................................................. Jason Coffey The Revolutionists was commissioned and first produced by Cincinnati Playhouse in the Park. Song and Lyrics by Lauren Gunderson.

TIME: PARIS, THE REIGN OF TERROR (1793) 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 + Equity Membership Candidate ~ Stage Directors & Choreographers Society ^ Artists Repertory Theatre Resident Artist # The scenic, costume, lighting, projection, and sound designers are represented by United Scenic Artists This theatre operates under an agreement between the League of Resident Theatre and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

ARTSLANDIA.COM

A NOTE FROM ARTISTS REP DEAR SUPPORTERS, SUBSCRIBERS, AND FRIENDS OF ARTISTS REP: Welcome to the final production of our 18/19 season, The Revolutionists. We can’t imagine a more fitting finish than Lauren Gunderson’s witty and inspiring comedy centered around four real-life women, fiercely fighting to write their own stories amidst a rapidly changing world. As today’s play ends its run, a new story begins for Artists Rep—marking a time of transition we are calling ART on Tour. —Olympe, in Lauren Gunderson’s The Revolutionists As outlined in previous updates, ART is nearing the end of the process of selling the north half of our block to Wood Partners of Atlanta (the #2 builder of apartments in the US). They will be constructing a 22-story building with 304 units of housing, underground parking, and ground floor retail space, which will be known as The Art Tower. This is one of the first buildings to comply with Portland’s new inclusionary zoning: 10% of the apartments will be available at 60% of median income. We will use the proceeds from the sale price as the lead investment to transform the south half of the block. Because of the resulting construction, ART must move out of the building by June 1, 2019. This will begin a period of itinerancy while we design our new home, complete fundraising, and build the new theatres. While the process will be complex and challenging, we are energized by what the successful completion of this project will mean for ART and the community of artists, organizations, and audiences that will benefit in the years ahead. We are embracing ART on Tour as an opportunity to deepen connections with fellow producing organizations around Portland. Venues and partnerships include productions at Imago Theatre, The Hampton Opera Center, Portland State University/Lincoln Hall in a co-production IT MIGHT BE FICTION, BUT IT’S NOT FAKE. THE BEATING HEARTS IN FRONT OF YOU ARE REAL. THE GATHERING OF PEOPLE, THE TIME SPENT IS REAL. THE STORY IS REAL WHEN IT STARTS. AND THIS STORY WILL CAPTURE OUR HEARTS.

SHOW SPONSORS

SEASON SPONSORS

JULIE & ROBERT BALL MIKE BARR

OTHER MAJOR CORPORATE AND FOUNDATION SUPPORT:

ARTISTSREP.ORG

with Profile Theatre and the PSU Theatre Program, Portland Center Stage at The Armory: Ellyn Bye Studio, a co-production with Portland Center Stage at The Armory on their U.S. Bank Mainstage, and a mustsee, cabaret-style play with live music in the ballroom of the Tiffany Center. ART on Tour will be a time to build community partnerships, innovate, reach new audiences, and affirm our mission. The partnerships are already blossoming—the collaboration with PCS will include residency in their scene shop where we will continue to build sets for our ArtsHub partners. The final piece of this intricate puzzle is administrative, education, and rehearsal space, which we have found at Zidell Yards in South Waterfront. We are especially happy to be able to provide offices, rehearsal, and classroom space to ArtsHub partner organizations.

theatrical styles (including three plays filled with live music) by acclaimed playwrights who are responding to the world through their work.

Along with producing our current season and planning for ART on Tour, we launched the design process for our new facility on March 7 with an incredible team on board. Our project manager continues to be Shiels Obletz Johnsen, and we are thrilled to have Lever Architecture, Fisher Dachs Theatre Design Consultants, and Howard S. Wright Construction already at work and scheduled to complete schematic design, with confirmed expenses for the project, by the end of summer. By the beginning of next season, we will share the vision of the new space with the public and begin fundraising to bring us home to a transformed facility. Please don’t hesitate to share your feedback, concerns, and hopes for the future with us.

By subscribing, you quite literally make it possible to hire talent and begin the work. It’s also the best way to demonstrate your support for Artists Repertory Theatre, and this vital company’s decades of contributions to the arts in Portland.

For our recently announced 37th season, we’ve put together a line-up of six exhilarating theatre experiences, from the audacious adaptation of George Orwell’s all-tooprophetic masterpiece 1984 (recently seen on Broadway and in London’s West End) to our next Table|Room|Stage World Premiere commission, the hilarious and provocative Looking for Tiger Lily by Anthony Hudson. In between, we’ll bring you a timely and dynamic mix of subjects, settings, themes, and

We know that signing up for a full season of new plays in venues across the city is a leap of faith. It’s a responsibility we take seriously, and our company of artists is excited to bring these productions to life with the highest level of craft we can achieve. As always, Artists Rep’s season is designed to be experienced in its entirety, like a long-form narrative, filled with work that may appeal to you from the description of the play, along with work that invites you to take a risk. It’s our sincere hope that as a full-season subscriber, you will be rewarded with the thrill of discovering new work that truly moves you in ways you never could have predicted, and that you might have skipped had you not subscribed.

Of course, none of this would be possible without your patronage and support. We will keep you updated as we know and learn more.

Warmly,

Dámaso Rodríguez

J.S. May

Artistic Director

Managing Director

P.S. Not a subscriber yet? What are you waiting for?! Subscribing to the full season guarantees a year of thought-provoking work that will have you talking on the drive home and pondering for days after. We hope you’ll join us on tour. For subscriber information contact our Box Office at 503.241.1278. ARTSLANDIA.COM

PLAYWRIGHT’S BIO LAUREN GUNDERSON Lauren is the most produced playwright in America for the 2017/18 season, two-time winner of the Steinberg/ATCA New Play Award, the winner of the Lanford Wilson Award, and the Otis Guernsey New Voices Award. She is also a finalist for the Susan Smith Blackburn Prize, John Gassner Award for Playwriting, and a recipient of the Mellon Foundation’s 3-Year Residency with Marin Theatre Company. She studied Southern Literature and Drama at Emory University and Dramatic Writing at NYU’s Tisch School where she was a Reynolds Fellow in Social Entrepreneurship. Her work has been commissioned, produced, and developed at companies across the U.S. including South Coast Rep, The Kennedy Center, Oregon Shakespeare Festival, The O’Neill, The Denver Center, San Francisco Playhouse, Marin Theatre, Synchronicity, Berkeley Rep, Shotgun Players, TheatreWorks, Crowded Fire and more. She had her premiere in London with Hampstead Theatre’s production of I and You in Fall 2018. She co-authored Miss Bennet: Christmas at Pemberley with Margot Melcon, which was one of the most produced plays in America in 2017. Her work is published at Playscripts (I and You; Exit Pursued By A Bear; The Taming, Monologues, and Toil And Trouble), Dramatists Play Service (The Revolutionists; The Book of Will; Silent Sky; Bauer and Miss Bennet) and Samuel French (Emilie). Her picture book Dr Wonderful: Blast Off to the Moon was released from Two Lions/Amazon in 2017.

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!

MEGAN WILKERSON

ANNALISE ALBRIGHT WOODS

SCENIC DESIGN

SOUND DESIGN

JEFF WOODS

BOBBY BREWER-WALLIN

LIGHTING DESIGN

COSTUME DESIGN

LANCE WOOLEN

ROBERT AMICO

PUPPET DESIGNER

PROPERTIES MASTER

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, Heidi Rush, Jackie Tran ARTSLANDIA BOX MANAGER Bella Showerman PUBLISHER’S REPRESENTATIVE Nicole Lane PUBLISHING COORDINATOR Sara Chavis NEW BUSINESS ASSOCIATE Ashley Coates PODCAST HOST Susannah Mars

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.

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

ARTISTSREP.ORG

DIRECTOR’S NOTE

I would like the words of the playwright, Lauren Gunderson, to speak for themselves. Instead of writing my thoughts on the playwright I wanted to share the words of the playwright with you: When describing why live storytelling and plays are produced, playwright Lauren Gunderson expressed, “they bring us together physically, intellectually and emotionally; and they teach us how to be better humans.” She remarked that theatre is “portable, contagious wisdom. [Humans] are big brained and [highly] social creatures which means we think all the damn time, and most of the time we’re thinking about THEATRE IS OUR each other. We have to think about other humans. Humans die SECRET WEAPON in isolation. We need each other. Thus we need to understand TO LIVE LONG AND each other. Thus we need theatre so that we can get up close PROSPER AND FIND and personal to tragedy, lies, love, betrayal, decision, heroism, MEANING AND confession, and mystery. Theatre is our secret weapon to live long and prosper and find meaning and connection.” CONNECTION.

—LAVA ALAPAI

PREAMBLE TO THE RIGHTS OF WOMEN BY OLYMPE DE GOUGES Man, are you capable of being just? It is a woman who poses the question; you will not deprive her of that right at least. Tell me, what gives you sovereign empire to oppress my sex? Your strength? Your talents? Observe the Creator in his wisdom; survey in all her grandeur that nature with whom you seem to want to be in harmony, and give me, if you dare, an example of this tyrannical empire. Go back to animals, consult the elements, study plants, finally glance at all the modifications of organic matter, and surrender to the evidence when I offer you the means; search, probe, and distinguish, if you can, the sexes in the administration of nature. Everywhere you will find them mingled; everywhere they cooperate in harmonious togetherness in this immortal masterpiece. Man alone has raised his exceptional circumstances to a principle. Bizarre, blind, bloated with science and degenerated—in a century of enlightenment and wisdom—into the crassest ignorance, he wants to command as a despot a sex which is in full possession of its intellectual faculties; he pretends to enjoy the Revolution and to claim his rights to equality in order to say nothing more about it.

ARTSLANDIA.COM

THE FRENCH REVOLUTION

Man has the right to deal with his oppressors by devouring their palpitating hearts. JEAN–PAUL MARAT

he French Revolution was one of the greatest upheavals in European history. In just over ten years, the people of France destroyed and redesigned the country’s political structure, eliminating the absolute monarchy and feudal system that had dominated the population for centuries. Although 1789 is recognized as the beginning of the Revolution, the causes reach back many decades. Through the second half of the 18th century, France was involved in a series of ruinously expensive wars including the French and Indian War, the Seven Years War, and the American Revolution. Financial management by the government was chaotic at best, and by 1788 the kingdom’s wealth had disappeared almost

ARTISTSREP.ORG

entirely. Additionally, two decades of poor harvests, cattle disease, and constantly rising bread prices spread deep misery throughout 98% of the population that was neither noble nor clergy. This great swath of the population—known as the Third Estate—lived in wretched destitution, their every action taxed to support the luxury and privilege of the nobility and the Church. Desperation and resentment ignited riots, looting, and striking throughout France. Louis XVI, who was married to Marie Antoinette, ascended to the throne in 1774 at the age of twenty. Inspired by Enlightenment ideals, his early years were marked by attempts to improve the government; however, the nobility and Church strongly resisted these reforms—resulting in steadily worsening conditions for the commoners. In 1786, Louis XVI’s financial minister proposed a universal land tax to which the privileged classes would no longer be exempt. This brought on a near-revolt by the aristocrats, and Louis was facing demands from all segments of the population. He summoned the Estates-General, a national convening of representatives of the Three Estates (nobles, clergy, and commoners), which had last occurred in 1614. Finding themselves in the vast majority, the Third Estate representatives mobilized to demand a new constitution that would guarantee equal representation (voting by head rather than by status) and eliminate the royal veto. They renamed the convening as the National Assembly, and vowed not to disband until a new constitution had been drafted. Begrudgingly, the King and other Estates were compelled to participate. While the National Assembly was meeting in Versailles, Paris was rocked by violence. There were rumors that the military would be sent to quell the popular insurgency in Paris, and on June 14 th the people rioted. Insurgents stormed the Bastille fortress to take gunpowder and weapons to defend against the King’s army, an act that is celebrated as the beginning of the French Revolution.

The revolutionary spirit swept across the French countryside. Desperate, poor, and furious, the peasants revolted against years of exploitation and maltreatment, looting and burning the homes of tax collectors, nobles, landlords, and anyone seen as elite. During this agrarian insurrection, known as

Insurgents stormed the Bastille fortress to take gunpowder and weapons to defend against the King’s army, an act that is celebrated as the beginning of the French Revolution. the Great Fear, nobles fled and sought asylum in neighboring countries. In August 1789, the National Assembly moved to equalize taxation and end feudalism entirely, demolishing the system that had undergirded France’s political system for centuries. Over the next two years, the National Assembly reorganized governmental policies and

Left page: Goddess of Liberty; Above: In a political cartoon of the day, clergy and nobility ride on the backs of the commoners.

ARTSLANDIA.COM

Storming of the Bastille.

structures. They approved the text of the Declaration of the Rights Of Man and of the Citizen as a statement of principle, nationalized all Church property, suppressed all religious orders, nullified nobility and titles, and abolished slavery in France (but not in French colonies). During this tumultuous time, the riots in Paris and the countryside continued, and the King made an unsuccessful attempt to flee to Austria. In September 1791, France’s first written constitution was adopted. It reflected the more moderate views of the Girondists faction of the National Assembly, calling for a constitutional monarchy in which the King would retain veto powers and be able to appoint ministers. However, this centrist position inflamed the more radical Jacobins who rejected the constitution entirely. They wanted the monarchy to be utterly razed and replaced by a republican form of government. Influential radicals, including Maximillen de Robespierre, George Danton, and Jean-Paul Marat, began inflaming the populace and demanding that Louis XVI be tried for treason.

ARTISTSREP.ORG

There was widespread fear that nobles who had fled to Austria and Prussia would call upon those countries to attack France to quell the Revolution. In response, the Assembly declared war on those two countries. They hoped not only to fend off the counterrevolutionary nobles, but also to spread the Revolution throughout Europe. In Paris, the radical Jacobins arrested Louis XVI. The king and his family (including Marie Antoinette) were imprisoned for four months, during which the cascade of violence continued to overwhelm French life. The September Massacres saw the deaths of hundreds of accused counterrevolutionists in the streets of Paris. Simultaneously, legislation declared the end of the monarchy and the official establishment of the French Republic. King Louis XVI was sentenced to death for crimes against the state, and went to the guillotine on January 21, 1793—an act that earned the Revolution condemnation from countries around the world, and intensified the wars France was facing on all sides. In the months following the King’s death, the Revolution entered its darkest, most

With Robespierre in charge, the Committee unleashed its rabid hunt for anyone who did not sufficiently support the Revolution. dangerous phase: the Reign of Terror. The Jacobins seized control and crushed the moderate Girondists, labeling them counterrevolutionary and sending hundreds to the guillotine. Once those moderate voices were silenced, the Jacobins proceeded to eradicate Christianity, establish a new calendar, and launch the Committee of Public Safety. With Robespierre in charge, the Committee unleashed its rabid hunt for anyone who did not sufficiently support the Revolution. During his 10-month reign, Robespierre oversaw the trials and executions of over 17,000 people, while unknown numbers of others died in prison or without any official process. Eventually, the people rose up against Robespierre in a coup d’etat known as the Thermidorian Reaction, and he suffered the same fate he had doled out to thousands—he met the guillotine on July 28, 1794. Following his death, the pendulum swung back to a more moderate phase lead by Girondists who had survived the Terror. In 1795, a new constitution was adopted that established a bicameral legislature for France, wherein a five-member directorate held executive power. Jacobin and Royalist opposition to this new form was swiftly put down by the army, lead by General Napoleon Bonaparte. Sadly, the new government did not rise to the challenge of governing France. Political corruption was rife, systems were chaotic and inefficient, bread prices continued to rise, and the population again demanded change. On November 9, 1799, Napoleon Bonaparte staged another coup and declared himself France’s ‘first consul’. The French Revolution was finished, superseded by the Napoleonic era.

OUT OF THE

MOUTH OF

MARAT No, liberty is not made for us: we are too ignorant, too vain, too presumptuous, too cowardly, too vile, too corrupt, too attached to rest and to pleasure, too much slaves to fortune to ever know the true price of liberty. We boast of being free! To show how much we have become slaves, it is enough just to cast a glance on the capital and examine the morals of its inhabitants. It is the height of stupidity to claim that men who for a thousand years have had the power to berate us, to fleece us and to oppress us with impunity, will now agree, with good grace, to be our equals. Nothing will make me change my principles. Even with the knife at my neck I shall still declare, up to this day, the poor have done everything; it is time for the rich to take their turn. Jacobins, I have a truth to tell you. You do not know your most deadly enemies; they are the constitutional priests. It is they who protest most in the provinces against anarchists, disorganizers, Dantonism, Robespierrism, Jacobinism... Do not cherish any longer the popular errors; cut at the roots of superstition! Declare openly that the priests are your enemies.

ARTSLANDIA.COM

THE REVOL OLYMPE DE GOUGES MAY 7, 1748 – NOVEMBER 3, 1793

Olympe de Gouges

On October 19, 2016, a bust of Olympe de Gouges is installed in the Salle des Quatre-Colonnes of the Bourbon Palace, seat of the National Assembly. This is the first representation of a woman politician among the works of art presented in the building.

ARTISTSREP.ORG

revolutionist beheaded during France’s Reign of Terror, Olympe de Gouges is best known for her writings. As a French feminist, activist, and artist, she never wavered in the conviction of her belief of the right to free speech and its vital place in political and social critique. She criticized the National Convention by calling its members ambitious (a.k.a. power-hungry) men. This criticism of the Convention was a huge factor in the decision to sentence her to death, even more so than her public support of women’s rights. The only woman executed specifically for political writings during the French Revolution, she spent her life advocating for the victims of unjust systems and attempted to bring social issues to the theatrical stage and to the larger social discourse of the time. The work she’s most known for is The Rights of Woman (or more formally, The Declaration of the Rights of Woman and the Female Citizen) from 1791 with the line, “Woman has the right to mount the scaffold; she must equally have the right to mount the rostrum.” She was also the author of two novels, 40 plays (of which, only 12 survive), and around 70 political pamphlets. She was guillotined in Paris on November 3, 1793.

UTIONISTS MARIE ANTOINETTE NOVEMBER 2, 1755 – OCTOBER 16, 1793 Many of us are familiar with Marie Antoinette, who is famously misquoted as saying, “Let them eat cake.” The fourteen-year-old Austrian princess came to France to marry the future king, Louis XVI, in 1770 and was embraced by the country. Twenty-three years later, the once cherished queen would lose her head to the guillotine after much civil unrest during the French Revolution. Marie Antoinette would likely have been happy to have played only the ceremonial role of a queen but due to Louis’ indecisiveness, she was forced to take a more commanding role—for which the French people could not forgive her. She was blamed for bankrupting the country, even though many others in the court bore equal responsibility. Ultimately, she was reviled simply for being Louis’ wife and became a symbol of tyranny. She was sent to the guillotine on October 16, 1793. Her last recorded words were, “Pardonnez-moi, monsieur. Je ne l’ai pas fait exprès” which translates to “Pardon me, sir, I did not do it on purpose,” after she accidentally stepped on her executioner’s shoe.

Marie Antoinette en chemise (1783) by Louise Élisabeth Vigée Le Brun

Marie Antoinette being taken to the guillotine

ARTSLANDIA.COM

THE REVOL CHARLOTTE CORDAY JULY 27, 1768 – JULY 17, 1793

View of the Murder: Charlotte Corday (1861) by Raul Jacques Aime Baudry

ARTISTSREP.ORG

Charlotte Corday was the fourth child of a noble family, who grew up in a convent in Normandy after her mother’s death in 1782. This was where she learned about the French Enlightenment through books in the convent’s library. In the midst of the Revolution (1791), the convent school closed. Though Corday had originally supported the monarchy, as the Revolution unfolded, she began to support the Girondists. The Girondists came to believe that the Jacobin publisher, Jean Paul Marat, who had been calling for the execution of Girondists, should be killed. The radical Jacobins had decided on a very specific strategy of eliminating the dissenters—execution. This phase of the Revolution became known as the Reign of Terror. Corday made an appointment to see Marat, claiming that she’d give him the names of Girondist counter-revolutionaries. On July 13, she bought a wood–handled table knife and went to Marat’s home. Marat was in his bathtub, where he often sought relief from a skin condition, and where he was murdered by Corday. Her execution of Marat has been commemorated in many works of art. She requested a painting to be done by Jean-Jacques Hauer for people to see her as herself and not just what was being said about her. During her trial and imprisonment she was admired for her composure and strength and four days after the murder she was executed.

UTIONISTS MARIANNE ANGELLE Not based on any one single woman in history, Marianne Angelle is an amalgamation of ideas and activists of the time period. “Marianne” is a combination of “Marie,” which means rebellion, and “Anne,” which means favor or grace. As a character she is given the name of the national symbol of the French Republic, representing liberty and logic. A statue by the same name signifies the opposition of dictatorship and represents the Goddess of Liberty. In this play Marianne is a sharp, observant spy. A free woman from the Caribbean, she works with her husband, Vincent (possibly inspired by Vincent Ogé, a prominent figure in the Haitian Revolution), towards a revolution for the French colonies in the Caribbean. The playwright explains, “Marianne is fueled by both family and justice. The stakes for her are personal (her husband and kids) as well as political (the slavery in her country). She does not have time to save the souls of these white women.”

References iep.utm.edu/gouges/#H4 beta.reconesse.org/past/charlotte-corday-1768-1793/ smithsonianmag.com/history/marie-antoinette-134629573/

Marianne Angelle is a composite figure based on the revolutionaries in Saint Domingue (now Haiti)

ARTSLANDIA.COM

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

JOELLEN SWEENEY Charlotte Corday Joellen is thrilled to be making her Artists Repertory Theatre debut in The Revolutionists! Previous Portland credits include: A Midsummer Night’s Dream (Anonymous Theatre), Uncle Vanya (Portland Experimental Theatre Ensemble), The Caucasian Chalk Circle (Shaking the Tree), Elephant & Piggie: We Are In a Play, Alice In Wonderland (Northwest Children’s Theatre), and Othello (Post5 Theatre). In addition to 16

ARTISTSREP.ORG

acting, Joellen works locally as a music director and produces her own work as co-founder of Bedrock Theatre, a company that adapts legends and folktales to be performed along hiking trails. Joellen earned her BA in Theatre and Spanish from Willamette University, and is an alumna of both the Third Rail Repertory Theatre Mentorship Program and the Shakespeare & Company Winter Intensive. She is very grateful to Lava for this opportunity and to the entire team at Artists Rep who made this show possible.

AMY NEWMAN Marie Antoinette Amy is delighted to be back at Artists Rep after joining the acting company at the Oregon Shakespeare Festival. In three seasons at OSF, she played a wide range of characters, both classical and contemporary. Favorite roles there include Calypso in Mary Zimmerman’s The Odyssey, Ronda in the World Premiere of Roe, and Lady Capulet in Romeo and Juliet, directed by our own Dámaso Rodríguez. She has worked in many other regions including Philadelphia, DC, and Berkeley. Locally, she has collaborated with Theatre Vertigo, Portland Center Stage, defunkt theatre, Oregon Children’s Theatre, Profile Theatre, Liminal, and Third Rail. Amy is grateful to have an artistic home at Artists Rep where The Revolutionists marks her eleventh production. She LOVES this play (thank you Lauren Gunderson for writing BADASS women) and feels so lucky to play the multifaceted and controversial Marie Antoinette. Amy is a proud member of Actors’ Equity Association and considers it a great privilege to be a working artist. This is for mom who loves to laugh, and always prefers her in the “funny roles.”

AYANNA BERKSHIRE Marianne Angelle Ayanna’s career goals have always been to do great work, develop truthful, dynamic characters, and to work alongside outstanding colleagues; she feels extremely lucky on

CAST & CREATIVE TEAM BIOS all counts. As a former resident of France, Ayanna is excited to share Lauren Gunderson’s telling of the French Revolution and to share the stage with some truly bada** women! The 2018/19 season marks Ayanna’s 4th season at Artists Rep and her work here includes: Wolf Play, Teenage Dick, Small Mouth Sounds, Between Riverside and Crazy, An Octoroon, The Importance of Being Earnest, A Civil War Christmas, Grand Concourse, The Understudy, Intimate Apparel, and Race. Other stage works include: The Scottsboro Boys (Ahmenson Theatre - Los Angeles), Back Bog Beast Bait; Bang, Curtain. End of Show, and The Investigation of the Murder in El Salvador (defunkt theatre), Fuente Ovejuna (Milagro), The Tales of Canterbury (Ensemble Loupan), and more. Some of Ayanna’s film and TV credits include: Lean on Pete, Twilight, Extraordinary Measures, Wendy and Lucy, Shrill, Documentary Now!, American Vandal, Chicago PD, Portlandia, Grimm, Parenthood, Castle, Grey’s Anatomy, and Curb Your Enthusiasm. Coming in 2019: In the Vault, The Shasta Triangle, and Boundary Springs! Member of Actors’ Equity Association and SAG-AFTRA. Ayanna would like to thank you for actively supporting the arts!

LAVA ALAPAI Director Lava is originally from Okinawa, Japan and grew up in Honolulu, Hawaii where she learned the art of Bunraku puppetry. She graduated with an MFA in acting from California Institute of the Arts and has been creating theatre in Portland for more than a decade. Favorite credits include design and acting work for Portland Playhouse, Tears of Joy, and Many Hats Collaboration. Directing credits include An Octoroon for Artists Repertory Theatre, Columbinus, Charlotte’s Web, and Locomotion for Oregon Children’s Theatre as well as staged readings for Profile Theatre and Playwrights West. She is a proud member of the Stage Directors & Choreographers Society (SDC). She would

like to thank her amazing team and beautiful cast for giving her the opportunity to spend this time creating this show with them, and her wife Alex for all of her love and support. Visit www.lavaalapai.com to see Lava’s work as a photographer.

JONATHAN COLE Fight Choreographer This is Jonathan’s (he/him/his) tenth season choreographing at Artists Rep, and his sixth season as Resident Fight Choreographer here. He has worked throughout the northwest as a director, actor, and fight director, and is a tenured faculty member of the Theatre Department at Willamette University. Jonathan is a Society of American Fight Directors Certified Teacher of stage combat, and co-owns elemental movement, a stage combat, intimacy, and movement direction collective. His choreography is most often seen on Artists Rep’s stage; other Portland credits include Third Rail Repertory Theatre, Portland Center Stage, Portland Shakespeare Project, Clackamas Repertory Theatre, and Profile Theatre. He is proud to be a Full Director/Choreographer with the Stage Directors and Choreographers Society.

MEGAN WILKERSON Scenic Designer In her five seasons at Artists Rep Megan has designed: scenery for The Humans, Caught, The Importance of Being Earnest, American Hero, Feathers and Teeth, The Understudy, and Xmas Unplugged, scenery and projections for Exiles and The Skin of Our Teeth, and most recently projections for Magellanica. This season she designed scenery for Skeleton Crew, A Doll’s House, Part 2, and 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 ARTSLANDIA.COM

CREATIVE TEAM BIOS 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 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 long-running 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 BREWERWALLIN Costume Designer Bobby Brewer-Wallin, Professor of Theatre and Department Chair at Willamette University, designs costumes for theatre and dance. With an MFA in costume design from CalArts, he joined the faculty at Willamette in 2000. In addition to designing costumes for all main stage productions, he teaches courses in costume design, costume history, the capstone course for theatre majors with an emphasis in solo performance, and firstyear seminars titled Clothing + Memory as Embodied Thought and Stitch X Stitch: Protest Clothing as Threads of Change. Recent 18

ARTISTSREP.ORG

productions include A Doll’s House Part 2, Everybody, Magellanica, The Importance of Being Earnest, and A Civil War Christmas at Artists Rep, Cop Out at The August Wilson Red Door Project, 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.

JEFF WOODS Lighting Designer Jeff is a Portland-based designer, with over 200 shows to his name. Since 1996, Jeff has worked with many Portland favorites (past and current) including Profile Theatre, triangle Productions, Stark Raving Theatre, Shaking the Tree, Theatre Vertigo, CoHo Productions, and Oregon Children’s Theatre. He is also a three-time Drammy Award recipient. Recent designs include Shiver: A Musical Ghost Story for Oregon Children’s Theatre, Hedwig and the Angry Inch at triangle Productions, and Luna Gale for CoHo Productions. Jeff lives in Portland with his wife, son, and a few cats.

ANNALISE ALBRIGHT WOODS Sound Designer Annalise Albright Woods (she/her/hers) is thrilled to be working on her first production with Artists Rep. Favorite Portland area design credits include Salt, Head, Hands, Feet (Drammy Award), Miss Julie, and The Masque of the Red Death with Shaking the Tree; Passion Play with Shaking the Tree and Profile Theatre; Dear Galileo with Playwrights West; Pool (no water) (Drammy Award), The Sexual Neurosis of Our Parents, and The Long Christmas Ride Home with Theatre Vertigo; Luna Gale and Crooked for Coho Productions, Locomotion and Charlie and the Chocolate Factory for Oregon Children’s Theatre; Mimesophobia for Sand and Glass Productions; and Find Me Beside You, Mutt, and Restroom, for Many Hats Collaboration. Annalise received an MFA in sound

CREATIVE TEAM BIOS design from the California Institute of the Arts and an MS in Educational Leadership from Portland State University. Love to Jeff and Oliver.

LANCE WOOLEN Puppet Designer Lance has enjoyed a career in puppetry for over 30 (gasp) years. Along the way he has lived the life of the free wheeling itinerant puppeteer for the award winning Tears of Joy Theater from Portland Oregon, touring the country and around the world. Lance directed the puppet construction of Le Belle for Imago Theater for which he won a Drammy. His puppet work can also be seen in the films Coraline, Paranorman, and The Boxtrolls.

ROBERT AMICO Properties Master Robert Amico is a Prop Master, Puppet Designer, and a performer and is excited to be returning to Artists Rep for his 6th show with them this season. He was most recently the Puppet Wrangler for Artists Rep’s production of Wolf Play and did the Puppet Design and Fabrication for Everybody. He was previously the Props Master for Artists Rep’s productions of Everybody, Small Mouth Sounds, Skeleton Crew, An Octoroon, Caught, and Magellanica and Oregon’s Children’s Theatre’s production of The Legend of Rock Paper Scissors. He was the Puppet and Props Coordinator for OCT’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 Puppet Fabricator for Michael Curry Design and for several Portland Center Stage productions including The Little Shop of Horrors, Oregon Trail, and Fun Home. Robert is the co-founder of Kettlehead Studios, where he produces YouTube puppetry shorts and more. Robert gradu-

ated Magna Cum Laude from Lewis & Clark College, with a BA in Studio Art and a minor Theatre. You can find more of Robert’s work at robertamicoart.com.

LUAN SCHOOLER Dramaturg Luan (she/her/hers) honed her dramaturgy skills at Perseverance Theatre in Alaska, working with thenartistic director Molly Smith on new plays and devised works with wide ranging artists including Paula Vogel, John Murrell, John Luther Adams, and Darrah Cloud. As Literary Manager/Dramaturg for Berkeley Rep, she worked with many luminary writers, including David Edgar, Naomi Iizuka, Salman Rushdie, Dominique Serrand, Rinde Eckert, and Robert Fagles, and astute directors Tony Taccone, Mark Wing-Davey, Stephen Wadsworth, and Lisa Peterson, among others. She has also worked at Denver Center Theatre Company, Oregon Shakespeare Festival (where she is turging Lisa Peterson’s translation of Hamlet for OSF’s Play On! project), California Shakespeare Festival, A Traveling Jewish Theatre, and Shaking the Tree. Luan joined Artists Rep in April 2015 to lead the new play development program, Table|Room|Stage, which is currently developing projects with with Linda Alper, Anthony Hudson, Hansol Jung, Susannah Mars, Dael Orlandersmith, Steve Rathje, and Andrea Stolowitz. She directed the World Premiere of last season’s The Thanksgiving Play, as well as A Doll’s House, Part Two this season.

AUDREY O’FERRELL Assistant Director Audrey O’Farrell is an emerging director in Portland. She graduated from George Fox University with a degree in directing, acting, and design. She is currently a mentee with Third Rail Repertory Theatre. Her credits include Tongue of a Bird, Lovers, I’m a Slut Sababa, Love and Information, and Stupid Fucking Bird. She recently assistant directed for John with Third Rail Repertory ARTSLANDIA.COM

CREATIVE TEAM BIOS Theatre and A Midsummer Nights Dream with Anonymous Theatre Company.

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 of 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.

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, Blackbird, Three Sisters, Design for Living, Othello, Ah, Wilderness!, Mars on Life-Live!, 20

ARTISTSREP.ORG

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 theaters in the Portland area over the past 30+ years. These theaters include Portland Center Stage, Portland Rep, Stark Raving Theater, New Rose Theatre, triangle productions!, Musical Theater Co., Metro Performing Arts, Northwest Children’s Theatre, and Carousel Co. Carol Ann also guest lectures on the topics of stage management and making a living in theatre arts at various educational facilities.

MEGAN THORPE Production Assistant Megan Thorpe, formerly Megan Moll (she/her/hers), is returning to Artists Rep for her third season, after working on Teenage Dick, Between Riverside and Crazy, and others. She has also recently stage managed for CoHo Productions, Chamber Music Northwest’s summer festival, and The Portland Singing Christmas Tree. As always, Megan is thrilled to return to Artists Rep to continue to make beautiful art within the Portland theatre community.

ERIN MACGILLIVRAY Production Assistant Erin MacGillivray (she/her/ hers) is a graduate from Whitman College with a B.A. in Theatre and Classical Studies. Erin is a recent Third Rail Repertory mentorship program alum, and stage manages at Milagro (Judge Torres, La Segua, Jump), Third Angle New Music, and

CREATIVE TEAM BIOS Original Practice Shakespeare Festival. She is also a co-founder and stage manger at Red Balloon Theatre Collective. Her credits outside of stage management include assistant director on Revolt. She Said. Revolt Again (Third Rail Repertory) and costume designer on Care of Trees (Enso Theatre Ensemble). This is her first production with Artists Rep.

JASON COFFEY Board Op Jason is thrilled to be back for his 16th season at Artists Rep as board op. He has been a part of such notable productions as Between Riverside and Crazy, An Octoroon, American Hero, Marjorie Prime, The Talented Ones, Broomstick, Mothers and Sons, The Invisible Hand, as well as numerous productions dating back to 2002/03 season. Not only has Jason worked backstage for Artists Rep, but he also had the privilege of being onstage in A Streetcar Named Desire as Steve Hubbell back in 2008. Jason has been working professionally as an actor and technician/ stage manager since 1994 with many other companies including Triangle Productions!, Milagro, Northwest Children’s Theatre, and The 3rd Floor Sketch Comedy Troupe. Most recently, he stage managed the 2nd Annual Portland Sketch Comedy Festival at The Siren Theater, as well as Hedwig and The Angry Inch, An Act Of God, and The Absolute Brightness of Leonard Pelkey at Triangle Productions!. Jason has also been seen on an episode of Leverage and has done several local industrial films and commercials.

DÁMASO RODRÍGUEZ Artistic Director Dámaso Rodríguez (he/him/ his) is in his sixth season as artistic director of Artists Repertory Theatre. He is a cofounder 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 production of E.M. Lewis’s five-part epic Magellanica, and the world premiere of Wolf Play by Hansol Jung; the Portland premieres of Branden Jacobs-Jenkins’s Everybody (co-director)Stephen Karam’s The Humans, Branden Jacobs-Jenkins’s An Octoroon (codirector), 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 CONTINUED ON PAGE 22 ARTSLANDIA.COM

CONTINUED FROM PAGE 21 American Conservatory Theatre. He is a member of the Stage Directors and Choreographers Society (SDC). damasorodriguez.com

J.S. MAY Managing Director

FUN FACTS ABOUT THE GUILLOTINE

The French did not invent it. The Halifax Gibbet was a similar machine: a heavy ax head was suspended by a rope above a plank on which a prisoner was tied. When the rope was cut, chop went the ax, and plop went the head. The first recorded gibbet execution was in 1286. The Scots had their own beheading machine, the Scottish Maiden, which lopped over 150 heads from 1564 to 1710.

It was originally created to make executions more humane. Prior to its use, French executions were generally either hanging, extended torture, or beheadings by ax or sword, which often required several whacks to finish the job. Dr. Joseph-Ignace Guillotin was opposed to the death penalty, but designed this machine to minimize pain and suffering. He was very distressed when his name become so closely linked with his creation.

Viewing executions was popular with the French public and many found the guillotine to be disappointingly efficient. Accustomed to the entertainment of slower, more torturous methods, the guillotine’s swift delivery of the condemned’s fate was not satisfying to some in the zealous crowds.

4 5 22

Small guillotines were sold as toys for children to execute mice, and others for slicing bread at dining tables. The last French execution by guillotine was in 1977.

ARTISTSREP.ORG

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.

THE HATIAN REVOLUTION The French Revolution rallied around the cry, “Liberté, Egalité, Fraternité,” an ideal that called French colonies’ reliance on slavery into question. France had several colonies in the Caribbean in which enslaved Africans, living in brutal conditions, propped up an economy that relied on sugar, coffee, cotton and indigo plantations. The island of Saint-Domingue was the most profitable French colony in the world. It produced 60% of the world’s coffee and 40% of the sugar imported by France and Britain, and the livelihood of 1 of every 25 people in France depended directly on imports from Saint-Domingue. The island’s 1789 population of 556,000 was comprised of roughly 32,000 European (white) colonists; 24,000 affranchis, free people of mixed African and European descent, many of whom also owned plantations and slaves; and a half million enslaved people. Treatment of the enslaved people was particularly brutal in Saint-Domingue, even by the wretched standards of the Caribbean, and both the European and affranchis populations lived in fear of a revolt. In 1789, the French Revolutionary embrace of The Declaration of the Rights of Man— an Enlightenment-infused statement of equality of all men—inspired the

affranchis to demand the right to vote and hold political office in Saint-Domingue. Vincent Ogé (whom Lauren Gunderson may have based her character Marianne’s husband upon in The Revolutionists) lobbied the National Assembly in Paris for these rights, which were then granted by France but rejected by its colony’s white population. This conflict led to the first of a chain of rebellions that convulsed the island. For the next thirteen years, a complex web of uprisings, rebellions, shifting alliances, and wars entangled the enslaved people, white colonists, affranchis, France, Spain, and Britain. Although it began as a call for voting rights for the affranchis, the Haitian Revolution evolved into a war for the abolishment of slavery. It was the largest slave uprising since Sparticus’ unsuccessful rebellion against the Roman Empire nearly 1,900 years earlier. Roughly 200,000 enslaved people died (out of 350,000 total), but the result was the first successful anti-slavery, anti-colonial insurrection by self-liberated slaves. In 1804, the island was officially recognized as the free republic known as Haiti, which means “high place.” It was the second independent republic in the Western hemisphere, and the first country in the world to be founded by former slaves. ARTSLANDIA.COM

GET INTO THE WORLD OF THE REVOLUTIONISTS BOOKS: DRAWING THE LINE: INDIAN WOMEN FIGHT BACK BY PRIYA KURIYAN HEAVY VINYL: RIOT ON THE RADIO BY CARLY USDIN THE SUBVERSIVE STITCH BY ROZSIKA PARKER

MOVIES/TV: I SHOT ANDY WARHOL (1996) WHALE RIDER (2002) ALIEN (1979) FRIDA (2004)

MUSIC: BEYONCE JANELLE MONÁE CHLOE X HALLE SALT-N-PEPA BIKINI KILL LITTLE MIX

ARTISTSREP.ORG

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

ARTISTIC Producing Director: Shawn Lee Associate Producer: Kristeen Willis Director of New Play Development & Dramaturgy: Luan Schooler Casting Director: Vonessa Martin Lacroute Playwright-in-Residence: Andrea Stolowitz Resident Fight Choreographer: Jonathan Cole Resident Voice & Language Consultant: Mary McDonald-Lewis

EDUCATION + ARTSHUB/ AUDIENCE SERVICES Director of Education & Audience Services: Karen Rathje 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

PRODUCTION Technical Director: Nathan Crone

Literary Intern: Logan Starnes

Production Manager: Kristeen Willis

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

Scene Shop Foreman: Eddie Rivera

ADMINISTRATIVE General Manager: Vonessa Martin Management Associate: Allison Delaney Company Manager and Assistant to the General Manager: Caleb Bourgeois

MARKETING + BOX OFFICE Audience Development & Marketing Director: Kisha Jarrett

Master Carpenter: Charlie Capps Scenic Charge Artist: Sarah Kindler Master Electrician: Chris Stull Sound Technician: David Petersen Costume Shop Manager: Clare Hungate-Hawk Costume Design Interns: Maia Johnson, Libby Cole 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

Audience Development & Marketing Associate: Leslie Crandell Dawes

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

Graphic Designer & Marketing Associate: Jeff Hayes Patron Services Manager & Marketing Associate: Christina DeYoung Data Analyst & Ticketing Manager: Jon Younkin

FOR THIS PRODUCTION

Box Office Associates: Stephanie Magee, Zak Westfall

Ben Serreau-Raskin, Brendan Ramsden

DEVELOPMENT Development Director: Sarah Taylor

Carpenters:

Scenic Artists:

Erica Hartmann, Gordon Victoroff, Lauren Williams Electricians

Individual Giving & Corporate Sponsorship Manager: Molly Moshofsky

Coopper Cavender, Elliot Tinsley, Iain Chester

Development Intern: Clare Kessi

Logan Starnes, Luan Schooler

Articles by:

ARTSLANDIA.COM

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 2018 and April 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 (2) Robert & Mercedes Eichholz Foundation James F. & Marion L. Miller Foundation

Marcy & Richard Schwartz Stoller Family Estate John & Jan Swanson Darci & Charlie Swindells William Swindells, Jr. The Estate of David E. Wedge

VISIONARIES ($50,000–$99,999)

STAGEMAKERS ($5,000–$9,999)

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 Charlotte Rubin Shiels Obletz Johnson

PATRONS ($10,000–$24,999)

Anonymous (2) Margaret Dixon Express Employment Professionals Diane Herrmann Hotel deLuxe The Kinsman Foundation The National Endowment for the Arts – Art Works The Oregon Community Foundation, Community Grants The Oregonian Rafati’s Catering The Harold & Arlene Schnitzer CARE Foundation, Arlene Schnitzer & Jordan Schnitzer

ARTISTSREP.ORG

Anonymous (2) Advance Gender Equity in the Arts (AGE) Julia & Robert S. Ball Mike Barr Karl & Linda Boekelheide Bloomfield Family Fund The Estate of Don & Pat Burnet Ginger Carroll Bob & Janet Conklin Dark Horse Wine Marcia Darm MD & Bruce Berning Michael Davidson Dramatists Guild Foundation Dan Gibbs & Lois Seed Tom Gifford & Patti Fisher Polly Grose Illy Coffee The Jackson Foundation Joan Jones Arthur & Virginia Kayser Kristen & Michael Kern Drs. Dolores & Fernando Leon Hugh & Mair Lewis Leonard & Susan Magazine, REAL ESTATS Oregon Arts Commission, a state agency Lorraine Prince The Rose E. Tucker Charitable Trust 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 Charles Fine Arts Portraits Classic Pianos The Collier Smith Charitable Fund Jeffrey G. Condit Norma Dulin & James Barta Trish & Bennett Garner Leslie R. Labbe Jim & Eva MacLowry The Mark Spencer Hotel J.S. & Robin May Alen & Frances Nause Kristine Olson Fund of the Oregon Community Foundation Bob & Linda Palandech Kay Parr Alan Purdy Julia Rea & Jim Diamond Thomas Robinson & Pamela Kislak Dámaso Rodríguez & Sara Hennessy 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 Edward & Karen Demko Susan Dietz Richard & Betty Duvall Marc Franklin & Mary Lou Moriarty Carol Fredlund & John Betonte Jim Gangwer Dick Hamlet & Corinne McWilliams Curtis Hanson Marlene & Clark Hanson Pam Henderson & Allen Wasserman Higgins Restaurant Cody Hoesly & Kirsten Collins Barbara Holisky & Gary McDonald Mark Horn & Mark Wilkinson John & Judy Hubbard Intel Corporation Matching Gifts Jessie Jonas Jin-Jin’s Aloha Outreach Fund, Schwab Charitable Carol Kimball Jody Klevit Anneliese Knapp Mike & Sandy Kreners Bruce & Cathy Kuehnl Lagunitas Brewing Company

Kirsten & Christopher Leonard Carter & Jenny MacNichol Roberta Mann Laurie & Gilbert Meigs Katherine Moss Deanne & Wilfried Mueller-Crispin Pacific Power Foundation Joan Peacock, in loving memory of Ben Buckley Patricia Perkins Olliemay Phillips David Pollock Wayne Potter & Pam Brown Martin Ragno Wendy & Richard Rahm Bonnie & Peter Reagan Fund of the Oregon Community Foundation Robert Reed Richard & Mary Rosenberg Fund of the Oregon Community Foundation Miriam & Charlie Rosenthal 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 Geoff Verderosa Elaine & Ben Whiteley Maureen Wright & Lane Brown Charlene Zidell

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

Anonymous (2) Susan Bach & Douglas Egan Richard & Leslie Bertellotti Lesley Bombardier Fred & Betty Brace Nita Brueggeman & Kevin Hoover Lauretta Burman Jean Carufo & Barbara Engelter Ellen Cantwell Charles & Barbara Carpenter Jim & Vicki Currie

ARTSLANDIA.COM

OUR SUPPORTERS CONTINUED Carol Daniels Marvin & Abby Dawson Cheri Emahiser Leslye Epstein & Herman Taylor Kyle & Charles Fuchs Dr. William & Beverly Galen Paul Gehlar Don & Marlys Girard Susan & Dean Gisvold Lynn Marchand Goldstein Melissa & Bob Good Confederated Tribes of Grand Ronde Al & Penny Greenwood Paul Harmon Richard Hay Mike & Judy Holman Constance Jackson & Xavier Le Heney Ms. Cecily A. Johns

Judith & Gregory Kafoury Beth & Chris Karlin Keeton Corporation Carol & Jeff Kilmer PJ Kleffner Deborah Kullby Jill & Tri Lam Bill & Shelley Larkins Matthew & Lora Lillard Robert A. Lowe & Michelle Berlin-Lowe David Lutz Linda & Ken Mantel Michael & Deborah Marble Susannah Mars & Gary Johnson Dr. Robert & Kimberly Matheson Laurie & Jay Maxwell Dan McKenzie Robert & Jessica McVay

Dolores & Michael Moore Don & Connie Morgan Susan D. Morgan VMD Native Arts & Cultures Foundation Neilsen Family Fund of The Oregon Community Foundation Network for Good David & Anne Noall Nossa Familia Coffee Linda Nelson & Ted Olson Alfred & Eileen Ono OnPoint Community Credit Union Portland Actors Conservatory Portland Timbers Dee Poujade Julie Poust John Ragno Karen & John Rathje Scott & Kay Reichlin 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 Greg & Martha Struxness Donald & Roslyn Sutherland John & Sandra Swinmurn Sarah & Robert Taylor Paul Thompson & Portia Sipes Paul Vandeventer Estate of Margaret Weil Karen Whitaker Carole Whiteside Pam Whyte & Ron Saylor Andrew Wilson & Dr. Ronnie-Gail Emden Carl Wilson & Anonymous

INSIDERS ($250â&#x20AC;&#x201C;$499)

Kay & Roy Abramowitz Chuck & Meg Allen Alliance FranĂ§aise Linda Alper Bob Amundson & Sully Taylor

ARTISTSREP.ORG

Shilpi Banjeree Elizabeth & Stephen Arch Artslandia Linda Barnes & Robert Vanderwerf Ann Brayfield & Joe Emerson Jim Brunke Sonia Buist, M.D. Cambia Health Foundation Don Caniparoli & Sarah Rosenberg Cecile Carpenter Dr. Maura ConlonMcIvor Harriet Cormack Debbie Cross & Paul Wrigley Robert Daasch & Linda Schaefer Nancy & Jon Decherd Barbara & George Dechet Linda Dinan Troy & Bev Dickson Stephen Early & Mary Shepard Carmen Egido & Abel Weinrib Elizabeth & John Ehrsam Marilyn Kay Epstein Linda Farris Donna Flanders & Carl Collins, in honor of Cody Hoesly Larry & Marilyn Flick Barbara & Marvin Gordon-Lickey Roswell & Marilynn Gordon Paul & Teri Graham Matt & Tiffany Hauge Candace Haines Dawn Hayami Judith A. Henderson Cynthia Herrup & Judith Bennett Stephen & Sharon Hillis Kirk Hirschfeld Steven Hodgson Lynette & Don Houghton Steve & Kris Hudson Icenogle Family Fund, a Donor Advised Fund of the Renaissance Charitable Foundation Janice & Benjamin Isenberg Philanthropic Fund of the Oregon Jewish Community Foundation Marianne KeddingtonLang & William Lang

THANK YOU! Elaine & Ed Kemp Karen Kemper Sally & Lucien Klein Romy Klopper Roger Leo Steve Lovett & Connie Sullivan Earlean Marsh Stacey Martinson & Brad Sealey Scott & Jane Miller Molly Moshofsky & Will Matheson Michael & Dr. Whitney Nagy Duane & Corinne Paulson Ron & Shirley Pausig Debra & Paul Pellati 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 Rick & Halle Sadle John Saurenman William & Meredith Savery Luan Schooler & Timothy Wilson Erika Schuster & Clay Biberdorf Mary Ann Seth-Wish & John Wish Jinny Shipman & Dick Kaiser Marc Stein H. Joe Story David & Rosemarie Sweet Jory Thomas

Cynthia Yee Yoyoyogi Alan & Janet Zell Kurt & Heather Zimmer Zdenek Zumr & Anna Jimenez

FRIENDS ($100-$249)

Anonymous (5) Christine Abernathy Christopher Acheson & Dr. Elizabeth Carr Aesop Kris Alman & Mike Siegel Sarah Altman Anders Printing Company Rachael & Scott Anderson Thomas Robert Anderson Angelic Healing Hands, Inc.

Kristin Angell Ruby Apsler Ernest & Tina Argetsinger Herman Asarnow & Susan Baillet Arlene Ashcraft Nancy Ashton Bag & Baggage Productions Matt Baines Ann Balzell & Joe Marrone, in memory of Deforest Arn Piper Patrick & Barbara Christian George Bateman Joan Baucus Alan & Sherry Bennett Patsy Crayton Berner Dr. Dana Bjarnason Joe Blount Teresa & James Bradshaw

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

ARTSLANDIA.COM

OUR SUPPORTERS CONTINUED James Breedlove Margaret & Donn Bromley Brian Brooks Nancy & Gerry Brown Marlene Burns & Jon Dickinson Thomas A. Burns Douglas Campbell Michael Carter & Teresa Ferrer Tom & Anne Caruso Lou & John Chapman Mary & Russ Chapman Rita Charlesworth Valri & Vince Chiappetta Clackamas Repertory Theatre Bradley Coffey Ilaine Cohen CoHo Productions Rick & Jean Collins Anne Conway & Louis Baslaw Joseph Davids Elaine & Earl Davis Jewel Derin Jassimine & Luke Dixon Jeanne & Lauren Donaldson Judith E Posey & Edward J Doyle, MD Anne Driscoll Ross & Olivia Dwinell Kitt & Butch Dyer The Ellermeiers Laury Ellis & Kathy Fode Jim & Joan English Fade To Light: A Multidimensional Fashion Event Susan & Gabriel Farkas Dave Felt & Lynda Wendel Chris Fletcher & Pamela Abernethy & Elizabeth Abernethy Katie Flynn Heidi Franklin Senator Lew Frederick & Melody Gilman Nancy Lee Frederick Jessy Friedt & Benjamin Emerson Amy Fuller & Frank Wilson George Fussell Kay Gage & Ketan Sampat Susan GendeinMarshall & Lee Marshall Frank Gibson Linda Gipe George Goodstein Gretta Grimala

ARTISTSREP.ORG

Lauren Gunderson HP Matching Gifts Ulrich Hardt Meredith Hartley & Jeremiah Pyle Joan Heinkel & Ben Massell Thomas Hellie & Julie Olds Joe & Diana Hennessy Jon Henrichson Sarah Hershey Jon Hirsch Ava & Charlie Hoover Beth Hutchins & Pete Skeggs Carol & Tom Hull Deborah Indihar Jeri Janowsky & John Crabbe Katharine Jansen Kay & Steve Jennings Bill Jensen & Linda Ellison Betsy Jeronen Colleen & Jeff Johnson Isaac & Jennifer Johnson Phyllis Johnson Janey Josway Steve & Anita Kaplan Catherine & Timothy Keith Nancy G. Kennaway Ellen Kesend & Bruce Sternberg Heather Kientz Doris & Eric Kimmel Rev. Larry King Frederick Kirchhoff Kim Knox David & Susan Kobos Tom & Judy Kovaric Robert & Helen Ladarre Connie & John Larkin Tim & Janene Larson Jeanette Larson Elyse & Ron Laster Mary Lou & Ross Laybourn Jeanette Leahy Reed Lewis Richard Lewis & Meg Larson Wallace & Janet Lien Literary Arts Mari & Louis Livingston Noah & Dena Leiberman Ralph London Henry C. Louderbough Jane Luddecke & Robert Anderson Dr. Christine Mackert Priscilla & Rod MacMillan

Sheila Mahan Jim & Midge Main Ms. Nancy Matthews Maude May & Robert Taylor Kathy McLaughlin Katie McRae Mariellen Meisel & Steve Glass Sam Metz & Margaret A Jennings William Meyer Dwyn Miller Fern Momyer & Marlene Grate Moniqueâ&#x20AC;&#x2122;s Boutique Judy Munter Anna Nicholas Marcy Norman North Country Productions, Alan & Sharon Jones Greg & Emily Nourse Steve Norick & Rachael Philosky-Novick NW Dance Project Erik & Raina Opsahl Oregon Shakespeare Festival Oregon Symphony Nancy Park Beth Parmenter & Alan Miller Susan Parsons & Duncan Campbell Katherine Patricelli & Dennis Reichelt Gordon & Sondra Pearlman Carla Pentecost Pierre & Linda Pham Kevin Phaup Donna Philbrick Roger Porter Portland Center Stage Elizabeth Pratt & Philip Thor Profile Theatre Pumpkin Ridge Golf Club Ana Quinn Mani & Nazanin Rahnama Jay & Barbara Ramaker Dick & Linda Reedy Ed Reeves & Bill Fish Josh Richards Reva Rickets & Marc Loriaux Robert & Marilyn Ridgley Brian Rogers & Cassandra Scholte Kathryn Ross Ms. Cara Rozell Rich & Joan Rubin Ellen Rubinstein

Cecily Ryan Jane Sage Jean Scott & Myrth Ogilvie Gil Sharp & Anne Saxby David & Suzanne Schulherr Ann Schwarz Dorothy & John Shaner Doug Sheets Kathrun Silva & Fred Stewart Laurel & Dan Simmons James & Laura Smith Neil Soiffer & Carolyn Smith Charles & Karen Springer David Staehely Barbara & Bill Stalions DeeAnne Starks Tony Starlight Kathleen & Leigh Stephenson-Kuhn Pat & Larry Strausbaugh Julia Surtshin & Richard Sessions Gary Taliaferro Rick Talley & Dr. Mary Ann Barr Talley Leslie Taylor & Doug Beers Tektronix Matching Gifts Tracy Thornton David Tillett Larry Toda Robert Todd Mary Troxel George & Dawn Tsongas Roberta & Ward Upson Kaye Van Valkenburg & David Maier Phil VanderWeele & Joan Snyder The Vault David & Julie Verburg Janet Vining & Eric Vega Pamela Vohnson & David Streight Marilyn Walkey & Mike McClain Judi & J. Wandres Janet F. Warrington Joan & David Weil M. Howard Weinstein Anthony Wilcox Richard Winkel Lawrence W. Woelfer Carol Ann & Patrick Wohlmut Andy & Lora Woodruff Susan Woods

highest standards of stagecraft. The organization is committed to local artists and features a company of Resident Artists, professionals of varied theatre disciplines, who are a driving force behind Artists Rep’s creative output and identity. Artists Rep is Portland’s premiere mid-size regional theatre company, and is led by Artistic Director Dámaso Rodríguez and Managing Director J.S. May. Founded in 1982, Artists Repertory Theatre is the longest-running professional theatre company in Portland. Artists Rep became the 72nd member of the League of Resident Theatres (LORT) in 2016 and is an Associate Member of the National New Play Network (NNPN). Artists Rep has become a significant presence in American regional theatre with a legacy of world, national, and regional premieres of provocative new work with the

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