Until the Flood / Crossing Mnisose by Artslandia

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E CROSSING F I L A A World Premiere!

MNISOSE

REMODELS NEW HOMES COMMERCIAL WINDOWS & DOORS

A stunning new piece about a transgender woman named Hannah, and her journey into adulthood.

Photo by Kathleen Behnke, Anchorage Opera

A CHAMBER OPERA FOR TWO VOICES AND STRING QUARTET

MARCH 22â&#x20AC;&#x201C;30 | NEWMARK THEATRE

MUSIC & CONCEPT BY LAURA KAMINSKY

LIBRETTO BY MARK CAMPBELL & KIMBERLY REED FILM BY KIMBERLY REED

MAY 11

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BIG NIGHT A Special Concert

Our chorus and orchestra take center stage, joining soloists for a special program of operatic gems and beloved arias.

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IN THE HEIGHTS Lin-Manuel Miranda’s (Hamilton) sizzling, awardwinning musical takes us to Washington Heights in NYC, where a community on the brink of change struggles to achieve their dreams.

MACBETH Three women tackle all the roles in this piercing, stripped-down adaptation of Shakespeare’s infamous tale of the notorious royal assassin.

REDWOOD Humorous and biting! After a (Black) family explores their ancestry online, they must learn how to live in a present that’s overpopulated with ghosts.

MISS BENNET: CHRISTMAS AT PEMBERLEY This clever sequel to Jane Austen’s Pride and Prejudice puts Mary Bennet front and center as she endeavors to find independence and perhaps even love.

HEDWIG AND THE ANGRY INCH Part rock concert, part cabaret, part stand-up comedy routine, this one-of-a-kind musical proves time and again that an indomitable spirit can’t ever be tied down.

ANNOUNCING THE 2019-2020 SEASON! SCHOOL GIRLS; OR, THE AFRICAN ME AN GIRLS PL AY A beauty pageant at a Ghanian boarding school sets teenage girls against each other and cautions that while beauty may be only skin deep, its pursuit can cut much deeper.

THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME This Broadway smash hit takes us inside the mind of an extraordinary boy trying to solve the murder of his neighbor’s dog.

9 PARTS OF DESIRE An intimate and complex portrait of nine Iraqi women, this remarkable solo work offers a meditation on what it means to be a woman in a country overshadowed by war.

HOWARDS END Four actors play 20 characters in E.M Forster’s tale of two sisters struggling to align their values with England’s early 20th century social strictures.

CAMBODIAN ROCK BAND Fierce and funny, a woman explores her roots 30 years after her father fled the Khmer Rouge’s brutal regime. Featuring a cast performing Dengue Fever hits and Cambodian oldies!

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MAR | APR 2019

AT TH E P E R FO R M A N C E A C I T Y P L AY B I L L A N D P E R F O R M I N G A R T S M A G A Z I N E

FROM ARTISTIC DIRECTOR MARISSA WOLF The celebration of women playwrights continues at The Armory. The company springs ahead by looking back at historical incidents––both recent and from the dawn of the 19th century––to explore shared identity and threats to community.

UNTIL THE FLOOD

NAVIGATING THE WATERS A conversation with Until The Flood playwright Dael Orlandersmith.

CROSSING MNISOSE

SO. HOW DO YOU CROSS THE MOUNTAINS? A perspective by Mark Trahant, citizen of the Shoshone-Bannock Tribes.

53 22

THE STANDING ROCK TIMELINE Mary Kathryn Nagle breaks down the course of events that led more than 13,000 people to gather at Standing Rock in protest.

LADIES LEADING: MENTOR & MUSE NW Dance Project’s Founder and Artistic Director Sarah Slipper and dancer Andrea Parson explore their symbiosis.

ART DEPARTMENT: COMMUNITY CYCLING CENTER MURAL

THEN AND NOW: OREGON ZOO Did you know that the Oregon Zoo is the oldest zoo west of the Mississippi? It originated with a pharmacist who became overwhelmed by the care of his personal menagerie.

54 LEFT: Photo by Gia Goodrich. Special thanks to Pro Photo Supply; Photographer’s Assistants Christian Rudman and Jacklyn Robin; Videographer Jordyn Roach; and Wardrobe Stylist Erica Lurie, Designer and Owner of Garnish Apparel, 404 NW 12 th Ave., Portland, garnishapparel.com. RIGHT: The bear den in City Park (now Washington Park), circa 1935, Wesley Andrews, OrHi 017629.

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portlandartmuseum.org CLOCKWISE: Anette Bellamy, Moving Mountains, 2017 10 ft. T X 12 ft. W Stoneware, UV resistant line, stainless pins and epoxy Photo by Chris Arend; Fernanda D’Agostino, Borderline, 2018, 2 projectors, 13 scenes set up in a software to combine imagery in a 169 combinations; Ryan Pierce, The Free Museum, 72 x 72 inches. Flashe and spray paint on canvas over panel, 2016; Robert Rhee, Occupations of Uninhabited Space, 2013-2018, Gourd, brass-plated steel; 7x 8 x 10 inches, Photo by Fritz Rodriguez, Artwork courtesy of Steve Shane; Jenny Irene Miller, Andrew Jake Miller, 2016, 11x17, 24” x 18” framed photo Digital pigment print.; Charlene Vickers, Ominjimindaan/ to remember, Installation of Diviner’s cedar spears, fabric wrapped grasses with hair, turtles, and 2 video works, Wauzhushk Onigum and Occupy Anishinabe Park 1974 at Urban Shaman art space in Winnipeg, Manitoba 2012. Photo credit: Urban Shaman, Winnipeg, MN courtesy: C. Vickers; Mary Ann Peters, this trembling turf (the waters) courtesy the artist and James Harris Galleryphoto: Rafael Soldi; Henry Tsang, Tansy Point View 3

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FROM ARTISTIC DIRECTOR

MARISSA WOLF This spring brings us two powerful new plays that wrestle with some of the most urgent questions of our time. Until The Flood and Crossing Mnisose offer compelling visions and interpretations of major moments in our country’s contemporary history. Until The Flood is a theatrical tour de force by writer and performer Dael Orlandersmith. Having interviewed dozens of people affected by the murder of Michael Brown and the heated protests that followed, Orlandersmith weaves together a resonant, nuanced portrait of a community’s history and present-day life. Having presented her play Forever at The Armory in recent years, we’re honored to welcome Orlandersmith and director Neel Keller back to the boards with this searing, magnetic production. Crossing Mnisose by playwright Mary Kathryn Nagle hails from our Northwest Stories Commissioning Program. Nagle reframes the westward bound explorations of Lewis and Clark from the perspective of Sacajawea and her descendants. Drawing a direct line from past to present, Crossing Mnisose traces the unfolding drama along the same river one hundred years later, as an oil company threatening to cut through it is countered by the bold, outspoken voices of those who rally to protect the sacred land. Working with collaborator Molly Smith, the acclaimed artistic director of Arena Stage in D.C., we’re thrilled to launch this arresting world premiere. The New York Times recently named Nagle one of eight Native American women who “helped to make 2018 the Year of the Woman.” What better way to capture such an impactful year, than to champion these two playwrights as a vibrant part of our What She Said Series. Here at Portland Center Stage at The Armory, we celebrate a season lineup that achieves gender parity, with eight out of 12 plays in our 2018–2019 season written by women, hailing women’s voices and experiences. Welcome to The Armory! All my best,

Photo by Gary Norman.

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March 16 – April 21, 2019 In the Ellyn Bye Studio

Marissa Wolf

Artistic Director

Cynthia Fuhrman

Managing Director

UNTIL THE FLOOD Written & Performed by

Dael Orlandersmith Directed by

Neel Keller

Scenic Designer

Costume Designer

Lighting Designer

Sound Designer & Original Music

Takeshi Kata

Kaye Voyce

Mary Louise Geiger

Justin Ellington

Video Designer

Stage Manager

Production Assistant

Nicholas Hussong

Kristen Mun

Molly Shevaun Reed

Performed with no intermission. Until The Flood was originally commissioned and produced by The Repertory Theatre of St. Louis (Steven Woolf, Artistic Director; Mark Bernstein, Managing Director). Until The Flood received its New York Off-Broadway premiere at Rattlestick Playwrights Theater. Until The Flood is produced by special arrangement with The Gersh Agency, 41 Madison Avenue, 33rd Floor, New York, NY, 10010. 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

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WHAT SHE SAID SPONSORS:

DIANA GERDING

A CELEBRATION OF WOMEN PLAYWRIGHTS

DAVIS WRIGHT TREMAINE CHRYS A. MARTIN & JACK PESSIA MARCY & RICHARD SCHWARTZ

STUDIO SPONSORS MARY & DON BLAIR

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RONNI LACROUTE BRIGID FLANIGAN DIANA GERDING MARY BOYLE

MEET THE CAST Dael Orlandersmith, Playwright & Performer Dael Orlandersmith is a playwright, poet, actor, teacher, and Pulitzer Prize nominee. In the fall of 2016, Orlandersmith wrote and performed Until The Flood (commissioned by The Repertory Theatre of St. Louis), followed by a run at Rattlestick Playwrights Theater, Milwaukee Repertory Theater, Goodman Theatre, and ACT (Seattle). In 2014– 2015, she wrote and performed her solo memoir play Forever, which debuted at the Kirk Douglas Theatre (Center Theatre Group commission), followed by a run at The Long Wharf, New York Theatre Workshop, Portland Center Stage at The Armory, and Abbey Theatre (Dublin). Orlandersmith’s plays include Black n Blue Boys/Broken Men (co-produced by Berkeley Repertory Theatre and Goodman Theatre); Horsedreams (developed at New Dramatists and New York Stage and Film Company; OffBroadway premiere at Rattlestick Playwrights Theater); Bones (commissioned and produced by Mark Taper Forum); Suicide Girlz (commissioned by Atlantic Theater Company); Stoop Stories (developed at The Public Theater’s Under the Radar Festival and Apollo Theater’s Salon Series; premiered at the Studio Theatre in Washington, D.C.); The Blue Album (a collaboration with David Cale; premiered at Long Wharf Theatre); Yellowman (commissioned and co-produced by The Wilma Theater and Long Wharf Theatre; premiered at McCarter Theatre; OffBroadway premiere at Manhattan Theatre Club); The Gimmick (commissioned by McCarter Theatre and premiered on its Second Stage, Off-Broadway premiere at New York Theatre Workshop); Beauty’s Daughter (Off-Broadway premiere at American Place Theatre); and Monster (originally at New York Theatre Workshop). Yellowman and a collection of her earlier works have been published by Vintage Books and Dramatists Play Service. Orlandersmith was nominated for the 2015 Off-Broadway Alliance Award for Best Solo Performance in Forever. With Yellowman, she received a Pulitzer Prize nomination, Drama Desk Award nominations for Outstanding Play and Outstanding Actress in a Play, and a Susan Smith Blackburn Award. For Beauty’s Daughter, she received an Obie Award and was a Susan Smith Blackburn Award finalist. She is the recipient of a New York Foundation for the Arts Grant, the Helen Merrill Award for Emerging Playwrights, a Guggenheim, a PEN/Laura Pels Foundation Award, a Lucille Lortel Foundation Playwrights Fellowship, and a Whiting Award. She has toured extensively with the Nuyorican Poets Café (Real Live Poetry) throughout the United States, Europe, and Australia. As a teacher, she has worked at Princeton University (artist in residence, 2009), Yale University, and Sarah Lawrence College, among others. Orlandersmith is currently working on two commissions and a book of autofiction.

FROM THE DIRECTOR: NEEL KELLER Until The Flood is an ongoing, ever-branching, necessarily roiling conversation. The play was born out of an urgent discussion that the staff of The Repertory Theatre of St. Louis had in the wake of the shooting of Michael Brown. Feeling a profound need to respond to the social upheaval engulfing their region, they asked each other, “How can we make theater that is part of this difficult conversation?” The play that ultimately grew from that discussion was made out of many different conversations. Dael went to St. Louis and listened at length to numerous people, allowing them to speak intimately about how the shooting and its aftermath had affected them, about what felt solid and what had been grievously shaken. Dael collected those swirling thoughts and emotions and created the composite characters you will meet in the play. Heard together, their words underscore a great irony of our social, religious, political, and historical discourse. The talking is ubiquitous. It is inescapably present in every home, in every community, and across all social platforms. But, there is not nearly enough conversation flowing between people of different backgrounds, between different neighborhoods, between people whose experience of American life is foreign to one another. All of the people Dael interviewed for this play live within a few miles of each other and from the site of Michael Brown’s death. How is it that they see things so differently? Hopefully the play and that question will be the starting point for many new conversations. Thank you for being here. ARTSLANDIA.COM

NAVIGATING THE WATERS: A CONVERSATION WITH UNTIL THE FLOOD PLAYWRIGHT DAEL ORLANDERSMITH

In Until The Flood, Dael Orlandersmith explores the social unrest in Ferguson, Missouri following the shooting of teenager Michael Brown. Drawing from her extensive interviews with Missouri residents, Orlandersmith crafts an extraordinary theatrical experience in which she embodies eight residents as they try to come to terms with the complex events that shook the nation. Below, Orlandersmith recalls her artistic process for bringing the voices of Ferguson to life on stage. Why did you want to write this play? Well, actually, the Repertory Theatre of St. Louis first came to me [about writing the piece]. I said yes because I think it’s important. I want to tell a story. I want to go beyond what’s right, who’s right, who’s wrong. How does this shooting affect people? In terms of race, how far have we come? Those are the questions that have come to mind. What does it invoke, provoke in you? What kind of thought? What sort of preparation did you do?

Dael Orlandersmith in Until The Flood. Photo by Chris Bennion.

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[Repertory Theatre of St. Louis Associate Artistic Director] Seth Gordon and I met with Michael Brown, Sr. and a few other people, a lot of political activists and people who are just generally in town. I wanted to look at that because, you know, race is obviously a very … it’s high voltage. It’s a high voltage situation. I wanted to see exactly how far we’ve come, which is interesting to me, in terms of, say, from the 1940s on. And also, what does it mean to the individual? What does race mean to an individual? How does it affect individuals, and how far has St. Louis come? What does it mean to be a part of this? And then again, for me as a New Yorker. I find that a lot of people in St. Louis feel this is nothing new to them. A lot of them just want to put this down. And a lot of other people have said it’s just an everyday occurrence. So it’s about showing those perspectives.

The people we meet in the play — are these people you met? They are composite figures. Because I made it very clear to everyone I spoke with — I don’t have a right to invade your life that way. I have a right as a playwright to tell a story. But I don’t have a right to dig into someone’s life like that. Because that’s no longer about theater; that’s perverse voyeurism. A word that I use heavily is “boundary.” The role of certain types of theater, we are supposed to be mental and emotional travelers, but having said that, if I write about someone’s life directly, that makes me responsible for them in certain ways that I don’t feel comfortable with. And given where that person is within their life, it can invoke and provoke a lot of stuff that they just won’t be able to deal with. I’m not a therapist. And I actually said that to everyone I spoke with.

CURRENT/CLASSIC

You’ve written in many formats — poetry, plays, solo works — what made you choose the solo play for this piece? It’s an interesting format. I want to look at how one person, not just myself — if the play goes on, I want other people to do it — how one person can embody a kind of humanity. Aspects of humanity. I think that’s interesting, because it does start with one person. How does one person take in the world? We always see the collective, but the collective starts with the individual. Individuals form a collective, right? So how does one individual take in the world? You’re the writer and performer of this play, but you are also working with a director. Tell us how that works. As you’re the one who’s created the play, what does the director give to you? Neel Keller is a great director. He can tell me what is overwritten, what we can cut, what we can emphasize. It’s a third eye. I find that very few people can direct themselves. What sound bites do we need? How does a character need to be fleshed out more? Both on the page and on the stage. In terms of technique — how to bring it alive on the stage. And then we combine these ideas. And as an actor, I can overact, so he’s there to yank me in. We don’t want to beat the audience over the head with this, and I can tend to do that as an actor.

FEATURING:

RIP/TIDE

by Ashley Roland & Jamey Hampton of BodyVox

AND

SWAN LAKE ACT II

When you’ve finished a performance and the lights go down, is there anything in particular that you’re hoping the audience takes away? Did I give them permission to feel both comfortable and uncomfortable? That’s what interests me, because I don’t speak for people, I speak to people. Because when you start speaking for people, you get on a political tirade and I know this situation goes beyond the political. It extends itself into personal stories and the emotional and how we live on a day-to-day basis. What are our personal narratives? And how do we feel about this, knowing this could have happened with these young men?

MAY 10 & 11 2019 Interview by Sarah Brandt, Associate Director of Education for The Repertory Theatre of St. Louis. This article was originally published for the 2016 world premiere of Until The Flood in St. Louis.

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MEET THE CREATIVE TEAM Neel Keller, Director Portland Center Stage at The Armory credits: Forever, The Cripple of Inishmaan, and the holiday double feature The Santaland Diaries with A Christmas Memory (2002-2004). Neel has enjoyed a long and happy collaboration with Dael Orlandersmith. They met almost 30 years ago, on a production of Romeo and Juliet. Over the last several years they have worked closely on creating and producing Orlandersmith’s acclaimed plays Until The Flood and Forever. Neel’s other recent productions include the world premieres of Julia Cho’s Office Hour, Eliza Clark’s Quack, Jennifer Haley’s The Nether, Kimber Lee’s different words for the same thing, and Lucy Alibar’s Throw Me On The Burnpile and Light Me Up. Neel’s productions have been mounted at many theaters, including The Public Theater, New

York Theatre Workshop, Rattlestick Playwrights Theater, La Jolla Playhouse, Mark Taper Forum, Kirk Douglas Theater, Goodman Theatre, South Coast Repertory, Williamstown Theatre Festival, Long Wharf Theatre, ACT Seattle, The Repertory Theatre of St. Louis, and Abbey Theatre in Dublin. Neel is an associate artistic director at Center Theatre Group in Los Angeles, and a member of the Stage Directors and Choreographers Society and the Directors Guild of America.

Takeshi Kata, Scenic Designer Recent New York City credits include Until The Flood (Rattlestick Playwrights Theater), Office Hour (The Public Theater), Man From Nebraska (Second Stage), The Profane (Playwrights Horizons), Derren Brown: Secret (Atlantic Theater Company), and Forever (New York Theatre Workshop).

Regionally, Kata has designed for American Players Theatre, Berkeley Repertory Theatre, Dallas Theater Center, Ford’s Theatre, Geffen Playhouse, Goodman Theatre, Hartford Stage, Kirk Douglas Theater, La Jolla Playhouse, Long Wharf Theatre, Mark Taper Forum, Nashville Opera, The Old Globe, Steppenwolf Theatre Company, and Yale Repertory Theatre. Kata has won an Obie award and has been nominated for Drama Desk, Barrymore, Connecticut Critics Circle, San Francisco Bay Area Theatre Critics Circle, TBA, and Ovation awards. He is an associate professor at the University of Southern California School of Dramatic Arts.

Kaye Voyce, Costume Designer Kaye’s Broadway credits include Significant Other, The Real Thing, The Realistic Joneses, and Shining City.

DIRECTOR’S CHOICE

April 11-14, 2019 | Newmark Theatre

PERFORMANCE INCLUDES: BringingOutsideIn

Jardí Tancat

Gioconda Barbuto / Owen Belton, Sarah Neufeld, Gabriel Prokofiev & Peter Gregson

Nacho Duato / Maria del Mar Bonet

Presto

Nicolo Fonte / Franz Liszt & Franz Schubert Featuring pianist Hunter Noack

Nicolo Fonte / Ezio Bosso

Giants Before Us

Four works, one incredible performance, plus a poignant farewell Four of our most loved contemporary works, curated by Artistic Director Kevin Irving, in an ambitious and intimate program. Join us in celebrating the career of principal dancer Chauncey Parsons, who retires after eleven seasons with the company.

Tickets start at $29 503.222.5538 | OBT.ORG Chauncey Parsons | Photo by Blaine Truitt Covert

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Recent Off-Broadway work includes Harry Clarke (Vineyard Theatre and Minetta Lane Theatre), Office Hour, Hamlet (The Public Theater), Measure for Measure (Elevator Repair Service/ The Public Theater), Queens, After the Blast (Lincoln Center Theater), The Antipodes, Signature Plays, The Wayside Motor Inn (Signature Theatre), Detroit (Playwrights Horizons), and 4000 Miles (Lincoln Center Theater). Opera credits include War Stories (Opera Philadelphia), The Summer King (Pittsburgh Opera, world premiere), Il Turco in Italia (Festival d’Aix-enProvence, Dijon Opera, Teatro Regio Torino, and Teatr Wielki), Other credits include Trisha Brown’s final two dances, “Rogues” and “Toss,” and many collaborations with Richard Maxwell and New York City Players, including “Open Rehearsal” for the Whitney Biennial. Kaye was born in Milwaukee.

Mary Louise Geiger, Lighting Designer Portland Center Stage at The Armory credits: Forever, The Cripple of Inishmaan, Red, From the Mississippi Delta, Absurd Person Singular, and for colored girls who have considered suicide when the rainbow is enuf. Broadway: The Constant Wife (American Airlines Theatre). OffBroadway: Until The Flood, Draw the Circle (Rattlestick Playwrights Theater); X: Or, Betty Shabazz v. The Nation (The Acting Company); Nat Turner in Jerusalem, Forever, Oedipus at Palm Springs (New York Theatre Workshop); Three Wise Guys, Natural Affection, (TACT). Other recent credits: This Bitter Earth, Les Carillons (New York City Ballet); Good Television, The New York Idea (Atlantic Theater Company); Kindness, Blue Door, (Playwrights Horizons); DollHouse, Red Beads (Mabou Mines). Awards: Helen Hayes,

IRNE, NYSCA. Training: Yale. Faculty: NYU. mlgeiger.com

Justin Ellington, Sound Designer & Original Music Portland Center Stage at The Armory debut. New York City credits include: Other Desert Cities, Pass Over, Pipeline (Lincoln Center Theater); The House That Will Not Stand, Fetch Clay, Make Man, The Seven (New York Theatre Workshop); He Brought Her Heart Back in a Box, The Winter’s Tale (Theatre for a New Audience). Regional credits include: Life of Galileo (PlayMakers Repertory Company); Kill Move Paradise (Wilma Theater); Until The Flood, Father Comes Home from the Wars (Parts 1, 2 & 3), How to Catch Creation (Goodman Theatre); Familiar (Steppenwolf Theatre); ink (Kennedy Center); The Comedy of Errors (Oregon Shakespeare Festival). International

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MEET THE CREATIVE TEAM credits include: The American Clock (The Old Vic, London). Ellington is the recipient of a Grammy, American Society of Composers and Publishers, and Obie awards.

Nicholas Hussong, Video Designer Off-Broadway credits include: Until The Flood (Rattlestick Playwrights Theater, Goodman Theatre, Milwaukee Repertory Theater, The Repertory Theatre of St. Louis, ACT Seattle); These Paper Bullets! (Atlantic Theater Company, Drama Desk nomination; Geffen Playhouse, Yale Repertory Theatre); White Guy on the Bus (59E59 Theaters, Delaware Theatre Company); Skeleton Crew (Atlantic Theater Company), and Chix 6 (La Mama). Regional credits include: Kleptocracy (Arena Stage); Grounded (Alley Theatre); A Streetcar Named Desire (Le Petit Theatre du Vieux Carre); Two Trains Running (Arden Theatre Company), The Mountaintop (PlayMakers Repertory Company), Ella:

First Lady of Song (Delaware Theatre Company), and many others. Nicholas was an artistic associate at Triad Stage in Greensboro, North Carolina, where he continues to design new works based on Appalachian life written by Preston Lane. Nickhussong.com

Kristen Mun, Stage Manager 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 Center Stage at The Armory. Previous credits at The Armory include stage manager for Sense and Sensibility, 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 choreographer and teacher. Thank you to Adam and her family for always having her back.

Molly Shevaun Reed, Production Assistant Molly is thrilled to join Portland Center Stage at The Armory this season as a stage management apprentice. Recent credits at The Armory include Sense and Sensibility, 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.

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SUMMER TEEN THEATER ACADEMY 18

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Learn theater skills in a fun, supportive environment! Work with professional writers and performers to bring characters fully to life and take your skills to the next level. Playwriting for Teens • Song & Dance Audition Session I • Song & Dance Audition Session II • Contemporary Scenes & Monologues • Musical Theater Numbers Grades 9-12 • All experience levels welcome!

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“A COMPANY OF SLICK, SKILLED DANCERS

– THE NEW YORKE

THANKS TO OUR GENEROUS SPONSORS OF UNTIL THE FLOOD

A TRIO OF OUR BEST LOVED WORKS YIDAM

IHSAN RUSTEM

CASUAL ACT SARAH SLIPPER

CHRYS A. MARTIN & JACK PESSIA We are proud to sponsor this groundbreaking work, adding to our longstanding history of supporting diversity and inclusion efforts in our community and in the legal profession. We have championed diversifying our workplaces, the legal industry, and charities we work with, and recognize the pivotal role artistic endeavors, such as Until The Flood, play in uplifting conversations about equity in our community. We hope this play will further discussions about how we can all communicate better on the complex and emotional issues facing our society today. MARCY & RICHARD SCHWARTZ In Until The Flood, we are reminded of the political and cultural backdrop of racism and division that inhabits our society, but also of the importance of finding the common humanity that connects us to each other across racial and cultural lines. We are pleased to support challenging and thoughtprovoking theater.

PATRICK DELCROIX

APRIL 25 - 27 / 2019

DAVIS WRIGHT TREMAINE LLP We believe everyone deserves a voice and representation, and that we have an obligation to assist those who otherwise would not have access to the justice system. By sponsoring the arts, including plays such as Until The Flood, we strive to elevate voices and stories that may otherwise go unheard, and encourage everyone to deeply engage with experiences that may not be their own. As a strong supporter of diversity and inclusion efforts both in our firm and our broader community, we support and celebrate these conversations that bring us together.

DRIFTING THOUGHTS

ENCORES

DIANA GERDING Hearing these stories may take us further along in the journey of critically examining our country’s tragic legacy with the hope that we do not continue to make the same mistakes. I am grateful and honored to be one of the sponsors of this production.

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Seasonal Pacific Northwest cuisine in Portland’s Pearl District 417 NW 10th Avenue www.ardenpdx.com 503-206-6097

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April 13 – May 5, 2019 On the U.S. Bank Main Stage

Marissa Wolf

Artistic Director

Cynthia Fuhrman

Managing Director

World Premiere

CROSSING MNISOSE Written by

Directed by

Mary Kathryn Nagle

Molly Smith

Scenic Designer

Costume Designer

Lighting Designer

Todd Rosenthal

Alison Heryer

Sarah Hughey

Fight Director

Dramaturg

Kristen Mun

Benjamin Fainstein

Stage Manager

Susan R. White

Composer & Sound Designer

Text Director & Vocal Coach

Roc Lee

Anita Maynard-Losh

Cultural Consultant, Yankton Sioux Nation

Cultural Consultant, Shoshone-Bannock Tribes

Glenn Drapeau

Lauren Cordova

Stage Manager

Production Assistants

Casting

Mark Tynan

Lilo Alfaro Alexis Ellis-Alvarez

Will Cotter Rose Riordan Brandon Woolley

Performed with one intermission. Crossing Mnisose was commissioned by Portland Center Stage at The Armory for its Northwest Stories series, supported by a generous gift from the Wallace Foundation. 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: A CELEBRATION OF WOMEN PLAYWRIGHTS

JESS DISHMAN

RONNI LACROUTE

HILARY KRANE & KELLY BULKELEY

BRIGID FLANIGAN

DEDRE J. MARRIOTT

DIANA GERDING MARY BOYLE

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Gavin Hoffman Robert I. Mesa

Nick Ferrucci

Meriwether Lewis/Colonel

Gavin Hoffman

Charbonneau/Carl

Sera-Lys McArthur

Otter Woman/Rose

Robert I. Mesa

Coyote/Travis

Chris Murray

Captain Clark/Patrick Morgan

Nathalie Standingcloud

Sacajawea/Carey

Nathalie Standingcloud

Nick Ferrucci Sera-Lys McArthur Chris Murray

CAST

SO. HOW DO YOU CROSS THE MOUNTAINS? A PERSPECTIVE BY MARK TRAHANT, CITIZEN OF THE SHOSHONE-BANNOCK TRIBES IMAGINE THE AMERICAN WEST as a flat landscape. No mountains, no rivers, just miles and miles of plains until, finally, the Pacific Ocean. Of course the West of the “Corps of Discovery” is not that. The region is stunning, magnificent, inspiring, the geography of hope. So why is America’s founding myth so flat? How did the story get repeated without the people who live the mountains, the rivers, and the Pacific Ocean? Crossing Mnisose challenges that invisible narrative. “So. How do you cross the mountains?” Mary Kathryn Nagle’s character of William Clark asks. Mountains? A water route? No. There is only the path that’s been worn down by hundreds of stories told by the hundreds of tribal nations who still call the land home. Stories from Coyote told in Dakota, Hidatsa, Shoshone, French, English, and Spanish. Stories told about family. Food. Water. Songs. Prayers. Trade. Love. Rape. And those pipelines that frame our invisibility.

That’s why it was not a surprise to see Native people again facing off against a military-like force at Standing Rock on the banks of the Missouri River. “We’re not protesting. We’re water protectors,” a subtle shift in language that adds richness to the story. Or the story about a teenage girl that every American thinks they know, Sacatzahweya. Or as Captain Lewis says, “Suh-cog-uh-wea.” “No one knows the difference,” she says. But we do know, we should know, and we must know the difference because the story goes on. The people have more chapters to add, refusing to accept a geography of nope. Someday the president, the Army Corps, the settlers, our neighbors, will respect us. Someday she will be Sacatzahweya. Mark Trahant is the editor of Indian Country Today and an author in the anthology Lewis and Clark Through Indian Eyes.

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THE

STANDING ROCK TIMELINE

Compiled by Mary Kathryn Nagle.

APR. 24, 2016 A group of Standing Rock and Cheyenne River Sioux youth run all the way from Cannonball, North Dakota to Omaha, Nebraska to deliver a petition with 457,000 signatures to Colonel Henderson at the United States Army Corps of Engineers. Colonel Henderson refuses to meet with them.

2017

SEP. 3, 2016 Beginning at 6 a.m., Dakota Access bulldozes the burial grounds identified in Tim Mentz’s declaration. Water Protectors show up, and the company’s private security force uses attack dogs on them. Democracy Now’s Amy Goodman captures it all on film — within 48 hours, the video has 14 million views.

JAN. 18, 2017 The Army Corps issues a public statement announcing it will receive comments on the full Environmental Impact Statement it is undertaking for the Dakota Access Pipeline. JAN. 20, 2017 Donald Trump is inaugurated as President of the United States.

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Photo by Mark Trahant.

JUL. 15, 2016 Thirty runners set out from the Sacred Stone Camp to run to the White House and demand that President Obama stop the pipeline.

JUL. 25, 2016 The Army Corps issues the Final Environmental Assessment, making a finding of “no significant impact,” essentially granting Dakota Access the easement necessary to cross the Missouri River/Lake Oahe.

SEP. 9, 2016 Judge Boasberg denies the Standing Rock Sioux Tribe’s motion for preliminary injunction. The Department of Justice, Department of Interior, and Army Corps issue a statement that the July 25 Environmental Assessment did not grant Dakota Access the easement they need, legally, to construct across the Missouri River/Lake Oahe, and that further investigation will be necessary to ensure adequate consultation with Tribal Nations has taken place.

JAN. 24, 2017 President Trump signs an Executive Order instructing the Army Corps to grant Dakota Access any and all easements necessary to construct across the Missouri River/ Lake Oahe.

JUL. 26, 2016 The Standing Rock Sioux Tribe files a complaint in federal district court in Washington, D.C., against the Army Corps alleging that the July 25 Environmental Assessment violates federal law. The case was assigned to Judge Boasberg.

OCT. 25, 2016 Reverend Jesse Jackson, who is present at the camp, issues a public statement making a strong parallel between the Civil Rights movement of the ‘60s and ‘70s and the movement at Standing Rock. The next day, police raid the northern camp and arrest 140 Water Protectors.

FEB. 8, 2017 The Army Corps terminates the Environmental Impact Statement process and grants Dakota Access the easement it needs to construct the pipeline across the Missouri River/ Lake Oahe.

FEB. 22, 2017 The camp at Standing Rock closes. At some points in time, more than 13,000 people had gathered there to stand with Standing Rock.

AUG. 4, 2016 The Standing Rock Sioux Tribe files a motion for preliminary injunction, asking the federal court to enjoin the Army Corps from granting the permit Dakota Access needs to build the pipeline.

2016

2015

DEC. 8, 2015 The Army Corps issues a draft Environmental Assessment, laying the groundwork to grant Dakota Access LLC the easements the company needs to construct the pipeline across the Missouri River.

JAN. 8 & MAR. 24, 2016 The Standing Rock Sioux Tribe provides extensive comments on the failure of the Army Corps to engage in consultation regarding sites of historic and cultural significance in the pipeline’s proposed path.

AUG. 12, 2016 Dakota Access starts construction; Standing Rock Chairman Dave Archambault II and many others peacefully speak out against the construction and are arrested.

NOV. 3, 2016 500 religious leaders from 20 different faiths join in prayer at Standing Rock. NOV. 8, 2016 Donald Trump is elected President of the United States.

MAR. 26, 2016 Standing Rock citizens run from Wakpala, South Dakota to Mobridge, South Dakota to raise awareness about the proposed Dakota Access Pipeline.

AUG. 19, 2016 Governor Dalrymple of North Dakota declares a “state of emergency” and sets up a roadblock 30 miles north of the camp and Standing Rock’s reservation.

APR. 2, 2016 Youth from Standing Rock create the Sacred Stone Camp on the Cannonball River at the northern edge of Standing Rock’s reservation.

SEP. 2, 2016 Tim Mentz files an affidavit in Judge Boasberg’s court (United States District Court, District of Columbia) identifying 82 stone features, cairns, burials, and stone rings, archeological sites, and 27 burials on land just 1.5 miles north of Standing Rock’s reservation, along the corridor path for the pipeline leading up to the Missouri River/Lake Oahe.

DEC. 4, 2016 The Army Corps announces it will undertake a full Environmental Impact Statement, making clear that Dakota Access does not currently have the easement it needs to construct the pipeline across the Missouri River/Lake Oahe.

THE LESSON FROM STANDING ROCK: IN THE CONSCIOUSNESS OF AVERAGE AMERICANS, Native folks are the fringe population that only exist in the past, or are mere fictional characters feeding their imagination. Meanwhile, the real struggles of specific tribal nations get obscured by a tide of ignorance. But what happened at Standing Rock helped shift that tide. Simply put, we took control of our own narratives, centered ourselves in a struggle that many others could relate to, and led with the most powerful tool we have, our undying love for the land. The core message of “Water is Life” reflected a strategy that ensured our fight wouldn’t go unnoticed. It was relatable. It was universal. And it opened the door for nonNatives to come into our proverbial homes and see what we’re really fighting about. It allowed us to show them the foundations of our nations; sovereignty, self-determination, and treaty rights.

And in the context of what happened at Standing Rock in 2016, for those of us who were involved, whether remotely or directly, the stories we tell not only reflect these things but are also journeys of dual remembrance. On the one hand, we enact broad sweeps, generating tales that give greater meaning to our collective fight for sovereignty. And on the other, we parse the details, seeking understanding thru the specific actions of those who stood, or ran, or negotiated, or did nothing, or did everything. But the true lesson learned from Standing Rock was that our power does not lie in the few that are elected. It does not lie in the hands of the loudest speaker. The power lies in the masses. It is within all of us. We just have to use it.

Dallas Goldtooth was one of the Water Protectors at Standing Rock. He is also the Keep It In The Ground campaign organizer for the Indigenous Environmental Network and a co-founder of the 1491s.

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FROM THE DIRECTOR: MOLLY SMITH

THOSE WHO WRITE THE HISTORY tell the stories we carry from childhood. The American “history” of the Native American people has always been written by others. Until now. We’ve heard the Sacajawea story through the diaries of Meriwether Lewis and some heroic statues. Thankfully, thrilling writers like Mary Kathryn Nagle are telling Sacajawea’s story from a Native American point of view, and we are rocked by Mary Kathryn’s perspective. The fight for the Missouri (Mnisose) River is past and present in our play Crossing

Mnisose. In both 1805 and 2016, the fight is visceral; the present story is informed by the bloodlines of the past. From Mary Kathryn’s perspective we are all water protectors — our individual and collective lives depend on it. Native Americans continually show us how to fight for Mother Earth. May we all hear her play as a call to action to protect the land and waterways of America. 24

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MEET THE CAST Nick Ferrucci, Meriwether Lewis/Colonel Nick is happy to return to Portland Center Stage at The Armory where his previous credits include Astoria: Part One and Two and JAW: A Playwrights Festival. Local credits: Teenage Dick at Artists Repertory Theatre; John and The Angry Brigade at Third Rail Repertory Theatre; Luna Gale at CoHo Productions; Peter and the Starcatcher at Portland Playhouse; and True West at Profile Theatre. Regional: Oregon Shakespeare Festival, Maples Repertory Theatre, Sierra Repertory Theatre, Commonweal Theatre, Heritage Theatre Festival, and Bright Star Touring Theatre. Film: Warmuffin, The Falls, One Foot In The Gutter. Television: Grimm. He holds an M.F.A. in acting from Northern Illinois University and a B.F.A. in theater from Southern Oregon University. He has studied with Moscow Art Theatre in Russia and The Second City in Chicago. Gavin Hoffman, Charbonneau/Carl Gavin is happy to be back at The Armory where he played Peter Shirley/Morrison in Major Barbara, Duncan McDougall/Hoback in Astoria: Part One and Two, Joe in Great Expectations, Ligniere in Cyrano, Iago in Othello, Karl/Steve in Clybourne Park, as well as many JAW festivals. Other credits include: Artists Repertory Theatre, Shaking the Tree, Profile Theatre, CoHo Productions, Third Rail Repertory Theatre, and Lakewood Theatre Company. He has worked regionally and in New York. Gavin has guest starred in Portlandia (IFC), The Big Easy (USA), and Leverage (TNT), and co-starred in Grimm (NBC). He is the recipient of four Drammy Awards for acting. Gavin is a graduate of P.C.P.A. and has a B.F.A. in acting from Ithaca College. He is a proud member of Actors’ Equity and SAG-AFTRA. Sera-Lys McArthur, Otter Woman/Rose Nakota and German-Canadian from Saskatchewan, Sera-Lys is an accomplished screen and stage actor. This is her debut at Portland Center Stage at The Armory. Pinamaya to all those who have assisted

along her journey. Select film and television: Outlander (STARZ); Friends From College (Netflix); Robbery (Pagemaster Ent.); Monkey Beach (Reunion); Arctic Air and The Englishman’s Boy (CBC). Notable New York City staged reading: Ishmael Reed’s The Haunting of Lin-Manuel Miranda (The Nuyorican Poets Café). Off-Broadway: Smoke (Signature Theatre); Sacagawea: Bird Woman (Urban Stages). Select Canadian theater: Ballenden (Royal Manitoba Theatre Centre); Evangeline (The Citadel); In Spirit (Article 11); Mistatim (Red Sky Performance/Young People’s Theatre); Where the Blood Mixes (Western Canada Theatre/Theatre Aquarius). @seralysmcarthur Robert I. Mesa, Coyote/Travis Robert (Navajo/Soboba) is a filmmaker, writer, artist, photographer, and actor working in Los Angeles. He studied filmmaking at the Institute of American Indians. As an actor, he recently traveled to New Zealand to play the esteemed role of Tecumseh in the miniseries The Men Who Built America: Frontiersmen (2018), executive produced by Leonardo DiCaprio. A self-taught photographer, Robert has documented numerous acclaimed Native American artists, including Bob Haozous, with whom he shared a debut photography exhibition. Through film, photography, and by cultivating an acting persona, he aims to raise cultural awareness regarding empowerment within identity. His work has been featured in multiple art markets, including The Autry (Los Angeles), The Heard (Phoenix), and the Santa Fe Indian Market. Chris Murray, Captain Clark/ Patrick Morgan 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, Sense and Sensibility, Major Barbara, Astoria: Part One and Two, The Oregon Trail, Great Expectations, Our Town, Futura, and Sometimes a Great Notion. 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! Nathalie Standingcloud, Sacajawea/Carey An Oklahoma native, Nathalie (Keetoowah-Cherokee, Muscogee-

Creek, Salish-Kootenai, Colville) is delighted to perform another work by Mary Kathryn Nagle, and make her debut at Portland Center Stage at The Armory. She recently finished the world premiere of Return to Niobrara at The Rose Theater in Nebraska. When she was six, Nathalie starred in the short film Standingcloud, written by her aunt Kimberly Guerrero. Her credits include the Trail Of Tears

Drama (Cherokee Heritage Center), The Wizard Of Oz, Grease (Sequoyah Drama), and Water By the Spoonful (TheatreOCU). She has appeared in Sterlin Harjoâ&#x20AC;&#x2122;s Mekko in 2015 and in the 1491â&#x20AC;&#x2122;s live sketch comedy shows and popular YouTube series. In addition to her work as an actor, Nathalie can be found creating exquisite body art at River City Tattoos.

MEET THE CREATIVE TEAM Mary Kathryn Nagle, Playwright Mary Kathryn is an enrolled citizen of the Cherokee Nation. She currently serves as the executive director of the Yale Indigenous Performing Arts Program. She is also a partner at Pipestem Law, P.C., where she works to protect tribal sovereignty and the inherent right of Indian Nations to protect their women and children from domestic violence and sexual assault. Mary Kathryn is an alumn of the 2012 Public Theater Emerging

Writers Group, where she developed her play Manahatta in Public Studio (May 2014). Productions include Miss Lead (Amerinda Inc., 59E59 Theaters, January 2014), Fairly Traceable (Native Voices at the Autry, March 2017), Sovereignty (Arena Stage, January 2018), Manahatta (Oregon Shakespeare Festival), and Return to Niobrara (The Rose Theater). In 2019, the Marin Theatre Company will produce Sovereignty.

Molly Smith, Director Molly has been a leader in new play development for 40 years. She has been the artistic director of Arena Stage since 1998. Her most recent directing credits at Arena include Anything Goes, Snow Child, and Sovereignty. Her directorial work has also been seen around the country and Canada, including on Broadway (The Velocity of Autumn, 2014), OffBroadway (The Originalist), and Perseverance Theatre in Juneau,

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MEET THE CREATIVE TEAM

Ancient history

FOR THE MODERN WORLD Alaska, which she founded and ran from 1979–1998. She has worked alongside playwrights Sarah Ruhl, Paula Vogel, Wendy Wasserstein, Karen Zacarías, Mary Kathryn Nagle, and many others. She led the re-invention of Arena Stage, through the creation of the Mead Center for American Theater and positioning Arena Stage as a national center for American artists. Arena’s Power Plays Cycle is a massive commissioning project focusing on 25 writers over 10 years on stories of American politics and power from 1776 to the present decade.

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Todd Rosenthal, Scenic Designer Broadway: August: Osage County (Tony and Laurence Olivier Award for Best Scenic Design), The Motherf**ker with the Hat (Tony nomination), Who’s Afraid of Virginia Woolf?, Of Mice and Men, This is Our Youth, Fish in the Dark, Straight White Men, and the upcoming Linda Vista. International: The Beauty Queen of Leenane and Madame Butterfly in Ireland; Nice Fish and Downstate in London. Regional: Steppenwolf Theatre Company, Goodman Theatre, Guthrie Theater, Mark Taper Forum, American Repertory Theater, La Jolla Playhouse, Lyric Opera of Chicago, Arena Stage, Berkeley Repertory Theatre, Alley Theatre, Oregon Shakespeare Festival, and many Off-Broadway theaters. He designed six seasons for Big Apple Circus. Awards include: USITT 2019 Distinguished Achievement Award, Helen Hayes, Ovation, Joseph Jefferson, and Michael Merritt Awards. Featured designer at the United States exhibition at the Prague Quadrennial in 2019. Professor, Northwestern University. Graduate, Yale Drama. Alison Heryer, Costumer 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 Sense and Sensibility, 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 NelsonAtkins 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 Sense and Sensibility, A Christmas Memory/ Winter Song, and Major Barbara. Additional design credits include projects at Guthrie Theater, Asolo Repertory Theatre, Oregon Children’s Theatre, 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. 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 Roc Lee, Composer & Sound Designer Roc is a Washington D.C.-based composer and sound designer. He holds a Master of Music in stage music composition from The Catholic University of America. Credits include: Snow Child, The Price, The Year of Magical Thinking, Mother Courage (Arena Stage); Small Mouth Sounds (Round House Theatre); Admissions, Curve of Departure (Studio Theatre); The Watsons Go to Birmingham (The Kennedy Center Theater for Young Audiences); Charm, Hooded, Or Being Black for Dummies, Ulysses On Bottles, Oh, God (Mosaic Theater Company); Aubergine, The Importance of Being Earnest (Everyman Theatre); The Invisible Hand, On The Town, Aubergine, Annie, Thurgood, Fickle: A Fancy French Farce, Dial M for Murder (Olney Theater Center); AIDA (Constellation Theatre Company); In This Hope: A Pericles Project, Hello My Name Is ... (The Welders); [410]Gone (Rorschach Theatre); and In the Heights (GALA Hispanic Theatre). roclee.net

THANKS TO OUR GENEROUS SPONSORS OF CROSSING MNISOSE SHERI & LES BILLER FAMILY FOUNDATION The Sheri and Les Biller Family Foundation invests in bold ideas that inspire collective action in order to achieve powerful results. The Foundation is proud to support Crossing Mnisose through our Social Impact Theatre program, which fosters the arts by expanding access to inspiring productions and immersive educational experiences. We believe that impactful productions like Crossing Mnisose spark conversations that continue in our homes and communities, and that this is how social change begins. JESS DISHMAN “Everything I do is for my people” —Sacajawea Crossing Mnisose is a voice in the rising chorus of Native American views of the European impact on their world. From racism and environmental degradation to gender inequality, these are issues that are as relevant now as when the Missouri River was called Mnisose. HILARY KRANE & KELLY BULKELEY We are thrilled to support the world premiere of Crossing Mnisose, a revelatory new work by Mary Kathryn Nagle exploring the epic yet largely unknown life of Sacajawea. This play will transform your understanding of America’s past and expand your view of its possible future. DEDRE J. MARRIOTT

Crossing Mnisose showcases Native American women in contemporary theater. Playwright Mary Kathryn Nagle and the four characters, Sacajawea, Otter Woman, Carey, and Rose, are all powerful female role models who defy the traditional path of women in American history. I proudly sponsor this production under the leadership of our new artistic director, Marissa Wolf, and continuing managing director, Cynthia Fuhrman, two incredibly accomplished female leaders in theater. STOEL RIVES, LLP Stoel Rives fosters diversity and inclusion at our firm and in our communities, which is why we are sponsoring Portland Center Stage at The Armory’s world premiere commission of Crossing Mnisose, by celebrated playwright, activist, and attorney Mary Kathryn Nagle. We are proud to be part of presenting this play and we hope you will be inspired by its message. MODA When Lewis and Clark took that historic trek from sea to shining sea, they followed the trails of 10,000 years ... and the directions of one woman. Moda is honored to help present this world premiere of a story that has been waiting, whispering, longing to be told. NATIONAL ENDOWMENT FOR THE ARTS The National Endowment for the Arts is an independent federal agency that funds, promotes, and strengthens the creative capacity of our communities by providing all Americans with diverse opportunities for arts participation. Visit arts.gov to learn more about the NEA.

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MEET THE CREATIVE TEAM Anita Maynard-Losh, Text Director & Vocal Coach Anita is the director of community engagement and senior artistic advisor at Arena Stage, where she leads the education and outreach programs and serves on the artistic team. Now in her 15th season at Arena Stage, Anita directed the world premiere of Our War, and has been an associate director and text director on several productions, including Sovereignty by Mary Kathryn Nagle, directed by Molly Smith. Anita trained and taught at the American Conservatory Theater, was on the faculty at Webster University, and was the associate artistic director of Perseverance Theater in Juneau, Alaska where she directed 21 mainstage productions. She has coached dialects at Arena Stage, The Kennedy Center, Washington National Opera, Oregon Shakespeare Festival, and for the Broadway revival of Ragtime.

Kristen Mun, Fight Director 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 Center Stage at The Armory. Recent credits at The Armory include fight choreographer and assistant stage manager for The Color Purple, stage manager for Until The Flood, Sense and Sensibility, Constellations, and Major Barbara. Kristen has been in the world of stage combat for almost 15 years and has recieved a Drammy Award for Best Fight Choreography for her work on Tender Napalm (2018), Henry IV, Part I (2013), Oedipus El Rey (2012) and Danny and the Deep Blue Sea (2012). She owes her skills and training to Toppo, Duval, and Dueling Arts International.

Benjamin Fainstein, Dramaturg Benjamin is the literary manager for Portland Center Stage at The Armory and JAW: A Playwrights Festival. Selected dramaturgy and new play development credits include Astoria (The Armory); Sarah Sander’s Golden (MIDD Summer Play Lab); Meghan Brown’s The Tasters and Kevin Artigue’s The Forcings (JAW); Meg Miroshnik’s The Tall Girls (Carlotta Festival of New Plays); and Marcus Gardley’s The House That Will Not Stand (Yale Repertory Theatre). Benjamin was a 2018 Lambda Literary Playwriting Fellow, and his plays have appeared in New York, New Haven, Boston, and Washington, D.C. Previous posts include founding artistic director of Whistler in the Dark Theatre, associate artistic director of Yale Cabaret, and managing editor of Theater magazine. He received his M.F.A. from Yale School of Drama.

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Glenn Drapeau, Cultural Consultant, Yankton Sioux Nation Glenn is an enrolled member of the Ihanktonwan Oyate, Yankton Sioux Nation. He is currently a Dakota language instructor at Marty Indian School in Marty, South Dakota. He has also been gifted with the beautiful role of being a culture keeper for the Seven Council Fires of the Great Sioux Nation. Glenn has a B.A. in biology and earth and environmental science. He has grown up and lived on the Indigenous homeland and territory of the Dakota Nation, which is in the heart of what is known as Turtle Island, South Dakota. Lauren Cordova, Cultural Consultant, Shoshone-Bannock Tribes Lauren is the great-great granddaughter of Shoshone Chief Arimo. She grew up in the Washington, D.C. area and spent a great deal of her childhood with family on the Fort Hall Indian Reservation. She is an enrolled member of the Taos Pueblo tribe of New Mexico, and is a descendant of Tesuque Pueblo through her paternal grandmother. Lauren is a two-spirit writer and poet. Her writing is mainly focused on Native American culture and activism. She has worked on numerous productions in the Northern Virginia area and at Appel Farm Arts camp in Elmer, New Jersey. Previously, she assisted with Mary Kathryn Nagle’s Sliver of a Full Moon in Fairbanks, Alaska. Susan R. White, Stage Manager Susan is honored to be a part of Portland Center Stage at The Armory’s season, and is thrilled to be working with director Molly Smith. Susan is a proud member for Actors’ Equity Association. 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. Lilo Alfaro, Production Assistant Lilo is grateful to be contributing to new and important works at Portland Center Stage at The Armory. As a business school graduate of California State University, and Fullerton and MBA candidate at Portland State University, she is continuing her pursuits in theater to engage in conversations like the ones that will inevitably be sparked by this play. Recent Portland backstage credits include Sides: the Musical at Lakewood Theatre Company; The Secretaries at Profile Theatre; and Fences, Scarlet, and A Christmas Carol at Portland Playhouse. Outside of work, Lilo is a Halloween enthusiast, escape room aficionado, operates an Instagram account dedicated to ugly fashion, and shares a home and life with writer and future husband, Matthew Capurro. @disgusting_trends Alexis Ellis-Alvarez, Production Assistant Alexis is thrilled to be working as a stage management apprentice at Portland Center Stage at The Armory. Credits at The Armory include The Color Purple, A Christmas Memory/ Winter Song, and Buyer & Cellar. Outside of Portland, credits include 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. 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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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

THANK YOU

As of February 25, 2019

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+ 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, including support from the City of Portland, Multnomah County, the Arts Education & Access Fund, and more than 1,000 donors to the RACC’s Arts Impact Fund The Harold & Arlene Schnitzer CARE Foundation/Arlene Schnitzer & Jordan Schnitzer The Shubert Foundation The Standard Curtis T. Thompson, M.D. & Associates, LLC U.S. Bank The Vista The Wallace Foundation

$10,000–$24,999 AHA! Sheri & Les Biller Family Foundation Broughton & Mary Bishop Foundation Goulder Family Foundation The Henry Lea Hillman, Jr. Foundation Hoffman Construction Company Jackson Foundation KeyBank The Kinsman Foundation Maybelle Clark Macdonald Fund Moda National Endowment for the Arts

SEASON SUPERSTARS

PCS.ORG

NW Natural PGE Foundation Stoel Rives LLP The Rose E. Tucker Charitable Trust Wells Fargo Wieden+Kennedy

$2,500–$9,999 Davis Wright Tremaine Hoffman Construction Company The Holzman Foundation/Renee & Irwin Holzman H.W. Irwin & D.C.H. Irwin Foundation Leupold & Stevens Foundation Reser Family Foundation Tonkon Torp LLP Juan Young Trust

$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. Squarespace D. Margaret Studley Foundation

$500–$999 Benjamin Buckley Young Actors Fund of The Oregon Community Foundation Sofar Sounds

$250–$499 J. Thayer Company The Lezak Family Charitable Fund

Corporate Matches 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

In-Kind Adelsheim Vineyard Al’s Garden Center Argyle Winery Art of Catering Artemis Foods Bluehour ChefsTable Catering Columbia Sportswear Delta Air Lines Devil’s Food Catering Diana Gerding Flowers In Flight Higgins Restaurant Hunt & Gather Catering Little Bird Bistro McCleskey Cellars McDonalds Jacobs, PC Mike Golub Nossa Familia Coffee Pearl Catering Performance Promotions Precision Graphics Tanner Creek Tavern Umpqua Bank Vibrant Table

SEASON SUPPORTING SPONSORS

DONORS Generous donations as of February 25, 2019

$25,000+ Anonymous (2) Keith & Sharon Barnes Phil & Julie Beyl Don & Mary Blair Mary & Tim Boyle Andy & Nancy Bryant Glenn Dahl & Linda Illig Jess Dishman Dream Envision Foundation Brigid Flanigan Diana Gerding Rob Goodman Heather Killough 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

$10,000–$24,999 Anonymous Scott & Linda Andrews 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 The Whiteley Family

$2,500–$9,999 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 Bill Byrne & Dennis Scollard John & Linda Carter Greg & Gina Chandler Duke & Brenda Charpentier M. Allison Couch & Tom Soals* Sarah J. Crooks Judy Dauble Joan & Jim English* Randy Foster Lois Seed & Dan Gibbs 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 Joseph Sawicki & Kirsten Lee Drs. Dolores & Fernando Leon David & Julie Machado Chrys A. Martin & Jack Pessia Shelly McFarland Lindsey & Marilen McGill Peter K. McGill David & Valerie O’Brien Madeline & Allan Olson Jim & Linda Patterson Brenda J. Peterson Fred L. Ramsey Robert Reed Bobbie & Joe Rodriguez Halle & Rick Sadle Kelly Saito & Jennifer Kalberer Stephen & Trudy Sargent* Patti Norris & Mark Schlesinger Roy Schreiber & Carole Heath Richard & Marcy Schwartz Elba, Ralph, Russell, Lorraine & Renee Shaw CollierTrust Randy & Janet Smith Sue & Drew Snyder E. Kay Stepp Jan & John Swanson

John Taylor & Barbara West Jack & Ginny Wilborn Trudy Wilson & Terry Brown 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 & Ginny Bennett Chris Bisgard, Lisa Denike, & Ella Bisgard Lawrence S. & Susan W. Black Fund of The Oregon Community Foundation Bob Schuler & Debra Blanchard The Bohanan Family Kate & Bill Bowman* Norma Bradfish Ann Brayfield & Joe Emerson* Linda & William Brown Cormac M. Burke John Bush & Greg Zarelli Tim O’Leary & Michelle Cardinal Rick Caskey & Sue Horn-Caskey Kevin & Beth Cavenaugh Dr. Richard & Nancy Chapman Dave & Debbie Craig Betsy Cramer & Greg Kubicek* Gustavo J. Cruz, Jr. Edward & Karen Demko Gerard & Sandra Drummond Richard & Betty Duvall Carol Edelman Janet & Barry Edwards John & Jane Emrick Jean Erickson John Briggs & Jeffrey Feiffer Mike & Chris Feves Larry & Deborah Friedman Daniel & Leah Frye Cynthia M. Fuhrman* Tom Gifford Katie & David Gold Dana Green & Scott Cromer Ed Grosswiler & Sammye Sanborn

John & Jacque Guevara Andrew Gustely Bill & Elaine Hallmark Donald F. Hammond Paul & Samantha Harmon Marcia Hauer & Jeanne Knepper Lani Hayward Donald Helfgott MJ & Lee Alan Helgerson Herman Charitable Foundation Paul & Ruth Herrington* Sharon & Henry Hewitt Barbara & Mark Hochgesang Donna Hodgson Dale Hottle Dr. Arthur Hung & Dr. Jim Watkins Bill & Dawn Irwin Brad & Judy Johnson Dennis C. Johnson Kathy & Steve Johnson Jessie Jonas Timothy A. Kalberg Steven & Nancy Kassel Jody Klevit Ruth Knepell Susan Lair & Doug Trobough Ray & Terry Lambeth Brad & Cindy Larsen* Cindy & Keith Larson Dorothy Lemelson Edwards Lienhart Family Foundation Shari & Frank Lord Jean & Steve Mann Jim & Jennifer Mark Charles & Kathy McGee Nancie S. McGraw Carolyn McMurchie Steve Cox & Vikki Mee Laurie & Gilbert Meigs Lora & Jim Meyer Bill Moffat Michael & Susan Mueller Betsy Natter Hester H. Nau Bradford & Linda Needham* 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

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DONORS Generous donations as of February 25, 2019

David Pollock Pat Reser & Bill Westphal Bob & Marilyn Ridgley Kelly Ritz-Eisenstein & Scott Eisenstein Teri Rowan Mary & Craig Ruble Lisa Sanman* Raj Sarda, MD* Carol Schnitzer Lewis Fund of The Oregon Community Foundation Marian & Elihu Schott Family Fund of The Oregon Community Foundation Michael & Karen Sherman Peter Shinbach Geoff & Susie Strommer Jonathan Singer Carl Snook Kyle & Sophia Spencer George & Molly Spencer Rick & Denyse Stawicki Eric Steinhauser & Gregg Macy Mr. & Mrs. W.T.C. Stevens Ray & Pat Straughan

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Mary & Jeff Strickler Donald & Roslyn Sutherland Dr. Jeffrey & Mrs. Roberta Swanson W. R. Swindells Libbi Layton & Lawrence Tamiyasu Calvin & Mayho Tanabe Beverly Terry 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

$500â&#x20AC;&#x201C;$999 Anonymous (4) Charles & Gloria Adams Margaret & Stuart Albright Richard & Kristin Allan Joan & Brian Allen Phil Allen & Peny Van Abkoude* Susan Bach & Douglas Egan Thomas & Brada Bailey Katie Ball Warren & Nick Warren Robin & Thomas Barrett Susanne Baumann & John Gragg 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 Dr. Gene Baker & Regina Brody Mary Beth & Michael Butkovic Cynthia Church Kristine & Derrick Coder Lisa & Skip Comer Billie & John Courtney Erik Cubbage Bryan Concannon & Debi Dereiko Eric Dishman Beverly Downer Stephen Early & Mary Shepard Ken & Ann Edwards Patricia Edwards Ron & Becky Eiseman Abby Farber Gregory Flick Per-Olof Jarnberg & Joan Foley Joy & Allen Fowler Ronald Fraback Charles & Kyle Fuchs Jerome & Mary Fulton William & Beverly Galen

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Photo by Owen Carey

Paul Gehlar Melissa & Robert Good Kris & Michael Gorriaran Ann Gray Patricia & Tim Gray Gail & Walter Grebe Koleen & Jeff Hall* Kregg & Andrea Hanson Richard L. Hay Patsy Heinlein Frances & Hunter Hicks* Leslie S. Homer Charitable Fund Terri & Robert Hopkins Carroll Hutchinson Susan Immer & Larry Juday* Arnold & Virginia Israelit 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 Sally & Robert Landauer Bonnie & Mike Leiser Sharon W. Lukasevich Elaine & Richard Lycan Carol & Charles Mackey Stephen & Christine Mason Robert Matheson & Kimberly Porter Alice & Harold McCartor Karen & Brent McCune* Jessica McVay Robert & Violet Metzler Deborah Neft & Salvatore D’Auria David & Anne Noall Lisa & Larry Norman 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 Jay & Barbara Ramaker Michael R. Rankin Dick & Linda Reedy Drs. Scott & Kay Reichlin Leslie Rennie-Hill & Ken Hill Dr. Mark & Angela Reploeg

KISS by Guillermo Calderón March 15-April 6, 2019 Third Rail at CoHo Theatre • 2257 NW Raleigh St, Portland Purchase your tickets today at www.thirdrailrep.org or call 503-235-1101.

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DONORS An Alien How to Keep

Generous donations as of February 25, 2019

by Sonya Kelly, Directed by Gemma Whelan with Sara Hennessy and Amy Katrina Bryan

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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 Margie Sutherland, MD John & Shirley Sutton Roger & Gale Swanson Sandra Swinmurn Mr. & Mrs. Stephen L. Taylor 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 Dr. & Mrs. Bennett Wight Andrew Wilson Alan Winders & Michael Mase Jeff & Jaynie Wirkkala Ruth Fischer-Wright & Craig Wright Fabian & Julie Yeager

$250–$499

Serious training for young actors. stagedpdx.org 971.803.7713 Auditions/Interview required

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Anonymous (5) Anonymous* Jose Alcarez* Thomas R. Anderson & Joan Montague Ana Andueza Linda & Jerry Aso* Jean & Ray Auel Jean & David Avison Thayne & Mary Anne Balzer Diane & Arthur Barry Sidney & Barbara Bass

Gustav A. Baum Kathleen Bauska Cheryl A. Bittle Chris Blattner & Cindy McCann William Blosser Robert Blum & Carol Black Brian & Karen Borton Brian & Bridget Brooks Douglas Browning & Jo Shapland Mary Butler Julie Ann Carson & Guy Whitehead 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 Julie & Jim Early Mary A. & Peter Eisenfeld Kris & R. Thomas Elliott Ed & Marilyn Epstein Sandy Feeny* Gilbert & Ellen Feibleman Brian Ferriso & Amy Pellegrin Greg & Susan Fitz-Gerald Jerry Fong Sharon Frank Marc Franklin Richard Smith & Patricia Frobes 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 Laurie Holland Donald & Lynnette Houghton Peter & Anne Jarvis

Joanne Jene, M.D. Becky & Jarrett Jones Joan Jones Susan Jossi & Bob Connors Ross Kaplan & Paula Kanarek Katherine Keene Catherine Keith & Jennifer Person Jane Kennedy Jeffrey & Carol Kilmer Frederick Kirchhoff & Ron Simonis Lucien & Sally Klein Kohnstamm Family Foundation Keith & Merle Koplan Dave Lapof Bob & Sally LeFeber Lisa Lieberman & Craig Ackerson Peter & Janice Linsky Lisa & John Lynch Linda & Ken Mantel Kathy Maritz Mr. & Mrs. Michael Marlitt Joe Marrone & Ann Belzell Steven McMaster & Kathleen Brock Gayle & George McMurria-Bachik Karolyn Meador Charitable Fund 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 Ann Nickerson Landscape Design Stumped Town Dementia Paul & Lisa Nourigat Bonnie & Robert Olds Ric Oleksak* Linda O’Neill Eileen & Alfred Ono Paul & Lynn Otto Susan & Milt Parker Gail & Alan Pasternack Sue Pickgrobe & Mike Hoffman Karen Piper Nancy Pitney Dee Poujade David & Margo Price Bonnie & Peter Reagan

Helen Richardson & Don S. Hayner 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 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 Fund Shu-Ju Wang & Mike Coleman JD & D’Alene White Richard & Leslie Wong J. Marcus Wood & Sue Hennessey Tom Kelly & Barbara Woodford Paul Wrigley & Deborah Cross Jack Wussow & Kyle Adams* Russ & Mary Youmans

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DONORS Generous donations as of February 25, 2019

Molly & Tom Bartlett George W. Bateman Anne Batey Dawn Bauman & Wendy Broussard John Bauman Richard Baumann Brett & Maureen Baxter Howard Beckerman Alta Benhard Donald Berg & Carol Cooke Pam Berg Elizabeth Berol-Rinder Lynda Bersani Jim & Betsy Biller John & Cristi Bishop Anita & Clark Blanchard Jill Blanchard Dixie & Stan Bland Joe Blount Robert & Christina Brands Barbara Brandt Jerry Brask Pat Bredemann Dan & Diana Breen

Peggy Bromley Dennis Brophy & Cathy Gwinn Bruce & Julia Brown Patsy Bruggere Linda Brent Buckley Robin Budde Kim & Debra Burchiel Eileen Burns-Brookens & Dave Brookens David O. Busby Jean Butcher Scott Cameron & Margaret M. Maguire Tim & Susan Carey Katie Carle Andrea Carlson Roxanne & Alan Carpenter Tom & Mike Carstensen Michael Carter & Teresa Ferrer Jean Carufo & Barb Engelter Susan Cassady & Neal Thompson Gordon B. Chamberlain Russ & Candice Chapman Patricia Chase

Sy & Carol Chestler Bob & Patty Chestler Robert & Sue Christenson Lance Christian Maxine & Roy Ciappini Kathryn & William Coffel Rhonda Cohen Ruth & Jerry Cohen* Frank P. Colistro & Margaret O’Neil Paul Collins Rick & Jean Collins Jeffrey Condit Philip F. Copenhaver Sharon Cordrey William & Harriet Cormack Jean & Jerry Corn John Cornyn Malcolm & Karen Costello John & Ann Cowger Kathryn Crandall Marian & Neale Creamer Eloise Damrosch & Gary Hartnett Dr. & Mrs. Joseph Davids

Jim & Ilene Davidson Sharon Davidson Maureen Sproviero Davis & Kerwin Davis Carroll & Gerry DeKock Carolyn DeLany-Reif Duane Denney Ken Denton Patricia Dery Katharine Diack & Linda Hardie Ken & Laura Dobyns Arleigh & Marion Dodson Ian Doescher John & Danuta Donovan Thomas & Nancy Doulis Michael & Patricia Downey Janine Dudley* Dr. Karen Dunn-Haley Jim & Jan Dwyer Steven Ehlbeck & Vassiliki Tsikitis Kathie E. England John & Ellie Erkkila Cindy Evans Sharon Ewing-Fix

Portland Center Stage at

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Renee Ferrera & James Johnson Terry Ferrucci Patrick & Eileen Fiegenbaum David Filer & Marlene Anderson Colleen Finn Sally & Jerry Fish Peter & Nancy Fisher Sherry & Paul Fishman Mary Flahive & David Finch Steve & Susan Ford Terry Franks & Carolyn Duran Bruce & Kate Frederick Brian Friesz Susan & Seth Garber Colleen Gekler Tom & Karon Gilles* Linda Gipe Bob & Lesley Glasgow David & Donna Godfrey Rosalie Goodman Richard & Janis Gottlieb Becky Graham Robert & Julie Granger Joy Gray Patty Green Mark Greenfield & Jane Hartline Nancy & Ron Gronowski Lorraine Guthrie & Erik Kiaer Candace Haines Valerie Halpin Robert Hamrick Irv & Gail Handelman Lois Hanson Ulrich H. Hardt & Karen Johnson Jean Harmon & Paul Randall Michael Harrison Tom & Jan Harvey Fred & Sara Harwin Mark & Paige Hasson Susan & Robert Hatfield Charlotte Headrick Joan Heinkel Judy & Dave Heller Kristine Henderer Scott & Heather Hendrickson Carol & Jim Hibbs Margaret & Timothy Hill Jean Himmelstein Susan Hobart Barry & Fanny Horowitz Brook & Ann Howard Dr. Hal Howard Robert & Jill Hrdlicka Nancy Hull John & Delores Hutcheon Kathy & Tom Iberle Robina Ingram-Rich & Tim Rich Steve Isaak Susan & Ken Jensen Yvonne Johnpoll James E. Johnson

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DONORS Generous donations as of February 25, 2019

Patricia Johnson Teresa Johnson Barbara Jones Marilyn Jones & Dennis Schindele Lore Joplin Jean & Rich Josephson Dolores & David Judkins Jack & Farol Kahle Steve & Anita Kaplan Rebecca & Gerald Karver Franki Keefe Barbara Kelley Judy Carlson Kelley Gary & Doloras Kennen Cynthia Kenyon Heather Kientz Doris & Eric Kimmel Dennis King Nancy Kingston Cynthia Kleinegger Kayla Klingman Michael Knebel & Susan Shepard Tricia Knoll & Darrell Salk

Sue & Paul Knoll Janet Krochina Jennifer L. Lalime Margaret & Greg Lapic Jan LaRocca Shelley Laurance & Bob Sternberg Betty G. Lavis & Charles Brasher Ross & Mary Lou Laybourn Anita Saalfeld Jane & John Lebens Roger J. Leo Sandra A. Lessert Brian & Chris Lewis* Janet & Wally Lien Bob & Debbie Lindow Craig & Anne Lindsay Steve Rosenberg & Ellen Lippman Louis & Marie Livingston Bill Bagnall & Clayton Lloyd Dennis Lo Ralph London Renate Long

David & Marnie Lonsdale Henry Louderbough Una Loughran Evelyn Lowry Gwen Luhta Marvin & Sylvia Lurie Christine L. Mackert, MD Rod & Priscilla MacMillan Carl & Catherine Macpherson IV Jeanne & Jim Magmer Caroline Mann* Susan Manuel Amy & Christopher Marks Kenneth & Nancy Martin Mr. & Mrs. Mason Pamela Matheson Kendra Matthews Oscar & Mary Mayer Ann Mccabe John A. McCarthy Sarah & Dennis McCarty Mary McLain Elise McClure Deborah McCoy

Maryl M. McCullough Betty McDonald & William Hansen Gretchen & Larry McLellan Bart McMullan Jr. & Patricia Dunahugh Julia Meck Mariellen Meisel & Steve Glass Peter & Joan Melrose Catherine M. Miles Louis R. Miles Gary G. Miller & Dell Ann Dyar Gil Miller Jay Miller & Elise Menashe Roger & Karen Miller Kate & Jack Mills Michael Mills & Amie Abbott Sherry Mills Tom & Lia Mills Thomas & Rosemary Mitchell Sandra Mitchell William Apt & Grant Molsberry Marlene Montooth* John & Ann Marie Moore

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Jane Moore Robb & Peggy Moretti Mike & Jan Morgan Mike Morris Heather & Troy Morrison Dave & Megan Muessle Laura & Joseph Munoz John & Debbi Nagelmann Fran Nay Linda Neumann & Steve Jaggers Jeanne Newmark Anna Nicholas Dr. Michael & Alice Norris Frank & Bonnie Nusser Nancy Oberschmidt Mary Lou Obloy Kathleen & Carl E. McNew Ron & Janet O’Day Kathleen O’Donnell Kris Oliveira Carillon Olmsted Barry D. Olson & Barbara Telford Elsa Ostergaard

Lynda Paige Peter Pappas & Nancy Kelly Nancy J. Park Jan & Rich Parker Brian Henry Pater Ron & Shirley Pausig Mary Page & Michael Peache Janet Peek Carol Pelmas & David L. Hawley Laura Perkins Marilyn Petrequin Tom & Cynthia Pfaendler Kevin Phaup Donna Philbrick Joe & Kris Phillippay Terri Pintarelli & John Tyler Caroline & Claude Poliakoff Jennifer Politsch Shirley Pollock Michael Ponder & Bea Davis Dick & Kathy Prather Pat & Ana Quinn Marilynn Rabie Jennifer Rawcliffe Richard A. Rawlinson

Richard & Dianne Saulsbury Anita Reinhorn Ted Scheinman Jim Scherzinger & Claire Carder Sheldon & Jean Schiager Bill & Callie Schlippert Julie Schmidlkofer Ned Schmidtke Kari & Justin Schumacher Connie Schwendemann & Pete Peterson Dale Scott & Michael Rausch Kim Scott Mariah Scott Peter C. & Jeanette M. Scott Judith Crop Michael & Pam Shanahan Kay L. & Robert Sharp Bob & Rita Sheppard Ron & Lynn Sherwood Joan Shireman Thomas & Mary Showalter Marilyn B. Simmons Jaymi & Francis Sladen

Betty & Jacob Reiss Robin Remmick Jane Ribadeneyra & Kelly Egan Roberta Riportella Leslie Root & John McGrory Don Caniparoli & Sarah Rosenberg Kelly & Tomilynn Ross Karen Rowe David & Jody Rowell Davia & Ted Rubenstein Cynthia Ruddock Lee Rumaner & Valerie Newman Daniel Russo & Joanne Albertsen Jim & Joanne Ruyle Bunny & Jerry Sadis Pamela Saito Linda & Michael Salinsky Carol Salisbury Margo Salisbury Richard & Rebecca Sandell Christine & Steven Satterlee David & Julie Sauer

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DONORS Generous donations as of February 25, 2019

Elizabeth Smart Anne Mette Smeenk & Kevin Rentner Christine & Todd Smith Courtland Smith Kelly Smith Doug Sparks & Casey Bass Sylva & Robert Staab Mary Steckel Rhonda Studnick Kaiser John & Jan Switzer Gary Taliaferro Amy & Emanuel Tanne Ellen Tappon & Ted Wilson Sharon Tarlow Kevin Tastet Bradford Taylor Jerome & Kathleen Taylor Bruce & Rebecca Teborek Leif & Marjorie Terdal Jane Thanner & Tim Smith Diane & Richard Thomas Larie Thomas Kate Thompson

Sharon Toland Bill & Marti Tom Jane Tompkin & Rob Smith Derek Holmgren & Michael Traylor David Toovy Peter & Cathy Tronquet Roberta & Ward Upson* Kathy Van Beeck Joan Snyder & Phil VanderWeele John & Terri Vann Donald Venneberg David & Julie Verburg Marla Via Caroline & Reed Vilhauer James N. Stamper & Jennifer P. Villano Mark & Maryann Vollbrecht James & Nancy Vondran George & Marilou Waldmann Nancy Walker & Terry Foty Create Change, LLC Anne & Eddie Ward

Christine Warden Sharon Watt Scott Weaver Michael Weiner & Kathy Davis-Weiner Sandy & Elaine Weinstein Lynda Wendel Karen Whitaker Ann C. Whitehouse Margaret Willer Casey Williamson & Alison Metcalf Marjorie & Tom Wilson Greg Winterowd Loring & Margaret Winthrop Kathryn Witkowski Lawrence Woelfer Diana Wolf Don & Jan Wolf Maureen Wolf Dr. & Mrs. James Wolfe Linda M. Wood Marcia & Tom Wood Karen Yates

Ann & Lewis Young Marti & Stephen Zeigler Gregory Zerwekh Jennifer & Scot Zickell *Sustaining Donors have opted to give through monthly contributions

For more information about supporting Portland Center Stage at The Armory, please contact Jack Ridenour at 503-445-3744 or jackr@pcs.org.

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DONOR TRIBUTES

BOARD OF DIRECTORS

Tribute gifts as of February 25, 2019

In memory of Dave Bany

Ted Austin Chair, Senior Vice President, U.S. Bank Private Wealth Management

Randy Foster

In memory of Alan Beard

Betsy Henning Vice Chair, CEO & Founder, AHA! Strategic Communications

Julie & Ted Vigeland

Sarah J. Crooks Vice Chair, Partner, Perkins Coie, LLP

In loving memory of Ben Buckley

Brigid Flanigan Treasurer, President, Shamrock Holdings, LLC

Joan Peacock

Steve E. Wynne Secretary, Executive Vice President, Moda Health Mary Boyle Immediate Past Chair, Civic Volunteer

In honor of David Coleman Jean Himmelstein

Scott Andrews Principal, Melvin Mark Companies

In memory of Carol Howard

Sharon Barnes Community Activist

Hal Howard

Phil Beyl President, GBD Architects

In memory of Kory Mahaffy

Saskia M. de Boer Partner, Stoel Rives, LLP

Julie & Ted Vigeland

Greg Chandler Vice President, IT, The Standard

In loving memory of Sarah E. Mitchell

Gustavo J. Cruz Jr. Senior Counsel, Farleigh Wada Witt

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Kelly K. Douglas Manager, State Investments, LLC

In loving memory of Darius Smith

Lana Finley Community Activist

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Diana Gerding Community Volunteer

In memory of Janna Starr

Mike Golub President Of Business, Portland Timbers

Lynda Bersani

Tasca Gulick Community Activist

In memory of Julianna Waibel

Lani Hayward Community Activist

The Armory Investment Committee

RenĂŠe Holzman Community Volunteer

In honor of Michelle Weisenbach & Mike Penfield

Linda Illig Retired, Community Volunteer Yuki Lynne Johnston Advocate for the Arts

Kathi & Ted Austin, Paul & Lisa Nourigat, Katie Carle

Jim L. Knoll President, James L Knoll, PC Dedre Marriott Retired, Former CEO & Professor

In memory of Elaine Whiteley

Joseph F. Mitchoff CEO, Viridian Reclaimed Wood

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Karen L. Oâ&#x20AC;&#x2122;Connor Partner, Stoel Rives, LLP

LEGACY CIRCLE

Turid Owren Partner, Tonkon Torp, LLP Dana Rasmussen Retired, Attorney Joseph Sawicki Vice President & General Manager, Design-To-Silicon Division, Mentor Graphics

The Armory Legacy Circle honors those who have included The Armory in their will or estate plans.

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

Anonymous (2) Dr. Gene Baker & Regina Brody Mr. & Mrs. Edwin Cohen Jess Dishman Cynthia M. Fuhrman Diana Gerding Jennifer & Tim Goldsmith Dr. Barbara Hort Joe Mitchoff & Curtis Thompson Joan Peacock Lisa Sanman Douglas & Teresa Smith Eric Steinhauser & Gregg Macy ARTSLANDIA.COM

STAFF MARISSA WOLF

CYNTHIA FUHRMAN

Artistic Director

Managing Director

ARTISTIC

Emily S. Ryan,

Rose Riordan, Associate Artistic Director Benjamin Fainstein, Literary Manager Will Cotter, Associate Producer Meagan Mulgrew, Company Manager

Patron Services Assistant Manager

Madelyn Clement, David Harper,

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 Clement Mugabo, IT Associate Kate Webb, Executive Assistant

EDUCATION & COMMUNITY PROGRAMS Kelsey Tyler, Education & Community Programs Director

Jonas Angelet, Community Programs Manager Clara-Liis Hillier, Education & Community Programs Associate

Matthew B. Zrebski, Resident Teaching Artist

DEVELOPMENT Lisa Sanman, Development Director Jennifer Goldsmith, Associate Development Director

Eric Steinhauser, Marlene A. Montooth, Grants Manager Celia Ferrer, Development Events Manager Jack E. Ridenour, Development Associate

MARKETING & COMMUNICATIONS Sharon Martell, Director of Marketing & Communications

Claudie Jean Fisher,

Associate Director

of Marketing & Communications

Kate Kerns,

Marketing &

Communications Associate

Sales Associates

PRODUCTION 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 Scenic Painters

Michael Jones, Properties Supervisor Lauren Chilton, Lead Properties Artisan Emma Van Halsema, Properties Artisan Alex Wren Meadows, Costume Shop Manager Sydney Dufka, Assistant to the Costume Shop Manager

Paula Buchert, Eva Steingrueber-Fagan, Larissa Cranmer, Associate Draper Barbara Casement, Costume Crafts Artisan Bonnie Henderson-Winnie, Wardrobe Supervisor

Jessica Miller, Wig Supervisor Em Douglas, Lighting Supervisor Trent Alexz Eccles, Master Electrician & Programmer, U.S. Bank Main Stage

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

Mikey Mann, Graphic Designer Kate Szrom, Multimedia Designer Christian Bisgard, Webmaster

Emily Schider, Sound & Video Apprentice Tim McGarry, Deck Manager

PATRON SERVICES

OPERATIONS

Luke Robertson, Audience Services & Ticketing Manager

Sierra Walker, Patron Services Box Office Manager

Klint Keys, Patron Services Group Sales Manager

Megan Harned, Tonea Lolin, Hope McCaffrey, Patron Services

Cutters/Drapers

Individual & Planned Giving Manager

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Elizabeth Hjort, Events & Rentals Manager Jenn Thompson, Events & Rentals Assistant

Senior Patron Services Representatives

Meg Morrigan, Charley Praither, Patron Services Representatives

ADMINISTRATION & FINANCE

EVENTS & RENTALS

Katie Cronin, Operations Manager Gregery Lee, Eric Murray,

FRONT OF HOUSE 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

FOOD & BEVERAGE Melissa Larrabee, CafĂŠ & Bar Manager Erin Rubin, Kitchen & Catering Manager Marguerite McLean, Bar Lead Ryan Smith, CafĂŠ Lead Natalie Myers-Guzman, Kitchen & Catering Lead

Leesidhe Blackburn, Kitchen Assistant Ari Binks, Justin Charles, Natalie Fund, Kim Gautier, Katrina Hall, Jamie Inman, Jeremy Laney, Jeremiah Loewen, Drew Patton, Will Ramis, Andrew Rubin, Dani White, Food & Beverage Staff

FOR THIS PRODUCTION Until The Flood Casi Pacilio, Associate Sound Designer Emily Schider, Sound & Video Operator Cody Decker, Connery MacRae, Mary Michels, Megan Moll, Myke Rodriguez, Ben Rosenthal, Mark Twohy, Lauren Williams, Claire Zaro, Electricians

Crossing Mnisose Abby Vaughan, Costume Design Assistant Jamie Hammon, Vanessa Elsner, Dressers Heather Taylor, Wardrobe Assistant Avi Sheehan, Assistant Lighting Designer Alan Schwanke, Scenic Design Assistant Don Crossley, Molly Gardner, Zahra Garrett, Corey McCarey, Megan Moll, Ben Rosenthal, Christopher Stull, Lauren Williams, Claire Zaro, Electricians

VOLUNTEER COMMITTEE Connie Guist, Office Assistants Chair Karen Watson, Supporting Cast Chair

Operations Assistants

Jacob Foster, Tim Taylor, Facilities Assistants

SUPERSTAR STAFF EMERITUS Sarah E. Mitchell, Rest in Power, Smitch

Weâ&#x20AC;&#x2122;re your bank people.

CSG18.0519

mentor Ladies Leading:

NW DANCE PROJECT'S SARAH SLIPPER & ANDREA PARSON

&muse & Photos by Gia Goodrich

arah Slipper rose to award-winning international acclaim first as a ballet dancer and then as an independent choreographer. In 2004, she founded NW Dance Project, a world-class contemporary dance company and training center in Portland, Oregon, where she continues to serve as Artistic Director. In Greek and Roman mythology, muses were goddesses of the arts who possessed vast knowledge and talent that, coupled with their irresistible beauty and grace, inspired artistic greatness in others. Slipper

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found her muse, truly a collaborator who elicits new heights of creative genius, in Princess Grace Awardwinning dancer Andrea Parson. Since Parson joined the company in 2008, their creative processes have intertwined with spectacular resultsâ&#x20AC;&#x201D;MemoryHouse, Casual Act, Hedda, Woolf Papersâ&#x20AC;&#x201D;are just a few of the works that Slipper has created with Parson as her muse. Artslandia sat down with the duo to explore their relationship of mutual admiration, inspiration, and creation.

ANDREA PARSON: I saw you first. I came to a NW Dance Projec t summer performance at Lincoln Hall. That was my first introduction. I heard from another dancer that you taught, and then I started taking classes with you. SARAH SLIPPER: I remember you coming in. Wow, how you’ve you changed since then! Yes. You told me I had very conservative arms. I did, because I needed that back! And I’d never had three-hour ballet classes before! What did you think? I loved it. It was so hard. I just remember coming home and being so sore and tired. And the class was only supposed to be two hours! I know! Well. We’ve come a long way, haven’t we? I have to say it’s been quite an incredible journey to see you grow, both as a human and as an artist. And not only technically figuring things out, but what I’ve most enjoyed is seeing the development of who you are and what you bring into the studio—from a young student and now as a fully informed artist. There’s some amazing thing... I feel that I can just trust you. I see you work, and you work quietly, and you work methodically. It’s fascinating that you can make something that may be so simple into something extraordinary. And now, it’s interesting because I don’t feel like I have to say things to you. You instinctively know me. You know I’m going to say, “Go deeper on this.” It’s been an interesting journey that way. I can’t describe the trust that I feel with you in the room when we work on roles and creation.

That was also more of an inspiration. I didn’t even follow the play directly, because I think I was not going in as seriously. How does that compare with what we recently did with Hedda? I did a lot more character research for that.

Yeah, I just love it... working on stuff and playing with the movement. I feel like I can trust my instincts a lot. I feel like I’m trusting something to guide me... And, boy, do you explode! How does the process start? Sarah, knowing Andrea so well, do you start to form ideas based on what she’s capable of and what you know her strengths are? How does the process go from your brain to Andrea’s body? It’s funny, because when I start in the studio, I usually have something in mind for her. I think that’s where “muse” is so important. I know she can go on this long journey. And so, we start with some ideas in the studio, and I’ll often talk to her about the role she’s going to undertake. I’ll say, “I’m going in this direction. I’m going to push it through.” It will start with some movement, but I know I’m going to go on a big idea journey. I’ll start feeding her with some ideas, imagery. We talk, maybe, a bit about character, role, if it’s a political idea, if it’s challenging. And then we just start working. It’s almost like we tumble a little bit. [To Andrea] You give me a lot of feedback in the studio. You try things; you experiment; I usually like it, and I throw more at you. I think what’s interesting—I’m thinking about Casual Act, actually, which was your first work inspired by a play. What was cool was that you said, “Read this play,” but you didn’t say, “You need to be this character or study this character,” so I felt like I had a lot of room to interpret. You weren’t asking me to be this character, literally.

And you owned that stage with that role. It was just such a huge... It was almost like a Hamlet for a female role, at least in my mind. Yeah, I feel like that was the most theatrical role that we’ve ever done here. There was more acting involved. ...transferring that story, which is where I’ve been situated, recently, with Room 4. That’s the period that I’m in right now—following a story. Andrea, what is it like for you when Sarah comes to you with ideas? What is the experience of you first hearing about something and manifesting it? I try to play it cool, but I’m always excited about a new role or a new journey. I often see you start in the studio... you go very calm, which is what you’re saying about how you play it cool, but it’s wonderful. You just keep building. You start as a blank slate, and then you keep adding. In the next week of rehearsals, there’s an added layer, and then there is another layer that starts coming out. And you build layer on layer on layer, which is fascinating. I feel you absorb roles; you absorb character; you absorb movement to motivate character. And I have this incredible trust with where I see your arc go. It’s not full on, right away. It’s this constant layering, and I know there’s a point where >>>>

CONTINUED ON PAGE 48

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CONTINUED FROM PAGE 47

devotion. Devotion. Passion. Unwillingness to back down. >>>> you’re just going to... what I call “explode” onstage. You’ve got this incredible arc when we hit the stage, and... Wow. You open up; you take us all in; you own it. Andrea, I’m curious about your perspective because when I think about being called someone’s muse, it’s a serious thing! [Laughing] Pressure! Tell us a little bit about that. I focus on the work and the role at hand... focus my energy there. And then I get very excited, and I work and don’t think so much about, “Oh, I have to inspire Sarah! I have to bring my best!” because that would cause a lot of anxiety. ...and I wouldn’t want that! That’s why it’s so weird to have these labels. Something just... clicks. And I don’t know how to describe what “clicks” is because it’s such an interesting connection between artist and artist. It’s something about energy and understanding and trust. There’s been a constant of great interplay with you and me over the years— learning, watching each other, and observing each other. It’s mostly just a kind of trust to try things together. It’s just fun to interpret what your vision is—what you’re trying to say or the quality that you’re looking for—I’m very curious about figuring it out. [To Andrea] Will you describe Sarah—what her strengths are, and what you admire, and how she is from your lens? Hmmm... [To Sarah] I think you are very able to ask for what you want. Clearly. That’s something I’ve always taken note of, especially in the choreographic process. You seem to know precisely what you’re looking for, know how to ask for it, and not back down. And you’re passionate. Super passionate. I don’t know any other human being that has devoted this much time and dedication to their work. It’s incredible, and it’s inspiring to me, to other dancers. I think that’s what’s so attractive about this company and your directorship: the complete 48

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Thank you. You’re making me cry! And let’s go the other way. Sarah, what makes Andrea different from other dancers? I will say this: She can make eating a bowl of Rice Krispies interesting. We keep saying this in the office—no one can take their eyes off her! I think, what makes an artist? It’s something about one’s character, confidence, openness. And she has no fear. She’s constantly working and constantly growing and has never stopped. [To Andrea] You’re always going out and trying new things and putting yourself out there. I think that’s consummate for an artist, that you have to keep yourself open. I mean, I even have to do this. I can get myself put in a box, and then I have to break open, so it’s the same. And I see that, and it’s something that I love to see. The growth. So, what makes someone special? It’s an interesting question. I think it’s individuality. ...their charisma. Being themselves. You bring yourself into the room; you’re not trying to be someone else. And that’s not necessarily an easy thing to do, especially in the dance world where so much has been trained as we’re young with form and technique to achieve a certain line or limit. And I think to break out of it as an artist, to bring your individuality into the studios, it’s not only crucial, it’s key. Having a space to figure out what that is, too, because that comes with rehearsal day after day after day— your self starts to come out, but for that, you need a place. Speaking for contemporary dance aficionados, we’re thrilled you’ve found your place! Thank you so much to both of you for joining us today. .

See Parson in Slipper’s Casual Act at NW Dance Project’s Encores, April 25–27 at the Newmark Theatre.

ARTSLANDIA.COM

Oregon Symphony

Cinderella

Oregon Ballet Theatre

Photo by Patrick Weishampel/blankeye.tv

Photo by Jeremy Dunham, Polara Studio.

Photo by Tatiana Wills.

Photo courtesy of Oregon Symphony.

Leslie Odom Jr.

Pearl Dive Project BodyVox

VISIT ARTSLANDIA.COM/CONTESTS T O W I N T I C K E T S T O P E R F O R M A N C E S A L L OVER THE CITY.

The Color Purple

Portland Center Stage at The Armory

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@shakingthetreetheatre’s Made to Dance in Burning Buildings opens next week! “There is such an amazing energy in the room at our final rehearsals. This group of artists is going to knock your socks off!” Photo by @garynpdx #ArtslandiaWasHere #pdxtheatre

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@readkelseyread

What a beautiful, funny, sweet, honest play. All of the actors were amazing, the stage by Megan Wilkerson was so well-designed, @cherylstrayed was in the same room as me (holy crap), the lighting was perfect, there was a glorious balance of happy and sad, and I very much enjoyed it. #ArtslandiaWasHere #pdxwriter #portlandcenterstage

Every Friday after 5, @portlandartmuseum admission is just $5. Photo by @amazen.creates of Dan Flavin’s Untitled (to Donna) II. #ArtslandiaWasHere #portlandartmuseum

“A true breath of comic fresh air.” - DC Theatre Scene

Well-intentioned neighbors turn into feuding enemies as they clash over their approaches to gardening — and life.

Starts May 18!

Season Superstars

BUY TICKETS TODAY!

Portland Center Stage at

pcs.org

ARTSLANDIA.COM

ART DEPARTMENT COMMUNIT Y CYCLING CENTER MURAL

Community Cycling Center Mural by Robin Corbo (2016).

ARTIST ROBIN CORBO’S MURAL for the Community Cycling Center on NE Alberta Street colorfully captures the bliss that wheeled humanpowered transport brings to people of all ages, sizes, colors, and abilities. A parade of unicycles, bicycles, tricycles, and even a kid-propelled pirate ship and rocket make their way along the side of the building, surrounded by other sources of delight — blooming flowers, fun costumes, happy pets, and hot air balloons. Corbo created the mural in 2006, and over 100 people helped her bring her design to life with acrylic paint on the concrete wall. The Community Cycling Center is a nonprofit organization that brings the benefits of cycling to all. .

Email a picture of yourself in front of this mural to submit@artslandia.com with “Art Dept” as the subject for the chance to win an Artslandia Box. 52

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THEN & NOW Oregon Zoo 1935

The bear den in City Park (now Washington Park), circa 1935, Wesley Andrews, OrHi 017629.

2019

Takoda is one of four American black bears that live in Black Bear Ridge at the Oregon Zoo. The habitat mimics the bear’s natural environment with steep slopes, towering Douglas Fir trees, and two bobcats. Photo courtesy of Oregon Zoo.

IN 1882, Englishman Richard Knight opened a pharmacy near the docks along the Willamette River that became known as a willing repository for animals that sailors brought home from their travels. When, in 1888, his menagerie had come to include two bears and became too much to manage, Knight offered to sell the bears to the city of Portland to attract visitors to City Park (now Washington Park). City officials offered him, instead, two circus cages on the grounds of City Park with the caveat that he continued to feed and care for the bears. Five months into this arrangement, Knight donated one bear to the city outright, and the Portland Zoo (now Oregon Zoo) was born. The fate of the other bear is unknown. In the 131 years since, the facility has expanded to 64 acres and is home to over 2,500 animals representing more than 215 species, including those that are endangered and threatened. The Zoo stands among our city’s most-loved institutions, with voters supporting the Zoo’s animal welfare, education, and sustainability programs many times over the years and attendance topping 1.7 million visits for the fiscal year ending June 2018. .

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 at the Oregon Zoo? Post it! Don’t forget to tag #Artslandia and #ThenAndNow.

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SEEN on the scene

FEATURED EVENT

CINDERELLA Magic was in the air at the opening of Oregon Ballet Theatre’s one-week run of Cinderella. Xuan Cheng was brilliant in the role of Cinderella, and her transformation upon saying yes to the dress left the audience breathless. Brian Simcoe’s performance as the Prince was charming, indeed. The OBT Orchestra, which contributed a vibrant, live performance of Prokofiev’s score, was so magnificent that the emotion was visceral. The company premiered the work in 2015 to packed houses and rave reviews, and the redux was no less spectacular.

Oregon Ballet Theatre’s Cinderella

BEST

dressed

View more photos at ARTSLANDIA.COM

PHOTOS: 1) The princesses of KairosPDX. 2) Princess Nora & Princess Hannah. 3) Barbi Riggs, Principal of Hawthorne Elementary in Sweet Home, with Monte Riggs. 4) Caydence & Kayla Decaro. 5) David & Jenna Powers with Lovely Laban of Skin by Lovely & her husband, Jake. Photos by Max McDermott.

Don’t forget to tag #Artslandia and #ArtslandiaWasHere for the chance to be featured!

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RANGE ROVER VELAR

STUNNING AND LUXURIOUS BY DESIGN

Beyond the legendary capabilities that come with 70 years of Land Rover heritage, the new Range Rover Velar design philosophy is revolutionary. Clean, elegant and distinctive. Combining avant-garde design with time honored engineering excellence, the new Range Rover Velar is the latest iteration of the Official Vehicle of the Northwest Experience. Visit Land Rover Portland to experience the all new Range Rover Velar. Land Rover Portland A Don Rasmussen Company 720 NE Grand Avenue 503.230.7700 landroverportland.com