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9 FROM ARTISTIC DIRECTOR MARISSA WOLF
Portland Center Stage at The Armory ushers in 2019 with three plays built around powerful women and full of luscious language, humor, and a wellspring of emotion.
10 SENSE & SENSIBILITY 12 FROM THE PLAYWRIGHT KATE HAMILL
When her love for the theater and the classics came up against the frustrations facing female theater artists, Hamill claimed the role of heroine in her own story.
20 BUYER & CELLAR 21 10 THINGS TO KNOW
ABOUT BARBRA STREISAND Savor this smattering of fascinating facts about the woman, icon, and greatest of all time before taking in the “Best Unique Theatrical Experience,” according to the Off-Broadway Alliance.
46 LADIES LEADING: EVOLVING ARIAS
Eavesdrop on a fascinating conversation between two of the women bringing opera and female leadership into the next century: Portland Opera’s Laura Hassell and Christine A. Richardson.
54 OUR STAGES, THEN AND NOW: KELLER AUDITORIUM
26 TINY BEAUTIFUL THINGS 28 AN INTERVIEW WITH CHERYL STRAYED
Portlanders have long gathered at the downtown block on which the Keller Auditorium now stands, but our luminous present-day structure shows how far we’ve come with aesthetics.
Typically the one answering the questions, Strayed shares some insights into the evolution of her New York Times bestselling book.
LEFT: Portland Opera’s Laura Hassell & Christine A. Richardson, photo by Gia Goodrich. Special thanks to our partner, Pro Photo Supply, and Photographer’s Assistants Christian Rudman and Jaclyn Robyn. RIGHT: Portland Public Auditorium (1933), Org. Lot 23, bb003264.
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FROM ARTISTIC DIRECTOR
MARISSA WOLF In Tiny Beautiful Things, Sugar writes, “Be brave. Be brave enough to break your own heart. Look, we’re all going to die. Hit the iron bell like it’s dinnertime.” This full-throated appeal to life is precisely what makes our winter plays burst with luscious language, humor, and a wellspring of emotion. Built around powerful women — both seen and unseen on stage — the winter lineup offers an exuberant and passionate plunge into the depths of the human heart. Kate Hamill’s adaptation of Sense and Sensibility, rendered with exquisite theatricality by director Eric Tucker, harnesses the playful, satirical writing of beloved novelist Jane Austen. We lean forward, rooting for the Dashwood sisters to scale the walls of their restrictive society with wit and intelligence. Meanwhile, Buyer & Cellar is the best dish-session you’ve ever had! Directed with beautiful agility by Rose Riordan, this hilarious play takes wild turns that keep us on our toes, as the character Alex finds himself inside a fantasy world shared with icon Barbra Streisand. Intimate emotional landscapes find new form in Tiny Beautiful Things, where we are invited directly into Sugar’s home to encounter letters that range from the banal to the profound. Based on Cheryl Strayed’s advice column, this play offers an unflinching look at our most private hopes and sorrows. “Hit the iron bell like it’s dinnertime.” Welcome to The Armory! We’re so happy to ring out loud with you as we experience these plays together. All my best,
Marissa Wolf
Photo by Gary Norman.
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January 12 – February 10, 2019 On the U.S. Bank Main Stage
Marissa Wolf
Artistic Director
Cynthia Fuhrman
Managing Director
Bedlam’s
SENSE & SENSIBILITY By
Adapted from the novel by
Staging & Direction by
Kate Hamill
Jane Austen
Eric Tucker
Scenic Designer
Costume Designer
Lighting Designer
Sound Designer
John McDermott
Alison Heryer
Sarah Hughey
Alex Neumann
Choreographer
Dance Captain
Dialect Coach
Dialect Captain
Alexandra Beller
Violeta Picayo
Amanda Quaid
Lisa Birnbaum
Stage Manager & Fight Captain
Production Assistant
Local Casting
Molly Shevaun Reed
Will Cotter Brandon Woolley
Kristen Mun
Performed with one intermission. The world premiere of Sense and Sensibility was produced by Bedlam (Eric Tucker, Artistic Director; Andrus Nichols, Producing Director). Sense and Sensibility is presented by special arrangement with Dramatists Play Service, Inc., New York. Videotaping or other photo or audio recording of this production is strictly prohibited. If you photograph the set before or after the performance, please credit the designers if you share the image. The Actors and Stage Manager employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
SEASON SUPERSTARS
SEASON SUPPORTING SPONSORS
SHOW SPONSORS
WHAT SHE SAID SPONSORS:
NANCY & ANDY BRYANT
A CELEBRATION OF WOMEN PLAYWRIGHTS RONNI LACROUTE BRIGID FLANIGAN DIANA GERDING MARY BOYLE
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Quinlan Fitzgerald
Lisa Birnbaum
Lauren Modica Darius Pierce Jamie Smithson
Danea C. Osseni
Violeta Picayo Ryan Quinn
Chris Murray
Kelly Godell
CAST Lisa Birnbaum
Mrs. Dashwood/ Anne Steele/Mrs. Ferrars
Quinlan Fitzgerald
Marianne Dashwood
Kelly Godell
Fanny (Ferrars) Dashwood/Lucy Steele/ Lady Middleton
Lauren Modica
Mrs. Jennings
Chris Murray
John Willoughby/ John Dashwood
Danea C. Osseni
Elinor Dashwood
Violeta Picayo
Margaret Dashwood
Darius Pierce
Sir John Middleton/ Servant/Doctor
Ryan Quinn
Colonel Brandon/ Thomas/Lady Middleton
Jamie Smithson
Edward/Robert Ferrars/ Lady Middleton
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FROM THE PLAYWRIGHT
KATE HAMILL QUITE OFTEN, I get asked: “What made you adapt Sense and Sensibility?” The truth is: an odd combination of love and frustration. I love the theater. Unlike film, it’s ephemeral — changing from night to night, from show to show. A group of people gather in a room together and enact an old, old ritual: the audience and actors all feeling and breathing together. I love the theater for its potential — for the empathy it can awaken. Nothing makes me feel more connected to others than when I experience a truly amazing play or musical, whether from onstage or off: when I find myself laughing and crying openly for the lives of imaginary human beings. Nothing cures me of loneliness like seeing the secrets of others’ hearts onstage. And I love the classics: both theatrical and literary. I love stories that are so powerful they’ve stayed with us for centuries. My love for Jane Austen’s writing began when I was a teenager in a small town in rural America. Reading the novels of a woman who had died centuries before I was born, I recognized the eccentricities of my own neighbors. I read about people just like me, who struggled to reconcile their consciences with the dictates of society. And I felt a strong sense of kinship with Jane Austen — an intense love for her work that’s gone on to shape my life. The frustration came a bit later. I grew up and moved out of that small town, and started working as an actor in New York City. Quickly, I became frustrated by the dearth of complex, female-centered characters and storylines in the theater. And it wasn’t just me: I had so many friends — talented, trained, passionate female artists — who were dropping out of the business because of a lack of opportunity.
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For millennia, women working in the theater (when they were allowed onstage at all!) were largely relegated to playing tertiary characters in male narratives: the girlfriend, the wife, the prostitute. This is particularly true, of course, in my beloved classics: there are three female roles for every sixteen male roles in Shakespeare, for example. Now, there are some great roles for girlfriends, wives, prostitutes, but I was tired of women losing the chance to lead the stories (and thus losing out on career opportunities). I wanted to create women-centered narratives, told through a female gaze.
I wanted to create new female classics. And then I thought, where better to start than with Jane Austen: also a young woman, and one with whom I had felt a long-standing connection? I started writing. The play born of my love and frustration — Sense and Sensibility — has gone on to numerous productions in theaters nationwide, employing dozens of women and men in a female-centered storyline. I think its popularity is a testament to how many people — like me — are hungering for female-centered stories.
I’m very proud to have Sense and Sensibility at Portland Center Stage at The Armory, particularly as part of the inspiring Marissa Wolf’s inaugural year of leadership. We are entering a revolutionary era of creating and amplifying new women-powered art. I’m excited for what lies ahead, as we re-examine and re-invent the drivers of our stories. The theater offers powerful opportunities for connection: with our past, with others, with ourselves. I wrote Sense and Sensibility because I believe so deeply that the classics belong to everyone. When we ensure that narratives of all types can take center stage, we know that we can all be protagonists, no matter our gender or background or circumstance. We can be heroes — or heroines — of our own stories.
A version of this article originally appeared in the A.R.T. Guide, published by the American Repertory Theater at Harvard University.
ABOUT KATE HAMILL KATE is an actor/playwright who was named Wall Street Journal ’s Playwright of the Year in 2017. Her work includes Sense and Sensibility at Bedlam, in which she originated the role of Marianne (winner, Off-Broadway Alliance Award; nominee, Drama League Award; 265+ performances OffBroadway). Other plays include Vanity Fair at the Pearl Theatre (originated the role of Becky Sharp; nominee, Off-Broadway Alliance Award), Pride and Prejudice at Primary Stages and Hudson Valley Shakespeare Festival (originated the role of Lizzy Bennet; nominee, Off-Broadway Alliance Award). Her plays have been produced Off-Broadway, at American Repertory Theater, Oregon Shakespeare Festival, Guthrie Theater, Seattle Repertory Theatre, Dallas Theater Center, PlayMakers Repertory Company, Folger Theatre, Arvada Center, Trinity Rep, Pittsburgh Public Theater, Dorset Theatre Festival, and others. World premieres in 2018-2019: Little Women at Jungle Theater and Primary Stages; Mansfield Park at Northlight. She is currently developing new adaptations of The Odyssey, The Scarlet Letter, and a revamped Christmas Carol , as well as several original plays (Prostitute Play, In the Mines , and The Piper). Kate is one of the top five most-produced playwrights nationwide in the 2018–2019 season. kate-hamill.com
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MEET THE CAST Lisa Birnbaum, Mrs. Dashwood/ Anne Steele/Mrs. Ferrars/ Dialect Captain Lisa is thrilled to be making her Portland Center Stage at The Armory debut while reprising her roles in Sense and Sensibility. She most recently played Elizabeth Taylor in Lawrence Wright’s Cleo at the Alley Theatre, directed by Bob Balaban. Off-Broadway credits include: F#%king Up Everything (now titled Brooklyn Crush), Abraham Lincoln’s Big, Gay Dance Party, and Lizzie Borden (now titled LIZZIE). Regional: Sense and Sensibility (American Repertory Theatre and Folger Theater); Lysistrata (Connecticut Repertory Theatre); A Midsummer Night’s Dream (PlayMakers Repertory Company); Italian American Reconciliation (Long Wharf Theatre); The Cry of the Reed (Huntington Theatre Company); The Taming of the Shrew (Shakespeare Theatre Company); Romeo and Juliet and Anything Goes (Williamstown Theatre Festival); and All’s Well That Ends Well (Yale Repertory Theatre). Television credits include Deception, Law & Order, Blue Bloods, What Would You Do?, and Guiding Light. Lisa holds an M.F.A. in acting from the Yale School of Drama. Instagram: @liserbeth Twitter: @yeslisabirnbaum Quinlan Fitzgerald, Marianne Dashwood Quinlan is excited to be making her debut at Portland Center Stage at The Armory. Portland credits include: The Humans (Artists Repertory Theatre); Ordinary Days and Trails (Broadway Rose Theatre Company); The Angry Brigade (Third Rail Repertory Theatre); Charles Dickens’ A Christmas Carol, Peter and the Starcatcher, and You for Me for You (Portland Playhouse); and Love’s Labour’s Lost (Portland Actors Ensemble). Other credits include Spring Awakening (Out of the Box Theatre Company), Godspell and Audience (Knightsbridge Theatre). She is a past Portland Playhouse apprentice and holds a B.F.A. in acting and a B.A. in communication from University California Santa Barbara. Thank you for sharing this story with us!
Kelly Godell, Fanny (Ferrars) Dashwood/Lucy Steele/ Lady Middleton Kelly is delighted to be back at Portland Center Stage at The Armory after appearing in last season’s world premiere of Kodachrome by Adam Szymkowicz. She was most recently seen in Small Mouth Sounds at Artists Repertory Theatre and Radiant Vermin at CoHo Productions. Other favorite credits include The Secretaries and Six Degrees of Separation (Profile Theatre); Noises Off and Mr. Kolpert (Third Rail Repertory Theatre); The Rocky Horror Show (Lurking Squirrel Productions); and Miss Julie (Shaking the Tree). Television credits include Grimm and Leverage. She has a B.F.A. from the University of Oregon. Lauren Modica, Mrs. Jennings Lauren is thrilled to work with Eric, the cast, and the crew on this production of Sense and Sensibility. Huge thanks to all involved, and to those who make her heart sing on a regular basis. Regional: Mrs. Cratchit/Rag Doll/Insane Beggar Woman in Twist Your Dickens, Our Town, and JAW: A Playwrights Festival (The Armory); Anne Steele/Lady Middleton in Sense and Sensibility, Gregory in Romeo and Juliet, and Glendower/Mowbray/ Peto in Henry IV: Part One and Two (Oregon Shakespeare Festival); Cook/ Nurse Spiller in Fingersmith (American Repertory Theatre); and The Skin of Our Teeth (Artists Repertory Theatre). In Portland, she has worked with Profile Theatre, Defunkt Theatre, Northwest Classical Theatre Company, Portland Actors Ensemble, Willamette Shakespeare, Action/Adventure Theatre, on Gretchen Icenogle’s Trailing Colors, and other projects. This one is for Grandpa B. Instagram: @laurenmodica Chris Murray, John Willoughby/ John Dashwood Chris is thrilled to be back at Portland Center Stage at The Armory! Previous credits at The Armory include 12 years at JAW: A Playwrights Festival, Major Barbara, Astoria: Part One and Two, The Oregon Trail, Great
Expectations, Our Town, Futura, and Sometimes a Great Notion, and he will be appearing in Crossing Mnisose this spring. Regionally, Chris has worked on readings, workshops, and world premieres at several theaters, including the Colorado New Play Summit at Denver Center for the Performing Arts and the Humana Festival at Actors Theatre of Louisville. Locally, Chris has performed at Artists Repertory Theatre, CoHo Productions, Profile Theatre, Third Rail Repertory Theatre, and more. Thank you for supporting live theater! Danea C. Osseni, Elinor Dashwood Danea is so excited to return to Portland Center Stage at The Armory after performing the role of Nettie in The Color Purple. Hailing from the beautiful island of Jamaica, Danea is an actor, model, and singer currently residing in New York City. Past credits include Tiana Vocalist at Hong Kong Disneyland, Ain’t Misbehavin’, Smokey Joe’s Cafe, Hairspray, Death of a Salesman, Sophisticated Ladies, and the Off-Broadway hit show Sistas the Musical. She’s thankful to God, her parents, family, friends, and her precious husband for their support and love. Special thanks to the Portland Center Stage at The Armory family for having her back. Violeta Picayo, Margaret Dashwood/ Dance Captain Violeta is a Cuban-American actor, born and raised in New York City. Portland Center Stage at The Armory debut! Off-Broadway: Sense and Sensibility (Bedlam). New York credits include: Julius Caesar (Pocket Universe), RadioBABEL (SITI Lab), This is How I Don’t Know How to Dance (SITI Company), The Taming of the Shrew (Tale Told). Regional: Sense and Sensibility (American Repertory Theater), Young Playwrights Festival (Eugene O’Neill Theatre Center). International: American Blues and The Importance of Being Earnest (Edinburgh Fringe), Thyestes (OYL Theater Company, Greece tour). Violeta is a company member at Bedlam and a proud graduate of
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MEET THE CAST the SITI Conservatory, the National Theater Institute, and Vassar College. violetapicayo.com Darius Pierce, Sir John Middleton/ Servant/Doctor Darius is happy to be back at Portland Center Stage at The Armory, after previously performing here in Stupid F**king Bird, Cyrano, The Beard of Avon, Twelfth Night, The 25th Annual Putnam County Spelling Bee, The 39 Steps, Frost/Nixon, How to Disappear Completely and Never be Found, Misalliance, A Christmas Carol, A Christmas Story, The Santaland Diaries, Twist Your Dickens, and JAW. He has performed at Woolly Mammoth Theatre, Folger Theatre, Syracuse Stage, Artists Repertory Theatre, Third Rail Repertory Theatre, Broadway Rose Theatre Company, Portland Playhouse, Theatre Vertigo, and more. He is a company member at Third Rail Repertory Theatre and a co-founder of the Anonymous Theatre Company.
Ryan Quinn, Colonel Brandon/ Thomas/Lady Middleton Ryan is making his Portland Center Stage at The Armory debut. OffBroadway: Whorl Inside a Loop (Second Stage); The Killer, King Lear, Hamlet, and Antony and Cleopatra (Theater for a New Audience); Dead Dog Park (59E59 Theaters); and Vanity Fair (Pearl Theatre Company). Select regional: Sense and Sensibility (American Repertory Theatre), Yellowman (Milwaukee Repertory Theater); Hamlet and The Two Gentlemen of Verona (The Old Globe Theatre); The King Stag (Yale Repertory Theatre); Pride and Prejudice (Dorset Theatre Festival); and eight seasons with The Hudson Valley Shakespeare Festival. TV/Film: Blindspot, Madam Secretary, The Blacklist: Redemption, Person of Interest, Friends from College, and Ovum. M.F.A: Yale School of Drama. Ryan is the artistic director of Esperance Theater Company in New York City. esperancetheatercompany.org
Jamie Smithson, Edward/ Robert Ferrars/Lady Middleton Jamie is excited to be making his Portland Center Stage at The Armory debut. An actor in the D.C. area, some of his credits include: Cake Off and An Act of God (Signature Theatre); Twist Your Dickens and Shear Madness (Kennedy Center); School For Lies (Shakespeare Theatre Company); Fiddler on the Roof (Arena Stage); Sense and Sensibility (Folger Theatre; Helen Hayes Award nomination for Best Actor); Born Yesterday (Ford’s Theatre); Fly By Night (1st Stage); Seussical: The Musical (Imagination Stage). Other credits include work at American Repertory Theater (Bedlam’s Sense and Sensibility), Guthrie Theater, The Acting Company, Everyman Theatre, Crescent Stage, The Village Repertory Co., Charleston Stage, and Mile Square Theatre. He holds an M.F.A. from Mason Gross School of the Arts at Rutgers University.
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MEET THE CREATIVE TEAM Eric Tucker, Director Eric was named “Director of the Year” by Wall Street Journal in 2014. OffBroadway: Uncle Romeo Vanya Juliet; Pygmalion; Peter Pan; Vanity Fair; Bedlam’s Sense and Sensibility (OffBroadway Alliance Award, Lucille Lortel nomination for Best Director; Drama League nomination for Best Revival; four Helen Hayes awards, including Best Director and Best Production); A Midsummer Night’s Dream (Drama League nomination for Best Revival; Wall Street Journal’s Best Classical Production); Bedlam’s Saint Joan (The New York Times and Time Magazine’s “Top 10”; Off-Broadway Alliance Award for Best Revival); Bedlam’s Hamlet (The New York Times’ “Top 10”); Tina Packer’s Women of Will; New York Animals (world premiere by Steven Sater/ Burt Bacharach), Twelfth Night / What You Will (The New York Times’ Critic’s Pick); The Seagull (Wall Street Journal’s Best Classical Production). Other: The Rivals (Bristol Riverside Theatre); The Merry Wives of Windsor (Two River Theater), Disney’s Beauty & The Beast (Oregon Shakespeare Festival); Pericles (American Players Theatre, Wall Street Journal’s Best Classical Production); Copenhagen (Central Square Theater); The Two Gentlemen of Verona (Hudson Valley Shakespeare Festival); and Mate (The Actors’ Gang). Eric resides in New York City where he is the artistic director of Bedlam. John McDermott, Scenic Designer Design credits include: Sense and Sensibility (Off-Broadway, American Repertory Theater and Folger Theatre), Uncle Romeo Vanya Juliet, Pygmalion, and Peter Pan for Bedlam; Pride and Prejudice for Hudson Valley Shakespeare Festival and Seattle Repertory Theatre; Creditors, 4,000 Miles, The Taming, and Red Velvet at Shakespeare & Company; ms. estrada by The Q Brothers Collective at The Flea Theater; and Zurich, Dry Land, Fish Eye, and Everything is Ours for Colt Coeur Company. Seattle designs include The Psychic Life of Savages at Empty Space Theatre; Skin for Printer’s Devil Theater; Prayer For My Enemy, Uncle Vanya, Three Sisters, and Singing Forest for Intiman Theatre, all directed by Bartlett Sher; and four years as associate set designer at Seattle Repertory Theatre.
He holds an M.F.A. from the University of Washington and is an associate professor at Adelphi University.
Alison Heryer, Costume Designer Alison is a costume designer for theater, film, and print. She is thrilled to be returning to Portland Center Stage at The Armory after designing costumes for Fun Home, Wild and Reckless, The Oregon Trail, Ain’t Misbehavin’, Our Town, Three Days of Rain, and Threesome. Other design credits include productions with Steppenwolf Theatre Company, 59E59 Theaters, La MaMa, The New Victory Theater, Kansas City Repertory Theatre, Indiana Repertory Theatre, Portland Opera, Artists Repertory Theatre, and The Hypocrites. She has exhibited work at the Nelson-Atkins Museum of Art, World Stage Design, and the Prague Quadrennial of Performance Design and Space. Alison is on the faculty in the School of Art + Design at Portland State University and a member of United Scenic Artists Local 829. alisonheryerdesign.com Sarah Hughey, Lighting Designer Sarah is happy to return Portland Center Stage at The Armory where other credits include A Christmas Memory/Winter Song, Major Barbara, and the upcoming Crossing Mnisose. Additional design credits include projects at Steppenwolf Theatre Company, Lookingglass Theatre Company, Northlight Theatre, City Theatre Company, Writers Theatre, Chicago Children’s Theatre, Victory Gardens Theater, Kansas City Repertory Theatre, The Black Rep (St. Louis), and Court Theatre. Upcoming projects include As You Like It at Guthrie Theater, The Legend of Rock Paper Scissors at Oregon Children’s Theatre, and The Cake at Asolo Repertory Theatre. She has taught lighting design at Northwestern University, Columbia College Chicago, and Willamette University. She holds an M.F.A. from Northwestern University and is a member of USA Local 829. skhugheylighting.com Alex Neumann, Sound Designer Alex, a New York City-based sound designer, has worked extensively on Broadway as an associate to several sound designers including Tony Award-winners Scott Lehrer and Leon Rothenberg, and Tony Award-nominees
John Gromada and Matt Tierney. Alex is one of the sound designers on the current national tours of Fiddler on the Roof and The King and I. Regionally, Alex has designed at American Repertory Theater, Huntington Theatre Company, Hartford Stage, La Jolla Playhouse, Alley Theatre, and Williamstown Theatre Festival. He is the sound designer of the Drama Desk Awards (Town Hall, New York City) and A Tribute to the Presidential Scholars (Kennedy Center). Alex recently spent two years lecturing on sound design technology at the Yale School of Drama.
Alexandra Beller, Choreographer Off-Broadway: Sense and Sensibility (The Sheen Center, The Gym at Judson, Folger Theatre, and American Repertory Theater); How to Transcend a Happy Marriage by Sarah Ruhl (Lincoln Center Theater); The Mad Ones by KerriganLowdermilk (59E59 Theaters); Bedlam’s Peter Pan (The Duke on 42nd Street). Regional: Two Gentlemen of Verona (Hudson Valley Shakespeare Festival); As You Like It (Hudson Valley Shakespeare Festival and Folger Theatre); The Young Ladies Of by Taylor Mac, Chang(e) by Soomi Kim (HERE); and Spring Awakening (Wake Forest University). Her performance career includes seven years with the Bill. T. Jones/Arnie Zane Dance Company, and projects with Martha Clarke and John Turturro. Alexandra is thrilled to be returning to Portland in March to teach a directing and dramaturgy workshop with Portland Experimental Theatre Ensemble. alexandrabellerdances.org Amanda Quaid, Dialect Coach Off-Broadway: world premiere of Bedlam’s Sense and Sensibility at The Sheen Center; Party Face; When I Was a Girl I Used to Scream and Shout; and The Chimes. Film: Playmobil: The Movie; The Chaperone; Crouching Tiger, Hidden Dragon: Sword of Destiny; Non-Stop; and The Harrow. Television: NOS4A2 (AMC). Faculty: HB Studio and Freeman Studio. Private coaching practice in New York City for over 15 years. amandaquaid.com Kristen Mun, Stage Manager/ Fight Captain Kristen is originally from the island of Oahu and holds a B.F.A. from Southern Oregon University. She is excited to return for her sixth season at Portland
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MEET THE CREATIVE TEAM Center Stage at The Armory. Previous credits at The Armory include stage manager for Constellations and Major Barbara; assistant stage manager for The Color Purple, Fun Home, and Astoria: Part Two; and production assistant on many others. Kristen is also a freelance fight chorographer and teacher. Thank you to Adam and her family for always having her back.
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Molly Shevaun Reed, Production Assistant Molly is thrilled to be joining Portland Center Stage at The Armory this season as a stage management apprentice. Recent credits at The Armory include Twist Your Dickens, The Color Purple, and A Life. Originally from Denton, Texas, Molly has worked in stage management, props design, and has developed new work as a director in Dallas and Portland. Local credits include stage manager for Spectravagasm X, director/designer/ producer for the one-woman original play Endless Oceans, and assistant director/ production assistant for The Few at CoHo Productions. Dallas credits include stage manager for Dry Land at Upstart Theater; and director/designer for the world premiere of Nomad Americana at WaterTower Theatre’s Out of the Loop Fringe Festival (formerly titled Rooting at Nouveau 47 Theatre). Love and thanks to Cam, Fam, Lyss, and Bear. Bedlam Bedlam is a not-for-profit theater company based in New York City under the leadership of Artistic Director Eric Tucker and Managing Director Kimberly Pau Boston. Founded in 2012, Bedlam received instant recognition for its production of George Bernard Shaw’s Saint Joan, in which only four actors played over 25 characters. Other shows include Sense and Sensibility, Peter Pan, The Seagull, Dead Dog Park, New York Animals, Hamlet, and Twelfth Night. Bedlam has won three IRNE Awards, two Off-Broadway Alliance Awards, and an Obie Grant. Bedlam has also been nominated for two Lucille Lortel awards, a Drama League award, and five Elliot Norton awards, winning for Outstanding Visiting Production and Best Ensemble for Saint Joan and Outstanding Visiting Production for Twelfth Night / What You Will. bedlam.org
THANKS TO OUR GENEROUS SPONSORS OF SENSE & SENSIBILITY
NANCY & ANDY BRYANT Generations of women in our family — and a few men, too — have loved Jane Austen’s stories over and over again in books and movies. It is our pleasure to be able to help Portland Center Stage at The Armory share this beloved Austen story with the Portland community. They are sure to open up new ways to experience this classic. AHA We at AHA are passionate about bold, creative storytelling that earns its way into people’s lives. We help brands do this every day, just as Portland Center Stage at The Armory does with every production. We’re delighted to support this vibrant adaptation of one of the world’s most beloved books in a buoyant, daring presentation. Congratulations! GERDING EDLEN At Gerding Edlen, we are committed to owning, developing, and managing properties that strengthen our neighborhoods. Part of that process includes recognizing and supporting arts in the community. We believe that art improves not only our buildings and neighborhoods, but also our lives. We are proud to support Portland Center Stage at The Armory. We look forward to the transformational power of theater to inspire, challenge, and entertain us as we move into the new year.
“A COMPANY OF SLICK, SKILLED DANCERS” – THE NEW YORKER
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MEDIA SPONSOR West Portland Physical Therapy Clinic LLC
GLENN DAHL & LINDA ILLIG FUND It is our pleasure to support this delightful production of Sense and Sensibility at Portland Center Stage at The Armory. Some two hundred years later, Jane Austen’s story still has so much to say to modern audiences. The arts are an essential part of a strong and creative community, and we are delighted to be counted as partners and fans of this performance.
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January 19 – March 3, 2019 In the Ellyn Bye Studio
Marissa Wolf
Artistic Director
Cynthia Fuhrman
Managing Director
BUYER & CELLAR By
Directed by
Starring
Jonathan Tolins
Rose Riordan
Nick Cearley
Scenic & Lighting Designer
Costume Designer
Sound Designer
Kristeen Willis Crosser
Alex Meadows
Casi Pacilio
Video Designer
Stage Manager
Production Assistant
Will Cotter
Mark Tynan
Alexis Ellis-Alvarez
Performed without intermission. Original Off-Broadway production produced by Darren Bagert, Dan Shaheen, and Ted Snowdon. World premiere produced by Rattlestick Playwrights Theater (David Van Asselt, Artistic Director; Brian Long, Managing Director). Buyer & Cellar is presented by special arrangement with Dramatists Play Service, Inc., New York. Videotaping or other photo or audio recording of this production is strictly prohibited. If you photograph the set before or after the performance, please credit the designers if you share the image. The Actor and Stage Manager employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
SEASON SUPERSTARS
SEASON SUPPORTING SPONSORS
SHOW SPONSORS YUKI LYNNE & CRAIG JOHNSTON HELEN STERN & FAMILY KELLY DOUGLAS & ERIC SCHOENSTEIN
STUDIO SPONSORS MARY & DON BLAIR
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10 THINGS TO KNOW ABOUT
BARBRA STREISAND THE WOMAN. THE ICON. THE G.O.A.T.*
Barbra Streisand photographed by Steve Schapiro, in Los Angeles, 1967. Courtesy of Taschen.
*Greatest Of All Time [mic drop]
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BARBRA STREISAND IS ONE OF THE BEST-SELLING RECORDING ARTISTS OF ALL TIME, with more than 68.5 million albums in the U.S. and 150 million albums and singles sold worldwide.
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MORE THAN JUST AN E.G.O.T. WINNER (an artist awarded an Emmy, Grammy, Oscar, and Tony), Barbra is the only artist who has received the Directors Guild of America, Golden Globe, National Medal of Arts, and Peabody awards, as well as France’s Légion d’Honneur and the American Film Institute’s Lifetime Achievement Award. In 2015, President Barack Obama presented her with the Presidential Medal of Freedom.
SHE WAS BORN ‘BARBARA,’ BUT CHANGED HER NAME … SORT OF. “Well, I was 18 and I wanted to be unique, but I didn’t want to change my name because that was too false. Let’s see, if I take out the ‘a,’ it’s still ‘Barbara,’ but it’s unique.”
With her song “Evergreen,” from her 1976 hit film A Star Is Born, Barbra became THE FIRST FEMALE COMPOSER TO WIN AN ACADEMY AWARD.
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BARBRA IS THE ONLY RECORDING ARTIST TO HAVE A NUMBERONE ALBUM IN EACH OF THE LAST SIX DECADES.
SHE WAS ALMOST CANADA’S FIRST LADY. Barbra was dating Canadian Prime Minister Pierre Trudeau (father of current Prime Minister Justin Trudeau) in 1969, but turned down his marriage proposal.
As a champion of social justice, Barbra was awarded the Commitment to Life Award from AIDS Project L.A., the ACLU Bill of Rights Award, and a Humanitarian Award from the Human Rights Campaign. In a love letter to the LGBTQ community, she wrote: “WE’RE ALL UNIQUE AND BEAUTIFUL IN OUR OWN WAY AND ENTITLED TO LOVE AND BE LOVED BY WHOMEVER WE CHOOSE.”
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FOR HER FIRST MOTION PICTURE, FUNNY GIRL, SHE WON THE 1968 ACADEMY AWARD FOR BEST ACTRESS.
AS THE FIRST WOMAN TO PRODUCE, DIRECT, CO-WRITE, AND STAR IN A MAJOR MOTION PICTURE, Yentl in 1983, Barbra fought tirelessly to make the film a reality and won the Golden Globe Award for Best Director. To date, she is the only woman to have won that category.
BARBRA’S UNDERGROUND MALL IS A VERIFIED FACT. Lady Gaga and American Horror Story creator Ryan Murphy were recently invited down to the mall. Ryan had this to say: “We had dinner with Barbra and Jim [Brolin], and Kelly [Preston] and John [Travolta], and Gaga and I. That’s all the people who were invited. And after dinner, she said, ‘Do you want to see the mall?’ And Gaga and I were out of that chair so fast. … We went down to the mall and spent an hour down there. She pulled out her collection of gowns from Funny Girl and Hello, Dolly! and then she said, ‘Do you want frozen yogurt?’ I could write a whole book about that night.”
Compiled by Alice Hodge, Marketing & Publications Specialist
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THANKS TO OUR GENEROUS SPONSORS OF BUYER & CELLAR
KELLY DOUGLAS & ERIC SCHOENSTEIN Although we are not traditional theatergoers ourselves, we love the amazing performances Portland Center Stage at The Armory produces. Without the community’s support, this level of professional theater could not be maintained. That is why we are proud to sponsor Buyer & Cellar. We look forward to the theater’s next 30 years!
YUKI LYNNE & CRAIG JOHNSTON We are proud to support Portland Center Stage at The Armory and the classics, musicals, new works, and clever comedies it brings to Portland audiences. We believe in the magic of theater — especially in its power to engage and inspire young people. Could watching this play inspire someone to capture a similar what-if scenario and turn it into a play and then a career in theater? We hope so.
HELEN STERN & FAMILY I am proud to have been associated as a donor for over 30 years, beginning with the Oregon Shakespeare Festival. From those beginnings, Portland Center Stage at The Armory has become one of the biggest theaters and greatest in the Northwest in its own right. It is an honor to be a supporter, a fan in the audience, and a booster for Buyer & Cellar. Here’s to the next 30 years!
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MEET THE CAST & CREATIVE TEAM Nick Cearley, Alex More Nick is thrilled to return to Portland Center Stage at The Armory after last being seen in Little Shop of Horrors. This is his eighth production of Buyer & Cellar, and he is delighted to have performed the role more times than any other actor apart from original cast member Michael Urie. Nick is one-half of the critically acclaimed “undie”-rock comedy duo, The Skivvies, which will be performing at The Armory February 16, 17, and 18. The prestigious OUT100 list named him one of the most “intriguing and compelling” LGBTQ actors of the year. Off-Broadway: Puck in A Midsummer Night’s Dream, Pageant: The Musical, and Sex Tips for Straight Women from a Gay Man. He also appeared in the Broadway First National Tour of All Shook Up. Regional credits: Williamstown Theatre Festival, Bay Street Theater, Huntington Theatre Company, American Stage Theatre Company, TheatreWorks, New York Stage and Film, City Theatre, Eugene O’Neill Theater Center, Berkshire Theatre Group, B Street Theatre, Laguna Playhouse, Two River Theater, Ensemble Theatre Cincinnati, Rubicon Theatre Company, American Conservatory Theater, and Bucks County Playhouse. nickcearley.com @clearlycearley | @theskivviesnyc Jonathan Tolins, Playwright Jonathan is the author of Buyer & Cellar, which was named “Best Unique Theatrical Experience” by the OffBroadway Alliance when it premiered at Rattlestick Playwrights Theater. Other plays include The Twilight of the Golds (Broadway, Booth Theatre), If Memory Serves (Promenade Theatre), The Last Sunday in June (Rattlestick Playwrights Theater,
Century Center), and Secrets of the Trade (Primary Stages). A collection of his plays has been published by Grove/Atlantic. His film work includes The Twilight of the Golds and Martian Child. For television, he was a writer for Queer as Folk, the Academy Awards, the Tony Awards, and Partners. He was the author of Pushkin 200: A Celebration at Carnegie Hall, acted as script consultant on Walking with Dinosaurs: The Arena Spectacular, and co-wrote The Divine Millennium Tour and The Showgirl Must Go On for Bette Midler. He has written articles for Opera News, Opera Monthly, TheaterWeek, Time Magazine, and HuffPost, and is a panelist on the Metropolitan Opera Radio Quiz. He lives in Fairfield, Connecticut, with his husband, the writer and director Robert Cary, and their children, Selina and Henry. He is a member of the Dramatists Guild and the Writers Guild of America. Rose Riordan, Director Rose is in her 21 st season at Portland Center Stage at The Armory, where she serves as associate artistic director. She most recently directed A Life, Kodachrome, Our Town, and The Oregon Trail. Other directing favorites include: The Typographer’s Dream, LIZZIE, The Mountaintop, The Whipping Man, The North Plan, One Flew Over the Cuckoo’s Nest, A Christmas Story, The 25th Annual Putnam County Spelling Bee, The Receptionist, How to Disappear Completely and Never Be Found, and The Pillowman. In 1999, she founded the annual JAW: A Playwrights Festival. JAW has been instrumental in developing new work for The Armory repertory, including this season’s production of A Life and Storm Large’s Crazy Enough, as well as Kodachrome, The People’s Republic of Portland, The North Plan, The Thugs, and A Feminine Ending. She enjoys being part of a company committed to new play development and having a beautiful building in which to work.
Kristeen Willis Crosser, Scenic & Lighting Designer Kristeen is thrilled to return to Portland Center Stage at The Armory after designing lighting for Sex with Strangers and Mary’s Wedding. Regional theater credits include lighting designs for A Contemporary Theatre and Triad Stage. Her Portland area design credits include I and You and Between Riverside and Crazy at Artists Repertory Theatre; The Night Alive and Or, at Third Rail Repertory Theatre; Snow White and Little Red “Riding Hood” at Northwest Children’s Theater and School; Goosebumps the Musical: Phantom of the Auditorium and Fly Guy: The Musical at Oregon Children’s Theater; Buried Child and Thief River at Profile Theatre; The Outgoing Tide and Luna Gale at CoHo Productions; and Oedipus El Rey at Milagro Theatre. Alex Meadows, Costume Designer Alex is thrilled to be designing costumes for Buyer & Cellar. Regional design credits include shows for
TimeLine Theatre, Next Theatre, Organic Theatre Company, Famous Door Theatre, Shattered Globe Theatre, Classical Kids Live, Montana Shakespeare in the Parks, and Monomy Theatre in Massachusetts. He received a Jeff Award nomination for The General from America at TimeLine Theatre. Alex is the costume shop manager at Portland Center Stage at The Armory and is an adjunct instructor in costume design at Portland State University. He also previously managed the costume shop at Loyola University and taught costume design and costume construction. Alex holds an M.F.A. in costume design from the University of North Carolina School of the Arts and a B.A. in theater design from UNC Asheville. Casi Pacilio, Sound Designer Casi’s home base is The Armory, where credits include sound design for over 40 productions and 12 seasons of JAW: A Playwrights Festival. National shows: Holcombe Waller’s Surfacing and Wayfinders;
Left Hand of Darkness, My Mind is Like an Open Meadow (Drammy Award, 2011), Something’s Got Ahold Of My Heart, and PEP TALK for Hand2Mouth Theatre. Other credits include Squonk Opera’s Bigsmorgasbord-WunderWerk (Broadway, PS122, national and international tours); I Am My Own Wife, I Think I Like Girls (La Jolla Playhouse); Playland, 10 Fingers, and Lips Together, Teeth Apart (City Theatre, PA); 2.5 Minute Ride and Fires in the Mirror (Profile Theatre). Film credits include Creation of Destiny, Out of Our Time, and A Powerful Thang. Imagineer/ maker of the Eat Me Machine, a dessert vending machine. Will Cotter, Projection Designer Will makes multimedia art in Portland and other places. Previously, he designed video for Kodachrome at Portland Center Stage at The Armory. Chicago credits include dramaturgical research on the world premieres of The Humans and The Project(s) at American Theater Company, where he also designed projections. In Los Angeles,
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Ancient history
FOR THE MODERN WORLD
MEET THE CREATIVE TEAM Will devised Paradise and Moony’s Kid Don’t Cry at The Edgemar Center for the Arts, produced by James Franco and Rabbit Bandini Productions. Will is a producing associate at The Armory and a proud member of its devised theater ensemble. He received his B.F.A. at CalArts.
DIAMONDS SET IN 24K GOLD AND OXIDIZED STERLING SILVER
503.636.4025 DYKEVANDENBURGH.COM 27 A AVENUE, LAKE OSWEGO TUESDAY–FRIDAY 10:00–5:30, SATURDAY 10:00–4:00
Mark Tynan, Stage Manager Imagine being in a room full of artists, watching the birth of an idea, a movement given purpose, a sentence, phrase, scene, act given life. Then imagine that room translating to the stage with lighting, sound, costumes, scenery, and props; then you can imagine what Mark’s job is like. Special thanks to the stage management apprentices, Alexis Ellis-Alvarez, Molly Reed, and Sarah Stark. Prior to The Armory, Mark toured nationally and internationally with musicals including Dreamgirls, The King and I with Rudolf Nureyev, How to Succeed …, Grand Hotel, The Phantom of the Opera, Rent, and Jersey Boys. Other Portland credits include several summers with Broadway Rose Theatre Company in Tigard. Regional credits include Alley Theatre, La Jolla Playhouse, and Casa Mañana Theatre. Alexis Ellis-Alvarez, Production Assistant Alexis is thrilled to be starting her first season as a stage management apprentice at Portland Center Stage at The Armory. Outside of Portland, she has worked at Huntington Theater Company as the production assistant for Tartuffe; ArtsEmerson as the assistant stage manager for the world premiere of Mala; and Cygnet Theatre as the production assistant for Animal Crackers, and the stage manager for staged readings of Spamalot and Hair. Alexis studied stage and production management at Emerson College, where she worked on Antigone Project as the stage manager and Guys and Dolls as the production assistant. Alexis would like to send love to her parents and sister, who have always been extremely supportive of her.
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February 23 – March 31, 2019 On the U.S. Bank Main Stage
Marissa Wolf
Artistic Director
Cynthia Fuhrman
Managing Director
TINY BEAUTIFUL THINGS Based on the book by
Adapted for the stage by
Cheryl Strayed
Nia Vardalos
Co-conceived by
Marshall Heyman, Thomas Kail,
and
Nia Vardalos
Directed by
Rose Riordan Scenic Designer
Costume Designer
Lighting Designer
Sound Designer
Megan Wilkerson
Jacqueline Firkins
Kristeen Willis Crosser
Casi Pacilio
Stage Manager
Production Assistant
Casting
Janine Vanderhoff
Sarah Stark
Will Cotter Brandon Woolley
Performed with one intermission. Original New York production by The Public Theater (Oskar Eustis, Artistic Director; Patrick Willingham, Executive Director). Tiny Beautiful Things is presented by special arrangement with Samuel French, Inc. The videotaping or making of electronic or other audio and/or visual recordings of this production or distributing recordings of any medium, including the internet, is strictly prohibited, a violation of the author’s rights and actionable under United States copyright law. For more information, please visit: samuelfrench.com/whitepaper. If you photograph the set before or after the performance, please credit the designers if you share the image. The Actors and Stage Manager employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
SEASON SUPERSTARS
SEASON SUPPORTING SPONSORS
SHOW SPONSORS FINLEY FAMILY FOUNDATION RITZ FAMILY FOUNDATION
WHAT SHE SAID SPONSORS: A CELEBRATION OF WOMEN PLAYWRIGHTS
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RONNI LACROUTE
BRIGID FLANIGAN
DIANA GERDING
MARY BOYLE
Leif Norby Brian Michael Smith
Dana Green Lisa Renee Pitts
CAST Dana Green
Sugar
Leif Norby
Letter Writer #1
Lisa Renee Pitts
Letter Writer #2
Brian Michael Smith
Letter Writer #3
MEET THE CAST Dana Green, Sugar Dana is delighted to be back at Portland Center Stage at The Armory. Other credits at The Armory include A Life, Major Barbara, Constellations, Great Expectations, Othello, and A Midsummer Night’s Dream. Portland credits include Scarlet (Portland Playhouse); d.b. (CoHo Productions); Gidion’s Knot and The Realistic Joneses (Third Rail Repertory Theatre); and Dead Man’s Cell Phone (Profile Theatre). She has spent four seasons with the Stratford Shakespeare Festival and has performed at numerous regional theaters including The Old Globe, South Coast Repertory, Yale Repertory Theatre, Chicago Shakespeare Theatre, California Shakespeare Theatre, Shakespeare Santa Cruz, Asolo Repertory Theatre, Court Theatre, Meadow Brook Theatre, and Shakespeare Festival of Dallas. Television credits include Early Edition, Grimm, The Librarians, Here and Now, and the upcoming Netflix premiere of Trinkets. Leif Norby, Letter Writer #1 Leif was last seen at Portland Center Stage at The Armory in A Christmas Memory/Winter Song. Other appearances at The Armory include: Astoria: Part One and Two, Wild and Reckless, The Oregon Trail, Our Town,
Cyrano, Othello, Anna Karenina, Sunset Boulevard, The 39 Steps, Ragtime, and Guys and Dolls. Other recent Portland appearances include: Adroit Maneuvers (Lighthouse Productions); Man of La Mancha (Lakewood Theatre Company); In the Next Room (Profile Theatre); The God Game (Brandon Woolley prod.); Mr. Kolpert and Mystery of Irma Vep (Third Rail Repertory Theatre); And So It Goes ... and Red Herring (Artists Repertory Theatre); and Beauty and the Beast (Pixie Dust). Television credits include Portlandia and Leverage. Leif is a proud member of Actors’ Equity and sends love to his wife, Susie. Lisa Renee Pitts, Letter Writer #2 Lisa is overjoyed to return to Portland Center Stage at The Armory! She was most recently seen in JAW (2018 and 2015) and won a Drammy Award in 2008 for her performance as Mrs. Muller in Doubt. In 2017, Lisa made her Broadway debut in the Tony Award-nominated Sweat by Lynn Nottage. Favorite credits include A Raisin in the Sun (Virginia Stage Company), Vanya and Sonia and Masha and Spike (Syracuse Stage), Intimate Apparel (San Diego Theatre Critics Circle Award), and Watching O.J. (Ensemble Studio Theater/LA). Film/tv credits include the role of Dr.
Dre’s mother, Verna, in Straight Outta Compton (Dir. F. Gary Gray); True to the Game (Dir. Preston Whitmore); XX (Dir. Karyn Kusama); Baselines (Pilot); Workaholics (Comedy Central); and General Hospital (ABC). Her extensive voiceover work includes narrating more than 80 audiobooks spanning all genres. Lisa holds a B.F.A. from Mason Gross School of the Arts at Rutgers University. lisareneepitts.com Brian Michael Smith, Letter Writer #3 Brian is most known for his groundbreaking role as transgender police officer, Toine Wilkins, on Ava DuVernay’s Queen Sugar (OWN). Recent TV appearances include Chicago P.D. (NBC), Homeland (FOX), and a recurring role on Blue Bloods (CBS). Recent theater credits include A Real Boy (Ivy Theatre Company at 59E59 Theaters); Mitch Albom’s Duck Hunter Shoots Angel (Penobscot Theatre Company); and Brad T. Gottfred’s Women Are Crazy Because Men Are A**Holes (June Havoc Theatre). Born and raised in Ann Arbor, Michigan, he studied theater at Kent State University and trained with Terry Knickerbocker at William Esper Studio in New York City. Brian is a teaching artist, youth mentor, and an advocate for LGBTQ youth and better representation on television and film.
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AN INTERVIEW WITH
CHERYL STRAYED How did the stage adaptation of Tiny Beautiful Things come about and what was it like working with Nia Vardalos and the creative team throughout the development process? I was first approached by Thomas Kail shortly after Tiny Beautiful Things was published. By that time he’d directed a few plays and was in the beginning stage of developing Hamilton with Lin-Manuel Miranda. He told me his friend Marshall Heyman had given him the book and he thought it’d make a great play. His email caught my interest, but I was so overwhelmed at the time, gearing up to shoot the film adaptation of my book Wild, that I didn’t respond. Instead, I dragged Tommy’s email into my “to do” file and proceeded to do nothing! About eight months later, Nia Vardalos posted a comment on my Facebook page. She said she and her friend Tommy Kail wanted to talk to me about adapting Tiny Beautiful Things for the stage. I messaged her and we decided to meet to discuss the idea. It just so happened that I was traveling to Los Angeles the next day to see the first cut of Wild, so I met Nia for tea in Santa Monica. I felt an immediate kinship with her — and also with Tommy, who I met several months later. Work began in earnest about a year later, when the three of us convened in New York City, along with Marshall Heyman. We sat around a table for the better part of a week tossing around ideas, reading the first draft out loud, making revisions to the script, and talking about what it could become. It was also during that time that Hamilton opened at The Public Theater. Tommy invited me and Nia to go see it. Neither of us had heard about the play because it was before word of mouth had gotten out about it and we were a bit skeptical — which makes us laugh now. We were both utterly blown away, of course. What was your response as an audience member when you first saw this play on stage? What was it like to see someone else embody Sugar? It’s the weirdest thing in the world! It truly is. I feel honored by it and moved and also endlessly surprised. All those stories Sugar tells about her life — that is my life. It’s surreal. There’s a line in the play where Sugar says her name is Cheryl Strayed and it always makes me gasp. So many of the questions to Sugar and your responses are incredibly personal, yet also universal. Sitting in a theater full of people connecting to these moments must be quite moving and powerful. What has surprised you about that? How has that affected you?
Photo by Joni Kabana.
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I’ve seen the play dozens of times and I never know how I’ll respond. There have been times when I didn’t shed a tear and times when I wept my way through it. The audience is a big part of the show
because so much of the material is really deep storytelling. You can hear people listening and absorbing it and responding. Very often people cry and you can hear that. It’s hard for me not to go to them and take their hand and tell them it’s going to be okay. They laugh too, which is always a delight. It’s an extraordinary experience, to be the author of those stories and to bear witness to their impact in the theater. As a storyteller whose work has been adapted for both theater and film, what does theater bring to storytelling that is different from the page and screen? How do you think it served Tiny Beautiful Things in particular? I’m simply astonished by plays and I’m in awe of the people who make them. I knew in a general way that a play gets made anew each time it’s performed, but I never truly understood the complexity and nuance of that until I was so intimately involved in the process with Tommy and Nia at The Public. There is something so exhilarating about what happens in each performance. It’s never quite the same. There is always the slightly different way a line is spoken or received. There’s always a different feel in the theater. The experience is alive, there’s no other way to put it. It’s being made before our eyes, not only by the actors on stage, but also by the audience who is taking it in. I think that experience enhances the sense that these are collective truths that we’re grappling with communally. It makes the book larger, in a way. Less about the struggle of the self and more about the struggle of us all. What does it mean to you to have Tiny Beautiful Things produced in your hometown? Everything! I’m so touched by it. It’s really, really moving to me and I’m deeply grateful.
I’m particularly excited that it’s at Portland Center Stage at The Armory, where I have seen so many beautiful, powerful plays. I’m honored to be on that list. You began writing the “Dear Sugar” column in 2010, the book was published in 2012, and the New York stage production opened in 2016. How has your relationship with Sugar evolved and do you find these stories resonating in a different way today? So many of the stories in Tiny Beautiful Things are about universal human experiences that are timeless, but I will say that more people than ever before are thinking about the book and the play within a political context — specifically, the many calls to be compassionate, kind, and generous. They’re thinking about those values in a way that transcends who we are in our personal lives, but also who we are as citizens. I’m glad of that. We need it. Imagine what the world would be if we led with love and kindness.
FROM THE DIRECTOR: ROSE RIORDAN IF YOU ARE A FAN of Cheryl Strayed’s book Tiny Beautiful Things, you will understand when I say that this dramatization is less like a traditional play and and more like documentary theater. The adaptation of the book to the stage is faithful in text, but dramatized in an ingenious way that allows us to hear from Sugar’s readers. The letters to Sugar are a glimpse into the soul of America in the middle of the night. Sugar’s insightful responses are just the remedy we all need. Creating the space for all these voices to live is a tricky task. Each letter has its own tone, yet they must live seamlessly together on stage. It has been a fun puzzle to figure out. I very much look forward to sharing this with you. I believe we will all see pieces of ourselves in these stories. I want to thank Cheryl for writing this book and sharing these stories with us. Finding some grace or redemption on the page is immensely healing.
Interview by Claudie Jean Fisher, Associate Director of Marketing & Communications; Alice Hodge, Marketing & Publications Specialist; and Sharon Martell, Director of Marketing & Communications.
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MEET THE CREATIVE TEAM Cheryl Strayed, Author Cheryl is the author of the number one The New York Times bestselling memoir Wild, The New York Times bestsellers Tiny Beautiful Things and Brave Enough, and the novel Torch. Strayed’s books have been translated into nearly forty languages around the world and have been adapted for both the screen and the stage. The Oscar-nominated movie adaptation of Wild stars Reese Witherspoon as Cheryl and Laura Dern as Cheryl’s mother, Bobbi. The film was directed by Jean-Marc Vallée, with a screenplay by Nick Hornby. Tiny Beautiful Things was adapted for the stage by Nia Vardalos, who also starred in the role of Sugar. The play was directed by Thomas Kail and debuted at The Public Theater in New York City to a sold-out run in 2016. Strayed’s essays have been published in The Best American Essays, The New York Times, The Washington Post Magazine, Vogue, Salon, The Sun, Tin House, The New York Times Book Review, and elsewhere. Strayed holds an M.F.A. in fiction writing from Syracuse University and a
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bachelor’s degree from the University of Minnesota. She lives in Portland, Oregon with her husband, the filmmaker Brian Lindstrom, and their two children.
Nia Vardalos, Adaptor & Co-Creator Nia is a Canadian-born actor, writer, and director for both film and stage. She wrote and starred in the hit film My Big Fat Greek Wedding, and its sequel, which earned her an Academy Award nomination for Best Original Screenplay, a Golden Globe nomination for Best Actress in a Motion Picture Musical or Comedy, and an Independent Spirit and People’s Choice Award. Stage credits include Jennie in Theatre20’s Company, directed by Gary Griffin, and writer and actor for twelve of The Second City’s revues (Jeff Award winner). Additional writing and acting film credits include Connie and Carla and I Hate Valentine’s Day. Film and television acting credits include My Life in Ruins; For a Good Time, Call …; Graves; The Catch; Jane the Virgin; and Crazy Ex-Girlfriend. She is the author of Instant Mom.
Marshall Heyman, Co-Creator Marshall is an editor and writer living in New York City. He writes the daily “Heard and Scene” social column for Wall Street Journal. Over the years, he has contributed to such publications as The New Yorker, Vanity Fair, Vogue, Glamour, InStyle, W, Harper’s Bazaar, Cosmopolitan, New York, Slate, and many others. He has also written for television. Thomas Kail, Co-Creator Thomas directed the Off-Broadway and Broadway productions of LinManuel Miranda’s In the Heights and Hamilton, for which he received the 2018 Tony Award for Best Direction of a Musical. Other Broadway credits include Lombardi and Magic/Bird. OffBroadway credits include Faust, The Wiz, Broke-ology, When I Come to Die, Family Furniture, and The Tutors. He cocreated and directed the world premiere of Tiny Beautiful Things, adapted by and starring Nia Vardalos, and directed the world premiere of Dry Powder, starring Hank Azaria, Claire Danes, John
Krasinski, and Sanjit De Silva at The Public Theater. In addition to numerous awards, he was the recipient of the Kennedy Center Honors Award in 2018.
Rose Riordan, Director Rose is in her 21st season at Portland Center Stage at The Armory, where she serves as associate artistic director. She most recently directed A Life, Kodachrome, Our Town, and The Oregon Trail. Other directing favorites include: The Typographer’s Dream, LIZZIE, The Mountaintop, The Whipping Man, The North Plan, One Flew Over the Cuckoo’s Nest, A Christmas Story, The 25th Annual Putnam County Spelling Bee, The Receptionist, How to Disappear Completely and Never Be Found, and The Pillowman. In 1999, she founded the annual JAW: A Playwrights Festival. JAW has been instrumental in developing new work for The Armory repertory, including this season’s production of A Life and Storm Large’s Crazy Enough, as well as Kodachrome, The People’s Republic of Portland, The North Plan, The Thugs, and A Feminine Ending. She enjoys being part of a company committed to new play development and having a beautiful building in which to work. Megan Wilkerson, Scenic Designer Megan is thrilled to make her Portland Center Stage at The Armory debut. Portland credits include designs at Third Rail Repertory Theatre, Teatro Milagro, Profile Theatre, Portland Playhouse, and Artists Repertory Theatre. Regional credits include shows with Oregon Shakespeare Festival, Milwaukee Repertory Theater, and Michigan Opera Theatre, to name a few. Outside of theater, she works as a commercial exhibit and environments designer, as well as an educator. A resident artist at Artists Repertory Theatre, Megan’s work has been most recently seen for Skeleton Crew and Small Mouth Sounds, and for the upcoming A Doll’s House, Part 2 and The Revolutionists. Megan is a proud member of United Scenic Artist Local 829. meganwilkerson.com Jacqueline Firkins, Costume Designer Jacqueline is excited to return to Portland Center Stage at The Armory this season. Set and costume designs include work for Goodman Theatre, Writers Theatre, Court Theatre, J. Paul Getty Museum, Victory Gardens Theater, Northlight Theatre, Chicago Children’s Theatre, Chicago Shakespeare Theater, The House Theatre of Chicago,
Hartford Stage, Long Wharf Theatre, Dallas Theater Center, Portland Stage Company, Arts Club Theatre Company, Marin Theatre Company, Shakespeare Festival St. Louis, Idaho Shakespeare Festival, Westport Country Playhouse, Shakespeare & Company, Ensemble Studio Theatre, Yale Repertory Theatre, and The Shakespeare Theatre of New Jersey. Jacqueline is a recipient of a Princess Grace Award, as well as Black Theatre Alliance, Jessie Richardson, Elizabeth Sterling Haynes, and SAT awards for excellence in costume design. She’s on the fulltime faculty at the University of British Columbia.
Kristeen Willis Crosser, Lighting Design Kristeen is thrilled to return to Portland Center Stage at The Armory after designing lighting for Buyer & Cellar, Sex with Strangers, and Mary’s Wedding. Regional theater credits include lighting designs for A Contemporary Theatre and Triad Stage. Her Portland area credits include designs for I and You and Between Riverside and Crazy at Artists Repertory Theatre; The Night Alive and Or, at Third Rail Repertory Theatre; Snow White and Little Red “Riding Hood” at Northwest Children’s Theater and School; Goosebumps the Musical: Phantom of the Auditorium and Fly Guy: The Musical at Oregon Children’s Theatre; Buried Child and Thief River at Profile Theatre; The Outgoing Tide and Luna Gale at CoHo Productions; and Oedipus El Rey at Milagro Theatre. Casi Pacilio, Sound Designer Casi’s home base is The Armory, where credits include sound design for over 40 productions and 12 seasons of JAW: A Playwrights Festival. National shows: Holcombe Waller’s Surfacing and Wayfinders; Left Hand of Darkness, My Mind is Like an Open Meadow (Drammy Award, 2011), Something’s Got Ahold Of My Heart, and PEP TALK for Hand2Mouth Theatre. Other credits include Squonk Opera’s Bigsmorgasbord-WunderWerk (Broadway, PS122, national and international tours); I Am My Own Wife, I Think I Like Girls (La Jolla Playhouse); Playland, 10 Fingers, and Lips Together, Teeth Apart (City Theatre, PA); 2.5 Minute Ride and Fires in the Mirror (Profile Theatre). Film credits include Creation of Destiny, Out of Our Time, and A Powerful Thang. Imagineer/ maker of the Eat Me Machine, a dessert vending machine.
SW 6th between Oak & Pine hours MON–FRI 11:30am–11:00pm SAT & SUN 5:00pm–11:00pm
reservation 503.688.5952 littlebirdbistro.com 215 SW 6TH AVE. PORTLAND, OR 97204
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Janine Vanderhoff, Stage Manager Janine is thrilled to be back for her fourth season at Portland Center Stage at The Armory. She recently stage managed A Christmas Memory/Winter Song, The Color Purple, and Lady Day at Emerson’s Bar and Grill. Other favorites include: Wild and Reckless, The Oregon Trail, and Great Expectations. In New York, Janine worked on The Lion King, as well as with many Off-Broadway and regional companies. Portland credits: Sweeney Todd (Portland Opera), Play, How to End Poverty in 90 Minutes, and The Other Place (Portland Playhouse). Touring: The Graduate,
Cats, The Vagina Monologues, Jekyll & Hyde, and Show Boat. Production management: The Daily Show with Jon Stewart “Democalypse 2012 Republican National Convention” (Tampa, FL); Straz Center (Tampa, FL); The Fox Theatre (Atlanta, GA). Proud NYU graduate and AEA member.
Sarah Stark, Production Assistant Sarah is a recent Portland transplant from Chicago, where she graduated from the University of Chicago with a degree in theater studies. She has previously worked as a production assistant at The Armory
for productions of Twist Your Dickens and A Life. Regional and Chicago stage management credits include: Silent Night, The Cunning Little Vixen, Porgy and Bess (The Glimmerglass Festival), Little Shop of Horrors (American Blues Theater); Civility! (The Syndicate); Ellen Bond, Union Spy (The House Theatre of Chicago); Love’s Labour’s Lost, She Kills Monsters, Belleville, Urinetown: The Musical (The University of Chicago). Sarah is thrilled to be continuing her work and education as a stage management apprentice at The Armory this season!
THANKS TO OUR GENEROUS SPONSORS OF TINY BEAUTIFUL THINGS FINLEY FAMILY FOUNDATION As board members and longtime fans of Portland Center Stage at The Armory, we’re thrilled to sponsor Tiny Beautiful Things and help bring Cheryl Strayed’s insightful and human stories to the stage. Now, more than ever, we need to be reminded that we are so much more alike than different.
RITZ FAMILY FOUNDATION We are pleased to sponsor Tiny Beautiful Things, a play selected by Portland Center Stage at The Armory’s former Artistic Director Chris Coleman, and to support The Armory’s new Artistic Director, Marissa Wolf. We look forward to being as stimulated and entertained in the future as we have in the past.
p o r t l a n d ’ s h o t e l t o th e ar t s
IN THE HEART OF PORTLAND’S WEST END DISTRICT
409 SW 11TH AVE PORTLAND | 503.224.3293 | MARKSPENCER.COM 32
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MEET THE ARTISTIC & MANAGING DIRECTORS
PORTLAND CENTER STAGE AT THE ARMORY
MARISSA WOLF ARTISTIC DIRECTOR
Portland Center Stage at The Armory is the largest theater company in Portland and among the top 20 regional theaters in the country. Established in 1988 as a branch of the Oregon Shakespeare Festival, the company became independent in 1994. An estimated 160,000 people visit The Armory annually to enjoy a mix of classic, contemporary, and world premiere productions, along with a variety of high quality education and community programs. Eleven productions are offered each season, in addition to roughly 400 community events created — in partnership with 170+ local organizations and individuals — to serve the diverse populations in the city. As part of its dedication to new play development, the company has produced 26 world premieres and presents an annual new works festival, JAW: A Playwrights Festival. Home to two theaters, The Armory was the first building on the National Register of Historic Places, and the first performing arts venue in the country, to achieve a LEED Platinum rating.
Currently in her first season as artistic director of Portland Center Stage at The Armory, Marissa previously served as associate artistic director/ new works director at Kansas City Repertory Theatre and artistic director of Crowded Fire Theater in San Francisco. Select directing credits include Fire in Dreamland by Rinne Groff (The Public Theater; world premiere at KCRep); Man in Love by Christina Anderson and The Curious Incident of the Dog in the Night-Time by Simon Stephens (KCRep); 77% by Rinne Groff (San Francisco Playhouse); Precious Little by Madeleine George (Shotgun Players); The Lily’s Revenge (Act II) by Taylor Mac (Magic Theatre); and The Late Wedding by Christopher Chen (Crowded Fire Theater). Best director nominations from Broadway World San Francisco and the Bay Area Critics Circle. Marissa held the Bret C. Harte Directing fellowship at Berkeley Repertory Theatre, and has a degree in drama from Vassar College, with additional training from the Royal Academy of Dramatic Art in London.
CYNTHIA FUHRMAN MANAGING DIRECTOR Cynthia has worked in professional theater since 1982 (with two detours, which she highly recommends). She was manager of public relations at Oregon Shakespeare Festival in Ashland and, as director of marketing and communications, was among the staff who traveled north to open OSF’s Portland branch and eventually transitioned it to become the independent Portland Center Stage. She also spent five seasons as director of marketing and communications at Seattle Repertory Theatre. Theater detours include her roles as COO for eyescream interactive, the Northwest’s largest internet marketing agency at the time, and communications director for Portland’s Office of Sustainable Development, a crash course in promoting all things green. In 2008, she returned to Portland Center Stage at The Armory as director of marketing and communications, and was named managing director in 2017. Cynthia holds her B.A. and M.A. degrees in humanities, and attended the University of Oregon, the American University of London, and Southern Oregon University.
MARISSA WOLF ARTISTIC DIRECTOR
We welcome all races, all countries of origin, all sexual orientations, all gender identities, and people of any religion or none at all. We at The Armory humbly acknowledge that the Portland metropolitan area rests on the traditional village sites of the Multnomah, Wasco, Cowlitz, Kathlamet, Clackamas, Bands of Chinook, Tualatin Kalapuya, Molalla, and many other Tribes who made their homes along the Columbia (Wimahl) and Willamette (Whilamut) rivers. Today, Portland’s diverse and vibrant Native communities are 70,000 strong, descended from more than 380 Tribes, both local and distant. We take this opportunity to offer respectful recognition to the Native communities in our region today, and to those who have stewarded this land throughout the generations.
Photo by Gary Norman.
Portland Center Stage at The Armory operates under an agreement between the League of Resident Theatres (LORT), Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United State, and the Society of Stage Directors and Choreographers. Portland Center Stage at The Armory is part of LORT, Theatre Communications Group, Portland Business Alliance, and Travel Portland.
The Scenic, Costume, Lighting and Sound Designers in LORT are represented by United Scenic Artists Local USA-829, IATSE
CYNTHIA FUHRMAN MANAGING DIRECTOR ARTSLANDIA.COM
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THANK YOU
As of December 20, 2018
PORTLAND CENTER STAGE AT THE ARMORY is honored to collaborate with corporate and community partners who demonstrate a commitment to civic leadership, and advocate for our value as a vital community and cultural resource. We would like to recognize the generosity and support of the businesses, foundations, organizations, and individuals that help make the 2018–2019 season possible.
$25,000+ Collins Foundation Curtis T. Thompson, M.D. & Associates, LLC GBD Architects Gerding Edlen Meyer Memorial Trust James F. & Marion L. Miller Foundation Oregon Arts Commission, a state agency Oregon Cultural Trust The Regional Arts & Culture Council, i ncluding support from the City of Portland, Multnomah County, and the Arts Education and Access Fund The Harold & Arlene Schnitzer CARE F oundation/Arlene Schnitzer & Jordan Schnitzer Shubert Foundation The Standard US Bank The Vista The Wallace Foundation
$10,000–$24,999 AHA! Sheri & Les Biller Family Foundation Broughton & Mary Bishop Foundation Henry Lea Hillman, Jr. Foundation Jackson Foundation KeyBank The Kinsman Foundation Maybelle Clark Macdonald Fund Moda
SEASON SUPERSTARS
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Corporate Matches
National Endowment for the Arts NW Natural PGE Foundation Stoel Rives LLP The Rose E. Tucker Charitable Trust Wells Fargo
Best Buy Boeing Company Cambia Health Foundation Hewlett-Packard Company Iberdrola Renewables IBM Corporation Intel Corporation Kaiser KeyBank Macy’s Meyer Memorial Trust NW Natural Pacific Power Foundation Portland General Electric Tektronix Foundation The Standard US Bank
$2,500–$9,999 Davis Wright Tremaine LLP The Holzman Foundation/ Renée & Irwin Holzman H.W. Irwin & D.C.H. Irwin Foundation Reser Family Foundation Leupold & Stevens Foundation Siletz Tribal Charitable Contribution Fund Juan Young Trust Tonkon Torp LLP
In-Kind
$1,000–$2,499 Bank of America Classic Sash & Door D.A. Davidson & Co. D’Amore Law Group Farleigh, Wada & Witt Global Incentive Group Klarquist Michael Allen’s Clothier Native Arts & Cultures Foundation PCC Structurals, Inc. D. Margaret Studley Foundation
$500–$999 Benjamin Buckley Young Actors Fund of The Oregon Community Foundation Hygeia Healing Sofar Sounds Swigert-Warren Foundation
Al’s Garden & Home Argyle Winery Art of Catering Artemis Foods Bluehour ChefsTable Catering Columbia Sportswear Delta Air Lines Devil’s Food Catering Diana Gerding Flowers In Flight Hunt & Gather Catering Little Bird Bistro McCleskey Cellars McDonalds Jacobs, PC Mike Golub Pearl Catering Performance Promotions Tanner Creek Tavern Umpqua Bank Vibrant Table
SEASON SUPPORTING SPONSORS
DONORS Generous donations as of December 20, 2018
$25,000+
$2,500–$9,999
Anonymous Keith & Sharon Barnes Don & Mary Blair Mary & Tim Boyle Andy & Nancy Bryant Dream Envision Foundation Ginger Carroll Glenn Dahl & Linda Illig Jess Dishman Brigid Flanigan Diana Gerding Rob Goodman Heather Killough
Anonymous Brenda K. Ashworth & Donald F. Welch Ted & Kathi Austin Julia & Robert S. Ball Peter & Susan Belluschi Family Fund of The Oregon Community Foundation Debby Benjamin, Mary Kay & Russ Dragon Daniel Bergsvik & Donald Hastler Phil & Julie Beyl
James & Morley Knoll Hilary Krane & Kelly Bulkeley Ronni S. Lacroute Ralph & Jean Quinsey Pat & Trudy Ritz/Ritz Family Foundation The Stern Family Dan Wieden & Priscilla Bernard Wieden
Bill Byrne & Dennis Scollard Greg & Gina Chandler Duke & Brenda Charpentier CollierTrust M. Allison Couch & Tom Soals* Sarah J. Crooks Joan & Jim English* Randy Foster Mike Golub & Sam Shelhorse Allyson Harris Steven & Marypat Hedberg Tom & Betsy Henning Ken Hitz Gregg & Diane Kantor Kevin & Karen Kelly Jina Kim & Hyung-Jin Lee Drs. Dolores & Fernando Leon David & Julie Machado Chrys A. Martin & Jack Pessia Shelly McFarland Peter K. McGill Patti Norris & Mark Schlesinger David & Valerie O’Brien Madeline & Allan Olson Jim & Linda Patterson Brenda J. Peterson Fred L. Ramsey Robert Reed Halle & Rick Sadle Kelly Saito & Jennifer Kalberer Stephen & Trudy Sargent* Joseph Sawicki & Kirsten Lee Roy Schreiber & Carole Heath Richard & Marcy Schwartz Lois Seed & Dan Gibbs Elba, Ralph, Russell, Lorraine & Renee Shaw Randy & Janet Smith Sue & Drew Snyder E. Kay Stepp John Taylor & Barbara West Jack & Ginny Wilborn Trudy Wilson & Terry Brown
$10,000–$24,999 Anonymous Scott & Linda Andrews John & Linda Carter Roger Cooke & Joan Cirillo Martin & Karin Daum Ray & Bobbi Davis Margaret Dixon Kelly K. Douglas & Eric H. Schoenstein William & Karen Early Finley Family Foundation Tasca & Paul Gulick Kevin Hogan & Aron Larson Dr. Barbara Hort & Mark Girard Marilyn & Ed Jensen Yuki & Craig Johnston Chuck & Carol Langer Dedre J. Marriott J. Greg & Terry Ness The Franklin & Dorothy Piacentini Charitable Trust Reynolds Potter & Sharon Mueller* Dana Rasmussen Drs. Ann Smith Sehdev & Paul Sehdev* Marilyn Slotfeldt Douglas & Teresa Smith Tyler & Kara Tatman Rosemarie & Wes Thompson Christine & David Vernier Elaine Whiteley
Susan & Jim Winkler Steven & Deborah Wynne Mort & Audrey Zalutsky David & Sherri Zava Steven & Kris Zika
$1,000–$2,499 Anonymous (4) Ruth & Jim Alexander Phyllis Arnoff* Barbara J. Baker* Cheryl Balkenhol & James Alterman David Bennett & Ginny LaStofka Bennett Chris Bisgard, Lisa Denike & Ella Bisgard Lawrence S. & Susan W. Black Fund of The Oregon Community Foundation The Bohanan Family Kate & Bill Bowman* Norma Bradfish Ann Brayfield & Joe Emerson* John Briggs & Jeffrey Feiffer Linda & William Brown John Bush & Greg Zarelli Rick Caskey & Sue Horn-Caskey Kevin & Beth Cavenaugh Dr. Richard & Nancy Chapman Steve Cox & Vikki Mee Betsy Cramer & Greg Kubicek* Gustavo J. Cruz, Jr. Judy Dauble Edward & Karen Demko Gerard & Sandra Drummond Richard & Betty Duvall Carol Edelman John & Jane Emrick Jean Erickson Mike & Chris Feves Larry & Deborah Friedman Daniel & Leah Frye Cynthia M. Fuhrman* Tom Gifford Dana Green & Scott Cromer John & Jacque Guevara Bill & Elaine Hallmark Donald F. Hammond Paul & Samantha Harmon Lani Hayward Donald Helfgott MJ & Lee Alan Helgerson Herman Charitable Foundation Paul & Ruth Herrington*
Sharon & Henry Hewitt Barbara & Mark Hochgesang Donna Hodgson Dale Hottle Dennis C. Johnson Brad & Judy Johnson Kathy & Steve Johnson Jessie Jonas Tim Kalberg Steven & Nancy Kassel Jody Klevit Ruth Knepell Susan Lair & Doug Trobough Ray & Terry Lambeth Brad & Cindy Larsen* Libbi Layton & Lawrence Tamiyasu Dorothy Lemelson Edwards Lienhart Family Foundation Shari & Frank Lord Jean & Steve Mann Jim & Jennifer Mark Charles & Kathy McGee Lindsey & Marilen McGill Nancie S. McGraw Carolyn McMurchie Laurie & Gilbert Meigs Bill Moffat Michael & Susan Mueller Betsy Natter Hester H. Nau Neilsen Family Fund of The Oregon Community Foundation Fall Newsom David & Ranata Niederloh Bob & Beth Nist Susan & Peter Norman Steven P. & Eileen O’Neill Odum Thomas Palmer & Ann Carter Duane & Corinne Paulson Joan Peacock David Pollock Pat Reser & Bill Westphal Bob & Marilyn Ridgley Kelly Ritz-Eisenstein & Scott Eisenstein Bobbie & Joe Rodriguez Teri Rowan Mary & Craig Ruble Lisa Sanman* Raj Sarda, MD* Carol Schnitzer Lewis Fund of The Oregon Community Foundation
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DONORS Generous donations as of December 20, 2018
Northwest’s premier full-service “boutique” audio recording studio. • Student Demos • Podcasts
• Voice-overs
• Audio books
• Audio for picture • Mastering
• Location recording
7923 SE 13th Ave. Portland, OR 97202 thelmas.com 503.235.9693
STAGED! CONSERVATORY
Marian & Elihu Schott Family Fund of The Oregon Community Foundation Bob Schuler & Debra Blanchard Michael & Karen Sherman Peter Shinbach Jonathan Singer Carl Snook George & Molly Spencer Kyle & Sophia Spencer Rick & Denyse Stawicki Eric Steinhauser & Gregg Macy Mr. & Mrs. W.T.C. Stevens Ray & Pat Straughan Mary & Jeff Strickler Geoff & Susie Strommer Donald & Roslyn Sutherland Dr. Jeffrey & Mrs. Roberta Swanson W. R. Swindells Calvin & Mayho Tanabe Don & Judy Thompson* Ronald E. & Ivy L. Timpe Fund of The Oregon Community Foundation Susan & Robert Torch Katherine & Nickolas Tri Andrew Tweedie Dave Underriner & Barbara Rossi-Underriner Eleanor & Peter van Alderwerelt Wally Van Valkenburg & Turid Owren Ted & Julie Vigeland Joan & David Weil Jill Whittaker Dennis & Jean Wilde Lisa & Lou Williams Jay Wilt Charlene Zidell
$500–$999
Serious training for young actors. stagedpdx.org 971.803.7713 Auditions/Interview required
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Anonymous (2) Charles & Gloria Adams Margaret & Stuart Albright Richard & Kristin Allan Joan & Brian Allen Phil Allen & Peny Van Abkoude* Susan Bach & Douglas Egan Thomas & Brada Bailey Dr. Gene Baker & Regina Brody Robin & Thomas Barrett
Benjamin Buckley Young Actors Fund of The Oregon Community Foundation Dr. Janet Bennett Jamie & John Birkett Lesley Bombardier Michael Bonner & Jeff Pera* Betty Brace Stephen & Marge Brenneke Larry & Marie Brigham Cormac M. Burke Mary Beth & Michael Butkovic Cynthia Church Kristine & Derrick Coder Lisa & Skip Comer Bryan Concannon & Debi Dereiko Billie & John Courtney Dave & Debbie Craig Erik Cubbage Eric Dishman Stephen Early & Mary Shepard Ken & Ann Edwards Patricia Edwards Ron & Becky Eiseman Gregory Flick Joy & Allen Fowler Ronald Fraback Charles & Kyle Fuchs Jerome & Mary Fulton Paul Gehlar Melissa & Robert Good Kris & Michael Gorriaran Susanne Baumann & John Gragg Patricia & Tim Gray Gail & Walter Grebe Andrew Gustely Koleen & Jeff Hall* Kregg & Andrea Hanson Marcia Hauer & Jeanne Knepper Richard L. Hay Patsy Heinlein Frances & Hunter Hicks* Leslie S. Homer Charitable Fund Terri & Robert Hopkins Carroll Hutchinson Susan Immer & Larry Juday* Per-Olof Jarnberg & Joan Foley Sonny Jepson & Felice Moskowitz
Cecily Johns Raymond & Marilyn Johnson Douglas & P.J. Jones BettyLou Koffel & Philip Moyer Rudy Kohnle & Krista Larson Jon Kruse & Karen O’Connor Kruse Ed & Margaret Kushner Bonnie & Mike Leiser Sharon W. Lukasevich Elaine & Richard Lycan Carol & Charles Mackey Stephen & Christine Mason Robert Matheson & Kimberly Porter J.S. & Robin May Alice & Harold McCartor Karen & Brent McCune* Jessica McVay Robert & Violet Metzler Bradford & Linda Needham* Deborah Neft & Salvatore D’Auria David & Anne Noall Gloria Norton Brian & Emily Owendoff Vicki & Greg Page John & Carolyn Parchinsky Stanley & Susanne Penkin Elizabeth Perris Steve & Melissa Peterman Sue & Joe Petrina Ellie Picologlou Amy Polo Wallace & Elizabeth Preble Michael R. Rankin Dick & Linda Reedy Drs. Scott & Kay Reichlin Leslie Rennie-Hill & Ken Hill Dr. Mark & Angela Reploeg Becky Ross Colin Rowan & Shannon Hartwell Ted & Holly Ruback Steven & Carol Sandor Dianne Sawyer & Richard Petersen Carl R. Shinkle Virginia Shipman & Richard Kaiser J & C Skuster Walter & Carol Smith Charles E. Smith
Burt & Barbara Stein Kathleen Stephenson-Kuhn Janice Stewart & Gordon Allen Zach & Vassie Stoumbos John & Shirley Sutton Roger & Gale Swanson Sandra Swinmurn Beverly Terry William & Lori Thayer Paul J. Utz & Lory Cogan Utz Lori Van Gordon Lewis & Susan Van Winkle Virginia Vanderbilt & Michael Garrison Dan Volkmer & Frank Dixon Richard Wallace & Patricia White Wendy Ware & Dan Gleason Katie Ball Warren & Nick Warren Dr. & Mrs. Bennett Wight Alan Winders Jeff & Jaynie Wirkkala Ruth Fischer-Wright & Craig Wright Fabian & Julie Yeager
Painting image courtesy of the artist Mark Ryden
Artwork Capture High-Res Scanning Portfolio Printing Exhibition Printing Large Format Printing Exhibition Mounting 2505 SE 11th Ave #104 PDX 97202 503 224 5925 www.pushdotstudio.com
Gallery & Custom Fine Art Print Studio
$250–$499 Anonymous* Anonymous (6) Joey Alcarez Thomas R. Anderson & Joan Montague Ana Andueza Ann Nickerson Landscape Design Linda & Jerry Aso* Jean & Ray Auel Jean & David Avison Thayne & Mary Anne Balzer Diane & Arthur Barry Sidney & Barbara Bass Kathleen Bauska Cheryl A. Bittle Chris Blattner & Cindy McCann Robert Blum & Carol Black Brian & Karen Borton Brian & Bridget Brooks Douglas Browning & Jo Shapland Mary Butler Julie Ann Carson & Guy Whitehead
JAN 4 - FEB 3 VILLAINOUS SHAKESPEAREAN AMBITION FOR THE HIGH SCHOOL SET
JAN 27 - MAR 3 DON’T MISS THE BROADWAY HIT WHEN IT COMES TO PORTLAND!
5 0 3 . 24 1 .1 2 78 • a r t i s t s r e p . o r g • 1 5 1 5 S W M o r r i s o n S t .
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DONORS Generous donations as of December 20, 2018
Clay & Carolyn Carter John & Lou Chapman Melissa A. Charbonneau Susan F. Christensen Bruce & Janis Collins Sonja L. Connor Karen Costello John & Diane Cronin Karen & Ward Cunningham Arthur & Winnifred Danner Betty Daschel Michele & Dave Daterman Craig & Julie Dewey* Bill Dickey Linda & Jerry Dinan Steve Dotterrer & Kevin Kraus Beverly Downer Julie & Jim Early Janet & Barry Edwards Mary A. & Peter Eisenfeld Kris & R. Thomas Elliott
Ed & Marilyn Epstein Sandy Feeny* Brian Ferriso & Amy Pellegrin Colleen Finn Greg & Susan Fitz-Gerald Jerry Fong Sharon Frank Marc Franklin Lisa Goldberg & Yeng Chen John Goodwin Barbara & Marvin Gordon-Lickey Polly Grose Dylan Gulick Sudee & J. Clayton Hering Diane M. Herrmann Beverly Hoeffer & Carol Beeston Donald & Lynnette Houghton Joanne Jene, M.D. Becky & Jarrett Jones
Joan Jones Susan Jossi & Bob Connors Ross Kaplan & Paula Kanarek Rebecca & Gerald Karver Katherine Keene Catherine Keith & Jennifer Person Tom Kelly & Barbara Woodford Jane Kennedy Jeffrey & Carol Kilmer Frederick Kirchhoff & Ronald Simonis Kohnstamm Family Foundation Keith & Merle Koplan Robert & Sally Landauer Bob & Sally LeFeber Lisa Lieberman & Craig Ackerson Peter & Janice Linsky Lisa & John Lynch Linda & Ken Mantel Kathy Maritz
Mr. & Mrs. Michael Marlitt Steven McMaster & Kathleen Brock Gayle & George McMurria-Bachik Karolyn Meador Charitable Fund Julia Meck Ruth E. Medak Susan Sammons Meyer & Dennis Meyer Bruce & Cathy Miller Alison Mitchell David & Machteld Mok Doug & Malinda Moore Clint & Donna Moran Bill & Pat Nelson Paul & Lisa Nourigat Bonnie & Robert Olds Ric Oleksak* Linda O’Neill Eileen & Alfred Ono
Stories Start Here
Building Community Through Still & Motion Photography
A Renaissance School of Arts & Sciences
ENROLLING K–8 0234 SW Bancroft Ave | PDX
www.renpdx.org
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WEB > prophotosupply.com • STORE > 1112 NW 19th Ave. | 503-241-1112 RENTAL > 1801 NW Northrup St. | 503-517-3637 • PHOTO LAB > 1815 NW Northrup St. | 503-517-3639
THE REVIEWS ARE IN. The Color Purple
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Portland Center Stage at The Armory
WE WANT TO HEAR FROM YOU!
I’m lost for words. Simply breathtaking. —AlphaZet 9/26/2018
Everybody Artists Repertory Theatre
Go, find what the buzz is all about. Michael Mendelson was the man, today. Who will it be when you attend? We strongly recommend you see this more than once. —Leonard Magazine 12/5/2018
Lila Downs Oregon Symphony
Pure magic! It was an evening of nostalgia and hope for the future. —Chris 11/9/2018
your cultural concierge
DONORS Generous donations as of December 20, 2018
Four Last Things
by Lisa Tierney-Keogh
Directed by Gemma Whelan with Alexandria Casteele, Jacklyn Maddux, and Ted Rooney
Feb 1–24, 2019
Thu–Sat 7:30pm Sun 2pm
at New Expressive Works 810 SE Belmont St, Portland
Use code “Artslandia” for $3 off Contemporary Irish theatre
corribtheatre.org
Susan & Milt Parker Gail & Alan Pasternack Sue Pickgrobe & Mike Hoffman Karen Piper Nancy Pitney Dee Poujade David & Margo Price Jay & Barbara Ramaker Bonnie & Peter Reagan Michael Robertson & Gwyn McAlpine* Jeanne Robinson & Simon Dietsch Charles & Judith Rooks Alise R. Rubin & Wolfgang Dempke John & Stephanie Saven Karen Sheridan Rodger Sleven & Marcella Flores Richard Smith & Patricia Frobes Kimberly Smith-Cupani Neil Soiffer & Carolyn J. Smith George Soule & Maurice Horn Karen Springer Peter Stark & Amy Ragsdale Judy & Greg Tatman Ann & Dave Taylor Grant & Sandra Thurston Lou Ann Tiedemann Mary & Tom Troxel Cathy Unis Dawn Vermeulen The John & Frances Von Schlegell Family Shu-Ju Wang & Mike Coleman JD & D’Alene White Richard & Leslie Wong J. Marcus Wood & Sue Hennessey Paul Wrigley & Deborah Cross Jack Wussow & Kyle Adams* Russ & Mary Youmans
$150–$249
Jan Baross
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Anonymous (6) Keith & Christine Abernathy Robert & Bonnie Adams Lynn Allen Kris Alman Linda C. Anderson
Patricia Anderson Mr. & Mrs. John K. Ankeney William Apt & Grant Molsberry Nigel & Kerry Arkell Roy & Jane Arnold Lee & Lynn Aronson Bill Bagnall & Clayton Lloyd Mr. & Mrs. Peter Barnhisel Molly & Tom Bartlett George W. Bateman Dawn Bauman John Bauman Richard Baumann Donald C. & Doris Beard Alta Benhard Donald Berg & Carol Cooke Elizabeth Berol-Rinder Anita & Clark Blanchard Dixie & Stan Bland Robert Brands Dennis Brophy & Cathy Gwinn Patsy Bruggere Scott Cameron & Margaret M. Maguire Don Caniparoli & Sarah Rosenberg Tim & Susan Carey Michael Carter & Teresa Ferrer Jean Carufo & Barb Engelter Susan Cassady & Neal Thompson Gordon B. Chamberlain Russ & Candice Chapman Bob & Patty Chestler Rick & Jean Collins Philip F. Copenhaver Sharon Cordrey William & Harriet Cormack Jean & Jerry Corn John & Ann Cowger Kathryn Crandall Marian & Neale Creamer Sharon Davidson Maureen Sproviero Davis & Kerwin Davis Carroll & Gerry DeKock Carolyn DeLany-Reif Ken & Laura Dobyns Gilbert & Ellen Feibleman Renee Ferrera & James Johnson Terry Ferrucci Patrick & Eileen Fiegenbaum Mary Flahive & David Finch
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For more information about supporting live theater, please contact Jack Ridenour at 503-445-3744 or jackr@pcs.org.
CINDERELLA February 16-23, 2019 Keller Auditorium
7 Shows Only! All featuring the OBT Orchestra.
Xuan Cheng | Photo by Tatiana Wills
obt.org/cinderella
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DONOR TRIBUTES Tribute gifts as of December 5, 2018
In memory of Dave Bany Randy Foster
In memory of Alan Beard Julie & Ted Vigeland
In loving memory of Ben Buckley
BOARD OF DIRECTORS Ted Austin Chair, Senior Vice President, U.S. Bank Private Wealth Management Betsy Henning Vice Chair, CEO & Founder, AHA! Strategic Communications Sarah J. Crooks Vice Chair, Partner, Perkins Coie, LLP Brigid Flanigan Treasurer, President, Shamrock Holdings, LLC Steve E. Wynne Secretary, Executive Vice President, Moda Health Mary Boyle Immediate Past Chair, Civic Volunteer
Joan Peacock
Sharon Barnes Community Activist
In honor of David Coleman
Phil Beyl President, GBD Architects
Jean Himmelstein
Saskia M. de Boer Partner, Stoel Rives, LLP
In memory of Carol Howard
Greg Chandler Vice President, IT, The Standard
Hal Howard
Gustavo J. Cruz Jr. Senior Counsel, Farleigh Wada Witt
In memory of Kory Mahaffy
Kelly K. Douglas Manager, State Investments, LLC
Julie & Ted Vigeland
Lana Finley Community Activist
In loving memory of Sarah E. Mitchell
Diana Gerding Community Volunteer
The Armory
Mike Golub President Of Business, Portland Timbers
In memory of Christine Sproul
Tasca Gulick Community Activist
Nancy Hull
In memory of Julianna Waibel The Armory Investment Committee
In honor of Michelle Weisenbach & Mike Penfield Kathi & Ted Austin, Paul & Lisa Nourigat, Katie Carle
Lani Hayward Community Activist RenĂŠe Holzman Community Volunteer Linda Illig Retired, Community Volunteer Yuki Lynne Johnston Advocate for the Arts Jim L. Knoll President, James L Knoll, PC Dedre Marriott Retired, Former CEO & Professor Joseph F. Mitchoff CEO, Viridian Reclaimed Wood
LEGACY CIRCLE
Karen L. O’Connor Partner, Stoel Rives, LLP Turid Owren Partner, Tonkon Torp, LLP Dana Rasmussen Retired, Attorney
The Armory Legacy Circle honors those who have included The Armory in their will or estate plans.
Anonymous Dr. Gene Baker & Regina Brody Ginger Carroll Mr. & Mrs. Edwin Cohen Jess Dishman Cynthia M. Fuhrman Diana Gerding Jennifer & Tim Goldsmith Dr. Barbara Hort Joan Peacock Lisa Sanman Douglas & Teresa Smith Eric Steinhauser & Gregg Macy Joe Mitchoff & Curtis Thompson 42
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Joseph Sawicki Vice President & General Manager, Design-To-Silicon Division, Mentor Graphics
Dr. Ann E. Smith Sehdev Physician, Cascade Pathology Doug Smith Retired, Sr. Vice President, AMEC Foster Tyler Tatman Finance Controller, Intel Corporation Rosemarie Thompson Managing Partner, Roselake Property & Designs, LLC Michelle Weisenbach Oregon & SE Washington Market President & Commercial Bank Leader, Key Bank J. Greg Ness Armory Theater Fund Chair, Director Emeritus, Chairman, CEO & President, Standard Insurance Stancorp Financial Group H. Pat Ritz Director Emeritus, Chairman & CEO, Footwear Specialties International Julie Vigeland Director Emeritus, Civic Volunteer In Memoriam: Bob Gerding
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CSG18.0519
2018/19 Shows you won’t want to miss!
VALENTINE’S DAY WITH SMOKEY ROBINSON THURSDAY, FEBRUARY 14, 7:30 PM
Norman Huynh, conductor The Motown legend performs his greatest hits – “The Tracks of My Tears,” “Ooo Baby Baby,” “You’ve Really Got a Hold on Me,” and many more. What a way to thrill your sweetheart on the most romantic night of the year!
HARRY POTTER AND THE PRISONER OF AZKABAN™ IN CONCERT SATURDAY, FEBRUARY 16, 7:30 PM SUNDAY, FEBRUARY 17, 2PM & 7:30 PM
Justin Freer, conductor Relive the magic of your favorite wizard in Harry Potter and the Prisoner of Azkaban™ in Concert. Based on the third installment of J.K. Rowling’s classic saga, fans of all ages can now experience the thrilling tale accompanied by live music from the Oregon Symphony orchestra as Harry soars across the big screen. HARRY POTTER characters, names and related indicia are © & ™ Warner Bros. Entertainment Inc. J.K. ROWLING`S WIZARDING WORLD™ J.K. Rowling and Warner Bros. Entertainment Inc. Publishing Rights © JKR. (s18)
PABLO VILLEGAS SATURDAY, MARCH 16, 7:30 PM SUNDAY, MARCH 17, 7:30 PM MONDAY, MARCH 18, 7:30 PM
Carlos Kalmar, conductor • Pablo Sáinz Villegas, guitar Brahms: Serenade No. 1 • Stephen Goss: The Albéniz Concerto Turina: Danzas fantásticas Brilliant, passionate, and abundantly charismatic, Pablo Sáinz Villegas never fails to make audiences jump to their feet. Known as “the soul of Spanish guitar,” the superstar returns to perform music inspired by the great Iberian composer Isaac Albéniz.
orsymphony.org 503-228-1353 your official source for symphony tickets MOVING MUSIC FORWARD artslandia_full_Smokey-Potter-Pablo.indd 1
10/31/18 3:05 PM
STAFF ARTISTIC Rose Riordan, Associate Artistic Director Benjamin Fainstein, Literary Manager Will Cotter, Associate Producer Meagan Mulgrew, Company Manager
ADMINISTRATION & FINANCE Creon Thorne, General Manager Lisa Comer, Finance Director Caitlin Upshaw, Director of HR, Equity & Inclusion
Lydia Comer, HR Coordinator Ticia Evans, Accounting Manager Alan King, Accountant Chris Beatty, IT Administrator Kate Webb, Executive Assistant
EDUCATION & COMMUNITY PROGRAMS Kelsey Tyler, Education & Community Programs Director
Jonas Angelet,
MARISSA WOLF
CYNTHIA FUHRMAN
Artistic Director
Managing Director
Madelyn Clement, David Harper,
FRONT OF HOUSE
Senior Patron Services Representatives
Meg Morrigan, Charley Praither, Patron Services Representatives
Megan Harned, Tonea Lolin, Hope McCaffrey, Patron Services Sales Associates
PRODUCTION
FOOD & BEVERAGE
Liam Kaas-Lentz, Production Manager Katie Nguyen, Production Coordinator Kristen Mun, Mark Tynan, Janine Vanderhoff, Stage Managers, AEA Alexis Ellis-Alvarez, Molly Shevaun Reed, Sarah Stark, Stage Management Apprentices Derek Easton, Technical Director Amanda Nelsen, Scene Shop Coordinator Nick Foltz, Master Carpenter Christian Cheker, Nathan Crosby, Michael Hall, Phil A. Shaw, Carpenters Mary Reischmann, Scenic Charge Artist Shawn Mallory, Kiona McAlister
Melissa Larrabee, CafĂŠ & Bar Manager Erin Rubin, Kitchen & Catering Manager Marguerite McLean, Bar Lead Ryan Smith, CafĂŠ Lead Natalie Myers-Guzman,
Scenic Painters
Community Programs Manager
Clara-Liis Hillier, Education & Community Programs Associate
Matthew B. Zrebski, Resident Teaching Artist
Michael Jones, Properties Supervisor Lauren Chilton, Lead Properties Artisan Emma Van Halsema, Properties Artisan Alex Wren Meadows, Costume Shop Manager
Sydney Dufka,
DEVELOPMENT
Assistant to the Costume Shop Manager
Lisa Sanman, Development Director Jennifer Goldsmith, Associate Development Director
Eric Steinhauser, Individual & Planned Giving Manager
Marlene A. Montooth, Grants Manager Celia Ferrer, Development Events Manager Jack E. Ridenour, Development Associate
Paula Buchert, Eva Steingrueber-Fagan, Cutters/Drapers
Larissa Cranmer, Associate Draper Barbara Casement, Costume Crafts Artisan Bonnie Henderson-Winnie, Wardrobe Supervisor
Jessica Miller, Wig Supervisor Em Douglas, Lighting Supervisor Alexz Eccles, Master Electrician & Programmer, U.S. Bank Main Stage
MARKETING & COMMUNICATIONS Sharon Martell, Director of Marketing & Communications
Claudie Jean Fisher,
Associate Director
of Marketing & Communications
Alice Hodge, Marketing & Publications Specialist
Kate Kerns, Communications Associate Mikey Mann, Graphic Designer Kate Szrom, Multimedia Designer Christian Bisgard, Webmaster
PATRON SERVICES Luke Robertson,
Nsilo Berry, Wynee Hu, Alicia Pedroza, Hannah Rice, Concierges RaChelle Schmidt, Volunteer Coordinator Michael Rocha, Lead House Manager Jenna Barganski, Nhu Nguyen, Hannah Rice, House Managers
Alex Agnes, Master Electrician & Programmer, Ellyn Bye Studio
Avi Sheehan, Lighting Apprentice Casi Pacilio, Resident Sound Designer & Sound/Video Supervisor
Evan Duckworth, Associate Sound & Video Supervisor
Emily Schider, Sound & Video Apprentice Tim McGarry, Deck Manager
OPERATIONS Katie Cronin, Operations Manager Destry Cloud, Gregory Lee, Eric Murray, Operations Assistants
Tim Taylor,
Facilities Assistant
Kitchen & Catering Lead
Leesidhe Blackburn, Kitchen Assistant Ari Binks, Justin Charles, Natalie Fund, Kim Gautier, Katrina Hall, Jamie Inman, Jeremiah Loewen, Drew Patton, Will Ramis, Andrew Rubin, Food & Beverage Staff
FOR THIS PRODUCTION Sense & Sensibility Miriam Talus, Costume Design Assistant Jane Pivovarnik, Draper Claudia La Rue, Julia Braun, First Hands Foggy Bell, Morgan Reaves, Stitchers Jackson Jordan, A2 Michael Wax, Deck Crew Kate Belden, Cody Decker, Joel Ferraro, Corey McCarey, Mary Michels, Ruth Nardescchia, Jenessa Raabe, Myke Rodriguez, Christopher Stull, Mark Twohy, Connor Ward, Lisa Yimm Electricians
Buyer & Cellar Jen Rowe, Assistant to the Director Emily Schider, Sound Board Operator &
Associate to Sound Designer
Liz Carlson, Mary Michels, Kai Rain, Myke Rodriguez, Christopher Stull, Mark Twohy, Lauren Williams, Lisa Yimm, Electricians
Tiny Beautiful Things Jen Rowe, Assistant to the Director Kate Belden, Liz Carlson, Don Crossley, Mary Michels, Ken Potts, Myke Rodriguez, Patton Small, Christopher Stull, Mark Twohy, Connor Ward, Claire Zaro, Electricians
Audience Services & Ticketing Manager
Sierra Walker, Patron Services Box Office Manager
Klint Keys,
EVENTS & RENTALS
VOLUNTEER COMMITTEE
Elizabeth Hjort, Events & Rentals Manager Jenn Thompson, Events & Rentals Assistant
Connie Guist, Office Assistants Chair Karen Watson, Supporting Cast Chair
Patron Services Group Sales Manager
Emily S. Ryan, Patron Services Assistant Manager
SUPERSTAR STAFF EMERITUS Sarah E. Mitchell, Rest in Power, Smitch
ARTSLANDIA.COM
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evolving ARIAS an interview with portland opera’s
LAURA HASSELL & CHRISTINE A. RICHARDSON By Emilly Prado. Photos by Gia Goodrich.
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T
he world of opera has grown tremendously from its spectacular Renaissance beginnings in Italy over four centuries ago. From the emergence of amusing comédie en vaudeville in the 17th century to the snappier operetten of Eastern Europe and entirely audiobased radio operas of the 20th century, the spread and evolution of professional and amateur operatic communities across the globe have been profound.
Director of Production LAURA HASSELL
In the City of Roses, the Portland Opera has provided a main stage for the art form since the mid-1960s—first in East Portland’s own Madison High School, and a short while later, at the Keller Auditorium in Downtown Portland. Today, the nonprofit is still thriving, and many of their productions continue to take place at the venue, thanks in large part to their staff and two vital leaders who are experts in the industry and at wrangling the multifaceted aspects of any successful production. Laura Hassell, Director of Production, is in her 25th season working with the Portland Opera and completed her very first gig with the institution in 1988. Christine A. Richardson, Costume Director, grew up in the area and returned to the organization after 17 years developing her career outside of the city. Hassell oversees hundreds of moving parts months ahead of each production, including lights, props, scenery, and the work of Richardson’s costume department, which engineers over 2,000 garments for more than 150 cast members. And while the fruits of their labor transpire in the form of a successful production, it’s the technical facets of their roles that most often remain backstage. Both, however, are excited to witness, contribute, and advocate for an increasingly inclusive and representative opera community, one spreadsheet or scenery build at a time. Their conversation has been edited and condensed for print, but you can see the interview in its entirety at artslandia.com. CHRISTINE A. RICHARDSON: Laura, how’d you get here?
Costume Director CHRISTINE A. RICHARDSON
LAURA HASSELL: I started doing backstage theater when I was a teenager >>>>
continued on page 48 ARTSLANDIA.COM
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continued from page 47 >>>> and found it fascinating. My brothers were both performers, but I enjoyed being backstage. I stage-managed my first show when I was 15. During the middle of technical rehearsals for that production, I said, “I want to do this for the rest of my life.” I spent a brief time in college trying to find a real career before I gave up on that and went back into theater. I was doing primarily theater and musical theater, and then I kind of fell into opera because there were more jobs available. Portland Opera was actually one of my first big opera gigs in 1988. How about you?
what we wear presents ourselves to the world as who we are. When I realized that theater was an option, it was a continuation of that storytelling. The idea of putting clothing on people who are char-
Tell me about the expectations and stereotypes. Typically, my position and costume staff are mostly female. I’ve worked with a lot of great men in costume shops, but pretty much in leadership and workroom roles, there are predominantly women. What has come of that, over the years, is the perception that doing costumes is [air quote] women’s work; that it’s just laundry; it’s just clothing. It’s either that people think it’s amazing and magical, and they don’t know how you did it, or they say, “Oh, I did that in college.”
The future will continue to grow brighter and brighter, and the
world of opera will evolve. —LH
I grew up making things. I loved not just sewing but gluing, pounding, nailing, creating things. I began sewing and making my own clothing as a form of self-expression—the idea that
acters within a theater or opera piece— that was the throughline. In the mid to late 90s, I worked for Portland Opera. At the time, if I wanted to work in management and get more design work, I needed to go someplace else. I moved away and was gone for 17 years. I just moved back here three years ago.
Or, “My mom used to do that.”
Hit a high note Maloy's offers a fabulous selection of antique and estate jewelry and fine custom jewelry, as well as repair and restoration services. We also buy.
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Hassell and Richardson in the costume shop at The Hampton Opera Center with a dress created for Portland Opera’s 2018 production of Verdi’s La Traviata.
Right... “Mom used to do that,” or “I do laundry. What’s the difference?” There’s a perception, a misunderstanding, or just a lack of knowledge on the audience’s part or the public’s part about how much technically goes into what we do. How much logistics there are; how much computer work I do; how much organizing I do, whether it’s labor or materials. And that it’s not just about making pretty things. It’s a much more complicated and dimensional process. Even when I say, “We’re building costumes,” people always have an issue with the term “build.” But, you know, it’s just like building a house. Somebody designs it; somebody does a sketch of it, and then you do detailed plans of it, and then you order the materials and do the construction methods. And people don’t associate that with, “I used to make clothes.”
Lots of people sew, and so they feel a connection with us. That’s why we use the term “building,” because there is a well-thought-out plan behind the infrastructure that is not just about putting pieces of fabric together. It’s about creating a shape. It’s about creating an understructure, which will support the outer structure. I use the term engineering. I’ve got an engineering mind. That’s how I come to it; that’s the creative problem-solving part of it. It’s building, but it’s couture. This is custom couture work. Tailors use the term engineering as well. They talk about how they engineer a suit.
techniques work for which garment, and how to assemble that all. Absolutely. There’s the big picture management part of it—if there’s a better route to go, whether it’s an assembly line, whether it’s a one-off, whether we’re going to remake something. That logistical part of it is huge. And I love that part. It makes my synapses crackle! And it’s managing your resources, too, especially your personnel resources, in terms of how you’re going to construct something with the personnel you have. >>>>
Yes. There’s a lot of math. And that’s part of the leadership of your role—determining those engineering techniques, determining which
continued on page 50 ARTSLANDIA.COM
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Happy New 2019!
continued from page 49
>>>> Sure. People get sick; fabric comes in late; designers change their minds, but I keep the focus on the endpoint. I balance fiscal responsibility, time management, all of that. That’s a challenge, but again [conspiratorially whispers] I love that part! You’re good at that part!
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I came up through the business as a stage manager, and stage management is pretty much evenly male/ female or maybe slightly more femaledominated. It’s a lot about organization, and it is a leadership role. But it’s also kind of a serving role; it’s very much a facilitator role. Then I moved into the Director of Production role, which is very male-dominated. And I think the reason is that it’s more technically based. It’s more people who know carpentry and engineering and rigging and all that. But when I started as a teenager, I did a lot of everything. I built a lot of scenery; I hung a lot of lights; I designed sound and ran the light board and did all that, so I have a good smattering of information. I’m not an expert rigger, and I couldn’t be the Technical Director, necessarily, but I understand enough about it. I can speak it and understand the issues, and that allows me to gain people’s respect pretty quickly. I can point out things, and they’re like, “Oh, you know about that?” And that immediately raises me into the conversation. I’ve also had good mentors along the way. Starting with when I was a teenager, there was a female director who empowered me to become a stage manager, who taught me how to stagemanage and said, “You can do this.” And then I’ve had a lot of male mentors and Directors of Production who taught me how to pursue the job. There are more female Directors of Production now. I think that in production in general, there are a lot more. Even in admin, it’s just great to see; it’s a different vibe; it’s a different conversation. >>>>
503.620.5262 • www.broadwayrose.org Bonnie Conger
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Marilyn and Ron Nutting
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continued on page 52
MIND OPENING SINCE 1869
OREGON EPISCOPAL SCHOOL opens students’ minds—intellectually, experientially, and spiritually—thereby unleashing their potential to create a better world. OES is a college preparatory, independent school in southwest Portland serving 870 students from pre-kindergarten through grade 12, including 60 boarding students from around the world in grades 9–12. 6300 SW Nicol Road | Por tland, Oregon 97223 | 503-768-3115 | oes.edu
continued from page 50
>>>>
2019
Exposing the truth about being yourself and wearing it well.
JAN 19 - FEB 17 NEWMARK THEATRE
503-228-9571 • octc.org
Naked Mole Rat Gets Dressed: The Rock Experience. First commissioned and produced by Seattle Children’s Theatre. Script and lyrics by Mo Willems. Music by Deborah Wicks la Puma. Based on the book Naked Mole Rat Gets Dressed, copyright © 2009 by Mo Willems, published by Hyperion Books for Children, an imprint of Disney Publishing. All rights reserved. Used with permission. Background by Liz Wong.
Screening at the World Trade Center Theater
ALLELUJAH!
January 26 at 12pm
KING LEAR
January 26 at 4pm
JULIE
January 27 at 12pm
THE MADNESS OF GEORGE III January 27 at 4pm
More titles coming Feb 16-17 and March 9. Presented by
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For tickets, call 503-235-1101 or visit www.thirdrailrep.org.
I think in opera, in general, the top positions still tend to be male dominated, but there are more women in a lot of the other positions. I mean, Portland Opera is an example. Three of the four senior directors are female. That’s becoming more commonplace, and we’re seeing more female directors and conductors as well. It’s still a minority, but it’s definitely growing. You were talking about working your way up, and you know, I have always said that a big part of my success is that I was a stitcher for years and a design assistant, worked into draping and then combined that with other mediums like TV, film, and dance. It was a circuitous route to where I ended up, but I know that it’s right because I can do all of these things. I may not be the best at this and that, but I know how it’s done. Having worked with some incredibly successful and brilliant drapers and designers over the last 30 years, I know what I’m seeing. I don’t need to do their jobs, but I can speak the speak and understand everything they’re talking about. That’s an important quality of being a leader, to have an understanding of what those you lead are doing and how to help them achieve the greatest things they can. That’s part of leading. You’re both in positions of leadership, and you’re both coming from a place of having the experience of being a woman. So how does that factor into your leadership style, and what are some experiences that have helped shape that? I have difficulty with that question because I don’t know what it’s like to be a non-female leader. I don’t know how much my gender has to do with my leadership style, but my path probably influenced my leadership style. As I said earlier, the stage manager is the facilitator. A lot of my style is leading by example—creating a team and getting everybody on the same page focusing on common goals. That’s pretty easy to do in a theatrical setting because it’s a very collaborative atmosphere. There’s not a lot of sabotage or backbiting because everybody has the same goal: to get the show on.
I’m aware, in a situation with other leaders, that I want to be a great role model. And that’s when I’m most aware of the fact that I’m a woman. —CR
ment not because I really want to be in charge of people. I came up through the facilitating and advocating aspect of it. I’m good at what I do, so let me be in charge so that I can help you get what you need to get done. It all goes back to making sure that people have the resources and the support they need. I’m aware, in a situation with other leaders, that I want to be a great role model. And that’s when I’m most aware of the fact that I’m a woman. Well, what do you think the future holds?
My job is to keep everybody and everything moving toward that goal. It’s not a “power” position; it’s more just a collaborative leading position, guiding everybody toward the goal: success. How about you? I’m not sure how to answer that question other than to say that I am aware that I am a woman in a role of leadership. I approach younger women who are coming up by continuing to be an advocate for them and whatever it is that they’re doing, encouraging them to
continue working in the arts. Nobody chooses to work in nonprofit arts because they think they’re going to make a lot of money. We choose these things, or they choose us. So I reinforce with young women, and women in general, to be persistent about what it is that they want to be doing. I try to be that sounding board, that other woman to say, “You’ve got this. What do you need?” It makes me want to be a great leader, the best leader. I want to be that example for them. I want to be that strong woman. I came to manage-
“Seriously funny … both Barbra lovers and haters will be sold.”
I’m encouraged! New pieces are being created by women, and there’s the idea of broadening the scope of opera to include new stories that will include a larger portion of our community, especially here in Portland. That is the future. I think so too. The future will continue to grow brighter and brighter, and the world of opera will evolve. There are new operas written every year, so we’ll see how they take hold and change the world! .
“A heart-tugging, emotionally rewarding evening.” - The Huffington Post
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Feb. 23 – Mar. 31 Jan. 19 – Mar. 3
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OUR STAGES THEN & NOW Keller Auditorium THE KELLER AUDITORIUM, one of the
1933
Portland Public Auditorium before remodeling, 1933, Org. Lot 23, bb003264. The building occupies an entire city block bounded by Third and Second Avenues and Clay and Market Streets.
2016
Photo by Jason Quigley.
Portland’5 Centers for the Performing Arts, has experienced a near-complete metamorphosis and several name changes since it opened in 1917 as Portland Public Auditorium. Also called Municipal Auditorium, it served as a meeting center, a movie house, a boxing venue, a hospital and morgue during the 1918 Spanish flu epidemic, and a temporary home for returning WWII veterans. A near-complete renovation in 1968 left only 17 percent of the original structure intact, with some of the exterior materials recycled at the Portland Japanese Garden and the Community Music Center. The new venue, named Civic Auditorium, was further remodeled in 2000 and renamed Keller Auditorium after Portland Development Commission Chairman Ira Keller, thanks to a large donation from his family. The theater is now home to Oregon Ballet Theatre and hosts many performances by the Portland Opera, among other performing arts, community, and family events. .
Historic photographs for this series are provided by the Oregon Historical Society, a museum, research library, archive, and scholarly asset located in the heart of Portland’s Cultural District. View more photos of historic Portland on the new OHS Digital Collections website at digitalcollections.ohs.org/portland-cityscapes.
Have an anecdote or old school photograph of you posing in front of the Keller Auditorium? Post it! Don’t forget to tag #Artslandia and #ThenAndNow.
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Join us for a Private Tour & Tasting complete with stories and exclusive wine offerings. $20 per person includes tour, tasting & cheese pairings. Call 503-588-9463 to reserve your spot.
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