Teenage Dick

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TEENAGE DICK

BY MIKE LEW

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

CAST

Richard Gloucester................................................................ Christopher Imbrosciano* Barbara “Buck” Buckingham................................................. Tess Raunig + Elizabeth York....................................................................... Ayanna Berkshire^* Eddie Ivy............................................................................... Nick Ferrucci* Clarissa Duke........................................................................ Alex Ramirez de Cruz+ Anne Margaret..................................................................... Kailey Rhodes +

CREATIVE TEAM AND CREW

Director................................................................................ Josh Hecht~ Scenic & Projection Designer................................................. Peter Ksander Costume Designer................................................................ Sarah Gahagan Lighting Designer.................................................................. Kristeen Willis Crosser# Sound Designer.................................................................... Sharath Patel^# Choreographer..................................................................... Kemba Shannon Fight Choreographer............................................................. Jonathan Cole~ Intimacy Consultant.............................................................. Amanda K. Cole Voice & Language Consultant............................................... Mary McDonald-Lewis^ Dramaturgs........................................................................... Pancho Savery, Luan Schooler Stage Manager..................................................................... Karen Hill* Associate Projection Designer............................................... Alan Cline Props Master........................................................................ Eric Lyness Production Assistant............................................................. Megan Moll Board Op.............................................................................. Jason Coffey Teenage Dick received its World Premiere by Ma-Yi Theater Company; Ralph B. Peña, Producing Artistic Director, June 20, 2018 at The Public Theater, New York, NY. Teenage Dick was developed with the support of Playwrights Foundation, San Francisco; Amy L. Mueller, Artistic Director.

Developed at The Lark Play Development Center, New York City.

Teenage Dick was commissioned and developed by The Apothetae; Gregg Mozgala, Artistic Director.

Teenage Dick was developed by The Public Theater, Oskar Eustis, Artistic Director and Patrick Willingham, Executive Director.

Teenage Dick was developed during a residency at the Eugene O’Neill Theater Center’s National Playwrights Conference in 2016; Preston Whiteway, Executive Director and Wendy C. Goldberg, Artistic Director.

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

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A MESSAGE FROM DÁMASO RODRÍGUEZ

“But Richard,” you whimper.

“That’s so, so mean.

Why would you wish for something so mean?”

“Because they all hate me, that’s why! I was stamped for their hatred from birth.”

–Richard, in Mike Lew’s Teenage Dick (vaguely from Richard III)

WELCOME TO THE WEST COAST PREMIERE of Mike Lew’s radical adaptation of Shakespeare’s Richard III, aka Teenage Dick.

Artists Rep’s production is only the second full production of the play, following its Off-Broadway debut last year at The Public Theater and it’s been a pleasure hosting playwright Mike Lew in the rehearsal process as he continued to work on his already acclaimed script (a New York Times Critics’ Pick), readying it for upcoming publication.

Originally commissioned by The Apothetae in New York City, a vital theatre company committed to creating plays that feature characters with disabilities, Teenage Dick takes Richard III’s Machiavellian moves to claim the throne of England and re-imagines the royal court as

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a hotly contested election for class president of Roseland High School between the outsider Richard and the popular bully.

As we began assembling our 2018/19 season, the first play we committed to producing was Teenage Dick. The staff and I were thrilled by the play’s contemporary dialogue mixed with fully-committed Shakespearean soliloquy and the script’s simply-stated mandate that producers hire disabled actors to play the characters of Richard and his best friend Buck pushed us to reflect on our own history of not representing the disabled experience on our stages. I’m grateful for the opportunity the play has given us to examine our values and the strides we must continue to take to ensure that we create inclusive theatre experiences for artists and audiences alike.

After a national casting search, it’s my pleasure to welcome Christopher Imbrosciano

as our title character, and Portland-based actor/musician Tess Raunig in their Artists Rep debuts (see their bios on page 18).

At the helm of today’s production is Josh Hecht, also in his Artists Rep debut, though you may already know his work from his many memorable and acclaimed productions as artistic director of Profile Theatre.

It’s been a pleasure partnering with Josh and Profile for the past several years as a fellow member of the ArtsHub, and I’m thrilled to have his keen directorial point of view and insightful approach to new plays at work for Artists Rep. Thank you for joining us today!

Warmly, Dámaso

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PLAYWRIGHT’S BIO

MIKE LEW’s plays include Teenage Dick (Ma-Yi at the Public, Artists Rep, and Perseverance productions; Public Studio, O’Neill, OSF workshops), Tiger Style! (Olney, Huntington, La Jolla Playhouse, and Alliance productions; O’Neill and CTG workshops), Bike America (Ma-Yi and Alliance productions), microcrisis (Ma-Yi, InterAct, and Next Act productions), Moustache Guys, and the book to the musical Bhangin’ It (Jerome Robbins Project Springboard and Rhinebeck Writers Retreat “Triple R” workshops). He is a Tony voter, Dramatists Guild Council member, and resident of New Dramatists.

Honors include a Mellon National Playwrights Residency at Ma-Yi and La Jolla Playhouse Artist-in-Residence (both with Rehana Lew Mirza); Lark Venturous and NYFA fellowships; and the PEN Emerging Playwright, Lanford Wilson, Helen Merrill, Heideman, and Kendeda awards. He is co-director of Ma-Yi Writers Lab, the largest collective of Asian-American playwrights in the country.

He is married to fellow playwright Rehana Lew Mirza, who he met in Ma-Yi Lab Training: Juilliard (2013), Yale (2003). Check out his website at mikelew.com.

Contact: Beth Blickers | APA | 135 W 50th Street, New York, NY 10020, (212) 621-3098 | bblickers@apa-agency.com.

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

PETER KSANDER

SARAH GAHAGAN

SCENIC & PROJECTION DESIGN

COSTUME DESIGN

KRISTEEN WILLIS CROSSER

SHARATH PATEL

PUBLISHER’S REPRESENTATIVE Nicole Lane

LIGHTING DESIGN

SOUND DESIGN

PUBLISHING COORDINATOR Sara Chavis

DESIGNERS Lisa Johnston-Smith, Dan Le, Jackie Tran ARTSLANDIA BOX MANAGER Bella Showerman

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 Published by Rampant Creative, Inc. ©2019 Rampant Creative, Inc. All rights reserved.

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DIRECTOR’S NOTE

Teenage Dick is, for me, a play about our secret selves, our extraordinary inner lives, the depth and breadth of which yearn to be seen and known.

WHEN I WAS IN HIGH SCHOOL… this was a time before cell phones, if you can imagine such a thing. It was not quite a time before computers, though we had to go to a meeting place the Ancients called the “Computer Lab” to use one.

When I was in high school, I was the kid who took Ancient Greek to fulfill my language requirement. I was the kid who checked out about 10 books from the library over spring break (and then didn’t read any of them). I was the kid who tried out for every school play.

I was also the kid with the mom in a wheelchair. My mother had multiple sclerosis, from the time I was one year old (though she had had her first undiagnosed episode many years earlier) until she died when I was 23. This was long before any of the current treatments for MS were available, medications that can intercede in the disease’s progress. In my mother’s lifetime, all doctors could do was try to mask symptoms. She was 57 when she died.

life. My self—the person I have become, the person I have always been—far exceeds the experience of having a mother who was, to use her terminology, handicapped.

The characters in Teenage Dick are similarly three-dimensional, and they are all—every one of them—yearning to be seen in their full humanity. Teenage Dick is, for me, a play about our secret selves, our extraordinary inner lives, the depth and breadth of which yearn to be seen and known. All of us walk through our lives with but a small fraction of ourselves on display, just a little piece that we let most others know. But this desire to be known is perhaps the most basic desire that we have. It’s what we want of our partners, of our friends, it’s what we want of God, it’s simply what we want.

For the first nearly-half of my existence, this was the most basic fact of my life. It is my earliest awareness, long before I had any words for it. And this experience, that of having a mother who was in a slow, decades-long process of dying from before the moment of my birth, has colored every aspect of my life: my ambition, my relationships, my choice of career, my sensitivity, my empathy.

When my mother could no longer see, she would dial the operator (this was something like an oracle who would speak to us through a thing the Ancients called a “landline”) and ask the operator to place the call for her. “Operator,” she would say, using some secret parlance for public amenities that she’d been taught by a social worker, “I am privileged.”

Teenage Dick is an extraordinary play, by turns wickedly funny and deeply moving, even, at times, horrifying, but always irreducibly human. It is a privilege to tell this story. Audience, I am privileged.

But it has not been the entirety of my

–Josh ARTSLANDIA.COM

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SP OI LE R AL ER T

point “It’s just that at some being after sixteen years of e, treated like an asshol in you” something just snaps –Richard, in Teenage Dick

BY PANCHO SAVERY

IN OUR PREVIOUS PLAY, Branden Jacobs-Jenkins meditated on the medieval morality play Everyman y (ca 1500) with Everybod t ren cur our In (2017). h production, Mike Lew, wit ates dit me , Teenage Dick (2018) is y pla his s, on, or as he say re’s “vaguely from,” Shakespea As 2).

159 (ca III d har Ric ut a Shakespeare’s text is abo op sto l wil o wh ruthless man er pow n gai to ng to anythi nd, and become King of Engla the r, rde mu including sibling en, murder of innocent childr e fals der un ing rry and ma ut pretenses, Lew’s text is abo

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will a high school junior who ss cla e om bec to ng thi do any inating elim ing lud inc , ent sid pre any all his potential rivals by . ary means necess happily, Shakespeare’s play ends ed at kill d har with the evil Ric rl of Ea the by ld Bosworth Fie g Kin be to n soo , ond Richm il Henry VII, ending the civ war known as the Wars of ks the Roses between the Yor ters cas Lan the and e) ros (white the ing (red rose), thus initiat ’s reign of the Tudors. Henry eth zab Eli be l wil er granddaught ing dur 3) 160 58– (15 ch nar I, mo time most of Shakespeare’s life k, Dic ge na Tee (1564–1616). In

SPOILER ALERT the evil Richard not only gains the power he wants, but the play concludes with his not being defeated. Lew’s play is a much darker vision of the evil that humans are capable of.

Shakespeare’s Richard III begins with Richard’s famous soliloquy that starts, “Now is the winter of our discontent/ Made glorious summer by this son of York” (I. i.1–2). Richard is celebrating the defeat of the House of Lancaster, and the ascension to the throne of his older brother, King Edward IV. But immediately after this salute to his brother, Richard begins to complain that his brother “capers nimbly in a lady’s chamber/To the lascivious pleasing of a lute” (I.i.12–13). He then goes on at length both about his own looks and his physical condition, lamenting that, among other things, he is “rudely stamped, … Cheated of feature, …

Deformed, unfinished,” and “so lamely and unfashionable/That dogs bark at me as I halt by them” (I.i.16–23). He concludes that “Since I cannot prove a lover/… I am determined to prove a villain” (I.i. 28–30). At this early point of the play, Richard has no enemies; no one has done wrong to him such that he needs to seek revenge. He appears to decide to be a villain because of his looks and physical condition. No one can love him, he decides, and therefore he can also love no one. He will set one of his brothers against the other and begin his climb to the top.

This raises the question of what form the play takes. It is often conventionally viewed as being a tragedy, but this raises several problems. According to Aristotle in his Poetics, “tragedy attempts to imitate men who are better and comedy men who are worse than those about us” (48a). By this definition, Richard III is clearly not a tragedy. Aristotle

additionally says that a tragedy is supposed to arouse pity and fear, and that “the fall of the exceedingly wicked man is neither pitiable nor fearful” (52b).

Richard is definitely exceedingly wicked and does fall. Does this make the play a comedy, or is Shakespeare consciously redefining tragedy? Richard III is a very different type of tragedy from something like King Lear (1605-06), where we see the fall of a flawed, but basically good man, similar to Oedipus, who falls “because of some error of the kind found in men of high reputation and good fortune” (53a).

One way to think about the play is through the constant use of asides, and in the scenes of repartee between Richard and other characters. In Act 1, scene 2, Richard engages with Anne to try to convince her to marry him, even though he has already killed both her husband and father-in-law. She calls him a “dreadful minister of hell” (I.ii.46), a “lump of foul deformity” (I.ii.57), “villain” (I.ii.70), a “diffused infection of man” (I.ii.78), “devilish slave” (I.ii.91), and a “hedgehog” (I.ii.105) who is “unfit for any place but hell” (I.ii.112). Richard replies to the onslaught by saying there is one other place he is fit for, her “bedchamber” (I.ii.115). Are we disgusted by this reply of an evil man, or do we burst out laughing? This is, obviously, a director’s choice, and a crucial one. After he has essentially convinced her, Richard, in one of his many asides, announces, “Was ever woman in this humour wooed?/ Was ever woman in this humour won?”

(I.ii.231–232). It is clear Richard is selfsatisfied with his coup; but what decision does the director make? Do we leave the scene in sorrow for Anne, or laughing at Richard’s over-the-top performance and satisfaction with his own wickedness?

In the next scene, Richard engages with ARTSLANDIA.COM

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Anne’s mother, Margaret, who has lost both husband and son to Richard, and a similar scene ensues, in which she calls him “murderous villain” (I.iii.132), “cacodemon” (I.iii.142), “dog” (I.iii.214), “elvish-marked, abortive, rooting hog” (I.iii.226), “rag of honour” ( I.iii.231), “bottled spider” (I.iii.242), “venom tooth” (I.iii.291), and “devil” (I.iii.298), while he calls her a “Foul wrinkled witch” (I.iii.162) and a “hateful withered hag” (I.iii.213). Once again, he ends the encounter with an aside in which he clearly states, “And thus I clothe my naked villainy/… And seem a saint when most I play the devil” (I.iii.336–338).

And once again, the director has to make a decision as to how these scenes are played: dramatic or over-the-top comedy.

The same is true of Richard’s false humility. When asked about being king, he says, “If I should be? I had rather be a pedlar./Far be it from my heart, the thought thereof ” (I.iii.147–148). Later, when the issue of becoming king arises again, he says, falsely modest, “Alas, why would you heap this care on me?/I am unfit for state and majesty./ I do beseech you, take it not amiss;/I cannot nor I will not yield to you” (III.vii.203–206).

After the requisite entreaties, Richard relents with, “I am not made of stones,/ But penetrable to your entreaties,/Albeit against my conscience and my soul” (III.vii.222–224). And in acting this way, Richard has performed the perfect

The play can thus be divided between those who see beneath Richard’s false front to the evil heart beneath, and those who are fooled by his outward appearance

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dictator’s trick of getting the people to do what you want them to, but making them believe that it has all been their idea, thus acting as his own spin doctor and getting people to believe what is, in fact, fake news. How these various scenes are played by the actors and the decisions the director makes, will determine how the audience understands the playwright’s vision. This raises another important theme in the play, the difference between appearance and reality.

In the third act, Hastings asserts, “For by his face straight shall you know his heart./… Marry, that with no man here he is offended,/For were he, he had shown it in his looks” (III.iv.53–57). Hastings here asserts that your outside is a true guide to your inside, and that the two must be in harmony, while Richard has proved on multiple occasions that he is acting, putting on a show, and that his outward appearance covers the evil beneath, “No more can you distinguish of a man/ Than of his outward show,” he asserts (III.i.9–10). The play can thus be divided between those who see beneath Richard’s false front to the evil heart beneath, and those who are fooled by his outward appearance, “Your grace attended to their sugared words/But looked not on the poison of their hearts” (III.i.13–14), Richard warns Prince Edward. This makes the play a meta-theatrical performance, a play about the nature of theatre itself.

One last issues of note is Richard’s physical form. He refers to himself as “Deformed, unfinished” (I.i.20); Margaret calls him a “poisonous bunchbacked toad” (I.iii.246), lines later repeated by Elizabeth (IV.iv.81); and in the third act, Richard exclaims, “Behold, mine arm/Is like a blasted sapling, withered up” (III.iv.67–68). Actors have traditionally portrayed Richard as

being disabled in various ways: hunchbacked, leg-braced, black-gloved, etc.

The more significant point is that in Shakespeare’s time, and returning to the theme of appearance and reality, people did believe that an outward disability was a sign of some form of inner defect.

It is important to note the distinction between these two terms. They are not the same; but in Shakespeare’s time, they were synonymous. In Shakespeare’s time, it would be “proper” to say that someone was disabled. That is who the person was, the essence and totality of their being.

Today, it is more correct to say that a person “has a disability.” The disability is only one facet of the person, not the entirety of one’s being, and certainly not the most important facet. After Richard’s skeleton was discovered beneath a parking lot in Leicester in 2012, it was revealed that the spinal column made clear that he suffered from scoliosis, which would not necessarily have been outwardly visible at the time, and this has led to the thought that he was perhaps mis-portrayed by Shakespeare to make him excessively evil inside and out in order to counterbalance the glory of the new Tudor dynasty.

All of these major issues addressed by Shakespeare: misogyny, appearance v. reality, the lust for power, the use of asides and self-deprecation to reveal one’s true villainous feelings, how physical disability is depicted and perceived, and the issue of tragedy v. comedy, are all at the forefront of Mike Lew’s Teenage Dick, which essentially moves Richard III to high school.

In Teenage Dick, the main character, Richard, is a Roseland High School junior and class secretary who decides he wants to be class president next year, and who will do anything necessary to achieve this goal. In echo of his Shakespearean

The more significant point is that in Shakespeare’s time, and returning to the theme of appearance and reality, people did believe that an outward disability was a sign of some form of inner defect. It is important to note the distinction between these two terms.

They are not the same; but in Shakespeare’s time, they were synonymous. counterpart, Richard begins by noting, “Now that the winter formal gives way to glorious spring fling” (1), he will “run a play” (a pointing to the metatheatrical) “by systematically destroying the competition” (1); Eddie, the current president and football star who is running for reelection; and Clarissa, “the goodie-goodie vice president” (1). Again, like his Shakespearean counterpart, Richard announces that “I was stamped for their hatred from birth. They see my unpleasant shape and like a magnet I must repulse” (1). The major innovation Lew makes is to cast two actors with disabilities in main roles. Richard has cerebral palsy, and his best friend Buck uses a wheelchair. Cerebral palsy is caused by injury or poor oxygen supply to the brain just before, during, or after child birth that can result in difficulty controlling movement (which we see later in the play when Richard tries to dance).

A note from Lew says, “Cast disabled actors for Richard and Buck. They exist and they’re out there.” To be clear, this is not a play about disability. Disability is not the subject matter of the play. Like Richard III, this is a play about a ruthless person’s climb to power, and that person happens to have a disability. Unlike in Shakespeare, this play in no way suggests that an outward disability is a sign of an ARTSLANDIA.COM

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Unlike in Shakespeare, this play in no way suggests that an outward disability is a sign of an inner defect; and Lew makes sure we don’t make that mistake by writing two characters, not just the ruthless Richard, but also his best friend Buck, who refuses to go along with his evil scheme, as having disabilities.

inner defect; and Lew makes sure we don’t make that mistake by writing two characters, not just the ruthless Richard, but also his best friend Buck, who refuses to go along with his evil scheme, as having disabilities.

In the opening scene, Richard apologizes to his teacher for being late to class, and uses his disability as an excuse. The teacher, of course, says, “no worries, Richard,” who then in an aside to the audience says, “Heh, heh, heh, heh” (1).

So from the beginning of the play, we not only see Richard’s ruthlessness, but we also see him as an actor consciously manipulating those around him; and thus this play, like Shakespeare’s, is also a meditation on theatre itself.

The class has been assigned to read Machiavelli’s The Prince, but only Richard can recite the four pathways to power Machiavelli enumerates, the last one being wickedness, and only he can correctly answer the question of whether it is better to be loved or feared. He also raises the question of if one has been “hated since birth” (7), why stop being cruel. The parallels between Richard and Richard III are clear; but lest there’s any doubt, Richard adds as another aside, “Pop quiz, friends. What’s the first step of staging a populist uprising?

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Convincing the populace that they thought it up” (7). And in this case, despite his clear announcement to the audience that he is intent on running, when his teacher Elizabeth (again, note the name parallels between Lew and Shakespeare) asks him if he has thought of running, he uses Richard III’s false modesty by answering, “Not really” (8).

She wants to save the school’s theatre program and asserts that Richard “understands the importance—the allconsuming importance of live theatre!”

(8), thus reinforcing the meta-theatrical.

Richard, like Richard III, is going to put on a theatrical production whose goal is to convince one and all that he is the best choice for new student leader.

As Richard III seduces Ann with language to get her to agree to marry him, and as he later tries the same tactic with Elizabeth, Richard’s plan involves getting Anne Margaret, “the most popular girl in school” (12) and Eddie’s ex-girlfriend, to invite him to the Sadie Hawkins dance. And though he denies it to Buck, he makes clear in an aside that “Landing a date with Anne Margaret IS part of an elaborate multi-step scheme” (14) to become popular and use that popularity to win the election. He eventually convinces Anne Margaret to ask him to the dance as a way of getting back at Eddie for dumping her; and in the same way that Richard III pats himself on the back for his linguistic persuasive abilities with women in an aside, Richard remarks, “Ha! Did you fucking SEE that? Was EVER a woman so easily won?” (18), echoing the misogyny of Richard III. Richard first gets Buck to gain access to and change Clarissa’s grades so she is no longer eligible to run for class president, making clear in another aside that he is using her (26). But when Anne teaches

him to dance, gets him to talk about how it feels to have a disability, they kiss, and Richard responds with, “Did anyone fucking SEE that?” (33), we wonder if Richard has indeed changed and that his talk about being fated to endure a bad life might not be true; but when Eddie, who has previously referred to Richard as “Twisty Dick” (6) and “retarded” (12), and who now adds “Crooked Dick” and “retard” (37), and tells him he cannot run for president, “something just snaps” in Richard, and he asserts, “You want me to be evil, then let me be evil” (38).

After being abandoned by Buck when she realizes she has been used, Richard and Anne almost have sex because she has started to genuinely care for him, but she then tells him she got pregnant from Eddie, had an abortion, dumped him, but didn’t tell him why. Richard now has a moment of self-confrontation, similar to Richard III’s right before the Battle of Bosworth Field (V.iii.180–209). Does he use this information to make Eddie look bad and thus help himself win the election, or does he keep the information to himself, save Anne humiliation, and win the election with “no dirty tricks” (47). He, of course, goes for the dirty trick of first outing Anne as his girlfriend to incense Eddie. She then insists she will only go to the dance with him if he drops out of the race, and Richard ponders, “Eddie’s hide. Or Anne’s love. Which is The play ends with Richard justifying his actions by arguing that fate has made him a villain, and he had no option but to “act out the role that’s been writ” (78), again highlighting that this is a play about theatre, and that Richard has just been acting his part.

the real prize?” (61). Richard, distrusting Anne’s love, not surprisingly chooses “the one prize that’s real” (61).

At the dance, after Anne admits that she considers this a real date, the entire dance is bombarded with tweets announcing/denouncing what has happened between Anne and Eddie, which causes Anne to take her own life, Eddie to eventually take a leave of absence, and Clarissa to transfer, leaving Richard as the only candidate for class president. In his acceptance speech, he blames the school for Anne’s death. After Eddie viciously beats Richard up, Richard steals Elizabeth’s car keys, shouts, “My kingdom for some horsepower” (echoing Richard III’s “A horse, a horse, my kingdom for a horse!”

[V.v.13]), and prepares to run Eddie down. Even Anne’s ghost, after telling Richard “I did love you” (77), cannot make him believe (similar to the visits Richard III receives from the ghosts of those he has killed); and Richard not only runs Eddie down, but then backs up and runs over him again, “severing his spinal chord” (78). The play ends with Richard justifying his actions by arguing that fate has made him a villain, and he had no option but to “act out the role that’s been writ” (78), again highlighting that this is a play about theatre, and that Richard has just been acting his part.

Richard III ends with the evil title character dead on the battlefield, with his victor ushering in a new Tudor dynasty.

Teenage Dick ends on a much more negative note, reflecting our present dark times, where lies, fake news, character assassination, misogyny, and empty macho boasts unfortunately dominate the landscape. There is time to turn this vision around, but not much.

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Interview with the

PLAYWRIGHT

ARTISTIC DIRECTOR DÁMASO RODRÍGUEZ had the chance to sit down with playwright Mike Lew to discuss the origin story of Teenage Dick, disabled representation on stage, and how being involved in rehearsals can add to his playwriting process.

DÁMASO RODRÍGUEZ: Teenage Dick is a retelling of Shakespeare’s Richard III. Why Richard III, and how did you go about modernizing it?

MIKE LEW: The play was conceived as a commission from Gregg Mozgala who runs a theatre company called The Apothetae. We were longtime collaborators at Ensemble Studio Theatre in New York, and found that the advocacy work that Gregg does on behalf of the disabled community dovetails well with what I’m trying to do for the AsianAmerican community. The deeper we got into questions about representation and our personal responsibilities as artists, he hatched an idea to commission plays that would reexamine the disabled experience. So he’s the one who came to me with the idea of adapting Richard III in a high school, and calling it Teenage Dick, and I just jumped at it. The idea of it was so compelling to me. I think that the high stakes of royal ascendency smashed into the feeling of high stakes in American high schools worked well to make the situation in extremis sing from a modern context. We also were interested in looking at the archetype of Richard III and his inherent evilness and the way that Shakespeare ties that into his disability, and connecting that with how we treat people with 14

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disabilities today. So those contrasts, and the language of high school slang vs.

Shakespearean dialogue sort of swirled into this new play.

DR: The way Richard in particular speaks feels both Shakespearean and like a high school student trying to use elevated language. Did you have an instinct for that going into it?

ML: I find it really funny that even if we as adults are really far away from high school, a lot of times those stigmas and traumas from that time can be tapped into almost immediately. Especially because I’m in residence off-and-on for the year at La Jolla Playhouse, which is where I grew up, I’m having these flashbacks to my high school self and the armor that you put up as an adult gets stripped away so easily. So I found it very easy to get back into the mindset of feeling like intellectually, I was an adult, but in terms of body and responsibilities, I was not. So I think that smashing together of language is coming from a personal place of having some intelligence but not the temperance to know how to use it, and playing at being more mature than I was and the consequences of that.

DR: So the Teenage Dick premiere was produced by Ma-Yi Theater at The Public in June. Tell us a little about the rehearsal process, and how that production did or did not change the show.

ML: The play had a long development process, I think I completed the first draft in 2013, and it had lots of development around the country with

DR: Can you talk either in general or specifically about what a second production does to a play, and how that relates to when you’re finished with a play, or whether you’re ready to move on from it?

ML: I think you’re never really done with a play. That being said, I think at a certain point because of life circumstances shifting, you can’t really

write the play anymore.

I’ve read old plays of mine and I appreciate them, but I don’t think I could write them now, because I was a different person when I wrote them. It’s not always the case, but to me I feel like in an ideal situation you would get two or three cracks at a play, because audiences in different cities are different, and actors are different, so I’m enormously grateful for and try to utilize rehearsal time in second and third productions. My previous play, Tiger Style!, for instance, premiered in Atlanta and then there was a production up at La Jolla, and my wife Rehana said she thought I needed to drop this scene in Act I. I was on the plane to Boston for the next production and implemented the change, and the Boston production from a script perspective was better because of it.

So there were two companies doing it in different states with different scripts, but I just think that there’s so much you don’t know when you’re writing a brand new play that these opportunities to continue playing are really precious.

DR: I want to circle back to Shakespeare for a second. Did you

“

It’s had a couple of consistent cast members and several that were different, which is part of why I’m really looking forward to the Artists Rep rehearsal process to continue adapting the script to this particular set of performers and seeing what will stay consistent and what’s going to be adapted.

“

readings and workshops.

So to get into the rehearsal process and actually know that I was working towards a production did accelerate a lot of things. I just find it really funny because in some ways, play development is a little more about how much you trust the artist and less about if the play is objectively ready for production or not. You can have a script that seems like it’s perfect on paper but as soon as you put it in front of people, all of it flies out of the window. But for me, it’s a lot about adapting the play to the specific actors. It’s had a couple of consistent cast members and several that were different, which is part of why I’m really looking forward to the Artists Rep rehearsal process to continue adapting the script to this particular set of performers and seeing what will stay consistent and what’s going to be adapted.

As far as specific changes that happened in this process, physicalizing everything was so new, so seeing how those dance scenes affected things physically, and seeing what the emotional ramifications of that were, was really useful.

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feel any pressure to be true to Richard III? Were there any rules you were following, or was it just a jumping off point?

ML: I definitely didn’t feel beholden to Shakespeare himself, because that guy gets a lot of productions. It’s funny because even though I studied Shakespeare somewhat in college, I don’t necessarily love Shakespeare, so it’s not like I was coming from a place of reverence.

But that said, it was interesting to take apart the play structurally.

We’re trained to take it apart more thematically, or to approach it from a directing perspective in terms of how to make things work.

But to think about how the play works structurally was an interesting exercise. I didn’t necessarily feel like I needed to follow the beats exactly, but I wanted to take the high stakes that are achieved in the original and see if I could make it work in a high school context. I think it does in that you don’t

think of high school as life-or-death, but then there’s a lot of bad shit that happens in high schools that’s hard to reconcile with. Especially in media, high school is portrayed as a sheltered time that feels inconsequential and everyone ends up okay. But, actually, a lot of people die in high schools these days. I also wanted to tease out the disability and gender politics of the play. Like, what do we do about the unsubstantial female roles in the original text, and what do we do about the assumptions made about the connections between Richard III’s physicality and morality - and see how that fits in a modern context. I also noticed from a structural context that there’s a lot of direct address in Richard III that devolves as the shit hits the fan, and I wanted to replicate that structurally. You’re initially brought in as a co-conspirator, but as Richard III has less control there’s less direct address and the scenes become more impressionistic, so I wanted to mirror that.

Artists Rep’s 2019 Gala s Liberté, Egalité, Sororité... Soirée!

Sunday, April 7th, 2019 s 5 pm, Loft @ 8th Avenue

This year, we party like it’s... 1793! Join us for an evening paying tribute to Lauren Gunderson’s magnificently witty The Revolutionists.

There will be libations, auctions, a delicious dinner... and Lauren Gunderson as our guest of honor!

Tickets $200* per person, Tables of 10 $2,000* *A portion of your ticket is tax-deductible.

Contact Individual Giving & Corporate Sponsorship Manager Molly Moshofsky at mmoshofsky@artistsrep.org or 503-241-9807 x 129 for details 16

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GET INTO THE WORLD OF TEENAGE DICK BOOKS JUST CALL ME SUPERHERO BY ALINA BRONSKY LAUGHING AT MY NIGHTMARE BY SHANE BURCAW THE HUNGER GAMES BY SUZANNE COLLINS

MOVIES FERRIS BULLER’S DAY OFF (1986) RICHARD III (1995) HEATHERS (1988)

TV HIGH SCHOOL USA (2013) DEAR WHITE PEOPLE (2017) SPEECHLESS (2016)

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CAST BIOS CHRISTOPHER IMBROSCIANO Richard Gloucester Christopher is thrilled to be making his Artists Rep debut in Teenage Dick. His previous theatre credits include the West End premiere of Teddy Ferrara at the Donmar Warehouse. Off-Broadway: The Unexpected Guest and Inside/Out…Voices from the Disability Community. Regional: Teddy Ferrara (Goodman Theatre), Romeo & Juliet (Williamstown Theatre Festival), Inside/ Out (The Kennedy Center), The Cripple of Inishmaan (Guild Hall), and Rock Doves (Adrienne Theatre). TV/Film: The Good Wife and Ben Comen. Christopher is a proud member of Actors’ Equity Association. www.christopherimbrosciano.com

TESS RAUNIG Barbara “Buck” Buckingham Tess (they/them/theirs) is thrilled and grateful to be making their professional theatre debut in Teenage Dick at Artists Rep. Originally from Missoula Montana, Tess’s love for theatre started when they were young, onstage, at Missoula Children’s Theatre. Since moving to Portland in 2013, they have performed with companies such as the Disability Art and Culture Project, Impetus Arts, and Genderbomb. An accomplished musician and songwriter, they hold a Bachelors of Music in Vocal Performance from the University of Montana. They sing and play keyboard in the Portland based theatrical folk pop band, Sasha and The Children. You can listen to their debut EP at sashaandthechildren.com. Tess is also a member of Key of Q PDX, an acapella group comprised of trans and non-binary folks.

This past fall, they were hired as a teaching artist at PHAME, an arts school for adults with intellectual and developmental disabilities. When they aren’t acting, playing music, or teaching, Tess enjoys drinking tea, social justice activism, attending concerts 18

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and plays, and hanging out with their cat child, Sasha. And yes, the band is named after Sasha kitty. They wish to thank the incredible team at Artists Rep for this opportunity, as well as their family, friends, loves, and teachers for so many years of unyielding support.

AYANNA BERKSHIRE Elizabeth York Ayanna’s (she/her/hers) career goals have always been to do great work, develop truthful, dynamic characters, and to work alongside outstanding colleagues; she has been extremely lucky on all counts. As a Resident Artist of Artists Rep and full-time performing artist, Ayanna splits her work between stage and screen, ever searching for new ways to explore a story. The 2018/19 season marks her fourth season with Artists Rep, with a whopping four shows this season alone! Look for her in the upcoming World Premiere Wolf Play by Hansol Jung, and The Revolutionists by Lauren Gunderson.

Ayanna’s previous works at Artists Rep include: 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. Film and TV credits include: Lean on Pete, Twilight, Extraordinary Measures, Wendy and Lucy, Say Uncle, The Dust Factory, The Record Keeper, American Vandal, Chicago PD, Portlandia, Grimm, Parenthood, Castle, Grey’s Anatomy, Awake, Leverage, Curb Your Enthusiasm, and Significant Mother. Coming in 2019: In the Vault, and Documentary Now! (Netflix), and the films Resound and Boundary Springs!

Member of Actors’ Equity Association and SAG-AFTRA. Ayanna would like to thank you for actively supporting the arts!

CAST & CREATIVE TEAM BIOS NICK FERRUCCI Eddie Ivy Nick is happy to be at Artists Rep. Portland theatre credits: John, The Angry Brigade at Third Rail Repertory Theatre, Luna Gale at CoHo Productions, Astoria: Parts One and Two and JAW at Portland Center Stage, Peter and the Starcatcher at Portland Playhouse, True West at Profile Theatre, A Pigeon & A Boy at Jewish Theatre Collaborative. Regional: Oregon Shakespeare Festival, Maples Repertory Theatre, Sierra Repertory Theatre, Commonweal Theatre Company, Heritage Theatre Festival, Bright Star Touring Theatre. Film: Warmuffin, The Falls, One Foot in the Gutter. TV: Grimm. He holds an MFA in Acting from Northern Illinois University, and a BFA in Theatre from Southern Oregon University. He has studied with the Moscow Art Theatre in Russia, and The Second City in Chicago. Nick is a member of Actors’ Equity Association. Upcoming: Crossing Mnisose at Portland Center Stage, and Arlington [a love story] at Third Rail Repertory Theatre.

ALEX RAMIREZ DE CRUZ Clarissa Duke Alex Ramirez de Cruz is originally from Ventura, California but has settled in Portland as an area actor, deviser, singer, and theatre-maker. Teenage Dick will be her second time onstage with Artists Rep after appearing in An Octoroon last season. Favorite credits include: Revolt. She Said. Revolt Again. (Third Rail Repertory Theatre), This Girl… (CoHo Productions), 26 Miles (Profile Theatre), The Oregon Trail (Portland Center Stage), db (CoHo Productions), Passion Play (Shaking the Tree Theatre and Profile Theatre), and Dance for a Dollar (Milagro).

She is dedicated to creating original devised theatre and is a proud member of String House, an independent producing title and new works laboratory, nominated for two Drammy Awards for “Best Devised Production.” When she is not onstage, Alex is busy

coding, embroidering, and cuddling her animals. She would like to thank her incredible wife for all her love and support!

KAILEY RHODES Anne Margaret Kailey is thrilled to be back at Artists Rep, where she previously appeared in An Octoroon and The Importance of Being Earnest. Other local credits include Ordinary Days at Broadway Rose Theatre, Sense and Sensibility at Clackamas Repertory Theatre, and Chicago with Metropolitan Community Theatre Project (Drammy Nomination, Best Actress in a Musical). Offstage, Kailey is a math and tap dance teacher at Northwest Academy and a content writer for Clarity Innovations, and thanks them both for their support of her artistic pursuits. She is excited to be a part of this project—and she’s very grateful to have made it through high school. Love to Sutton. May your four years be exactly what they are: short.

JOSH HECHT Director Josh Hecht is a Drama Desk Award-winning director and the artistic director of Profile Theatre. At Profile, he has directed In The Wake by Lisa Kron and the rotating repertory productions of Quiara Alegria Hudes’ Water By The Spoonful and The Happiest Song Plays Last. His productions have been seen in New York at MCC Theater, The Cherry Lane, The Duke on 42nd Street, New World Stages, Culture Project, regionally at The Guthrie Theater, the Berkshire Theatre Group, the Humana Festival at Actors Theatre of Louisville, Signature Theatre (DC), and internationally at the Dublin Arts Festival and the Edinburgh Festival Fringe, and elsewhere. His collaboration with Ping Chong and Company was commissioned by and premiered at The Kennedy Center before touring the northeast. His writing has received the support of the Jerome Foundation. He is formerly ARTSLANDIA.COM

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CREATIVE TEAM BIOS the director of playwright development at MCC Theater and the director of new play development at Women’s Expressive Theatre, and has worked at most of the play development centers across the country including The National Playwrights Conference at The O’Neill, New York Stage and Film, The Playwrights Center, The Lark, PlayPenn, New Harmony Project, JAW at Portland Center Stage, and others. He is a New York Theatre Workshop Usual Suspect and an alumnus of the Lincoln Center Directors Lab. He’s served on the faculty of the New School for Drama MFA Directing program, the Fordham University MFA Playwriting program, Purchase College SUNY’s BFA Dramatic Writing program, and has been a guest artist at The Juilliard School, NYU’s Dramatic Writing MFA program, Carnegie Mellon’s MFA Playwriting program, University of Minnesota’s BFA Acting program, and others.

PETER KSANDER Scenic Designer Peter Ksander (he/him/his) is a scenographer and media artist whose stage design work has been presented both nationally and internationally. Recent credits include designs for: John, The Flick, and Angry Brigade (Third Rail Repertory Theatre), Fires in the Mirror, Water by the Spoonful, The Happiest Song Plays Last, 2.5 Minute Ride, and Bright Half Life (Profile Theatre), The People’s Republic of Valerie (On The Boards), The Deception Unit, Procedures for Saying No, Uncle Vanya, and Or the Whale (Portland Experimental Theater Ensemble) It’s All True (a noise opera built from a post-hardcore band’s live archive), and The Merchant of Venice (with director Karin Coonrod, staged on location in the metropolitan city of Venice). He is co-founder of Tiny Elephant, whose first piece, The Stupid Butterfly Project, was presented by

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Arts at St. Ann’s, and was a member of TENT, an image-based ensemble generating new work. Projects with TENT include: The Ugly Children do not get Cake, Oh Sweet Captain or the Ahab Stomp, Your Shipwreck is No Disaster, KG: Life in a Tin Can. In 2006 he joined the curatorial board of the Ontological-Hysteric Incubator. In 2008 he won an Obie award for the scenic design of Untitled Mars (this title may change), and in 2014 he won a Bessie award for the visual design of This Was the End. He holds an MFA from the California Institute of the Arts, is an Associate Professor at Reed College, and is an associate company member with the Portland Experimental Theater Ensemble.

SARAH GAHAGAN Costume Designer Sarah (she/her/hers) is a multimedia artist and costume designer for theatre and dance, as well as a design instructor and resident costume designer at Portland Community College. Sarah has collaborated with many of Oregon’s beloved arts organizations including: Artists Rep, Oregon Children’s Theatre, Profile Theatre, Milagro, Oregon Contemporary Theatre, Oregon Ballet Theatre, and Michael Curry Design.

Sarah has received five Drammy Awards, Portland’s annual recognition of excellence by a consortium of theatre critics, for her costume design work on Eurydice, James and The Giant Peach, Trojan Women, El Quijote, and A Year with Frog and Toad.

She has also received national grants and awards such as the Tobin Theatre Arts Travel Award. Her design work was featured internationally at the 2007 Prague Quadrennial’s Scenofest Exhibit. Her costume design work has been seen in issues of both American Theatre Magazine and Theatre for Young Audiences Today. Sarah attended The University of Oregon, where she received a BS in Theatrical Production Design and a BFA in Textiles.

CREATIVE TEAM BIOS 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 It’s a Wonderful Life: A Live Radio Play, Everybody, I and You, 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 Theater’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; Milagro’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).

SHARATH PATEL Sound Designer Sharath (he/him/his) was raised between Appalachia and India while spending the following years studying across Europe and New England. Before arriving in the Pacific Northwest, he spent nearly a decade as a lead sound designer in New York City. Recent design highlights include Skeleton Crew, I and You, Between Riverside and Crazy, Grand Concourse, The Price, Tribes, The Motherfucker with the Hat (Artists Rep); The Wickhams: Christmas at Pemberley (Marin Theatre Company); WIG OUT! (American Repertory Theatre/

Company One-Boston); Ibsen in Chicago (Seattle Repertory Theatre); The Crucible, The Royale (ACT Theatre-Seattle); The Color Purple (Portland Center Stage); As You Like It (California Shakespeare TheaterOakland); Coriolanus: Fight Like a Bitch (12th Avenue Arts-Seattle); Free Outgoing (East West Players-Los Angeles); 26 Miles, Dead Man’s Cell Phone, Buried Child (Profile Theatre-Portland); The Piano Lesson, Jitney, King Hedley II, The Brother Sister Plays (Portland Playhouse). Regional/International credits include designs in New York City, Washington D.C., Boston, Norfolk, Raleigh, Aspen, India, France, England, Germany, and Romania. He has previously served as a visiting assistant professor, lead designer, guest artist, instructor, or lecturer at Reed College, Yale, Fordham, Columbia, Willamette, Ohio, Portland State, and Butler Universities. Sharath is a member of the Theatrical Sound Designers and Composers Association (TSDCA) and is an Arts Envoy for the U.S. Department of State. He holds an MFA in Sound Design from the Yale School of Drama and is very proud to a Resident Artist at Artists Rep. sharathpatel.com

KEMBA SHANNON Choreographer Kemba received her BFA from Towson State University and trained at the Alvin Ailey American Theater, Martha Graham School, The Edge, Lula Washington, Peridance, and Morgan State University. She has taught dance classes at UCLA, Loyola Marymount, El Camino College, Portland State University, and others. Kemba’s stage credits include The Lion King (LA cast), The Color Purple (Broadway cast), Zumanity (Cirque du Soleil), Aida, and FAME. Kemba’s ambition and drive have won her world recognition with musical icons such as Madonna (Drowned World Tour), P!nk (Try This World Tour), Celine Dion (Taking Chances World Tour), Rihanna (Nike RockStar World Tour), Kanye West, R. Kelly, and Fantasia to name a few. Her television credits include

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CREATIVE TEAM BIOS American Dreams (NBC), Oscars (Chicago Performance), MTV Music Awards (P!nk performance), the Emmys (Kristen Bell performance), World Music Awards (Kanye West and R. Kelly performances), NAACP Awards, and the Grammys. Kemba currently teaches at Arts Communication Magnet Academy in Beaverton, Oregon where she teaches dance to over 200 kids every day.

She would like to thank her parents, teachers, and friends for believing in her.

JONATHAN COLE Fight Choreographer This is Jonathan’s 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.

AMANDA K. COLE Intimacy Consultant Amanda (she/her/hers) is delighted to return to Artists Rep after her intimacy consultation on this season’s Everybody, 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 22

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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.

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

He currently also serves on the Artists Rep Board of Directors.

LUAN SCHOOLER Dramaturg Luan Schooler (she/her/hers) was born in West Texas, where she trailed her big sister into dance classes and community theatre. When she was 12, the family packed up and moved to Anchorage, Alaska, where play practice and recitals continued to

CREATIVE TEAM BIOS consume her. After being kicked out of high school, she was eventually accepted into the theatre program at CalArts. One thing led to another and a life in theatre was launched.

Over the years, she morphed from acting, directing and writing, into dramaturgy and literary management. She has worked with many theatres around the country, most notably with Perseverance Theatre in Juneau, Alaska (where she met and married the marvelous Tim), Denver Center Theatre Company, Oregon Shakespeare Festival, and Berkeley Rep, and developed new plays with exceptional artists including David Edgar, Naomi Iizuka, Salman Rushdie, Dominique Serrand, Leon Ingulsrud, Lisa Peterson, Paula Vogel, and Molly Smith. In the MidAughts, she took a sabbatical from theatre to open a cheese shop, but happily left it behind to return to theatre. In 2015, she joined Artists Rep to launch Table | Room | Stage, the theatre’s new play development program. Here, she is developing work with Yussef El Guindi, Larissa FastHorse, Andrea Stolowitz, Linda Alper, Dael Orlandersmith, Hansol Jung, Steve Rathje, Anthony Hudson, and Susannah Mars. She also does production dramaturgy on most of Artists Rep’s shows, recently directed The Thanksgiving Play here, and keeps her thumb in a variety of other pies (including working with Lisa Peterson on her translation of Hamlet for Oregon Shakespeare Festival’s Play On! Project).

ALAN CLINE Associate Projection Designer Alan (he/him/his) is an artist and technician working in Portland since 2010. He is thrilled to be part of Artists Rep’s season.

KAREN HILL Stage Manager Karen (she/her/hers) is happy to be at Artists Rep for her fifth season. She has worked on Skeleton Crew, Magellanica, The Humans, An Octoroon, The Importance of Being Earnest, Marjorie Prime, A Civil

War Christmas, American Hero, Grand Concourse, The Miracle Worker, Cuba Libre, and Exiles. She also works with Portland Shakespeare Project, Oregon Children’s Theatre, Profile Theatre, and the Portland Opera as a stage manager and production manager. She is grateful every day that she gets to create beautiful art, and would like to thank her husband, Mike, for his continued support of this crazy lifestyle.

ERIC LYNESS Props Master Eric is pleased to be back at Artists Rep. Previous credits at Artists Rep include production assistant on The Monster Builder and The Gin Game. Additional regional credits include work at Northwest Theatre Workshop, CoHo Productions, Third Rail Repertory Theatre, and Blind Flight Theatre, and vary in role from director to designer to technician. He holds a BA in theatre from the University of Portland where he currently serves as technical director.

MEGAN MOLL Production Assistant Megan Moll is returning to Artists Rep for her third season, after working on Small Mouth Sounds, 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 theatre community.

JASON COFFEY Board Op Jason is thrilled to be back for his 16th season at Artists Rep as a Board Op. He has been a part of such notable productions as Skeleton Crew, Between Riverside and Crazy, An Octoroon, American Hero, Marjorie Prime, ARTSLANDIA.COM

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CREATIVE TEAM BIOS The Talented Ones, Broomstick, Mothers and Sons, Invisible Hand, as well as numerous productions dating back to the 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.

MARY MCDONALD-LEWIS Voice & Language Consultant Mary McDonald-Lewis has been a professional artist since 1979. She resides in Portland, Oregon, and is an international dialect coach for film, television, and stage. She also works as a voice actor, on-camera actor, stage actor, and director. Teenage Dick is MaryMac’s 34th show with the company, and you can also hear her work at Portland Center Stage, and on other stages around town. She is deeply grateful to the patrons and audience members of Artists Rep, whose support allows the theatre to provide her services to the actors. Mary holds her MFA in Directing from the University of Portland. MaryMac loves what she does, and she thanks Sullivan and Flynn for always wagging their tails when she comes home. www.marymac.com

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DÁMASO RODRÍGUEZ Artistic Director Dámaso Rodríguez (he/him/ his) is in his sixth season as Artistic Director of Artists Rep, Portland’s longest-running professional theatre company. He is a cofounder of L.A.’s Furious Theatre Company, where he served as Co-Artistic Director from 2001–2012. From 2007–2010 he served as Associate Artistic Director of the Pasadena Playhouse. His directing credits include work at the Pasadena Playhouse, Intiman Theatre, South Coast Rep, Actors Theatre of Louisville, Oregon Shakespeare Festival, American Conservatory Theater, A Noise Within, The Playwrights’ Center, The Theatre @ Boston Court, and Furious Theatre Company. Dámaso is a recipient of the L.A. Drama Critics Circle Award, the Back Stage Garland Award, the NAACP Theatre Award, and the Pasadena Arts Council’s Gold Crown Award. Upcoming projects include Mi Cuba (in development) by Caridad Svich at American Conservatory Theatre in San Francisco, and the World Premiere of Wolf Play by Hansol Jung at Artists Rep. He is a member of the Stage Directors and Choreographers Society. damasorodriguez.com

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

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

ARTISTS REP is implementing the practice of including gender pronouns in playbills and other general communication 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.

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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

EDUCATION + ARTSHUB/ AUDIENCE SERVICES Director of Education & Audience Services: Karen Rathje Education & Audience Services Associate: Miranda Russ Education Associate: Sarah Lucht Music Events Specialist: Susannah Mars House Managers: Deborah Gangwer, 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 Finance Manager: 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

Development Intern: Clare Kessi

PRODUCTION Technical Director: Nathan Crone Production Manager: Kristeen Willis Crosser Scene Shop Foreman: Eddie Rivera Master Carpenter: Charlie Capps Scenic Charge Artist: Sarah Kindler Master Electrician: 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 Michael Davidson Tom Gifford Erik Opsahl Michael Parsons Debra Pellati Pancho Savery Andrea Schmidt

Box Office Associates: Stephanie Magee, Zak Westfall

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SPECIAL THANKS

FOR THIS PRODUCTION

McKensie Rummel Alyssa Longoria Sarah Hamar Xzavier Wolfie Beacham Joey Kelly

Carpenters: Brendan Ramsden,

ARTISTSREP.ORG

Ben Serreau-Raskin Stitcher: Virginia Kilkelly Scenic artists: Gordon Victoroff, Erica Hartmann, Garrett Brown Electricians: Chris Stull, Iain Chester, Zahra Garrett

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 December 1, 2017 and December 15, 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

Marcy & Richard Schwartz Stoller Family Estates John & Jan Swanson Darci & Charlie Swindells William Swindells, Jr.

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 Shiels Obletz Johnson

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 Dramatists Guild Foundation The Kinsman Foundation Romy Klopper The National Endowment for the Arts – Art Works The Oregonian Rafati’s Catering Charlotte Rubin Harold & Arlene Schnitzer Care Foundation

Anonymous (1) Advance Gender Equity in the Arts (AGE) Julia & Robert S. Ball Mike Barr Karl & Linda Boekelheide Marcia Darm MD & Bruce Berning Bloomfield Family Fund The Estate of Don & Pat Burnet Jeffrey G. Condit Dark Horse Wine Michael Davidson 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 Kristen & Michael Kern 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) 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 Eva & Jim MacLowry Leonard & Susan Magazine, REAL ESTATS The Mark Spencer Hotel J.S. & Robin May Allen & Frances Nause Bob & Linda Palandech Patricia Perkins Alan Purdy Julia Rea & Jim Diamond Dámaso Rodríguez & Sara Hennessy Miriam & Charlie Rosenthal Steve & Trudy Sargent Pancho Savery Drea Schmidt & Emilee Preble Norm & Barb Sepenuk James G. & Michele L. Stemler

BACKSTAGE PASS ($1,000–$2,499)

Anonymous (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 Jody Klevit Bruce & Cathy Kuehnl Lagunitas Brewing Company Ann Laskey Kirsten & Christopher Leonard

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OUR SUPPORTERS CONTINUED Carter & Jenny MacNichol Roberta Mann Laurie & Gilbert Meigs Katherine Moss 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

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Susan Bach & Douglas Egan Patsy Crayton Berner Richard & Leslie Bertellotti Lesley Bombardier 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 & Jeff Kilmer 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 OnPoint Community Credit Union Alfred & Eileen Ono Ron Pausig Karen Rathje Julie Poust John Ragno Karen Rathje 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 John & Sandra Swinmurn 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

INSIDERS ($250–$499)

Anonymous (2) Chuck & Meg Allen Linda Alper Bob Amundson & Sully Taylor Linda Barnes & Robert Vanderwerf F. Blair Batson Eric Beach Bob & Kathleen Bevins Ann Brayfield & Joe Emerson Jim Brunke Sonia Buist, M.D. Lauretta Burman Cambia Health Foundation Don Caniparoli & Sarah Rosenberg Cecile Carpenter Chuck Carpenter & Carl Brown Elaine & Arnold Cogan Dr. Maura Conlon-McIvor Harriet Cormack Debbie Cross & Paul Wrigley Graham & Peggy Crow Robert Daasch & Linda Schaefer Nancy & Jon Decherd Barbara & George Dechet Linda Dinan Kari Easton Carmen Egido & Abel Weinrib Elizabeth & John Ehrsam Marilyn Kay Epstein George & Donna Evans Linda Farris Donna Flanders & Carl Collins, in honor of Cody Hoesly Larry & Marilyn Flick Paul Gehlar Don & Marlys Girard Barbara & Marvin Gordon-Lickey Roswell & Marilynn Gordon Paul & Teri Graham Candace Haines Judith A. Henderson Cynthia Herrup & Judith Bennett

THANK YOU! Edward & Leah Hershey Stephen & Sharon Hillis Kirk Hirschfeld Lynette & Don Houghton Icenogle Family Fund, a Donor Advised Fund of the Renaissance Charitable Foundation Joni & Bill Isaacson Janice & Benjamin Isenberg Philanthropic Fund of the Oregon Jewish Community Foundation Marianne KeddingtonLang & William Lang Elaine & Ed Kemp Karen Kemper Sally & Lucien Klein 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 Sue Pickgrobe & Mike Hoffman Helen Richardson & Don Hayner Alise Rubin & Wolfgang Dempke Michael Sands & Jane Robinson Charles & Judith Rooks

Rebecca Ross Rick & Halle Sadle William & Meredith Savery Natalie Sue Schmitt Luan Schooler & Timothy Wilson Erika Schuster & Clay Biberdorf Mary Ann Seth-Wish & John Wish John Shipley H. Joe Story David & Rosemarie Sweet Teutonic Wine Company Mary Troxel Janet F. Warrington Carl Wilson & Evan Boone Maureen Wright & Lane Brown Cynthia Yee

Janet Young & Robert Hinger Alan & Janet Zell Kurt & Heather Zimmer

FRIENDS ($100–$249)

Anonymous (6) Christine Abernathy Christopher Acheson & Dr. Elizabeth Carr Aesop Kris Alman & Mike Siegel Anders Printing Company Thomas Robert Anderson Kristin Angell Ruby Apsler ArborBrook Vineyards Elizabeth & Stephen Arch

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 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 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 Mary & Russ 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

Seasonal Food for all occasions

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ARTISTSREP.ORG

Judith E Posey & Edward J Doyle, MD Anne Driscoll Ross & Olivia Dwinell The Ellermeiers Laury Ellis & Kathy Fode Jim & Joan English Susan & Gabriel Farkas Dave Felt & Lynda Wendel Chris Fletcher & Pamela Abernethy & Elizabeth Abernethy Katie Flynn Heidi Franklin Amy Fuller & Frank Wilson George Fussell Kay Gage & Ketan Sampat Vanessa & John Gebbie Susan GendeinMarshall & Lee Marshall Linda Gipe George Goodstein Gretta Grimala HP Matching Gifts Kathleen Haley & Steven Wax Gail & Irvin Handelman Ulrich Hardt Meredith Hartley & Jeremiah Pyle Joan Heinkel & Ben Massell Thomas Hellie & Julie Olds Joe & Diana Hennessy Jon Henrichson Sarah Hershey Ron & Barbara Higbee Jon Hirsch Ava & Charlie Hoover Eric & Keena Hormel Hot Diggity Pet Sitting 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 Jane Luddecki & Robert Anderson 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 Fern Momyer & Marlene Grate 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 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 Rich & Joan Rubin 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 & Dr. 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

in the heart of the

Portland’s hotel

WEST END DIST.

TO THE ARTS # STAY L I K E A L O CA L

409 SW 11TH AVE PORTLAND

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503.224.3293

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MARKSPENCER.COM ARTSLANDIA.COM

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UP NEXT @ ARTISTS REP

15 years after Norwegian house wife Nora Helmer walked out on Ibsen’s Torvald, she walks back in the front door in the sequel to the 1879 social drama. In the ensuing years of her departure, Nora has become an incendiary writer — which isn’t a profession that married women could perform without permission. Since her husband didn’t sign the divorce papers, Nora has returned to the house she desperately sought to vacate to gain her freedom. With a quick wit and razorsharp tongue, A Doll’s House, Part 2 imagines the continuation of the house of Helmer as a deliciously gleeful trek through the complicated waters of relationships.