Wolf Play - Artists Rep by Artslandia

Â®

MAR 10 - APR 7

ROBERT & MERCEDES EICHHOLZ FOUNDATION

RONNI LACROUTE

DAVID & CHRISTINE VERNIER

SEE THE REVOLUTIONISTS FOR $40 WITH CODE REV40

MAR 10 - APR 7

APR 28 - MAY 26

WOLF PLAY BY HANSOL JUNG

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

CAST in order of appearance Wolf..................................................................................... Christopher Larkin* Ash....................................................................................... Tamera Lyn* Robin.................................................................................... Ayanna Berkshire*^ Ryan..................................................................................... Vin Shambry*^ Peter..................................................................................... Chris Harder*^

CREATIVE TEAM AND CREW Director ............................................................................... Dámaso Rodríguez~ Scenic Designer.................................................................... William Boles # Costume Designer................................................................ Sarah Gahagan Lighting Designer.................................................................. Kristeen Willis Crosser# Sound Designer.................................................................... Sharath Patel^# Puppet Designer................................................................... Matt Acheson Puppet Wrangler................................................................... Robert Amico Properties Master................................................................. Eric Lyness Fight Choreographer............................................................. Jonathon Cole~ Boxing Advisor...................................................................... Damaris Webb Assistant Scenic Designer...................................................... Antonio Ribeiro Assistant Sound Designer..................................................... Andrew Bray Dramaturg............................................................................ Luan Schooler Stage Manager..................................................................... Karen M. Hill* Production Assistant............................................................. Margot New PAC LORT Lab Student.......................................................... Julet Lindo Board Op.............................................................................. Alan Cline Wolf Play was commissioned by Artists Repertory Theatre Dámaso Rodríguez, Artistic Director, Sarah Horton, Managing Director, Portland, OR Wolf Play was first produced as a National New Play Network Rolling World Premiere by Artists Repertory Theatre (Portland), Mixed Blood Theatre (Minneapolis), and Company One (Boston).

TIME: NOW RUN TIME: APPROXIMATELY 95 MINUTES WITH NO INTERMISSION The video and/or audio recording of this performance by any means is strictly prohibited.

* Member of Actors’ Equity Association, the union of Professional Actors and Stage Managers in the United States. Actors’ Equity Association, founded in 1913, represents more than 49,000 actors and stage managers in the U.S. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. Equity seeks to foster the art of live theatre as an essential component of our society. www.actorsequity.org ~ Stage Directors & Choreographers Society ^ Artists Repertory Theatre Resident Artist # The scenic, costume, lighting, projection, and sound designers are represented by United Scenic Artists 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

DIRECTOR’S NOTE by Artistic Director Dámaso Rodríguez

When a member of the pack is injured, she is groomed by the rest of the pack, for mental as well as physical support. But when the injured wolf has been separated, there is nothing to do but howl till she follows the sounds back home.“ —Wolf, in Hansol Jung’s Wolf Play WELCOME TO ARTISTS REP AND TO THE WORLD PREMIERE OF HANSOL JUNG’S WOLF PLAY. This is the third play, in as many years, which we have commissioned and produced via our play development program, Table|Room|Stage, and our seventh World Premiere* since 2013. Established in 2014, and led by our dramaturg Luan Schooler, Table|Room|Stage offers writers commissions to start a new play, to finish one already begun, or to revisit one that hasn’t yet been fully realized. We seek out new plays that: »»

Stand at an angle to the world and show us something anew

»»

Explore the edges, depths, and heights of human experience

»»

Use language with originality and vibrancy

»»

Embody a muscular narrative structure and rigorous intelligence

»»

Offer a distinctly theatrical experience

»»

Have an opinion and seek to change the conversation

»»

Risk failure rather than repeat formula

»»

Galvanize collaboration with our audiences and stimulate conversation and engagement

»»

Re-imagine how theatre is made and shared

I’m thrilled to be at the helm of Jung’s profound and beautifully human Wolf Play. I believe it embodies all of the above ambition for the kind of theatre we hope to create. Among the many compelling and universally relevant themes and narratives explored, I was first moved by the creation of Jeenu, the 8-year-old boy at the center of the play’s conflict. Through the brilliant theatrical choice to make the boy a puppet—a simple, expressionless puppet animated and voiced by a narrator who calls himself the Wolf—we are able to achieve a richly detailed characterization powered by the audience’s imagination and their own individual memories of childhood. It’s an unusually transparent collaboration between the

ARTISTSREP.ORG

artists and the audience. I’ve never encountered a play or film that has been able to so accurately convey the strength, spirit, and complex inner life of a child. In an everexpanding universe of online entertainment, it’s an inspiring reminder for me of theatre’s unique and incomparable power to invoke the human experience.

*HOW MANY HAVE YOU SEEN?

Thank you for being a part of the story. And now… meet the Wolf.

The Talented Ones by Yussef El Guindi, 2017 T|R|S Commission & World Premiere

Warmly,

Cuba Libre by Carlos Lacámara, 2015 World Premiere Musical

Warmly,

Ithaka by Andrea Stolowitz, 2013 Fowler/Levin Prize Commission & World Premiere

Dámaso Rodríguez

The Lost Boy by Susan Mach, 2013 World Premiere

SHOW SPONSORS

The Thanksgiving Play by Larissa FastHorse (Sicangu Lakota), 2018 T|R|S Commission & World Premiere Magellanica by E.M. Lewis, 2018 World Premiere

SEASON SPONSORS

HUGH & MAIR LEWIS TOM GIFFORD & PATTI FISHER RICHARD & MARCY SCHWARTZ JOHN & JAN SWANSON DRAMATISTS GUILD FOUNDATION

OTHER MAJOR CORPORATE AND FOUNDATION SUPPORT:

ARTSLANDIA.COM

PLAYWRIGHT’S BIO

HANSOL JUNG Hansol Jung is a playwright from South Korea. Productions: Wild Goose Dreams (La Jolla Playhouse), Wolf Play (Artists Rep), Cardboard Piano (Actors Theater of Louisville), Among The Dead (Ma-Yi Theatre), and No More Sad Things (Sideshow, Boise Contemporary). Commissions: National Theatre (UK), Playwrights Horizons, La Jolla Playhouse, Seattle Repertory, Ma-Yi Theatre Company, Artists Rep (Portland), and Oregon Shakespeare Festival. Fellowships: Royal Court, New York Theatre Workshop, Berkeley Repertory, MacDowell Colony, Hedgebrook, Sundance Theatre Lab, O’Neill Theater Center, and Page 73 Productions. She is the recipient of a Whiting Award and a Helen Merrill Award and received her MFA from the Yale School of Drama. Hansol is a proud member of the Ma-Yi Writers Lab and NYTW’s Usual Suspects.

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! WILLIAM BOLES

ANTONIO RIBEIRO

SCENIC DESIGN

ASSISTANT SCENIC DESIGN

KRISTEEN WILLIS CROSSER

SARAH GAHAGAN

LIGHTING DESIGN

COSTUME DESIGN

PUBLISHER + FOUNDER Misty Tompoles ASSOCIATE PUBLISHER + MEMBERSHIP MANAGER Katrina Ketchum MANAGING EDITOR Kristen Seidman MEDIA DIRECTOR Chris Porras SALES DIRECTOR Lindsey Ferguson DESIGNERS Lisa Johnston-Smith, Dan Le, Jackie Tran ARTSLANDIA BOX MANAGER Bella Showerman

SHARATH PATEL

ERIC LYNESS

PUBLISHER’S REPRESENTATIVE Nicole Lane

SOUND DESIGN

PROPERTIES MASTER

PUBLISHING COORDINATOR Sara Chavis

MATT ACHESON PUPPET DESIGNER

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.

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

ARTISTSREP.ORG

MANAGING DIRECTOR’S NOTE AS THE NEW KID ON THE BLOCK, I’ve been continuously impressed by the quality of the art at ART. Recent indicators of excellence include a MacArthur Genius playwright, a 2018 Pulitzer Prize finalist, several recent off-Broadway hits, and I particularly enjoyed seeing Larissa FastHorse, The Thanksgiving Play, and Artists Repertory Theatre mentioned in a recent cover story about gains made by Native American artists in the New York Times Book Review. Theatre, particularly theatre like Artists Rep produces, and what you will experience today with Wolf Play, is uniquely positioned to create relevance in this crazy world we all experience on a daily basis. Perhaps this is even more true here than in the world of visual art, where I spent my last eleven years. ART gives priority to voices that need to be heard, but haven’t been historically included—playwrights who are women, people of color, indigenous, and LGBTQ+. These diverse voices create intimate, provocative theatre that allows both artists and audiences to take creative risks and enable meaningful conversations.

As we look towards the summer of 2019 and beyond, there is much to be excited about: our temporary move out of our building for one to three years, the development of the 22-story Art Tower on the north half of our block, and the reinvention of the south half of the block for Artists Repertory Theatre and the ArtsHub. We are also moving our offices, the ArtsHub, classrooms, rehearsal spaces, and scene shop. Next season you will come to ART productions in multiple locations across the city for a season we’ve named ART on Tour. This displaced time has already become an opportunity to create new partnerships, innovate, reach new audiences, and affirm our mission. We will keep communicating with you as we learn and know more. Later in the spring we will be announcing the venues and productions for our next season. Join us on this adventure, because there are always amazing stories that need to be told and heard in the dark. See you at the theatre,

J.S. May

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

ARTSLANDIA.COM

In Wolf Play, Jeenu is a young Korean boy who was adopted first by one family, and then ‘re-homed’ to a second family when the first family had a new, biological baby. Re-homing is a practice operating at the margins of legality, in which children may be advertised on the internet and transferred to new homes through a Power of Attorney document.

A BRIEF HISTORY OF ADOPTION BY LUAN SCHOOLER Throughout history, children have been sent to live with other families when their own family has fallen on hardship. It could be a temporary or permanent arrangement, and the child might be provided a new home and education, or simply used for labor in exchange for food and shelter. But until the mid-1800s, the ties of blood kinship could not be severed or replaced; an orphan might become a ward of another family, but they were never a son or daughter to anyone but their biological parents. In 1851, the world’s first law enabling judges to sever the legal bonds of kinship and re-assign those bonds to other people was passed in Massachusetts. For the first time, a child could be removed from their blood family to become part of an unrelated family. Prior to this, the transfer of children was worked out through personal contacts, the church, or charitable groups, without any formal regulation or oversight. Indeed, this casual approach to transferring custody of children continued in the US for many decades and carries on today in parts of the world. Between the 1850s and 1929, ‘orphan trains’ delivered about a quarter million children from New York and other eastern cities to towns in the Midwest and western states. These children, almost all children of poor Catholic and Jewish immigrants, were sent West by the New York Children’s Aid

ARTISTSREP.ORG

Society on the theory that they would be better off raised (and “Americanized”) by worthy Anglo-Protestant farm families than by their own families surrounded by poverty and urban depravity. When the train stopped at a station, the children were displayed for families looking to ‘adopt’ to look them over, and simply take home whomever they liked. This process was often informal and without any oversight. The biological parents of the children usually did not consider these to be permanent removals and kept contact with their children as best they could.

INTERNATIONAL ADOPTIONS After WWII, Americans began adopting internationally. Due to expanding media, a growing awareness of famine, natural disaster, refugee migrations, and other disasters inspired many Americans to rescue babies who were orphaned or abandoned. Additionally, American soldiers and sailors fathered many babies during the war, and these halfAmerican, frequently mixed race children were often stigmatized in their home countries. The impulse to take care of these waifs helped create a globalized humanitarian movement that used the language of rescue and religion to bring them to the States. In the 1950s, proxy adoptions became common, allowing US citizens to adopt in a foreign court in abstentia. These new parents and children never met or spoke before becoming a legally bound family.

Bertha and Harry Holt with their family including eight adopted Korean children.

In 1955 an evangelical couple, Bertha and Harry Holt, adopted eight Korean war orphans and brought them to live with their own six children in rural Oregon. Profoundly moved by the experience, the Holts began arranging hundreds of other adoptions for American families. Believing they were doing God’s work, they ignored regulations and the advice of social workers and placed children in homes without background checks or follow up supervision. They were considered dangerous amateurs by child welfare agencies, and while no doubt many of these adoptions worked out well, it is unlikely they all did and impossible to know how many didn’t. By the mid-sixties, the Holts were compelled to begin following professional standards. Holt International Children’s Services, based in Eugene, Oregon is a nonprofit international adoption agency that continues to this day. International adoptions grew steadily from the late 1950s to peak in 2004, when about 45,000 children were adopted internationally worldwide; the US accounted for about half of all international adoptions in 2004. There was no international agreement regulating these adoptions until the Hague Convention on International Adoptions in

1993, which set out minimum standards and procedures. Prior to this agreement there were a number of scandals about children being abducted from poor parents, militants selling captive children, and other unscrupulous resourcing methods, as well as horrific stories of neglect and abuse by some adoptive parents. By 2016, one hundred ninety-three countries had signed onto the agreement. Since 2005, international adoptions have fallen by 72%. In the US, nearly 23,000 children were adopted in 2005, and only 4,714 in 2017. Most children have come to the US from a few countries: China, Ethiopia, South Korea, Haiti, India, Ukraine, Guatemala, Colombia, and Nigeria. (Russia was also a major source until 2012 when they cut off American adoptions as a result of a diplomatic rift.) The overall decline has happened for several reasons, including: Guatemala eliminated its program due to rampant corruption; China has relaxed the “One Child” policy that resulted in a flood of baby girls being abandoned; Ethiopia banned foreign adoption in 2018 following stories of abuse by adoptive parents; South Korea adopted the Hague protocols, which drastically reduced the number of children sent abroad. >>>

ARTSLANDIA.COM

The ‘orphan trains’ moved nearly a quarter million children from New York and other East Coast cities to the Midwest between 1850 and 1929.

Adoption (both domestic and international) is a lengthy, expensive process. According to the Holt International website, adopting a South Korean child costs around $54,000 and takes an average of two years to complete. Children adopted in the States automatically become US citizens when the process is completed.

THE ADOPTION EXPERIENCE Whether adopted from birth or later in life, all adopted children have experienced some degree of trauma. (Trauma is defined here as any stressful event that is prolonged, overwhelming, or unpredictable.) Separation from their birth mother, lack of physical and social support, uncertainty and impermanence in caregiving, neglect, abuse, hunger, crisis, and instability—any of these factors will be traumatic for a child, and can lead to problems with attachment, self esteem, trust, identity, concentration, and cognitive ability. When a child experiences multiple caregivers or situations, these problems compound. For international adoptees there are additional layers of difficulty from language barriers and abrupt cultural change. For parents—most of whom are doubtless motivated by best intentions—it can be a rude awakening to find that love is not nearly

ARTISTSREP.ORG

enough. Removing a child from a traumatic situation does not remove the trauma from the child, and recent studies show that adopted children face ongoing challenges. About a quarter of adopted children have a diagnosed disability when they enter kindergarten, twice the rate of kids being raised by both biological parents. They are likelier to have behavior and learning problems; teachers reported they were worse at paying attention in class, and less able to persevere on difficult tasks—and these problems may increase as they get older. (It’s important to note that these issues are primarily attention deficit and learning disabilities, and not severe intellectual or physical disabilities.) Many adoptive parents are well prepared before their new child arrives and have a clear understanding and plan for the challenges ahead. Unfortunately, many are not, and lack the ability, means, or support system to successfully parent the child. The result is yet another traumatic situation for the child. Disruption is the term used when an adoption process is interrupted before it is completed. Studies show that 10–25% of all adoptions are disrupted. (The variance is due to the populations studied, geography, duration of study, and other factors.) When this happens, children are returned to the

adoption agency for a new placement or placed in foster care. With internationally adopted children, the process can be more complicated and leave them in a kind of limbo if their adoption was disrupted before they became US citizens.

RE-HOMING, A.K.A. UNREGULATED CUSTODY TRANSFER Rather than face the complexities of returning a child through the adoption agency or child welfare system, some people have turned to the Internet to facilitate finding a new home for an adopted child. Through group sites on Yahoo and Facebook, and on Craigslist, children have been advertised and then turned over to new ‘parents’ using a basic Power of Attorney form to transfer custody. There is no vetting process, safeguards, or confirmation of identity. Clearly, this is a practice that can expose children to horrific and dangerous situations. In 2013, a Reuters investigation drew attention to this ‘re-homing’ practice. The term ‘re-homing’ (which is also used by pet shelters) puts a cozy sheen on this process

but they are more accurately described as ‘unregulated custody transfers’ (UTC). They are legal in the sense of not being expressly forbidden by the law, and particularly for children adopted internationally, they became a fairly common way of dealing with problematic placements. Because of the lack of oversight, it is impossible to know how many children have been handed over this way or what became of them all. Since the Reuters report, many states have taken steps to tighten regulations on transferring children, but no specific action has been taken on the federal level. In thirteen states (not including Oregon), UTCs are now considered a criminal act—but only a misdemeanor in four states. And in eight states (again, not Oregon) advertising children for adoption is explicitly forbidden except by departments of social services or licensed child-placing agencies. In Oregon, the duration of custody transfer through a Power of Attorney is limited to six months, or in the case of military personnel, for the length of their service plus thirty days, but there is no penalty for failing to comply.

A typical advertisement for an international adoption agency.

ARTSLANDIA.COM

AHEAD OF THE PACK By Logan Starnes

olves are social animals that usually run in family packs. The ‘lone wolf ’ is sometimes an outcast who has left the pack they were born into (also known as their natal pack), but they are actually rare. The

process of striking out on one’s own is also referred to as dispersal by wolf biologists. Most commonly, dispersal coincides with sexual maturity occuring between the ages of one and two years old but can occur at any point in the life span of a wolf. Leaving a pack means deserting the family unit, the protection other members offer, and losing the ability to take down larger prey. There are a few reasons why wolves might leave but usually a lone wolf is search-

ARTISTSREP.ORG

ing for a mate. Just like with human families the young adults may chose to go out on their own and establish new homes and start new families. This dispersal allows for critical genetic exchange between different family groups/ packs which allows wolf populations to remain healthy. A prime example of this was recorded when a lone wolf from Finland revived the dwindling wolf population in Sweden when it crossed over the border. The last Swedish wolf pack had begun inbreeding due to the lack of other packs in the area but the introduction of the Finnish wolf mixed up the gene pool and revitalized the population. Due to the territorial nature of wolves, loners must be cautious about trespassing into lands belonging to other packs—this sometimes results in lone wolves searching hundreds of miles to find food. Very few wolves will simply remain lone wolves; as such, these lone wolves may be more aggressive and dangerous than the average pack wolf but they have difficulty hunting large ungulates (a hoofed mammal like a deer), so they generally hunt smaller

animals and scavenge carrion. However, it is interesting to note that lone wolves are more predominant in Europe since prey is usually smaller than those in the United States. Due to the harshness of trying to survive in the wilderness alone, if a wolf does not find a mate and start a new pack they will often go back to their original pack or succumb to the elements. Ultimately wolf packs are family groupings where the alpha male and females are usually nothing more than the parents of the rest of the pack. Except during times of ample prey, the alpha male and female are the only pair allowed to breed to conserve resources and ensure pack survival. Both male and female wolves can disperse from packs, though males may do so more often in certain regions (such as south-central Alaska), depending on the overall makeup of the pack and the available resources

within the territory. Considering wolves naturally coalesce into packs and greatly enjoy social behavior, lone wolves are considered the exception rather than the rule. According to studies, the projected number of dispersing wolves make up less than 15 percent of the entire world’s wolf population. Resources: Mech L.D., Adams L.G., Meier T.J., Burch J.W., Dale B.W. (1998) The Wolves of Denali. University of Minnesota Press, Minneapolis Hogan, Jenny. “Lone wolf brings pack back from the brink.” The New Scientist. Nov. 20, 2002. L. David Mech. “Alpha Status, Dominance, and Division of Labor in Wolf Packs.” Canadian Journal of Zoology, 1999. Busch, Robert A. “The Wolf Almanac: A Celebration of Wolves and Their World.” Globe Pequot. 2007. Mech, David L. and Boitani, Luigi. “Wolves: Behavior, Ecology, and Conservation.” University of Chicago Press. 2003. Feldhamer, George A.; Thompson, Bruce Carlyle and Chapman, Joseph A. “Wild Mammals of North America: Biology, Management and Conservation.” JHU Press. 2003.

ARTSLANDIA.COM

A picture worth one script by Jeff Hayes, Graphic Designer & Marketing Associate @ Artists Rep

Years ago, while bored and lost on the internet, I came across a meme entitled “How to Draw an Owl”. Step 1, the image informs you, is to draw some circles. The graphic shows two roughly drawn circles overlapping a bit, like the start of a Venn diagram. Step 2 shows a nicely-rendered, detailed, realistic owl. The text below it says “Draw the fucking owl.” I’m not sure why I find this image so funny, but it probably has something to do with the years I spent digging through tutorials on how to create images using Photoshop and Illustrator. I thought that by taking shortcuts, I’d become a better designer. Sure, there are shortcuts—keyboard hotkeys, for example. But there’s not a Photoshop filter you can apply that will make a bad idea good, or conjure a detailed one-off illustration from thin air. No, I later learned, you have to just make the thing. Start making it and don’t stop until it’s what you want it to be. Take a block of marble and don’t stop removing bits until it’s Michelangelo's David.

I don’t mean to imply that our show images are the David, that would be ridiculous. First of all, we don’t even use marble. We start with a list of words and phrases and feelings and symbols from the script and try different combinations until we land on some that seem right. Boxer/puppet...wolf/boxer...puppet/forest? Through trial and error we produce an image that (hopefully) evokes the same feelings the show will. What do we know about the world it takes place in? Is it bright and light-hearted, or dark and serious? Should it feel mechanical or organic? What does the show’s font look like? What colors feel most like the show? All of this happens months or even a year before the production team meets to discuss their collective vision, and we This is how it starts...Chicken scratch find out how close we were. and 5-second sketches.

I say “we” because it’s absolutely a collaborative effort. The season images would not be what they are without a team of people that I can get direction from and bounce my own ideas off of. Sometimes I start reading and thumbnailing and end up down a rabbit hole that stops at a dead end. When reading powerful language it’s easy to get taken in by the wrong aspects, as was the case with Wolf Play when I became hung up on boxing. That led to sketches that prominently featured a boxer or boxing ring. Totally the wrong direction. Instead, we needed to focus on a boy. A boy who is represented by a puppet. A boy who is represented by a puppet and wears the idea of a wolf like a mask. A boy who is represented by a puppet and wears the idea of a wolf like a mask but he’s being shuffled around so he lives out of (or inside) his suitcase. That seems right! Okay, what if we shrunk the boy down, had him be supported by the mask, and tiled the suitcase to create the show’s pattern? Bam! Drawing the fucking owl. 14

ARTISTSREP.ORG

ARTSLANDIA.COM

CAST BIOS CHRISTOPHER LARKIN Wolf Christopher is grateful to be reconnecting with Hansol Jung, who he recently worked with on the upcoming Netflix series Tales of the City. NY Theater: Fast Company (Ensemble Studio Theatre), The Sugar House at the Edge of the Wilderness (Ma-Yi), Futura (NAATCO), When Last We Flew (Sundance Lab ‘10), Always Family (Theatre Row), and Back From the Front (The Working Theater). Regional: Nomad Motel and Oblivion (Pittsburgh City Theatre) and Kafka on the Shore (Steppenwolf ). Film: The Big Bad Swim, Strangers With Candy, The Flamingo Rising. TV: The 100, Awkward, 90210, Cooper and Stone, and One Life to Live. Upcoming: Nomad Motel at the Atlantic Theatre in NYC. Thanks to Dámaso, Artists Rep, the cast, the crew, and the city of Portland. Love to Carla.

TAMERA LYN Ash Tamera has set her sights on the boundless world of creative art as a young black woman. Hailing from Atlanta, GA, she has cultivated a passion to create art through her ever-growing perspective, both in theatre performance and filmmaking. Upon graduating from Florida A&M University with a BA in Theatre Performance, Tamera moved across the country to Portland, OR to further develop her craft. She has performed in Skeleton Crew (Artists Repertory Theatre) and In The Wake (Profile Theatre). Tamera Lyn makes sure to keep an open perspective in theatre, having served as assistant director around town, as well as a stage manager and a costume designer. She is currently a fellow with Open Signal Lab’s Black Filmakers Initiative with six other film artists, working together to create their own avenue in the industry. Tamera Lyn 16

ARTISTSREP.ORG

produces her visual work with Sunflower Creations, a production vessel she created while studying as an undergrad. She picked up her first camera at 21 years old and has produced her work independently, collaborating with artists. Tamera has created such works as Wilted Flowers, Keep Portland… Black? a documentary, Close Your Eyes, and many others. Tamera is grateful to be a part of the World Premiere of Wolf Play! Watch her bloom at tameralyn.com

AYANNA BERKSHIRE Robin 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 all counts. She is thrilled to share the beautiful story that is Wolf Play. This marks her ﬁrst World Premiere play (thank you Hansol Jung and Dámaso Rodríguez) and sees her reunited with fellow Resident Artists Vin Shambry and Chris Harder, whom she had the joy of working with in Artists Rep’s Intimate Apparel, 2014. The 2018/19 season is her fourth season with Artists Rep, with a whopping four shows, including Wolf Play and the upcoming The Revolutionists, by Lauren Gunderson. Previous works at Artists Rep include: 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, American Vandal, Chicago PD, Portlandia, Grimm, Parenthood, Castle, Grey’s Anatomy, and

CAST & CREATIVE TEAM BIOS Curb Your Enthusiasm. Coming in 2019: In the Vault, Shrill (Hulu) and Documentary Now! (Netﬂix); the ﬁlms The Shasta Triangle and Boundary Springs! Member of Actors’ Equity Association and SAGAFTRA. Ayanna would like to thank you for actively supporting the arts!

VIN SHAMBRY Ryan Vin Shambry’s (he/him/his) credits include: STAGE: Skeleton Crew, Magellanica, We Are Proud.., Intimate Apparel, and Superior Donuts (Artists Rep), The Gun Show (CoHo and Edinburgh Fringe Festival), Rent, Miss Saigon, Honk, and Big River (Broadway and touring company), Black Man Rising (National Black Theatre). FILM: Trinkets (Netflix), Portlandia (IFC), Grimm (NBC), Leverage (TNT). AWARDS: Audelco Award for Best Actor in a Play (2006), Portland Drammys (2011). STORYTELLING: The Moth (The Moth Presents Occasional Magic), Back Fence PDX. vinshambry.com

CHRIS HARDER Peter Chris is delighted to participate in the World Premiere of this beautiful new play. Theatre credits include: It’s a Wonderful Life: A Live Radio Play, The Thanksgiving Play, Caught, Marjorie Prime, The Skin of Our Teeth, We Are Proud to Present..., Intimate Apparel, Ten Chimneys, The History Boys, Chasing Empires Soul (Artists Rep), Cop Out: Beyond Black, White & Blue (The Red Door Project), The Yellow Wallpaper, The Snowstorm, Fool For Love (CoHo Productions), Cyrano, Othello, The Receptionist, Antigone, JAW (Portland Center Stage), Mother Teresa is Dead, Angels in America, Twelfth Night (Portland Playhouse), The Turn of the Screw (Portland Shakespeare Project), 26 Miles (Profile Theatre), Head.

Hands. Feet. (Shaking the Tree), One Day (Sojourn Theatre), Shining City (Third Rail), Fishing For My Father, The Centering (original solo shows). Film/TV credits include: Restless, Extraordinary Measures, Everyman’s War, Rid of Me, Recovery, Music Within, The Librarians, Leverage, and Grimm. Chris was a member of the Sowelu Theatre Ensemble for seven seasons; he is a graduate of the University of WisconsinParkside and trained with Shakespeare & Co. in Lenox, MA. He is a faculty member with Portland Actors Conservatory and offers private classes and coaching as a Resident Artist here at Artists Rep. chrisharder.com

DÁMASO RODRÍGUEZ 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; the Portland premieres of Branden Jacobs-Jenkins’s Everybody (co-director) Stephen Karam’s The Humans, Branden ARTSLANDIA.COM

CREATIVE TEAM BIOS Jacobs-Jenkins’s An Octoroon (co-director), Nick Jones’s Trevor, David Ives’s adaptation of Pierre Corneille’s The Liar, Nina Raine’s Tribes, and Exiles by Carlos Lacámara; the U.S. premiere of Dawn King’s Foxfinder; the West Coast premieres of Charise Castro Smith’s Feathers and Teeth, Jeffrey Hatcher’s Ten Chimneys,and Dan LeFranc’s The Big Meal; and revivals of The Skin of Our Teeth by Thornton Wilder, The Miracle Worker by William Gibson, and The Playboy of the Western World by J.M. Synge. Credits at other theatres include productions by contemporary and classic playwrights including Craig Wright, Sarah Burgess, Matt Pelfrey, Peter Sinn Nachtrieb, Richard Bean, Owen McCafferty, Alex Jones, William Shakespeare, Eugene O’Neill, Tennessee Williams, Noel Coward, Bernard Shaw, Clifford Odets, and Lillian Hellman. His upcoming projects include Mi Cuba (in development) by Caridad Svich at American Conservatory Theatre. He is a member of the Stage Directors and Choreographers Society (SDC). damasorodriguez.com

WILLIAM BOLES (Scenic Designer) NYC: The Cherry Lane Theatre. REGIONAL: Kirk Douglas Theatre, Children’s Theatre Company, Actors Theater of Louisville, Huntington Theater Company, Wolftrap Opera, Minnesota Opera, Milwaukee Rep, Skylight Music Theater, Next Act, and Pig Iron Theatre Company. CHICAGO: Goodman, Steppenwolf, Second City, Lyric Opera, Chicago Opera Theater, Victory Gardens Theater, The Hypocrites (community member), American Theater Company, A Red Orchid, Chicago Children’s Theatre, Sideshow (artistic associate), Emerald City, Steep, Step-Up Productions and First Floor Theater. INTERNATIONAL: Stockholm Vocal Academy and Opera Siam in Bangkok. MFA, Northwestern. Represented by Abrams Artists Agency. 18

ARTISTSREP.ORG

SARAH GAHAGAN Costume Designer Sarah Gahagan is a multimedia artist and costume designer for theatre and dance, as well as being a design instructor and resident costume designer at Portland Community College. Sarah has collaborated with many of Oregon’s beloved arts organizations including: Artists Repertory Theatre, 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 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.

KRISTEEN WILLIS CROSSER Lighting Designer Kristeen Willis (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

CREATIVE TEAM BIOS 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 Patel (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 highlights include Teenage Dick, Skeleton Crew, I and You, Between Riverside and Crazy, Grand Concourse, The Price, Tribes, The Motherfucker with the Hat (Artists Rep); Nina Simone: Four Women (Alabama Shakespeare Festival); 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 Theater-Oakland); 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, Columbus, 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 be a Resident Artist at Artists Rep. sharathpatel.com

MATT ACHESON Puppet Designer Matt is a puppet and theater artist based in Brooklyn. He is a founder of Acheson Walsh Studios, a kinetic creation studio providing design, fabrication, direction, and performance services, whose clients include Amazon Studios, Broadway, Lincoln Center Theater, Long Wharf Theatre, Radio City Music Hall, and the Yale School of Drama. Currently AchesonWalsh Studios is designing and fabricating the monster for Loch Ness, a new musical that will open this fall in the Finger Lakes. He has had the pleasure of working with many exceptional artists including Basil Twist, Dan Hurlin, Mabou Mines, Lee Breuer, Paula Vogel, Chris Green, Metropolitan Opera, The Swedish Marionette Cottage, MTV, Lake Simons, and Nami Yamamoto. Matt designed, built, and directed the marionettes for Rinna Groff ’s Compulsion, directed by Oscar Eustis. He was the Puppetry Director for Warhorse during its run at Lincoln Center Theater and for the North American tour. Most recently he was the designer and Puppet Master for the Alliance Theater’s production of Candide with the Atlanta Symphony Orchestra.

ROBERT AMICO Puppet Wrangler Robert (he/him/his) is a puppet designer, fabricator, and a performer and is excited to be returning to Artists Rep again ARTSLANDIA.COM

CREATIVE TEAM BIOS this season. He recently did puppet design & fabrication and worked as the props master for this season’s Everybody, and was the props master for several other Artists Rep productions. He has also worked for Michael Curry Design, as a puppet fabricator for Portland Center Stage’s production of The Little Shop of Horrors, and as the puppet wrangler for Oregon Children’s Theatre’s production of The Very Hungry Caterpillar Show, where he also performed as a puppeteer and received a Drammy for Outstanding Achievement in Puppetry as part of the cast. Robert also enjoys performing in the Portland Puppet Slams and producing puppet videos for YouTube with Kettlehead Studios. He graduated magna cum laude from Lewis & Clark College, with a BA in Studio Art and a minor in Theatre.

ERIC LYNESS Properties Master Eric is thrilled to be working on his second show of the season, having most recently served as prop master on Teenage Dick. 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 roles from director to designer to technician. He holds a BA in theatre from the University of Portland where he currently serves as technical director.

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 20

ARTISTSREP.ORG

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.

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 premier of last season’s The Thanksgiving Play, as well as Doll’s House, Part Two this season.

CREATIVE TEAM BIOS KAREN M. HILL Stage Manager Karen (she/her/hers) is happy to be at Artists Rep for her fifth season. She has worked on Teenage Dick, 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.

MARGOT NEW Production Assistant Margot (she/her/hers) is a recent graduate of Chapman University, earning a BA in Theatre Technology, emphasis in Stage Management & Projection Design, with a Minor in Psychology. Margot is a stage manager and live entertainment technician in Portland, Oregon. Her recent stage management credits include The Taming, CoHo Lab: HOUSE | TROLL | CRUCIBLE | MEAT (CoHo Productions), Hymon & Parfunkle (Chance Theatre, Anaheim, CA), Cabaret, The Who’s Tommy, (Musco Center for the Arts, Orange, CA), Rent (Waltmar Theatre, Orange, CA). Her recent directing credits include Chicago The Musical with Chapman Student Organizations Production. Projection design credits include It: the Musical (Black Box Theatre, Chapman University, Orange, CA), Othello, and Desdemona: A Play About A Handkerchief (Waltmar Theatre, Chapman University, Orange, CA). Margot would like to thank her family for their continued support of her career & Artists Rep for this opportunity.

ALAN CLINE Board Op 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.

J.S. MAY Managing Director J.S. May (he/him/his) is a seasoned fundraising and communications professional who has worked with a wide range of local, regional, national, and international nonprofit organizations. He has helped raise more than $500 million over the course of his career. For eleven years ending in 2018, he was the chief fundraising, marketing and communications officer, and strategist for the Portland Art Museum—Oregon’s premier visual arts institution with annual attendance of more than 325,000. For the seven years prior to his tenure at the Portland Art Museum, J.S. led the fundraising practice for Metropolitan Group, a Portland-based social marketing firm that works to create a more just and sustainable world. For the six years preceding Metropolitan Group, he led the growth of the region’s leading pediatric teaching and research hospital as executive director for the Doernbecher Children’s Hospital Foundation at OHSU. Before Doernbecher, J.S. spent six years supporting the expansion and growth of the region’s most trusted media source as the director of corporate support for Oregon Public Broadcasting. A graduate of the University of Oregon, J.S. has volunteered for numerous nonprofit organizations, serving multiple terms as president of the board for both the Portland Schools Foundation and the Portland Chapter of the Association of Fundraising Professionals. He currently serves as president of the Cycle Oregon board, and is a board member for the Creative Advocacy Coalition. J.S. is an avid yogi, cyclist, and reader. ARTSLANDIA.COM

HOW DO YOU BEGIN A DESIGN PROCESS?

INTERVIEW WITH SCENIC DESIGNER,

WILLIAM BOLES AS A DESIGNER, WHAT CAPTIVATED YOUR ATTENTION ABOUT WOLF PLAY RIGHT AWAY? I think it had to do with the inherent theatricality that Hansol uses in the text from the very beginning of the play. We know that we’re in a theater. We know we’re hearing a story. The next part for me then begins with understanding the theater space that we’re in at Artists Rep to see how the play can relate to it. When visiting the space I was struck with how long, tall, and hollow it is—a big empty box with the audience at one end. In my consideration of the design I didn’t want to hide the theater, but embrace it in conversation with the text of the play. I’m struck with how this play explores the ethics of adoption and the idea of home. I wanted to create a space in which there was a strong contrast between natural and domestic.

ARTISTSREP.ORG

My typical design process begins with reading the play. Rather than trying to deconstruct it through long practical lists of what the play’s needs are I like to just read the play and listen to how it makes me feel. When I have a sense of my feeling about the play and have done some general research regarding the content of the play I am then am able to share in a conversation with the director. Sometimes directors come with very specific ideas of staging, but more often directors are open and invite a designer’s response to the piece. This is a particularly fun aspect of new plays when the playwright can be more involved in the conversation. I try to listen to those simple impulses or images that come to mind when processing the play. Sometimes a play could feel like a shape to me, or a color. Over many, many passes and conversations the design will make itself shown, and I find that to be a beautiful aspect of the process. The design is there, you just have to listen to the clues and sometimes you have to wait on it. WHAT WAS THE MOST CHALLENGING ASPECT OF THIS PROJECT? I find the most challenging aspect of this project to be how we deal with the ‘shared domestic spaces’ scenes. Hansol has created a really exciting experience through the dialogue in those scenes where the characters are in their own locations, but the action overlaps, therefore creating a more psychological experience in a real location. The specificity of the action and dialogue makes it challenging to figure out how much information to put onstage, because you don’t want to get in the way of what the dialogue is doing. I’ve been lucky to work on two other premieres of Hansol’s plays; No More Sad Things with Sideshow Theatre

Company in Chicago and Cardboard Piano at the Humana Festival. Through her writing I observe that the negative space is equally as important as the positive space onstage and that they both have to inform each other. She doesn’t want us to forget that we’re in a theater, and through the play, likes to turn that concept on its head as we begin to observe the complexity of the experiences of the characters more fully, almost like poetry unfolding itself. In this scenario the scenery needs to find a balance of supporting the action. IS THERE A SPECIFIC WAY THAT YOU BELIEVE A PLAY’S TEXT AND DESIGN ARE IN CONVERSATION? I imagine a play kind of like building blocks. The blocks can be different shapes, made from different materials, sound differently when clanged together, come from different places. All of this to say that the style of the dialogue can really help inform the aesthetic shape and physical form of a play’s design and how it moves. For example: If a play’s text is super realistic you are given the choice to push against that realism or mirror it through the design. It all ends up with where you’re wanting to hold the tension in the production. If there’s no tension in the text of a play then most often you have to push against it with your point of view on the piece with some abstraction to lift out some life in the play. Ultimately I see design as a facilitator for the action of a play and there’s a million ways that could look depending on what the play is wanting to do.

HOW DO YOU THINK THE DESIGN AFFECTS THE WAY AN AUDIENCE TAKES IN A PLAY? I like to ask the question, ‘what is the set doing?’ How does it motive the action? Does it create obstacles? Or is the tension that there are no boundaries? These are all questions that the creative team asks together to help create the most effective way of telling the story clearly. The design is influenced by the text, but it’s also influenced by the audience and it’s important to consider the exchange when laying the groundwork for the design elements. HOW DO YOU GET UNSTUCK CREATIVELY? Usually by going out in nature. I live in Chicago and like to go to the Garfield Park Conservatory during the winter. During the summer I’ll spend as much time down by the lake as possible. Nature is unlimited in its inspiration and education and strongly influences how I see design relating to human experiences in created spaces onstage. Other times when I’m stuck I’ll go on a random trip to an art museum or check out the art magazine section at Barnes and Noble or go to a used bookstore. Looking through art magazines after having done a lot of period research for a play is a great way to see how ideas from times past make themselves visible in our current culture, ultimately inspiring fresh interpretations to bring to the table. I also try to practice writing every day about my personal experiences. When I’m connected to my own experience, I’m able to articulate the expression of a play because my mind remains open to inspiration, and that’s the most thrilling aspect of the design process for me.

ARTSLANDIA.COM

GET INTO THE WORLD OF WOLF PLAY BOOKS: MY LIFE IN ORANGE BY TIM GUEST FAITH FOX BY JANE GARDAM THE GLASS CASTLE BY JEANNETTE WALLS SPEAK BY LAURIE HALSE ANDERSON

MOVIES/TV: TWINSTERS (2015) KRAMER VS. KRAMER (1979) LION (2016) A BRAND NEW LIFE (2009) WHAT MAISIE KNEW (2013)

MUSIC: TV ON THE RADIO THIEVERY CORPORATION RADIOHEAD INTERPOL KID LOCO

ARTISTSREP.ORG

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

ARTISTIC Producing Director: Shawn Lee Associate Producer: Kristeen Willis Crosser Director of New Play Development & Dramaturgy: Luan Schooler Casting Director: Vonessa Martin Lacroute Playwright-in-Residence: Andrea Stolowitz Resident Fight Choreographer: Jonathan Cole Resident Voice & Language Consultant: Mary McDonald-Lewis Literary Intern: Logan Starnes Resident Artists: Linda Alper, Ayanna Berkshire, Bobby Brewer-Wallin, Chris Harder, Michelle Jazuk, JoAnn Johnson, Kevin Jones, Val Landrum, Sarah Lucht, Susannah Mars, Mary McDonald-Lewis, Michael Mendelson, Allen Nause, Amy Newman, Vana O’Brien, Rodolfo Ortega, Sharath Patel, Gregory Pulver, John San Nicolas, Vin Shambry, Andrea Stolowitz, Joshua J. Weinstein, Megan Wilkerson, Carol Ann Wohlmut

ADMINISTRATIVE General Manager: Vonessa Martin

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

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

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

Management Associate: Allison Delaney

Costume Design Interns: Maia Johnson, Libby Cole

MARKETING + BOX OFFICE

Facility & Operations Associate: Sean Roberts

Audience Development & Marketing Director: Kisha Jarrett Graphic Designer & Marketing Associate: Jeff Hayes Patron Services Manager & Marketing Associate: Christina DeYoung Data Analyst & Ticketing Manager: Jon Younkin Box Office Associates: Stephanie Magee, Zak Westfall

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

FOR THIS PRODUCTION Carpenters:

Special Thanks:

Scenic Artists:

John Eisner and The Lark for hosting our developmental workshop.

Costume Interns:

Arbor Viking Tree Specialists, Erik Paavola, Owner arborviking.com

Ben Serreau-Raskin, Brendan Ramsden Erica Hartmann, Gordon Victoroff Scene Shop Intern: Louis Celt Maia Johnson, Libby Cole

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 February 10, 2018 and February 10, 2019. Join this cast of characters with a gift today. Call Sarah Taylor at 503.972.3017 or visit www.artistsrep.org.

GAME CHANGERS ($100,000+)

Anonymous (1) Robert & Mercedes Eichholz Foundation James F. & Marion L. Miller Foundation

VISIONARIES ($50,000–$99,999)

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

PRODUCERS ($25,000-–$49,999)

The Collins Foundation Oregon Cultural Trust Shiels Obletz Johnson

PATRONS ($10,000–$24,999)

Anonymous (2) Maggie Dixon Express Employment Professionals The Kinsman Foundation The National Endowment for the Arts – Art Works The Oregon Community Foundation, Community Grants The Oregonian Rafati’s Catering Charlotte Rubin The Harold & Arlene Schnitzer CARE Foundation, Arlene Schnitzer & Jordan Schnitzer Marcy & Richard Schwartz Stoller Family Estate John & Jan Swanson

ARTISTSREP.ORG

Darci & Charlie Swindells William Swindells, Jr. The Estate of David E. Wedge

STAGEMAKERS ($5,000–$9,999)

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 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 Hotel deLuxe Illy Coffee The Jackson Foundation Joan Jones Arthur & Virginia Kayser Kristen & Michael Kern Drs. Dolores & Fernando Leon Hugh & Mair Lewis Oregon Arts Commission, a state agency Lorraine Prince Sapori Fine Flavors Ed & Rosalie Tank US Bank OCF Joseph E. Weston Public Foundation

DIRECTOR’S CIRCLE ($2,500–$4,999)

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

The Collier Smith Charitable Fund Jeffrey G. Condit Kitt & Butch Dyer Norma Dulin & James Barta Trish & Bennett Garner Diane Herrmann Mark Horn & Mark Wilkinson Leslie R. Labbe Jim & Eva MacLowry Leonard & Susan Magazine, REAL ESTATS The Mark Spencer Hotel J.S. & Robin May Kristine Olson Fund of the Oregon Community Foundation Bob & Linda Palandech Alan Purdy Julia Rea & Jim Diamond 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 Ellen Cantwell 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 Norma Dody Susan Dietz Richard & Betty Duvall Marc Franklin & Mary Lou Moriarty Carol Fredlund & John Betonte Jim Gangwer Curtis Hanson Marlene & Clark Hanson Pam Henderson & Allen Wasserman Higgins Restaurant Cody Hoesly & Kirsten Collins Barbara Holisky & Gary McDonald Intel Corporation Matching Gifts Jessie Jonas Jin-Jin’s Aloha Outreach Fund, Schwab Charitable Carol Kimball Jody Klevit Anneliese Knapp Bruce & Cathy Kuehnl Lagunitas Brewing Company Kirsten & Christopher Leonard Carter & Jenny MacNichol Roberta Mann Laurie & Gilbert Meigs Katherine Moss Deanne & Wilfried Mueller-Crispin Allen & Frances Nause Pacific Power Foundation Kay Parr Joan Peacock, in loving memory of Ben Buckley

Patricia Perkins Olliemay Phillips David Pollock Wayne Potter & Pam Brown 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 & Richard 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

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

Anonymous (2) Susan Bach & Douglas Egan Richard & Leslie Bertellotti Lesley Bombardier Fred & Betty Brace Charles & Barbara Carpenter Jim & Vicki Currie Carol Daniels Marvin & Abby Dawson Edward & Karen Demko Cheri Emahiser Leslye Epstein & Herman Taylor Kyle & Charles Fuchs Dr. William & Beverly Galen Susan & Dean Gisvold Lynn Marchand Goldstein Melissa & Bob Good Confederated Tribes of Grand Ronde Al & Penny Greenwood Paul Harmon Dick Hamlet & Corinne McWilliams Richard Hay Mike & Judy Holman Ms. Cecily A. Johns Judith & Gregory Kafoury

Gilda's Italian

Restaurant & Lounge located at 1601 SW Morrison Street gildasitalianrestaurant.com 503-688-5066

Follow us on Facebook and Instagram @gildasportland Dinner, weekly 5 pm - 9 pm Lunch, Monday - Friday 11:30 am - 2 pm Lounge, Sunday - Thursday 4 pm - 11 pm Friday & Saturday 4 pm - Midnight

ARTSLANDIA.COM

OUR SUPPORTERS CONTINUED Beth & Chris Karlin Keeton Corporation Carol & Jeff Kilmer PJ Kleffner Deborah Kullby Jill & Tri Lam Bill & Shelley Larkins Linda & Ken Mantel Michael & Deborah Marble Susannah Mars & Gary Johnson Dr. Robert & Kimberly Matheson Laurie & Jay Maxwell Dan McKenzie Robert & Jessica McVay 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 Ron Pausig Dee Poujade Julie Poust John Ragno Karen & John Rathje Scott & Kay Reichlin Carol Schnitzer Lewis Fund of The Oregon Community Foundation

Seasonal Food for all occasions

ARTISTSREP.ORG

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. RonnieGail Emden Maureen Wright & Lane Brown

INSIDERS ($250â&#x20AC;&#x201C;$499)

Kay & Roy Abramowitz Chuck & Meg Allen Linda Alper Bob Amundson & Sully Taylor Elizabeth & Stephen Arch Linda Barnes & Robert Vanderwerf Ann Brayfield & Joe Emerson Jim Brunke Sonia Buist, M.D. Lauretta Burman Cambia Health Foundation Don Caniparoli & Sarah Rosenberg Cecile Carpenter Dr. Maura Conlon-McIvor Harriet Cormack Debbie Cross & Paul Wrigley Robert Daasch & Linda Schaefer Nancy & Jon Decherd Barbara & George Dechet Linda Dinan 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 Paul Gehlar Barbara & Marvin Gordon-Lickey Roswell & Marilynn Gordon Paul & Teri Graham Dawn Hayami Judith A. Henderson Cynthia Herrup & Judith Bennett Stephen & Sharon Hillis Kirk Hirschfeld Steven Hodgson Lynette & Don Houghton 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 Elaine & Ed Kemp Karen Kemper Sally & Lucien Klein Romy Klopper Roger Leo Literary Arts Steve Lovett & Connie Sullivan Robert A. Lowe & Michelle Berlin-Lowe Earlean Marsh Scott & Jane Miller Molly Moshofsky & Will Matheson Michael & Dr. Whitney Nagy Phoenix Media Sue Pickgrobe & Mike Hoffman Andrew & Peggy Recinos Helen Richardson & Don Hayner Kelly Rodgers Alise Rubin & Wolfgang Dempke Michael Sands & Jane Robinson Charles & Judith Rooks Rick & Halle Sadle John Saurenman

THANK YOU! William & Meredith Savery Luan Schooler & Timothy Wilson Erika Schuster & Clay Biberdorf Mary Ann Seth-Wish & John Wish Jinny Shipman & Dick Kaiser H. Joe Story David & Rosemarie Sweet Jory Thomas Cynthia Yee Alan & Janet Zell Kurt & Heather Zimmer

FRIENDS ($100-$249)

Anonymous (5) Christine Abernathy

Christopher Acheson & Dr. Elizabeth Carr Kris Alman & Mike Siegel Anders Printing Company Rachael & Scott Anderson Thomas Robert Anderson Kristin Angell Ruby Apsler Ernest & Tina Argetsinger Herman Asarnow & Susan Baillet Arlene Ashcraft Nancy Ashton Ann Balzell & Joe Marrone, in memory of Deforest Arn Piper George Bateman

Alan & Sherry Bennett Dr. Dana Bjarnason Joe Blount Teresa & James Bradshaw James Breedlove Margaret & Donn Bromley Brian Brooks Nancy & Gerry Brown Nita Brueggeman & Kevin Hoover Marlene Burns & Jon Dickinson Thomas A. Burns Douglas Campbell Michael Carter & Teresa Ferrer Jean Carufo & Barbara Engelter Tom & Anne Caruso Lou & John Chapman

Mary & Russ Chapman Valri & Vince Chiappetta Bradley Coffey Ilaine Cohen Rick & Jean Collins Anne Conway & Louis Baslaw Joseph Davids Elaine & Earl Davis Jewel Derin Jeanne & Lauren Donaldson Judith E Posey & Edward J Doyle, MD Anne Driscoll Ross & Olivia Dwinell The Ellermeiers Laury Ellis & Kathy Fode Jim & Joan English Susan & Gabriel Farkas

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 Dave Felt & Lynda Wendel Chris Fletcher & Pamela Abernethy & Elizabeth Abernethy Katie Flynn Heidi Franklin Nancy Lee Frederick Amy Fuller & Frank Wilson George Fussell Kay Gage & Ketan Sampat Susan GendeinMarshall & Lee Marshall Linda Gipe George Goodstein Gretta Grimala HP Matching Gifts Candace Haines 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 Judy & John Hubbard Steve & Kris Hudson Beth Hutchins & Pete Skeggs Carol & Tom Hull Deborah Indihar

Constance Jackson & Xavier Le Héricy Jeri Janowsky & John Crabbe Katharine Jansen Kay & Steve Jennings Betsy Jeronen Colleen & Jeff Johnson Phyllis Johnson Steve & Anita Kaplan Catherine & Timothy Keith Nancy G. Kennaway Ellen Kesend & Bruce Sternberg Heather Kientz Doris & Eric Kimmel Rev. Larry King Frederick Kirchhoff David & Susan Kobos Tom & Judy Kovaric Robert & Helen Ladarre Elyse & Ron Laster Mary Lou & Ross Laybourn Jeanette Leahy Reed Lewis Richard Lewis & Meg Larson Wallace & Janet Lien Mari & Louis Livingston Ralph London Henry C. Louderbough Jane Luddecke & Robert Anderson Dr. Christine Mackert Sheila Mahan Jim & Midge Main Ms. Nancy Matthews

Kathy McLaughlin Katie McRae Mariellen Meisel & Steve Glass William Meyer Dwyn Miller Fern Momyer & Marlene Grate Monique’s Boutique Dolores & Michael Moore Judy Munter Anna Nicholas Marcy Norman North Country Productions, Alan & Sharon Jones Erik & Raina Opsahl Nancy Park Beth Parmenter & Alan Miller Katherine Patricelli & Dennis Reichelt Gordon & Sondra Pearlman Carla Pentecost Pierre & Linda Pham Kevin Phaup Donna Philbrick Roger Porter Elizabeth Pratt & Philip Thor Ana Quinn Jay & Barbara Ramaker Dick & Linda Reedy Ed Reeves & Bill Fish Robert & Marilyn Ridgley Kathryn Ross

Ms. Cara Rozell Rich & Joan Rubin Ellen Rubinstein Jane Sage Jean Scott & Myrth Ogilvie Gil Sharp & Anne Saxby Ann Schwarz Laurel & Dan Simmons Neil Soiffer & Carolyn Smith Charles & Karen Springer David Staehely Barbara & Bill Stalions DeeAnne Starks 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 Roberta & Ward Upson Kaye Van Valkenburg & David Maier Phil VanderWeele & Joan Snyder David & Julie Verburg

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

ARTISTSREP.ORG

503.224.3293

MARKSPENCER.COM

THANK YOU! Janet Vining & Eric Vega Pamela Vohnson & David Streight Marilyn Walkey & Mike McClain Judi & J. Wandres Janet F. Warrington M. Howard Weinstein Anthony Wilcox Richard Winkel Lawrence W. Woelfer Carol Ann & Patrick Wohlmut Susan Woods Yoyoyogi

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

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 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.

BACK BY POPULAR DEMAND

“Happy Days are Here Again!” C E L E B R AT E T H E M U S I C O F JUDY GARL AND AND BARBR A STREISAND.

MERIDETH KAYE

CLARK

F E AT U R I N G D A V I D S A F F E R T O N P I A N O . F R I D AY, M A R C H 2 2 D I N N E R S E AT I N G B E G I N N I N G AT 7 P M S H O W AT 9 P M

SUSANNAH

MARS

L E A R N M O R E AT H OT E L D E L U X E P O R T L A N D . C O M /S I G N AT U R E - E V E N T S

ARTSLANDIA.COM

UP NEXT @ ARTISTS REP

APR 28 - MAY 26 Who runs the world? GIRLS! In 1793, during France’s Reign of Terror — a playwright, an assassin, a former queen, and a Caribbean spy walk into a room and attempt to save the soul of France while avoiding the edge of the guillotine’s blade. Olympe De Gouges is desperate to pen the perfect piece of revolutionary art for her generation, while Charlotte Corday is determined to become an assassin. Prophetic Marie Antoinette is happy to reminisce about her time in the palace while Marianne Angelle gathers intelligence to send home to the Caribbean. In a blisteringly funny portrayal, The Revolutionists depicts four badass women who fight for the equality of all women and for the love of their country.

artistsrep.org • 503.241.1278 • 1515 SW Morrison St.